October 24, 2018
Big Bliss Share ‘At Middle Distance LP’ Out Now On Exit Stencil Recordings
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– The Wild Honey Pie“Heavy bass thumps make for a strong introduction to Big Bliss‘s latest and a direct conduit to second waves of post punk.”
– All Things Go“Since 2015, this group has been on the rise, releasing single after single and evolving their sound into the kind that can be both “anxiety-ridden” and ‘ruminating.'”
“Glistening, energetic continuation of what Robert Smith so eloquently popularized in the late 1970s.”
“Like a shot in the arm, Brooklyn post-punk outfit Big Bliss has come roaring into 2018 with some killer songs, packed with hooks, poignancy and power.”
– The 405
“The pinging guitars perfectly accentuate the shimmering cymbals. The gently insistent timbre of the vocals pulls at you and lulls you into a trance.”
“The band’s knack for power pop style hooks and shimmering guitar tones sets Big Bliss apart from contemporaries in the genre.”
– The Deli NYC
“Think sweet jingle jangle over jagged lines.”
– Oh My Rockness
“Brooklyn’s Big Bliss makes post punk goodness that will melt your heart.”
“The trio blasts out a furious sort of post-punk and indie rock that draws a bit on shoegaze (think perhaps a little Mission Of Burma here, a little Interpol there), and have been playing shows almost constantly since their inception.”
Brooklyn-based, post-punk trio Big Bliss share their debut LP, At Middle Distance, out now via Exit Stencil Recordings. The band heads out on tour this November, and will have more dates TBA soon, in support of the release of the album.
At Middle Distance marks a new, unprecedented milestone for the band. Recorded and mixed at Tony Maimone’s (Pere Ubu) Studio G and Thump Recordings in Brooklyn, producer Jeff Berner (Psychic TV) evokes the tonal clarity and emotive noise that constitutes Big Bliss’s special brand of dark-tinged melodic euphoria. Songs successively ebb and flow in tempo and mania, alternating the spotlight on each player. Cory Race’s fervent drumming is simultaneously unwavering and creative, as May’s fluid, leading bass lines offer clarity and resolve in every hook. Tim Race’s ethereal guitar shimmers like spurts of heat lightning during summer’s thick humidity, and the thundering rhythm section only compliments its brilliance. Their instruments alone are enough to fill any room, no matter the size. Tim’s effectual and guttural vocals can either hover above the mix, or swoop through it, giving an actual tangibility to this “feelings” thing on which you can’t quite put your finger.
Lyrically, it is a challenge to Race’s notions of identity (“Duplicate”), a hidden history of addiction (“RTK”), and in the record’s opening salvo (“Constants”), the destruction left in the wake of a twenty-something person selfishly chasing “constant, eternal bliss,” and alienating the ones they love. He asks how we cope with events that shift our concepts of ourselves, like the death of an alcoholic uncle (“Richard Race”), or the end of a devoted companionship (“High Ideal”). He’s both looking inward and reaching out, hoping to find solid ground somewhere in between, a place from which he can be a better friend, a better lover, a place from where he can meet you.
At Middle Distance speaks in urgent tongues, desperate to convey unknowable longing, like every great post-punk artist who came before. Moments of joy, moments of unspeakable sadness, moments of rage, all rub shoulders through these songs, and by the record’s end, you’ve undoubtedly run the gauntlet.
11/03 – Brooklyn, NY @ Union Hall
11/27 – Pittsburgh, PA @ Rock Room
11/28 – Detroit, MI @ Kelly’s Bar
11/29 Grand – Rapids, MI @ Pyramid Scheme
11/30 – Chicago, IL @ Burlington Bar
12/01 – Bloomington, IN @ Blockhouse Bar
12/02 – Cincinnati, OH @ MOTR
12/03 – Muncie, IN @ BHN
12/04 – Columbus, OH @ Ace of Cups
12/05 – Cleveland, OH @ Mahall’s
12/06 – Boston, MA @ O’Brien’s