Today we’re excited to premiere the brand new single from Bay-Area band Blackplate - “Sliding.” Being released off the newly formed muudguts record label, the band’s new track is heavy with post-punk goodness and slendery distorted chords. The cover art and insert for the new album - “Every Day Is Sadderday” (recorded by Steve Albini) is made by none other than Mission School painter Chris Johanson (previously in the 90’s San Francisco band Tina Age 13 with Blackplate’s vocalist Sean Casement) . Interlaced messy veins of color pulse together nervously on the cover as a sort of visual preview to what’s inside. Johanson’s art perfectly compliments the dissenting garage vibes of the album and continues to create a visual language to the Bay Area’s punk scene. 

This weekend, in Brooklyn, Blackplate releases their new album - “Every Day Is Sadderday” at Baby’s All Right for a two night showcase featuring the legendary 90’s group Duster - coming off a 20 year hiatus to perform with BlackplateIce Balloons (TV On The Radio, Samiam, Surfbort), Cassie Ramone (Vivian Girls, Babies) and Twompsax (Cher Strauberry, No Bunnny). Both December 15th and 16th shows are sold out but Gibby Haynes from Butthole Surfers will be spinning records in the bar directly in front of the venue (no tickets required) with special merch and accompanying releases from Surfbort, Twompax and Ice Balloons via muddguts’s new label. Alongside this historic show will be a new solo exhibition of text based works by Cali Thornhill Dewitt at the muddguts gallery on Graham Ave - opening Saturday December 15th at 6pm in Williamsburg, which you can learn more about here

Get the track for all your devices here!

“Everyday is Sadderday” will be available for pre-sale at the shows this weekend and will be officially released via muddguts January 18th, 2019. Check out the new single - “Sliding” below, exclusively through Juxtapoz, and be sure to pick up their new album once it’s out early next year!

"Wherein a trio of musicians bring to life a series of lamentations/self-reckonings/jeremiads/and lovesong into a wildly impressive grayscale fireworks display.

Have you heard the roar of swirling gutter rainbows run for blocks from heavens least surveilled public urinals, streaming and pooling into depths of sounds and feelings? Did you dive in high and float down into the shadow? Did it have you rocking with it in the dark? Make a suit of regret and anxiety. Make a suite of depressions and histories so sour. Make the guitar bass and drums tell the story when the lyrics, however exculpatory, however expert, can only go so far to tell. 

Sean Casement’s voice is raw to the point of grizzled and yet beautiful because he sings truth. Whether engaging radical vulnerability, sharing tragic personal histories or calling out the too often forgotten crimes of empire he is giving it all. The same goes for his guitar which to my ear at different points on this record is so heartbreakingly blue as to like to make one cry. 

Yes there’s such a thing as blood rhythm. Valis Vanderlinden-Casement on the drums is playing with economy and power. He stays elastic with the grounding midnight river of vibration provided by Max Brotman’s bass. The fact of Valis’s relation to Sean is worth noting as intergenerational rock outfits are fairly uncommon and this family affair is making powerfully good work.

The cover and insert art are by Chris Johanson who as it happens was in the well cherished SF band Tina Age 13 with Sean back in the day. The painting on the cover entitled Passing is as I understand it eulogy for sweet brother Chris Corales to whom along with Douglass Casement the record is dedicated. It honors them. Pour out a song for all our fallen brothers and sisters. Put on the BLACKPLATE record. It’s the balm."––Kyp Malone of TV On The Radio