“The basic structural facts of rock band July Talk are this: Two front people, Leah Fay Goldstein and Peter Dreimanis, surrounded by whiplashing guitarists Ian Docherty and Josh Warburton, and double drummers Danny Miles and Dani Nash. For this compulsively DIY, rigorously self-realizing group, the essence of July Talk has always been the tension between precision and chaos. To understand this tension, we can reduce it to sets of twos, or we can magnify it and look deeper as to why we feel the need to frame it one way or the other. What we see says more about what we’re looking for. With July Talk, as with most things, what have we missed? We need not ask what July Talk’s two writhing frontpeople’s relationship is to each other, but rather what their relationship is to us, their audience, and to the world, this tender, villainous, confounding world. These bodies welcome our gaze, they revel and recoil in it while they furiously push back, asking of us what they ask of each other: Please see me for who I am.
If we see July Talk as a woman and a man, in opposition to one another, what we are seeing is our own projections upon these bodies. This album screams out at the world: this is what’s next, and this is what’s now. Driven by a mantra to “hurl yourself into the moment” and find who you were when you felt completely in awe of the world, July Talk offer”Remember Never Before“. It’s for them, and it’s for you.
“Step into a sick rhythm. And I mean sickly. “Surgery Channel” is a constructed world where everything is piercing and pinpointed. Every single word brings confrontation. With an intro as intimate and uncomfortable as this, The C.I.A. make you question what could be happening here … or what they’re after. Something unhinged might be about to happen and they’re calmly dangling it over your head. Is it the possibility of dismemberment? Revenge? There is something about “Surgery Channel” that is sterile and covered in dirt at the same time.
Maybe it’s the feeling of simultaneous anger and defeat. Maybe it’s what comes after. Or maybe it’s about the ever-so-brief silent spaces between notes and words. There’s nothing wishy washy about The C.I.A. or the way they sound. It’s all about precision and aim But really, it’s a warning… amplified by the suspense of tick-tocking drum machine beats that resemble a hospital room. Denée Segall (vocals, lyrics), Ty Segall (bass, percussion, back up vocals) and Emmett Kelly (bass, synth, back up vocals) have painted a jarring and dissonant landscape. Their basses could easily be swapped for bone drills and you might not be able to tell the difference. At times, it projects the feeling of being probed and investigated. You could assume this reality has been lived by those at The C.I.A., though most listeners could only fear it.
This record is an astute observation and blunt critique. Both inward and outward. It is an exploration into how harshly intimate that process can be. It was written in 2021 by Denée Segall, Ty Segall, and Emmett Kelly. It was recorded at Harmonizer Studios and mixed at Golden Beat by Mike Kriebel.
Margo Price earned the blanket title “Americana singer” some time ago, but she’s always been pure rock ‘n’ roll. On Price’s new LP “Strays”, the Nashville-based troublemaker leans fully into whatever rock ‘n’ roll dream she might have been chasing. The follow-up to 2020’s electric “That’s How Rumors Get Started”, “Strays” honours Price’s beginnings in American roots music while painting a psych-rock backdrop to her stories of redemption, survival and rebirth. Price collaborated with her husband Jeremy Ivey, who joined her at a South Carolina Airbnb to take mushrooms, listen to a stack of classic rock albums and work through what would eventually become “Strays“, and then recorded the album at Jonathan Wilson’s (Angel Olsen, Father John Misty) California studio.
The result is familiar—it’s undeniably a Margo Price record—but a little extra fiery. Of course, “Strays” never veers too far from country music, which is intrinsically wrapped up in rock ’n’ roll anyways, but Price also specializes in psychedelia. It doesn’t matter what you call it—she’s just singing her truth.
Just after releasing her memoir, “Maybe We’ll Make It”, Margo Price continues to dig into herself with her fourth LP, “Strays”. A mind-opening experience with psilocybin mushrooms brought on new revelations about personal growth, love, and purpose for the singer-songwriter. She leverages the psychedelic influence in songs like “Been to the Mountain” and “Change of Heart,” while “Lydia” is a harrowing reflection on reproductive freedom.
Since her days with indie pop heroes Chairlift, Caroline Polachek has consistently grown as an artist with every release. Over the 2010s, she gradually developed into an alternative pop queen, ranking up at the top of the class with her friend Charli XCX. Polachek’s last record, 2019’s “Pang”, was a masterclass in boundary-pushing modern pop, aided by the presence of producer PC Music’s A. G. Cook, and its follow-up is to build on these foundations.
The first two singles, ‘Bunny Is A Ride’ and ‘Billions’, did not disappoint. In October, Polachek released the flamenco-inspired banger ‘Sunset’, which was followed by her finally announcing her fourth album, “Desire, I Want To Turn Into You”,in early December. Building up to the new record’s release on February 14th, the funky ‘Welcome To My Island’ also dropped later last month, with everyone excited for the main course. Due out on Valentine’s Day. All four of the singles are set to appear on the album, which finds her reuniting with PC Music’s Danny L Harle and working with other producers including Dan Nigro and Jim-E Stack.
New album ‘Desire, I Want To Turn Into You” out February 14th, 2023
Andy Shauf thinks in scenes. The Canadian songwriter broke through with 2016’s “The Party”, a heartfelt account of a single night out told with grace and precision, which was followed by the astute “The Neon Skyline” in 2020. After a brief detour with the 2021 surprise album “Wilds”, Shauf’s upcoming latest album, “Norm”, is another character-driven comedy, this time focused on a single fictional person.
Spanning 12 tracks, “Norm” Shauf performs every instrument on the new LP himself and shaped the lyrics around an invented, eponymous person. “The character of Norm is introduced in a really nice way,” Shauf explained in a statement. “But the closer you pay attention to the record, the more you’re going to realize that it’s sinister.”
“Catch Your Eye” is out now, the second song from ‘Norm’. Animated by Mary Vertulfo.
The album’s lead single, “Wasted on You,” finds Shauf pondering the afterlife and wondering what to do when a lover dies.
‘Norm’ is the eighth studio album from Canadian singer-songwriter Andy Shauf, who with each record seems to get ever nearer to critical mass in terms of both popularity and artistry. Conceptually based around the titular character ‘Norm’, its themes are introduced with shiny, clean-cut tones that gradually unravel and become more sinister. For fans of Sufjan Stevens, Mac DeMarco and Joanna Newsom.
out February 10th, 2023 on Anti Records / Arts & Crafts.
New Years Eve 1979, Blondie performed live for the “Old Grey Whistle Test” BBC 2 tv show, at the ApolloTheatre in Glasgow. marking the turn of a new decade performing from december 1979 to january 1980, Blondie wowed their live audience with fan favourites such as ‘Heart Of Glass’, ‘Hanging On The Telephone’, ‘Denis Denis‘ plus many many more! the Old Grey Whistle Test, was an influential BBC2 tv show which ran from 1971 – 1987. the concept of the show was devised by BBC producer Rowan Ayers.
Blondie were made in the punk/new wave scene of New York’s legendary punk club CBGB’s in the mid to late ’70s. Up until their third album “Parallel Lines”, they were fairly underground in the States, albeit growing in popularity in the United Kingdom and across Europe. It was this popularity that saw the band gain a coveted place performing on the famed “Old Grey WhistleTest”on New Year’s Eve, 1979.
It seemed as if Blondie were a few steps ahead at the time, and they knew exactly what they were doing when many accused Blondie of being “uncool” by going disco. They proved it too, with performances like this one. Harry is a demon on the mic, possessed and in charge simultaneously; an act that has been finely curated over the years. Meanwhile, the rest of the band are as sharp as a highly-polished pin, Clem Burke embodying Keith Moon and Chris Stein providing some searing solos, making it one of their finer shows. Put together, it provides not only the perfect moment the band crossed from a punk band into pop icons
The show hosted many acts of the era including the first British tv performance of Bob Marley and the Wailers. as well as the performances from artists such as Billy Joel and Heart, who at the time were considered to be little known, but who’s footage now is considered precious. this is a fantastic collection for any Blondie fan with the entire live BBC Radio 1 recordings of the 1979 concert on cd.
One of Blondie’s definitive songs, ‘Heart of Glass’ has often been seen as the moment the band transcended their punk roots and turned their attention to pop. There’s perhaps no greater showing of this musical evolution than in their performance for The Old Grey Whistle Test back in 1979. The BBC show was famed for casting some of the most searing punk bands into mainstream TV but when Blondie arrived they were teetering on pop-stardom
As well as spectacular live footage of the Glasgow gig on Dvd, plus 3 Top Of The Pops performances (‘Denis’ / ‘Picture This’ / ‘Sunday Girl’).
“C’est Comme Ça,” is Paramore’s third electrifying single off their highly anticipated new album “This is Why” out February 10th on Atlantic Records. Translating literally from French as “it’s like that,” the single follows the idea of “that’s just how it is.” The song has a narrative form, flipping between singing and smooth talking to show the difference between a life of survival and one of stability. The lyrics, “I hate to admit getting better is boring / But the high cost of chaos, who can afford it?” attests to Hayley Williams and fellow bandmates coming from a place of security, and not of catastrophe. It’s hard to accept a life that doesn’t warrant a constant fight-or-flight reaction when that’s all you’ve known for so long.
The single packs a punch with a staccato-like rhythm to grab one’s attention with zippery tones from the initial guitar riffs. The Nashville trio, consisting of lead vocalist Hayley Williams, guitarist Taylor York and drummer Zac Farro, have been around since 2004, “This Is Why” really resonates with me, both musically and lyrically, and is now my current favourite song. Their first new single in four years, the defiantly honest song was the lead single from their forthcoming sixth album, also to be titled “This Is Why”.
Williams said “‘This Is Why” was the very last song we wrote for the album. To be honest, I was so tired of writing lyrics but Taylor convinced Zac and I both that we should work on this last idea. What came out of it was the title track for the whole album. It summarizes the plethora of ridiculous emotions, the roller-coaster of being alive in 2022, having survived even just the last three or four years. You’d think after a global pandemic of fucking biblical proportions and the impending doom of a dying planet, that humans would have found it deep within themselves to be kinder or more empathetic or something.”
From note one, the “Names” EP is all business, with “Illusion” punchy riffs (suitable for stargazing or naval-gazing) gallop forward, with Williams pontificating on his reflected reality vs. the illusion of self; a two-minute earworm on gender confusion. “The Name Song” is next, with its persistent jangle, laundry list of Williams’ favorite Seventies names & instantly memorable chorus of “I don’t care about anyone” coyly delivered with a sardonic wink and nod. “Two Person Love” fuzzy lead line opens side two, (an ode to “erotomania”) barrelling forward like a Fairport deep cut on ephedrine.
A woozy cover of Felt’s “Crystal Ball” ends the EP, a faithful love-letter to an obvious influence, draped in a gauzy flange. Wrapped in an eye-catching sleeve design by Total Control’s James Vinciguerra, the “Names” EP practically screams “essential”. Look for more music coming soon on Trouble In Mind from The Tubs as the band heads into the studio to record their debut album.
From the “Names” EP, out July 30th, 2021 via Trouble In Mind Records
This historic 1980 Munich concert has the distinction of being the first ever live direct to digital stereo recording of Zappa. The show was the last of the Spring/Summer tour with the group playing at peak performance. The entire concert is featured on three 180g audiophile vinyl LP’s and mastered by Bernie Grundman in 2022. The package features photography and memoir from George Alper, who worked for FZ, along with liner notes from Arthur Barrow & Vaultmeister Joe Travers.
The Olympiahalle in Munich set. Produced by Ahmet Zappa and Zappa Vaultmeister Joe Travers, this historically significant release, releasing March 3rd via Zappa Records/UMe, marks the first time that full concerts have ever been released featuring the 1980 line-up of Zappa leading the five-strong band which included the dual vocal attack of Ike Willis and Ray White, Arthur Barrow on bass, Tommy Mars on keyboards, and newcomer David Logeman on drums.
Additionally, this is the first posthumous release of this distinct, brief line-up, as Logeman, who replaced drummer Vinnie Colaiuta, would end up leaving when Colaiuta returned to the band. Previously only two tracks from these shows – “Love Of My Life” from Mudd Club and “You Didn’t Try To Call Me” from Munich – were ever released by Zappa on his CD live series, “You Can’t Do That On Stage Anymore“.
22-track full Munich. The package features cover photography and a host of rare and unseen photos of Zappa and the band members in the accompanying 17-page booklet shot on tour by superfan George Alper. Alper, the son of seminal ’60s photographer Joe Alper, who befriended Zappa and became part of his inner circle in NYC and eventually sold merch on tour, provides some of his personal memories in the extensive liner notes that also includes an introduction from Joe Travers, a detailed track-by-track of the setlists by band member, Arthur Barrow, who also offers up a reminiscence about the tour and 1980 lineup,
The concert at Munich’s Olympiahalle arena was the final show and saw the band firing all on cylinders after three months on the road together. The set, which included most of the songs played at the Mudd Club, was nearly twice as long and also featured such highlights as “Cosmik Debris,” “Dancin’ Fool,” “Pound For A Brown,” “The Illinois Enema Bandit,” and a cover of Tony Allen’s “Nite Owl.” Notably the band played an early rendition of “Pick Me, I’m Clean,” which Zappa would release the following year on the double live album, “Tinsel Town Rebellion“.
Zappa ’80:Munich is an opportunity to experience Zappa and his terrific yet transitory 1980 band playing two fantastic concerts at two very different venues for the first time.
During the Spring/Summer tour of 1980, Frank Zappa played a set at his favorite NYC nightclub – the famous Mudd Club. Zappa adored the place and even wrote a song dedicated to it. The complete performance is included on two 45rpm 180g audiophile Coke Bottle Green vinyl LP’s and mastered by Bernie Grundman, 2022. Package features photography and memoir from George Alper, who worked for FZ and was at the event, along with liner notes from Arthur Barrow, Steve Vai & Vaultmeister Joe Travers and iron-on transfers.
Zappa ’80: Mudd Club/Munich, out March 3rd, boasts two complete shows from the guitar god’s short-lived five-piece line-up, gigs that followed a torrid 1979 that saw Zappa release both “Sheik Yerbouti” and his three-act “Joe’s Garage”.
The first show in the 3CD set showcases Zappa and company’s May 8th 1980 gig at New York City’s 240-capacity Mudd Club, a concert that he sandwiched between two arena-sized dates in Philadelphia and Long Island.
The shows are stocked with selections from Zappa’s then-new albums — like “Joe’s Garage,” Keep It Greasy,” “City of Tiny Lite” and more — plus selections from throughout his enormous catalogue and songs that would ultimately wind up on his 1981 LP “You Are What You Is”.
Ahead of the live set’s March 3rd release, check out “Outside Now” from the Mudd Club show:
Joining Zappa on the road for both gigs were singers Ike Willis and Ray White, bassist Arthur Barrow, keyboardist Tommy Mars, and drummer David Logeman, whose tenure in the band only lasted one year; Zappa ’80: Mudd Clubis the first release to feature entire Logeman shows.
Only two of the tracks found on Zappa ’80: Mudd Clubhave previously been released, having been included on the live comps “You Can’t Do That on Stage Anymore“. The live albums also include an essay by Zappa Vault master Joe Travers, a track-by-track setlist breakdown by bassist Barrow and a remembrance by Steve Vai, who attended the Mudd Club gig and would soon after join Zappa’s band.
Guitar: Frank Zappa Guitar: Ike Willis Guitar: Ray White , Keyboards: Tommy Mars , Bass: Arthur Barrow Drums: David Logeman
The Mudd Club was a happening, underground venue in lower Manhattan best known for being a popular hangout for the counterculture and a bastion of new wave and punk which dominated NYC’s music and fashion scene. As Travers writes in the liners, “celebrities and musicians alike would frequent the ‘art bar cabaret’ during its heyday between 1979 and 1983, dancing, drinking and making the scene amongst the New York City denizens of the deep.” Zappa loved the small, seedy club and the punks, posers and hipsters that called it home, and so made it a priority to play there while on tour, scheduling a performance on May 8th, 1980, at the tiny 240-capacity room, sandwiched between much larger arena dates in Cincinnati, Philadelphia and the Nassau Veterans Memorial Coliseum in Long Island where he played two shows in one night to more than 20,000 fans total.
Zappa and his five-piece band treated the sweaty, packed club to a thrilling 15-song, hour-long set filled with tracks from the recently released 1979 albums, the triple LP rock opera, Joe’s Garage (“Joe’s Garage,” “Keep It Greasy,” “Outside Now,” “Why Does It Hurt When I Pee?”), and Sheik Yerbuti (“Bobby Brown Goes Down,” “City Of Tiny Lites“), along with songs from across his prolific catalogue, including “I Ain’t Got No Heart” and “You Didn’t Try To Call Me” from 1966’s Freak Out!, and the title track from 1970’s “Chunga’s Revenge.” Additionally, the band played early versions of Zappa’s homage to the club, “Mudd Club,” “The Meek Shall Inherit Nothing,” and “You Are What You Is,” which would all be recorded after the tour and released the following year on “You Are What You Is”. The show was famously captured by an Austrian film crew DoRo (Rudi Dolezal and Hannes Rossacher) who included two songs – “Mudd Club” and “Chunga’s Revenge” – in their documentary, “Frank Zappa: New York and Elsewhere.”
