Archive for the ‘CLASSIC ALBUMS’ Category

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Honeyblood’s third album sees Stina Tweeddale finding her most ambitious form and steely focus yet. Three albums in she has stepped forward to finally claim the mantle of the project she birthed seven years ago as a her sole vision. Stina takes the reigns in collaboration with none-other than super-producer John Congleton (Angel Olsen, St Vincent) for the most definitive Honeyblood LP to date, consolidating the Glasgow-born band as one of the most important UK names. On lead single, The Third Degree Stina’s arguably perfected the fine art of the punk-rock ode-to-the-shit-head-ex. ButIn Plain Sight is as sonically gung-ho as peak era Garbage, or the modern day likes of St Vincent; big, bold, songwriting no longer content to be tied to one limited genre. Woven with mysterious themes of illusion and deception, Tweeddale describes the album as “one big trick”. Being hoodwinked never felt so exciting.

Taken from the album ‘In Plain Sight’ out 24th May

Crushing   album artwork

Julia Jacklin followed up her strong and promising 2016 debut, Don’t Let The Kids Winwith something decidedly different: A chill, laidback indie rock trio album with some buddies under the name Phantastic Ferniture. The album was unfairly overlooked by most folks, but had a shaggy, loose vibe that, when paired with Jacklin’s songwriting wit and floating voice, made it impossible to ignore once you heard it.Jacklin’s solo again with “Crushing” her sophomore LP as a solo act, and neither of her previous albums could have prepared anyone for this: Crushing is an organs-on-the-table dissection of a breakup, absolutely harrowing and wrenching in its lyrical specificity and its openness. Crushing’s 10 songs examine the tumultuous waves present in each breakup. Separating in a relationship is not linear; it comes in wave after crushing wave. The anger gives way to sadness gives way to regret gives way to trying to forget them gives way to grim acceptance. Jacklin captures it all in Crushing.

Crushing opens with “Body,” a song recounting an apparently real fight with her boyfriend over him getting kicked off a flight for smoking in the bathroom, culminating in her wondering if he’ll use the nude photos he took of her to hurt her in the future. “I’m gonna leave you / I’m not a good woman when you’re around” Jacklin sings solemnly over the trace drumbeat and a strummed guitar, capturing so much with so little, the hallmark of Jacklin’s songwriting.

The album rolls like the cover of Unknown Pleasures through the feelings post-breakup, often accompanied by instrumentation that matches the ups and downs. “When the Family Flies In,” which ends with a pained ponderance over the music video she sent her ex the last time they talked, is all piano, and dulcet tones, while “Pressure to Party,” a song about wanting to force yourself out into society after the breakup, but taking the time before trying to love again soon, is upbeat, shredding and shouty. Crushing, as much as it is a breakup album, is also a showcase for how varied Jacklin’s songwriting has become in the last three years; she can do loosely tied indie rock and piano ballads and acoustic campfire songs and gruff tell offs effortlessly in a row here.

Crushing’s arc is one of reclamation; through these songs, Jacklin is able to regain some control over her body, how she wants to be loved, and her own headspace.

The album closes with a personal affirmation and a confirmation that she’s ready to let go. “I’ll be OK / I’ll be alright / I’ll get well soon / sleep through the night / don’t know how you’re doing, but that’s what I get / I can’t be the one to hold you, when I was the one who left,” she sings quietly over a Chemtrail guitar line. Crushing might be the story of Jacklin’s personal breakup, but it’s also her most universal record; it’s a salve for when you’re in the pit of a breakup and eventually you’ll get a hold of yourself, try the restaurant your ex always wanted to go to, say “fuck them,” and move on.

Produced by Burke Reid (Courtney Barnett, Liam Finn) and recorded at The Grove Studios, Crushing sets Jacklin’s understated defiance against a raw yet luminous sonic backdrop. New album ‘Crushing’ will be out February 22nd

The Cure has announced four concert dates in Australia to celebrate the 30th anniversary of the legendary album, “Disintegration”. They will be playing at the Sydney Opera House on May 24-25, 27-28. This is considered to be the “world premier” of the 30th anniversary shows, leading us to believe that they be doing more of these shows in the future.

Also in 2019, expect The Cure to perform at quite a few festival shows, release their first album in over 10 years, and get inducted into the Rock And Roll hall of fame. It could be quite a busy year.

In the meantime, enjoy this video of one of their new songs that they have been playing at recent shows. It’s called “It Can Never Be The Same” and it already has the makings to be one of their best songs.

The song is a perfect balance of long guitars loops, effective keys and drums, and the bass line feels like a classical Cure trademark. The result is that intimate and powerful mix of bitterness and sadness that probably only this band is capable to produce.

The lyrics could easily indicate the loss of a person (and the animated image of a candle used as a background during the live performance reinforces this supposition), and if that is the case, at this point we don’t know if it’s about a real loss in Robert’s life, or an hypothetical one, the fruit of his imaginary work. The subtle crescendo toward the end is very touching, with a little note of rage that fades into despair.

This is one of those songs that just get stuck inside and don’t let you off the hook for a while, because once you are taken into that emotional state.

It Can Never Be The Same live from The Cure North American Tour 2016 during the 3 shows @ Madison Square Garden on 18th, 19th and 20th June.

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Founded 40-odd years ago by sole permanent member Chris Desjardins (known as Chris D.), the Flesh Eaters came from the same late-’70s Los Angeles. scene that yielded bands including X, the Blasters and Los Lobos—all of whom lent members to the Flesh Eaters’ touchstone 1981 album A Minute to Pray, a Second to Die. As luck would have it, that’s the roster that reconvened for the first time since then to back Desjardins on I Used to Be Pretty, the Flesh Eaters’ first new album in 15 years. Dave Alvin and Bill Bateman of the Blasters; John Doe and DJ Bonebrake of X; and Steve Berlin from Los Lobos form a powerful combo, surging along with Chris D. in what amounts to a master class in taut punk-rockology, with an antagonistic streak. Chris D. makes the most of his all-star lineup, revisiting songs from throughout the Flesh Eaters catalog and laying down what in most cases are definitive new versions. Though the versions of the songs on I Used to Be Pretty sound fantastic, it can be tricky messing around with the alchemy of previously recorded music. There was a certain charm to the ramshackle, handmade feel of these tunes as they appeared on the original albums. That said, these gussied-up, more professional arrangements show Chris D.’s songs in the best possible light. Their power, their attitude and their sheer trashy abandon have never been more evident, which means Desjardins in a way is finally getting his due.

The Flesh Eaters, LA’s unconventional “supergroup”, reunites classic 1981 lineup of Chris D, Dave Alvin, John Doe, Bill Bateman, Steve Berlin, and DJ Bonebrake for their first new recording in more than 35 years. The third single from the Flesh Eaters forthcoming album “I Used To Be Pretty” is “Black Temptation”, a new song written by Dave Alvin and Chris D.

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“Never Give Up” marks the debut LP for international garage-rockers, Abjects. Formed in 2013 by Noemi (Guitar/Vox- Spain), Yuki (Bass/Vox- Japan) and Alice (Drums/Vox – Italy), the band grew a following from their home base of London with tours across the UK, Japan, EU, and US earning spots alongside the the 5.6.7.8.’s, Mikal Cronin, Shannon & the Clams, and La Luz with their quick, loud, edgy, and melodious garage-punk numbers. Their 11 new tracks explore both personal challenges and those they’ve observed with the rise of populist movements in post-Brexit London. As Noemi describes it, “The album is an amalgamation of tracks that illustrate our life journey in the last 5 years. Feelings of frustration and failure are shook off and translated into new challenges to overcome whilst having a lot of fun at it. We want people to have fun listening to our music, and to infuse others with energy, drive, and self¬-determination.”

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Their sound is bold, guitar-heavy and so edgy, you’d be afraid to reach out and touch it for fear of getting cut. Abjects are the kind of band that can restore faith in the future of exciting, authentic-feeling music”

Abjects, an all-girl London trio who have been recording for Pins’ own Haus of Pins label and they appear to be in their element as they run through an impressive set of edgy garage tunes, perky basslines washed over with lashings of blurry guitar.

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Our favourite palindromic glitter punx from Seattle, Tacocat, give us our video of the day today. Enjoy a ‘Grains of Salt,’ from forthcoming LP This Mess Is A Place (available May 3rd on Sub Pop Records).

When Seattle band Tacocat—vocalist Emily Nokes, bassist Bree McKenna, guitarist Eric Randall, and drummer Lelah Maupin  first started in 2007, the world they were responding to was vastly different from the current Seattle scene of diverse voices they’ve helped foster. It was a world of house shows, booking DIY tours on MySpace, and writing funny, deliriously catchy feminist pop-punk songs when feminism was the quickest way to alienate yourself from the then-en vogue garage-rock bros. Their lyrical honesty, humor, and hit-making sensibilities have built the band a fiercely devoted fanbase over the years, one that has followed them from basements to dive bars to sold-out shows . Every step along the way has been a seamless progression—from silly songs about Tonya Harding and psychic cats to calling out catcallers and poking fun at entitled weekend-warrior tech jerks on their last two records on Hardly Art.

“This Mess is a Place”, Tacocat’s fourth full-length and first on Sub Pop, finds the band waking up the morning after the 2016 election and figuring out how to respond to a new reality where evil isn’t hiding under the surface at all—it’s front and center, with new tragedies and civil rights assaults filling up the scroll of the newsfeed every day. “What a time to be barely alive,” laments “Crystal Ball,” a gem that examines the more intimate side of responding emotionally to the news cycle. How do you keep fighting when all you want to do is stay in bed all day? “Stupid computer stupor/Oh my kingdom for some better ads,” Nokes sings, throwing in some classic Tacocat snark, “Truth spread so thin/It stops existing.”

Tacocat are doing what they’ve always done so well: mingling brightness, energy, and hope with political critique. This Mess is a Place is charged with a hopefulness that stands in stark contrast to music that celebrates apathy, despair, and numbness. Tacocat feels it all and cares, a lot, whether they’re singing odes to the magical connections we feel with our pets (“Little Friend”), imagining what a better earth might look like (“New World”), or trying to find humor in a wholly unfunny world (“The Joke of Life”).

Throughout the album, Tacocat questions power structures and the way we interact with them, recalling the feminist sci-fi of Ursula K. Le Guin in pop-music form. “Rose-Colored Sky” examines the privilege of people who have been able to skate through life without ever experiencing systemic disadvantage: “For all the years spent/Hot lava shaping me/For all the arguments/I wonder who else would I be?” Nokes sings. “If I wasn’t on the battleground/I bet I could’ve gone to space by now.” “Hologram” reminds us to step outside ourselves and try to see beyond imaginary structures that trap us: “Just close your eyes and think about the Milky Way/Just remember if you can, power is a hologram.”

“Grains of Salt” finds the band at the best they’ve ever sounded: Maupin’s spirited drums, McKenna’s bouncy walking bass, Randall’s catchy guitar and Nokes’ soaring melody combine to create a bonafide roller-rink hit that reminds us that it just takes some time, we’re in the middle of the ride, and to live for what matters to you. It’s a delightfully cathartic moment and the cornerstone of the record when they exclaim: “Don’t forget to remember who the fuck you are!”

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Following a sold out London show with Swearin’, Cambridge indie pop trio Mammoth Penguins are delighted to announce that they have signed to Fika Recordings and that their third album, “There’s No Fight We Can’t Both Win”, will be released on 26th April 2019.

The band are streaming lead single ‘I Wanna’ today, listen and share here:

“‘I Wanna’ is a super simple song about how liking someone can unlock a load of creativity and energy,” comments vocalist Emma Kupa, “and suddenly there are so many possibilities and so much potential, and life becomes way more fun.”

Mammoth Penguins are a 3-piece indie pop powerhouse, showcasing the songwriting and vocal talents of Emma Kupa (Standard Fare, The Hayman Kupa Band) backed up by the noisiest rhythm section in indie pop.

Their first album, Hide and Seek, was released with the much-loved and sorely missed Fortuna Pop! in 2015. But Mammoth Penguins didn’t want to stop there.  Their follow-up release John Doe in 2017 was an ambitious concept album, exploring the feelings of loss and anger at a man who fakes his own death, only to return years later. It featured contributions from Haiku Salut’s Sophie Barkerwood and Alto 45’s Joe Bear, and expanded well beyond the 3-piece rock‘n’roll template, with washes of strings, synths and samples (field recordings of butter being scraped on toast, photocopiers, and Ramsgate beach helping to fully immerse the listener in the world the band have created) filling out and developing Kupa’s songwriting.

Having had their ‘and now for something completely different’ moment, the band have brought that ambition and expanded palette to the production of this new release. The sound is big, bold and confident—with layers of guitars, backing vocals and keys all adding extra muscle—but maintaining Kupa’s candid, heartfelt, confessional style of songwriting, and the jubilant power pop hooks that made the first record so special.

As with many songwriters, Kupa’s songs are derived mostly from her own personal experiences, thoughts, and feelings, be they long-lived or fleeting. “The times when people have said my lyrics resonate with them or articulate something specific for them are extremely validating for me and I hope that happens with this album,” she explains of the new record.

“Arranging the songs with Mark and Tom is a massive buzz and playing them live as a band feels so exciting. Having Joe and Faith put their mark on the album was also a massive privilege. Making a record can be an extremely slow and drawn out process that requires patience, perseverance and resilience, and because of that we are super excited and proud to be releasing this album.”

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This time around, classic themes of love, loss and conflict are (mostly) given a hopeful and optimistic spin that opposition is neither inevitable nor hopeless. For musical comparisons, think Land of Talk, and Philadelphia bands such as Swearin and Hop Along, but Kupa’s insight into the everyday and her ability to pen such relatable and honest missives means that, often, the best comparison for Mammoth Penguins’ music is with your own past.

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Sparrow Steeple’s music exists in its own universe. An imagined utopia (or is it a dystopia?) of wolfmen, murderous wizards, whispering woods & leprechaun treasure. Their second album “Tin Top Sorcerer” arrives near the front end of 2019, just in time for spring to blossom.

Comprised of three members of inscrutable indie legends Strapping Fieldhands (who blazed many musical trails in the Nineties via records for Siltbreeze, Shangri-La & their own Omphalos Records), Sparrow Steeple specialize in mini-opuses that drift & careen haphazardly like Grimm’s Fairy Tales sung by Syd Barrett – psychedelic tales of rapturous joy & sinister machinations by creatures real & imagined, all wrapped around dreamlike tunes of avant folk, psychedelia, and outsider music. “Roll Baby”s drunken-tavern sing-a-long is peppered by blistering guitar leads & wobbly harmonica (courtesy of Philly-legend “Harmonica” Dan Balcer) while “Stabbing Wizards” backwards guitar lends a foggy aura of disquiet to the tale of treachery & betrayal. Despite the fantastic yarns spun (see the tragic tale of the “Wolfman of Mayberry”, or “Girl of the Whispering Woods”), “Tin Top Sorcerer” has an air of realism – or perhaps “magical realism”, that place these songs in a place simultaneously out-of-time and from a possible future, permeated by a sense that these things could actually have happened (or will happen) at some point in our shared existence.

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From the Philadelphia band’s second album “Tin Top Sorcerer”, out April 5th, 2019 via Trouble In Mind Records

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Jenny Lewis is in a sharing kind of mood this February, dropping new song “Heads Gonna Roll” .

The track will open Lewis’ forthcoming full-length, “On the Line”, scheduled for release on March 22nd. It features an all-star cast with Ringo Starr on drums, Don Was playing bass and Benmont Tench of Tom Petty’s Heartbreakers on keyboard. “Heads Gonna Roll” is the second song that’s been released from On the Line,following the snappy “Red Bull & Hennessy.”

Benmont Tench: Hammond B3 Organ Don Was: Bass Jenny Lewis: Piano Ringo Starr: Drums The Section Quartet: Strings

Jenny Lewis will follow the album with an extensive U.S. tour

In and out of focus in a hallucinogenic haze, Bill’s conversations with himself follow a travel-worn map copied over and over again. The picker journeys sonically from familiar to unknown places, a style suspended between the traditional and the avant-garde, expansive and flowing like boiled-over magma. Bill MacKay is a Chicago based guitarist-composer-improviser. He has energized experimental folk, rock, and avant-garde scenes with his radiant songs, and creative and unpredictable approach to the guitar.

Smoke signals, sirens, urgent messages Bill MacKay‘s six-string mastery pulses like a sun with (Sandy) Bull-ish psycho fusions on Fountain Fire, his second solo album for Drag City. The fire in the album title is a continuity in Bill’s life – part of his genealogy, his living history, his astrology and the scorching effect of the over-driven slide throughout the album! Bill melds slide, acoustic and distorted electric tones on Fountain Fire to explore the enigma at the end of a continent, civilizations that precede others, and how we all end up the same. MacKay also throws another element into play: a stark and emotionally-charged vocal number that causes the hair to raise on the listener’s neck with a haunting and eerie beauty. This number, “Try It On,” shows Bill has found a broader plane of expression than he’s ever revealed before, his voice expanding his songwriting into uncharted zones and territories

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releases March 22nd, 2019

Written, performed and produced by Bill MacKay 
Instruments: guitar, bass, piano, voice, percussion, organ, glass slide, requinto