Archive for the ‘CLASSIC ALBUMS’ Category

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Bully are one of the most exciting punk bands of the past decade. 2015’s Feels Like and 2017’s Losing didn’t necessarily reinvent anything, but its fuzzy, melodic rock songs were consistently invigorating, with Alicia Bognanno’s raspy voice packing a major punch. Bognanno is behind the boards again for her new record “Sugaregg”, but this time she’s joined by a producer for the first time, John Congleton—not the worst choice for your first co-producer! Even after just one spin, it’s clear that Bognanno hasn’t taken her foot off the punk gas pedal. Her third album and second for Sub Pop is empowering, unrelenting and utterly gripping, with a chance of raw explosiveness at any moment. Even the more subtle numbers like “What I Wanted” and “Prism” will leave a cloud of exhaust smoke and tread marks.

Bully thrives in discomfort. The disconnect between “normal,” actualized and idealized ideas of life rages through their music. The pull toward a spiritually-dead life as a milkman, emotional stasis in the face of outward turmoil, trying and failing to even understand your own mind; these spectres haunt and propel Bully’s music. On the band’s new single, “Every Tradition,” the second off of their forthcoming album, “Sugaregg” (out on August. 21st via Sub Pop Records), Bully leans into the underlying conflict of their music. With incendiary guitars and Alicia Bognanno’s sneering delivery, the band unleashes an anthem for anyone finding themselves out of step with the expectations that are placed on them

“Every Tradition” by Bully from their album “SUGAREGG” (Release Date: 21st August 2020 on Sub Pop Records)

Bully’s “Hours and Hours” is the latest standout from Sugaregg, her incredible new album.

Alicia Bognanno offers this about the song, “‘Hours and Hours’ is about my mother and I finally figuring out our relationship. She and I had a really hard time connecting growing up and at times felt like it would never happen. Over the past five years we have become best friends, she is now the very first person I call when I am at my absolute lowest and has saved my life. I realize now how similar we are and how that probably had everything to do with why we had a difficult time with each other growing up. I wish I knew sooner how much we could relate but am eternally grateful that we have figured it out now and I’m just so thankful to be on good terms, I love her dearly.”

Bully will release “Sugaregg” on August 21st, 2020 worldwide through Sub Pop Records.

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Whether singing about frozen pets in the basement or frozen people in a cryogenic chamber, it’s been a minute since Chicago-based Ratboys last album, 2017’s GN.  We were graced with the teaser of a lovely follow-up four song EP, GL in the interim.  The core duo of Julia Steiner (vocals, guitar) and Dave Sagan (guitar) have been backed by a revolving door of rhythm sections to this point, but have announced permanent members in Marcus Nuccio (drums) and Sean Neumann (bass).  The cohesiveness certainly shows on their upcoming third album.  Printer’s Devil (another stumbled upon and appealingly odd title) releases via Topshelf Records on February 28th, and the opening track and first single, “Alien With A Sleep Mask On” charges hard out of the gate.

If you have a hankering for guitar-based indie rock, Sagan really lets it fly and Steiner’s agile vocals cruise ably alongside without showing any signs of cracks.  The band doesn’t hesitate to throw in some alt-country vibes or drone-drenched passages, but Steiner’s contributions always keep things buoyant.  With the new album and an extensive tour poised for the spring thaw (including SXSW dates), the upcoming Chinese Year of the Rat looks primed to be renamed the Year of the Ratboys.

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The D’Addario brothers will return this Autumn with their third Lemon Twigs album, “Songs For The General Public” – written, recorded and produced by the D’Addario’s at their home studio in Long Island, Sonora Studios in Los Angeles and Electric Lady in New York City.

The prodigiously-talented brothers first emerged as The Lemon Twigs in 2016 with their debut LP Do Hollywood, whose show stopping melodies mined from every era of rock quickly earned fans in Elton John, Questlove, and Jack Antonoff.  Go To School, the ambitious 15-track coming-of-age opus, followed in 2018 and solidified the band’s reputation for building grand walls of sound around an audacious concept.

The D’Addario brothers return with their third Lemon Twigs album, written, recorded and produced by the D’Addarios at their home studio in Long Island, Sonora Studios in Los Angeles and Electric Lady in New York City. Brothers Brian and Michael D’Addario wrote that they would begin work on an additional record “to try and make it up” to fans. The album was originally scheduled for a May 1st release. “It’s with even greater disappointment that we move our record release date to August 21st. They say good things come to those who wait, and even better things come to those who wait longer. And then they tell you not to procrastinate. What kind of sense does that make? To try and make it up to you, we’re hard at work on another record.

“In times of global turmoil, I find it comforting to recall something the late great Abraham Lincoln once said. After that, I like to take a large ice cube out from the freezer and suck on it for a couple of minutes.”

The label just announced this limited translucent red vinyl edition of “Songs For The General Public”, the third album from The Lemon Twigs, out 21st August.

Band Members:
Brian D’Addario,
Michael D’Addario

The 12-track album will also be released on standard black vinyl, while the first 100 vinyl pre-orders made through the 4AD records Store will receive a limited-edition signed print

The Lemon Twigs - Songs For The General Public

Hello Forever: Whatever It Is: Limited Edition Pacific Blue + White Ink Spot Vinyl + 7

Just announced! New recruits to the Rough Trade label come in the shape of Californian group Hello Forever, with a remarkable debut that fuses elements of the 60s West Coast sound with a steadfast DIY approach, recorded over the hill from After the Gold Rush, where Captain Beefheart laid down the tracks for Trout Mask Replica .

Limited Edition Pacific Blue & White Ink Spot LP w/ Bonus 7” featuring new single ‘Everything Is So Hard’. CD edition includes new singles via download code. Both LP and CD packages include lyrics and behind the scenes photos. Rough Trade Records are excited to release the debut album by Californian group Hello Forever.

Based in Topanga, California, the band live together in a pastoral setting high above the Pacific Ocean – not far from where Neil Young recorded After the Gold Rush or Captain Beefheart laid down the tracks for Trout Mask Replica, the group forever expanding and contracting, with members coming and going as they please. They fuse elements of the 60s West Coast sound with a DIY approach to music and creativity which has spawned their remarkable debut album, the aptly titled Whatever It Is. Samuel Joseph and company have created a contemporary throwback to a vibrant era with a set of songs that establish the collective’s exquisite harmonies and colourful instrumentation.

Band Members
Sam Joseph,
Andy Jimenez.
Joey Briggs,
Molly Pease,
Anand Darsie,
Jaron Crespi,
Lina Kay,

Songhoy Blues is a band whose experiences in Mali have opened their eyes to universal problems plaguing people everywhere. Using the pain and lessons learned from having to leave their hometowns in northern Mali, the band realizes that human rights is a concept that extends far beyond what they have seen with their own eyes and far beyond just the borders of Mali. In order for the band to see their homes restored, they understand the fight must be fought on all fronts, for everybody across the spectrum. They are no longer refugees or exiles or four people with instruments—they are Songhoy Blues, a musical voice for empowerment and equality.
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Working with Matt Sweeney, who encouraged the band to make the album they want to make, “Optimisme” confronts our world today. On “Badala” and “Gabi,” Songhoy Blues seeks the empowerment of women, asking for centuries-old misogynistic practices to be done away with. With “Worry,” the band advises both the young and the old that positive vibes and persistence are the best tools to fight our struggles. In “Assada,” the band praises and thanks the everyday warriors who wake up everyday to sweat for the betterment of their communities and in “Dournia,” the band laments the lack of compassion and empathy between humans today in the face of increasing materialism and selfishness. “Bon Bon” warns of being fooled by shiny promises, and in “Barre” the band asks for the youth to get involved at home for change while warning off those who wish to divide in “Fey Fey.” Each time Songhoy Blues steps to the mic on Optimisme
 the band confronts, consoles, praises, thanks, and encourages the listener toward a better world tomorrow.

Releases October 23rd, 2020

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Sad 13 the project led by Sadie Dupuis of Speedy Ortiz, is a vampire who bakes cakes and other goodies to lure in her victims in the video for her new song “Oops…!” It’s the latest single to be taken from her new album, “Haunted Painting”, which is due out September 25th via Wax Nine. Kimber-Lee Alston wrote, directed, and edited the video remotely.

Dupuis had this to say about the song in a press release: “We recorded ‘Oops…!’ at New Monkey, which was Elliott Smith’s studio. This one has a magic drum sound—thanks entirely to engineer Sarah Tudzin (of Illuminati Hotties notoriety), and Zoë Brecher’s impeccable playing. Just before writing it, on tour with CHVRCHES, a venue employee became physically and verbally violent with one of my Speedy Ortiz bandmates. He directed his fake apology at me instead of the person he harmed, presumably because I am smaller and present feminine. My vengeance complex kicked in and I got a scary adrenaline high making sure this unsafe person was removed from the show. While I’m glad I have protective instincts, I wrote the song to process ways in which I’ve used people’s assumptions about me and my body to wield my own version of toxic masculinity. Kimber-Lee Alston, who directed remotely via Zoom, turned this story and song into an allegory about a 1950s prom queen vampire who lures in her bad boy victims with delicious, blood-filled treats.”

Previous Dupuis shared the album’s first single, “Ghost (of a Good Time),” via a video for the track, which Dupuis said is a “party song about not going out.” The album also includes “WTD?,” a new song Sad13 shared via Adult Swim Singles in May.

Haunted Painting is the sophomore Sad13 album, the follow-up to 2016’s Slugger. The album was recorded at Tiny Telephone in San Francisco and New Monkey Studio in Van Nuys, California, a studio that was built by Elliott Smith in the 2000s not long before he died. The album was made exclusively with women engineers, including mixer Sarah Tudzin (Weyes Blood, Illuminati Hotties), tracking engineers Erin Tonkon (David Bowie, Esperanza Spalding) and Maryam Qudus (Thao & The Get Down Stay Down, mxmtoon), and “mastering legend” Emily Lazar (Beck, Dolly Parton). It also features guest vocals from from Helado Negro’s Roberto Lange, Deerhoof’s Satomi Matsuzaki, Merrill Garbus of tUnE-yArDs, and Pile’s Rick Maguire. Zoë Brecher plays drums throughout the album.

Dupuis had this to say about the album in a previous press release: “I worked on Haunted Painting throughout 2019, writing, arranging and recording from home, then finishing the songs in studios around the country in between Speedy’s fly-in dates. It’s maximalist, and more true to me and my tastes than any record I’ve done.”

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Rock autodidact Greg Sage had been kicking around Portland, Oregon, since the early ’70s, eventually forming Wipers in Year-Of-Punk 1977 to showcase his grungy, economical guitar work and shredded-nerve-ending songwriting. Their third LP would be the first to gain them a broader audience due to Brain Eater Records’ stronger distribution ties. Good thing it was essentially the apex of Wipers’—and Sage’s—art. The title track certainly has a life beyond the band, cited as influential by Kurt Cobain and covered by everyone from Hole to the Mono Men.

The Band Started life in Portland in 1977, Wipers are sometimes regarded as the band who brought punk rock to the drizzly Pacific Northwest – though their frontman Greg Sage disagrees. “We weren’t even really a punk band,” he later said in 2004. “See, we were even farther out in left field than the punk movement because we didn’t even wish to be classified, and that was kind of a new territory.”

Wipers’ taut, distorted music traded in sheer brawn and ferocity for a different kind of intensity: Sage messed about in the studio for hours and hours to achieve the group’s rich, overdrive-drenched guitar sound while other punk bands focused on breakneck speed. And the band’s sharp but distortion-slathered debut album ‘Is This Real?’ inspired countless future figureheads of the grunge scene. You can hear Wipers’ influence on everyone from Mudhoney and Melvins to Hole, Green River and most notably Nirvana. Kurt Cobain cited the group as a huge influence (and later covered Wipers’ songs ‘D-7’ and ‘Return of the Rat’).

Limited Edition clear colour vinyl with 7”. Limited to 2000. Celebrating the 40 year Anniversary of the debut LP by the Wipers. Includes individually AUTOGRAPHED concert poster by Greg Sage. Bonus 45 with four songs from the original 4 track sessions. Transparent Clear Audiophile Vinyl pressed at RTI with custom reflective mirror board jacket. Unquestionably Portland’s most well-loved punk group, the Wipers formed in the late 1970s and in 1980 released their debut LP, “Is This Real?”– twelve songs of stabbing, jittery guitar, snapped vocals, and unabashed teen angst. Full of desperation and yearning, the LP has stood as a blueprint for wretched youth for over 25 years. In the early 1990s “Is This Real?” was given mainstream attention when Nirvana covered two tracks off the record and Cobain announced it was one of the primary influences on his group.

Track listing: 1. Return Of The Rat 2. Mystery 3. Up Front 4. Let’s Go Let’s Go Away 5. Is This Real? 6. Tragedy 7. Alien Boy 8. D-7 9. Potential Suicide 10. Don’t Know What I Am 11. Window Shop For Love 12. Wait A Minute 13. Mystery (Original 4 Track Sessions) 14. Tragedy (Original 4 Track Sessions) 15. Let’s Go Away (Original 4 Track Sessions) 16. Is This Real? (Original 4 Track Sessions)

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This 1971 collaboration between primal one-part-delta / one-part-Detroit singer-guitarist John Lee Hooker and southern california blues revivalists Canned Heat works in large part because all parties involved are a little off. Hooker, the most unsystematic of the major bluesmen of his generation, isn’t a good fit for disciplined players; rather, he requires sidemen who play by feel. In harp player-guitarist Alan Wilson, the crawling king snake found a particularly sympathetic foil; sadly, Wilson died shortly after these sessions were completed. roughly divided into spare, gritty delta exercises and full-on boogie stomps featuring the full band, Hooker ‘n’ Heat is surely one of Canned Heat’s crowning moments, which isn’t saying that much. But that it stands as a milestone in Hooker’s oeuvre is quite a statement indeed.

The double-album “Hooker ’N Heat”, which was released on 15th January 1971, is a fascinating meeting of mentor and protégés. Canned Heat had long admired John Lee Hooker and were delighted to find out that the revered blues guitarist-singer also enjoyed the band’s music. “I sure like the way you boys boogie,” Hooker told harmonica player Alan Wilson at a chance meeting in Los Angeles. Canned Heat floated the idea of recording together and, in April 1970, Hooker’s record company gave him permission to do just that. Just one month later they met up at Liberty Records in LA to record the album that was titled Hooker ’N Heat.

That real “Hooker sound”, In deference to Hooker’s genius, the boogie-rock band, who had a global hit with ‘On The Road Again’ in 1967, gave the first half of the album to him alone, and Hooker laid down compelling versions of five of his own compositions: ‘Messin’ With The Hook’, ‘The Feelin’ Is Gone’, ‘Send Me Your Pillow’, ‘Sittin’ Here Thinkin’’ and ‘Meet Me In The Bottom’. Hooker arrived for the recording session wearing a plaid cap, leather jacket, black satin shirt and some old dress slacks. He was carrying his favourite old Epiphone guitar. Producers Skip Taylor and Robert Hite were keen to capture the authentic Hooker blues sound. They tried out eight amplifiers before finding an old Silvertone amp that had that real “Hooker sound”. The engineers built a plywood platform for Hooker to sit on while he played, with one microphone on the amp, one to capture his vocals and a third to pick up his distinctive stomping. Nearby was a large bottle of Chivas Regal Scotch and a pitcher of water to keep him well refreshed.

“The most gifted harmonica player I’ve ever heard” For the second half of Hooker ’N Heat, Wilson joined in on piano, harmonica and guitar. “Blind Owl” Wilson, as he was known, died four months after the record was cut – at just 27 years of age – from a barbiturates overdose. He had suffered from depression and his death robbed the world of “the most gifted harmonica player I’ve ever heard”, as Hooker described him. Hooker ’N Heat captures his wonderful talent for music, including his piano playing on ‘Bottle Up And Go’ (written by the Delta blues musician Tommy McClennan) and ‘The World Today’, and his guitar work on ‘I Got My Eyes On You’.

After more Hooker solo songs, including ‘Alimonia Blues’, ‘Drifter’, ‘You Talk Too Much’ and ‘Burning Hell’, the whole band chimed in for the final songs, with Hooker and Wilson joined by lead guitarist Henry Vestine, bass player Antonio De La Parra and drummer Adolfo De La Parra on exuberant versions of ‘Just You And Me’, ‘Let’s Make It’ and ‘Peavine’. It all soars and moves, even though it seems like the band are sometimes frantically trying to keep up with Hooker’s vocals.

Hooker ’N Heat ended on a high, with a rambling and powerful 11-minute version of Hooker’s first record, the classic ‘Boogie Chillen’’. The song showed just how much fun Canned Heat were having recording with their musical hero, who died in 2001.

After the album came out, Hooker and Canned Heat – who hired guitarist-vocalist Joel Scott Hill to replace Wilson – played some live shows together, including one at New York’s Carnegie Hall. The memorable studio collaboration Hooker ’N Heat captured a natural fusion of empathetic musicians – and Hooker, who was 53 at the time, revelling in the occasion.

Tracks:
“Messin’ With The Hook” | “The Feelin’ Is Gone” | “Send Me Your Pillow” | “Sittin’ Here Thinkin’” | “Meet Me In The Bottom” | “Alimonia Blues” | “Drifter” | “You Talk Too Much” | “Burning Hell” | “Bottle Up And Go” | “The World Today” |  “I Got My Eyes On You” | “Whiskey And Wimmen’” | “Just You And Me” | “Let’s Make It” | “Peavine” | “Boogie Chillen No. 2”

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Since 2014, King Crimson has chronicled its annual tours by releasing a Tour Box that incorporates rehearsal tracks, live performance tracks, alternate tracks, and some previously unreleased live performance tracks from the past as far back as 1969. Compiled by Sid Smith for the band, the 2Cd boxes comes filled with music, photos, tour memorabilia, notes, and a lengthy essay. This has come to be expected by fans. But 2020 was unkind to the band with its constraints. However, King Crimson is resilient and non-conforming and so a 2CD Elements 2020 is now on the calendar.

On September 4th, King Crimson will release “The Elements 2020″ over 2CDs. As with previous sets, The Elements 2020 will include live performance tracks from the past previously unreleased on CD that will include some from the distant past, some as early as 1969.

The Elements 2020 will include a 24-page booklet that will include an introduction by Robert Fripp, the expected photos and memorabilia collection, and a 2000-word essay by compiler, Sid Smith.

The Elements 2020 will be housed in a DVD-style Digipak book case. The tradition continues. for fans, this is a happy moment.

For over a decade, Nika Roza Danilova has been recording music as Zola Jesus. She’s been on Sacred Bones Records for most of that time, and “Okovi” marks her reunion with the label.

Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. In addition to the contributions of Danilova’s longtime live bandmate Alex DeGroot, producer/musician Wife, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build Okovi’s textural universe.

With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album speaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well. Nika Roza says Last year, I moved back to the woods in Wisconsin where I was raised. I built a little house just steps away from where my dilapidated childhood tree fort is slowly recombining into earth.  Okovi was fed by this return to roots and several very personal traumas.

While writing Okovi, I endured people very close to me trying to die, and others trying desperately not to. Meanwhile, I was fighting through a haze so thick I wasn’t sure I’d find my way to the other side. Death, in all of its masks, has been encircling everyone I love, and with it the questions of legacy, worth, and will. Okovi is a Slavic word for shackles. We’re all shackled to something—to life, to death, to bodies, to minds, to illness, to people, to birthright, to duty. Each of us born with a unique debt, and we have until we die to pay it back.  Without this cost, what gives us the right to live? And moreover, what gives us the right to die? Are we really even free to choose?

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This album is a deeply personal snapshot of loss, reconciliation, and a sympathy for the chains that keep us all grounded to the unforgiving laws of nature. To bring it to life, I decided to enlist the help of Alex DeGroot, who has been the only constant in my live band and helped mix the Stridulum EP back in 2010. It will be released on Sacred Bones, the closest group of people I’ll ever have to blood-bound family. Zola Jesus signed to Sacred Bones in 2008. In the seven years that followed, we released eight albums together (three LPs, two EPs, two 7”s, a CD-R, and even a DVD). We discovered her via Myspace, which was the common A&R vehicle of the early- to mid-Aughts. Nika is the sole member of Zola Jesus.

Originally released September 8th, 2017