Archive for the ‘ALBUMS’ Category

“All We Want Anymore” has everything you’d want in a classic pop song—the dizzy, the dreamy and the grand. Stone brings bright vocal harmonies and everything but the kitchen sink—lush string arrangements, waves of rippled guitars, both happy-go-lucky and melancholy keyboards, distinctly vintage drums and horns that shout “hurrah” during the grand finale. It’s a must-hear for fans of the California pop songs of yesteryear and crushingly beautiful songs that play when the end credits roll.

Stone Irr is the product of a special kind of Midwestern religious folk. Just start with the name: what seems like anobvious pun was, in fact, an honest mistake, and as soon as Stone’s parents found out, they offered to take him to the Lafayette, Indiana courthouse and change it. He was already in middle school. True story. 

Stone’s growth as an artist, songwriter, and arranger since his 2017 debut album ‘Sinner’ is obvious on the standout track “All We Want Anymore.” The song features a bright, Beatles-like melodic structure and a cascading finale of strings and horns that pushes Stone’s voice deep into the mix.

That voice, often multi-tracked with layers of harmonies, is Stone Irr’s defining quality. It floats through the record, at times whispered and ethereal and at others gritty and broken. Album art by William Schaff (Okkervil River, Songs: Ohia).

releases September 20, 2019,
All songs written and performed by Stone Irr


Cigarettes After Sex’s new song was “inspired by the overwhelming beauty I felt watching an endless sunset on a secluded beach in Latvia one summer night,” says frontman and guitarist Gonzalez, whose whispered vocals snake their way through syrupy synths, gleaming guitars, throbbing bass and gently tapped percussion. “This is where I want to be,” Gonzalez sings, “where it’s so sweet and heavenly.”

I’ve always avoided studios,” says Cigarettes After Sex frontman Greg Gonzalez. “There’s something special about recording out in the world, some kind of X-factor that comes from the character and atmosphere of wherever it is that you’re working that becomes essential to the feeling of the music.”

That marriage of sound and setting is the heart and soul of Cry, Cigarettes After Sex’s riveting sophomore album. Recorded in a stunning house on the Spanish island of Mallorca, the collection reflects the uneasy beauty, erotic longing, and stark minimalism of the space, all smooth lines and soft light. Energized by the fresh palette and setting, Gonzalez would write songs just minutes before recording them with the band—drummer Jacob Tomsky, bassist Randy Miller, and keyboardist Phillip Tubbs. He engineered and produced the sessions himself, with an emphasis on capturing live performances and exploring the material together in dialogue with the house and with each other.

Clocking in at nine songs, Cry is a compact collection, but its brevity belies its depth. While the band’s sound may be most associated with the romantic pop music of the late 50’s and early 60’s, Gonzalez pushes into more unexpected sonic territory on Cry, reaching back to his childhood in El Paso, Texas, to draw subtle melodic influence from 90’s Tejano stars like Selena and mainstream pop country artists like Shania Twain. Gonzalez pushes himself lyrically on the album, too, tackling sex with the graphic frankness of Henry Miller or Leonard Cohen as he renders unabashed, sometimes explicitly erotic scenes with a casual candor. Writing with a filmmaker’s eye, he captures tiny moments with a rich, cinematic detail that manages to locate the profound within the mundane.

taken from the forthcoming album ‘Cry’

Available on DELUXE vinyl LP (180g black vinyl with gatefold jacket printed on metallic foil; comes with 24”X 24” fold-out poster + lyric booklet), Album out on October 25th, 2019.

Released just a few days ahead of her exceptional new album, the title-track “Energetic Mind” LP is presented for this session as something tender and fragile, the Australian-based, Irish-born singer utterly captivating as the camera gently winds around her for the songs four-minutes.

Bonniesongs debut album is released on Friday September 6th, via Small Ponds’ own label . Check out the new session below right now; here’s what Bonnie Stewart had to say about the track itself:

Energetic Mind is about dealing with anxiety. Sometimes we tend to stay at home and get worse when stressed or having a bad day, but if you can get yourself out and moving it usually helps. So for me I need walks, cycles, swims and especially the ocean to restore balance. I was experimenting with tuning and really liked the sound of this riff. I often like to loop and work around one simple guitar idea, and especially liked how this repeated riff reflected that back and forth feeling between calm and anxiety.”

Bonniesongs performs a stripped backed version of the song ‘Energetic Mind’ for Small Pond’s ‘Down Time’ series. her debut album ‘Energetic Mind’ is released friday 6th September.

Whenever the end of summer rolls around, no matter how hot it is outside, I develop a fierce hankering for folk rock: the pastoral acoustics and spacious arrangements, the heavenly-sung melodies, and most of all, its omnipresent comfiness. How to Live, the debut album from rising British band Modern Nature—which includes Jack Cooper of Ultimate Painting (RIP), Will Young of Beak>, Aaron Neveu of Woods, and Jeff Tobias of Sunwatchers, among others—not only encapsulates everything I love about the subgenre, but re-invigorates it, with occasional nods to hard rock (“Nature”), experimental electronica (“Peradam”), and even kraut (“Footsteps”).

Saxophone and cello co-mingle with motoriks, field recordings, and stoner fuzz, as limber grooves flutter about the mix, aloft like the pigeons on the cover art. It might be hot as hell outside, but hey — it’s never too early for some sweater-weather listening.


Irish art punks Silverbacks have shared an excellent new track –“Just In The Band” – it is out on PK Miami.

Produced by Daniel Fox from fellow Dubliners Girl Band (when will we get something new from them?) the single has the same nagging unease as previous (outstanding) single Dunkirk with taut drums and unrelenting bass underpinning seasick guitar arps and Daniel O’Kelly’s blunt commentary on the ‘problems down the back’.

There is something of Parquet Courts about them – that all too rare ability to match a frazzled grove with a pop sensibility and a “so what” attitude, and then expertly combine it all into something that is just as much sharp social commentary as it is mosh-pit dynamite.


‘Is that blood?’

These Irish art punks Silverbacks delve into themes of false idolatry and deeper connection in their latest track ‘Just In The Band’ carries the same nagging unease as previous single Dunkirk with taut drums and unrelenting bass underpinning seasick guitar arps Feedback soaked and frazzled, it sees the band step further away from their indie roots and more into the groove – if the groove covered itself in petrol and dared you to light the match.

Silverbacks are a thrilling prospect, delivering their own louche take on NYC-indebted rock: slack enough for the tastemakers while also mining the gems of a pop vein, catching the ears of those with a taste for a good hook. Now a full-fledged five piece after graduating from the bedroom project of songwriting brothers Kilian and Daniel O’Kelly, they ply their trade with as much emphasis on the dry humour running through Daniel’s lyrics as the propulsive, triple guitar-led onslaught in their music.

Previous single Dunkirk drew plaudits from Paste, The 405, Nialler9, The Irish Times, Louder Than War and a whole host more reputable outlets. With a debut album on the way, JITB serves a sign of intent.

Upcoming shows:
November 22nd: Roisin Dubh Galway Ireland
December 1st: Other Voices Dingle Ireland
December 8th: Whelans (Upstairs) Dublin Ireland

Silverbacks are:
Daniel O’Kelly – Guitar, Vocals
Kilian O’Kelly – Guitar, Vocals
Peadar Kearney – Guitar
Emma Hanlon – Bass, Vocals
Gary Wickham – Drums

Image may contain: 4 people, people standing, night and indoor

The fearsome New York band Bethlehem Steel are releasing a new self-titled album this Autumn. It’s the follow-up to 2017’s excellent debut, Party Naked Forever, and a new member has been added to the band this time around in the form of Christina Puerto, who wrote and sings on a handful of songs on the album. At the project’s center is still Becca Rsykalczyk, though, whose smoky voice grounds Bethlehem Steel’s lead single “Bad Girl”: “Woke up early to hate myself/ Am I a bad girl?” she wonders on it, her swirl of anxieties giving way to a terse, knotted breakdown.

“‘Bad Girl’ is about all the nights that my brain keeps me awake. Irrationally telling me I’m a terrible person. Going over and over and over all of the things I might have done to upset or inconvenience another human,” Ryskalczyk said in a statement. “Singing the line ‘am I a bad girl?’ to my bandmates or even just out loud to myself was definitely embarrassing. I wasn’t sure if I should even keep it as a lyric until I decided to just lean into it.

The song’s music video, which was directed by Ryskalczyk, takes place at a raucous New York City backyard party.

With “Empty Room” we get Bethlehem Steel as we’ve literally never heard them before, with lead vocals from the band’s own Christina Puerto (guitar/vocals), who joined the band shortly after the release of their last album. In Puerto, band mastermind Becca Rsykalczyk found not only a deep companionship, but also another strong song writer with an understanding of Bethlehem Steel’s aesthetic choices and impassioned soul searching lyrics, as explored in “Empty Room,” one of several Puerto contributed to the band’s self-titled album, due out next month. It opens with a caustic rumble and wriggles its way into crunching chords and sinewy guitar melodies from there, led by Puerto’s dazzling vocals and a few well placed harmonies.


Releases September 13th, 2019

Rebecca Ryskalczyk – guitar & vocals
Christina Puerto – guitar & vocals
Patrick Ronayne – bass
Jonathan Gernhart – drums

Additional Instrumentation:
Paul Swenson – cello
Mike Gagliardi – sax

All songs written by Bethlehem Steel

Valley Maker is the contemplative psych folk project of songwriter Austin Crane. Crane uses billowing, revelatory metaphors to narrate his own journey through cosmic mystery and the essential search for meaning. Check out the vital full band performance by Valley Maker live at Audiotree. Recorded on May 1st, 2019 in Chicago, IL.

Setlist : Be Born Today
 04:44, A Couple Days 03:48, Supernatural 03:39, Beautiful Birds Flying 04:06, Seven Signs 02:55, Baby, In Your Kingdom 04:03

Band Members 
Austin Crane – Vocals and Guitar
Amber Joyner – Vocals and Keys
Jared Price – Bass and Guitar
Nic Jenkins – Drums and Percussion

From his earliest days as a member of the legendary New Zealand band “The Clean” onward, singer/songwriter, David Kilgour has come to be known as one of the most respected & admired songwriters of his generation & certainly one of the greatest rock musicians to come out of New Zealand. His signature guitar twang & languid, carefree melodies are readily identifiable. Kilgour is a guitar god for guitar atheists. 

Releases September 20th, 2019

The Band:
Thomas Bell: bass, keyboards, hand chimes and percussion.
Tony de Raad: guitar.
Taane Tokona: drums and percussion.
David Kilgour: guitar, vibes, keyboards and piano.

Piano on “Swan loop” played by Matt Swanson.

From the album “Bobbie’s a girl” out September 20th, 2019 on Merge Records.

Image may contain: 5 people, people smiling

When PP Arnold arrived in London on September 23rd, 1966 to support The Rolling Stones as one of Ike and Tina Turner’s backing singers, The Ikettes, little did she know that her world was about to be turned upside down. The shy but vivacious 19-year-old caught the eye of Mick Jagger, who would persuade her to stay in London and record as a solo artist – ultimately leading to a five-decade career working with everyone from Jagger, the Small Faces, Rod Stewart, Barry Gibb and Eric Clapton, to Nick Drake, Peter Gabriel, Roger Waters, the KLF, Paul Weller, Ocean Colour Scene and Primal Scream, to name a few.

Five decades after she became a ’60s icon with the timeless pop hits The First Cut Is The Deepest and Angel Of The Morning on Rolling Stones manager Andrew Oldham’s ultra-hip Immediate label, soul singer PP Arnold releases a double-album of stunning new material featuring contributions from, among others, Paul Weller, Ocean Colour Scene’s Steve Cradock, The Specials and P.P’s songwriter son, Kodzo.

2019 Edel Germany GmbH. earMUSIC is a project of Edel.

Image may contain: 3 people, people smiling

Highly anticipated second album, one and a half years after their critically acclaimed debut LP. Featuring members of the now-defunct band The Drones. Recommend If You Like: King Gizzard and the Lizard Wizard, Nick Cave, The Slits, Protomartyr, The Drones, Gang of Four, IDLES.
“I’ve invented fake news as a genre of music,” Gareth Liddiard observes with a laugh. Heʼs talking about Maria 63, the closing track on Tropical Fuck Stormʼs sophomore LP “Braindrops”. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. “It may be the most stupid song ever written,” Liddiard jokes. Heʼs wrong, Maria 63 is emblematic of Tropical Fuck Stormʼs keen ability to mine the extreme edge of pop cultureʼs periphery for potent musical and conceptual spice.


Tropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australiaʼs south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the bandʼs four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps itʼs that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genreʼs norms. “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captainʼs penchant for pounding abstract grooves.

It’s a amazing doozy, perhaps even more so than its predecessor — and keep in mind, this is coming from a band known for slinging tales of Soviet chess machines, shellfish-related conspiracy theories, and “antimatter animals.” Consider the tremulous guitar riff leading off album opener “Paradise” a facsimile for the record’s sun-poisoned strain of dadaist pop: an prolonged, paranoid sirens’ song peppered with references to Pokémon, Eugene Leary, global warming, and leg-humping dogs. Highlights include “The Happiest Guy Around,” a rowdy cut that, with its chattered vocals and ebullient energy, recalls a Beegees simulation gone awry; and the bristling title track, a sprightly, staccato race against the doomsday clock.

Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops.

Open uri20190619 17386 y2ppdm?1560944244