LUNGBUTTER ANNOUNCE THEIR DEBUT ALBUM HONEY,OUT ON 31ST MAY ON LP AND DIGITAL FORMATS VIA CONSTELLATION
Montreal trio unleash 33 minutes of satisfyingly searing, sharp-as-tacks, scum-tainted art-rock
HEAR THE FIRST ADVANCE TRACK “FLAT WHITE“
Montréal trio Lungbutter serves up an exhilarating and relentless barrage of astringent noise-punk, at times refracted variously through sludge rock and slowcore. Kaity Zozula‘s tri-amped guitar squall occupies a huge tonal space from low-end bass to paint-peeling treble, redolent of blown-out Melvins/Flipper fuzz and indebted to the frenetic dissonance of Keiji Haino or Merzbow. Song structures coalesce around guitar riffs of shifting tempos and the backbone of Joni Sadler’s muscular, deliberate drums, while Ky Brooks’ wry phenomenological sing-speak vocals – at once mantric and declarative – deconstruct one brilliant lyrical theme after another, dancing along the knife-edge of dispassionate acerbic examination and wide-eyed cathartic revelation.
Constellation are honoured to welcome Lungbutter to the roster, and to release their debut full-length, Honey, on May 31st. Listen to first single “Flat White,” where Zozula’s lumbering, woozy central riff leads a spirited march through quicksand while Brooks intones their intention to “invent a new kind of poem” above the roiling murk.
4. Flat White
6. Henry Darger
9. Depanneur Sun
Ky Brooks, Joni Sadler and Kaity Zozula have all been mainstays of the vibrant experimental noise/rock community in Montreal for several years, having put in time as members of numerous bands including Femmaggots,Harsh Reality,Caymans, Nennen, Wreckage With Stick and Nag – as well as the Misery Loves Company tape label, La Plante collective, and the campus/community radio station CKUT. Lungbutter has been their main jam for a while, playing frequently in Montréal and with sporadic excursions to DIY spaces around eastern North America.
Honey is their first full-length album, following the self-released Extractor cassette EP from 2014, which Big Takeover described as “thick neanderthal sludge, stream of consciousness yelps over lawnmower riffs, a dweeb-metal triumph” and Weird Canada praised as “confident, artful, intense”.