Archive for the ‘CLASSIC ALBUMS’ Category

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‘Songs for Australia’, which is raising money for organizations in Australia who are helping to rebuild during and after the bushfire crisis. ‘Songs for Australia’ was conceptualized by Australian musician Julia Stone, The album, which was finalized in about two months, started out as “a feeling of sadness and helplessness,” says Julia Stone . She was working with the National collaborator, performer, and producer Thomas Bartlett (Sufjan Stevens, St. Vincent) in London when the project came together.

As the fires raged, Julia Stone played her favorite track  Midnight Oil’s “Beds Are Burning” and inspiration struck. Bartlett suggested they record it the next day in search of a cathartic experience. Stone’s cover of “Beds Are Burning,” which was written 33 years ago about indigenous land rights, is included in the set. She started exploring the information relating to the inattention to indigenous wisdom on land management in Australia. “Had that information not been ignored, this crisis may have been less damaging,” she says.

Stone ended up working on the song with artists from the indigenous Australian Karrabing community; Natasha Bigfoot Lewis, Quinton Shields, and Deborah Sing added lyrics and vocals. “I get goosebumps when I hear Natasha say, ‘What you gonna do when the whole world’s fried?’” She soon realized the project was more than a song. “I know a heap of great artists, and I just started writing the emails, making the calls, sending text messages,” she explains. “‘Hey, I have this idea. Things are bad in Australia. Here are some people doing really good stuff. Want to help?’… That was on January 8th.”

The National was one of a handful of international acts that jumped at the idea of contributing. Frontman Matt Berninger was the one to suggest the INXS choice, and Stone was immediately sold. “Matt came straight back to me after I presented the idea for the record,” Stone says. “He was so thrilled to have an opportunity to help.”

“I’m so grateful to have a good excuse to cover that song,” Berninger tells us. “One of my favorites ever. Hope it helps a little bit.”

Proceeds from the record’s sales and streams will go to numerous organizations, including SEED, Firesticks Alliance, Landcare, Emergency Leaders for Climate Action, Wild Ark, and NSW Rural Fire Service. All proceeds given to Wild Ark goes to what’s needed on the ground. As for Emergency Leaders for Climate Action, “they are trying to do what the government should be doing,” Stone says. “They have created a bushfire summit to make plans for a future where we can do our best to avoid the repeat of such extreme damage and devastation.”

Songs for Australia Tracklisting:

1. The National, “Never Tear Us Apart” (INXS)
2. Petit Biscuit, “Chateau” (Angus & Julia Stone)
3. Dermot Kennedy, “Resolution” (Matt Corby)
4. Dope Lemon, “Streets of Your Town” (The Go-Betweens)
5. Kurt Vile, “Stranger Than Kindness” (Nick Cave)
6. Joan As Police Woman, “Hearts a Mess” (Gotye)
7. Damien Rice, “Chandelier” (SIA)
8. Martha Wainwright, “The Ship Song” (Nick Cave)
9. Paul Kelly, “Native Born” (Archie Roach)
10. Dan Sultan, “Into My Arms” (Nick Cave)
11. Pomme, “Big Jet Plane” (Angus & Julia Stone)
12. Julia Stone, “Beds Are Burning” (Midnight Oil)
13. Sam Amidon, “Let Me Down Easy” (Gang of Youths)

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Brooklyn’s Jeanines specialise in ultra-short bursts of energetic but melancholy minor-key pop. With influences that run deep into the most crucial tributaries of DIY pop — the Velvets, the Shop Assistants, the Television Personalities, Dolly Mixture, Veronica Falls and Girl Ray — they’ve crafted a style that is as individual as it is just plain pleasurable. Frontwoman Alicia Jeanine (guitar/vocals) multi-tracks her vocals, delivering delicious harmonies, and Jed Smith (bass/drums) infuses bounce and punch. The melodies are perfect pop sugar, and the themes are melancholic with a dose of sunshine — delivered with a direct and sincere lyricism.

60s-meet-80s melodies combine with timeless guitar jangle in a way that recalls everything from The Aislers Set and Saturday Looks Good To Me to more recent DIY pop groups like Parsnip and Chook Race. the tunes on this exclusive 4 track single hearken back to some of the most intriguing moments of the C86/C88 era, when bands like Jesse Garon & The Desperadoes and Talulah Gosh crafted perfect pop gems enlivened by the inspiration of punk.

Alicia Jeanine explains: “I’m kind of obsessed with mortality and how weird the passage of time is, so I think my lyrics reflect that. I definitely lean into that kind of melancholy state of mind when trying to think of lyrics, while trying to avoid cliches!” The marriage of the minor-key melodies and melancholic lyrics is powerful and make Alicia’s songs all the more memorable, with its echoes of girl harmony post-punk groups like Grass Widow and Household.

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Jeanines have been compared to such cult pop icons as Dear Nora, Black Tambourine, and more recent acts like Veronica Falls and Girl Ray, but their dark, modal melodies and pensive, philosophical lyrics, along with Smith’s versatile but ever-economical musicality, ensure them a place of their own in today’s crowded but boisterously healthy DIY pop scene.

Jeanines will be playing their first european shows this spring:

released March 6th, 2020

Alicia Jeanine – Vocals, Guitar, Violin
Jedediah Smith – Bass, Drum, Guitar, Organ, Mellotron, Backing Vocals

all songs written and arranged by Jeanines

A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album.

‘Eyelet’ was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas’ second child and the death of fellow band member Alex Williams’ mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce.

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released March 6th, 2020

All songs* written and performed by Islet: Emma Daman Thomas, Mark Daman Thomas, Alex Williams.

Disq have assembled a razor-sharp, teetering-on-the-edge-of-chaos melange of sounds, experiences, memories, and influences. “Collector” ought to be taken literally—it is a place to explore and catalogue the Madison, Wisconsin band’s relationships to themselves, their pasts, and the world beyond the American Midwest as they careen from their teens into their 20s. This turbulence is backdropped by gnarled power pop, anxious post-punk, warm psych-folk, and hectic, formless, tongue-in-cheek indie rock.

Collector, like the band itself, is defined and tightly-contoured by the ties between the five members. Raina Bock (bass/vocals) and Isaac deBroux-Slone (guitar/vocals) have known each other from infancy, growing up and into music together. Through gigging around Madison, they met and befriended Shannon Connor (guitar/keys/vocals), Logan Severson (guitar/vocals), and Brendan Manley (drums)—three equally dedicated and adventurous musicians committed to coaxing genre boundaries.

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Produced by Rob Schnapf, “Collector” is a set of songs largely pulled from each of the five members’ demo piles over the years. They’re organic representations of each moment in time, gathered together to tell a mixtape-story of growing up in 21st century America. The songs are marked by urgency, introspection, tongue-in-cheek nihilism, and a shrewd understanding of pop and rock structures and their corollaries—as well as a keen desire to dialogue with and upset them.

Released March 6th, 2020

Hamilton Leithauser returns with ‘Here They Come’

Following his 2016 album ‘I Had A Dream That You Were Mine’ with Vampire Weekend’s Rostam Batmanglij and his 2017’s one-off single with Angel Olsen ‘Heartstruck (Wild Hunger)’, former The Walkmen vocalist Hamilton Leithauser is back with new track ‘Here They Come’.

“’Here They Come’ is about a friend who tends to run from his problems,” he explains. “When the going gets tough, he tends to just cut and run. The song is about the specific moment when the lights are coming up in a movie theatre where he’s been hiding out all day, and life’s complications are just coming back into focus.”

My song Isabella is about the kind of friend everyone has in New York…the kind of friend who’s parents might be paying the rent. And if you ask me, that’s precisely the reason she can’t seem to get it together. At first it may not seem like the most flattering portrayal of a friend…but to be honest, it’s not necessarily a friend’s saintliness that I find most interesting, and I mean the song as a compliment.

A lot of people have been writing in recently asking about my new record—which is great. But even more people have been writing in asking if I was thinking about getting a haircut any time soon—which is fine. So, just the other day as I was on my way to play Isabella for my writer/musician friend, it dawned on me that I might kill two birds with one stone, and hopefully get a little positive feedback…and maybe a little trim.

“Isabella” is out March 6th, 2020 Thank you to Maggie Rogers Song by Hamilton Leithauser

I’ll be honest, I don’t know much about Nashville’s Maggie Rose, but was told to drop everything and listen to her second album. I tend to hate traditonal style country music, but this album reminds me just how good that genre can be when it’s full of heart instead of studio polish. Change also radiates with the glory and divine feminine energy of that first Indigo Girls album, you now, the one most dudes have in their record collections. As it steadily builds steam, it turns into a bonafide rock and roll record, reminding me of the days when Linda Ronstadt released bonafide rock and roll records. Perhaps with this album and it’s little bit of country, little bit of honey, and little bit of booty shaking, we finally have something everyone on the Right and Left can agree on.

In 2018, Rose was named a YouTube Emerging Artist and a Artist to Watch. Quickly being recognized as a formidable force in the pop-soul, jam-band arena, Rose performed aboard the Cayamo Cruise with performers including Jason Isbell, Emmylou Harris and Dawes, and she opened tour dates as support for Kelly Clarkson’s Meaning Of Life Tour.

“Change The Whole Thing” Out Now

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Lauren Auder’s Byronic take on the King Krule template washes away the ooz and replaces it with a breezy romanticism and just the right amount of snarl. It’s hackneyed to juxtapose an artist’s age with the maturity of their music, but when it comes to Lauren Auder, the disconnect is almost startling. At first glance, the 19-year-old London producer and singer-songwriter seems indubitably of the moment: his waif-like appearance, gender-fluid fashion sense and close relationships with some of the U.K.’s hottest underground rappers—including slowthai and Jeshi—feel custom-built for youth culture ubiquity. Modeling spreads in Another Man and Dazed alongside a glowing Vogue profile have established him as a rising darling in the fashion world, and his signing to True Panther Sounds,.

The sonics of Auder’s debut EP, Who Carry’s You, place him in an entirely different universe. The five tracks on the record, driven by his resonant, Scott Walker-like baritone, evoke a primal darkness utterly at odds with his visual aesthetic—long hair, painted nails, gender-bending outfits and the occasional bit of eyeshadow. In his music, Auder creates an immersive world where Christian iconography jostles with pagan mysticism, and classical strings fade into menacing trap percussion and frenetic electronic maximalism. Beautiful and harrowing by turn, the music on Who Carry’s You is a cathartic expression of raw emotion imbued with a lyricism closer to romantic poetry than pop.

The new EP ‘two caves in,’ is out March 5th:

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The growing notoriety and the conception of Beach Bunny’s debut album, “Honeymoon” this Bunny is a Chicago based pop band led by Lili Trifilio, who just graduated from DePaul University. After recently being signed to Mom+Pop Records, whose roster includes Courtney Barnett and Flume, the band released their first studio album, Honeymoon, on Valentine’s Day. During these years she has recorded several projects, found bandmates, toured and played Riot Fest and Lollapalooza, become verified on social media, signed to a major label and gained almost two million monthly listeners on Spotify – yet she remains incredibly humble. Although her bright purple hair and permanent warm smile stand out in a crowd, unless she’s on DePaul’s campus, one wouldn’t know that she is about to blow up into a major pop star.

This cover of a 100 gecs crossover status update: Their songs are being covered in whimsical fashion by pop-punk bands. This is a great thing.

From start to finish, Honeymoon is the bookends to a relationship – the highs of a new beginning and the lows of an unwanted end. But with each song there is a chapter filled with words any lover could highlight, with enough margin space to attach our own memories and feelings.

The album opens up with “Promises” – a song about the lack of closure post-break up. In the following track, “Cuffing Season,” themes smoothly form from these unresolved problems, resulting in the idea of commitment sounding impossible after heartbreak. Even with Trifilio’s trust issues, a motif listeners have heard before in her older tracks, Honeymoon comes with a new sense of ressaurance. Trifilio experiments with new vocal melodies and sounds confident. She is validating her own feelings and sings about setting boundaries.

Halfway through the album, “Rearview” slows things down and focuses on Trifilio’s voice and solo guitar. The band enters at the back end of the song with a thematic build up into the drums emphasizing her lyric, “I hate it when you catch me crying.” “Racetrack” is another minimal track that tugs on nostalgia with its music box-esque piano. The album ends on a high note with  “Cloud 9” – a pop banger that reveals the freedom and euphoria that can come from a happy and healthy relationship. The final words are, “You will always be my favorite form of loving.”

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Aussie janglers The Stroppies return in fine form today with a new mini-album that wraps up their recording work from the last year. Vaulting off of their excellent album from last year, the band continues to capture the overcast sway of kiwipop from days past, calling back echoes of The Clean, Able Tasmans, and Tall Dwarfs. They buoy their sunny strums with heavy-sighed harmonies and a hummable heft of organ that gives the song staying power.

The band’s sticks to your ribs more than some of their peers with an ability to let angst and insecurity bask in the sun of their strums – giving their songs a more substantial kick then some of their cohorts. They continue their run at UK label Tough Love and while this might be another short one (something the band seems adept at) these eight songs still feel like a vital part of The Stroppies’ path. The LP descends to the decks on May 1st.

Taken from the record, Look Alive, out 1st May 2020 via Tough Love Records.

Pottery

If you caught Pottery live at any point in the last year, you know they had already become quite a different band than the one glimpsed on their 2019 debut EP No. 1. Approximating some middle ground between Devo and Talking Heads, Pottery were growing into a weirdo art-rock band reliant on frantically clipped guitar grooves and propulsive arrangements. Their shows were quirky dance parties, with lots of catchy melodies blared out in all-hands-on-deck vocal chants.

“Texas Drums” is the first preview of what happened when that iteration of Pottery made it into the studio, and it manages to capture the sweaty, unrelenting energy the band wields onstage. There is a lot going on here, all kinds of guitar blurts and vocal ad-libs and bonus percussion instruments. But it all works towards this bug-eyed intensity, a song that rushes out the gate and never lets up even as it crash lands into its extended Part 2 coda, a melted psychedelic comedown. A lot of young guitar bands are coming up in some kind of mold you could put under the broad umbrella of “post-punk.” But nobody’s playing with those tropes with the sort of joyful abandon that Pottery are.

“Texas Drums Pt I & II” from ‘Welcome to Bobby’s Motel’ out April 10th on Partisan Records and Royal Mountain Records.