It's time to get a little crazy as MATMOS are on a North American tour supporting a new record with a unique new live performance! The Rose Has Teeth In The Mouth Of A Beast is the new record by the San Francisco duo. It's a series of "sound portraits" of a pantheon of people that they admire. A musical attempt at biography which is loose in some places and very literal in others; taken as a suite of stylistically disparate songs, you get a kind of fractured family album, a historical pageant. It's at once Matmos's most melodic and most conceptual record.

Matmos is M.C. Schmidt and Drew Daniel. They make music out of the sounds of objects, animals, people, and actions. They have collaborated with Rachel's, So Percussion, Jay Lesser, Alter Ego, People Like Us, Kronos Quartet and Bjork. They have shared stages with Slint and Wolf Eyes, remixed Foetus and Erase Errata (and many others), taught seminars on sound art at Harvard University and the San Francisco Art Institute, and DJed at proms for homeless teenagers. They have had pieces in the Whitney Museum of American Art and The Natural History Museum of Los Angeles, did a 17-day live performance at the Yerba Buena Museum of Contemporary Art in San Francisco, and have scored the soundtracks for five gay porn films, one pinball machine, and one NASCAR television commercial.

Dan Friel is an electronic/experimental musician, and a founding member of the band Parts & Labor. "As one of dual frontmen in Parts & Labor, Dan Friel takes the disobedient squeals of keyboards and other sundry electronics and marries them to more familiar contexts, making otherwise jaw-clenching noise surprisingly palatable while helping the two- to three-chord punk anthem sound new again." - Pitchfork

The Gathering, Arbouretum's fourth album, was to a large extent inspired by The Red Book by Carl Jung, or more specifically, Jung's pursuit of the inner images that led to the book's writing. Dave Heumann, the singer, guitarist and main lyricist of Arbouretum, has long been a fan of experiences that surpass comprehension and describe the numinous. The narrative of "losing one's way and finding it again" resonated deeply and it was in this context that the songs that comprise The Gathering came to be.

With elaborate and very allegorical imagery, Heumann's lyrics take the listener with him on an adventure, filled with conflict, redemption and revelation. The central metaphor of the track "The White Bird" refers directly to the book, while other songs are more generally inspired by Jung's archetypal reservoir of experience, for example, the epic "Song of the Nile", with its themes informed by Gnostic mythology.

On a return trip from South by Southwest, the three brothers who make up Pontiak conceived of recording an expressionistic record. Something unlike anything they had tried before. They imagined it as a color project, painted through music, favoring the traditional form of the song to explore texture and color. The album was an ambitious undertaking and would require deconstructing and then rebuilding their studio in order to be able to record it the way they envisioned it.

The first step was to find a new mixing board. They found a Soundcraft 6000 24 track analog mixing board for sale on an exotic animal compound in Arkansas. To their surprise it was tucked away in a studio next to giant Moog synthesizers and had been used to record Herbie Hancock. Board in hand, they returned home and began rebuilding their studio to capture both the band's heavier sound and the melodic nuances they're becoming known for. They focused on the acoustic properties of the space, paying great attention to the subtlety of the room. After a detour to the Austin Psych Fest that involved tornadoes and chainsaws, recording began immediately.

Recorded at their farm studio in the heart of Virginia, Van, Lain, and Jennings rotated between their respective instruments and engineering duties. They treated the recording equipment as another instrument, placing just as much importance on the sound leaving the amps and drum skins as the sound written on the tape. If it wasn't as colorful and tangible throughout the entire songwriting process it was unacceptable. While previous Pontiak albums had been approached more loosely as snapshots of a specific time, focusing on the current songs, and their current energy, Echo Ono is different. It was conceived of as an album. Instead of recording hours and hours of songs and then fitting the best pieces together, careful attention was paid to the narrative of the album and the structure of the songs as well as how each directed that narrative. What was left to chance was what would happen when the band pushed these structures to the extreme in performance and volume. The band used several different amps to test these boundaries: a 1969 Fender Dual Showman Reverb, a 1973 Sunn Model-T, a 1969 Sunn 200s, a 1975 Fender Bassman 100, a Vox AC30, and for effect an Echoplex tape delay. Lain used two drum sets: a 1946 mahogany Slingerland Radio King set with a matching solid maple snare, and a 1967 maple Ludwig kit. No distortion or overdrive pedals were used. If an amp started to act unpredictably, they turned it up. If a speaker started rattling, they pushed it.

As the summer began to wind down and the album took shape, it became clear that they had realized their love of texture and color that loud music produces. Music so loud it produces physical vibrations in your chest. Echo Ono felt like a complete whole, as well as their most concise and direct album to date. It was like walking to the top of a hill in a field and watching the sky expand, a vision fully realized.