Archive for the ‘MUSIC’ Category

Amyl & The Sniffers have just made huge impact at the Austin Texas based SXSW Festival, confirming their status as one of the most talked-about bands of the festival, barrelling their way towards the release of their debut album with intoxicating energy, all channelled through the relentless, scrappy charm of Amy Taylor.

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Proudly reviving a Seventies punk they’re far too young to have experienced, Amyl & the Sniffers move at a breakneck speed. Pounding through tunes so quickly, it seems that they’re indifferent to hooks. But they’re not; rather, they’re just impatient to get to the next one. While the Sniffers seem on the verge of falling apart, Amyl prowls the stage, and her restlessness lends the band a coiled energy. At their best, Amyl & the Sniffers sound like Blondie deciding they’d be better off as a dirtbag bar band who dabbled in hardcore. It’s a combination that results in some glorious noise.

Releases September 21st, 2018

Some Mutts (Can’t Be Muzzled) and Cup of Destiny by Amyl and the Sniffers.
7” available through Flightless in Aus and Flightless via ATO in America. Limted to 1000.
Drums- Bryce Wilson, Bass – Gus Romer, Vocals Lyrics- Amy Taylor. Guitar- Dec Martens.

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Brothers of Destruction

The Lemon Twigs album “Brothers of Destruction”, is a six-track EP of previously unreleased material.

Released 22nd September, Brothers of Destruction was written and recorded by the D’Addario brothers – Brian (20) and Michael (18) – on their 8-track at home in New York during 2015, not long after recording their debut album, Do Hollywood.  The half dozen songs, most of which already feature in The Lemon Twigs’ searing live shows, will be made available digitally and as a 12” vinyl.

“In the beginning of 2015 we had songs left over from the Do Hollywood sessions, so we decided to record them at home in New York on our 8-track.  Many of you will recognize some of the songs from our live shows.  They’ve changed a lot over the past year, but these are the original versions.  We consider the EP the last chapter of the Do Hollywood era of our group. So enjoy!”

'Pacer'

Released in the immediate aftermath of the runaway success of The Breeders’ platinum-selling second album,Last Splash, and the Pixies calling it a day the first time round, The Amps are an important part of the Kim Deal canon.

First intended as a solo project, The Amps instead grew into a fully-fledged band with Jim MacPherson from The Breeders joining on drums and Dayton, OH musicians Luis Lerma and Nate Farley on bass and guitar respectively.  Releasing just one album, “Pacer”, in 1995, and after a whirlwind of touring with the likes of Foo Fighters, Guided By Voices and Sonic Youth, Kim returned them to the shelf, leaving behind one of her most intriguing chapters.

With the first vinyl repress on 4AD Records “Pacer” is finally getting the reappraisal it richly deserves.

The Amps released just the one album ‘Pacer’ back in 1995 – featuring Kim Deal, Jim MacPherson, Nate Farley and Luis Lerma. You’ll often hear a couple of Amps tracks when The Breeders play live

After a landmark 12 months for Rolling Blackouts Coastal Fever, who released their debut album Hope Downs to worldwide critical acclaim in June 2018 – Sub Pop Records is excited to reveal new music from the Melbourne band in the form of single, “In the Capital.” The track will also feature on a limited edition 7-inch alongside a B-side titled “Read My Mind.” The vinyl will be released on Friday, April 26th and is available from Sub Pop Records.

Rolling Blackouts C.F.’s Fran Keaney describes how “In the Capital” came together: “I first had the idea for the melody and some of the lyrics when I was swimming. It’s taken a while to finish the song, to make it feel like the initial feeling. I can’t neatly describe it, but something like connection despite distance. I was thinking about transience and water and death and big cities and fishing towns and moon river.”

“In the Capital”‘ (Release Day: April 26th, 2019)

Back in January, Beach Slang shared his rendition of Bob Mould’s “I Hate Alternative Rock,” the first track off a two-song covers EP titled MLPS (Minneapolis). Today, the project can be heard in full, including a cover of Paul Westerberg’s “AAA” (which Paul originally released under his Grandpaboy moniker). This cover stays pretty faithful to the original, albeit slightly sped up.

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Since 2014 Beach Slang’s brand of punk tinged rock & roll has catapulted them into being one of the most recognizable and exciting names in underground music today. With a string of albums on beloved emo/indie institution Polyvinyl and even more EPs under their belt, Beach Slang are ready to unleash their next EP, ‘MPLS’ via Quiet Panic / Bridge Nine. Dubbed as a ‘thank you’ to Minneapolis, the EP was produced by Goo Goo Dolls bassist Robby Takac and features Beach Slang’s take on Bob Mould and Paul Westerberg songs, respectively. ‘MPLS’ is officially out on March 15th.

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The singer and songwriter artist Vilma Flood from the steel town of Avesta in Sweden started her career in the blues world and appeared around many of Stockholm’s and Dalarna’s blues scenes. but Vilma found her greatest source of inspiration in the folk / indie genre through artists like Melanie, Alela Diane, Buffy Saint-Marie, Leonard Cohen and Ane Brun. She has since created her very own mix of blues, folk and pop together with fellow musicians Lars Knutas and Pontus Lundin.

Vilma has shared a new track called “Green Eyed Moron” with her powerful, dark and vibrating voice, combined with big marching drums, acoustic guitars and slide guitar  to deliver a really compelling and intoxicating slab of melancholic, bluesy Americana. It reminds us of Jolie Holland or Gretchen Peters no less.

Her next single is released this Friday! Vilma and Pontus Lundin wrote the song sitting cross legged on a carpet in a big unfurnished room .

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Her first album ‘Before Sunrise’ was released in 2016 and received a very nice reception by both the audience and the media and it has taken her on both big and small gigs around the country. Now Vilma is up to date with the second album ‘Moodswinger’, which will be released on April 26th, The pillars are pedal steel, slide guitar, big drums,plus Vilma’s vibrant, directly recognizable powerful voice

Band: Pontus Lundin, Lars Knutas and Roger Gustafsson

Sometimes you do dumb stuff like send your email without testing it and it’s completely black. Bad day at work here in Cataldo HQ. Sending again because I want you to know I made my best record yet and it’s finally time to start sharing it! It’s called “Literally Main Street”. And it’s a new album from Cataldo coming to you soon. The record comes out in the fall and we’re touring all over the place but I couldn’t resist giving everyone a sneak peek before the summer hits. To that end we’re playing one show at the Sunset with a dream bill of: Kyle Morton of Typhoon, Whitney Ballen, and their bands.

A little behind the scenes making this next record at Tiny Telephone from our pal Rachel Demy.

Without getting into too much inside baseball this is a big show for us–I’d be honored if you joined us! We’ll be playing lots of tunes from Keepers and Gilded Oldies alongside some new jams from the forthcoming record. I’m unbelievably proud of these new songs

From the album “Keepers”

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Phoebe Bridgers and Conor Oberst come from the same musical orbit. One could even argue, the two songwriters—age 24 and 38 respectively—are like long-lost musical siblings. Though at vastly different points in their careers, both musicians know how to crush and revive listeners with inspired woe, romantic poignancy and their instantly recognizable, consoling pipes.

Bridgers’ breakout 2017 debut LP, “Stranger in the Alps”, and her recent work with critical darling supergroup, boygenius, has safely reserved her position in the club of young singer-songwriters poised for rosy careers. Oberst has dozens of records to his name, most notably with the angsty indie outfit Bright Eyes, then as a solo artist and with bands like Desaparecidos and Monsters of Folk. Whether it’s the fictitious firm they reference on their band social media accounts or the album of the same name. With one new song, “Little Trouble” available on their new 7-inch single.

Better Oblivion Community Center is a healing endeavor, and though the jury is still out on the effectiveness of the former, the latter is undoubtedly potent. They capture the serenity of a still lakefront, the spontaneous vigor of a thunderstorm, the lifelong, scenic memories of a childhood road trip and the peaks and troughs of relationships. The two tear-jerking singer/songwriters are at the peak of their powers here, and they’ve managed to distill the exhilaration of that one summer you hoped would last forever and the crackling warmth of a bonfire into 10 effortlessly touching tracks.

Finn Andrews new album One Piece at a Time is his first solo effort outside of his band The Veils. (Andrews wears Zambesi and is styled by Karen Inderbitzen-Waller.)

Finn Andrews has a new solo record “One Piece at a Time”. Yes, solo. The former Veils frontman unveiled himself of his band and left the group and London, his adopted hometown, to return to his childhood home of Auckland over a year ago.

“It’s the longest I’ve been here since I was 16,” he says with a slight air of wistfulness. He had left London, At first it was the record. I wanted to make the record here. And knowing I couldn’t be in London any more.” “Well, I’m certainly the happiest I’ve ever been,” he grins. “I got to a place in London... it’s odd really, for a place with so much going on I barely would ever go out. I was always at home. It was about working, being there. I was born there and have been back and forth my whole life, but for the past 15 years I’ve been pretty solidly there and most of that time I’ve spent locked up in a room writing things. Or worrying about not writing things.”

He sighs, then smiles and says, “I feel this has been the first year of life I’ve had in a while.”

That’s because for the first time in a long time he’s been free to live. With a notebook bursting with songs, he quickly assembled a band and went straight into the studio to lay down the album shortly after landing. Three weeks later it was done. He’d intended for it to come out last October, spend a couple of months touring and then regroup in the UK with The Veils to begin work on the follow-up to 2016’s brilliantly macabre album, Total Depravity. But life has a habit of getting in the way.

“It’s all been delayed,” he says, explaining that his label decided to hold the record until now. “I would have totally put it out straight away. But it’s alright. I took that opportunity to open the blinds and be in the world a bit.”

“A dissolution of a relationship,” he says. “And I’d written a lot of records in that room. I needed to be somewhere else, be in a different space for a while. It’s been good to be here.”

“I’d written a bunch of songs in this book for the last few years and it was getting to a ludicrous point where I felt I had to do something with these songs or I couldn’t take myself seriously as someone who wrote songs anymore,” he says. “I played a few of them with the Veils and they didn’t make any sense.

“They’re pretty different. Everything with The Veils is so loud. I’m so loud, my guitar’s really loud, everybody plays really loudly… This is a very soft record. A break from that world was needed.”

The obvious difference is that Andrews is sitting at the piano for these songs. “It was weird being chained to a piano,” he admits. “It’s also hard to do anything that cool while you’re playing the piano.”

“But it comes with a lot of familial weight. I’m nowhere near as good as my dad [Barry Andrews, keyboardist and founding member of UK art-pop band XTC]. It’s an uphill thing for me. There’s less room for hitting it, which is generally how I play guitar. The piano demands a refined approach. It was a challenge stepping up to the piano. To be worthy of that instrument.”

From Finn Andrews‘ album “One Piece At A Time”