Taken from their upcoming album, Chills On Glass
DEAD RIDER SHARE THE VIDEO FOR “BLANK SCREEN” FROM THEIR UPCOMING ALBUM,
CHILLS ON GLASS, RELEASED VIA DRAG CITY 7TH APRIL
Button down your outer coating – Dead Rider return, Chills On Glass is rolling in, and you’re gonna need full exposure before it’s all through. Yesterday, Clash premiered the audio for Blank Screen – in their own words, “glitchy electronics merge with righteous riffs, with Dead Rider showcasing an immediacy to sit alongside their cerebral nature.” Today we are bestowed with an opportunity to watch the accompanying video…
WATCH DEAD RIDER’S BLANK SCREEN:
A glorious collage of lips and nostrils arranged by a renegade Francis Bacon with an eye for lo-fi computer aesthetics, the video for Blank Screen throws at you a whole menagerie of paint slops and strange shots. Peaking with dark and filtered strobes whilst the music folds in on itself, churning and whirring, it is the perfect visual encapsulation of Dead Rider’s daunting handful of sounds!
ABOUT CHILLS ON GLASS…
Chills On Glass, Dead Rider’s third ride, is as distinct from the second time around as The Raw Dents was from their debut, Mother of Curses. After all, there’s no point in venturing out unless you intend to see something new right? – and so Dead Rider do, making new known again. Rebuilt, re-grooved, with favourable upgrades, Chills On Glass moves forward in this fashion, juxtaposing high and low values – serious playing, danceablity and controlled-outcome experimentation, all confidently expressed through their bad-ass attitude, and the goal for Dead Rider, as always, is to be heavy, arresting, accelerating and with more climax than ever before.
The listening experience is a challenging one, Dead Rider wouldn’t have it any other way, illusions radiate out from the real, you’re rocked into submission, even encouraged to participate. Shocks don’t surprise the band – it was the effect that they were looking for, just what the song needed. All the sounds in the songs – the shouts, the croons and the whispers – draw you into the fantasy of Dead Rider, the spectacle of a night on the town, gliding through the darkness while thrust up, out of the limousine’s sunroof. Scribble, confetti and other sonic details rain down like snow, providing an exquisite dressing for thick and thrashing rhythms and expertly manoeuvred tight corners and other sonic curveballs. Vocal textures smooth and sandy rub together and ignite as you head your body through the labyrinth. Rhythm is king in Dead Rider, but melodies, changes and production carry the crest in this particular processional.
In fact, with Chills on Glass: the production is supreme. Seeking the rock, Dead Rider leave no stylistic stone unturned in their restless path and no knob on the board untwisted in their search for the mixe parfait. Synths that tickle the top of one’s spine, and the brain-pan balanced atop it. Guitars piercing like a neural system. The fullness of real drums. Passion and soul that echo shoutingly from within the (very aLIVE) rhythm machine. Vocal layers and masks of all kinds, space, with digital code threaded around the edges. This is composition that uses improvisation as an element within a larger structure – the ultimate streamlining of production, where songs are processed on several levels, mirroring and flashing their meanings through tactics and layers, back-grounded by a panorama of yawning, silent, benevolent and black velvet.
It’s all-out entertainment. Dead Rider move relentlessly around the borders of their sound, finding new textures throughout, which act as candy to our ears. Sure, it’s rock and roll music, and it’s good fun – but Dead Rider isn’t happy unless Dead Rider is reconfiguring sonic relationships, imagining the sound of a rock band reshaped into a gleaming spectacle, spicing the recipe with elevated powders of perception, deflecting metallically, hip-hoptically, free and jazzy, operatic, electronic, flashing like squad-car rollers.
Todd Rittmann, infamous from his daze in U.S. Maple, is a guitar warrior with intensive craft at his fingertips. For the past five years, he’s been furthering his reputation by doing further damage with his instrument and by spreading the carnage wide with Dead Rider, comprised of Matthew Espy (drums, conga, percussion), Andrea Faught (synth, piano, trumpet, trombone, vocals), Thymme Jones (synth, trumpet, vocals) and Rittmann (vocals, guitar, drums). Self-recorded, produced and mastered in the otherwise-unnamed Dead Rider studio suites, Chills On Glass is a self-contained statement – but it’s a suggestion too.
An archetype. A starting point. A prediction? It can’t be, it shouldn’t be…it is! Chills On Glass is tomorrow’s libretto, today.
If you’d like to hear the album please get in touch and I would be more than happy to share. More audio insights will soon follow.