Melbourne punk power trio Clamm return with their second album “Care” in August . Clamm explore the confusion of what it is to be a young person trying to live an honourable life in this fucked up world. Their songs are about trying to navigate systems of power and oppression while retaining a healthy sense of self and mental health. Community, creativity, and catharsis are what they hope to achieve through their music. “Care” is bigger, louder and darker than previous album “Beseech Me” (2020). Clamm dodged lockdowns to record at Rolling Stock and Sound Park Studios with Nao Anzai (NO ZU, Cash Savage, Rolling Blackouts). Nao also plays fearsome synth on the album and has joined the band on-stage at recent shows. Saxophonist Anna Gordon (Mangelwurzel) contributes wild free jazz skronk to a number of tracks. “Care” is the first Clamm recording to feature the bass and backing vocals of newest member Maisie Everett (also in Belair Lip Bombs), who joined the band shortly after “Beseech Me” was released. Jack and drummer Miles Harding have been best friends since primary school, but with Maisie the Clamm trio finds its ultimate form.
Melbourne punk power trio Clamm returned with a sophomore release in “Care” that was their most fierce and confident effort to date. Their songs rail against systematic power while funneling all that visceral raw emotion into a positive perspective. Basically, Clamm keep their shit together and nail everything to the wall track after track!
What makes “Care” such a step forward for Clamm was the addition of Maisie Everett on bass and backing vocals, producer Nao Anzai joining the band on synth and saxophonist Anna Gordon lending some fantastic and very timely angular post-jazz on several tracks. Clamm not only released one of the better records in 2022 but “Care” is the example of what modern punk sounds like today!
Florist is the self-titled fourth full length record from upstate NY based indie folk band, Florist. “Florist” is the follow up to 2019’s critically acclaimed “Emily Alone”, and is the strongest album of the band’s decade-long career; an immersive work that conveys the magic of the earth and of family, and the whole of the band’s heart. For all of June of 2019, amid a hot and rainy summer, Emily Sprague (guitar, synth, vocals), Jonnie Baker (guitar, synth, sampling, bass, saxophone, vocals), Rick Spataro (bass, piano, synth, vocals) and Felix Walworth (percussion, synth, guitar, vocals) convened in a rented house in the Hudson Valley, to live and work together. It was the first time the quartet recorded that way, and for that long.
Emily Sprague didn’t need the other members of the band on Florist’s previous album, but on the self-titled fourth album recorded with the whole band, the band from New York rises to great heights.
“Emily Alone” was three years ago a fine album by the American band Florist, which at that time actually only consisted of singer Emily Sprague. On the self-titled album released this week Florist, which is now a real band again, surpasses itself on all fronts. The almost hour-long album is partly filled with atmospheric instrumental tracks, which beautifully support the folky songs with a leading role for Emily Sprague. The band creates a special atmosphere through the use of samples and looking for experimentation and it is an atmosphere that is somewhat reminiscent of the last album of Big Thief, which has gained a serious competitor with Florist.
“In the past we’d meet up for a couple of days, or one day here and there,” Sprague recalls. “Living together for a month is a really big part of why the arrangements are the way they are, and also why the instrumentals are such a huge part of the record.” The result is 19 tracks that feel like the culmination of a decade-long journey, their fourth full-length album, but the first deserving of a self-titled designation. “We called it “Florist” because this is not just my songs with a backing band,” Sprague explains. “It’s a practice. It’s a collaboration. It’s our one life. These are my best friends and the music is the way that it is because of that.”
Melbourne’s Pinch Points released an excellent record of post-punk with their 2019 debut “Moving Parts” but their sophomore album, “Process”, takes their style of angular rock to another level. The band shines with their mostly shouted rotating female/male vocals as they deliver their opinion and bring more awarness to issues like Australia’s catastrophic bushfires, gendered violence, mental health struggles, First Nations incarceration and deaths in custody. Heavy stuff of course as Pinch Points deliver each of the 10 tracks here with the same level of passion you can find on classic Bad Religion or Dead Kennedy records. Pinch Points are fired up and “Process” will raise your heartbeat from their admirable directness.
It will make you give a damn and consistently return to its flawless rhythm changes. Pinch Points deserve any time you can give them!. I love the touch points that the song Reasons to be Anxious evokes, Ian Dury’s Reasons to be Cheerful and Eddy Current Suppression Ring’s Anxiety. They sound more like the later ,but with some jaded humour of the former. Throw in some Minutemen and you’ve got a genius trifecta.
A peek into the Pinchverse and the making of Pinch Points’ second album “Process”. Contains: writing, recording, shit-talking, more writing, and a trip to play Golden Plains Festival.
As the album title suggests, “Process” is a commentary on structural collapse; the systemic failures and baked-in inequalities that are ravaging ecosystems, the mental health system, the gig economy workforce and all aspects of our lives. The title “Process” also recognises the emotions processed and channelled in the songs, as a collective expression of empathy and shared grief. A true collaboration, finding consensus from the experiences of four individual humans, Pinch Points embody music-making as an act of friendship and community, upholding the band’s shared belief in the music scene as a real-life platform for connection, strength and solidarity.
Fresh off the release of Friendship’s great new album “Love The Stranger”, comes the announcement of a new album by 2nd Grade, the project led by Friendship member Peter Gill. It’s called “Easy Listening“, it’s due September 30th via Double Double Whammy, and the lead single is “Strung Out On You,” of which Peter says: “If Big Star had broken through commercially with “Radio City” and kept pursuing that accessible strain of power pop, I like to imagine they would’ve eventually written ‘Strung Out On You’ and scored a minor nationwide hit in 1979 or so.”
Philadelphia’s 2nd Grade returned with another fantastic dose of short burst power pop earworms on their third album “Easy Listening”. Musically and lyrically, “Easy Listening” is like a tribute record to some of the best in the genre that should bring to mind Teenage Fanclub, Big Star, Flamin’ Groovies and Guided By Voices. The group has mastered the short under 2-minute song burst and here 2nd Grade pushes some of their own earlier work with a more concise focus and a mix of lo-fi and hi-fi styles that are easy to connect with and make you want to hear them again. 2nd Grade released one of the catchiest power pop records with “Easy Listening”and it is also their best to date. There are only so many albums in 2022 that truly can get stuck in your head –“Easy Listening” is among them!
Catherine Dwyer— guitar, vocals Peter Gill— vocals Francis Lyons— drums Jon Samuels— guitar David Settle— bass, vocals
“Easy Listening” is available September 30th, 2022 Double Double WhammyRecords
The intense pulsating rhythm in Delivery’s opening track, “Picture This,” will give you your first realization that their debut record, “Forever Giving Handshakes”, is one of the tightest sounding post-punk debuts you heard this year. The Melbourne five-piece work as one true musical force through all of the 12 tracks here. “Forever Giving Handshakes” pulls on many classic and modern sounds for its winning formula. At times, you can hear Devo, Television, Pixies and Pylon while other contemporary Australian groups like Amyl And The Sniffers and Pinch Points will also come to mind. From start to finish, Delivery give 100% on each track with impeccable rhythm, timing and guitar crunch. Not to mention having one of the favourite album covers this year!
Collecting songs written over the Melbourne five-piece’s two year lifespan and following on from the band’s bedroom project origins of ‘Yes We Do’ and the expanded one-two punch of ‘Personal Effects/The Topic’,‘Forever Giving Handshakes’ captures Delivery at full force for the first time, leaning into the fully-realised live sound they’ve been quite actively working on since their first show in March 2021. Here the band collate a 12-track garage-punk opus, their five distinct voices simultaneously pulling songs in different directions while an undeniable chemistry reveals a combined hive mind ascending on a clear group mission… to rock. If you didn’t have the Delivery phenomenon yet, you’re about to.
released November 11, 2022
Delivery are: Daniel Devlin – drums, backing vocals James Lynch – vocals, guitar, synth Lisa Rashleigh – vocals, guitar Rebecca Allan – vocals, bass Sam Harding – vocals, guitar, synth
“Summer at Land’s End” is the 4th LP from The Reds, Pinks & Purples, Glenn Donaldson’s solo kitchen pop “band” (though he has recently debuted a 5-piece live band he hopes to take on the road). Since 2019 The Reds, Pinks & Purples has built an obsessive, ever-growing following by combining a traditional vinyl-oriented release schedule with monthly drops of new songs on Bandcamp and live streams on Instagram. 2021’s “Uncommon Weather” was something of a breakthrough, getting actual radio airplay and even reaching #7 in the UK indie album breakers chart. Hitting a wildly prolific phase, Donaldson is back in less than a year with the brilliantly ambitious “Summer At Land’s End.”
Like the blossoming flower-themed sleeve might imply, it’s bursting with heart-ripped-open vocals, ringing guitars, and warm reverberations. There are still plenty of concise indie-pop songs, but the album expands on the formula of the first three LPs into hazier acoustic sounds and some extended mood pieces. Even with the lush textures immediately evident on album opener “Don‘t Come Home Too Soon” there’s a gorgeous intimacy at work here, with every guitar note and vocal harmony existing in perfect service to the song. Similarly, “Let’s Pretend We’re Not in Love” is an exercise in pop economy that sounds so immediately ‘right’ that it seems destined for a thousand mix tapes.
Dreamy instrumentals like “Dahlias and Rain” and the title song work on an even deeper level, showing another side of Donaldson’s writing that is as at home with atmospherics and mystery as his pop songs are with harmony and melody. Indeed, the initial vinyl pressing features an entire bonus LP of shimmering instrumental pieces that wouldn’t be out of place on certain Durutti Column or Roy Montgomery records.
The album title refers to “Lands End,” a park vista in Donaldson’s neighbourhood in San Francisco but also a metaphorical precipice, maybe the cliff’s edge the world is on right now. “For better or worse, this is the ‘love’ record. All the songs are about love in its different forms, all the shelter and pain that comes from it,” says Donaldson. You might hear ’80s and ’90s influences in the echoing guitars, Creation, Teenbeat, 4AD, or even the radio pop of your youth, but more so, you might hear melodies and words that resonate someplace deep down as you journey through “Land’s End” and move the needle back to the beginning again.
A limited edition double vinyl version that’s pressed on yellow vinyl, comes in a gatefold sleeve, and includes a bonus album of instrumental songs. These are not instrumental versions of the album; they’re all new songs. The double album version will only be available in the US directly from Slumberland (ONE PER CUSTOMER, PLEASE) and select indie retailers.2. A green vinyl single LP version that comes in a single LP jacket with a printed inner sleeve. This version will be available mail order and from all retailers.
The dream of Olympia, Washington, is alive in the form of the wonderful Ribbon Stage. The New York trio harken back to Nineties cuddle-core gods like Tiger Trap and the Shop Assistants. “Hit With the Most” is 11 songs in 19 thrilling minutes, quick little shots of blurry noise, pretty, careworn singing, and tumbling drums. Titles like “It’s Apathy,” “Nowhere Fast,” and “No Alternative” set the emotional tone. But even when their songs sound like they might collapse before the band hits the finish line, Ribbon Stage always power through their angst and boredom to hit the twee-punk sweet spot.
Ribbon Stage are a trio from NYC that created a debut album which is a compact earworm of noise pop. “Hit With The Most” is a 20 minute joyride of tight drums, fuzzed out distorted guitar and the floating vocals of Anni Hilator which cuts through it all. With 11 songs being covered in 20 minutes, there is absolutely no filler on “Hit With The Most”. Within these short numbers, you can find moments of shoegaze, alternative rock, post-punk and new wave but Ribbon Stage only stay there for a blink making “Hit With The Most” even more infectious with its exciting familiarity but yet bringing your ear something new rapidly. Ribbon Stage have created a noise pop dream.
“Crackdown” is the third LP from blues, roots-rock, and country revival trio GA-20. The album expanded on their previous sound and blows out your speakers with a modern electric blues that honours the past but feels imaginably modern. What GA-20 are good at is making the blues spread across other genres. Soul, rockabilly, delta-blues and indie rock are all included on “Crackdown”. The album shows the progression of GA-20’s songwriting as it is their first LP without a cover track and features 9 original songs. The record not only is the band’s best to date but could easily inspire others to join in the modern revival of blues with GA-20 sitting as one of its leaders!.
GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It’s no wonder they skyrocketed to the top of the Billboard Blues Chart.
According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, “Crackdown“, and an intensive tour schedule, that’s all about to change.
On “Crackdown”, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s “Lonely Soul” and 2021’s “Try It…You Might Like It!” GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored “Dry Run”, the dirty, and bare-bones “Easy On The Eyes” and the melodic, garage-tinged “Fairweather Friend”. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, “Crackdown” is rowdy and fun, filled with instantly memorable, and well-crafted songs.
The Murlocs fifth studio album, Bittersweet Demonsis out now! On the band’s most personal and boldly confident work yet,The Murlocs share a collection of songs reflecting on the people who leave a profound imprint on our lives, the saviours and hell-raisers and assorted other mystifying characters.
On their fifth album ‘Bittersweet Demons’, The Murlocs share a collection of songs reflecting on the people who leave a profound imprint on our lives, the saviors and hellraisers and assorted other mystifying characters. From the 11 infectious tracks emerges a beautifully complex body of work, one that shines a light on the fragilities of human nature while inducing the glorious head rush that accompanies any Murlocs outing.
Ty Segall’s new album “Hello, Hi” sounds just like Southern California. A heady mix of sun-drenched folk and exuberant psych-rock, it materialized at his home-based Harmonizer Studio—a brimming lab where vintage and custom outboard gear, 2″ tape, a classic top-end microphone, and plenty of coffee helped fuel his giddy return to the acoustic guitar.
On a much-needed break from the first leg of his current tour with his road-tested Freedom Band, Ty Segall takes a seat in his mood-lit studio control room, mug of hot java in hand, and looks around with a visible expression of what can only be described as wonder. “You know, to have my own place to work on stuff is just pure joy,” he says. “I’m often like, ‘How did this even happen?’ It’s a great place to hone my skills and to get weird ideas going, with no pressure. The clock’s not running. We’re not burning a budget here. You get to do whatever you want. It’s just totally insane.”
Segall has made a career out of being prolific, so it was probably inevitable that he’d pool his resources into designing the three-room complex he calls Harmonizer, named for the album it spawned after he put the finishing touches on the studio build-out, completed in early 2021 at his home in the Santa Monica Mountains just outside Los Angeles. Compact but state-of-the-art, Harmonizer not only stands as testament to the long hours Segall has logged on his way to becoming an A-list producer, but it also plays a key role as an instrument in Segall’s arsenal that’s just as crucial to his sound as his trusty Travis Bean TB1000S or, more recently, his vintage Martin D-35 acoustic.
All three figured prominently, in fact, into the making of “Hello, Hi”—Segall’s latest studio realization of what he calls a “back to basics” album. “It was about coming back to the acoustic guitar, to be honest,” he clarifies. “I think a lot of the records I make have to do with my relationship to songwriting at that time. And I hadn’t really played the acoustic or written on it since probably “Freedom’s Goblin”, which at this point is maybe five years ago. So, to me it was really like falling back in love with the acoustic guitar. It was a very nice experience to have.”
If there’s a modern California sound—a throwback to the late-’60s Laurel Canyon “freak folk” vibes of the Byrds, Buffalo Springfield, and many more, but infused with a wild and rambunctious onslaught of psychedelic garage rock—then Segall’s music radiates it, and “Hello, Hi” might be the closest he comes to creating a West Coast “concept album” without openly admitting it.
From the lovely waking dissonance and pastoral colors of songs like “Good Morning,” “Blue,” and “Looking at You” to the thick, hard-knocking grooves of the title track and the sublime coda, “Distraction,” Segall touches on themes of reflection and connection that feel immediate, palpable, and deeply moving. It can be a bit of a nostalgia trip, but he pulls off the balancing act with well-wrought songs that convey a sense of longing without a trace of schmaltzy artifice.
At the heart of that authenticity is the Martin, which inspired Segall not only to write with renewed vigour, but also spurred him to get his hands on a microphone that could do it justice. “For all the records that I’ve done, I try to get one piece of gear, and that’s the expense of the record,” he explains. “This one was pretty crazy. I got a [Neumann] U67. That’s basically the guitar sound on the whole record.”
Among studio heads, the U67 is a legendary, and legendarily expensive, microphone that has been central to the sound of classic albums from the ’60s and ’70s, perhaps most notably Bob Dylan’s Highway 61 Revisited and Blonde on Blonde. The mic can harness a huge arc of low end without distorting, but it can also preserve an elusive and intimate “proximity effect” on vocals and acoustic instruments that has made it one of the most desirable, and essential, pieces of gear in any major studio.
Segall tried a few different approaches to capture the richness and resonance of the Martin, but in the end he found that simplicity was the best rule of thumb to fall back on. “I would try to put some room mics on it and stuff,” he says, “but the U67 just changed the feeling of everything. I always ended up going back to pointing it at the 12th fret, usually somewhere between six-to-eight inches away. Sometimes if I wanted a bit more of a room sound, I would set it to omni, but it was mostly on cardioid. I just kept it simple. That mic is so good, you can put it anywhere and it’ll sound amazing.”
The album’s closing suite of songs, beginning with the whimsically titled “Saturday (Part 1),” probably best signifies how Segall was able to use the U67 to his advantage. The opening acoustic filigree and Segall’s hypnotic vocal combine to recall vestiges of White Album-era Beatles, but with a startling presence and stereo imaging that creates a real under-the-skin sensation.
“Saturday (Part 2)” brings in the Freedom Band’s Charles Moothart on drums and Mikal Cronin on saxophone, with Segall on bass and electric guitar, gradually stoking a psychedelic heat that would take the Doors to task. When Cronin crashes into the mix with a horn solo that consists of two stacked takes, the in-your-face blast suddenly elevates the song to a completely different level.
