Posted on June 9th, 2022

[as seen on Paste Magazine]

Boston rockers Pet Fox have shared the latest preview of A Face In Your Life, their third full-length, due out June 17 on Exploding in Sound Records. “It Won’t Last” arrives alongside an updated set of U.S. tour dates to coincide with the band’s new release.

The third A Face In Your Life single after “Checked Out” and “Only Warning,” “It Won’t Last” is, in vocalist/guitarist Theo Hartlett’s (Ovlov) words, “another quick track with minimal vocals—this song is about letting your feelings get the best of you in both the best and worst ways. Sometimes I wake up in an incredibly good mood and ride that wave all day, but some days it’s quite the opposite and I must decide for myself if I’m going to dwell on the bad or do something to try to turn things around.”

“It Won’t Last” gallops ahead at a quicker pace than its predecessors, yet Jesse Weiss’ (formerly of Palehound) drums and Morgan Luzzi’s (Ovlov) bass push the pedal down without ever revving the track up into the red. Hartlett’s riff navigates what feels like his entire fretboard, rising and falling like the mercurial moods his lyrics explore. His focused vocals complement incendiary guitars in the choruses, another reflection of the fact that “It Won’t Last” is both a warning and a comfort.

A Face In Your Life finds Pet Fox opting not to self-produce for the first time, working with engineer Ethan Dussault of Somerville, Massachusetts’ New Alliance Audio. Seth Engel (Ratboys, NNAMDÏ, Mister Goblin) mixed the record.

Listen to “It Won’t Last” below and see Pet Fox’s updated tour slate further down. You can preorder A Face In Your Life here.


Posted on June 8th, 2022

[as seen on FLOOD Magazine]

Since releasing their LP Universal Care in 2018, nearly everything we’ve heard from Boston noise-rockers Kal Marks has taken the form of demo collections and solo recordings from vocalist Carl Shane. But after teasing quote-unquote big news on the band’s Instagram page over the past month, the group is unveiling details for a new album called My Name Is Hell set for release on August 5 via their long-time home of Exploding in Sound—the outfit’s first release since Dylan Teggart, Christina Puerto, and John Russell joined the band.

Along with the news comes their first single that demonstrates the sheer power of this new lineup—two guitars, baby!—as well as its cautious experimentation outside of what Kal Marks has accomplished in the past. The manipulative nature of televangelism is the subject of “Ovation,” inviting the subtle backing of what sounds like pipe organ during the song’s intense chorus—barely discernible behind the powerful wall of guitars and crashing percussion. The Shayna Strype–directed video for the track, naturally, sees Shane possibly literally selling snake oil as the televised religious leader the song addresses, channeling residual thoughts of Christianity into the video’s surreal universe of stop-motion, claymation, and realistically phony hairpieces.

“During the early part of 2020 I had a weird fascination with televangelist videos,” Shane shares. “That world is far more extreme than anything I grew up with. The way the preachers move is insane and the language is so aggressive. If God’s love is so special, why are they so angry? Their speech dynamic is really not that different from any historical dictator. It’s all tactics to trick people into buying something, and if you can get one person to cheer along you then can nurture and build up a crowd of fools. I know none of this is very revealing, I’m just blown away by the lengths they go to and how ridiculous they look.”

Watch the video below, and pre-order My Name Is Hell here.


Posted on May 31st, 2022

[as seen on Stereogum]

This week, Editrix — the trio made up of Wendy Eisenberg, Steve Cameron, and Josh Daniel — are releasing their sophomore album, Editrix II: Editrix Goes To Hell, the follow-up to last year’s Tell Me I’m Bad. We’ve heard “One Truck Gone” and “Hieroglyphics” from it so far, and today they’re sharing its title track, “Editrix Goes To Hell,” a spiky and hypnotic descent into madness with some slicing guitar work and a purred-out conclusion: “Don’t stop/ Don’t look away/ I run away/ From you.” Listen below.

Editrix II: Editrix Goes To Hell is out now via Exploding In Sound.


Posted on May 18th, 2022

[as seen on Stereogum]

Boston indie trio Pet Fox has members who have played in bands like Palehound and Ovlov. As Pet Fox, they’ve released a few EPs, and they’re getting ready to release their latest full-length A Face In Your Life next month. We’ve already posted the early single “Checked Out,” and now Pet Fox have also shared another new one.

On Pet Fox’s latest single “Only Warning,” Theo Hartlett sings in a weary monotone while things explode all around him. The band’s rhythm section hits fast and hard, and Hartlett’s own guitar streaks tracers across the sky. In a press release, Hartlett says, “This track is about staying in a relationship when you know it’s bad for you because you’re scared of being alone and scared of hurting someone. Being unable to let go of something when you know it’s not right, but you can’t figure out how to do so without conflict.” Check out the video below.

A Face In Your Life is out 6/17 on Exploding In Sound.


Posted on May 12th, 2022

[as seen on The FADER]

Wendy Eisenberg adds depth to everything they touch. Whether it's the refreshingly abrasive edge they bring to their folk-adjacent, jazz-based solo songs or the dissonant earth tones they add to their free improvisation with legendary experimenters such as John Zorn, they have a knack for making fresh tracks in well-trodden soil. Editrix, their hard-rocking trio with Steve Cameron of the powerviolence outfit Tortured Skull and Josh Daniel of the jittery post-punk group Landowner, announced themselves in 2019 with a four-track tape titled Talk To Me and followed it up last year with their first full-length, Tell Me I'm Bad.

Last month, they dropped the imperatives to announce their sophomore LP, Editrix II: Editrix Goes To Hell, and share its lead single, "One Truck Gone." And today, they're premiering a second offering called "Hieroglyphics" with The FADER as they prepare for the record's June 3 release via Exploding In Sound.

The new song finds Eisenberg reimagining heavy music's often over-salted emotional flavor profile with the palate-cleansing secret sauce of vulnerability. But anyone so blind as to mistake this honesty for weakness will curdle at the sound of their bone-chilling whisper, backed by Daniel's thrashing kit work, Cameron's filthy picking, and her own nu-metal-inspired guitar line.

"I hate this part / It leaves me so exposed / Don't talk abut that / Don't talk about how it made you grow," Eisenberg mouths at the start of the track. Later, they harmonize behind their breathy vocal line, creating a demonic chorus as the instrumental runs wild beneath them.

Listen to "Hieroglyphics" and read our interview with Eisenberg below.

The FADER: "Hieroglyphics" and "One Truck Gone" are essentially nu-metal tracks. Did you grow up on nu-metal, and what inspired you to put your own spin on the genre in 2022?

Wendy Eisenberg: I grew up in the general universe of nu-metal, coming to consciousness in the Korn/Linkin/Slipknot years and connecting to it, but I have always been too softhearted to find myself in that “lifestyle” (plus, I was 8). All of us in the band love System of a Down, and various metal subgenres deeply, but whatever particularly nu-metal aesthetics that came through in these songs were just what the songs themselves seemed to be asking for. Basically, we didn’t set out to write nu-metal, but it was the sound surrounding our formative years.

The lead vocal line is whispered in a really steady tone throughout the new song, which creates a great chilling effect. What led to that decision, and do you have any favorite whispered lead vocals from other songs of any genre?

I find whispering to be sexy and intense and off-putting in equal measure. I’d wanted to have a whisper song for a while, especially during the Paula Cole phase I had when we were writing this record. The verses of “Where Have All the Cowboys Gone?” are unbelievably beautiful to me, and were a direct inspiration here.

The thing that struck me most about this song was its lyrical vulnerability in contrast with the heavy instrumental. Do you think the hardcore scene could use a healthy injection of vulnerability?

While I love hardcore, it’s tough for me to consider myself a dedicated-enough member of that scene for it to be appropriate for me to speculate on what lyrical choices would make a positive impact on it. There should be as much a space for healthy verbalized aggression as there is for vulnerability; both take conviction and risk, which is most of [what] I care about in music.