“Milk Teeth” EP features five songs from Waterhouse’s early career plus one new track “Neon Signs”.
“It means the world that Milk Teeth is getting a vinyl release,” Waterhouse says. “These songs were like secrets to me. They were witness to a time when I felt like I was drowning and I needed to connect on a profound level in order to stay afloat. I share them with everyone who collaborated me on this record. I’m so grateful for the guidance and permission they gave me to explore.”
“The Milk Teeth” EP compiles singer-songwriter Suki Waterhouse’s various non-album singles onto a physical release for the first time. It includes the song “Good Looking”, which, in mid-2022, exploded on Tik Tok and hit #1 on the global viral chart.”
released November 4th, 2022 Suki Waterhouse – Milk Teeth CDEP (Sub Pop)
If you’ve been to the movies you’ll know that they often have music playing while the actors drive around or have a gunfight or go to a funeral or fooling around or winning or losing. Just about wherever the director thinks some certain music would be nice.
Where does all that music come from? Hollywood probably, but not every song is from there. Sometimes they ask for a song you already have and sometimes they ask you to write one.This record is the latter. All this music, mostly instrumentals was stuff I wrote for movies but was never used. They used other music which was not great, but show biz is like that. The first 8 songs were for a movie called ‘The Last Word’ directed by my friend Mark Pellington.
One of the songs was supposed to have been used when Shirley Maclaine was walking into her house or something. That would have been a thrill. The rest are a lot of ideas I though up after watching some scenes Mark sent me. Songs 9-15 are from a movie called ‘Spring Forward’, written and directed by my very good friend Tom Gilroy. It’s a wonderful movie w/ Ned Beatty & LievSchrieber. It takes place in Connecticut and even has a guy wearing a Miracle Legion t-shirt.Solid continuity. Most of the songs didn’t make it, but this is the demo for “A Cup of Tea“. Tom ended up using a re-recorded version as the credits song. Sweet success. A bunch of misfit songs that sat in a drawer. Til now.
MJ Mulcahy – Writer, performer and recorder
Now you know the rest of the story……Released November 4th, 2022
Jesse Malin has announced plans to reissue his celebrated 2003 debut, “The Fine Art of Self Destruction”. To commemorate the 20th anniversary of the acclaimed release, the artist has shared details about the impending material that will be released on February 17th via MNRK Heavy.
According to a press release, the rocker will present his fan with the opportunity to snatch his inaugural album, which has been reimagined and re-recorded by Malin and his long-time band. The bonus album was produced by Geoff Sanoff, whose past work includes Malin’s “Sunset Kids” (2019) and “Sad and Beautiful World” (2021).
Along with today’s announcement, Malin has also shared a revitalized rendition of “Brooklyn,” now slated as “Brooklyn (Walt Whitman in the Trash).” Directed by Catherine Popper and Vivian Wang, the video sets out to honor the bones of old New York.
Malin also added a statement on the new video: “‘Brooklyn’ is about beginnings, those early days of innocence and big dreams that often collide with irreversible mistakes and regret. We try and find ways to accept the mistakes and look back with laughter, forgiveness, and love.”
The artist also dug into the song writing process behind the initial album. He stated: “[At the time] I was still learning how to sing and tell stories. These songs were written in a little apartment downtown, without a record deal, a manager, or any expectations of anything coming of it–just a need to write them.”
Viagra Boys were the musical guests on last night’s episode of Jimmy Kimmel Live, where they performed their single ‘Troglodyte’. A band like Viagra Boys do not get mentioned enough in the discussion of today’s punk, but last night (November 2), the six-piece infiltrated homes across the world with a high-octane performance on Jimmy Kimmel Live.
The Swedish punkers performed “Troglodyte”, a popular track from their latest release, 2022’s “Cave World”, and with barely enough room to fit the full band on the stage, Viagra Boys still managed to replicate the energy of the original recording and bring it to life in front of the world. This was the band’s official late-night television debut.
Viagra Boys have been slowly crawling their way up the reigns of punk since their 2016 debut EP, “Consistency of Energy”. Their brand of punk pulls from all eras of the genre and breaks them down to their most minimalistic form, they used what’s left and built a sound all to their own, a sound that has been evolving since their first release. With each release Viagra Boys tighten up their sound and their new album is no different, “Cave World” is an immersive experience that puts the band’s world view through a kaleidoscope of colors and personalities.
Viagra Boys frontman Sebastian Murphy stood shirtless at center stage with a chest full of tattoos while his trusty band packed onto whatever real estate was left for an unforgettable performance of “Troglodyte”. Everyone sounded tight throughout the song but the most impressive aspect of the band’s performance was their energy. Without much room to move around on stage, Murphy was still able to captivate the audience while the band never missed a step.
‘Troglodyte’ is taken from the Viagra Boys’ latest LP, “Cave World”, which arrived earlier this year. Ahead of its release, the Swedish post-punk band also shared the singles ‘Punk Rock Loser’ and ‘Ain’t No Thief’.
Viagra Boys perform the song “Troglodyte” on Jimmy Kimmel Live.
Wild Pink appeared on CBS Saturday Morning earlier today to perform three songs: ‘See You Better’ and ‘Hold My Hand’ from their new album “ILYSM“, and ‘Die Outside’ from last year’s “A Billion Little Lights”. Wild Pink headed by frontman John Ross, frontman John Ross.
The phenomenal “ILYSM”, out on Royal Mountain, avoids being exclusively about cancer but reflects the ways in which it imbued his life with urgency and meaning. Ross went on to record the album with a host of collaborators, including co-producers Justin Pizzoferrato and Peter Silberman (The Antlers), bassist Arden Yonkers, drummer Dan Keegan, and pianist David Moore of Bing & Ruth, as well as enlisting contributions from Julien Baker, J Mascis, Ryley Walker, Ratboys’ Julia Steiner, Samantha Crain, and Yasmin Williams, among others. And while the sound of the album is as lush and full-bodied as you would expect, there’s a surprising heft and at times deafening beauty to the arrangements, which are balanced out by moments of understated candor and intimacy. “ILYSM” is Wild Pink’s fourth studio album, came out last month via Royal Mountain.
Wild Pink began playing together in 2015 and have since released three albums. The indie rockers are now on the move, playing a world and American tour that will last into December. For Saturday Sessions Wild Pink performs “Hold My Hand.”
Wild Pink released their latest project (and among our best album of the year) “ILYSM” only a couple of weeks ago, so they’re still in promotion mode. As they prepare to tour Europe, the UK, and the US, Wild Pink stopped by CBS Saturday Morning to perform a few songs: “See You Better,” “Hold My Hand,” and “Die Outside.” The first two are from “ILYSM“, and “Die Outside” is taken from last year’s “A Billion Little Lights”.
“CBS Saturday Morning” co-hosts Jeff Glor, Michelle Miller and Dana Jacobson deliver two hours of original reporting and breaking news, as well as profiles of leading figures in culture and the arts.
Often described as the first Southern rock album, the Allman Brothers Band’s self-titled debut album was first released on November 4th, 1969. The album features a number of the band’s most well-known songs, like “Dreams”, “It’s Not My Cross ToBear”, and “Whipping Post”. It still looms large as the defining moment that the Allman Brothers were born.
From 1965 through 1969, brothers Duane Allman and Gregg Allman went through a number of band line-ups—both separate and together. It took four years for the siblings to travel the world and get back to the basics in the South, putting together a major jam session that featured all of the band’s initial players: Berry Oakley, Jaimoe, Butch Trucks, and Dickey Betts. This would be the lineup for several years until Duane’s untimely death.
In August 1969, the band was just cutting their teeth in the South when record executives enticed them to make the album. Between a few blues numbers and some originals penned by Gregg Allman, the band made their way from Macon, GA to New York for a recording session.” The Allman Brothers Band” was recorded in just two weeks and quickly turned around for a release a few months later.
The album initially flopped on a national level, as the band’s Southern-influenced rock sound failed to take hold, but it had turned Macon from a sleepy town into a vibrant musical community. That’s when the band knew they were onto something. “They wanted us to act ‘like a rock band’ and we just told them to f*ck themselves,” remembered Trucks.
Now, we can look back at this album to see a wildly talented band in its earliest days. The Allman Brothers Band may have had a lot of drama over the years, but at the heart of it all is its undeniable thirst for authentic Southern rock and roll. That’s what you hear on “The Allman Brothers Band”, musicians who take their craft seriously but also know how to let loose and rock out. It’s a great record.
The Allman Brothers first few albums are essential for collectors of blues-based rock music. The band blow hot from the first searing notes of lead guitar on ‘Don’t Want You No More’. This instrumental segues into ‘It’s Not My Cross To Bear’, with virtuoso cameos shared out. What is most impressive is how they maintain a compelling intensity and seething energy across the album. ‘Trouble No More’, the album’s halfway house provides a little relief from this, but the last three tracks pick up the mood again, each distinctive from everything else. The organ-led ‘Dreams’ is strongly atmospheric and ‘Whipping Post’ tops everything off superbly. At just thirty-three minutes, this album leaves you hungry for more,
What’s on the other side of the well? Inside the tunnel of change, or this life, we can either feel intimidated by the darkness of uncertainty, or excited by the possibility of nourishment. Songwriter, guitarist, and vocalist Jess Shoman wonders, “what the hell,” why don’t we go for the excess of love we deserve? Tenci’s album “A Swollen River, A Well Overflowing” becomes a gathering and collection of well-like vessels – cups, puddles, fists – to hold tight to this love and newfound joy.
Tenci shares newly-announced spring dates, a long run that has the band visiting cities they haven’t played before. On record and live, Jess Shoman is joined by Curtis Oren on saxophone and guitar, Izzy Reidy on bass (Izzy True), and Joseph Farago on drums (Joey Nebulous).
“A Swollen River, A Well Overflowing” is Tenci’s second album, coming after their 2020 debut “My Heart Is An Open Field”, which introduced Jess Shoman’s music explorations to the world. Shoman admits that their first album dealt with letting go of painful life experiences, resulting in emptiness. In this recent collection of wiser years and distance from that former grief, Tenci carries an opposite feeling, a celebration of self-rejuvenation. “A Swollen River, A Well Overflowing” shows Shoman steering their inventive music further and wilder, spilling over with 12 fable-like songs. In a combination of milk, coins, glass, water, and light, each song forms a spell to “fill my heart back up,” Shoman says, “by reframing complex feelings by turning my head sideways and seeing them in a different way.”
From the close-knit Chicago scene, Shoman is joined by Curtis Oren on saxophone and guitar, Izzy Reidy on bass (Izzy True), and Joseph Farago on drums (Joey Nebulous). The years following “My Heart is an Open Field” saw the band playing shows together all over the country before regrouping in Chicago to record “A Swollen River” with engineer Abby Black. While the themes of Tenci shuffle around a serious pool of thought, trying to understand life’s calamities, their live sets often feature an ample amount of goofy light-heartedness.
Their playful interplay of loose drums and bass, huffing sax, and vocal waterfalls leave us warmer than before. The songs on “A Swollen River, A Well Overflowing” weave together like twigs to create that fire, a burning message to keep going.
The album begins with “Shapeshifter,” which Shoman says is about “piecing yourself together, shape-shifting into someone new,” and finding power in this new form. Setting the tone for the rest of the record, the brief song appears like a glimmering poem in darkness, unveiling an undeniable newness to their sound. “I’m a diamond ring / in a thick lagoon / Butterfly with clay-sewn wings,” sings Shoman. Like the transformation Shoman sings of, the track grows and morphs with stacked guitars and the harmonies of bandmates’ voices.
Tenci’s sonic evolution is further reinforced by the upbeat immediacy of “Vanishing Coin.” Shoman’s soft and trilling vocals fuel the song’s imagery as a friendship vanishes and another well appears, as a wish from a coin tossed into that well never comes to fruition.
“Two Cups” continues this interplay between folk and rock genres, as a tough and sweet guitar solo converses, “I won’t wait,” fizzling towards freedom. Unlike a public fountain, a personal cup can be filled on your own terms towards abundance.
Tenci’s songs on “A Swollen River, A Well Overflowing” often appear simplistic at first, then split off to unruly places of boiling self recognition. On “Sour Cherries,” the band starts simple and slow, introducing the brutal fruit of love and the theme of wanting excess: “don’t you think you’ve had enough?” As Tenci gets deeper and huskier, they dip into one of the album’s most exciting and unexpected sections.
Shoman explains the idea behind “The Ball Spins” as “watching the ball spin – as in the world – but also as mundane as a ball on the ground. The world burns with so much sadness and destruction and I am witnessing it in a very desensitized way.” Living during an ongoing pandemic, dangerous nationalism, and climate change, to name a few, can feel so painful, it’s numbing. Tenci attempts to create art out of that metaphorical car on fire outside. Instead of disassociating, Shoman hopes to find commonality in communal care.
Just as the band name Tenci comes from Shoman’s grandmother Hortencia, the legacy of family is woven into the album. “Swallow Me Whole, Blue” comes from Shoman’s mother’s memory of her childhood dog, Blue, who was poisoned by the neighborhood kids: “They threw a poison bone / it cast a spell on you.” Perhaps Shoman’s longing to protect and know Blue is the same longing to protect their family’s memories. The album closes with “Memories”: in a bare folk song, their guitar, and their memories, echoed by the audio of an old family video. The voices of parents, grandparents, and children filter in and out, fuzzy against the assertion of a “crystal clear picture.” “Memories” captures the feeling of “knowing that at the end of your life, you will have your memories to fill your heart,” Shoman says.
Tenci has traveled through a spout that leads to a restorative lake, finding a new place of compositional and lyrical complexity on “A Swollen River, A Well Overflowing”. All of this fullness bursts forth from words and ideas jotted in Shoman’s journal. The notebook’s cover is made from a repurposed children’s book titled “Great Big Elephant.” Shoman’s own writing often feels like a nursery rhyme, a naming of animals and clowns under your bed, a recipe for understanding life, and hopefully, each other.
““A Swollen River, A Well Overflowing] is one of the most compelling indie releases of the rest of 2022.”– Uproxx
“A Swollen River, A Well Overflowing” is a pure understated delight that hits the head, the heart and the gut in equal measure.” – NARC Magazine
the new album ‘A Swollen River, A Well Overflowing’ out November 4th, 2022 via Keeled Scales
Tropical Gothclub is the new project from renowned musician and multi-instrumentalist Dean Fertita – has released its self-titled debut LP, out now via Third Man Records at all DSPs and streaming services. An official visualizer for “Needles” premieres today at YouTube. Dean Fertita has been at the heart of American rock ‘n’ roll for almost two decades, from his role as an invaluable member of Queens of the Stone Age and The Dead Weather, touring keyboardist with The Raconteurs, and backing musician on records by Jack White, Karen O, Iggy Pop, Brendan Benson, The Kills, Beck, and more.
While Fertita’s own music had been the focus in his role as lead singer, guitarist, and founder of The Waxwings and on recordings as Hello=Fire, Fertita began Tropical Gothclub with no clear mission for a solo album under his own name. In early 2020, he put up a small A-frame in his Tennessee backyard to use as a writing and recording space while stuck at home during the looming pandemic. With rare time on his hands, Fertita set to work recording demos of the many musical ideas he had accumulated over the years, building upon songs and fragments written during different stages of his busy career. Fertita then enlisted his old friend Dave Feeny – a veteran Detroit musician and owner of The Tempermill recording studios in Ferndale, MI – to help develop the recordings even further, pushing the original demos in deliberate new directions to create a showcase for his wide-ranging songcraft and visionary imagination.
“The Tropical Gothclub songs are like concept cars,” says Fertita. “They were meant to be put into future production once they were reimagined and redesigned so everything is tightened up. Creatively things changed and my options weren’t just black and white. They were also fluorescent. “I’m hoping the framework is in place with Tropical Gothclub that I can experiment with releasing art and music in the future without following the conventional cycles. My focus has been on other projects the last few years and really, this is no exception. But I unexpectedly found more time than I thought I had and was able to move within the space I was given, veer off course, and speed towards the cliff.”
“Tropical Gothclub” also includes the acclaimed new single, “Double Blind,” available now for streaming and download. An official visualizer is streaming now at YouTube. “Double Blind” was greeted by praise from such outlets as mxdwn, which raved,
“A beautifully eccentric track, ‘Double Blind’ makes use of guitars, pianos, and slow drums to create an atmosphere that is simultaneously eerie and cheery. Sprinkled throughout the track are subtle guitar melodies and phrases that feel slightly out of tune, contributing to the unique texture of the lighthearted song.
Taken from the album ‘Tropical Gothclub’, out now on Third Man Records:
There are also two double packs (under merch) splitting them up into 2x John Peel and 2x Janice Long. I’d expect to be able to ship in early December so not too long to wait. Oh, nearly forgot – these sessions are bloomin’ fantastic. Plenty of unreleased songs, different versions, cover versions… plus of course the usual sets of postcards and download codes.
What’s more, the Soup Dragons have all been closely involved. All the songs have been mastered for vinyl by Sean and Ross has been involved with the images – we’ve got Steve Double and Bleddyn Butcher, plus Splash One flyers/posters reproduced – while all four members of the group have penned sleeve notes.
Look, the truth is I’m beyond excited – so here’s hoping you like ’em.
Never before released on vinyl, this is the Soup Dragons’ very first session for John Peel, back in the legendary Scottish popsters’ formative days when they were indie kids finding their way via a barrage of spiky two-minute adrenaline-filled punk pop of a distinctly Buzzcocks-y vintage – and all the better for that. Features an early version of blistering single “Whole Wide World”, plus “Learning To Fall”, the single that never was – never even recorded again – with the Shop Assistants on backing vocals. NB – there are 4 Soup Dragons sessions altogether .
Songsheet: Too Shy To Say, Whole Wide World, Learning To Fall, Just Mind Your Step Girl
So what do you do when you’ve had a run of BBC sessions and fancy trying something different? How about a session of cover versions, with each member of the band choosing a song? The Soup Dragons were changing before our ears – one listen to their version of “Purple Haze” tells you that. Also features a six-second arthouse prank that reportedly did not entirely amuse John Peel.
The Soup Dragons’ status as indie-dance pioneers is often overlooked; first, though, came a more rocky sound, as evidenced on their fourth session for the BBC (and the second for longtime supporter, the much missed Janice Long). Can’t Take No More, however, was actually one of their earliest songs; a re-recorded version went to No.1 on the indie charts and just missed the Top 50 in the UK. Session includes another future single in “Kingdom Chairs” and the instrumental “Cow Nest”, never before released, plus the gorgeous “Turning Stone”.
The Soup Dragons’ second BBC session (this time for the band’s longstanding friend Janice Long) reveals a group on the verge of change – as witnessed by the fact that most of these songs were never released in any shape or form. “Make My Day” is a prototype of the single “Head Gone Astray”, while “Lindy’s Realised” was named in tribute to the Go-Betweens’ drummer Lindy Morrison. It has never before been released. Sleeve notes by Jim McCulloch; mastered by Sean Dickson. Includes download codes and a set of postcards.
Boyracer session is due up in November, by the way, with The Orchids early in 2023 – and then The Bodines, One Thousand Violins, TheDentists and plenty more besides.
Wellington, New Zealand four-piece Hans Pucket writes nervy but effortlessly danceable rock songs about feeling bad. Their second full-length album, “No Drama”, which is out November 4th via Carpark Records, gleefully captures the all-too-common twenty-something anxieties of talking too much and then being unable to find the right words to say.
When frontman Oliver Devlin sings, “I’m surfing a constant wave of alarm” on the title track, it’s a compass for the other nine tracks. This is inviting and relatable music for people who, despite their best efforts, feel uncomfortable about themselves, the state of the world, and their place in it. Both lyrically and sonically, “No Drama” is a departure for Hans Pucket from their 2018 debut “Eczema”. “I realized I didn’t want to write any more real heartbreak songs,” says Oliver Devlin. “We were and still are a live band. We’re still trying to make music that’s catchy and people can dance to, but also really interesting to us: songs about growing up and finding how you exist in the world.” Songs like “My Brain Is a Vacant Space” with its blistering guitars and ebullient hooks hone in on the feeling that you have nothing to offer while “Bankrupt,” a fuzzed-out punk track, boasts lines like “I don’t know if I’ll always feel like / I don’t know what I’m doing wrong.”
Recorded with the band’s good friend and former tour mate Jonathan Pearce of The Beths at his Auckland studio, “No Drama” is full of big leaps, immaculate arrangements, and a ton of immediate grooves. “We were very ambitious when we first started recording this,” says bassist Callum Devlin. “Intentionally we left heaps of space in the track so we could add strings and horns. Because we were very measured and quite deliberate with the parts we had. It was a really fun process filling in the gaps.” “No Drama” came together over several years and during its creation, the band added multi- instrumentalist Callum Passels, who provided all the horn arrangements on the LP. With Pearce producing, his other Beths bandmates like Benjamin Sinclair added string arrangements while singer Elizabeth Stokes provided backing vocals. Overall it’s a remarkably eclectic record where the smooth pop of a track like “Kiss the Moon” can coexist perfectly with the Abbey Road freakout of “Some Good News.” “We didn’t want to be afraid of our 15-year-old self’s influences,” says OliverDevlin.” We really wanted to make an album that teenage us would just be amazed by.” The result is Hans Pucket’s most sparkling and confident collection yet. While it’s danceable and fun, it’s also a thoughtful exploration of anxiety, a call for empathy in a turbulent time, and a relatable reminder that it’s hard to figure things out.
The Fat Angel Sings 