Archive for the ‘CLASSIC ALBUMS’ Category

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On their first album in 22 years, semi-grungy and orchestral power-poppers That Dog (usually stylized as “that dog.”) make a stupendous return that ranks easily among their best work, from the hard-rocking “Just the Way” and “If You Just Didn’t Do it,” to the more tender approach of “Your Machine” and “Bird on a Wire.” Titles like “When We Were Young” and of course the title-track, “Old LP” are no doubt in-jokes about the long gap between records, but the former is a sunny mid-tempo number with impressive vocal harmonies, while the latter is the true highlight of the record, as it is a very heartfelt tribute to the Haden sisters’ father, famous jazz bassist and bandleader, Charlie Haden, who died in 2014.

Really, the title-track of this record is one of the most ambitious and beautifully soaring songs of the year. With its intricate arrangement and insistent melody, it is truly award-worthy. This whole album was made with love and it shows.

After twenty-two years, it’s here: “Old LP”, is the fourth full-length from legendary guitar pop group that dog., and the first since 1997’s Retreat From the Sun. In some ways, it finds the three members of that dog.—guitarist/vocalist Anna Waronker, bassist/vocalist Rachel Haden, and drummer Tony Maxwell—picking up where they left off. Across its eleven songs, there are interlocking vocal melodies, hooks-on-hooks, and Waronker’s signature guitar tuning.

There’s the unshakeable tension between sweetness and dissonance, between dark and light, between life-or-death seriousness and tongue-in-cheek wordplay. But with two decades of life experience behind them, the dynamics of that dog. are now notably more stark and sophisticated, layered and multi-dimensional.

Band Members
Anna Waronker, Rachel Haden, and Tony Maxwell

The new album, “Old LP” released, October 4

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This San Francisco band blends shoegaze guitars with jangling power-pop accents. Standouts like “Time is Weird,” “Pillbox” and “Lollipop Crush” should earn them comparisons to everyone from Velocity Girl to Alvvays. Of course, Lush and My Bloody Valentine also come to mind. When the distortion gets reduced on the driving and atmospheric, “There Were Only Shadows,” a lot more moodic textures are left to explore. This is one of 2019’s biggest word-of-mouth wins.

There’s a delightful layer of guitar fuzz over all 11 of the pretty, peppy songs on the debut album from this San Francisco-based quartet Seablite. Their music is shoegazer-y, but with a forward propulsion that’s pure pop, not about to drift too far off into the ether.

The album’s packed with melodies and harmonies, of the perfectly formed sunshine-pop sort; the music’s noisy atmosphere is a countervailing force of weight, adding texture and depth of feeling to songs that could lift off into the sky if allowed to. In the middle songs like “(He’s a) Vacuum Chamber” unexpectedly slow things down, pulling us into a more foreboding sort of loneliness.

Band Members
lauren , galine,  jen,  andy

“There Were Only Shadows” from Seablite’s debut LP “Grass Stains and Novocaine” out now on Emotional Response!

The British band’s new album “Withdraw” definitely ups the ante from their past work, while maintaining their appeal. That wonderfully sludgy riff that serves as the anchor of the title-track will leave you hitting the repeat button, while the jangle-pop of “Nervous Energy” and the playful pop-punk glide of “Going to Brighton” in undeniable. “No Thanks” sounds like it has startling pop-radio crossover potential while “New Girl” is a pristine dose of thought-provoking, well-plucked indie rock. Front-woman Kathryn Woods’ lyrics keep their bite no matter what the backdrop. This record is brisk but feels thick with details. The lyrics go straight through my chest like laser beams, and the sound is so fun and joyous.

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Punx from London who love emo, shredding, touring, oat milk, and using friendship to fill a gaping uncertain hole inside of yourself.

The 35-year-old English singer-songwriter Yola may sound very American on her Dan Auerbach produced debut full-length album, but her voice has a distinctive drawl. It’s not the American South one hears, but a British accent (think the Kinks’ “Muswell Hillbillies” or Dusty Springfield in Memphis recordings). That somehow gives her vocals an authenticity because she sings without imported affectation. Yola has a winning stage presence and can move an audience equally with lyrics about a quiet Sunday drive or a sultry, loving all-night experience.

Yola’s “Ride Out In The Country,” from her Dan Auerbach – produced debut album, “Walk Through Fire”,

Her country influences may be clear, but her London via Bristol connections also come through. That may be one reason she covers Elton John’s “Goodbye Yellow Brick Road” in concert. Yola may have been looking for Oz. She seems to have discovered her heart, brains, and courage as her original material proclaims she has found them by looking inside and being true to herself. Auerbach may be a musical wiz, but it’s Yola herself that is the center of her story.

Yola’s “Goodbye Yellow Brick Road” from her Dan Auerbach-produced debut album, Walk Through Fire,

The Melbourne band Twerps had a solid near-decade run as a melancholic, melodic guitar-pop band. Twerps guitarist Julia Macfarlane’s current solo project, J. Macfarlane’s Reality Guest, gets stranger and cuts deeper to the heart and bone. Ta Da’s first track is a mood piece, with ample silence; it’s a signpost of Macfarlane’s experimental approach to pop and it’s a preparatory step, getting us in a proper head-space of caution and anxiety. The songs have the ecstatic optimism of exploration, working through ideas in skeletal form.

Musically think of the Raincoats’ Odyshape, the primitive and visceral sound of early rock guitar, a one-person homegrown Stereolab, melodies you dream about and try to recapture when awake, small Casio keyboards trying to play psych epics on their own.

“Ta Da” is also a sustained exploration of heartbreak, over one dissolved relationship but also the whole of humanity. It’s the sound of someone realizing a relationship has become a dreary series of cold transactions… or realizing life itself might be becoming a dreary series of cold transactions on a planet nearing its end days.

Cheerful music, yes? But it is…and invigorating, exciting, adventurous, emotional. It ends with a gorgeous ballad aiming a direct question at the universe: “Where are you, my love?”

From the album “TA DA”, available though Night School Records on vinyl, CD, and digital https://nightschoolrecords.com/produc…. Originally released through Hobbies Galore.

Jeanines is a compact, breezy distillation of the stripped-down essence of what indie-pop is, and has been, about. On their 16-song, under-30-minute debut album, the duo of Alicia Jeanine and Jed Smith remind us again that sometimes all we need are simple, heartfelt sentiments, sung sweetly to catchy melodies over minimalist guitars and drums.

Brooklyn’s Jeanines specialize in short bursts of energetic but melancholy minor-key pop. With influences that run deep into the most crucial tributaries of DIY pop — Television Personalities, Marine Girls, early Pastels, Dolly Mixture — they’ve crafted a style that is as individual as it is just plain pleasurable. Jeanines specialize in 60s-meet-80s melodies that combine with timeless guitar jangle in a way that recalls the UK’s C86/C88 era, when smart young bands crafted perfect pop gems enlivened by the inspiration of punk. Clearly, with 16 great songs included, there is a lot at work here on this standout debut album. 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 ensure them a place of their own in today’s crowded but boisterously healthy DIY pop scene. Throw in a cover of the Siddeleys‘ classic “Falling Off My Feet Again” and any indie-pop fan should be besotted and besmitten.

Taken from their self-titled debut album, out now on Slumberland Records.

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There’s a no-wave anxiety pulsing through French Vanilla’s sound — through the punchy saxophone and bass, and singer Sally Spritz’s vocal delivery — but also California sunshine.

Their second album playfully asks cutting questions about identity, society and power dynamics on songs like “Lost Power” and “Bromosapien”, taking a sense of humor to the struggle. The songs have a punk sense of rebelliousness but also come off like the start of an eternal dance party.

Music video by French Vanilla performing Suddenly.  Danger Collective from the album How Am I Not Myself?

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Following on from the release of two well received EPs, London-based songwriter Brooke Bentham returned this week with her latest single, “All My Friends Are Drunk”. Brooke is just off the back of a tour with Bill Ryder-Jones, who produced this single, and will be following it up next month with huge shows supporting Sam Fender.

Much of the appeal of Brooke’s songwriting lies in her impressive lyricism, a songwriter detailing the post-university fog of your early 20s, a time when insecurity looms large and the world is simultaneously full of opportunity and utterly terrifying. All My Friends Are Drunk is a musing on growing apart, an attempt to capture “that wishful longing for what was”,set to a backing of driving rhythm guitars and the steady clatter of cymbals. Sliding in neatly alongside the likes of Soccer Mommy or Hazel English, Brooke Bentham creates a world of hazy, tumbling emotions, this feels like the start of something huge.

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All My Friends Are Drunk is out now on AllPoints.

Cable Ties, photo by Spike Vincent

Melbourne trio Cable Ties have announced their second album, ‘Far Enough’, will be released on March 27th through Merge Records and follows their excellent 2017 debut.

They precede it with the record’s lead single ‘Sandcastles’, debuted via the Danny Cohen-directed visuals below.

“‘Sandcastles’ is a criticism of the idea that an effective activist community can be created by shouting down and casting out anyone who doesn’t abide by the social norms or language of an exclusive community or group,” explains vocalist Jenny McKechnie.

“The song is aimed at a figurative individual who doesn’t have any interest in making positive changes in society or participating in open and productive discussions about political and social issues. Rather, they set themselves up as the gatekeepers of progressive groups by aggressively policing language and immediately casting out anyone who doesn’t abide by the codes of behaviour they have created. This turns purportedly inter-sectional, progressive groups into exclusive clubs only accessible to people with homogeneous opinions, social and economic backgrounds, and ways of speaking.”

Jenny McKechnie, Shauna Boyle, and Nick Brown will release the album “Far Enough,” out March 27th, 2020.

Montreal’s Elephant Stone was formed in 2009 by sitarist/bassist Rishi Dhir. As one of the most highly sought out sitar players in the international psych scene, he has recorded, performed and toured with Beck, the Black Angels, Brian Jonestown Massacre, the Horrors, and many more.

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