The Morlocks aren’t some smoothed-out, swagged-out fuck-ups toting stage passes and guitars; The Morlocks are a living, sleeping and breathing embodiment of the garage punk they’ve perfected and long performed. The music they create is the lifeblood of their cause, a cause which is as much a point of pride as a way of life. The scars, breaks and bruises earned along the way serve to magnify the only truth they know.

You see, The Morlocks are not afraid for you to watch them bleed.

Both as a band and as individuals, The Morlocks have earned their stripes on the rock and roll circuit. Hailing from Los Angeles, The Morlocks are staples of the city’s world-renowned music scene. Through break-ups, break downs, personnel changes, changing cities and shifts in popular culture, The Morlocks have continually grown stronger at what they do best even as they died their many deaths. In the process, The Morlocks have built up a die-hard following and originality. Where others would have bled out long ago, The Morlocks get stitched up and keep going.

During their career, there’s often a calling among dedicated, serious rock performers to offer tribute to the music that inspires them. Growing up fans of Chicago blues-rock legends like Howlin’ Wolf and Bo Diddley, The Morlocks’ shared love of all things related to Chess Records created a natural inspiration to pay homage to some of their musical heroes. The resulting album, The Morlocks Play Chess is a gritty, unwavering collection featuring 12 of the most enduring Chess Records anthems. Dripping with sweaty, booze-and-nicotine-soaked three chord garage blues, The Morlocks Play Chess isn’t some teeny bopper karaoke bullshit. The album’s sloppy fascinations and recognizable, sing along choruses are teeming with and honest, unbridled agony and ass-shaking ecstasy that is the essence of true rock and roll.

Dead Snares is Jeffrey Cain, a surrealist composer, reclusive audio archivist, and a reluctant rock guitar player. Born in America in 1972, Cain now lives, writes and records in Birmingham, Alabama in a house filled with ancient machines and a piano. He has released his dark fractured music since the age of 15, and is best known for the recordings of his childhood band Remy Zero and his work with Steve Kilbey of The Church under the name Isidore. Acoustic Guitars, Walls of feedback, tambourines, and drum machines sleep side by side throughout his music. Shifting from 3 minute pop songs to 15 minute ambient trips , all things are possible. Outside the realm of rock music he has collaborated in the electronic world with artist such as Tricky, Afrobots, O+S, and The Engine Room (penning the theme to Nip/Tuck and being remixed by Gabriel and Dresden).

But where does the name Dead Snares come from? The term 'dead snares' is a musical term used in recording of a particular sound of a snare drum. The sound that is elicited is a kind of thud, not a bright sounding snare but one which is trapped. "I like the idea of the snare being a negated trap," Cain says, "a trap that didn't work."

The sense of being trapped, as it were, binds Speak The Language together in haunting, sonically-empassioned pleas. Dead Snares examines, with an insighful depth, the lengths to which we will go to find connectivity to the world around us. The unifying thread of this collection is ultimately a reflection on the desire for communication with the people to whom we are bonded, taking an empathetic look at the people in our lives and how we speak to one another. If this Dead Snares album has a manifesto, it is to purposefully take a bird's eye view of the city, channeling the unsorted energy of the millions running around in darkness.