Give One Take One

by '68

supported by

Marshall G McNiff "I got a back pocket full of riffs"
I stuck around to see them all and i need more! Love this album! Favorite track: Bad Bite.

Angstiety I am SOOOO happy for them to be able to play this live this summer!!

And on tour with Korn?!?!?

So happy that Josh will finally blow up and get the global recognition he has deserved for the last 20 years!!

WOOOO!! Favorite track: Lovers In Death.

Christie Joesbury I really enjoy it. Some of it is similar to 2 Parts Viper but some of it is very different. Favorite track: What You Feed.

EmptyMaybe Precision rhythms, a sprinkling of hand-claps, some killer one-liners, and an intelligent heaviness - all wrapped up in a Tin Machine aesthetic. What's not to love? Favorite track: Bad Bite.

Darknight This is one hell of an album. Josh Scogin is the rock 'n' roll messiah we've all been praying for. I waited in anticipation and Give One Take One could be the AOTY, it's that good it clearly blows everything else out of the water. It has everything, hardcore, grunge, rock n roll, punk and glorious swagger of intent. A must buy for all of mankind! Favorite track: What You Feed.

tacofox I saw them the 15th Nov opening for Every time I Die, they kicked my ass with their performance. Favorite track: The Knife, The Knife, The Knife.

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Compact Disc (CD) + Digital Album
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1.	The Knife, The Knife, The Knife 04:05	info
2.	Bad Bite 03:10	info
3.	Nickels and Diamonds 03:30	info
4.	What You Feed 04:06	info
5.	What You Starve 03:11	info
6.	The Silence, The Silence, The Silence 01:39	info
7.	Life and Debt 05:43	info
8.	Lovers In Death 03:49	info
9.	Nervous Passenger 04:17	info
10.	The Storm, The Storm, The Storm 06:45	info

about

How much noise can two people make? ‘68 is the sound of simultaneous implosion and ex- plosion, of destruction and creation unbound. These are songs that could almost fall apart at any moment, yet never do, devilishly dancing between life and death. It’s a primitive impulse delivered with postmodern purpose; a blacksmith’s resolve with an arsenal of electric distor- tion and raw nerve.

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. There’s not a “plan” with ’68 so much as a ride, with the duo hanging on for dear life in the eye of the storm every bit as much as the audience. The obstacle is the goal. The journey is the destination. Inventive, disruptive, frantic; even when dipping into a bit of Otis Redding or James Brown style funk, ’68 sound urgent.

The ’68 roadshow has taken them from Moscow to Tel Aviv, across Europe and Australia and all-over North America, often splitting up 20-hour drives between the two guys. The passion, the hunger, the good humor, it all connects with diverse crowds. 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.

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.

credits

released March 26, 2021

2021, (C) 2021 Chariot Music, Inc. DBA ’68 under exclusive licence to Cooking Vinyl Limited

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about

'68 Atlanta, Georgia

Georgia, USA

Josh Scogin
Nikko Yamada

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