The title track from my upcoming album, ‘Loose Future,’ is here. This is a song for all you hurt and hesitant lovers out there. A song for our very unpredictable futures. A song for summer and a song for love when you’re self-aware enough to know what love can become.
You can watch the ‘Loose Future’ music video, When I first concepted this video, I wanted to showcase how the world places all its impressions and stereotypes onto us, and the importance of sticking to our own true north so we can brace ourselves for a future in which we are satisfied with all the decisions we have made. The title track from my upcoming album ‘Loose Future’ is here. This is a song for all you hurt and hesitant lovers out there. A song for our very unpredictable futures. A song for summer and a song for love when you’re self-aware enough to know what love can become.
When I first concepted this video, I wanted to showcase how the world places all its impressions and stereotypes onto us, and the importance of sticking to our own true north so we can brace ourselves for a future in which we are satisfied with all the decisions we have made.
We did this video in one take, as it felt more in line with the rawness and randomness of life’s ever-curving paths.
We did this video in one take, as it felt more in line with the rawness and randomness of life’s ever-curving paths. I’m excited to announce the dates of some October in-store appearances in the UK, where I’ll be playing some songs, signing records, and saying hello in celebration of “Loose Future’s” release!
Recorded in locations around the world over the pandemic era, “Shufflemania” offers up 10 gloriously ingenious new Robyn Hitchcock songs in just under 40 minutes – a “proper pop album” as nature intended. Songs like “Midnight Tram To Nowhere” and the optimistic, album-closing “One Day (It’s Being Scheduled)” are state-of-the-art Hitchcock, manifesting his signature wit, miraculous gift for melodic craftsmanship, and striking humanity in a world gone mad.
A note from Robyn: Hello dear listener, I am thrilled to be unleashing my new record album “Shufflemania” on the world.
What is “Shufflemania” It’s surfing fate, trusting your intuition, and bullfighting with destiny. It’s embracing the random and dancing with it, even when it needs to clean its teeth. It’s probably the most consistent album I’ve made. It’s a party record, with a few solemn moments, as parties are wont to supply. Groove on, groovers!
OSEES on Tuesday offered another preview from their upcoming album with the title track to “A FoulForm”. The latest experiment from John Dwyer‘s genre-hopping underground act is out on August 12th via Castle Face.
“A Foul Form” condenses all the components of OSEES down to their most basic form. The banging, fuzzed-out central guitar riff and driving drums meet up with Dwyer’s visceral vocals for a 1:45-minute sonic assault. The track is yet another example of the “Brain stem cracking scum-punk” Dwyer promised on the new LP.
“The sound is in the slurry of the rest of the album and is basically about the craven, selfish side of humanity,” Dwyer saidof the album’s third single. “Greed and fear-based decision-making have brought us here. I sang this track while I had COVID so good luck getting that gravel back in yer voice on stage.”
Dwyer’s don’t-try-this-at-home vocal experiment epitomizes the band’s DIY aesthetic and is also reminiscent of genre-fluid forefathers Ween. While recording 2003’s “Quebec“, guitarist Dean Ween called up bassist Dave Dreiwitz to sing “It’s Gonna Be A Long Night” while his voice was strained with laryngitis.
Check out the Andrew Schrader-directed music video for the latest OSEES single, “A Foul Form”.
Courtney Barnett returned to The Late Show with Stephen Colbert on Tuesday for a performance of “Before You Gotta Go”. The song appears on the Australian singer-songwriter’s latest album, “Things Take Time, Take Time”, available now.
Don’t be fooled by Barnett’s trio configuration, as the performance begins with a pre-recorded drum track. Courtney gives off a bedroom aesthetic with the stripped-down guitar and vocal performance for the first verse before the rest of the band drops in for the second. Another verse later, more pre-loaded instrumentation comes in with a synth-like guitar medley that sits atop the rhythm.
There are some sour notes in there at one point, but Barnett just smiles it off. If anything, it picks up the emotion of the performance that was until that point something of a Prozac-mellowed daze. The emotion rises to a boil at the bridge before returning to a simmer and covering for the next minute, or until rice is tender.
Cheersquad Records are stoked to give you L.A. Mood’s debut album ‘A Print out of the Sun’. L.A. Mood is the solo project of Melbourne based multi-instrumentalist and producer Dave Mudie. Dave is the full-time drummer for Grammy Award Nominee Courtney Barnett, and has played in upwards of 40 other bands and counting.
After two EPs, 2022 will finally see L.A. Mood’s debut album release, titled ‘A Print out of the Sun’. It was written and recorded across Melbourne, Portland (USA) and Castlemaine, and mixed by Collin Hegna of The Brian Jonestown Massacre. The title is inspired by a longing for the sun in places where it can seem hard to find. It’s an opportunity to take lightness with you wherever you go. And there’s plenty of lightness on the album – 60s harmonies, bright guitars and psychedelia… But there’s also plenty of grit, distortion and thumping drums. “In the Rock and Roll solar system, I could live on planet Mudie. ‘Catch the Sun’ is as playfully joyous and soul-expanding as one would expect from Dave and his pych-pop cohort. 10/10.” – Ashley Naylor (The Church, Even).
‘A Print out of the Sun’ is a welcome statement from one of Australia’s most experienced musicians, both on stage and in the studio. Effortless production meets confident song writing. With a national tour planned upon release, 2022 will see The L.A Mood very bright indeed.
For Dave Mudie, touring down-time means burying into studio projects and playing local gigs. Most recently he played drums on Jess Ribeiro’s album ‘LOVE HATE’, recorded Jade Imagine’s debut ‘StayAwake’, and played on releases from Gumboot, Super American Eagle (alongside Brent DeBoer of The Dandy Warhols), Cannon, Baby Blue & Evan Dando (The Lemonheads). Having grown up in a musical family (both parents were professional musicians – his mum a singer, his dad played in Axiom), music has always been an obsession in Mudie’s life.
In 2017, after years of touring the seminal album ‘Sometimes I Sit and Think, and Sometimes I Just Sit’ with Courtney Barnett, Dave Mudie finally turned his attention to his own music. Before ever playing a gig, L.A. Mood signed with Hotel Motel Records for his first two releases.
Debut EP ‘Crushing Highs & Amazing Lows’ was recorded at Revolver Studios in Portland, Oregon with producer Collin Hegna of The Brian Jonestown Massacre. It showcased a range of styles – slacker rock, indie-pop and alt-country; and influences – T. Rex, Dandy Warhols, Ty Segall etc. It includes collaborations with Courtney Barnett and Bob Harrow (Immigrant Union), and artwork by Celeste Potter.
2019’s EP ‘Breakfast at Sassy’s’ draws from the swinging 60s, psychedelic 70s and indie-pop of the 00s, and was again recorded in Portland with Hegna. It features collaborations with Ambrose Kenny Smith (King Gizzard & the Lizard Wizard), Bones Sloane (fellow band member of the Courtney Barnett band), Jess Ribeiro and Bob Harrow. The EP tour was the first time L.A. Mood played live with a full band, seeing them sell out shows in Melbourne and Sydney.
“Out of all the drummers in Melbourne’s nu-rock scene of the 2000s, Dave Mudie was the most musical, the most expressive, the most effortless, and just generally the best.” – LNWY “Each track on the EP transports the listener to the sun-soaked streets of California.” – Beat “With irony-laden tack piano tinkling away above waltzing guitar chords, Mudie’s louchely chanted vocal evokes drunken saloon singalongs and long periods of self-reflection. Enjoy.” – Killing Moon “The vibe is ’90s/’00s rock that sounds like it was cooked in a garage with a touch of blues on the side.” – “When You Motor Away“ “Charging power-pop, waltzing country and hazy slacker rock, all joined in an unshakably accomplished feel that belies the fact it’s his debut release as a solo songwriter.” – For the Rabbits
“It’s just good old-fashioned Aussie indie rock.” – Double J
“Classic power pop, a welcome ray of audible sunshine.” – Peter G. Holmström (The Dandy Warhols)
‘A Print out of the Sun’ is pressed on sunny orange marbled vinyl as a limited edition of 100 copies only. The album is also available on black vinyl and digitally. All vinyl includes a digital download card and digital tracks will be added to your Bandcamp collection.
In 2012 a strange, masked collective from Sweden called Goat released one of the unexpected and most talked about albums of the year. Mixing heavy fuzz-psych with tribal Afro grooves, head nod funk, the repetitions of krautrock and the pop of post-punk to create something completely unique.
“World Music” received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. Now, exactly a decade later, Rocket Recordings and the band have decided to dust-off the original recordings of “World Music” and pass them over to the capable hands of the team at the legendary Abbey Road Studios to remaster the tracks and make them shine like they have never before.
The results are better than we could have hoped. New details within the tracks have been revealed and – most importantly – the fuzz is even more explosive than before. You hear every crackle of electricity as it flows through the pedals. World Music’s famous die-cut sleeve has been updated too, the colours of the eye-popping pattern have been reversed from the original, making this package even more desirable. The album is brimming with tracks now seen as ‘classic’ Goat live favourites.
Tracks that have been wowing audiences all over the world; the afrobeat stomp of ‘Disco Fever’ , the fuzz abuse of ‘Goathead’, the post-punk groove of ‘Let it Bleed’, the sing-along repetitive pop of ‘Run to your Mama’ …From the first note to the last, “World Music” oozes with a sonic confidence rarely seen on a debut album.
Since debuting in 2008, Titus Andronicus has been conditioning faithful listeners to always expect only the unexpected, consistently zigging where others would zag and maintaining a steadfast dedication to fearless ambition.
With “The Will To Live”, Titus Andronicus invite listeners on a journey from fear to faith, from anger to acceptance, from grief to gratitude, all chasing the mythical ideal of Ultimate Rock. Drawing on maximalist rock epics from Who’s Next to Hysteria, the band have crafted their richest, densest, and hardest-hitting album to date, matching the sprawl and scope of their most celebrated work while also streamlining their ambitious attack to greater effect than ever before.
“The Will to Live” was produced by Titus Andronicus singer-songwriter Patrick Stickles and award-winning Canadian producer Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s hotel2tango recording studio in Montreal. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” says Stickles, “but the pursuit of Ultimate Rock knows no borders.”
The album comes packaged with gorgeous triple gatefold artwork by illustrious illustrator Nicole Rifkin.
Here’s the second taste of Single Mothers’ upcoming album “Everything You Need”. It finds them exploring a slightly calmer, more mid-tempo side, but frontman Drew Thomson still sounds as sneering as ever. A former gold prospector in a town called Swastika, Ontario, the 32-year-old Thomson—dark haired and doe-eyed, sometimes with a scraggly beard and sometimes without a front tooth—comes off like the most miserable person at the party in his lyrics.
Single Mothers’ earliest batch of songs, those which comprised their debut EP, were snotty, abrasive, and at times downright mean. Thomson shit-talked everyone around him for their choice of favourite drink, band, and author. He derided the girls who are “into Elliott Smith and getting to know everybody,” sung with the inflection of an eyeroll and the jackoff hand motion. With his rambling, sing-speak style of storytelling and venting, he carried himself like The Hold Steady’s Craig Finn, but with all traces of Midwestern charm lit ablaze.
Post-hardcore veteran Anthony Green (Circa Survive, Saosin, The Sound of Animals Fighting, etc) is a lifer who’s been putting out consistently great music for over two decades, and he’s not slowing down one bit. His upcoming solo album finds him going in a horn-fuelled indie/art rock direction, and it’s shaping up to be some of his best and most personal music yet.
My new song “Trading Doses” is out now. I wrote the melody for this song to an idea that I was working on with Skrillex. He ended up using the music for something else so I kept the melody and wrote the rest of the music while I was in Palm Springs. Keith, Tim, and I worked on the structure of this song and tried like 100 different structures until we found the one that felt and flowed the best. This song is a good example of how Keith Goodwin‘s production can turn a really simple idea into something that sounds really big.
The Fat Angel Sings 