Archive for the ‘CLASSIC ALBUMS’ Category

Bathe Alone is the dreampop solo project of multi-instrumentalist Bailey Crone based out of Atlanta, Georgia. Bailey plays everything from drums, guitar, bass to vocals on the project and aims to create songs you can “lay on the floor and stare at the ceiling to.”

A couple of months ago, we were introduced to Bailey Crone’s dazzling world called Bathe Alone. The moniker is fitting since Crone’s shoegaze-infused approach is a whole-of-body experience akin to swimming in one of the planet’s most lavish lagoons, as demonstrated on the scintillating “Calm Down”. The Atlanta native, though, can also create soundscapes that feel like an out-of-body experience, shooting listeners to the stars and beyond. So sit back and enjoy the intergalactic ride that is “Curbside”.

With hints of the shoegaze greatness of Lush, Crone at first seduces with a soft, melancholic approach. The lightness of the music is both intoxicating and relaxing, and the gliding mood is interrupted occasionally by the fireworks that ignite from her reverb-drenched guitar. Her voice, though, is angelic, floating through space just like we are. Just as our minds begin to fade away, Crone awakens our senses as her guitar sears and electrifies. This moment is not frightening nor menacing, but rather it represents the start of something new and exciting. It is us entering a new dimension that is full of awe and wonder. It is us awakening to the realization that the next great shoegaze artist lies before us.

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“Curbside” is Bathe Alone’s heaviest offering from her upcoming debut LP Last Looks. The song is a duet in many ways between DI and analogue. There’s clean crisp digital drums delicately intertwined with dirty, grungy, almost trash-can sounding acoustic drums. Then there’s Bathe Alone’s signature clean reverbed-out DI guitar playing alongside a nasty, fuzzy amped guitar with tons of room mic to get that grit. The vocals were inspired by Billie Eilish, where her instrumentation can get intense yet her vocals remain eerily relaxed while layered with tons of harmonies.

Released September 9th, 2020
Bailey Crone – Songwriter, vocals, guitar, drums, bass
Damon Moon – Synth, guitar

The ’90s are remembered for bringing us grunge and alternative music. The era, though, also gave us another great guitar-driven sound and that was sadcore. It was the perfect medium between the heaviness popularized by mostly Seattle-based bands and the dreamy, shoegaze that infiltrated the London music scene. The songs of Red House Painters, Galaxie 500, Mojave 3, and so on were not simply dazzling and intoxicating, but they told powerful stories and uplifting messages. Nearly thirty years later, sadcore is making a comeback thanks to bands like Slow Pulp.

For the past year, the Madison, Wisconsin-bred, Chicago-based quartet of Emily Massey (vocals/guitar), Alexander Leeds (bass), Theodore Mathews (drums), and Henry Stoehr (guitar) have made us contemplate our existence while enrapturing us. On “Falling Apart”, which was released earlier this year, they captured feelings of confusion, anger, and fear due to the chaos in this world. But just as they were about to join us in thinking all has ended, they peel back the curtains and let the light in on “At It Again”.

Like the aforementioned ’90s, sadcore bands, Slow Pulp deliver an unforgettable, dazzling number. While the guitars churn with grit and the rhythms pulse with urgency, Massey’s dreamy, embracing vocals take the track to the heavens. She tells us to keep our heads up and do our apart to be better people. To help make things around us better again. This band, too, gets better with every new release, which makes their debut album, Moveys, a must listen. It will be available in stores on October 9th via Winspear Records. 

Chicago band Slow Pulp’s debut album Moveys is out now and feels custom-built for the autumnal period. Emily Massey speaks direct to her mom on the the Alex G-esque “Track,” assuring her of a lifetime of love in her own lowkey but heartfelt way.

I got into Floating Room last year when her “Ant” demo proved to be my favourite listening take away from the 2019 Post-Trash comp. Getting to know Maya Stoner’s project from this woozy lo-fi recording, it was cool to ease into some of the songwriter’s hi-er-fi stuff, notably and nominally her re-recording of a 2016 track for an October EP, which sounds just as sleepy and welcoming of a cozy demise as its more ambient predecessor. What starts off as something you’d expect to hear covered on Post-Trash sort of wanders back into ambient territory in the final thirty seconds or so, as the guitar-drums-bass give way to extraterrestrial squeals. our new single, Warm Death (HIFI) today! You may recognize this one from the first FR album, Sunless, which was recorded in my bedroom. Mo Troper who produced this album had the idea to re-record it in a studio pianos and all and I’m glad we did.

Floating Room is the musical project of Portland based multidisciplinary Uchinanchu American artist and DIY veteran Maya Stoner. Their latest EP, “Tired and True”, was written by Stoner and recorded in the summer of 2019 against a backdrop of intense personal transition.

Lead single “Held Open Door” is a meditation on dimming innocence set to jagged guitar pyrotechnics à la Deerhunter and Television. “Freakshow” is a self-professed “pop hit” concerning Stoner’s perceived pariahdom within Portland’s blindingly white, furtively racist punk scene. “Tired and True” is being released independently by Stoner digitally and on vinyl.

“Tired and True” is officially out today and streamable on Spotify/ Itunes/ everywhere! I’m gonna save y’all my sappiness but I really appreciate everyone who has taken the time to listen to these songs or even helped share them: Maya Stoner.

It features contributions from Jon Scheid (Duck. Little Brother, Duck!, Dreamdecay), Aaron Liu (Two Moons), Jared Ridabock (Anne, Wild Guess), and Mo Troper. 

Floating Room Released on: 2020-10-09

Buy Online Deafheaven - 10 Years Gone Coloured

For the past ten years, San Francisco rock / post-metal luminaries Deafheaven have built one of the most compelling discographies in metal, one that has challenged both the modus operandi and perceptions of the genre. Each critically acclaimed release widened the scope of their particular views of what rock and metal can be, capped by their most innovative album to date in 2018’s “Ordinary Corrupt Human Love”. It all began though, with the 2010, four-song Demo released to Bandcamp by the bands founding members George Clarke and Kerry McCoy. Set to embark on a world tour earlier this year to celebrate their 10th anniversary as a band and the five albums released in that span, Deafheaven had to switch gears when COVID canceled all gatherings across the world, instead teaming with long time producer Jack Shirley at Atomic Garden studios to bring the show they planned to perform in a studio sessions format.

The only live albums I’ve ever really connected with have been documentations of tours I’d seen in person. Deafheaven touring their 2018 LP Ordinary Corrupt Human Love, illustrating their sun-peaking-out-from-behind-a-cloud black metal with sunflowers strewn about the stage, which contrasted with the feral growls and extreme-black-metal getup of vocalist George Clarke. While their forthcoming live record 10 Years Gone serves as a stand in for the anniversary tour they’d planned for 2020, most of the track list is familiar to anyone who caught their OCHL tour a few years back. “Daedelus,” though, is a new addition to their live show, both recalling their early years (being the first song they ever wrote) while relaunching expectations for what future Deafheaven sets will look like. 

10 Years Gone includes the first song they ever wrote in “Daedalus” from the first album Demo, which also serves as the first single released from this album, along with fan favourites like “Dream House” and “Vertigo” that have an added power in this setting. Deafheaven named ‘Artist of the Decade’ by Vice, along with albums featured in ‘Best of 2010s’ lists on Pitchfork, Rolling Stone, Metacritic, AV Club and many more.

Three previous albums Sunbather, New Bermuda and Ordinary Corrupt Human Love have received incredible praise from press and named ‘Best New Music’ by Pitchfork.

At the start of 2020, it looked as if Arre! Arre! had the year all mapped out; plenty more touring to come in support of last year’s incendiary Tell Me All About Them LP, as well as a new EP, the riotous Heavy Breathing, set for a summer release. Then, in March, the pandemic changed every-thing, and suddenly – like millions of others worldwide – the Malmö punks unexpectedly had plenty of time on their hands.

Singer and bassist Katja Nielsen has been putting it to good use. “After COVID-19 hit and gigs were being cancelled,” she says, “I found myself in a vacuum that needed to be filled with creativity.” Isolation lent itself naturally to the start of a solo project, She/Beast, to be written and produced entirely by Nielsen herself – which suited the subject matter. “Because of the personal nature of what I was writing about, I felt that I would not be able to share ownership of the songs the way I do in Arre! Arre! I wanted every little detail to be exactly the way I wanted it to be.”

About a year before she began work on She/Beast material, Nielsen was finally diagnosed with bipolar disorder after over a decade of suffering from it. Music, she says, was a crucial outlet for her to channel the rawness of her emotions, to spill her feelings into words and melodies. “Writing music has always been a coping strategy for me. Feelings get bottled up in a very destructive way if I don’t write a song about something I’m going through.”

The result is a pair of EPs, In the Depths of Misery and This Too Shall Pass; both titles are quotes from Vincent Van Gogh, another artist to have had bipolar, and taken together, they represent the emotional arc of the songs, which encompass despair, resolve and hope: there’s frustration in ‘Devil on My Mind’, resignation on ‘A Fragile State of Mind’, and fizzing anger on ‘Take My Pills’. “Just imagine being told that some of your personal traits are symptoms, and if you take your pills those traits will disappear,” Nielsen explains of her diagnosis. “Some of them I was happy to get rid of, and some I still mourn. Making sense of what’s a symptom and what’s a part of my personality – that’s what can be so tricky with having a mental illness. But by writing these songs, I could process one piece of the disorder at a time.”

Written and arranged entirely in Nielsen’s living room, the ten songs over the two EPs were recorded in conjunction with producer Joar Anderson. They mark a dramatic departure from the furious pace of Arre! Arre!’s output, instead evincing a lo-fi, pop-rock sound; the DIY nature of the songs strongly recalls Kathleen Hanna’s 1997 solo record Julie Ruin, whilst the instrumentation – growling bass, scuzzy guitars, snarled vocals – take their cues from both riot grill and post punk. “The DIY thing is just imprinted in my genes. If I could choose, we’d all still record songs in our garage, with just a tape recorder.”

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Taken together, In the Depths of Misery and This Too Shall Pass represent an impressively accomplished first solo statement from an artist who, were it not for COVID-19, might not have re-leased one this soon – ten songs scored through with a palpable darkness, in keeping with Nielsen’s vision for the tracks to feel “uneasy and on the verge of despair, kinda like a silent horror film.” There should be more to come, too, as she continues to write on her laptop. “I usually do it in front of the tv – it’s kinda like knitting to me!” 

Releases December 11th, 2020

Black Foxxes exorcise themselves for a final time

The trio’s debut album, I’m Not Well was a brooding grunge quagmire vocalising founder Mark Holley’s struggle with his mental health.
 Follow-up Reiði focused in on creating a vaster expanse through reverberated guitar lines amidst a slight withdrawal of the grunge bite. Now, two years after its release, and a line-up change (with bassist Tristan Jane and drummer Ant Thornton both leaving earlier this year), the band’s self-titled third effort is a last chance saloon of sorts. It’s Black Foxxes with the chains removed, ready to snarl at the world that all of this has been about more than being the next big thing. 

It’s been a pretty hectic time for Bristol based indie rockers Black Foxxes – so much so that singer Mark Holley is now the sole remaining original member. Whilst the drama may have been enough to bring an abrupt end to other bands, Holley has chosen to swim rather than sink and returned with a second self-titled album which takes a darker more mature direction and signals a fresh new start.

“We wanted to make something incredibly different. But it was also important not to alienate people completely. So we felt a good way of doing that would be to write everything for ourselves, and to use all these crazy dynamics and different sounds, but to…pull it together in a familiar way.” – Mark Holley

Black Foxxes debut album is out now on Orange Vinyl which they promote with a huge tour across the UK in March 

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George Thorogood & The Destroyers – ‘Live In Boston 1982: The Complete Concert’ black vinyl 4LP set. This comprehensive reissue of George Thorogood and The Destroyers’ Live in Boston, 1982 captures the band’s triumphant Bradford Ballroom concert in its entirety for the very first time. Full of energy, power, and focus, Thorogood and The Destroyers play a blistering set that includes such classics asBad to the Bone, Who Do You Love?, and Move it on Over. Newly remastered by the Grammy® Award-winning engineer Paul Blakemore, the 27-track Live in Boston, 1982: The Complete Concert adds 12 previously-unreleased tracks to the original 2010 release.

This set is released on Friday 4th December.

Mike Krol is a band/idea out of Los Angeles, with additional members in Minneapolis, Madison, and Seattle. This Thursday at 9pm ET, the one and only Mike Krol will premiere his “Halloween Deadstream” concert on NoonChorus this week. Fans both old and new can expect all the hallmarks of a Mike Krol live performance: his full band in costume, strobe lights, smoke machine, distortion, and more! With a 72-hour rebroadcast of the performance. 

Krol has also announced a CD reissue of the seasonally appropriate Mike Krol Is Never Dead: The First Two Records, out January 29th, 2021. The 3-CD box set includes Krol’s first two albums—I Hate Jazz and Trust Fund—housed in miniature-sized reproductions of the original album tri-fold wallets, and an additional disc filled with a comprehensive selection of outtakes, demos, and B-sides from that era. 

Most listeners were introduced to Mike Krol in 2015 with the release of his Merge Records debut, Turkey. Few knew at the time that Turkey was actually Chapter 3 of the Krol saga, and that he had self-released two records years earlier. To the delight of his new legion of fans, Merge reissued those early albums as the 2017 collection “Mike Krol Is Never Dead”. With that release, “I Hate Jazz” and “Trust Fund” found new life, and the inclusion of digital-only rarities led to fresh demand for this CD reissue.

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Self-released on LP in 2011, “I Hate Jazz” was the opening salvo of World War Krol. Only 500 copies were pressed; they were given away to anyone who showed interest (and many who showed none whatsoever). Including Krol classics like “Fifteen Minutes” and “Like a Star,” the record had long been unavailable. Trust Fund followed in 2013; its 500 LPs sold out on the ensuing tour, fuelling a mini-mania that would elevate it to cult status.

Here’s Krol take on the new CD edition:
One of the most frequent questions I get on tour is “Where can I get your first album on CD?” (second only to “So… do you actually hate jazz?”). As a Compact Disc lover myself, I always assumed we were a dying breed, and that manufacturing this music on plastic would only fulfill the personal satisfaction I’d get from having my full discography lined up on a shelf. But over time, the fans have spoken and demanded I make these albums available on CD. So here they are, with the rarely-seen-in-person full album art intact. Completists, rejoice!

originally released July 14th, 2017.

All songs written and performed by Mike Krol
With the help of

Phil Mahlstadt – Bass on all tracks
Michael Sienkowski – Keyboard, Tambourine, Whistling
Elliott Kozel – Lead Guitar, Organs, chord changes for “Locker”
Erik Duerr – Heavy Metal Guitar, Janitor
Andy Brawner – Nothing

From the album Mike Krol Is Never Dead: The First Two Records, out July 14th, 2017 on Merge Records.

Lande Hekt, who you might recognize as a member of U.K. group Muncie Girls, strikes out on her own with a contemplative and personal song about her experience of coming out. “Whiskey” tips its cap in the direction of The Replacements but remains unique to Hekt as she takes control of her life and drops the pretence of being anything other than herself. She’ll dive deeper into her journey on debut album Going To Hell, due in January 2021.

Lande Hekt’s voice in music is one that’s socially aware yet often introspective, drawing awareness to serious issues but at the same time baring her soul. Much of Hekt’s compositions act as a personal diary of what’s going on in her life at any given time. This is evident in her discography with Muncie Girls, the band which she formed in her hometown of Exeter as a teenager and have released two critically acclaimed albums to date. This knack of combining her own experiences and feelings whilst highlighting larger socio-economic issues has carried through to her more contemplative solo material, which began life in an EP ‘Gigantic Disappointment’, self-released in 2019.

“Whiskey” is the lead single off Lande Hekt’s debut album, “Going to Hell” out January 22nd, 2021 via Get Better Records

Something For Kate new album The Modern Medieval Paul Dempsey

After eight years in absentia, Something for Kate Melbourne based three piece science fiction folk rock band, didn’t pick the best of times to make their triumphant return. In fact, lead single ‘Situation Room’ arrived just as Australia entered lockdown.

Still, to borrow a phrase from the band’s back catalogue, the promise of ‘The Modern Medieval’ has been a light at the end of this tunnel for many listeners. This was certainly bolstered by the fact that the four singles released in its lead-up have been some of the best of the trio’s career. Expect more emotive, widescreen indie-rock to follow – as it has for over 25 years.

Something For Kate’s ‘The Modern Medieval’ is out via EMI Music on November 20th.