’68: ‘LOVE IS AIN’T DEAD’ – il nuovo EP metal – punk in arrivo il 4 settembre (Cooking Vinyl )

 “…essentially half Jack White, one-fourth The Black Keys and one-fourth The Chariot. Resulting in exactly what’d you expect – pretty much an uncontrollable urge to move about – ‘68 is proof that the dynamic duo cannot be tied down to anybody’s ‘genres’ or ‘expectations’.” – BRING THE NOISE

“The latest two-man wrecking crew to get the blood flowing are the ’68. Combining hardcore with blues, it is the audio equivalent of a Boilermaker — a simple, refreshing slap in the face.” – CRAVE

La punk metal band ’68 annuncia ‘Love Is Ain’t Dead.’ il nuovo EP in arrivo il 4 settembre per Cooking Vinyl.

Il 2020 era iniziato con il botto per la band di Atlanta che aveva annunciato il nuovo album in studio e un tour estivo con le band Korn & Faith No More. Nel momento in cui stava per annunciare i concerti in supporto alla band Foo Fighters, però è sorto il problema del Covid 19 ed è scattato il lockdown.

La pubblicazione dell’album è stata rimandata, così come il tour a cui dovevano prendere parte, ma la band non si è persa d’animo e ha continuato a comporre nuova musica.

Appena è stato possibile ’68 sono tornati a Nashville per registrare il nuovo EP Love Is Ain’t Dead.’ insieme a Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains), che produrrà anche il nuovo album in studio in arrivo nel 2021.
Negli scorsi anni la band si è esibita il oltre 300 live show, girando 3 diversi continenti, in supporto al loro ultimo album ‘Two Parts Viper’.

Nei diversi live a cui ha presso parte, ha aperto anche concerti di band del calibro di Stone Sour, Bring Me The Horizon, Avatar, Danny Wimmer Festivals e Roskilde, riuscendo a conquistare un nutrito seguito di fan e oltre 20 milioni di ascolti sulle piattaforme streaming di Spotify e Apple Music.

Josh Scogin kickstarted his small band with the big sound in 2013, naming the two-man outfit he modestly undersells as “a little rock, a little blues, a little hardcore” after his father’s old Camaro. And there’s a muscle car-sized rumble beneath the hood of what the Atlanta, Georgia native and his percussive partner-in-crime, Nikko Yamada, unleash with an array of guitar, bass, drums, keys, and pedals, careening between swinging barnburners, wild hay- makers, and moody atmosphere. Like a Delta Blues reimagining of Bleach-era Nirvana or the disgraced punkish cousin of The Black Keys, ’68 adheres to a single ethic: unbridled authenticity

Deliciously stripped down and vibrant, ’68 excels in intimate environments, to be sure, but is no less unignorable on giant festival stages or on the road with Bring Me The Horizon, Stone Sour, Beartooth, Avatar, August Burns Red, The Amity Affliction, and Underoath, where they’ve earned new converts every day. ‘68 · by Ryan J

In Humor and Sadness, the first album by ’68, debuted at No. 1 on the Billboard New Artist Chart. Two Parts Viper followed in 2017. “[‘68] bring the noise in the most righteous ways, caring less about the scene they came up through, the bloodless drivel that passes as
‘indie’ and the boring earnestness currently permeating ‘punk,’” declared Alternative Press. “Two Parts Viper is the best record of the year. Throw a copy in my casket, because I’ll never be done listening to it.”

Grammy-winning producer Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains) became a believer after just a few songs of a ’68 set. On GIVE ONE TAKE ONE, crafted with Ra- skulinecz in Nashville, the band’s high intensity bombast threatens but never swallows the underlying groove.

With the same spirit of scrappy “winging it” and punchy minimalism that powered the Flat Duo Jets and The Jon Spencer Blues Explosion, ’68 push forward the pure rock traditions of audacity and disruption. Scogin gives everything to the microphone, as if singing to redeem his soul. He wields his guitar and keys like weapons, pulverizing away any false pretenses. It’s about the riff and the kick. It’s immediate. It’s alive. And it’s fun. Sweaty catharsis, cutting missives, surrendered by ’68 as if the world depends on them. Because in ’68, less is more. Oh, so much more.