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“This is not my beautiful house! This is not my beautiful wife!” Talking Heads ‘Remain in Light.’ released on 10/8/80, The Talking Heads released their fourth studio album and arguably their strongest and most influential full length – “Remain in Light”. This time the band, along with producer Brian Eno, decided to experiment with African polyrhythms and recorded the instrumental tracks as a series of samples and loops. Additional musicians were frequently used throughout the studio sessions. The album spawned two singles – “Once in a Lifetime” and “Houses in Motion” but its other compositions such as as the 1-3 opening sequence of “Born Under Punches, “Crosseyed and Painless” and “The Great Curve” that really makes for “Remain in Light” as such a must hear album. Watch The Talking Heads perform “The Great Curve” live in Dortmund from 1980.

The seeds of Talking Heads‘ landmark “Remain in Light” album were planted on the band’s previous record, 1979’s “Fear of Music”. But the year away from the studio, plus a change of locale for basic recording, made a world of difference in the end. Talking Heads went into their fourth album with the intention of proving once and for all that they were a band; they emerged as a different entity, continuing on this same path for the rest of their too-brief career.
Following the release of “Fear of Music” in August 1979 – their most successful album yet in a two-year span that was continually yielding bigger sales figures and more fans – Talking Heads were, more and more as time went on, hearing that David Byrne was essentially a gifted but eccentric frontman taking charge of the three other musicians who happened to play on his records. The band, with producer Brian Eno on board, set out to prove that they were four singular minds driving toward one shared purpose.

So, they tightened up. They got funky. They set up shop in Nassau. They surrounded “Remain in Light‘s” eight songs with a worldly blend of global pop, post-punk, American R&B and artsy experimentalism augmented by a handful of session players on horns and percussion. And they played around with loops and samples, still mostly unheard of at the time, which gave the album the otherworldly feeling that the entire project was shipped in from another time and place, nowhere near the end-of-the-century New York City that the group had come to identify with so closely.
But it’s not such a dramatic leap that the dots can’t be connected between “Fear of Music” and “Remain in Light”. In fact, “I Zimbra,” from the former, was a launching point for the latter, with the band members jamming on the song, seeing where it would take them. Along with Byrne’s recent collaborations with Eno, which would be released in 1981 as “My Life in the Bush of Ghosts”, it served as both an expansion to the group’s previous work and an opening to a brave new world.

Inspired by Nigerian Afrobeat legend Fela Kuti, the music on “Remain in Light” took on a more jam-based and fluid approach. Hip-hop, which began creeping into NYC culture at the time, also left its mark, as the eight tracks shifted, twisted and transformed into new shapes at every turn. As influential as it was revolutionary, the LP charted new musical territory for anyone interested in the sound of a dozen genres colliding and then coming together.
From the opening “Born Under Punches (The Heat Goes On),” featuring a particularly elastic bass line by Tina Weymouth, and the frenetic “Crosseyed and Painless” to “Once in a Lifetime,” which received tons of MTV airplay at the time, and the New-Wave-meets-world-music “Houses in Motion,” “Remain in Light” unfolds as a singular piece of pop music on an entirely different plain. No other record released in 1980 sounded like it; all these years later, artists are still trying to catch up.
Lyrically, the album drifted into original territory too, with Byrne combing a mix of his existential, stream-of-conscious and art-school playbooks to come up with a work that defied expectation and circumvented explanation. As he sings on “Once in a Lifetime,” “You may ask yourself, How did I get here?” There’s no easy answer, but the album changed Talking Heads forever.
The album set up the group for its breakthrough with its next LP, 1983’s “Speaking in Tongues”, which included Talking Heads’ only Top 10 hit “Burning Down the House.” That then spawned a popular tour that was later documented in the movie and album “Stop Making Sense”. The musical ideas laid out on “Remain in Light” provided the foundation for Talking Heads’ crisscrossing into other genres (including Americana and straightforward rock ‘n’ roll) before leadership issues which were never smoothed over — led to their breakup in 1991.

On their first three albums, Talking Heads made anxious, self-aware art-punk with enough pop appeal to offset the oddness. Led by yelping frontman David Byrne, whose exaggerated normal-guy persona signalled a profound discomfort with the modern world, the onetime CBGB regulars were weirdoes working within the confines of classic rock. Their music wasn’t for everyone, but by 1979, they’d notched a couple of minor hits and edged toward the mainstream.

With their landmark fourth album, “Remain In Light” Talking Heads changed everything and nothing all at once. Produced by Brian Eno, who’d helmed the group’s previous two LPs, it was something truly rare: a radical departure that nevertheless felt like a continuation of and improvement on everything that had come before.

“Remain In Light” was born at Compass Point Studios in the Bahamas, where Byrne and his bandmates — keyboardist Jerry Harrison and the husband-and-wife drum-and-bass team of Chris Frantz and Tina Weymouth — arrived song-less and ready to jam. This communal approach was a curious, given that Byrne had typically brought in nearly finished compositions and that he’d recently hinted he might be done with the group.

His most recent project had been the Eno collaboration “My Life In the Bush of Ghosts”, an experimental album heavily influenced by African sounds. That music found its way into the improvisational new Talking Heads tracks, though the extent to which the group was consciously trying to make an African-inspired record remains a point of debate. Byrne went so far as to include a bibliography of books on African art and culture with press releases for the album; Frantz and Weymouth have since downplayed the overt influence of African music.

Remain In Light” doesn’t sound much like the three Talking Heads records that came before and it doesn’t sound anything like other post-punk or New Wave albums released circa 1980. It’s heavy on single-chord polyrhythmic jams, light on traditional pop structures or hooks. Eno constructed the tracks by looping rhythmic sections and layering instrumentation — a method that initially left Byrne unsure of how or what to sing.

Inspired by Southern preachers, the Watergate tapes and some of those heady African texts he’d studied with Eno, Byrne wrote and recorded most of his lyrics after the group had returned from the Bahamas. His words have a freeform, impressionistic, cut-and-paste quality, but even so, “Remain In Light” is a record with very recognizable — and very Talking Heads — themes of alienation and the search for identity. Byrne’s every bit as perplexed, frightened and amused by the world as he was on the 1979 apocalyptic funk workout “Life During Wartime.” He’s taking his anxieties on holiday — not giving them the day off.

Byrne’s vocals weren’t the only overdubs. There were horns, extra percussion bits, female background vocals and stunning synth-treated solos from avant-garde guitar hero Adrian Belew, who’d played with the likes of Frank Zappa and King Crimson. When the band hit the road to promote the album, Belew joined the expanded line-up needed to recreate the crazy clatter in a concert setting.

Adrian Belew remembers on how not to join a Famous Band. – in 1980 I received a call asking me to come to New York City to rehearse for four days in order to learn the Talking Heads record “Remain In Light” only months before I had recorded the record all in one day with the Heads and Brian Eno. Talking Heads had the idea to expand their normal quartet to a thumping funky 10-piece band with two bass players, two keyboard players, two guitar players, two female back-up singers, one drummer and one percussionist. and we were going to learn the very layered studio monster “Remain In Light” in four days and then play two shows! somehow we did it, we learned the record and several songs from other records. But just barely. and just in time to board a plane for our first show in Toronto. Only then did we see the whole enchilada, our first show was a festival of 70,000 people! they flew us to the vast backstage area in helicopters. looking down at the sea of tiny flesh baffles, I was nervous enough to jump out in mid-air. it seemed like all the hip bands of the moment were present. the B-52’s, the Pretenders, Elvis Costello, the Clash. it was called the heatwave festival, billed as the first “new wave” festival, and was actually in a place called Mosport park.
Dave Edmunds and Nick Lowe played. the Pretenders played. the B 52’s played. minutes before we were set to play I opened the door to our backstage trailer to discover most of the band snorting lines of coke from the backs of guitars. they quickly shooed me away, knowing I didn’t partake.
The timing of our performance was fortuitous; just as the sun was setting. I joined the original four Heads to play “Psycho Killer”, then the full band was brought onstage. we launched right into the new material. no one in the audience even knew the “Remain In Light” record as yet but it didn’t matter, the band was smoking! halfway through our set we played a song from “Fear of Music” called “I Zimbra” on the recorded version David had played a fast running guitar line. as soon as we started that song I could tell the coke had kicked in. we played it twice as fast as it was on the record! my fingers had a hard time keeping up and I was worried our 45-minute set might be over in 20. but it all worked out. the band was an instant success.
For our second show we played in Central Park but only 125,000 people showed up! at the time you couldn’t go into a bookstore, bar, record shop, or restaurant without hearing Talking Heads music in the background. It was an exciting time to be in the band. David, Chris, Tina, and Jerry decided to keep the 10-piece funk machine rolling for a whole world tour including Japan and then Europe. it was a wacky cast of characters to live with and we had loads of fun.

The lead single, “Once In a Lifetime,” missed the Hot 100 chart memorable video that became an MTV staple the following year.

The track-by-track take of this, the most strangely brilliant album from a band that did strange and brilliant better than anyone.

“Born Under Punches (The Heat Goes On)”: Within seconds, the Heads establish the wonky world they’ll explore for much of the next 40 minutes. It’s vibrant and alive yet weirdly claustrophobic: a paradise for paranoids. Amid skittering beats, belching bass and guitars that caw like tropical birds and scamper like ants on discarded mangos, Byrne plays a spiritually suffocating “government man” who just wants to breathe easy. Good luck with that one.

“Crosseyed and Painless”: More alienation set to alien grooves, this time with rougher rock guitars and a broader sense of unease. “Lost my shape,” Byrne sings at the outset, before deciding that shapes — and really facts of any kind — are inherently meaningless. As Byrne unravels, Frantz and Weymouth unspool insistently frazzled funk, making madness seem rather fun.

“The Great Curve”: Probably the most African-inspired track, both in terms of music and lyrics, this pulsing six-minute polyrhythmic free-for-all shifts the focus from freaked-out Byrne to some divine female figure (maybe a stand-in for all women) who’s “gonna open our eyes up.” It’s breathless and hopeful, complete with Belew guitar solos that shriek like people dying to come out of the dark.

“Once In a Lifetime”: Props to Eno and Harrison: The keyboards really do evoke floating as Byrne thinks about all that water bubbling down below our cars and houses and meaningless little lives. Some hear the song as a rant against ‘80s materialism, but Byrne has said it’s more about switching off autopilot and taking stock of how we get to where we end up. It’s man beating a drum and looking for answers he won’t find — same as it ever was.

“Houses In Motion”: If “Once In a Lifetime” is ambivalent about whether life is worth living, this chilly, plodding track paints a darker picture. The creepy-crawly rhythm that lit such a fire on “Born Under Punches” has slowed way down and Byrne is back to being a put-upon modern man forced to trudge sockless through a world where even that saviour lady from “The Great Curve” has “closed her eyes.” Those distorted horns laid down by frequent Eno collaborator Jon Hassell suggest not the grand trumpets of the apocalypse, but rather the sounds of elephants poised to stamp you dead without even realizing it.

“Seen and Not Seen”: Another slow jam, this sparse, wobbly, spoken-word gem finds Byrne ditching all the preacher-man affects and talking like a regular guy. Over a stomp-clap rhythm reminiscent of early hip-hop, Byrne calmly tells the story of a guy who wants to change his face — either to match his true personality or to better represent the personality he’s always wished he had. The guy’s not sure and Byrne’s not judging. We’ve all been there.

“Listening Wind”: Startlingly minimalist, this tale of a Third World terrorist prepping a mail bomb for one of the Americans who’ve muscled into his country marks a sharp turn from personal politics to global politics. The synths evoke both natural sounds and the digital blipping of Mojique’s device and Byrne again takes a non-judgmental, sympathetic tone. As a prescient commentary on the consequences of American foreign policy, “Listening Wind” suggests Talking Heads weren’t embarking naively on their quasi-African adventure.

“The Overload”: Talking Heads go goth with this bleak six-minute unhappy ending. The trudge of “Houses In Motion” is now a muddy, hopeless slog. Harrison’s keyboards sputter like machine guns or jeep motors and there’s a sense the band is performing in some burned-out future earth, using the last dregs of electricity to power its instruments.

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The Wave Pictures, industrious and prolific as ever, return on Thursday 18th November with ‘This Heart Of Mine’. Following two albums in 2018, ‘Brushes With Happiness’ and ‘Look Inside Your Heart’, this is the first track to be made available from their new double album ‘When The Purple Emperor Spreads His Wings’, due for 2022 release.

Formed over twenty years ago by Franic Rozycki and David Tattersall in Wymeswold, Leicestershire, and joined by Jonny ‘Hudderfield’ Helm since 2005, The Wave Pictures have released over twenty albums of their own, along with exciting side projects such as garage rock supergroup The Surfing Magazines, several albums with Stanley Brinks, and Dave’s recent guitar contributions to Billy Childish albums, with whom they also collaborated on their 2014 album ‘Great Big Flamingo Burning Moon’. Across these varied releases, accommodating Dave’s free flowing fountain of song writing, The Wave Pictures have shown their deep affection for rock and roll, blues, jazz, classic rock, and of course Dave’s legendary love of good guitar solo.

Released May 20th, 2022

CVC – ” Real to Reel ” EP

Posted: May 22, 2022 in MUSIC

Formed in 2019 as a ‘jam band’, Welsh six-piece Church Village Collective (or CVC for short) took their title from their hometown of the same name, a large village 10 miles out of Cardiff. At the time of writing they have just two singles released, but have already wooed early gig goers with their cheeky furour and big band energy, their set at 2022’s The Great Escape was by all accounts, a packed affair.

CVC ‘specialise in fat riffs, lush three part harmonies, and tight beats, all tied together with outfits you could expect to see at the launch party for Sgt. Peppers Lonely Hearts Club Band.’ On debut EP “Real to Reel“, unity bleeds through songs that are awash with authenticity, fronted by a slick ‘band of brothers’ on a devout mission to have a good time and take us all along for the ride. Not just a love letter to rock music’s yesteryear, evident here is a clear collective passion for and devotion to making music with your best friends.

Though their village origins are humble, the band have set their sights well beyond the city limits: “We want to be on massive stages with massive crowds, big gigs, big albums, top of the stack, like. You definitely want to get to the top of Everest before you start coming back down” says guitarist David Bassey. With their united confidence and infectious fervour (and a full album in the works), Church Village Collective seem destined to preach their funk-fuelled psych-rock sermons to ever-growing congregations. Ready your parish.

We’re excited to announce CVC as part of the Rough Trade On The Rise, our dedicated curation putting a spotlight on the emerging music we are the most excited for you to hear, to follow and become a fan of. Read on to discover more about the band in their own words and make sure you check out forthcoming EP “Real to Reel”, released 16th September 2022.

For fans of: The Beatles, Beach Boys, Everly Brothers, Whitney, Crosby, Stills, Nash and Young.

In the spring of 2020, Ben Cook — a.k.a. Young Governor, Young Guv, or just Guv — was holed up in the New Mexico high desert, his U.S. tour having been abruptly covid-cancelled during a southwest swing. He and his bandmates were living moment to moment in something called an Earthship, a solar-rigged adobe structure sustainably constructed with, among other things, recycled bottles and tires. And out there in the serene vastness, as a short ride-it-out stint turned into a nine-month sojourn, Ben was writing music, slowly, little by little, mostly at night while the others slept. By the New Year, almost in spite of himself, he had created a new album, two new albums actually, and through the ordeal he was forever changed.

In a place he never expected to be, under circumstances no one could have predicted, and in the face of physical isolation, emotional desolation, and existential dread, Ben created “GUV III & IV”, a collection of songs dedicated and testifying to the eternal healing power of love — how to find it in the the world, in others, and most importantly, in himself. Written in the New Mexico wilderness and produced in Los Angeles, the double album will be released on Run For Cover and Hand Drawn Dracula later next year.

In New Mexico, daily life was ad hoc, communal, idyllic, almost Utopian. Ben and his five mates shared everything, all their money, shelter, and meals (Ben did the cooking). “It was beautiful,” he says. “We were at the foot of the Taos Mountain, part of the Sangre de Cristo range, one of the seven sacred mountain ranges in the world. I swam in the Rio Grande every day. The memory is surreal.”

Work was different — much more daunting. Though the marooned sextet had built themselves a makeshift studio for their little clay casa, inspiration was slow and sporadic. “I was isolated, the world was in complete chaos,” Ben says. “I lost control of the routine that I thrive in. I worked on songs more randomly, only when I felt like it. I was hard on myself for not writing enough. Truthfully, I don’t even remember doing most of it. I was removed from the process, in a way, somehow alienated from my own creativity.”

Isolation amid chaos, a thrumming feeling of alienation from oneself and others — this wasn’t exactly new territory. Two years ago, when Ben released his last record, the double-album set called “GUV I & II!, he likened the songs to “people-watching in a foreign country in the morning.” He was talking about the loneliness of living in the modern world, a condition that, for most people, was intensifying even before 2020.
And it went back further than the previous album cycle. Ben’s been at this a long time, making music and doing the thing that artists do: noticing what goes in the world, in all its discontents, while everyone else plays dumb. He formed his first serious band, No Warning, in 1998, and over the course of their initial eight-year run they became legends, the Toronto teenagers who perfected New York hardcore, channelling all the anger, resentment, and confusion of that awful War on Terror period, which everyone wanted to forget even as it was happening. Then he spent fifteen years as a guitarist in Fucked Up, who among their contemporaries were unequalled in their intellectual ambition, their capacity to sublimate all that anger and alienation into something profound, erudite, and redemptively strange.

“Guv” has been Ben’s personal song writing outlet since 2008. Under that name and its derivatives he’s issued a pile of singles and EPs and several full-lengths. Before 2020, Ben says, the songs tended to come, if not easily, then at least efficiently, regularly, reliably, owing to a work ethic he describes as “a bit maniacal.”

But out in the desert, where nothing was familiar (“The energy there was unlike anything I’d experienced”), it was if he was living outside himself. The old processes he had relied on, the patterns that had prevailed in his former life, no longer seemed to apply. And so they had to change. Given narrowing outer horizons — the shrinking of social life to just five fellow campesinos, the looming prospects of a ruined career and a collapsing society.

Ben was forced to broaden his inner horizons, to spend long days and nights under the giant sky figuring out what actually matters and what’s really been inside people’s heads, his and everyone else’s, during these past years of decadence and decline.

Accordingly, the new songs are marked by a sense of intense yearning to connect — with other people, other beings, other energies — and to achieve by those means a measure of inner peace. The very first verse of very first track, “Couldn’t Leave U if I Tried,” whose opening guitar lines are pure-cut Roger McGuinn-esque arpeggiated bliss a la Guv, sets the tone and establishes the stakes:

I treasure the feeling
Forever like a sunbeam on my bed
Your light so sweetly beamin’
Made rainbows on the pillow by my head

Again and agin, in song after song — which range widely in style and mood, from Laurel Canyon jangle to British Invasion blues-pop to AM-radio Americana to the mildly sleazy electro pop that is something of a signature — we hear variations on the theme of those opening lines: If, as seems likely, we’re moving from a “love is all you need” world to a “love is all you can have” world, then what’s to be done except “watch the fireflies like bubbles in champagne,” as Ben sings in “April of My Life.”
Ben calls the new album “a document of my two years away from the world. My healing.”

“Through real work in therapy over a long period, as well as spending many months isolated and alone, I have started to finally access my true self little by little, and it’s reflected in this music.”
Maybe that process would have happened anyway, without the world cataclysm, without the detour to the sacred mountains. But it happened in its peculiar way, and in a holy place, and so we have this poignant and beautiful two-album set, which couldn’t have been made in any other timeline or under any other conditions.
It’s an open question where exactly the timeline that begins with “GUV III & IV” leads. After tracking the albums in L.A. in early 2021, Ben decamped to Mexico — old Mexico — where the healing process has taken yet another surprising turn.

“I’m taking a complete break from music,” Ben says. “I haven’t picked up a guitar since the record wrapped. I’m learning Spanish and boxing.” 

Young Guv, from his release ‘GUV III’ out March 11th, 2022 via Run For Cover Records and via Hand Drawn Dracula (Canada)

With their forthcoming debut album, Salt Lake City quartet The Mellons have crafted a unique bent on dreamy baroque pop, one tinged with offbeat instrumental palettes, gently lulling nostalgia, and taut pop hooks. These come together in a colourful symphonic reverie on their upcoming debut, fittingly titled “Introducing…The Mellons”.

The full record is out on September 16th via Earth Libraries, but the band have been teasing the album since last year with their singles “Salad Made of Butterflies” and “So Much To Say.” Now they’re back with their third single and their first of this year, “What A Time To Be Alive” along with an accompanying video .

“What A Time To Be Alive” leans completely into the band’s love for ‘60s psych pop, recalling the symphonic beauty of records like “Pet Sounds” married with an irresistible pop sensibility. The track’s bouncing bassline, sharp rhythm, warm harmonies, and earworm hook will all have it revolving in your head for weeks to come.

Meanwhile, the accompanying video, directed by the band’s own Andrew Beck, plays like a combination of Sesame Street and The Beatles, with the band performing in a fantasy full of bubbles, psychedelic colours, and puppets.

Speaking about the song, Andrew Beck says, “It all started with that bass line. Also, I was drawn to the phrase “what a time to be alive” because it is a bipolar statement. Depending on how you say it, it could either be a sincere statement on how exciting life currently is, or a sardonic statement about how terrible things are. I was working on this song during the beginning of the pandemic and it was, as dickens put it “ it was the best of times, it was the worst of times.” A global plague, the Trump administration, race riots, but also at the same time, new love, musical breakthroughs, and spiritual awakenings perhaps like nothing I had ever felt. Perhaps some of my lowest lows and highest highs. Life is absurd, and perhaps sometimes we need to remember that just because something is painful doesn’t mean it can’t be joyful.”

“The song is a true Mellons group effort. I wrote the bones of it and the hook, Rob wrote the verse melody and lyrics, Ian added that tasty, tasty beat, and Denney and I produced the rest of it ourselves. It has more musical layers than we are comfortable talking about: There’s piano, violin, guitar, euphonium, trumpet, and even a typewriter in the mix.”

“The mood is ‘floating down the lazy river towards the gates of the apocalypse.’ The song has a blend of whimsical naivete and sardonic commentary in that the lyrics can be taken two ways. (I am a gemini after all.) There’s also a hidden Sleeping Beauty reference in the song.

Introducing…The Mellons” is out September 16th via Earth Libraries.

Last April, girl in red’s Maria Ulven released her debut album “if i could make it go quiet”. Now she is celebrating the album’s first trip around the sun, Ulven has shared a video for the upbeat-yet-devastating track “hornylovesickmess” that was directed by Euphoria actress Hunter Schafer.

“‘hornylovesickmess’ is one of my favourites off the album,” Ulven said. “Being able to make a video with Hunter for the album’s anniversary was so cool. We had so many ideas after the first time we hung out and it was cool to be with another creative in that way. It was also fun to be on set with her and get her vibe as a director.”

The visual captures the mental toll of being away from a loved one as Ulven tours the world and attends to her artistic responsibilities. First she’s riding on top of a giant vehicle, the wind whipping around her face. Then, in a flash, she’s riding in a bunkbed on a tour bus. Next, she’s in the back of a black SUV and seeing visions of her lover. Ulven panics and jumps out of the van into the dark city streets. She’s then wafted off the ground by sewer steam as she punishes herself for not making her relationship a priority. It’s a surreal, gripping visual that serves as a reminder to revisit her honest debut.

The debut album “if i could make it go quiet” is out now:

SYLVAN ESSO – ” Sunburn “

Posted: May 22, 2022 in MUSIC

Sylvan Esso has kept busy with their own new label Psychic Hotline, creating a home for releases by the likes of Uwade, Flock of Dimes, and Bon Iver. Today, they’ve returned with new music of their own and their first new recording since 2020’s “Free Love”. The new single “Sunburn,” which was written this past January in Los Angeles, is a frenetic burst of new wave techno with thorny lyrics.

Amelia Meath and Nick Sanborn reveal that “Sunburn” is about “eating candy til you’re sick. Riding your bike too fast down a hill. When you’re five years old and don’t want to get out of the water, and by the end you’re shivering and all your fingers are pruny and your lips are turned purple. An undertow that sneaks up unsuspectingly. The painful pulsing pink of swollen eyelids leftover after a day lying in the sun. Plunging forward without time for second-guessing.”

There are a handful of songs that beget a seemingly endless number of covers, from traditional folk songs like “In the Pines” to modern masterpieces like “If It Makes You Happy”—but there are few songwriters whose entire discography has essentially inspired artists of all genres to consistently put their own spin on its robust offerings. Brian Wilson is one of those rare artists (who even covered those songs himself recently), with M. Ward and Zooey Deschanel being the latest in a long, long line of artists reworking the Beach Boy’s tunes to fit their indie-pop mold under their longstanding duet moniker She & Him.

The pair’s forthcoming album “Melt Away: A Tribute to Brian Wilson” is set to arrive on July 22nd, with the first single dropping today in the form of their spirited take on The Beach Boys’ 1967 single “Darlin’.” Arriving with a colourful visual that anachronistically sets the song in the world of 1980s QVC infomercials, the track pays homage to the original’s vocal harmonies while maintaining the ’00s indie-boom sound She & Him have brought into the present. “Zooey and Matt did such mind-blowing versions of our songs,” Wilson commented on the album, per the press release. “The harmonies are beautiful and right on. I love this record!”

“Melt Away”, will see M. Ward and Zooey Deschanel regrouping for the first time in six years. ‘Melt Away: A Tribute to Brian Wilson’, out July 22nd, 2022.

The Up and coming indie rockers from Brighton, led by the alluring singer-songwriter Dana Margolin. Last year they delivered one of the best albums of 2020 with “Every Bad”. Dana Margolin: “I looked through their back catalogue and chose 2 songs to cover that had a big impact on me as a teenager.”

Beginning as Margolin’s sadcore bedroom project, Porridge Radio developed into an idiosyncratic post-punk 4-piece after she moved to Brighton and met her future bandmates. They inelegantly knot together Margolin’s vicious, furious emotional outpourings with beautiful pop melodies. After a series of demos, and the growing legend of their intense live shows, their lofty debut “Rice, Pasta and Other Fillers” came out via Memorials of Distinction in 2016, documenting struggles with life, love and boredom, and showcases the scrapbook absurdism at Porridge Radio’s core.

The band released the second of our two covers for the Sub Pop Singles Club. It’s Wolf Parade’s “You Are A Runner And I Am My Father’s Son“. I remember discovering Wolf Parade’s album “Apologies to the Queen Mary” as a teenager and it blowing my mind. The track “You Are A Runner And I Am My Father’s Son” was always a favourite song from it and I really loved making our own version of it. Feels good to be able to do this! Thank you Sub Pop Records Thanks Sam for playing on it and producing it with me, and Felix Davis for mastering it.

Porridge Radio’s Dana Margolin had this to say about their contribution to the Singles Club Vol. 6: “Sub Pop are a label I’ve loved for a long time, and when they asked if we wanted to release some songs with them this summer, I looked through their back catalogue and chose two songs to cover that had a big impact on me as a teenager.”

The band’s 2020 Secretly Canadian debut, “Every Bad“, is a culmination of what has been in their head for some time. “Every Bad” arrived full of grand, sweeping ambition – with vocals so urgent that it often feels like it is moved by compulsion rather than choice, with all the rawness of early Karen O, and influences as disparate as Charli XCX and The Cranberries. After receiving wide critical acclaim across the board, “Every Bad” was shortlisted as one of the Hyundai Mercury Prize’s albums of 2020.

JORDANA – ” Face the Wall “

Posted: May 22, 2022 in MUSIC

21-year-old guitar-pop auteur Jordana Nye, aka Jordana, spends her self-co-produced second album (and studio debut) “Face the Wall” pushing herself to be a better person—”Trying to be what I’m longing to be,” as she sings on “To the Ground.” This requires her to reckon with everything from songwriter’s block (“Like You Used To”) and pot smoke-clouded anxiety attacks (“Pressure Point”) to romantic dysfunction (“Play Fair,” “Catch My Drift”) and her struggles with letting others’ perceptions define her (“I Mean That,” “Get Up”).

Nye is resolute in unpacking these internal conflicts (“Scary truth to acknowledge / But I’ll do it anyway,” she croons on closer “Why”), and she does so over pristine, nimble pop that mines early-2000s nostalgia for meaning (as opposed to a calculated trend-grab): “Face the Wall” is as much about Nye yearning for simpler times as it is her acknowledging her trying present and uncertain future, which is just another facet of her honesty. The record may be a lyrical document of what’s weighing Nye down, but its instrumentation—all of which Nye performed herself—is there to uplift her, as well as the listener, at every turn. 

Jordana’s mission is simple: keep trying to be her, even when it’s hard. So it’s no surprise perseverance and self-discovery are central themes on the upcoming record “Face The Wall”, out May 20th on Grand Jury.