Archive for the ‘CLASSIC ALBUMS’ Category

KING BUFFALO – ” The Burden of Restlessness “

Posted: April 2, 2021 in CLASSIC ALBUMS, MUSIC
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King Buffalo is a psychedelic trio in the classic format, whose expansive and thunderous music is a powerful concoction of heavy psych, blues, and stoner rock. Texturally rich and oozing with psychedelic goodness, yet honed and driving in the next blink of an eye. Their efforts coupled with their impressive live show, quickly gained them an international audience. King Buffalo is the trio of vocalist/guitarist Sean McVay, bassist Dan Reynolds, and drummer Scott Donaldson. Since forming in 2013, the self-proclaimed “heavy psych” band has made its name via 4 EPs, 2 Full-lengths, and tours with the likes of The Sword, All Them Witches, and Elder.

The widely-hailed progressive heavy rock trio King Buffalo’s third full-length record, The Burden of Restlessness, will be released on June 4th, 2021. 

“King Buffalo has always had a penchant for weaving deep grooves and heady atmospheres into tightly composed songs, and these qualities are very much present on TBOR.”

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Self-recorded in late 2020 and early 2021 by guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson, “The Burden of Restlessness” continues to push King Buffalo’s progressive aspects forward into new avenues of melody and exploration.

At the same time, it is not mistitled. There are deep undercurrents of frustration and even an aggressive pulse that coincide with the spaciousness for which the band has been so widely lauded since their 2016 debut, Orion. Guitarist/vocalist Sean McVay drops what’s bound to become one of the record’s signature lyrics in opener “Burning” when he declares, “Another year lost in the wasteland,” and more succinct summaries of cancelled plans and rescheduled, lost or damaged lives are hard to come by.

“The Burden of Restlessness” was written over the course of what most would consider a pretty stark and stressful time period. The end result is our darkest, most aggressive, and most intimate work to date. We are extremely proud of what this record became.” – Sean McVay

Releases June 4th, 2021

King Buffalo – The Burden of Restlessness
Written and recorded by King Buffalo in Rochester, NY at the Main Street Armory in December of 2020 & January of 2021

Image of The Burden of Restlessness Test Press

 

MOONTYPE – ” 3 Weeks “

Posted: April 2, 2021 in CLASSIC ALBUMS, MUSIC
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May be an image of text that says 'MOONTYPE WA OF WATER'

Moontype shared their debut single “Ferry” in late 2020, quickly capturing hearts and becoming a Best of the bands who’s next pick. Earthy and earnest tunes. sometimes hard, sometimes soft, always sincere purveyor of poppy liquid weirdness. makes its home on the porous border between dissonance and quiet beauty. Tuesday, the trio released a final single and music video, “Stuck on You,” ahead of their highly anticipated debut LP Bodies of Water, which arrives today, April 2nd, via Born Yesterday Records. The animated music video for “Stuck on You” was created by artist and DJ Lya Finston. The track is fresh and upbeat, playing on the strengths of the trio with singer Margaret McCarthy’s honest and imaginative lyricism, drummer Emerson Hunton’s complex rhythms, and a closing shredding solo from guitarist Ben Cruz.

The song’s light sound conceals the darker themes of its lyrics, as McCarthy tries to cope with having feelings for a person she shouldn’t. McCarthy elaborated on the song in a statement: “This song is about a crush I had on someone who had hurt my friend and really didn’t deserve that kind of love from me. It took me a long time to finally come to terms with what had been in front of me the whole time, that this person was not worth longing for. Despite the subject, it’s really a jaunty song, and it feels really joyful whenever we play it now.

Moontype is Margaret McCarthy, Emerson Hunton, and Ben Cruz.

From “Bodies of Water” out April 2nd on Born Yesterday Records.

QUIVERS – ” Golden Doubt “

Posted: April 2, 2021 in CLASSIC ALBUMS, MUSIC
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May be an image of 4 people, people standing, tree and outdoors

On May 28th, Melbourne-via-Tasmania jangle-pop quartet Quivers will release “Golden Doubt”, their second album (and first on Ba Da Bing Records), and the follow-up to their 2018 debut We’ll Go Riding on the Hearses and 2021 full-length cover of R.E.M.’s Out of Time. Lead single and Golden Doubt opener “Gutters of Love” begins simply with singer Sam Nicholson’s voice and a three-chord progression, building patiently to an achingly anthemic climax. Gleaming guitar work, vocal harmonies from Quivers members Holly Thomas and Bella Quinlan, and keen production courtesy of Matthew Redlich (Holy Holy, Husky, Ainslie Wills) all elevate the song into a bruised, yet beautiful rock anthem that makes its home in the fleeting space between joy and pain. “‘Gutters of Love’ is a song about serotonin levels but mostly about love.

We wanted a guitar song that was in love with love, but also knows a comedown is coming and you might need your friends to help you get through it,” Nicholson says in a statement. “That’s why the song is all Holly and Bella harmonies, big guitars, broken Farfisa organ, piano, and a shouty choir. It will be OK.”

Coming from Australia and the strong indie rock area of Melbourne music scene, Quivers have been releasing music for half-a-decade, since their initially self-released debut, “We’ll Go Riding On The Hearses”. After last year’s R.E.M covers of “Out Of Time”, the band are about to release their third record, “Golden Doubt”, due out in June as a co-release between an impressive collaboration between a trio of wonderful labels. Ahead of that release, this week the band have shared a brand-new track, “Gutters Of Love”.

Described by the band as, “a song about serotonin levels but mostly about love”, “Gutters Of Love” muses on the amount of time we all spend talking and thinking about love, whether we’re shouting across dance-floors or sitting on bedroom floors trying to make sense of it all. The track comes in on a muted chord-sequence, slowly morphing into something altogether more melodic, as an abundance of vocals and a wavering Farfisa organ lift it to a scream-along crescendo as a make-shift choir ask as one, “after the serotonin’s gone, could you ever fall in love?” 

Filmclip directed by the band from super 8 footage collected in late 2020 in Melbourne and Brisbane, Australia. Edited by Michael Panton. Thanks to our friends who appeared here & also Louie the dog and all the chickens.

Quivers have described Golden Doubt as a record about grief and what puts us back together; how with friends, music and a sense of humour, we somehow manage to find a way to keep-on-keeping-on.

Golden Doubt is out June 11th via Ba Da Bing Records (UK/North America), Bobo Integral (Europe).

ST VINCENT – ” The Melting of the Sun “

Posted: April 2, 2021 in CLASSIC ALBUMS, MUSIC
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St. Vincent has shared a second single from her upcoming album Daddy’s Home, “The Melting of the Sun.” This one’s mellow, groovy, soulful and funky in a ’70s sort of way. Watch the animated video below. On the new single, which St. Vincent (real name Annie Clark) co-produced with Jack Antonoff, she pays homage to several artists who have inspired her, including Joni Mitchell and Marilyn Monroe.

“Saint Joni ain’t no phony/Smoking reds where Furry sang the blues/My Marilyn shot her heroin/Hell she said it’s better than abuse,” she sings on the swirling, Seventies-vibed track. “So who am I trying to be? A benzo beauty queen?”

She recently discussed the women behind the lyric’s inspirations with Rolling Stone. “People tried to quiet them when they were saying something that was righteous or true or hard to hear,” Clark said. “[That song] in particular is a love letter to strong, brilliant female artists. Each of them survived in an environment that was in a lot of ways hostile to them.” “People tried to quiet them when they were saying something that was righteous or true or hard to hear,” Clark said in a statement. “[That song] in particular is a love letter to strong, brilliant female artists. Each of them survived in an environment that was in a lot of ways hostile to them.

“The Melting of the Sun” follows the previously released LP single “Pay Your Way in Pain.” However, this search for the distinct taste of late-night cocktail bars in the ’70s is one that St. Vincent manages to pull off with authenticity. As one might expect with such a subject, at times, the song does feel slightly contrived and perhaps too cliched.

Nevertheless, “Daddy’s Home” is shaping up to be a fascinating release from one of the most unpredictable artists around, who continues to shift into different personas for every single record. So far, the two singles released feel like they’re from two different artists. ‘Pay Your Way In Pain’ was a sassy, vigoured effort and followed up with a nostalgia-soaked ballad. A total contrast, but somehow St. Vincent has managed to make this style work on ‘The Melting Of The Sun’.

Daddy’s Home, which was co-produced by Jack Antonoff, is out May 14. St. Vincent will be the musical guest on Saturday Night Live this weekend

The album is about her father’s release from prison after serving a sentence for white-collar crime. Annie Clark announced the record last month with the glitzy comeback single, ‘Pay Your Way In Pain’. Now with ‘The Melting Of The Sun’, she has offered a moment of calm and contemplation, 

The new album “Daddy’s Home”, out May 14th

MOUNTAIN MOVERS – “Way Back To The World “

Posted: April 2, 2021 in CLASSIC ALBUMS, MUSIC
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New Haven band Mountain Movers are back with new album “World What World” which will be out June 18th via Trouble in Mind. “In 2018, I wrote five separate songs called ‘Way Back To The World’ (some with lyrics/ some instrumental) about how the effort to get away from the world needed to be matched by an effort to return to it,” says guitarist and songwriter Dan Greene of the album’s first single. “The first verse talks about how temporary life is, while the second talks about how deceptive space and time can be. This song— like others on our new record—seem to have a direct connection to the pandemic, but all of the lyrics were written before the pandemic started.”

Mountain Movers arguably are the perfect band for all the true “heads” out there. The New Haven quartet have been at it for 15 years, and the “newest” line-up (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. “World What World” is the band’s eighth album and third for Trouble In Mind Records.
   
“World What World” is the newest chapter of the group’s continued explorations and efforts to refine their sound. The lyrics of “World What World”s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener “I Wanna See The Sun” and “Final Sunset” lay out what’s in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through “Then The Moon” when the tune’s lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic “Haunted Eyes” – beckoning you with a mournful sidelong glance. Side Two opens with “Staggering With A Lantern”, an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group’s guitarists. The sticky lyrical hooks and sideways jangle of “Way Back To The World” and “The Last City”s midnight-hour, mellow singe come next, before concluding “World What World’s” journey with “Flock of Swans”. The song is the perfect closer and culmination of the album’s mission statement.
 
 
The subjects that populate Greene’s songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, knife throwers, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section’s otherworldly chemistry and Battalene’s masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.     
 
Dan Greene – guitar/vocals
Rick Omonte – Bass
Kryssi Battalene – lead guitar
Ross Menze – drums
 
Releases June 18th, 2021

 

GLITTERER – ” Life Is Not A Lesson “

Posted: April 2, 2021 in CLASSIC ALBUMS, MUSIC
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Title Fight remain on hiatus, but luckily co-frontman Ned Russin has stayed prolific with his solo project Glitterer, and his new album “Life Is Not A Lesson” (recorded with his TF bandmate/brother Ben Russin on drums) is his most Title Fight-like Glitterer album yet. In fact, some of the energetic punk songs on this record sound even more like classic Title Fight than most of the band’s shoegazy swan song Hyperview. That’s not to say Ned is looking backwards or anything, not at all. These songs share some traits with Title Fight’s fan faves, but it’s clear that he continues to progress as a songwriter, and so far he hasn’t repeated himself. And it’s easy to focus on the TF-style songs because it’s been a while since Ned’s put out that kinda thing, but this is still a Glitterer record, with a handful of cool synthy indie pop songs too.

It’s a good mix of the last couple Title Fight records and the usual Glitterer sound, and it’s pretty unique stuff. Ned’s songwriting style is increasingly unmistakable, and I can’t think of too many other songwriters that fuse together the variety of sounds that Ned does. (If you want a deeper look into what those sounds are, Ned spoke to us about some of the album’s musical and literary influences.)

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Released February 26th, 2021

Glitterer is Ned Russin

Featuring:
Ben Russin– the drums
Sarah King– vocals on “How A Song Should Go”
Arthur Rizk– maracas on “I Made The Call”

 

SAVAGES JEHNNY BETH and PRIMAL SCREAM’S BOBBY GILLESPIE – ” Remember We Were Lovers “

Posted: April 1, 2021 in CLASSIC ALBUMS, MUSIC
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Out on Third Man Records this July, Savages’ Jehnny Beth and Primal Screams’s Bobby Gillespie have teamed up for a collaboration album titled “Utopian Ashes”. The first single is a yearning, slow-burning ballad called “Remember We Were Lovers.” Beth and Gillespie first met in 2015, and over the years have performed alongside Suicide and the rest of Primal Scream.

For Utopian Ashes, the two explore fictional characters with a revived sense of ache. Inspired by classic country songwriter duets like Gram Parsons and Emmylou Harris’ “Grievous Angel” and George Jones and Tammy Wynette’s “We Go Together,” the two put themselves in the scenario of a crumbling marriage, one that continues to erode with emotional  inarticulacy and misperceptions.

“I wanted to put pain back into music. I wasn’t hearing a lot of it in modern rock music,” Gillespie said of the project.  “In the same way you create characters for a novel, we’ve created characters here,” Beth shared. “But you put yourself in it, because you’re trying to understand the human situation. The singing has to be authentic. That’s all that matters.”

“When you write a song you marry the personal with the fictional and make art,” added Gillespie. “I was thinking about two people living alone, together but apart, existing and suffering in a psychic malaise, who plough on because of responsibilities and commitments. It’s about the impermanence of everything—an existential fact that everyone has to face at some point in their lives.”

“Remember We Were Lovers” 

KARATE – ” Karate “

Posted: April 1, 2021 in CLASSIC ALBUMS, MUSIC
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Underground rock festered and splintered as it spread through the U.S. in the mid-’90s, the alternative boom giving rise to microcosmic regional scenes singularly focused on feral powerviolence or screamo songs about breakfast. Boston’s Karate emerged as a force that could grip a national youth movement whose disparate tastes still commingled in the inky pages of fanzines overflowing with florid prose and on concert calendars for volunteer-run DIY spaces, community centres, and bowling alleys. In this world, Karate’s music was an enigma, one equally inviting to sneering punks and highfalutin indie-rock aficionados. Their 1996 self-titled debut, issued on Southern Records, set the standard. Lasooing together white-knuckle post-hardcore tension, sharply focused slow-core serenity, and resplendent jazz complexity, Karate eschewed settling in any one definiable style. But they certainly used the language of punk to get their point across; occasionally, guitarist Geoff Farina abandons his warm, hushed cadences for a hoarse shout that made him sound ragged, intensifying an aggression that burst out with every snaggle toothed guitar riff or drum snap that went off like canon fire. Few followed their path—but who could keep up? Karate could make pensive moods blossom into feverish rollicking (“What Is Sleep?”), gracefully tip-toe around aggressive punk explosions without getting bent out of shape (“Bodies”), and stretch out slow core’s quietest reveries till their reflective notes sound ripped from an improvisational jazz session (“Caffeine or Me?”). Karate formally introduced the trio as a vital part of an independent U.S. punk scene stubbornly flowering in the face of the major labels’ ’90s harvest. 

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Released April 1st, 2021

DU BLONDE – ” Homecoming “

Posted: April 1, 2021 in CLASSIC ALBUMS, MUSIC
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Homecoming

Treading the line between Pixies, Hole, and a particular guitar pop je ne sais quoi, Du Blonde’s fourth album is a punchy splash of acerbic melodic colour. written, recorded and produced by Du Blonde (aka Beth Jeans Houghton), ‘Homecoming’ is a refreshing taste of pop-grunge finery, featuring guests including Shirley Manson, Ezra Furman, Ride’s Andy Bell (ride/oasis), the Farting Suffragettes, and members of Girl Ray and Tunng among others. the album began as a few songs hashed out on a porch in la in early 2020, as Houghton’s desire to create something self-made and self-released merged with the then incoming pandemic.

Fans of Du Blonde’s previous two studio albums (2015’s ‘Welcome Back to Milk’ and 2019’s ‘Lung Bread for Daddy’) might be surprised to find that ‘Homecoming’ takes on the form of a pop record. the garage rock, grunge and metal guitar licks that have come to define Du Blonde are still there in spades, but as a whole the direction of the album is pop through and through. Houghton’s freak flag is still flying high however, a fact that’s no more apparent than on ‘Smoking Me Out’, a bizarre mash up of 80’s shock rock, metal and 60’s pop group harmonies. this defiant and energetic attitude can be heard throughout ‘Homecoming’, whether writing about her medication (30mg of citalopram, once a day), her queerness on ‘i can’t help you there’ (“I’ve been a queen, I’ve been a king, and still I don’t fit in”), to the joyous and manic explosion of ‘Pull The Plug’ (“say that I’m deranged, but I’ve been feeling more myself than ever”), Houghton is nothing if not herself, full force and unapologetic in her approach to writing, playing and recording her music.

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Due for release in April 2021, ‘Homecoming’ is the first record to be engineered, produced and self released by Du Blonde. Written and recorded over several sessions between Los Angeles, London and Newcastle, ‘Homecoming’ is a no holds barred collection of Garage, Glam and hard rock finery, featuring a couple of tear-your-hair-out slow saddies for good measure.

Releases April 2nd, 2021

CULT OF DOM KELLER – ” Goodbye To The Light “

Posted: April 1, 2021 in CLASSIC ALBUMS, MUSIC
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May be a closeup of 4 people, beard and sunglasses

Since 2007 these DIY sonic alchemists have been creating whacked out soundscapes and songs that appear to have been born from another universe, all from the confines of their sonic bunker

The Cult Of Dom Keller make the kind of experimental goth-tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks.

The band have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album.

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Goodbye To The Light released April 1st, 2021 on FUZZ CLUB Records.

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