Terry Malts

Terry Malts

I’ve disconnected the doorbell; the phone is off the hook. The post office has been instructed to return all mail sent c/o Box 489 directly back to sender. These extreme actions have not been made in haste. The past year-plus has plum worn me out.
Ever since Slumberland Records lost a bet and released 2012’s Killing Time, it seems that the bored drudges of this outhouse Earth have done nothing but follow that album title’s orders, a.k.a. harass me. (Lord knows the everyday “fan” of these “guys” has nothing better to do). Visitors, calls, letters. Look, I know I’m the only known liaison to the men behind the man, but that doesn’t mean I have the answer to the burning question on everyone’s melon: WHEN IS THE NEXT TERRY MALTS ALBUM COMING OUT?!

Oh, wait, actually I do know the answer to that one! Terry Malts’ brand-new platter, Nobody Realizes This Is Nowhere, is being released on September 10, 2013, once again on Slumberland Records. The official full-length follow-up to last year’s year-end-list-thrashing debut, hot on the heels of two more blistering 7”s in the meantime.

Who are these Nobodies? Where is this Nowhere? The same crack-staff has been employed: Phil Benson (bass, vocals), Corey Cunningham (guitar, throat), and Nathan Sweatt (drums, confusion), recorded by they-damn-selfs in their “San Francisco practice space”, and again mixed by Monte Vallier (Weekend, Half Church). Hey, Parrothead: changes in latitudes, changes in attitudes, right? Right! Which is why the Malts tropes you’ve come to know and love haven’t gone anywhere: anger, hatred, exhaustion, delusion, seclusion, consumption, life, death, breathing, eating, and probably some sensitivity or something. It’s all right in front of your earballs!

Considering a stiff breeze could blow your web address over, take this “press-release” as a “warning.” NRTIN is a punch in the gut, a kick to the teeth, a tickle exactly where you want it (wink, wink). This thing is the toupee of your record collection: throw it on top of that embarrassing stack o’ wax by the stereo to instantly transform your reputation.

Look, we can’t do everything to help out you and those of your odor, but giving you this news is a step in the right direction. And this is coming straight from the top floor. Terry Malts’ Nobody Realizes This Is Nowhere shreds. It blasts. It blows (a good thing!). A dynamite record, that’ll prolly say “Play It Loud!” or whatever in the liners. But seriously, folks… listen to this thing and leave me alone!

Terry: just like the days of our pathetic weeks, a name that ends in “why…?”

The Bad Doctors

The Bad Doctors are releasing their first full length album, “Burning City” in May. The sound of The Bad Doctors comes from a concentrated study of new-wave and the goth side of post-punk, paired with an extensive array of synthesizers and electronics. They’ve become conceptually stronger through each of their earlier releases (Distractions, Spit It Out, RE-Animate), and “Burning City" is easily their most ambitious project to date. A sonic map of the human spirit: ecstatic, decadent, and tragic all at once. It traces our flights of passion, stands knee-deep in our flooded basements, and walks our collapsing back-alleys.

From the opening notes it’s apparent how important the synthesizers are for the over-all tone of the record, leaping forward while the band itself catches up. Combined with precision drumming, melodic bass lines, driving guitar riffs, and poetic lyrics, The Bad Doctors bring a tumult of orchestrated electronic madness into a groundbreaking study of pop song structures. The band has crafted a hybrid of post-punk, new-wave, dance, and indie that keeps you in a modern timeframe while also sounding eerily like a record that could have been in the vaults of Factory records.

A few months back, the "Re-Animate" EP was released digitally as a teaser for “Burning City”, which is free on the FDH records band camp page. While the title track could have been slipped into a Gary Numan record without notice, songs like “Prism, Mirror, Lens” are harder to pin down. The EP features three songs from the record, giving a taste of how seamlessly “Burning City” integrates electronics, post-punk, and speedy dance beats.

After a few listens, this record seeps its way into the darkest labyrinths of your mind, projecting it’s glittering glass and surreal nightmares onto the cities we live in. While it is bound to make you nostalgic for the 1980’s, “Burning City” is more than just another new-wave clone.

Josh Agran and Pat McCunney have been playing in bands together since they were in middle school. They started off together in a crust punk band called Manual Seven (though Pat kicked out Josh). Pat went on to play in hardcore outfit Kill the Man Who Questions and then as a DJ with Clayton and Fulcrum. Josh went on to play bands Knives Out and currently still with Paint It Black.

Cassavetes however is something different. For the past 5 years they have been writing music inspired by early Foo Fighters, Sugar, Radiohead, Smashing Pumpkins, etc. These songs have become Cassavetes. Drummer Jon Murphy of Sore Saints and bassist Chris Sigda fill out the rest of the picture.

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Terry Malts with The Bad Doctors, Cassavetes

Saturday, September 21 · Doors 8:00 PM / Show 9:00 PM at The Boot & Saddle