NYC-via-Philly quartet Strange Ranger are amidst “their metamorphosis from indie rock to experimental electronic pop, keeping one foot in each genre with stirring, fascinating results” (Stereogum). Next month, the indie veterans will release their new album, “Pure Music“, out July 21st on Fire Talk, and today the band announce a US tour which kicks off in New York City at DROM with support from Nourished by Time and continues into the Fall.
Aslo the band shared another cut from the record last week entitled “Way Out”
“One of the most underrated bands in all of indie.” — Uproxx
from “Pure Music” out on Fire Talk on July 21st 2023.
“Last Splash” (30th Anniversary Original Analog Edition), remastered at Abbey Road Studios, the set includes two 12″ 45rpm vinyl discs + a 12” disc with two unreleased tracks from the 1993 “Last Splash” sessions: “Go Man Go,” co-written by Kim and Black Francis, and “Divine Mascis,” sung by Dinosaur Jr.’sJ Mascis. A monumental album of the ’90s, “Last Splash” turns 30 this year. Recorded by the seminal Breeders lineup of Kim Deal, Kelley Deal, Josephine Wiggs, and Jim MacPherson, “Last Splash” immediately became an alt-rock classic. To celebrate this anniversary, the album has been remastered from the original analogue tapes at Abbey Road—previously thought to be lost
For this special edition, Vaughan Oliver’s original, iconic sleeve art has been gloriously reimagined by his long-time design partner Chris Bigg. Release date: September 22nd,
Montreal singer-songwriter Alex Nicol will release the “A Long Year” EP on June 30th and has shared the title track which features Angel Deradoorian. The title-track of a five-song EP (arriving 30 June), this lead single includes the unmistakable guest vocals of Angel Deradoorian (Dirty Projectors / Decisive Pink).“I wanted to express my frustration at running from my feelings for so long,” Alex says. “It felt like the world was crumbling at the same time as I was pretending everything was fine, but I really wasn’t, and I finally expressed it. It feels like one long exhale for me.”
Guided by Nicol’s haunting vocal pirouettes, “Been A Long Year” is an acoustic ballad which connects personal feelings of grief and sadness at the loss of many loved ones with a wider feeling of an emptiness that permeates through the modern world. Conjuring images of towns desolated by unemployment and families feeling the pressures of these rapidly changing and challenging times, evocative lyrics like “And all the shops are empty / And the diners too / The miller, baker, and seamstress / Gotta find something new to do / But it’s hard times when you add it up…” weigh a heavy lode and will cut deep.
Speaking about the track, Alex Nicol explains: “In “Been A Long Year”, I wanted to express my frustration at running from my feelings for so long. It felt like the world was crumbling at the same time as I was pretending everything was fine, but I really wasn’t, and I finally expressed it. It feels like one long exhale for me.”
Dense of subject matter, but gossamer to the touch, the floaty backing vocals provided by Deradoorian, sombre french horn hums of Pietro Amato, and astral orchestrations of violinist Emmanuel Ethier provide an otherworldly mirror to Nicol’s lucid observations of real-world strife.
The years surrounding the EP’s creation weren’t particularly kind to anyone, but shortly after completing his 2020 debut long-player ‘All For Nada’, Nicol entered a phase of staggering loss and mourning. Friends died. Family members died. He lost his job. As each new crushing sadness hit, Nicol began realising he’d spent his adult life avoiding difficult emotions like the ones he was being overpowered by. It slowly became clearer that his upbringing had conditioned him to maintain a false but constant state of hyper-stability. A small lifetime’s worth of unacknowledged feelings began coming to the surface and everything in Nicol’s world began to change.
Steve McQueen released on 22nd June 1985, . Remastered vinyl versions of Prefab Sprout’s albums are available through Sony.
Paddy’s songwriting skills is so good on this album – ‘how’s your new girlfriend? How’s the wife taking it’. So many good lines. Some just make me laugh – it’s not easy to crack jokes in songs – Jarvis is good at it too but it’s uncommon. Paddy is just a world class songwriter. Put him together with Tomas Dolby and you have a very special partnership.
I have played this album to death over the years, For me, Prefabs best work was with Thomas Dolby. His production is pure class. He added a polished sheen to Paddy’s songs. He buffed them up. They were already brilliant songs as the acoustic albums testifies but Dolby turned then into jewels.
Paddy McAloon, singer, songwriter tells us, I grew up in Witton Gilbert in County Durham and started Prefab Sprout with his brother [Martin, who played bass] and Michael Salmon, who lived down the street. Michael borrowed a drum kit and Martin and I shared an amplifier. We rehearsed in my dad’s run-down wooden-framed petrol station. We were as rough as can be, but we sounded like a band, at least to ourselves.
We didn’t have music lessons but drawn to music that I read about and devoured everything from T Rex to Stravinsky. but we dreamed about influencing the course of pop. I’d been writing songs since I was 13 years old, Loving Bowie who didn’t like country and western, so I wrote “Faron Young” from the world-view of someone who disliked country music.
Bonny was written around the same time. People think it’s about my father’s death, but he wasn’t dead then – I imagined grief. Goodbye Lucille #1 started out as a 50s doo-wop parody – “Ooh, Johnny Johnny Johnny” – in waltz time, but turned into something serious. Most breakup songs were sad or accusatory, but I straddled the viewpoints of both the intense guy and the girl breaking up with him (“She’s a person too”).
I’d always written on an acoustic guitar, but just as we started making records I had a crisis and thought I’d exhausted the guitar and started writing instead on a Roland synthesiser. I was too eccentric or nervous a songwriter to incorporate a big chorus, but when “When Love Breaks Down” came along I didn’t fight it. I wrote that, and “Appetite” – over a hip-hop-type groove on a drum machine – and then Desire As in the same week in June 1984. “I’ve got six things on my mind. You’re no longer one of them” is so cold. I wouldn’t want to say that to anybody. “Desire as a sylph-figured creature who changes her mind.” I’ve no idea where these things come from.
I’d used my most off-kilter ideas on our first album, “Swoon”, and I’d deliberately held back my more commercial songs. The album title – “Steve McQueen” came to me in a dream. It doesn’t mean anything, but I decided to use it and we shot the cover using a motorbike like the one McQueen had in The Great Escape.
The album went gold and has sold steadily ever since. I’m humbled that it’s become a classic and people still discover it, but I still remember driving away from the studio in the snow thinking we’d get a lot of praise for something I felt I didn’t have much to do with. It was us playing the songs in the studio – Thomas Dolby and the team did a marvellous job of making us sound grand and opulent. When we were doing “Johnny Johnny” there was this embarrassing clunk, which was the sound of me hitting the microphone stand while singing. Thomas loved the take and wanted to keep it, so he went to the Fairlight sampler, looked at the wave form of the sound and just took out the clunk. I remember thinking, “Wow, so that’s what pop is going to be like in future.”
Thomas Dolby, producer, I was on Radio 1’s Roundtable programme reviewing records, and the other guests were raving about all these awful Christmas songs. Then Prefab Sprout’s Don’t Sing came on. I’d never heard anything like it. Paddy’s ideas seemed detached from everything except maybe a mid-20th-century American novel. The next thing I knew their manager invited me up to their old rectory in Consett. Paddy’s bedroom was twice the size of a single mattress. He sat with a guitar and played me songs from sheets of paper. I recorded them all, took them home and whittled 40 down to 12.
There was fantastic flair and imagination but the arrangements were hard to listen to, so we restructured the songs in a rehearsal room right down to the exact placement of a crash cymbal – Neil Conti was a tasty drummer. We recorded in a big London studio over three months, which today would only be an option for a platinum-selling band. Paddy’s voice was warm and emotive, Wendy [Smith]’s was pure and pristine – they created a nice aura together.
I played Paddy’s chords on my synthesiser using my own sounds. The Fairlight sampler had just come out so I could make orchestral arrangements. The gunshot on Faron Young came from a BBC sound effects disc played backwards. I did things like sampling Wendy’s voice and “playing” it on a few songs.
I’ve never seen a band eat like Prefab. Wendy would say “Paddy, do you want a bacon sandwich?” and they’d all go off for a fry-up. We recorded “Horsin’ Around” after a pub break. Paddy launched into a swing version à la Frank Sinatra. I laughed my head off, and thought it might make an interesting style for the middle section, so we kept it.
On November in 1977: London’s Wire released their ground breaking & influential debut album, ‘Pink Flag’, on Harvest Records – one of the most original debut albums to come out of the first wave of British punk (making it, in sound & spirit, one of the foundation releases of what would become known as ‘post-punk’); very few of the songs followed traditional verse/chorus structures – if one or two riffs sufficed, no more were added; if a musical hook or lyric didn’t need to be repeated, they immediately stopped playing, accounting for the album’s brevity (21 songs in under 36 minutes)…”Pink Flag” is one of the most original debut albums in the punk world, and one could argue it’s one of the “punkest” records on this list based on the fact that Wire follows no rules. The band’s blend of punk energy and avant-garde sensibilities also placed the band at the forefront of the post-punk movement. Labels aside, “PinkFlag” still sounds as fresh today as it did in 1977. Ranging from minimalist numbers with no repetition to faster songs featuring memorable vocals and biting wit, Wire’s ability to be unpredictable and incredibly consistent has cemented their legacy as a highly influential group that’s inspired countless genres.
Wire [push] minimalism to new heights” and said the band “dredges up images of…beat poetry–short fragments of impressions set to music.” the 21 tracks are “not songs…There’s no easy structure or meter. Each explores or describes or electrifies or challenges. There’s no easy listening.” “I can’t say this is an enjoyable album. Maybe it’s just a stupid bit of rubbish. But you won’t know unless you find out.
“Pink Flag” was perhaps the most original debut album to come out of the first wave of British punk” and also “recognizable, yet simultaneously quite unlike anything that preceded it. “Pink Flag’s” enduring influence pops up in hardcore, post-punk, alternative rock, and even Britpop, and it still remains a fresh, invigorating listen today: a fascinating, highly inventive rethinking of punk rock and its freedom to make up your own rules.” Retrospectively, Trouser Press called the album “a brilliant 21-song suite” in which the band “manipulated classic rock song structure by condensing them into brief, intense explosions of attitude and energy, coming up with a collection of unforgettable tunes”
“The Dirty South”, perhaps the best album by the American band Drive-By Truckers, appears this week in a new and to a limited extent polished version, which especially underlines the greatness of the album.
It is a great body of work that the American band Drive-By Truckers has to its name. It’s very difficult for me to choose between a huge pile of beautiful albums, but the albums with Jason Isbell stand out very carefully. “The Dirty South” from 2004 is one of these albums and it is an album that will be released this week in a slightly more extensive version, which also features a new mix and new vocals here and there. The differences are certainly not huge, but “The Complete Dirty South” is certainly no less than the original album, if only because of an extra track by Jason Isbell and the beautiful packaging. An undisputed classic in a subtle new look.
The American band Drive-By Truckers released two undisputed annual albums in 2020 with “The Unraveling” and “The New OK”. Since then, the band from Athens, Georgia, has slowed down a bit, although the somewhat underrated “Welcome 2 Club XIII” was released last year. That album may not be counted among the Drive-By Truckers classics, but that says more about the quality of the band’s complete oeuvre than about the quality of the album that was last until recently.
Drive-By Truckers began making classics in 2001, when the landmark “Southern Rock Opera” appeared. The ode to the Southern Rock of yesteryear convinced for an hour and a half and was the start of a glittering career. Drive-By Truckers now has an impressive pile of great albums to her name. These are albums that are very difficult for me to choose between, but today I choose “The Dirty South” from 2004 for several reasons.
“The Dirty South” is the second and final album on which Jason Isbell is part of the band, is the best-selling album of the American band, is the album that is considered by many to be the band’s best album and it is the album that has been released this week in a new version, “The Complete Dirty South“. “TheDirty South” celebrates its twentieth anniversary next year, but the version released this week is more than a 20th Anniversary Edition.
The band re-recorded the album for a small part, provided the songs with a new mix, messed around with the order and also added a number of songs to the new version of the album. Frontman Patterson Hood indicates that “The Complete Dirty South” sounds like the album was intended in 2004, but that didn’t immediately convince me. Reinventing old work is usually a fairly pointless activity and almost always the new version is less than the original, although there are exceptions.
The Dirty South had 2004 tracks and 14 minutes of music in 70. The new version adds three more tracks and more than fifteen minutes of music. Upon listening to “The Complete Dirty South”, my original skepticism slowly but surely appeared. Fortunately, the new version of the album doesn’t sound very different from the original. The new mix is perhaps just a bit better and the same goes for the re-sung vocals in a limited number of tracks.
Also, the limited sliding in the order of the tracks does not have much influence on the album, leaving the new tracks as the greatest asset. In particular, the TVA written by Jason Isbell is beautiful and is enough reason for me to switch to the new version of “The Dirty South“. The new edition is also beautifully packaged and provided with an informative booklet.
It could easily have been part of a deluxe edition of the album, but Patterson Hood wanted to shake off the frustration of a record company opposing at the time with this new version of the album. “TheComplete Dirty South” is a beautifully executed and beautiful sounding album, but it is above all an album that shows how good and memorable the original album was in 2004. “The Complete Dirty South” is ultimately a more than nice snack, which definitely makes you look forward to new work from the band from Georgia, but which will come out of the speakers very often.
“This ‘Director’s Cut’ is the way it was always intended to be heard” – Patterson Hood
The sound and the fury are back on the third album from Melbourne punk trio Cable Ties. ‘All Her Plans’ harnesses the band’s signature rage as they pummel through songs that are equally frantic and tender, veering from expressing frustration with the status quo to heartfelt and sincere odes to loved ones.
Jenny McKechnie’s distinctive vocals are the vessel through which she presents the world as we know it – and the world as she thinks it should be. Turning a sharp eye onto the failures of the healthcare system to protect the vulnerable on the wailing first single ‘Perfect Client’, she repeats “We’ve got no place for you to go” against an undulating bass line and wall of guitar. It’s a refrain that hits like a punch.
That energy continues on the righteous ‘Silos’, as McKechnie’s rapid speak-singing hurtles the listener through the life of someone struggling with Centrelink and then explodes into an indictment of the government’s inability to deal with actual issues and reliance on the carceral system. “Politicians use a tragedy to prove that they’re strong men / then incarcerate the victims that they’re claiming to protect,” she spits. It’s urgent and topical stuff, delivered at breakneck speed.
Have a look at our new video for the opening track, ‘Crashing Through,’ from our brand new album “All Her Plans” now out Go have a cackle, it’s bloody cute. The concept for this clip was inspired by a true event: a moth flew into the ear of director Triana Hernandez, sparking the idea for this video. Unfortunately, the original moth didn’t survive, but the moth in the video has a much better time. Huge thanks to Triana and the incredible crew who worked on this project.
These are classic Cable Ties songs, combining the group’s tight musical energy and chemistry with their clear-eyed vision for a more equitable society. McKechnie’s bulls-eye lyricism is as sharp as it is rhythmic – it’s what this band has always done best. There’s anger here, of course, but it is driven by kindness and hope.
But there are softer moments on ‘All Her Plans’ which reveal a new kind of intimacy for the band. On the folksy ‘Mum’s Caravan’, McKechnie’s voice takes on a gentler timbre as she considers the sacrifices her mother has made – it plays out almost like a Courtney Barnett song, all suburbia and regret.
On the beautiful ‘Time For You’, she slows down and reflects on the safe haven of secure romantic love. In a lovely contrast to the despair McKechnie expresses elsewhere, this is a love letter to the comfort and necessity of human connection in the face of the modern world’s increasingly inescapable political and sociological turmoil. The songwriter’s use of repetition across this album drives home her messages, and it’s especially moving here.
Melodies here are as often traditional as they are abstract: ‘Thoughts Back’ is built on dissonant harmonies that clash against the insistent, thumping rhythms backing the chorus, with drummer Shauna Boyle taking the lead on vocals for the first time. McKechnie climbs to an ethereal high on ‘Too Late’ against piano and organ, before her vocals split into their usual loose yell.
‘Deep Breath Out’ does what it says on the tin, as McKechnie sings to a troubled family member with love and understanding. It closes out the album, providing a soft landing for an unrelenting record heavy with emotions and themes, but still carrying a striking vulnerability that leaves an impression.
‘All Her Plans’ is a sonically more adventurous and varied album than the band’s previous output, but retains a strong sense of cohesion even as it barrels in multiple directions. Cable Ties are one of the most consistent and passionate bands in Melbourne both in the studio and on the stage – here is another manifesto, another soundtrack, for a better future.
Released June 23rd through Poison City / Merge Records
“Destination Dusseldorf”is the brand new studio album from Scotland’s legendary Skids. The band note Europe as an ongoing inspiration for the new LP; “from the beauty of the Renaissance to the savagery of many wars, the highs and lows have been from there as an ongoing and ever evolving influence. This new album follows in the footsteps of “Days In Europa” as a celebration of friendship and shared experiences.”
The new album “Destination Dusseldorf” follows in the footsteps of “Days In Europa” as a celebration of friendship and shared experiences. The cover shows the brilliant Jospeh Beuys striding towards us from his base in Dusseldorf full of confidence and optimism believing that we can do the right thing for the people and the landscapes that surround us. He is a philosopher, an artist, but most importantly a human being, a hero who never hid from the challenges of life.
Given that we aren’t sure what (if anything anymore) we can find out after death, I really wonder what Stuart Adamson thinks of both his bands Skids and Big Country carrying on without him? The former of which now release their new album ‘Destination Dusseldorf’. Adamson was such a distinctive player its hard to imagine it without him though I’m sure guitar pedals now have a bagpipe setting that can be utilised. I mean, it’s like The Armoury Show without Richard Jobson.
“Destination Dusseldorf” – the new LP from The Skids will be officially released on Friday.
The Skids – No Bad Words 1977-2023 (Richard Jobson) Signed 2023 Updated Edition
“No Bad Words” includes all The Skids lyrics written by Richard Jobson with commentaries on selected songs from the first four albums, plus the whole of “Burning Cities”, and 2023’s “Destination Dusseldorf” album.
Limited Edition hardback signed by Richard Jobson, plus exclusive “Destination Dusseldorf” postcard.
“Smalltown Stardust” sees Thomas evolve once more, fully embracing the pop elements that crept into “The Other” with production help from Sasami, who’s lent a dynamic snap to her own works along with Hand Habits in the past few years. The guitar still pervades, providing a glam crunch to many of the songs, but it’s no longer the only driving force. Layers of drums, strings, and Thomas’ voice feeling comfortingly close mic’d and confessional mark the new record. The dichotomy of the album’s grandiosity and the lyrical longing for the townie tenure push against each other, creating a tension that resolves somewhere in upper echelons of Tuff’s velour pop wonderland.
There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share.
It’s a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020.
But knowing he couldn’t simply recreate this time in his life at will, Thomas—who hails from Brattleboro, Vermont—set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand.
“I wanted to make an album to remind myself that life is magical,” he reflects.
And so, Thomas seized upon his memories, creating what he calls “an album about love and nature and youth.”
The result is “Smalltown Stardust”, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist’s back catalogue. On “Smalltown Stardust”, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. Images of his youth abound: from Route 91 which runs through his hometown (in “Smalltown Stardust”); to Redtooth, a spectre who used to roam the streets (“Bandits Of Blue Sky”); to old friends, old haunts and old dreams (“Always Find Me”); to Vermont’s Rock River, which gave its name to a song of a torch still burning for past love: “Those days are gone and we can’t rewind/ Cuz people grow and places change/ But my love for you will never fade away.”
But at the core of “Smalltown Stardust” is Thomas’s desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs and create a setting unmistakably far away from Los Angeles. “I consider nature to be my religion,” he explains, and “Smalltown Stardust” is nothing if not a spiritual exploration. Thomas’s identification as a sort of eternal spiritual seeker is underscored in one of the album’s sweetest moments, “A Meditation,” which features a home audio recording of Thomas as an eight year old, trying his hand at leading a meditation. It’s a journey that he continues to this day, as he intones on “Portrait of God”: “Walking in the woods, wading in the river” and “breathing in the mountain air” before heading back to a place where he finds himself “Oil painting in my garage/ Let my colours flow/ I’m working on my portrait of God.”
While so much of “Smalltown Stardust” invokes idealized traces and places of Thomas’s past, the album’s recording process made his communal vision a reality. Thomas’s Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021’s Fun House and 2022’s Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on “Smalltown Stardust”. Thomas describes the time with a fitting metaphor: “I’ve always thrived around other people making things. You want to bloom with each other.” Ashworth’s contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. As Thomas notes, “I tried to follow her vision a lot. It helps to open your world to collaborators. You always get something completely different than you would have expected.”
With the gorgeous orchestral tones of “Love Letter to Plants,” it’s immediately clear that Thomas is declaring a wider vision of what his music can be. Gone are many of the squalling guitars of previous KingTuff records, replaced with thoughtful, tender touches of cello and violin on “Love Letter to Plants,” “Pebbles In A Stream” and “The Bandits Of Blue Sky”; a plaintive saxophone on “Always Find Me”; and orchestral vocal harmonies with Ashworth that lift the songs to a celestial plane. (Though the rollicking, joyous leads on “Portrait of God” show Thomas hasn’t lost his touch on guitar.) On “How I Love,” Thomas makes clear that all of this is by design: “So lost in nothing but noise for so many years, I forgot to love.”
In the end, “Smalltown Stardust” is not merely a nostalgia trip. In making the record, Thomas not only conjured a special time in his life, he found new inspiration, surrounded by a small circle of collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, “Smalltown Stardust” is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us. “I’m a different person now than I was 20 years ago when I first started it. But oddly, when I first started the band, it was more like this,” he says. Which is to say, things have come full circle. Or as Thomas intones on “The Wheel”:
“Ooh we were just kids then… Caught up in the turning of the wheel…. And it’s coming ‘round again.”
Terry pick up right where they left us — offering up jangled and jilted pop that’s strained through a wobbly post-punk filter. Guitars strum and squirm, sparring with itchy organs. The band layers in strings and horns, but as an antithesis to the kind of pristine pop that normally implements such accoutrements, Terry add them to their menagerie of home-brewed mayhem. In the past a slight lacquer of these elements has cropped up, but never in such prominence. The shift pushes the band out of their wrangled-punk bunker, spilling out into the streets, turning pop pirouettes under a wrinkled sun.
“Call me Terry”. Five years on from the last record, “I’m Terry”, the Australian four-piece welcome their new album, “Call Me Terry” . Terry is made up of Amy Hill, Al Montfort, Xanthe Waite & Zephyr Pavey who formed in Mexico City in 2015 after seeing Trotsky’s deathbed. Seven years, four albums and four 7’s later, you can now “Call Me Terry”. Over the past few years, Terry has kept busy with writing and recording “Call Me Terry” and alternating side projects, including Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky. Terry recorded “Call Me Terry” demos in 2019, sharing further demos during 2020 isolation before getting together to record at the legendary Terry HQ Ringwood Studios in 2022. Overdubs were completed in Terry home studios over the year.
Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia”.
Musically, “Call Me Terry” has the classic Terry punk sound; four vocals singing as one, sharp guitars and quirky synths, rolling bass and drums. But the sugar on top here may just be some of their finest horn, string and piano performances to date – all of which never feel crowded, cluttered or over-involved. Rest assured Al still gives his famed Fuzz Factory a workout – and throws his tremolo into the pedal chain. It goes off. Since day dot it’s been hard to reference a band that really sound like Terry. Truly a sound of their own! Listen to what Terry has to say.
“Call Me Terry” released April 14th through Upset the Rhythm and Anti Fade Records (AU/NZ).
