Psych outfit, Hot Garbage, melts within their unique sonic foundry, shiny metallic melodies, unearthed within rugged rhythms from the regions of krautrock and post-punk, then carbonized within sus-alloyed arrangements, that eventually emit heavy streams of gaseous neo-psychedelia.
“Ride”, the latest effort from Toronto psych rockers, Hot Garbage, effectively mends core elements of 60s and 70s psych music, post-punk and desert rock with otherworldly textures, sometimes in a vaporous way, other times with quaking soundwaves. Along its 33 minutes, the foursome takes the listener through a multitude of terrains where cinematic soundscapes await behind the initial haze of reverberations and fuzz-heavy riffs.
Also featuring guest musician Sam Maloney from Kali Horse on auxiliary percussion duties, the 9 track full-length is both challenging and approachable, the songs taking on many forms, genres and styles, rooted in psych rock and post-punk, but also speeding through motorik krautrock, hinting at surf rock and flirting with crafty garage tropes. It is not only surprising because of a gutsy flow, it is quite literally a sonic maze where you can get lost for just over half an hour. Within its corridors, listeners are presented with lyrics tackling complex themes like the afterlife, depression or freedom, but can also just rejoice in soft mantras and uplifting verses.
Produced and mixed by Graham Walsh from Canadian electronica band, Holy Fuck, and recorded mostly live off the floor to better capture the band’s raw energy, “Ride” is all at once dread, beauty, wonder, horror and mystery. From its initial feedback storm, all the way to its mystifying title track, Hot Garbage’s first full-length album will please psychedelic music aficionados, but also fans of Sonic Youth, My Bloody Valentine or CAN.
Dendrons hit the road before they even knew exactly where they were headed. On New Year’s Day 2018, Dane Jarvie and Zak Sprenger first convened in Chicago to start a new project, recording a demo at home by the seat of their pants, and almost immediately after, began to play shows. “I would just email as many people as possible,” says Jarvie. “I’m like, ‘Can we open this?’ It didn’t matter if it was in Dallas or New Orleans or Sioux Falls, South Dakota. It was like, let’s go.”
With a band name chosen by flipping through books in the library (“Dendron” is Greek for “tree”) and a sound and line-up in healthy evolution as they bounced around North America, Dendrons were finding who they were in front of a live audience. Over the course of 2018 and 2019, they were developing a propulsive, acerbic rock style both reminiscent of midwestern peers like Deeper and Dehd and reaching beyond to develop an unmistakable aura all their own. They put out their debut, 2020’s Dendrons, and were packing their bags for a full European tour before it had to be abruptly cancelled when borders closed and venues shut down around the world. Suddenly, a band that cut their teeth on the road had to get comfortable staying at home.
“It was out of necessity,” says Jarvie, who started brainstorming ideas for a new album back at his family’s home in Phoenix, Arizona, just after the pandemic took hold. When he returned to Chicago a few months later, the full band of Jarvie (vocals/guitar/synth), Sprenger (synth/guitar), Matt Kase (bass/synth/vocals), John MacEachen (guitar/samples), Nick Togliatti (drums), and Stef Roti (drums) formed a bubble to get together and work out what would prove to be their highly ambitious and meticulously crafted second album, “5-3-8”.
“It was just like, well, we can’t tour, we can’t do anything,” Jarvie remembers. “So we might as well just stick together and really create something.”
Meeting three or four times a week, and ultimately rehearsing almost 40 song ideas, Dendrons began to methodically whittle down the batch to a set of songs that weaved through one another intricately, with lyrical and musical motifs dancing around a swirling rock arrangement.
Taken on their own, tracks like “Vain Repeating” and “Octaves Only” tap into the manic energy and wit of bands like Wire and Stereolab but in the context of the album’s full vision, they come together to paint an album informed by post-truth spectacle, and a desire for optimism in the face of isolation.
The lyrics paint those emotions with subtlety, having been put together partially through a cut-up method, grabbing words and phrases from places such as CNN and CSPAN. “That was a real intention with this record was to try different techniques in terms of how words are coming together—stringing together sentences through collage,” Jarvie explains. On “New Outlook 1,” he sings in his direct, almost Stephen Malkmus-like style: “Soon we’ll be stooped over laughing / Watching ourselves high on a vision.”
When it came time to record “5-3-8“—the title being a reference to the lyrical refrain that appears at a few points of the album of “Fifths, thirds, octaves only”— Dendrons decamped to Sonic Ranch in Tornillo, Texas, and did additional recording at Highland Recording Studio in Phoenix, Arizona, producing the album with Tony Brant and Sonny DiPerri. A far cry away from where they started as two friends doing everything themselves, from the recording to the booking to even the graphic design, the band is now an eagerly collaborative project. And they’re already thinking about what’s to come.
“You’re always gonna leave a record feeling like there is something more to be said,” Jarvie says. “I don’t believe in a magnum opus. Art is contextual, and exists for the specific time and circumstance it was created in. Every record is a conversation with the last.”
R.M.F.C. returns in 2022 with a brand new single from the much-anticipated, forthcoming LP, due early 2023. “Access” is a short, sharp, straight to the point piece that combines an anarcho marching beat and Devo-style guitar riff that leads into the driving rhythm section R.M.F.C. is known and loved for. With the permanent addition of 12-string guitar to the band; it’s fuller, thicker and janglier than ever before, but still retains the R.M.F.C. sound. Formerly based in Ulladulla, and now relocated to Sydney, R.M.F.C. is the baby of 21 year-old Buz Clatworthy, who writes and performs all the groups recorded output himself from his home studio (still based in Ulladulla). Following up in the footsteps of 2020’s “Reader” 7”, R.M.F.C.’s sound has grown as quickly as Buz has. Giant strides forward since the first cassette, “Hive”, was released in 2018 – and “Access” is only further proof of this.
On the flip side we have a phenomenal cover originally by The Lillettes, a UK based post punk band that wrote this great tune “Air Conditioning” in 1981. These two ripping tracks complete the brand new R.M.F.C. 7”. “Access” is out now via Anti Fade Records – stay tuned for the LP early next year!
Sometimes I wonder if there live non-musicians in Nashville, Tennessee. Anyway, country rocker Margo Price lives and works there to and is ready for plenty of action. She just finished her memoir, she restarts her radio show and she has a brand new single out, called “Been To The Mountain”.
This song is part one of an introspective trip into our subconscious. It is the continuation of my search for freedom in my art and freedom in the modern age. I have a lot of high hopes for this next chapter and truly believe, this is the most exciting music I’ve ever made in the studio with my band.
A stompin’ guitar-fuelled groove with warm organ sequences Price’s mountainous vocals reaching for the sky. A Rollicking hit. The video for my new song “Been To The Mountain” is out now! I am so grateful to Courtney Hoffman and the incredible cast and crew who brought my wild visions to life. It was filmed in Bentonite Hills, Utah and Monrovia, California. I wanted this hypothetical 12 hour trip to feel like a mini lifetime in just one day. We also wanted to portray how an intense psychedelic experience has the potential to become a spiritual experience, help you face the demons inside you, and how that can change your perception of the world around you.
Although considered an “album” band, Emerson, Lake & Palmer created some great 7” singles during their career. On August 26th, 2022, BMG released the group’s first singles box set, a deluxe collection featuring 12 reproduced 2-sided 7” coloured vinyl singles pulled from U.K. and international pressings, complete with rare original picture sleeves and label artwork.
The box set also contains an extended booklet with detailed notes, a foreword from Carl Palmer, rare band photos, plus twelve 7″ companion art cards, inspired from the original single sleeves.
Released in celebration of ELP’s 50th anniversary, this 1971-1992 career spanning collection of 45’s have all been remastered by world-renowned ELP mastering engineer Andy Pearce and include amongst others, the majestic ‘From the Beginning’ alongside fan favourites ‘C’est La Vie’, ‘Lucky Man’, ‘Jerusalem’, ‘Stones Of Years’, ‘Tiger In The Spotlight’, B-side curio ’Living Sin’ and the UK Chart Number 2 classic ‘Fanfare For The Common Man’.
The single edit of “Fanfare” features Keith Emerson’s Yamaha GX1 synth after the trumpet intro, and a punchy dynamic to Greg Lake and Carl Palmer’s powerful rhythm section.
Palmer noted in the announcement, “This box set of singles is very important to the development of ELP. The music that you will hear opened the door to radio around the world, and then the musical concept of ELP was born.”
Rising newbies Prima Queen are sharing their latest single ‘Eclipse’, Speaking about the track, the band say, “It’s about the hesitation of entering into a new relationship while you’re still reeling from a heartbreak that fucked you up. It was quite a cathartic group experience recording the song – we got to sing the last chorus all together at the top of our lungs. We released a lot of pent up rage we didn’t know we had.”
Our song ‘Eclipse’ comes out at midnight, Their newest single ‘Eclipse’ has just landed today, produced by Live at Leeds alumni, Juliette Jackson and Fern Ford from The Big Moon.
The new track brims with relatable romantic indecision, explored via Louise Macphail and KristinMcFadden’s clear dual vocals, chant-worthy chorus and rolling riffs. Thank you Green Man Festival that was sensational but we are now destroyed, the band were great.
When Exeter punk rockers Muncie Girls released their debut album arrived back in 2016, to rave reviews, and received invitations to play at some of Europe’s biggest festivals. Asides from a “B-sides” EP in 2020, the band hasn’t been seen on record since 2018’s follow-up “Fixed Ideals“, but frontwoman LandeHekt has kept herself busy in the meantime with a series of solo releases, most notably her forthcoming second album, “House Without A View” is her second solo LP.
Heading to Canada soon on tour is extremely exciting as it’s my first time, and I’m a big fan of Laura JaneGrace, who I’ll be supporting. The UK shows will be exciting because it’ll be my first headline tour as a solo artist and I’m bringing a full band with me. I didn’t get to tour very much after “Going to Hell” was released, so this time I’m planning on making the most of it.”
That first record was supposed to go straight onto Bandcamp before Get Better Records offered to put it out. I was so shocked when I saw how many people bought or listened to it. This time I spent a bit longer writing and I demoed all the songs from “House Without A View” in a studio before recording it.
The Wedding Present are a big influence in terms of guitars. I covered their song “Octopussy” on a 7” B-side recently. I love the sound of that album Seamonsters, produced by Steve Albini. Bands like The Sundays and The Popguns have been an inspiration melodically, I guess their guitar sounds are somewhat influenced by Johnny Marr so, although I’m not much of a Smiths fan, that guitar sound has come to me indirectly. In terms of chords, I am a big Replacements fan. I wish I could nail chord progressions like Paul Westerberg does.
The album ‘House Without a View’ is out on 23rd September via Get Better Records and Prize Sunflower Records.
From “Taxman” to “Tomorrow Never Knows,” The Beatles’ “Revolver” has been newly mixed by producer Giles Martin and Sam Okell, and sourced directly from the original four-track master tapes with audio brought forth in stunning clarity with the help of cutting-edge technology developed by the award-winning sound team at Peter Jackson’s Wing Nut Films Productions Ltd.
The Beatles’ classic album ‘Revolver’ will be the next of the band’s albums to be remixed & released as a boxed set. According to Variety, “Apple Corps & Universal Music have confirmed that a deluxe celebration of the 1966 release — which, like TheBeatle boxes that have preceded it, will include a Giles Martin remix — is in the pipeline for this fall.” An official announcement about the project, including release date & details on what material will be included, will likely come in September.
‘Revolver’ will follow on the heels of other Beatles classic albums to be remixed & released as a boxed set. ‘Sgt. Pepper’s Lonely Hearts Club Band’, ‘The Beatles’ (aka The White Album) & ‘Abbey Road’ have all received such treatment. Last year, 1970’s ‘Let It Be’ became the latest Fab Four album added to the list.
In 2021, Martin admitted he was looking “to do something really innovative” with “Revolver“, “as opposed to just a remastering job. There’s no point in just doing this to make money or as a sales thing or because we’d done the others. It’s more important that we do it for the right reason…”
The Beatles turned themselves inside out on ‘Revolver,’ exercising a creative freedom following their retirement from the road. They used the studio as their playground, turning the record’s 14 songs into the sort of mind-expanding musical template that would influence artists for generations to come. ‘Sgt. Pepper’s’ may be the more complete work, but ‘Revolver’ is way more fun.
“Taxman,” “Revolver’s” opening song and Harrison’s extra-sharp stab at the insanely high taxes theBeatles were paying in the U.K. at the time. An early protest number by the group.
“Eleanor Rigby,” The Beatles were all about breaking down pop conventions on Revolver, and this McCartney-penned song about “all the lonely people” was a key track in this transformation. It’s all strings and voices – not a traditional pop instrument in sight.
“I’m Only Sleeping,” Another standout track from the culture-shifting Revolver album, Lennon’s ode to the joys of sleeping features Harrison’s guitar solo unspooled backward – a first for pop music.
“Love You To,” Harrison’s first head-dive into Indian music is essentially a solo song with little input from the other Beatles. A bunch of outside musicians provide sitar, tabla and tambura.
“Here, There and Everywhere,” Inspired by the Beach Boys’ Pet Sounds LP, McCartney wanted his own “God Only Knows.” He nearly achieves it, on one of his most gorgeous ballads.
“Yellow Submarine,” Written by Lennon and McCartney, sung by Ringo Starr and later used in the Beatles’ animated film of the same name, “Yellow Submarine” is, by turns, goofy, charming and fun.
“She Said She Said,” Inspired by an acid trip, and with no input whatsoever from McCartney (he walked out of the sessions for the song), “She Said She Said” was the last track recorded for the mind-bending “Revolver”.
“Good Day Sunshine,” One of McCartney’s sunbeam-soaked throwbacks from an era when the Beatles were looking forward.
“And Your Bird Can Sing,” One of Revolver’s most tuneful and straight-up pop songs, short on the studio experimentation that powered much of the rest of the album. Killer guitar intro too.
“For No One,” One of McCartney’s most accomplished ballads, an end-of-relationship song that Lennon called one of his favorites. McCartney and Starr are the only two Beatles here, playing alongside that sublime French horn.
“Doctor Robert,” Supposedly true song about a doctor who supplied the Beatles with drugs during their druggiest period.
Harrison wrote and sang three songs on “Revolver“. “I Want to Tell You,” This one’s the easiest to forget.
“Got to Get You Into My Life,” McCartney’s brass-powered tribute to Motown was just one of the new tricks the band unveiled on “Revolver“. Another was the abundance of drug songs, like this one.
“Tomorrow Never Knows,” Recorded at the start of the “Revolver” sessions, “Tomorrow Never Knows” is the sound of the Beatles reinventing themselves and modern music in the process. Tape loops, backward guitars and an abstract wall of noise serve as the bedrocks of a truly revolutionary work. Nothing was the same after this.
“Revolver,” the album before “Sgt. Pepper,” and possibly work backward in time from there — although the keepers of the Beatles’ catalogue always refrain from confirming plans for future years in advance.
But, beyond any reverse-chronological planning that might be in order, it goes almost without saying that most fans were hoping “Revolver” would be next. Many consider it the Beatles’ finest work. Moreover, outtakes have not been widely bootlegged to the extent that they have with later projects like “Let It Be,” leaving enormous curiosity as to what may lie among the bonuses.
Some Beatlemaniacs had been skeptical, however, that Apple would be able to produce remixes of the pre-“Sgt. Pepper” albums that match what Martin had already done with the latter part of the band’s catalogue. This was due to the fact that the albums through 1966 were recorded to more basic four-track masters, where multiple instruments or vocals were often squeezed into a single track. At a time when mono was still considered the standard, the stereo mixes prior to “Pepper” often sound bizarre to the modern ear, with key elements relegated entirely to the left or right side results, which is why many Beatles fans relish finally getting a more holistic mix of “Revolver” and the albums that preceded it.
When spoken with Martin in the fall of 2021 about the prospects of doing remixes for the pre-’67 albums, he made it sound like he thought the moment was nigh to tackle them, although he said he wasn’t yet underway on work on any of them.
“I think we have to do it,” Martin said at the time. “If you take something like ‘Taxman’ from ‘Revolver’ [a track often cited for its bizarre stereo separation], ‘Taxman’ is guitar, bass and drums on one track, and vocals and a sort of shaking and guitar solo (on the right). And it sounds good; they’re amazing recordings, and amazing mixes. You know, we have to look into what technology we can do to make things de-mixed and all this kind of stuff, which I’m looking into. So I’m looking for the technology to do it with, to do something really innovative with ‘Rubber Soul’ and ‘Revolver,’ as opposed to just a remastering job, because it’s been remastered already. So I think we will. I think we also will look at outtakes as well.”
He added then, “I think we’re getting there with technology. I think we are. I’m not doing it at the moment, though, I can tell you that much.
Super Deluxe 4LP + 7” Vinyl EP: This Special Edition of The Beatles’ “Revolver” features a new mix by Giles Martin and Sam Okell, the original mono mix, a 4-track EP, 31 session takes and home demos, a 100-page book with a foreword by Paul McCartney, an essay by Questlove, detailed track notes, photos and ephemera including handwritten lyrics, tape boxes and extracts from Klaus Voormann’s graphic novel on the making of the cover art. Half-speed-mastered 180g LPs + 7-inch vinyl EP in a 12.56” x 12.36” slipcase.
Originally released August 5th, 1966 “Revolver” saw the Beatles once again changing the world of popular music, offering deeper experimentation than anything they’d previously done. Created with producer George Martin (Giles’ father) at London’s EMI Studios, the LP utilized ground breaking recording techniques and is regarded as a landmark rock release. “Taxman,” “Eleanor Rigby,” “She Said She Said,” “Good Day Sunshine” and “Got to Get You into My Life” were among the album’s many classic tracks.
