Archive for the ‘MUSIC’ Category

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There are five members in the pan-Californian band Spice who’ve contributions lay equally on the surface of their debut album’s crackling, rocky complexion. Formed in 2018 and based across California, each members’ roots are in the North Bay of San Francisco. Spice’s sound pulls from the sense of melody and drive inherent to Bay Area pedigree, peppered with modernity and awash with an anthemic haze. The hook is in the connection as much as melody, with each song building its inner narrative and exploration of affliction. At its epicenter of those fault line is most notably that of vocalist, Ceremony frontman Ross Farrar. Following Farrar’s career throughout his shape-shifting hardcore-punk band as well as projects like his shoegazing offshoot the Down House, he’s never shied away from applying varying degrees of pressure onto sound, and on “Spice”, we experience this in one of its most focused instances of aggression to date.

Alongside Spice bandmates in fellow Ceremony drummer Jake Casarotti, bassist Cody Sullivan (No Sir, Sabertooth Zombie), guitarist Ian Simpson (Creative Adult,) and violinist Victoria Skudlarek, the collective’s “deliberate isolation of pain” through fascias of hardcore and indie rock channel themselves through in non-stop urgency that makes for one of the year’s most rewardingly thrill rides in anxiety-riddled head charges and whirring melodies. The listen is pop-induced, billowing in the air, and heavy like a pile of bricks at once, and when all of these elements atomize onto one slab, we hear how pain even in isolated form comes in many forms.

The audacity for Spice to entitle a song called “I Don’t Wanna Die In New York City” and to have it bark back through the dark city mania of an early Walkmen track is a sticking point that echoes throughout the rest of the listen. It’s been almost two decades since the Aughts’ NYC underground sculpted a movement in rockism, after all. That’s enough passage to warrant revisioning metropolitan nightmares through a modern lens with windows dirtied and pushed out here on tracks like “BLACK CAR” and the “The Building Was Gone”.

With “First Feeling” and “All My Best Shit”, Spice punctuate post-hardcore and brainy pop-punk with tightly-wound exclamations and sharp brevity. There’s a separation from where they stand against sinking into familiarity, however, thanks to the searing heat radiating from Victoria Skudlarek’s violin strings, sparking instantaneously as they careen through the former. On “Murder”, she helps orchestrate a dark secret life lived, and on “Reward Trip” she guides an electric third rail down a lost highway. Later on “26 Days”, she and her Spice ‘mates stretch light with a towering wait.

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Honed over late nights at Panda Studios in Fremont, California with producer Sam Pura (Basement, The Story So Far, Self Defense Family), Spice spent hours tweaking it until it became a little world formed by what they refer to as “the power of groupthink.” Sprinkled with field recordings—audio snapshots from the member’s every-day-lives—the record offers an intimate twist that builds on its theme of a single thread that connects everything with continuity, making it a single organism with as many depths as questions.

The totality of Spice in its 30-minute listen, with its non-stop concentrate of pain succeeds as a group exercise in attempting to control that which consumes us. That it also happens to be knockout debut from a band whose makeup continues to reinvent themselves by leaving no corner of underground rock uncovered as a conduit to carry this out only helps it go down easier. The record diverts from a singular mood, tempo, or delivery, instead focusing on orchestrating emotional drain as single impulses—fast, slow, driving, simple, and layered—that coalesce in their machinations. At its core, Spice’s Self-Titled album is wired together by brawny and brittle guitars, lock-groove rhythms, and vocals announce each moment and mood.

Released July 17th, 2020

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Sadie Dupuis song writing has been a practice in poptimistic views through the complicated indie rock gaze. The best songs from her band Speedy Ortiz and are the ones where the hooks swing heavy even when knotted up in amp cords and wrought time signatures, and with her solo project outlet Sad13, tracks like “Get a Yes” made you wonder what her take on subversive accessibility might sound like in her hands. In recent years, it’s sounded like Dupuis has grown more comfortable with that notion – Speedy’s 2018 Twerp Verse had some of the best weirdo indie-pop jams out there that year – but “Haunted Painting”, her second effort as Sad13, is a different kind of ghost.

As someone who has proven over the last decade to be a diverse combined-forced creative in her roles as a songwriter, poet, activist and visual artist, one should expect by now for Dupuis’ work to reflect a lot of thought going on within it. Her past work in both band and singular form has often warred with itself in finding a balance between great production, an atypical pop ambition, sincere wokeness, and the pursuit of seeing her reflection actualized in a sound defined as her own, and Haunted Painting is that self-portrait that puts it all on the canvas.

Backed by an all-women collective of studio pros including the likes of Illuminati Hotties’ Sarah Tudzin and Grammy winner Erin Tonkon as well as featuring guest spots from Deerhoof’s Satomi Matsuzaki, Tune-Yards’ Merrill Garbus and Pile’s Rick Maguire, Dupuis’ all-hands-on-deck project culls together engineers and musicians gifted in tweaking her electric indie-pop hexes into her own perfect spells. The cast does not deter from Dupuis as the focal point of “Haunted Painting”, and the way she wires together pop-rock with sharply-refined verbosity.

This especially comes in handy whenever she’s cutting down the patriarchy good wit as she does in the sci-fi synth pop anthemry of “Hysterical”, or drumming down bad behavior on “…Oops!” The most interesting aspects of Dupuis’ songwriting on Haunted Painted are how it goes further in colouring in her creative persona as something more than just using her voice to cause waves within socio-political currents, however. “Into the Catacombs” is an ornate orchestration that sets an ominous introduction for themes of loss, love, and loneliness backed by Roberto Carlos Lange of Helado Negro’s ghostly apparitions akin to every starting point on an …And You Will Know Us by the Trail of Dead album. “Good Grief” and “Take Care’ showcase a duality in a new found confidence with quietness building within the heaviness of indie rocks rolling, as she turns to timeless stylistic designs well learned from Liz Phair’s latter work.

Where Haunted Painted ultimately ends up is in one of Sadie Dupuis’ best songs written to date. “Market Hotel” sends the album off in one last burst of big, frustrated exultation with its share of side-eyed disses after already exhaling her traumas, anxieties, and washed adult dirtbag ruminations from her soul before it. It’s a saccharine ripper that in less than two minutes compresses everything that Haunted Painting is in picturing every side of Dupuis’ songwriting craft within the same frame. “I’m working three fucking jobs, I’m too embarrassed to die,” she sings. The punchlines are deprecating and surely, Dupuis is tired of having to make them, but it doesn’t stop her from hitting them right on target every time.

Sadie Dupuis – guitar, bass, synths, organ, marimba, prepared piano, drum programming, vocals, production, arrangement

Haunted Painting, out September 25, 2020

 

Julian Cope – “your new album is f**king excellent, highly useful and needs nothing”.
Australian psych-noise rockers, Paul Kidney Experience, have gone and done something special, produced their debut vinyl release!

Forming in late 2009 in response to a booker’s request for a band to fill a prized late night spot, the ‘band’ haven’t stopped since. Touring Sydney, Brisbane, Adelaide and everywhere inbetween, they’ve supported Mudhoney on two tours, Thee Oh Sees, Damo Suzuki (CAN), Grong Grong and Primitive Calculators, recording an album with original Krautrock drummer Mani Neumeier (Guru Guru/Harmonia/Acid Mothers temple) along the way.
Now they release this essential document of their intoxicating, twisted psych-noise.

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released August 19th, 2014
The Band:
Paul Kidney – vocals
Matt Gleeson – drums/bass
Don Rogers – bass/drums
Nell Day – violin/presence
Ben Butcher – guitar/trumpet
Bonnie Mercer – guitar
Peter James – electronics/guitar
Lloyd Honeybrook – sax

Blue Hearts

Aggressive, loud and unrelenting – Bob Mould takes aim at the malaise of 2020 in the way only he can, showing the many Husker Du and Sugar aping bands just how it’s done.

Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”

Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.” “where it started to go in my head is back to a spot that i’ve been in before,” he says. “and that was the fall of 1983.” back then, Mould was a self-described “22-year-old closeted gay man” touring with the legendary Hüsker Dü and seeing an epidemic consume his community. leaders, including the one in the white house, were content to let aids kill a generation. it’s been a long time since a power pop album has felt this present and pertinent, and who else but mould could bring that sound back to the forefront? “this is the catchiest batch of protest songs I’ve ever written in one sitting,” he says.

In the winter of 2019, Bob Mould bucked the era’s despair with his most melodic, upbeat album in ages, “Sunshine Rock”.

Cut to spring of 2020, and he has this to say: “We’re really in deep shit now.”

That sentiment informs the new full-length album, Blue Hearts (Merge Records, September 25th), the raging-but-catchy yin to Sunshine Rock’s yang.

To be sure, we were in some shit back in 2018, when Mould recorded Sunshine Rock with longtime colleagues Jon Wurster (drums), Jason Narducy (bass), and Beau Sorenson (engineer). Back then, he had a song called “American Crisis” that didn’t fit the album.

“That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown. “At the time, it just seemed too heavy. Today it seems fucking quaint.”

“American Crisis” is the third song in a walloping first half of an album that spits plainspoken fire at the people who fomented this crisis. “This is the catchiest batch of protest songs I’ve ever written in one sitting,” he says.

Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.”

“We have a charismatic, telegenic, say-anything leader being propped up by evangelicals,” he says. “These fuckers tried to kill me once. They didn’t do it. They scared me. I didn’t do enough. Guess what? I’m back, and we’re back here again. And I’m not going to sit quietly this time and worry about alienating anyone.”

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Recorded at the famed Electrical Audio in Chicago with Sorenson engineering and Mould producing, Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day. Acoustic opener “Heart on My Sleeve” catalogues the ravages of climate change. “Next Generation” worries for who comes next. “American Crisis” references “Evangelical ISIS” and features this dagger of a line: “Pro-life, pro-life until you make it in someone else’s wife.”

“There are songs that have no room,” Mould says, laughing. “The other songs, there’s room. There is room for imagination on the second half of the record.”

That’s where the songs turn personal in a different way. Tracks like “When You Left,” “Siberian Butterfly,” and “Everyth!ng to You” are grounded in personal relationships. “Racing to the End” captures the economic disparity of Mould’s neighborhood, and “Leather Dreams”… well, maybe Jon Wurster put it best.

“Jon turns to Jason and asks, ‘Is this the dirtiest song you’ve ever played on?’” Mould recalls with a chuckle. “I clearly did not put the edit tool to that one. Those are all pretty true bits. What kind of person could possibly have a life like that?” He laughs again. “Says the author.”

“Leather Dreams,” “Password to My Soul,” and “The Ocean” were composed during a writing binge before a January 2020 Solo Electric tour, when Mould stayed up for three straight days. “Songs just kept coming out,” he says. “‘Leather Dreams’ and ‘The Ocean’ both appeared within hours. I barely remember writing them.”

That feels right for an explosive, hook-laden album like Blue Hearts. Only there’s nothing forgettable about it.

All songs written by Bob Mould

Bob Mould: Guitars, Vocals, Keyboards, Percussion
Jason Narducy: Bass, Backing Vocals
Jon Wurster: Drums, Percussion

Prague TV Orchestra: Strings on “American Crisis”

Released September 25th, 2020

Produced by Bob Mould
Engineered by Beau Sorenson

Events currently taking place throughout the world only serve to stoke a fire under the likes of a band like Pillow Queens, who find themselves continually inspired by a Dublin that is no stranger to fighting social injustice. Street artists, fashion designers, musicians, film makers and more comprise a scene which routinely champions queerness and marginalized groups, and engages with and activates young people in response to the likes of the city’s ongoing housing and mental health crises. Pillow Queens’ songs of togetherness and unity ring out louder than ever before.

In their short lifespan as a band they’ve released two demo EPs, performed on a successful string of UK & Irish dates & festival appearances, had playlisting from BBC 6 Music, and found themselves opening for the likes of American Football and Pussy Riot, as well as stadium performances opening for IDLES and Future Islands.

With all this under their belt, the band began working with Mercury Prize nominated producer Tommy McLaughlin for their single ‘Gay Girls’ – which received a nomination for the RTE Choice Music Prize song of the year, as well as International pickup from NPR’s World Cafe and KEXP. The song also found its way into the heart of actor Cillian Murphy and his BBC6 mixtape show.

2019 saw Pillow Queens venture into mainland Europe, as they lit up the Eurosonic festival and completed a string of tour dates opening for Soak. The tour was a messy and joyous affair captured beautifully in the DIY video for the bands summer single ‘How Do I Look’.

In Waiting is Pillow Queens’ debut album, the result of four years of brotherly love in a sisterly unit from Ireland’s most urgent, yearning, rock band. Crafted from our lives, and honed in a studio in rural Donegal in the northwest of Ireland, this is a record by queens in waiting and kings in the making. It’s an album about love; self-love, queer love, the anxiety-inducing fault lines of romantic love, and the love for a city and a country that simultaneously has your back and is on your back.

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Pillow Queens are a 4-piece from Dublin, Ireland. Their debut album ‘In Waiting’ will be released on September 25th.

WAX CHATTELS – ” Clot “

Posted: September 25, 2020 in ALBUMS, MUSIC
Tags: , ,

Clot

it is universally agreed that New Zealand’s Wax Chattels are a must- see live act; their hypnotically sinister debut captured this perfectly.

Released in 2018 and supported by relentless touring, the eponymous album reached #7 on the New Zealand album charts, and release week saw the title feature as #1 in Rough Trade’s top 20 new releases. Tastemakers like NPR and the A.V. club came on as early champions. the album’s success at home and abroad led to the well-deserved nomina- tion of best alternative artist at the 2018 New Zealand music awards, as well as the band’s inclusion in the coveted shortlist of finalists for the taite music prize and Auckland live best independent debut award. after a knock-out entrée, the anticipation that surrounds their sophomore album, “Clot” , is immense. much like their debut,

The writing process for “Clot” took the best part of a year. while some songs were written on the road, the bulk of the album was workshopped throughout 2019 across bedrooms and storage containers. demos were fine-tuned before recording engineer James Goldsmith (aldous harding, mermaidens) stepped in. the band maintained the use of only the barest of ingredients — bass guitar, keyboard, and a two-piece drum kit — but spent more time ex- perimenting with and finding new sounds. they wanted to maintain the same live element, but, this time, heavier — for which they enlisted the help of mixing engineer, and fellow noise-maker, Ben Greenberg (uniform, destruction unit, the men). the keyboards are thicker, the bass more intense. a marked step-up, this new record keeps the visceral energy of the debut, only this time they dig deeper into ca- thartic noise. at Clot’s center is confrontation. “mindfulness” asks do you accept the status quo over forcing tangible change? the vitriolic choruses of “cede” are in cheng’s native language — taiwanese hokkien — and are an indignant confrontation about cross-strait relations and self- determination. the experience of being a first generation immigrant is expressed in the melodic single “no ties”. the song touches on cul- tural differences and the parental sacrifice of careers and support sys- tems to provide a “better” future for their children. the explosive arc of “efficiency” describes knowing when to bide your time, and when to push, in which the band treads a line between the explicit and in- tuitive.

This is carried through “An Eye”, in which the band stresses the physical harm and psychological breakdown emanating from the escalating racial and political uproar throughout the world. though the band seethes and boils throughout, Clot concludes with a message of hope. perhaps it’s this capacity for self-awareness that makes wax chattels one of New Zealand’s  most treasured independent exports. “this band of former jazz students is making confrontational post-punk, marrying the grind- ing keyboards of suicide with the drum-and- bass intensity of early death from above 1979. the results are stark, hypnotically sinister songs.”

Official video for Efficiency by Wax Chattels, from their album “Clot”

Anna von Hausswolff is a musician and composer exploring the myriad of possibilities and the potential for new expressions on the pipe organ.

On her continued and successful campaign to make the pipe organ cool again, Anna von Hausswolff will release “All Thoughts Fly” in September which features just the artist and the organ. “I wanted to play with dissonance and polyrhythms to create a harmonic landscape that is constantly changing and expanding into something else,” Anna says of the title track. “Everything you hear in this track, every little overtone and all ambience is entirely made through the organ. We used EQ but that’s it. The overall idea was to create an illusion of flying thoughts, intertwining and entangling into each other. Different words and worlds happening at the same time, affecting each other and changing each other’s directions and courses.”

Sacro Bosco (“Sacred Grove”) is the starting point for Anna von Hausswolff’s new album All Thoughts Fly, incoming on Southern Lord on 25th September. Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination. All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music.

Sacro Bosco is a garden, based in the centre of Italy, containing grotesque mythological sculptures and buildings overgrown with vegetation, situated in a wooded valley beneath the castle of Orsini. Created during the 16th Century, Sacro Bosco was commissioned by Pier Francesco Orsini, some say to try and cope with his grief following the death of his wife Guilia Farnese, others speculate the purpose was to create art.

About the album Anna explains “there’s a sadness and wilderness that inspired me to write this album, also a timelessness. I believe that this park has survived not only due to its beauty but also because of the iconography, it has been liberated from predictable ideas and ideals. The people who built this park truly set their minds and imagination free. All thoughts fly is a homage to this creation, and an effort to articulate the atmosphere and the feelings that this place evokes inside of me. It’s a very personal interpretation of a place that I lack the words to describe. I’d like to believe Orsini built this monumental park out of grief for his dead wife, and in my Sacro Bosco I used this story as a core for my own inspiration: love as a foundation for creation.”

The accompanying video for the first single “Sacro Bosco” is, just like the music, an interpretation of the park with an imaginary twist. Directed by Gustaf and Ludvig Holtenäs.

www.youtube.com/watch

Anna summarises, “Sacro Bosco in Bomarzo is a creation carved out from one man’s head. A frozen thought lasting throughout time and touching people across generations. All thoughts fly, Ogni Pensiero Vola, is about this: the importance of sharing for surviving, creating space and evolving. Once you’ve shared your words they are not only yours anymore.”

All Thoughts Fly ultimately embodies the exploration of any and all possibilities, and the audience is invited to listen, liberate the mind and let it wander.

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Notes on the recording process:

The organ on All Thoughts Fly is situated in Gothenburg and is a Swedish replica of the Arp Schnitger organ in Germany. It is the largest organ tuned in Quarter-comma meantone temperament in the world. With it’s four manuals, one pedal and 54 stops, it was built as part of a ten-year research project reconstructing 17th Century North German organ building craft. The tuning temperament is an important detail to note here, as it deeply affects the sound and tuning, and thus radically changed the process of creating this album. Anna speaks of a pleasant surprise during recording, the organ’s ability to create beautiful “pitching” notes through its stops and air supply system. She remarks “We took advantage of this so most of the pitching sounds and notes that you hear on the album comes from the mechanics of this organ, effects made entirely acoustically.” The organ was recorded with two room mics for atmosphere and two pairs of close mics placed inside the organ to capture nuances and detail for further organ sound processing by Filip Leyman in his studio.

Releases September 25th, 2020

All songs written & played by Anna von Hausswolff

 

“‘Ghosts’ is about the beauty and joy of being in a band, and the pain of losing one another to illness and time. ‘Ghosts’ tries to speak to the spirit of the music itself, something none of us owns but can only discover and share together. In the E Street Band, it resides in our collective soul, powered by the heart.” – Bruce

New album “LetterToYou” featuring the E Street Band coming October 23rd.

The Goodbye Party have shared their new song “December Boys” accompanied by a reflective and touching video edited by Ali Donohue. Read a statement from Michael Cantor on the track
“When my partner and I started dating, she was writing a graphic novel that documented her first year in Philly. Naturally, she captured the beginning of our relationship in the book. The lyrics are a short collection of some of those pages. The song itself came together in about 20 minutes, but took another seven years to make it onto an album.”

“‘December Boys‘ starts out quiet, but then kicks into a jangly fuzz when the band enters.”
—Stereogum
“Sunny, reflective.”
—FLOOD Magazine

The Goodbye Party has shared “No Reason” a gentle power-pop number his upcoming album Beautiful Motors. Brooklyn Vegan, who premiered the track today, is saying it “nails a balance between warm, summery melodies and autumnal melancholy — the perfect kind of song to drop on the first official day of fall.”

Read a statement from Michael Cantor on the song below:

“This song deals with a couple of themes. One is how people you no longer keep in your life can show up in some of your favourite memories. It’s also about the experience of passing through the same place across different tours and seeing decay creep along, seeing cascading effects from hurricanes, and recognizing that slow change in yourself. My friend Emi Knight from Strawberry Runners sings on this song. She, along with a handful of local songwriters, held monthly salons where we would demo and critique each other’s songs. Having that space helped me focus, write, and rewrite songs for this record.”

Releases October 9th, 2020

All songs by Michael Cantor
Recorded Dec 2018

Double Double Whammy

An explosive electropop collaboration between two of our new favourite bands – the Saint Agnes remix of CLT DRP‘s ‘I Always Like Your Mother Better’. The release heralds the announcement of an exciting remix edition of CLT DRP’s album Without the Eyes, due to release 13th November.

Here’s what the bands had to say about each other , CLT DRP supported us at a show on tour and blew us away. Kitty and I couldn’t wait to get our hands on the music and remix it.

Saint Agnes: We knew early on that we wanted do a remix version of this album. With our sound edging in to that electronic territory it seemed like the natural thing to do. At the start of this project, if you showed us the list of bands that all came together in the end to do remixes for this album; we would have been pinching ourselves. We’re blown away with all the artists input and really excited for everyone to hear our debut album reworked.

CLT DRP: Both bands are sparkling hot stars of Brighton’s Small Pond Recordings – a Brighton indie label serving up some very tasty fish right now (see also LibraLibra and Bitch Falcon)

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Releases November 13th, 2020