Five years after the release of “Twerp Verse”, Speedy Ortiz returned last month to call out picket-line crossers with the simmering-yet-upbeat single “Scabs.” Turns out there’s more where that came from—today the band is announcing their fifth LP “Rabbit Rabbit”with another new track weeding through the ethics of fair labour called “You 02.” Leaning further into their grunge origins than the previous track, which more closely hewed to “Twerp Verse’s” pop sensibilities, the new single contemplates the ever-present issue of idols with questionable ideologies.
“Mostly when I’ve met my musical heroes, they’re kind and principled people,” Dupuis shared in a statement, explaining that the song’s title references a season of the Netflix series You that felt pertinent to the lyrics. “But occasionally someone whose work I love(d) reveals themselves to be anti-union, or anti-‘woke,’ or some other gear-grinding ugliness. That’s who I wrote ‘You S02’ about, the song’s frenzied guitar and synth solos mirroring the crazymaking intensity wafting off people who act like that.”
Arriving with the track is a music video indebted to “woke”-ism urtext They Live, with the band rocking way more glamorous sunglasses to learn the truths behind the artists glowingly written up in the press. Something, something, something, play bubblegrunge and kick ass—and they’re all out of patience for the systems that made “bubblegrunge” a buzzword in late 2021.
Jeff Rosenstock makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils five degrees hotter, and with each new album, Rosenstock’s music grows more unwieldy and lawless. Louder, faster, more feral. Which brings us to 2023—a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock’s appropriately titled, anarchic record, “Hellmode”.
“To me, the album feels like the chaos of being alive right now,” Rosenstock says of “Hellmode”. “We’re experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We’re just feeling way too much all at once!” But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in “Hellmode”, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like abruptly being flung into a Nintendo game on level 99.
“Hellmode” marks the fifth studio album the prolific Rosenstock has released in the last ten years under his own name, following the dissolution of his beloved cult projects Bomb the Music Industry! and The Arrogant Sons of Bitches. Also tucked into his rapidly expanding catalogue is a live record, a ska reimagining of his 2020 album “No Dream”, and various dumps of stray songs and loose singles.
And somewhere on the side, he has found time to score the Emmy-nominated animated series Craig of the Creek. Rosenstock’s rising profile and critical acclaim over the last decade have been something of an anomaly. He’s a proud torchbearer of the punk sonics, aesthetics, and ethos of his youth, leaning into pop punk and ska sensibilities that were deemed Decidedly Uncool by the gatekeepers of the time. (On any given day at a big outdoor music festival, he is likely the only musician who will bust out a saxophone solo.) But when Rosenstock celebrates these styles, he somehow ends up getting praise from tastemakers and landing on prominent year-end lists.
Maybe it’s because his appreciation doesn’t feel like cheap nostalgia or surface-level cosplay. Everything he does is just so damned sincere.
That success is something Rosenstock has been conflicted about, and fuels some of the anxiety that runs through “Hellmode”. “It’s weird feeling success at the worst possible time, while the world falls apart,” he says. “These things I’ve been unintentionally working towards for the last two decades have come to fruition now, when everything is on fire.”
To record “Hellmode” in the summer of 2022, Rosenstock once again enlisted his long time studio collaborator, Jack Shirley, the Grammy-nominated master of heaviness who has recorded all of Rosenstock’s studio albums. But this time, they took a slightly more ambitious approach, booking time at the legendary EastWest Studios in Hollywood. They recorded to tape in Studio 2, the same hallowed ground where System of a Down recorded Toxicity, and where Whitney Houston laid down vocal tracks for The Bodyguard soundtrack.
The newfound studio resources produced the biggest and most expansive Jeff Rosenstock record to date.“I looked at it like: Well, we’re never gonna make a major label debut record. But I really like the sound of a lot of those records from the 90s—the Rob Cavallo stuff, the Jerry Finn stuff,” Rosenstock says. “So what would we do if we were in the studio trying to make that kind of record? It’s funny, I feel like in 2023, you can write an unabashedly poppy punk song and it’s probably not gonna be on the radio anyway, so it doesn’t feel like a sellout move. We felt free to make something that just kicks as much ass as possible.”
The Sixth studio album from Texan psychedelic dream pop auteurs Holy Wave. Treading a fine line between delicious wistfulness and transcendent ecstasy, there’s an effortless sense of gentle propulsion to these nine tracks (which includes the single ‘Chaparral’). Features Lorena Quintanilla and Alberto Gonzalez from psych duo Lorelle Meets The Obsolete.
“Five of Cups” is the newest LP by Holy Wave, a four-piece band from Austin, Texas, that’s been releasing music since the early part of the last decade. For this release, Holy Wave hasn’t strayed too far from the sound that made them popular: the drifting, atmospheric indie-rock that freshly folds shoegaze and surf into revivalist psychedelia.The title track begins the album, and it kicks off with the screech of a synthesizer that demands your attention before meandering itself into a depressing story told by a drunkard who lost everything and now finds himself lighting cigarette butts and drinking to excess on the French Riviera. The sadness apparent in the soft chords of the lead guitar contrasts with the siren-like synth in a way that delineates anxious panic on an existential level.In “Path of Least Resistance”, the band permeates single notes from a synthesizer onto the background of the track, punctuated by what could be a cowbell, as melodic chimes dance in the forefront and lyrics mull over regrets and wasted time.
Like many albums, “Five of Cups” is not without moments of self-indulgence. Some songs, such as “Nothing is Real”, tend to linger in repetitive patterns that border on monotony. Even within these moments, however, the band’s intention of weaving a deep, trance-like atmosphere through the haze of production and adept execution is evident. On this LP, Holy Wave saves their best for last. The three tracks that conclude “Five of Cups” are far and away the most musically complex and interesting tracks on the album, most notably those with guest spots from two acts who’ve released albums this year: Lorelle Meets the Obsolete and Estrella del Sol.“The Darkest Timeline”, which features the duo LorelleMeets the Obsolete, is led by synths that pulse and scream over the entirety of the track, backed by a bassline that grooves back and forth underneath soothing vocals from Lorena Quintanilla.
The song builds with these elements until breaking into flow when the lead guitar and drums take precedence on the epically dreamy crescendo, where communication between guitar and synth creates a lush soundscape that sets under the momentum of a drum kit and choral performances that, together, emulate dusk. Fittingly, the following track, “Nothing in the Dark”, gets sentimental about finding solace in dimly lit rooms at night over a quirkily arpeggiated lead guitar.
The album wraps on a high note with “Happier” featuring Estrella del Sol. The song spotlights a relentless rhythm guitar, well-accented by the chiming of synths, and a lyrical subject that’s less than optimistic on the substance of living one’s life according to the manifesto of an American dream and sports a protagonist with all his boxes checked but still needs to pop pills for depression. In the album’s final verse, sung in Spanish, the protagonist is urged to stop running and face life in front of him.
The sounds explored on this album are far from anything new or cutting-edge. Everything feels reminiscent of the sound Dan Auerbach, Richard Swift, Lana Del Rey, and Mac Demarco were creating around ten years ago. “Five of Cups” is the seventh album released by Holy Wave, but they’re not covering new territory here. Apart from retreading old ground, it’s a solid release. However, the fact that it’s Holy Wave that made this album is essentially incidental, as this is the kind of work any alt band in any city could’ve, would’ve, or did make in the mid-10s. So, if you’re looking for vocal performances washed out from an echo effect to the point of being unintelligible while accompanied by routine psychedelic guitar licks and effective use of synth, then “Five of Cups” will fit the bill.
released August 4th, 2023
All songs written by Holy Wave. Holy Wave is Ryan Fuson, Kyle Hager, Joseph Cook, Julian Ruiz.
“Experimental Health” is the 14th album from The Telescopes and their third release on the Weisskalt label. The album was created entirely independently by Stephen Lawrie in a remote cottage in West Yorkshire between January to May 2022.
“Experimental Health” is folk music made with broken toys and cheap synths – mostly Pocket Operators and miniature synths. There are no guitars present on the album, most of the instrumentation costing £50 or less. The complexity of sound rests within the simplicity of the composition and musical arrangements.
A Various Artists 3CD, 68 track box set celebrating Leeds’ independent scene of the 1980s. Featuring Soft Cell, Sisters Of Mercy, Gang Of Four, The Wedding Present, Scritti Politti, The Mission, and many more,
Including The Mekons, CUD, Delta 5, The Pale Saints, Girls At Our Best, Age Of Chance, The Bridewell Taxis who all stamped their mark on the indie charts and were regulars/favourites on John Peel’s radio show.
Like many Northern cities, Leeds enjoyed an explosion of music triggered by the big bang of punk rock in 1977. Indie labels sprung up to cater for a new wave of bands, who carved their own identity as the 80s dawned. ‘Where Were You’ is the first comprehensive anthology of Leeds’ independent music from that period, through to the end of the 1980s. From punk to goth, indie pop to industrial dancefloor, out-and-out pop to underground psychedelia, the four hours’ worth of recordings here are a celebration of the musical diversity emanating from the city’s studios and clubs.
Co-compiled by Benoît Farvak (Salvation) with invaluable help and support from Richard Rouska (Rouska Records), ‘Where Were You’ also boasts numerous obscurities which make their debut on CD – including many tracks taken from records now worth a small fortune on the collector’s scene. Featuring extensive sleevenotes written by Andy Peterson, this is a fitting tribute to the legacy from one of the UK’s finest northern musical cities.
“Angel Sister” taken from the new album “Last Rays Of A Dying Sun” by Rain Parade, released on August 4th, 2023.
Matt Piucci and Steven Roback are back with , the first new Rain Parade album since 1985’s “Crashing Dream”. This is only Rain Parade’s third studio album. The band reunited Rain Parade are one of the leading lights of the Paisley Underground scene in the early and mid-’80s in Los Angeles. The album feature’s special guest musicians including Debbie and Vicki Peterson of The Bangles.
The record was tracked at 25th Street Studios in Oakland, CA (owned by David Lichtenstein, son of pop art artist Roy Lichtenstein) and at producer Jim Hill’s studio in Los Angeles. “Jim is basically in the band” tells Piucci. “We don’t do anything without him.”
In addition to Piucci and Roback, “Last Rays Of A Dying Sun” features long-time Rain Parade guitarist John Thoman, guitarist Derek See (the Gentle Cycle / Chocolate Watch Band / Dean & Britta), drummer and percussionist Stephan Junca (The Hellenes, boatclub),
“Last Rays Of A Dying Sun” will be the first release on Denver-based Flatiron Recordings, on their imprint Label 51. Flatiron Recordings is a new record company founded by Enigma Records co-founder Bill Hein, San Francisco and Boulder music vet and entrepreneur Andy Zicklin, and veteran music industry lawyer turned entrepreneur Fred Goldring…from promo submission
“The Paisley Underground heroes return with an LP that thoughtfully blends languid psychedelia and rock & roll punch.” Rain Parade is back with the album release ‘Last Rays Of A Dying Sun’ on August 4th
Brighton-based indie sensation Fur release their highly anticipated single, “I Don’t Know Why (But I Love You),” today via Ingrooves. The eagerly awaited track promises to captivate audiences with its soulful melodies and insightful lyrics.
Fur’s Will Murray, the creative force behind this mesmerising single, describes it as a poignant exploration of the complex nature of love. He shares, “It’s about the breakdown of love and how even when not with someone the love you had/have for them can still carry you through. It can drive you over the edge, but also be the light you need.” Murray’s profound words hint at the emotional depth awaiting listeners in “I Don’t Know Why (But I Love You).”
Fur have been making waves in the indie music scene with their unique blend of nostalgia-infused rock and poetic lyricism. Their distinctive sound has garnered them a dedicated following, and this upcoming release is sure to solidify their position as one of the UK’s most endearing indie acts.
To coincide with the single release, Fur will also embark on tour, taking their soulful sound to fans in London, Manchester, and across South East Asia this autumn.
“I Don’t Know Why (But I Love You)” is s a journey through the complexities of love, a testament to FUR’s musical prowess, and an invitation to experience their magic live on stage. Stay tuned for the release on August 30th, and be sure to grab your tickets to their upcoming tour dates to witness this indie sensation in action.
Prolific songwriter and guitar virtuoso David Tattersall presents 11 new songs on themes of memory, dreams, loneliness and love, featuring nylon-string guitar improvisations in the vein of gypsy jazz legend Django Reinhardt. The David Tattersall Group are old friends who rehearsed together for months in a small, smokey, sweaty room, before recording the album on a huge red boat moored on the River Thames, all vintage microphones and wooden walls inside. Friendship is a vital part of the record’s magic. Stylistic influences include Ronnie Lane, after whom one song is named, and the nylon-string guitar work of Jonathan Richman and Willie Nelson. A pastoral mood prevails, with swells of melancholic violin and Spaghetti Western harmonica, backed by honky-tonk piano and the dry drum sounds of Neil Young’s Harvest period, while the golden voice of Holly Holden adds a touch of glamour to proceedings.
David’s process includes much musical improvisation and stream-of-consciousness writing, but his end goal is to couple classic songwriting with the collective chemistry of musicians playing live in the studio. His lyric influences include Tom Verlaine, John Cooper Clarke and the New York School of Poets, particularly James Schuyler. The vinyl comes with a downloadable version featuring two covers of Townes Van Zandt and Jimi Hendrix.
Jethro Tull’s 1982 album ‘The Broadsword and the Beast’ will be celebrated in a brand-new 4LP set. The 40th Anniversary packages include new mixes from Steven Wilson, demos, rough mixes, live recordings and sessions from 1981.
The 40th Anniversary packages includes new mixes from Steven Wilson, demos, rough mixes, a 1982 live recording from Germany and sessions from 1981 with five CDs and three DVDs forming the Monster Edition and the four-disc vinyl edition. An accompanying 164-page booklet tells the tory of the album and accompanying tour with the band and crew plus an accompanying reproduction tour programme from the 1982 tour.
Originally released in 1982, “The Broadsword And The Beast” featured a distinctive blend of rock, folk, and progressive influences accompanied by Ian Anderson’s storytelling lyrics and unmistakable flute,
‘The Broadsword and the Beast’ is a cross between the synthesiser sound of the 1980s and the folk-influenced style that Tull had in the previous decade.
this album’s masterful storytelling, accompanied by Ian Anderson’s unmistakable flute melodies, garnered critical acclaim and has become a fan favourite over the years. The album mixes electronic sound, provided by Peter-John Vettese (a characteristic that would be explored further on the next album under wraps) with acoustic instruments. “There was some great playing on it by the band,” Anderson recalls. “I think that was very much to do with the rhythm section of Dave Pegg and Gerry Conway, it was very solid and positive. Peter Vettese’s inclusion on the album was also very positive in the way that he brought some thoughtful musicality to it. And Martin Barre did what Martin was getting better and better at doing throughout the eighties, which was being an amazingly good guitar player.
“Regarding “The Broadsword And The Beast” in relation to other Jethro Tull albums, personally I would definitely put it in the upper half, in terms of there being some really good songs, and a definite feeling of there being a slight return to that more conceptual thing, without it being too heavy-handed. Overall, I think that the music was amongst some of our best.”
Jethro Tull’s 1982 album “The Broadsword And The Beast” is the latest of their albums to receive the 40th Anniversary deluxe treatment, with a new eight disc CD/DVD version and a four-disc vinyl reissue to be released through Warner Music on September 1st. Limited Edition 4LPVinyl and in a 5CD+3CD Set.
The massive 5CD+3DVD ‘Monster Edition’ includes a new Steven Wilson stereo mix of the album, plus a host of associated recordings, also newly mixed by Wilson (CDs 1 & 2). The third disc offers demos, master mixes, rough mixes and more, while CDs 4 & 5 deliver a live set from Germany performed in 1982.
Like a number of shoegaze bands, The Boo Radleys spent a couple years hiding their musical skill and good song writing behind a wall of MBV-inspired noise. In an attempt, perhaps, to break out of the ‘Shoegaze’ scene for which they were best known, the 17-track “Giant Steps” exhibited a wider range of influences and was the band’s second album on Creation Records. This genre-hopping long-player was the one before their 1995 breakthrough album “Wake Up!” which tends to be associated with Britpop.
This resulted in some great music but when they came out of their shell, they got even better. Released not long after their wilfully dissonant “Everything’s Alright Forever” LP, the “Lazarus” EP felt a bit like seeing the band with a new pair of glasses.
The signs had been there all along for The Boo Radleys, but all four songs here are a step up in every way. “Lazarus” would show up on 1993’s “Giant Steps”, but without the long, dubby EP intro that pays off so well when the song roars into focus. its blend of brass and guitar-squall and acutely introspective lyrics, gave a hint of what was to come and remains lodged in the band’s most-loved and best-known songs. It’s also amazing they’d delegate songs as good as “Petroleum” and “At the Sound of Speed” to b-side material. Extended listening: 1991’s “Every Heaven” EP is pretty fantastic with a nice balance of melody and roar, and has one of the Boos’ best-ever songs, “The Finest Kiss.”
Cieka reflected on “Giant Steps”Creation loved it, people’s reactions seemed really positive. I do listen to it from time to time and still find great moments I’d forgotten about. I think it stands up pretty well today. I’m always left feeling happy to have been a part of the record”.
NME’s 1993 Album Of The Year, named in the Top 20 of Pitchfork’s The 50 Best Shoegaze Albums of All Time and lauded as one of 1001 Albums You Must Hear Before You Die, The Boo Radleys’ classic album, The 2LP edition is also available pressed on purple and orange vinyl at indie shops and comes with a bonus vinyl 10-inch featuring Saint Etienne remixes of both ‘Lazarus’ and ‘Rodney King’. The 20-track CD offers both of those remixes and ‘Peachy Keen’.
The Boo Radleys‘ 1993 album “Giant Steps” has been remastered for a 30th Anniversary reissue.
The Fat Angel Sings 