Archive for the ‘CLASSIC ALBUMS’ Category

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Hope Sandoval and The Warm Inventions – Son Of A Lady

Hope Sandoval And The Warm Inventions are Mazzy Star’s Hope Sandoval and My Bloody Valentine’s Colm Ó Cíosóig. This limited 10″ vinyl features new tracks alongside recordings from their 2016 critically acclaimed LP ‘Until The Hunter’ sessions.

The release includes an acoustic version of their album favourite ‘Let Me Get There’ featuring Kurt Vile as well as three new tracks Sleep, Son Of A Lady and Antiquity – the latter track being exclusive to the vinyl format.

‘Until The Hunter‘ also featured guest performances from longtime friends and collaborators Dirt Blue Gene, Mariee Sioux, Kurt Vile and the ‘Artist General’ Michael Masley.

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Siv Jakobsen  –  The Nordic Mellow

Having impressed with single Like I Used To earlier in the year, Norwegian songwriter Siv Jakobsen is now making waves with her debut album. Produced by Matt Ingram (Laura Marling, The Staves) at Urchin Studios in London, The Nordic Mellow is a brooding and intense work, loaded with the intimacy of her delicate voice, acoustic guitar, strings and unfiltered lyrics, that calls to mind the earlier works of Ane Brun and Laura Marling. It follows her seven-track EP from 2015, The Lingering.

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Julia Jacklin  –  Eastwick / Cold Caller

Limited 7″ on Light Blue Vinyl. Julia Jacklin releases a new 7″ released via Transgressive Records. The first single Eastwick is a captivating, slow building track, inspired by a night in front of the TV watching Dancing With The Stars. It’s a bittersweet and mourning pop nugget.

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Slotface – Try Not To Freak Out

Following 2 critically acclaimed digital-only EP’s, Slotface return with their debut album Try Not To Freak Out recorded with producer Dan Austin (Pixies, Doves, Queens Of The Stone Age). Try Not To Freak Out is nothing short of a massive rock record – one that weds the pop nous of Robyn and Blondie to the exuberant, freewheeling attack of bands like Joyce Manor and Little Big League.

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Flowers  –  Say 123

Limited Edition Red Vinyl 7” (300 copies). London trio Flowers return with a new single via Fortuna Pop!, the last to be released on the label, singer Rachel Kenedy’s ethereal vocals and Sam Ayres textured guitar are, as always, backed by the powerful, metronomic beat of drummer Jordan Hockley. Rachel told us a little bit about the genesis of the recordings: “Sean from Fortuna Pop! is sadly moving on to greener pastures in Japan and ending the label, but he asked us to do one last single for him, as we owed one for his Jukebox 45s Singles Club. We don’t know where we’ll end up next after Fortuna Pop!, so rather than looking forwards for this single we decided to be nostalgic and do something that, for us at least, is classic. For the three of us in the band, “Flowers” has always meant our live performances and our home demos, of which Sam and I have produced hundreds and hundreds (we write them every day), and most of which will probably never be heard by anyone except us, our dog and our long-suffering neighbours. Say 123 is one of these home recordings. The best bit is at the end. The b-side, Rhodes, was recorded at Big Jelly Studios, where we’d gone to record an EP. We realised after recording the songs we’d brought with us that we’d made a mistake, as the songs weren’t quite right or ready yet. But while we were there, we fell in love with the sound of the Fender Rhodes in the corner of the studio. With about half an hour left before the van arrived to take us back to London, Sam quickly played me some chords on guitar and hummed a melody for a verse. I got out a pencil and paper and somehow by the time all our gear was loaded into the van we’d written and recorded this song (we did it live and used one take).”

 

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Susanne Sundfor  – Music For People In Trouble

Acclaimed Norwegian singer-songwriter and producer Susanne Sundfor releases her highly anticipated new album Music For People In Trouble, through Bella Union. Sundfor’s most poignant and personal album to date, Music For People In Trouble marks her out as one of the most compelling artists in the world. The album was inspired by a journey Susanne made in a bid to re-connect, travelling across continents to contrary environments and politically contrasting worlds from North Korea to the Amazon jungle.

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Courtney Marie Andrews  –  Sea Town / Near You

Courtney Marie Andrews brings you the first new recordings since her highly successful album Honest Life. With an album already tipped for a place in everyone’s end of year lists under her belt, Courtney Marie Andrews wastes no time in following it up with two brand new songs. Songs written on the road about being on the road – “I’ve probably driven north up I-5 towards Seattle five hundred times by now. I wanted to write a song that documented that feeling I get when I’m driving back up north after many months spent on the road. So much of my life has been spent driving that portion of highway, and I wanted to sonically capture the feeling I get when I’m headed north for that sweet Sea Town.” These two songs are exclusive to this release.

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Ariel Pink –  Dedicated To Bobby Jameson

Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, “Dedicated to Bobby Jameson”. The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. Standout tracks from Dedicated to Bobby Jameson include Feels Like Heaven, a lovelorn insta-classic paying tribute to the promise of romance, Another Weekend, which encapsulates the lingering euphoria of a regrettable weekend over the edge, “Dedicated to Bobby Jameson,” a rah-rah psych romp paying homage to L.A.’s punk history, and Time to Live, an ironic anti-suicide anthem that promotes survival as a form of resistance before devolving into a grungy, Video Killed the Radio Star-style breakdown that supposes life and death as being more or less the same fate and embraces the immortal anarchy of a rock song as an alternative to the prison of reality. Alternately contained and sprawling, Dedicated to Bobby Jameson is a shimmering pop odyssey that represents more astonishing peaks and menacing valleys in the career of a man who, through sheer originality and nerve, has become an American rock and roll institution. The album marks his first full-length release with the Brooklyn-based label Mexican Summer.

The Doors   –  The Singles

Singles compiles all 20 of the singles from The Doors’ official discography. This not only includes every A and B-side from their core studio albums, but several albums recorded and released after the passing of frontman Jim Morrison, including Other Voices (1971) and Full Circle (1972) plus An American Prayer (the divisive 1978 album which put Morrison’s poetry recordings to music) and the 1983 live set Alive, She Cried. All tracks are sourced from the original analog single masters and remastered by the band’s engineer Bruce Botnick. That means all the original, unique and rare single mixes and edits will appear in this set, many for the first time on CD. The pot is sweetened even further with the presence of mono radio versions of “Hello, I Love You,” “Touch Me,” “Wishful Sinful” and “Tell All the People,” entirely unreleased since their appearance on promotional singles.  Two deluxe editions will also be available. One adds to the 2CD set a Blu-ray Audio disc of 1973’s quadraphonic The Best of The Doors. A vinyl version, limited to 10,000 copies and available through the band’s official web store, features all 20 45RPM singles in replicas of their original sleeves (with an enclosed poster featuring all those sleeves as well).

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Deer Tick  –  Vol 1

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Deer Tick  –  Vol 2

Deer Tick proves with their two new simultaneously released albums titled, Deer Tick Vol. 1 and Deer Tick Vol. 2 that their punk-roots rock have only gotten better with age since their last LP. The twin albums complement one another but also stand independently. Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band’s longtime garage-rock flirtations for a triumphant foray into punk. McCauley sees the two records as a natural progression as he’s always had one foot in each door. It’s been four years since Deer Tick’s last release, Negativity. In the meantime, Deer Tick – an all-consuming band known for constant touring and steady artist output – took a backseat. The band – made up of McCauley, guitarist Ian O’Neil, drummer Dennis Ryan, and bassist Christopher Ryan pursued solo and worked on others’ projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another so they started making plans to go in the studio.

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Steve Miller Band  – Ultimate Hits

Steve Miller Band’s Ultimate Hits, available as standard (1CD/2LP) or deluxe (2CD/4LP) packages, features the many AOR-oriented hits that made Miller’s first compilation, Greatest Hits ’74-’78, one of the highest-selling albums in America, including “The Joker,” “Rock’n Me,” “Fly Like An Eagle” and “Jungle Love,” plus later hits like “Abracadabra” and “I Want to Make the World Turn Around.”  Rarities abound on both sets: the standard version includes unreleased live versions of “Living In The USA” and “Space Cowboy” plus a solo rendition of “Seasons” from Steve Miller Band’s 1969 album Brave New World. The deluxe edition features 40 tracks total, including all those rarities plus unreleased live versions of “Gangster of Love” and “Kow Kow Calculator,” a demo of “Take the Money and Run” and unheard studio versions of “Baby’s Callin’ Me Home” and “In the Midnight Hour,” for a total of eight bonus tracks in all

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Shawn Colvin – A Few Small Repairs – 20th Anniversary

Columbia / Legacy Recordings celebrate the 20th anniversary of Shawn Colvin’s masterpiece, A Few Small Repairs, with the release of a newly expanded edition of the album. A Few Small Repairs includes the Grammy Award-winning Sunny Came Home plus chart-toppers You and The Mona Lisa and Nothin’ On Me (the theme song for the NBC sitcom Suddenly Susan). A Few Small Repairs reunited her with producer / cowriter John Leventhal (who’d helmed Steady On) and proved a watershed in the artist’s career and musical evolution. While her previous albums were founded mainly upon first-person confessionals, A Few Small Repairs saw Colvin foray into third-person storytelling with a powerful impact. Drawing from the downs and ups of her own life experiences, Shawn Colvin crafted an album of emotional complexity, nuance and revelation, combining images of traditional femininity and domesticity–wedding gowns, kitchens, white picket fences–with images of tools as metaphors for reparation. The album paints a searingly honest portrait of the scope of human relationships, from the acrimonious Get Out of This House to the wistful The Facts About Jimmy, a duet with Lyle Lovett, to the quiet resignation of Wichita Skyline to Sunny’s ultimate act of revenge in Sunny Came Home. With brutal honesty, Colvin examines the harrowing potential for emotional damage to the redemptive power of subsequent emotional redemption. This 20th anniversary edition is a newly remastered and expanded edition, featuring the 12 track original album (remastered) plus 7 rare and unreleased bonus songs. Enhanced artwork, includes newly written liner notes by Shawn Colvin and producer John Leventhal, plus recently discovered archival photographs.

Rusty Young  – Waitin’ for the Sun

Poco’s Rusty Young has a new solo album featuring ten original compositions inspired by artists and friends such as Neil Young, Stephen Stills, and America’s Gerry Beckley.  Waitin’ for the Sun was recorded at Cash Cabin in Hendersonville, Tennessee.

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Linda Ronstadt – Simple Dreams 40th Anniversary Edition

40 years ago, Linda Ronstadt released one of the most successful albums of her ground breaking career in 1977 with Simple Dreams. The new expanded version features remastered audio plus a trio of live songs taken from a 1980 concert performance. Simple Dreams spawned two massive hits thanks to Ronstadt’s cover of Buddy Holly’s It’s So Easy and Roy Orbison’s Blue Bayou earning Ronstadt Grammy nominations for both Record of the Year and also Best Pop Vocal Performance Female. The album also won the Grammy for Best Recording Package. Along with major hits, Simple Dreams also featured several tracks that would emerge as fan favourites, like the singer’s take on Warren Zevon’s Poor Poor Pitiful Me and the Rolling Stones’ Tumbling Dice. Country superstar Dolly Parton joined Ronstadt on the traditional ballad I Never Will Marry. Almost a decade later, Ronstadt, Parton, and Emmylou Harris would release their first Trio album. In addition to newly remastered sound, the Expanded Edition of Simple Dreams also includes bonus live recordings of It’s So Easy, Poor Poor Pitiful Me, and Blue Bayou. All three are taken from a concert recording that originally aired on HBO in 1980 and are available here for the first time as standalone audio tracks.

“Ease My Mind” is the fifth full-length album from Swedish pop masters Shout Out Louds, and their first since 2013’s Optica.

“Ease My Mind” celebrates music as a means of escape, a need to take a break from feeling petrified with fear,” Shout Out Louds’ Adam Olenius and Bebban Stenborg write. “The world is a different place now than it was in the beginning of the 2000s. We didn’t grow up very aware of political messages in music and probably didn’t feel much of an urgent need to understand the world around us, in that sense. However, that has changed over the years. The world has seemed extremely dystopic and frail for quite a while now, and having children and getting older forces you to open your eyes to issues more devastating than heartbreak and feeling lost. But in our music, we still allow ourselves to address things the way we always have: through emotions rather than analysis. Ease My Mind is a lot about that for us.”

With Turn Out The Lights, 21-year-old Julien Baker returns to a much bigger stage, but with the same core of breathtaking vulnerability and resilience. From its opening moments her chiming, evocative melody is accompanied by swells of strings —Turn Out The Lights throws open the doors to the world without sacrificing the intimacy that has become a hallmark of her songs. The album explores how people live and come to terms with their internal conflict, and the alternately shattering and redemptive ways these struggles playout in relationships. Baker casts an unflinching and accepting eye on the duality of –and contradictions in –the human experience, at times evenfinding humor and joy in the midst of suffering. She ultimately calls on her listeners to move beyond “good” and “bad,” or “happy” and “sad,” to embrace more complex truths.

The album was recorded at the legendary Ardent Studios in her hometown of Memphis, TN, and mixed by Craig Silvey (The National, Florence & the Machine, Arcade Fire). This evolution from her previous album Sprained Ankle’ intentionally sparse production allowed greater scope and freedom for Baker,who is still the album’s sole writer and producer. Strings and woodwinds now shade the corners of her compositions, and Baker takes to piano rather than guitar on several tracks. In songs like the epic “Claws In Your Back,” these new textures push Baker’s work to cinematic heights of intensity.

As always, the real draw is her songwriting and lyricism. Turn Out The Lights is more expansive in sound and vision than Sprained Ankle and illustrates significant growth, yet the album retains the haunting delicacy of her heart breakingly confessional style. Where her debut focused inward on Baker’s life and aspects of her identity, Turn Out The Lights reflects on not only her own experiences, but also the experiences of those closest to her.

The album is book ended by “Appointments” and “Claws in Your Back,” two songs that deal with the precarious balance between nihilism and realism. “A lot of stuff happened in my life that was rapid change, and it felt like it could not get any worse,” Baker says of “Appointments.” “I was like, I have reached critical mass for this amoeba of sadness and it cannot possibly turn out all right. But for the sake of my continuing to exist, I have to believe that it will.”

The resulting song (“I think if I ruin this, then I know I can live with it,” Baker sings) cuts to the core of Baker’s uniquely clear-eyedtake on human suffering.  On “Claws In Your Back,” she turns her own hard-won determination to thrive into a rallying cry for her friends(“I think I can love the sickness you made. I take it all back, I change my mind.I wanted to stay”).

 

Even as Turn Out The Lights explores broken relationships (“Sour Breath”), the search for a cure that may not exist (“Everything To Help You Sleep”), and the impossibility of ever truly understanding each other (“Shadowboxing”), Baker continually returns to the possibility of joy. “I don’t believe in the ‘fixing’ part, where what healing means is that you no longer get sad or experience grief or have panic attacks,” Baker says. “Happy is kind of a fleeting and transient emotion. It is not a destination that you can get to by exerting enough mental effort. I believe that joy is something that you can invite into your present circumstance. Whereas happiness seems to be this horizon that’s eternally getting further from you, joy is something that you can inhabit.”

It’s this call to joy even in moments of otherwise total darkness that makes her music a refuge for her fans. Turn Out The Lights is ultimately a healing experience, and it’s impossible not to feel Baker’s unyielding compassion for the messy and beautiful human experience. “When I talk about things in myself I find ugly and unlovable, they are the most effective tools for connecting with other people, for helping other people heal,” she says. “And that helps me heal.”

From the new album ‘Turn Out the Lights’ out October 27th on Matador Records

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Sløtface are a quartet consisting of vocalist Haley Shea, guitarist Tor-Arne Vikingstad, drummer Halvard Skeie Wiencke and bassist Lasse Lokøy.  Sløtface sound is short, sharp blasts of pop-punk; rapid drum beats fused with chiming guitars. We’re instantly taken back to the early-noughties, indie nightcluubs where Rilo Kiley and We Are Scientists filled the floors. Sløtface formed back in 2012, and despite limited releases have slowly developed a reputation as a hardworking, hard touring band. They released their debut EP, We’re Just Ok, back in 2014, and have recently released the follow-up, Empire Records, through Norwegian label, Propeller Recordings. Their debut album should be due out in 2017.

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Sløtface are from the Norwegian city of Stavanger. Along with the neighbouring city of Sandnes, Stavanger forms a conurbation of over 210,000 making it Norway’s third largest urban area, or as they’re known in Norway, tettsed, literally meaning dense place. One of Norway’s oldest cities,

When it comes to their live show set-up, Shea and her bandmates embrace their punk sensibilities, and they like to use gigs as a chance to let loose. “We’ve always tried to lean as close towards a punk live show and a punk aesthetic as we can,” she says. With each member bringing demos to jamming sessions, the group built the record from cherry-picked parts, trying a swathe of different directions before Shea began carving out the lyrics. Indeed, it’s their differing musical tastes that she attributes to the idiosyncrasies on the record, although at the end of the day, Freak Out takes the nostalgic, familiar hum of American high school movies and makes it the band’s own.

Sløtface’s debut album Try Not To Freak Out is available now on vinyl, CD and digital formats via Caroline Australia, Nancy Drew is the Second single from Sløtface’s debut album ‘Try Not To Freak Out’. Available order now at: http://www.slotface.no

Jethro Tull‘s 12th studio album, Stormwatch, concludes with “Elegy,” a quiet instrumental of pastoral acoustic guitar and melancholy strings. The title is so appropriate. Composed by keyboardist-orchestral arranger David Palmer in honor of his late father, the three-minute piece serves as a gentle swan song for bassist John Glascock, who died from effects of a cardiac infection soon after being dismissed from the band (and only playing on three tracks). But it’s also an elegy in a broader sense, a quiet mourning for Jethro Tull’s classic era — the ’70s.

Stormwatch is the last essential Jethro Tull album, a cohesive curtain call for the band’s trademark prog-folk style. But it’s also the black sheep of their catalog, overshadowed by 1977’s Songs From the Wood and 1978’s Heavy Horses the brilliant one-two punch that revitalized the band after a handful of lackluster mid-decade LPs. Pegged by critics as the final installment of a “folk-rock trilogy,” Stormwatch continues in a similar vein as those earlier classics, blending progressive instrumental finesse (notably the more metallic guitar sound of mainstay Martin Barre) with British folk serenity (the reliable acoustic guitar and flute of frontman-songwriter Ian Anderson).

Though Anderson has always been the band’s chief creative force, every Jethro Tull album is only as good as the players behind him. By 1979, the core of this classic line-up (Anderson, Barre, Palmer, keyboardist John Evan and drummer Barrie Barlow) had developed a rare level of chemistry for a rock band, having played together since 1972’s celebrated Thick as a Brick. Stormwatch is defined by that dynamic interplay, offering some of the most unique arrangements in the Tull discography.

The band’s rarely utilized funk influence came to the forefront on several pieces, including the propulsive “Something’s on the Move” and the Eastern-tinged instrumental “Warm Sporran” the latter dominated by Anderson’s deft bass playing.

Meanwhile, “Dark Ages” is one of Tull’s most engaging longer pieces, stretching out to nearly 10 minutes as it seamlessly links disparate musical passages, including a stormy guitar solo by Barre and a climactic section of harmonized vocals and synthesizers. As a technical showcase, Stormwatch ranks alongside Thick as a Brick and Songs From the Wood as the band’s most striking work.

Barrow’s contributions are particularly memorable, as he skirts between locomotive bombast (“North Sea Oil”) and frenetic groove (“Orion”). Since Anderson took over bass responsibilities early on in the recording process (after having dismissed Glascock for health concerns), the frontman had a unique relationship with Barrow on this project.

“Some of Barrie’s best performances are to be found on this record,” Anderson said in the liner notes to a 2004 remaster, dedicated to the drummer. “Since I had the task of playing bass, we bonded in a musical way quite different to usual. Bass players and drummers have to have that special musical thing going, and we found that extra dimension quite easily. But of course, we all would rather have had the healthy presence of John throughout the recording.”

Unfortunately, Stormwatch also showed signs of creative fatigue. “Home” is bogged down by its own breezy balladeering; the Anderson solo spotlight “Dun Ringill” is based on an eerily familiar guitar figure essentially a hybrid between “The Mouse Police Never Sleeps” and “Thick as a Brick.” And the lyrics, exploring weighty themes of corporate greed and environmental dread, were less distinct than the fanciful sketches of Songs from the Wood or the earnest naturalism of Heavy Horses.

With the neon-tinted ’80s looming, prog-rock bands were forced to adapt or go extinct. But Jethro Tull’s classic line-up dissolved organically, each member departing in a domino effect.

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After the Stormwatch tour, Barrow quit the band, brokenhearted after the death of his close friend Glascock. Meanwhile, a drained Anderson planned to start work on his first solo album, which pushed out the frustrated duo of Evan and Palmer. (Under commercial pressure from longtime label Chrysalis Records, Anderson agreed to label his solo project, 1980’s A, under the Tull moniker.)

As such, while Stormwatch never matches the absurd, grandiosity of Thick as a Brick or the playful wonder of Songs From the Wood, it remains an essential item in the Tull oeuvre. This is the last souvenir of the band’s most fruitful period.

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  • Ian Anderson – vocals, flute, acoustic guitar, bass guitar (except tracks 2, 9, 10, bonus tracks 12, 13, 14)
  • Martin Barre – electric guitar, mandolin, classical guitar
  • Barriemore Barlow – drums, percussion
  • John Evan – piano, organ
  • David Palmer – synthesizers, portable organ and orchestral arrangements
  • John Glascock – bass guitar on tracks 2, 9, 10, bonus tracks 12, 13

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Relapse Records have released a video showing Myrkur’s Amalie Bruun and Chelsea Wolfe performing their haunting new track Funeral. The song features on Myrkur’s new album Mareridt which will arrive on Friday (September 15th). The video was filmed in hotel room in Las Vegas and follows the release of Ulvinde and Måneblôt from the follow-up to 2015’s M.

Mareridt was recorded between Copenhagen and Seattle with producer Randall Dunn, who has previously worked with artists including Earth and Sunn O))) and is said to be “a rich juxtaposition of the dark and the light, the moon and the mother earth, the witch and the saint.”

Mareridt will explore “deeper into the mysterious and the feminine with compositions that further progress Bruun’s visionary blend of metal with gorgeous, stirring melodies, dark folk passages, choral arrangements and superb, horrific beauty.”

Chelsea Wolfe, meanwhile, will release her fifth studio album Hiss Spun on September 22nd via Sargent House Records.

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Bob Mould, Hüsker Dü’s chief songwriter, singer and de facto leader would no doubt delight in the knowledge that for many, the band’s name is synonymous with his own. But to ignore the part played by his band mates, particularly drummer and co-founder Grant Hart, is to ignore a huge part of the band’s legacy – including everything from their first single to their biggest hit. Though healthy competition between the two ultimately spiralled into bitter infighting which would tear the band apart, these inter-band tensions helped, for a while, to create some of the band’s best ever music as Hart and Mould entered into a game of musical one-upmanship. And so we present the best Hüsker Dü songs written by Grant Hart.

There weren’t a lot of girls in hardcore songs – but there was only one Grant Hart, and in his songs, he turned himself into a lens and noticed things nobody else did. When you saw Hüsker Dü live in the Eighties, you saw three earnest young men – Hart, Mould, bassist Greg Norton burn through their songs, as Mould and Hart traded off lead vocals without a pause in between. Mould was all wary scowl and no-bullshit guitar fuzz; Hart was one big flippant grin. You could get mesmerized by Hart’s manic drumming, a blur of hair and elbows, and the audibly giddy slobber of his voice.

They produced seven albums together, before an acrimonious split in 1988 at the peak of their popularity. Grant Hart changed the emotional vocabulary of punk rock. As the long-haired barefoot drummer of Hüsker Dü, he was the cheeriest-looking guy anyone had seen in a hardcore band, and despite all the turmoil he brought to their songs, he also brought his skewed pop smile. His songs ran the spectrum – the rage of “It’s Not Funny Anymore,” the affection of “The Girl Who Lives on Heaven Hill,” the grief of “Pink Turns to Blue.” Hüsker Dü’s emotional realness made them a life-changing band for so many of us, and that’s why Hart, who died last night in Minneapolis at 56, was a life-changing presence.

BOOKS ABOUT UFO’S (Hart, 1985)

Check the glorious racket of his finest Hüsker Dü song, “Books About UFOs,” from their 1985 classic New Day Rising: a demented Brian Wilson–style melody, drenched in Bob Mould’s guitar feedback. Hart bangs on a piano and yelps about a stargazing girl who hangs at the library, “checking out the latest books about outer space.” She sits on her roof, reading and eating oranges. There’s an utterly unironic “wooooo!” into the guitar solo, before Hart crows the breathless final lines: “Her life revolves around all of the planets! And she is constantly aware of all the changes that occur! I’m going to turn into a lens and focus all my attention and I’m finding a new planet and naming it … right after herrrr!”

TURN ON THE NEWS (Hart, 1984)

Their 1985 album, Zen Arcade, was praised by Rolling Stone magazine as one of the greatest albums of the 1980s and one the best punk albums ever. Hart’s contribution, “Turn on the News” has been listed on the 500 Songs that Shaped Rock and Roll by the Rock and Roll Hall of Fame. Hart, who later went on to form the group Nova Mob, was also cited as an influence on Nirvana drummer and Foo Fighters frontman Dave Grohl.

STATUES (Hart, 1981)
The band’s first single, Statues was released at a time when Hüsker Dü were struggling to pin down their sound. Though it shows an interest in experimentation that would follow the band through each stage of their career, the almost nine minutes-worth of Krautrock inspired, Keith Levine-esque guitar is far removed from the boisterous hardcore that followed in its wake. Borrowing heavily from Neu! and PiL, it hints at Hart’s aptitude for a scribbling out a catchy tune – an ability that would later help to shape the band’s signature brand of melodic punk rock.

DON’T WANT TO KNOW IF YOU ARE LONELY (Hart, 1986)
Arguably Hüsker Dü’s biggest hit, that this was the most popular song from the band’s major label debut would have significantly rankled Bob Mould, not least as it was released as an increasingly destructive creative partnership between the two developed. A sophisticated pop punk masterpiece, this song laid a blueprint for hundreds of aspiring punk rockers to follow – including future millionaires Green Day, Foo Fighters and Blink 182.

PINK TURNS TO BLUE (Hart, 1984)
By the time Hüsker Dü released Zen Arcade, Hart’s credentials as an accomplished pop songwriter were already solid. Here, his ability to marry the dark subject matter of a young woman suffering a fatal overdose with sweet but melancholic melodies provides a sobering counterpoint to his whimsical, 60s-influenced love songs. Foreshadowing Hart’s own struggles with substance abuse, the song isn’t without its own sense of tragic irony.

GREEN EYES (Hart, 1985)
While Hart and Mould both developed a taste for bitter break up songs and damning shuns, it was Hart who truly nailed the wide-eyed love songs. This innocent account of Hart just being super into his companion shimmers under its lush, 60s-inspired harmonies, and includes some of his most sweetly heartfelt lyrics: What makes them sparkle/What makes them shine/What makes those eyes of yours look into mine?

NEVER TALKING TO YOU AGAIN (Hart, 1984)
Zen Arcade was Hüsker Dü’s magnum opus, an experimental melting pot of hardcore, folk, psychedelia and pop that spanned 70 minutes and four sides of vinyl. These two minutes of fast-paced acoustic strumming, nestled between two angst-ridden Mould tracks, might have seemed out of place, but this concise, stripped-back statement of intent works as a cheeky counterpoint which will trip you up and out of those epic proceedings, before swallowing you back into them on the other side.

DIANE (Hart, 1983)
Covered by Therapy? in 1995 (their version made it to No.26 in the UK charts, far outstripping the success of the original), Diane was an early college radio stand out track. Its rumbling, haunting punk rock caught the attention of campus DJs and students across America, solidifying Hüsker Dü’s place in the emerging college rock alumni. Detailing the brutal 1980 murder of Minnesota waitress Diane Edwards, its sinister subject matter was at odds with Hart’s hippy reputation.

THE GIRL WHO LIVES ON HEAVEN HILL (Hart, 1985)
New Day Rising is the record on which Hart and Mould began in earnest to develop distinct sounds, and Girl Who... is an excellent example of this divide, with its glorious pop punk standing slightly at odds with Mould’s emerging alt.rock leanings. While it’s widely considered to be a straightforward love song, considering that Heaven Hill was a brand of bourbon popular at the time, many have insisted it should instead be read as Hart’s lament to his own tumultuous relationship with alcohol.

SHE FLOATED AWAY (Hart, 1985)
Embracing his hippy reputation with full force, Hart uses this track to indulge in obscure instrumentation (wood blocks and wind pipes on a punk song?) and whimsical tales set against a psychedelic backdrop. Warehouse: Songs And Stories contained more of Hart’s songs than any other (9 in total), though Mould commanded the lion’s share. Unfortunately Warehouse... would mark the end of the band’s recording career together, as personal struggles gripped Hart while his relationship with Mould disintegrated entirely.

SOMEWHERE (Hart/Mould, 1984)
Though technically Mould did write this song, he didn’t do it alone, and it bears mention as a Hart/Mould co-write is a relative rarity in the Hüsker Dü back catalogue. Taken from 1984’s Zen Arcade – and a time when the pair were still amicable enough to share writing credits (this wouldn’t last for much longer) – this short but sweet slice of energetic punk rock ends with backward tape loops of guitar, mimicking the earlier psychedelic techniques used in Dreams Reoccurring.

FLEXIBLE FLYER (Hart, 1985)
As their brotherly rivalry threatened to tip over into something more sinister, Hart and Mould’s songwriting styles flourished as they competed to outdo one another track by track. While it ultimately wrecked their relationship, Flip Your Wig is the album that really bore the fruits of this conflict – and is considered by Mould to be the band’s best. Hart’s wistful, melancholic brooding on this track marks it as one of Flip Your Wig’s stand outs tracks.

thanks to teamrock.com for everything,

Beaches are a band is celebrating their 10th anniversary and releasing their first album in four years, they can be forgiven for sharing a 17-track, 76-minute marathon. More bands should follow the lead of Melbourne quintet Beaches and use the milestone to unveil their most ambitious and expansive output to date. This is exactly what Second of Spring is. It is a monster of a record.

From psychedelic to noise-pop to post- and even doom, Beaches cover the entire rock landscape and then some. The album kicks off with the bombastic “Turning”, which features smooth guitars, groovy rhythms, and tribal-like chanting. There isn’t much lyrical content, but one wouldn’t expect to arrive at the Pearly Gates to a sermon. This is just the welcoming mat, and once inside the party gets started. The record kicks into another gear with the searing doom rocker “Void”, which is three-and-a-half minutes of joyous, psychedelic eruptions. Next up is the swirling psych-rocker “September”, which is like Wooden Shjips on Red Bull.

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“Be” slows things down ever so slightly by offering a groovy, throwback garage-rocker. A Siouxsie Sioux and The Banshees vibe percolates throughout, from the deep echo of the lead guitar to the deadpan vocals. Following the reverb-drenched, instrumental “Natural Tradition”, Beaches uncork the gritty and melodic “Calendar”. It’s more of a slacker-rock tune than a full-blown psych number, but that changes quickly when “Contact“ arrives.

We have now left the party and started our ascent to another world. As the title suggests, “Contact” is a far-out, space trip. Methodical head noodling is on the menu for this track, as the pounding rhythms and transcendent guitars create a throbbing atmosphere. The trip, however, has only begun. The rip-roaring “Divers” is intoxicating, and it will cause plenty to showcase their best air guitar skills. Meanwhile on “Wine”, Beaches channel their inner Preoccupations and deliver a menacing post-punk blazer. The soundscape is stark and even frightening. The distant vocals and lyrics heighten the song’s suspense, and they reveal a woman searching for light. A woman seeking to be found.

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When the light shines through, “Arrow” arrives. The shimmering guitar riffs, the head noodling rhythms, and dazzlingly hazy vocals combine to create a summertime vibe. This song, as such, is meant for long road trips,. The shoulder-shimmying continues with the ’60s-influenced, psychedelic-pop-rock gem “When You’re Gone”. It’s the one track on the album that might cause a bit of dancing.

Those two songs represent the zenith of the album, and the trip back home commences with the rapturous “Golden”. The fall starts slowly with this dark and majestic number, which is akin to the post-punk and industrial sounds that dominated the Manchester scene in the late ’70s. But as the laws of gravity dictate, a free-falling object accelerates over time. The velocity slightly increases on the stirring and sun-drenched psychedelic track, “Walk Around”, which includes the surprising addition of a saxophone.

This trip, however, isn’t a linear one. A detour is encountered on “Bronze Age Babies”, and the song is more akin to the India-inspired and quirky psychedelia of King Gizzard & The Lizard Wizard. Things get hazier with the gentile and melodic “Grey Colours”, which feels like a lullaby. The album, however, is far from finished. Instead, this song represents the slow descent that comes right before landing.

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Welcoming us back is “Mothers and Daughters”. It’s not a joyous occasion, however, as the sound of sirens swirl in the background. The song starts off with a perilous attitude before easing into a post-rock anthem. It’s a mesmerizing number that is only exceeded by the album’s grand closer, “Mutual Delusion”. This nine-minute epic is a ride in itself, as a hallucinating one that is. As the song comes to an end, we ponder what we have just experienced. Are you back where we started or is this some sort of mind trick like the TV show Lost was? Whether this is reality or some alternate universe, this one hour and sixteen minute journey has been worth every second. So what do we do next? Spin it again and again because this album is like one continuous loop. Kind of like life should you believe in the afterlife.

Second of Spring is out Friday, September 8th via Chapter Music. It is available on Bandcamp.

Beaches are Allison Bolger, Ali McCann, Antonia Sellbach, Karla Way and Gillian Tucker.

The best part about finding out about Jen Cloher on her fourth album is that I feel like I just got four great albums to listen to. She has a certain swagger and cool about her that is some sort of a mix between Patti Smith and Chrissy Hynde. Songs chug along meaty hooks as her throaty voice delivers the goods.

For those not in the know, Jen Cloher is the wife of Courtney Barnett. this album stands on its own merit. But the main reason, for mentioning her relationship with Barnett is that it plays a role. As mentioned, Cloher has 3 prior albums and is Barnett’s senior by 10 years. To see her wife hit international acclaim on her first LP would shake anyone. She delves into shit with Forgot Myself and Sensory Memory. It doesn’t come across as bitter; more honest than any person would feel.

Second single from Jen Cloher’s self-titled album out August 2017

But lest you think this LP is all about her and Courtney. She hits on some heavy subjects and takes the religious right down a peg on Kinda Biblical. The following track is Great Australian Bite, a track about how Australian artists suffer from a grueling touring schedule to make any sort of an international name for themselves.

This is an absolute gem of an album. Jen Cloher deserves all the plaudits she gets.

Image may contain: 1 person, on stage and playing a musical instrument

The unusual and subdued musical arrangement suits the hypnotic (almost lethargic) vocals, and floats around the brooding darkness of the lyrics. It’s easy to be swept away by the prevailing sense of emptiness and loss; guaranteed to send me into sad reflective mode, even if I’m high on sugar and caffeine. ‘Drown’ from Marika Hackman’s debut album, ‘We Slept At Last’.

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