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At the vanguard of , the Los Angeles based five-piece have had an uncompromising vision since their inception. “From day one, the whole project was intended to be more of a multimedia art project built on the chassis of a band,” explains 3TEETH frontman Alexis Mincolla. Being the creative director of downtown LA’s infamous tech noir club night known as LIL DEATH, Mincolla regards how this party served as the primordial black ooze that eventually gave way to 3TEETH. It was there that his flair for visual art met with Xavier Swafford’s keyboard and production skills and they began creating together. It wasn’t long after that they filled in the gaps with Andrew Means (modular synth / bass), Chase Brawner (guitar), and Justin Hanson (drums). When their self titled debut album, released on Artoffact Records back in 2014, hit #1 on iTunes, it got them noticed by TOOL guitarist Adam Jones. Jones came out to see 3TEETH play at the Viper Room, which was enough to inspire an invitation for them to join TOOL and Primus on a full US arena tour in 2016. “Going from clubs to arenas as quick as we did was a real sink or swim scenario for us, and we knew we had to step it up and learn to swim in front of 20,000 people a night,” says Mincolla. After returning from the tour, the band immediately locked themselves in the studio to crank out their sophomore release, (released on their own imprint, OMF Records). The record hit #23 on Billboard, and landed them tours across the US and Europe — headlining, and supporting acts such as , HIM, and Danzig. 3TEETH have already begun to distinguish themselves both in the studio as well as onstage, and they’ve garnered a dedicated following hungry for what Rolling Stone Magazine called “a mix of state-of-the-art sensory overload with a take-no-prisoners level of aggression.” They’ve managed to capture the minds of community in opposition to a creative climate riddled with artifice and compliance by meditating on the importance of disrupting consensus-based reality. Mincolla once described the aims of their live show as “an ontological one night stand,” and encourages his audience to protest against their own conditioning. 3TEETH want you to challenge your own perspectives through methods of cognitive dissonance vis-à-vis their decentralized discordian network / fan club known as Operation Mindfuck. “Our debut album was man vs the world, our sophomore album was man vs himself, and now our forthcoming third album is world vs world,” Mincolla muses how if man doesn’t create his own world, then he’s to be crushed by the world of another. METAWAR, coming out July 5th 2019 on Century Media Records, is exactly that — a sonic attack on the wide scale perception management systems that currently grip our worlds. It’s a counter-measure in the invisible silicon war of ideology that is constantly moving avatar pawns on the battleground of our social platforms. “We live in a world where we are all tethered to the same large scale prosthetic digital nervous system, and perpetually being manipulated and incentivized by the ideology de jour. Even the most independent thinkers are being pinned to one side or another as a result of it. Our goal is to jam this album in the cognitive gears that perpetuate this fiercely divisive rhetoric, by exposing the hypocrisy, idiocy, and insanity on all sides,” Mincolla says. “It’s time to carve out a non-conformist space between the left and right that doesn’t have a definable psychographic for corporations to exploit. METAWAR is here to tear down the walls of our memetic concentration camps.” To help execute their vision for the new record, 3TEETH enlisted producer , who is known for producing and mixing some of rock’s most influential industrial-strength artists, including and . “Sean understood the fabric of where we’ve been and where we were going in a way that no other collaborator could,” says Mincolla. “Sean helped bring a certain laser-focus to us as a team and pushed us to new places.” The band took nearly a year to write and arrive at a new core programming for METAWAR, and the results are nothing short pulverizing. Stream Top Podcasts. If you can never get enough true crime. Congratulations, you’ve found your people. Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. This is what the news should sound like. The biggest stories of our time, told by the best journalists in the world. Hosted by Michael Barbaro. 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Solvable is a true-crime podcast that seeks to find the answers to unsolved mysteries. With the cooperation of the investigative agency, Solvable takes the listener behind closed doors and speaks directly to the past and current personnel who are responsible for investigating these crimes. In addition, family members and others who are most impacted by these tragedies share their stories in the hopes that answers will one day be found. We Can Do Hard Things with Glennon Doyle. I’m Glennon Doyle, author of Untamed – the book that was released at the very start of the pandemic and became a lifeline for millions. I watched in awe from my home while this simple phrase from Untamed – WE CAN DO HARD THINGS – the mantra that saved my life twenty years ago, became a worldwide rally cry. Because we experienced the hardship of the pandemic collectively, many of us finally acknowledged what was true before COVID and will be true after: That life is freaking HARD. We are all doing hard things every single day – things like loving and losing caring for children and parents; forging and ending friendships; battling addiction, illness, and loneliness; struggling in our jobs, our marriages, and our divorces; setting boundaries; and fighting for equality, purpose, freedom, joy, and peace. On We Can Do Hard Things, my sister Amanda and I will do the only thing I’ve found that has ever made life easier: We will drop the fake and talk honestly about the hard. Each week we will bring our hard to you and we will ask you to bring your hard to us and we will do what we were all meant to do down here: Help each other carry the hard so we can all live a little bit lighter and braver, more free and less alone. 3TEETH Metawar. I suppose, in part, I’m to blame for Metawar being the most disappointing release of 2019 so far. I mean, looking back on it now, there was no way 3TEETH was ever going to meet or exceed the level of expectation I had for this record – it was destined to fail in that regard. But I’m getting ahead of myself; it helps if I explain why Metawar would have been my first pick over any one of this year’s biggest knockout albums, had I been given a choice. The reason for this hype is simple: it’s purely on the grounds that Shutdown.exe showed so much promise back in 2017. Sure, their sophomore album had a couple of caveats that stopped it from being a stone-cold classic, but the potential underneath it all was so blindingly apparent. This is a band that successfully revived the crusty industrial sounds of the 80s and 90s and did so with a clear vision in mind. The band took the sounds of Bile, , Frontline Assembly, , NIN and Marilyn Manson, shoved them all into a meat grinder with riffs that could turn whole planets into dust and presented their sonic invasion with a sincere political undertone. They sat on a bulk of imitative traits at times, but when they got it right it was like nothing else out there. So, with that context in mind, by rights all they had to do was focus on their exceptional ear for EBM grooves and face-melting riffs in order to break away with an idiosyncratic sound – i.e. songs akin to “Slavegod” and “Divine Weapon” than the derivative parodies of “Atrophy” and “Oblivion Coil”. Yet, tragically, what Metawar manages to do is the polar opposite of what it needs to. Let’s get it out of the way now; this isn’t a hyperbolic rant. Metawar is not a bad album by any stretch of the imagination. On the contrary – 3TEETH’s third effort is a serviceably executed industrial metal album, with a number of enjoyable moments to be had in the midst of its well- produced and mechanically sterile dystopian backdrop. Like Shutdown.exe , the band continues to pay its respects to the industrial architects who formed this, now, dusty and antiquated genre. But with all that being said, the vital differences between this album’s failures and Shutdown.exe ’s successes are night and day. The band approaches these two albums with a very similar mindset – both records wear their influences like a badge of honour – but Shutdown.exe handles its inspirations like a set of tools in order to form what is an enjoyably unforgiving, punishing and, at times, uniquely intriguing experience. What we get with Metawar is the same theory but with a tremendously botched execution. The biggest frustration comes from seeing the band taking the minor niggles of the last album and blowing them up to be the focal point here: Alexis’ earth-shaking screams and intentionally stoic performances are now a thing of the past. Metawar curates its dominated style with the same clean Nivek Ogre- Marilyn Manson-Rob Zombie twanged vocal impersonation that corroded previous offerings. Alexis’ flat, reverb-soaked drawl subjugates almost every number here and makes it dreadfully difficult to take the band’s sound as its own thing anymore. Their acrimonious vehement for modern America’s way of life is now largely delivered in laid-back, soporific croons and hearty lashings of melodious licks in a baritone. Their sincerity and message aren’t in question here – it never has been – but the band’s narrow focus on accessibility has taken away the serrated bite found on previous works. There’s no two ways around it, Alexis has dropped the ball here. But the pill wouldn’t be half as difficult to swallow had the music actually taken things up a notch or two. However, even in this department the music resorts to compounding a mixture which turns into a 3TEETH-lite experience. Compositions have the bare minimum of imagination put into them, as they lean towards radio-friendly alt-metal/nu-metal riffs so bland they end up making Metawar sound, essentially, neutered. The once minimalistic and unconventional approach to guitar playing is now converted into generic grooves; electronics take on a less pertinent role, opting to sit in line with a more traditional metal aesthetic; and the biggest crime of all stems from the metronome-styled drum work which sits in the snug pocket of what everything else is doing. The industrial wrecking ball snaps and flourishes of contagious colour – which rightfully elevate Shutdown.Exe ’s strongest tracks – have regressed into autopilot-playing in order to push the pseudo alt-metal style they’ve started to run with here. Fundamentally, Metawar sits closer to the soundscape of a 90s Fear Factory album than one that sits on the edge of its influences with a fresh set of integrative ideas. The industrial innards are still very much the meat and potatoes of this band’s sound, but Metawar removes a lot of the extremities lent from other genres which once gave their promising sound a lasting resonance: the ethereal breathers of past iterations aren’t present, nor the outright bone-crushing heavy tracks. Instead the record sits comfortably in the middle of conventionally safe heavy metal songwriting. It’s a record overtly designed to be succinct and digestible, but the results create a sound with overwhelming indifference. A track like “President X” or “Bornless” does little to persuade you that 3TEETH are pushing their artistic abilities to the limit, rather leaning on the genre’s systematic clichés. This outcome has taken 3TEETH into the realm of being a good ‘gateway band’ than a band that chooses to grab the bull by the horns – to pioneer and innovate for a new generation – and it’s a damn bloody shame to see, because they’re more than capable of such feats. With that said however, I still believe these guys will go on to spearhead an industrial metal revival for the coming years, and I welcome more light being shed on what is a really interesting genre of music. But for the raw, unrelenting potential this band has residing in its underbelly, Metawar feels like a greatly missed opportunity and does little to display that talent here. Suppression and creative anaemia are the order of the day here, regardless of how well they play derivative industrial metal tunes. If you’re new to this type of music it will definitely be a good starting point, as it displays an impressive array of positives this type of music can offer. If, like me, you were looking for that elevated display of artistic evolution, ultimately you will be disappointed with the final product. This is a solid slab of industrial metal without a distinguished bone in its body, and not much else. Here’s hoping for next time. 3Teeth Metawar. The '90s have returned with a vengeance to shine a bleak light on our modern age through the vehicle of L.A. industrial up-and-comers 3Teeth. Ever-evolving since their 2014 self-titled debut, the band's third major release, Metawar , finds them better realized than ever, capturing a particular sound and era more accurately through growth in their abilities as songwriters and musicians. Any track on Metawar attacks with a heavy wave of '90's/'00s industrial affection. Standing apart from its predecessors, Metawar takes a half step into a nu-metal sensibility on tracks like "Blackout" or "Time Slave," augmenting instruments with a heavy synth exoskeleton, and yet not so much that it infuriates. Rather, it surfaces a kind of nostalgia for those who were in the midst of that period of metal. But 3Teeth never stray too far from their industrial roots. The severely catchy "President X" builds off of an intoxicating riff-groove combo that even Rammstein would approve of. One major improvement is that of Alexis Mincolla's vocals, now covering a broader range and offering a shift from the cold, Marilyn Manson- esque monotone that Mincolla had primarily used up to now. Strangely, the real treat may lie at the very end, as the band come out of left field with what might be one of the best covers in recent memory with their rendition of 's "." As should be the standard for covers, 3Teeth disassemble the song and reconstruct it as their own, to maximum effect. Metawar will not only please current fans, but will likely win them scores of new blood, simply due to their noticeable growth. This is the most realized and accessible the band have been to date. (Century Media)