Archive for the ‘CLASSIC ALBUMS’ Category

Guitars, so much guitars. So much guitar goodness. At some points it almost feels like I’m listening to guitar riffs of The Mats, REM and Flying Nun laid over each other as Joe Russo (bass) and Marcel Tussie (drums) admirably keep the ship moving forward. But nope, it is Fran Keaney, Tom Russo, and Joe White who in addition to weaving tasty guitar licks are also sharing the vocal duties as well. This seems appropriate for R.B.C.F., an Australian quintet that hit the ground running a few years ago. They released their excellent first EP Talk Tight on the Sydney-based record label Ivy League, then moved to Sub Pop Records for 2017’s The French Press EP. The former is a bit more relaxed and acoustic, while the latter cranks up the volume and pace. Together, they’re a thrilling introduction to a promising young band.

I loved their two EPs so to say I was hyped for the LP is an understatement. And Hope Downs delivers the goods from beginning to end. It is a dizzying and winding 35 minute trek of indie rock delight. The opener, An Air Conditioned Man brilliantly encapsulates my predicament of my day job, and wondering where my youthful dreams went.

Two tunes later, right after the excellent Talking Straight, was inspired by Tom Russo’s voyage to the island of his grandfather’s birth balanced with the struggles of refugees in Australia. Bellarine is an an absolute gem and that is followed by Cappuccino City, a tune that muses about a meandering day in a cafe. Lest I forget, the punchy closer The Hammer which bring the proceedings to a satisfying conclusion.

I love getting lost in these guys tunes and trying to pick out which direction each riff is headed. And as good as their albums are, they are so much better to see live.

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Sam Ray’s agony is near blissful on A Whole Fucking Lifetime Of This, his band’s first album under their new name American Pleasure Club. (Their last LP as Teen Suicide came out in 2016.) You can hear it in his voice, the kind of depression you almost enjoy — there’s a murky pleasure in such heavy emotion, especially when the alternative is numbness. The album establishes mood over genre, spanning choked-up Bright Eyes-like vocals and dusty acoustics, hip-hop basslines and a Frank Ocean sample, and spattering electronics and Auto-Tune. Its chronology is similarly unpredictable: Lovesick obsession is interspersed with heartbreak and regret, moments of awe transition into periods of despair. Instead, the album is organized by images, memories, and fantasies. Ray retreats into snapshots of suburban adolescence — “drunk kids fucking in the backseats of cars,” dreaming of moving to Florida, “eating cherries beneath a sycamore tree,” crying in the grocery store — and uncovers their timeless relevance. Woozy, dreamy, hazy summer or sunny winter day music.

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all music & lyrics by Sam Ray except –
“this is heaven” & “new years eve” – written & recorded with Sean Mercer.
“seemed like the whole world was lost” – Spencer Radcliffe on horns
“eating cherries” – Kitty’s vocals
Released February 16, 2018

“Twinkle” is a pretty uncool name for an indie-rock subgenre, even if it has a certain onomatopoeic honesty: There is perhaps no better word to describe the sound of such guitars. Tiny Moving Parts do this stuff better than anybody else right now, and when they’re tapping the fretboards and jumping between time signatures, these songs are absolutely sparkling. Of course, like fellow Minnesotans the Replacements, Tiny Moving Parts are way above the scene to which they’ve been tied, and also like the ‘Mats, they could just as easily be described as “punk” or “alternative” or just “rock” and the songs would kick ass just as hard. Tiny Moving Parts use their tools in the service of huge-chorus, heart-on-sleeve anthems that would shine in any era. Swell doesn’t just twinkle; this thing is made of future stars. Very rarely does one come across an album in which every single song is thoroughly enjoyable; This is one of those albums.

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Released January 26th, 2018

Tiny Moving Parts:
Dylan Mattheisen – vocal/guitar
Matthew Chevalier – bass/vocals
William Chevalier – drums

On “Cross My Heart,” the opening track of Melody’s Echo Chamber’s new album, Bon Voyage, the French singer Melody Prochet—in her signature enchanting soprano—makes a promise to herself: “This is a promise to my heart / I can’t keep falling from so high.” These words, sung repeatedly throughout a song that seamlessly moves from psychedelic dream pop, through stoner rock to jazz instrumentation and hip-hop breaks, could encapsulate the tumultuous journey that Prochet went through during the making of this album, a follow-up to her 2012 critically acclaimed self-titled debut. Bon Voyage was announced in 2016, yet failed to materialize due to a serious accident that left Prochet bedridden for months. Before that, there was another album, one that took her two years to complete, but that she ultimately decided to scrap after a painful falling out with a close collaborator. Like the sort of hero’s journey Prochet has gone through, “Cross My Heart” is wide-ranging, tentative at times and harsh in others, and beautiful. It’s also full of moments of surprising whimsy that can turn on a dime, ultimately ending in the combative haze of distorted guitar riffs.

Bon Voyageis Prochet at her most adventurous, emerging out of turmoil with a brand new voice and an intense whirlwind of ideas that make for trippy, compelling music that takes the listener across wildly different worlds. The record, made and produced in Sweden with psychedelic wunderkinds Fredrik Swahn (The Amazing) and Reine Fisk (Dungen), is a product of an exchange of ideas and influences between the three—with Prochet bringing in influences like Broadcast, Stereolab, a love of French chansón, and Brazilian popular music (like Milton Nascimento), and Swahn and Fisk throwing in Turkish musicians like Özdemir Erdoğan, Swedish jazz, experimental turntablism, and Swedish folk music. This expansive palette paves the way for Prochet to communicate her tales of darkness, heartbreak, love, and light through lyrics in three different languages—Swedish, French, and English—and through songs that feel more like movements, with most tracks featuring at least three stylistic changes. One of the most important songs of the record, “Desert Horse” begins with a dark yé-yé/psychedelic groove that suddenly shifts into R&B and beatboxing territory (complete with what sounds like Prochet’s voice passed through a vocoder) and features the singer’s piercing scream.

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Bon Voyage is a record that feels as though it is alive—it changes with every listen, giving new perspectives not only on Prochet’s story, but on what happens when musicians let go of genre or stylistic constraints. It’s fitting that Prochet screams throughout the record, purposefully interrupting the flow, signaling that she’s finally able to breathe, physically and creatively.

Songs written by Melody Prochet

Performed by Melody Prochet, Gustav Ejstes, Fredrik Swahn, Reine Fiske, Johan Holmegard, and Nicholas Allbrook 

Starting in Madison, WI as the musical culmination of a decade of friendship and playing in punk bands, Claire Nelson-Lifson and Tyler Fassnacht (Fire Heads) began writing the first of Proud Parent’s jangly, garage infused pop tunes in Claire’s living room. Shortly thereafter Heather Sawyer (the Hussy) joined on drums and vocals, turning the songwriting duo into a trio, and they quickly garnered a devout following both locally and regionally, and gained a reputation throughout the midwest as a live power-pop force to be reckoned with. Now a full fledged four piece, originally with Alex Seraphin on bass and now with Maggie Denman, the band has established its own unique dynamic with three lead singers whose voices and songwriting stand strong individually, yet blend together with such comfort and ease that it is hard to imagine them apart.
After two live tapes (out on No Coast Records and Rare Plant) and a full length cassette Sharon Is Karen (also out on Rare Plant), Proud Parents is ready with their first self-titled LP on Dirtnap Records. This record also marks the first release in eighteen years by a band from the label’s hometown of Madison, WI.

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Proud Parents begins and ends with a bang as the band blasts through a dozen tightly wound tunes full of infectious, harmony ladened choruses, ripping guitar solos and hooks for days as Claire, Heather and Tyler converse, support, and share lead vocal duties like passing around a bag of Halloween candy. The album, recorded and mixed by Bobby Hussy (the Hussy, Cave Curse, Fire Heads, TIT) at his own Hex Empire, is about self-reflection, jumping from saccharine adoration, to heartfelt confession. It touches on themes of isolation, be it intentional or otherwise, anxiety, loss and moving on, with each singer coming at the songs with their own distinct perspective, using humor, red herrings, pets and metaphors to mask the demons. The songs may deal with specific emotions both complex and straightforward, but as a whole Proud Parents stands as a testament to friendship, asking for help, and trying to get better.

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Proud Parents are proud of you, and you should be too.

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The Ophelia’s formed back in their teenage years, when they grew tired of being the, “token-girl”, in various“dude-bands” in Cincinnati. They decided to see what happens if they took tokenism out of the picture; the result was an intriguing collision of styles, from Opera to Surf-Pop, and the birth of a band free from, “the expected censorship of being a sideperson.”

The Ophelia’s debut record, Almost, is out next month on Joyful Noise, and the quartet have this week shared new single, General Electric. The band’s lyrical content is an intriguing juxtaposition of ideas; part poised, assured confidence, part introspection and insecurity, a dissection of growing-up from songwriters right in the middle of the process. Musically, it’s equally intriguing, you can hear the sheer variety of the influences on show. Starting with a gentle buzz of keys and a warm meandering guitar, the propulsive double-time drums enter, before a melancholy, wistful vocal-line flutters into life, “I want to be just like the girls you like, I want to be what you fantasise.”  As with acts like Adwaith or Neighbour Lady, the influences are familiar, yet hard to pin down, sounds you know and love reinvented into something entirely new and quietly wonderful.

Almost is out July 13th via Joyful Noise. Click HERE for more information on The Ophelias.

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It’s been nearly a year since Arcade Fire released Everything Now, but 2018 seems like the right time to release a visual for the album’s centerpiece track “Chemistry.” “When times are really crazy and fucked up, you have to be able to rely on the absurd. It’s a valuable response to the insanity,” Win Butler explains over the phone before boarding a plane that will take him and his band to Europe to resume the Everything Now Continued Tour. “I think it’s confusing to people if we make something that’s not super serious. [But] one of the pieces of our catalog is, ‘Don’t take it too serious; it’s really light.’”

That ethos is at the heart of the track, as well as its video. Directed by Ray Tintori the clip tells the story of an animated cat (played by Tootie Tootz from Big Freedia: Queen of Bounce) and a dog who fall in love under…interesting circumstances.

Butler said about the visuals, and working with Tintori, and the band’s ever-evolving partnership with New Orleans’ Preservation Hall Jazz Band, as well as why they don’t tour as much as other bands of their stature. Watch the “Chemistry” video, check out an exclusive behind-the-scenes look at the recording of “Chemistry” in-studio in New Orleans. An alternate mix of “Chemistry,” from the 2017 album “Everything Now,” recorded live in the studio in New Orleans.

THIN LIPS have a new album ‘Chosen Family’ out July 27th on Lame-O! Recorded at The Headroom in Philadelphia by Thin Lips, mixed by Joe Reinhart with production help from Frances Quinlan comes the bands sophomore LP. The first song “A Song For Those Who Miss You All The Time” premiered yesterday

The band’s current lineup — siblings Chrissy and Mikey Tashjian and Kyle Pulley — have orbited each other for the last decade in Philadelphia, playing in bands and touring together. For two of them, being related by blood certainly helped. Their sophomore album, Chosen Family, is a testament to the connections they’ve forged over the years. It’s about carving out a community for yourself, and its cover art is stitched together with friends and members of the music scene that have come to be a part of this family.

Its lead single, “A Song For Those Who Miss You All The Time,” is about the loss of one of the family, more specifically the death of Tashjian’s younger brother. It’s an anthem for those that are left behind, and it turns the persistent ache into something jubilant. “I know no matter what that he’s not coming back anymore,” Chrissy Tashjian sings, but she’s still left wondering dreaming of that missing piece: “We were together in my sleep/ I knew I recognized your face and you said you knew me.” It’s a heartbreaking song, but it’s wrapped up in one of the catchiest choruses that Thin Lips have ever made. “A Song For Those Who Miss You All The Time” is about living and thriving despite the loss, the feeling of missing someone but having to force yourself to keep going.

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In 2018, Low as a band will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies.

Featuring the music videos “Quorum” “Dancing and Blood” and “Fly” from Low’s upcoming album Double Negative (Release Date: September 14, 2018)

This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves.

Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?.

Low. A band from Duluth, Minnesota, formed in 1993. Featuring Alan Sparhawk on vocals and guitar and Mimi Parker on vocals and drums and Steve Garrington on bass. Sparhawk and Parker are married with two children; they first met in fourth grade in rural Minnesota. Garrington is the latest addition to the band, longtime bassist Zak Sally previously replaced original bassist John Nichols and Sally departed the group after the release of Great Destroyer.

Low released its first album, I Could Live in Hope, in 1994 (producer by Kramer) on Vernon Yard Records. Pegged as “slowcore,” due to the band’s minimalist soundscapes and the beautiful harmonies of Sparhawk and Parker, which stood in stark contrast to the era’s fascination with “grunge.” Low continued to work with varied producers and released a constant stream of critically acclaimed albums (e.g., Long Division, Curtain Hits the Cast, Things We Lost in the Fire), one-offs, collaborations and other miscellany, including a classic Christmas album, aptly titled Low Christmas. Throughout, Low have toured the world.

Remembering The Great Rory Gallagher

Legendary Irish guitarist Rory Gallagher died at the age of 47, as a result of a chest infection he picked up following a liver transplant. Gallagher sold over 30 million records and once auditioned for the Rolling Stones when Mick Taylor left the band in 1972.

The irreplaceable Irish blues-rock guitar virtuoso Rory Gallagher was a cruelly young 47 when he died after complications from a liver transplant on 14th June 1995. Rory Gallagher was born in Ballyshannon in County Donegal and raised in Cork. He began to whip up a storm with his guitar sorcery when he co-founded the trio Taste in 1966, when he was a mere 18. When they started to go international, a couple of years later, they won admiring glances from fans of Cream (for whose famed farewell Royal Albert Hall concert they opened) and Blind Faith, the short-lived supergroup on whose North American dates they also guested. Taste were celebrated with the release in August 2015 of the four-CD I’ll Remember box set.

I'll Remember

Taste only lasted until 1970 themselves, but by then they had played at that year’s Isle of Wight Festival and made two studio albums. The second, On The Boards, was a top 20 success in the UK, and when Gallagher swiftly started recording in his own name under a new solo deal with Atlantic Records, he made the top 40 with his self-titled debut and a swift follow-up, Deuce, both in 1971.

They were the first in a long line of releases to win either silver or gold certification, and it’s appropriate that the sole Gallagher album to make the UK top ten was one on which his celebrated, his blistering style as a live performer was commemorated, on 1972’s Live In Europe. That also enjoyed by far his longest chart run, at 15 weeks. The next year, Blueprint gave Rory his initial US album chart appearance.

Never one to court fame for its own sake, Gallagher continued to enhance his awesome reputation with his prolific recording and touring for the rest of his life. His last studio album, his 11th, was 1990’s Fresh Evidence. He had plans to tour the record, release an EP and more besides, at the time of his death.

But it was always all about the music for Rory Gallagher. “Regardless of fashions there are still blues and rockabilly fans,” he told Chris Welch in Metal Hammer in one of his last interviews. “Certainly for a while, the press overlooked rootsy music [which] they thought was old fashioned and irrelevant.

“But what I’m trying to do,” he continued, “is create music that respects the roots, but is based on new material as opposed to just me doing old blues, acid rock standards all the time. That’s the key really, to update the music itself by hitting it on the head, and coming up with new chord changes and tunes.”

In the later years of his life Gallagher developed a phobia of flying. To overcome this he received a prescription for a powerful sedative. This medication, combined with his alcohol use resulted in severe liver damage. Despite this he continued touring. By the time of his final performance on 10th January 1995 in the Netherlands, he was visibly ill and the tour had to be cancelled. Gallagher was admitted to King’s College Hospital in London in March 1995, and it was only then that the extent of his ill-health became apparent: his liver was failing and the doctors determined that in spite of his young age a liver transplant was the only possible course of action. After 13 weeks in intensive care, while waiting to be transferred to a convalescent home, his health suddenly worsened when he contracted a staphylococcal (MRSA) infection, and he died on 14th June 1995, at the age of 47.