Them Are Us Too - Amends

Them Are Us Too was formed in the Bay Area by friends Kennedy Ashlyn and Cash Askew in 2012 after meeting at school. Fast friends with an appreciation for the same music and art, they recorded a demo and began performing intimate and memorable gigs on the west coast. They quickly gained a cult following as word spread about their youthful, innocent, and fresh take on the revered 80s dream pop and shoegaze sound, and Kennedy Ashlyn’s voice was immediately compared to Elizabeth Fraser, Kate Bush, and Harriet Wheeler – while Cash Askew’s washes of intricate guitar felt akin to Robin Guthrie, Ronny Moorings, or Kevin Shields. Their music felt familiar but new, nostalgic, and heartbreaking, with songs delivered simply and earnestly. They betrayed their age (both only 21 when they signed to DAIS) by releasing one of the most incredible debut albums of 2014, “Remain”.

Tragically, Cash Askew passed away in the Ghost Ship fire in Oakland in December of 2016, sending a shockwave of loss through our community. While Kennedy Ashlyn would eventually emerge as a solo artist through her project SRSQ, there were unfinished Them Are Us Too recordings and demos that Kennedy and those close to Cash felt deserved be heard in her memory.

Kennedy returned to the studio with producer Joshua Eustis (Telefon Tel Aviv), Sunny Haire (Cash’s stepfather), Matia Somovich (INHALT), and Anya Dross (Cash’s girlfriend) to complete unfinished demos and sketches, write new compositions, and honor Cash Askew. The result is “AMENDS”: an album of tragic beauty and depth that tugs at emotions and inspires.

Digital Album

Posted on August 29th, 2018 under Releases, ,

Usé - Selflic

It’s always kind of the same: the guy gets on stage – provided that there is one – looking like a lanky jackal, with a sweater or two on, and without notice he starts hitting on a jumble of cymbals stacked on tattered guitars, wedged between two ancient synths. After a few minutes, he ends up shirtless and everything disappears, crumbled and pulverized: the show, the music, the people around you, the stage – if there was one – and you find yourself in a hand-to-hand combat: the struggle of Man against the machine, the New Age of Metal, the big final crash.

What matters then is not what this guy is doing, but the faith he’s putting in it. And what he puts in it is nothing less than his whole life, messily arranged in a large pile of hypnogenic patterns, primitive words, barking, anti-theft alarms, control losses, infernal nights. Then everyone’s free to pull the string that suits them in this huge panic – punk, indus, soundtrack to a urban crime film of the year 3000: as if being so harsh, fierce, and vital was not enough, Usé’s music also leaves you the choice – an incredible luxury at a time when anything’s spoon-shed to the point of having storytelling and opinions delivered turnkey, 100% validated and ready to consume.

In fact, the music of Nicolas Belvalette (the man behind Usé, who can also be seen in Headwar, Les Morts Vont Bien, Sultan Solitude, Roberto Succo and about 125 other simultaneous projects) could have contented itself with live performance, where it seems to be reaching its full potential. In view of such firepower, what more could we expect from a record, other than an inevitable disappointment? Well, in fact it’s just the opposite: his first album Chien d’la casse had proven it, and Selflic definitely confirms it.

Martial pianos, mongoloid harpsichords, rural techno, social horror: this new record contains all it takes to writhe, sweat, shudder, pant, stagger, pick yourself up, crawl, howl, faint, get up and pick yourself up again – in short, to have fun. We’ll spare you the truisms about “stepping out of his comfort zone”, about the “darkened atmosphere” or a “chiaroscuro self-portrait”: Selflic is a perfect digest of what Usé was, is, and will probably be for a long time: a terrific machine to crush time and bullshit, to invoke the essential precepts of fire and fury. And that’s all you need to know. The rest is just noise.

LP / CD / Digital Album

Posted on August 27th, 2018 under Releases, ,

Violence - Le Flux de la Nature

Arcane electronic duo Violence, from Quebec, Canada, show their dark side on the four track 10-inch Le Flux de la Nature. Their underground spirit of new wave, French vocals, opaque and sometimes disturbing electronics reflect the complex rhythm of nature and intense human relationships. The spectacular cover art by Manuel Bisson complements the music perfectly.

10″ / Digital Album

Posted on August 25th, 2018 under Releases, ,

Le Cliché - Nothing is Original

All of the tracks on this EP are inspired by a host of sounds, clips and samples borrowed from wonderfully obscure electronic music artists cassette tapes of the late 70s and early 80s.

Digital Album

Posted on August 23rd, 2018 under Releases, ,

INHALT - Commerce

Dark Entries is proud to release the third EP “Commerce” from San Francisco based INHALT, German for “content”.

“Commerce” closes the bands anti neo-liberalism trilogy that started with “Vehicle” and left off with the surveillance-themed “Occupations”. The course du jour is a close examination of the self destructive tendency of the ego in relation to the allure of negativity and mass tragedy. This, in tandem with the sociopolitical reinforcement of identity as a commercial product, and psychological insanity as status quo, laid the groundwork for the songwriting.

The EP details the psychopathy of relentless thirst mandated by neo-liberalism and traverses through to the adoption of social and economic technologies that strengthen domination vis a vis self enslavement to disempowerment. There are no answers, only descriptors and mantras until the void of wholeness is reached out of complete solitude. The machine has stopped long enough to witness its own destruction in the wake of the rise of consciousness.

The record was produced over four years at the bands own Black Sun Loft recording studio and Different Fur Studios. Paul Lavigne mastered the EP in London, England at Kontrast Mastering and George Horn handled the vinyl EQ curve at Fantasy Studios, Berkeley. Each download includes front and back cover art as well as the complete translated lyric sheet designed by Leo Merz.

Digital Album

Posted on August 21st, 2018 under Releases, ,