Girlpuppy is 22 year old Atlanta based singer-songwriter Becca Harvey. Either wanting to be Hannah Montana or Taylor Swift growing up, she is now making music that sounds nothing like her childhood influences. Following her first track For You and it’s success, she enlisted the help of of Marshall Vore (Phoebe Bridgers) to make her debut ep, coming soon.
Having first emerged with a more folk-leaning sound Becca Harvey returns as Girlpuppy by ushering in some heavier, shogaze-y influences. She buries herself in sound as she processes anger, sadness and remembrance after falling out with a friend.
Plains, a new venture featuring Katie Crutchfield (of Waxahatchee) and Jess Williamson, have announced their debut album ‘I Walked With You A Ways’ due out October 14th on Anti- Records.
Crutchfield tells us “I’m thrilled to announce this new project and album. I’ve felt a connection to Jess’s song writing and a kinship with her since we met years ago. Getting to lean into the influence of the music we both grew up with while also making something that feels very current and fresh to me was a great experience and I’m so happy to finally share it.”
Williamson adds “Making this record with Katie was a deeply expansive experience for me as a song-writer. I really trust her ear and sensibilities, and she encouraged me to explore aspects of my song writing that in the past I’ve shied away from. Katie’s support was so important for me as we wrote this album. We gave ourselves permission to lean into the music that raised us and write the kind of classic timeless songs that we both grew up singing along to. For me that was The Chicks and Dolly Parton, and having a place to channel those influences was an absolute blast. My hope with Plains was to tap into something Universal. I love the album we made, and I’m so excited to play it live.”
Crutchfield’s sharp, honest edge of truth telling paired with Williamson’s ability to paint the scene shine through on “I Walked With You A Ways”.
Waxahatchee’s Katie Crutchfield and Jess Williamson recorded this one-time collaboration country album.
Written between Kansas City, Los Angeles, and Marfa, the album was recorded in Durham, NC with collaborator and producer Brad Cook. The creative magic of only a few vocal takes, tracking with a band comprised of Spencer Tweedy and Phil Cook, gives the album a feel of fresh, on-the-spot conception. The trust and history of Crutchfield and Cook’s collaborations (Saint Cloud, Great Thunder EP) set the tone for this new container of spontaneity and experimentation.
In their solo endeavors you hear a specificity of experience that is so sharp and intimate that it brings the listener into a personal side of the experience of life.
Katie Crutchfield – Lead and Harmony Vocals, Acoustic Guitar Jess Williamson – Lead and Harmony Vocals, Acoustic Guitar Brad Cook – Acoustic and Electric Guitar, Wurlitzer, Mellotron, Bass Phil Cook – Piano, Wurlitzer, Organ, Dobro, Banjo, Electric Slide Spencer Tweedy – Drums, Percussion Andrew Marlin – Mandolin, Acoustic Guitar Libby Rodenbough – Fiddle Alex Farrar – Electric Guitar
“Problem With It” by Plains taken from the album ‘I Walked With You A Ways’, available October 14th
Originally released as a bonus 7″ vinyl as part of the limited edition Dinked pressing of Cindy’s third album, “1:2.“
Little Liability: This song feels like walking in the northwest part of San Francisco. Aaron lives in that neighbourhood. It’s usually overcast there and the wide avenues are crossed by narrower streets. It’s a quiet part of town that eventually leads you to the ocean.
Take My Place: I wrote this song, like most Cindy songs, because something I came across in daily life crystallized things I’ve thought and felt for a long time. It was heaven to sit down with my friend Kati in her apartment and work out a two guitar arrangement on her four track. She’s an incredible musician and even though we tried a few versions, the first recorded attempt is what you hear.
“Noise & Flowers“, a live album that captures Neil Young + Promise Of The Real on their 2019 European tour is released 5th August. Neil Young + Promise of the Real’s live album ‘Noise & Flowers‘ captures the group in all their glory on their 2019 European tour. The release will be accompanied by a concert film that shares the same title and is included in the album’s 2xLP+CD+Blu-ray Deluxe Edition.
‘Noise & Flowers’ documents a 9-date tour that began just two weeks after Young’s lifetime friend and manager of more than 50 years, Elliot Roberts, passed away at the age of 76. Performing alongside a photograph of Roberts taped to his road case, Young approached each show as a celebratory memorial service to honour his late friend. In paying tribute to the manager who guided Young’s career for over a half-century, ‘Noise & Flowers’ explores all corners of his vast discography. It balances all-timer anthems with rarely aired ’70s deep cuts and ’90s gems.
His frequent backing band since 2015, Promise of the Real effectively bridges the extremes in Young’s sound, infusing his raging rockers and country serenades with their casual brilliance and telepathic intuition. Neil Young + Promise Of The Real’s live album ‘Noise & Flowers’ captures the group in all their glory on their 2019 European tour. The release will be accompanied by a concert film that shares the same title and is included in the album’s 2xLP+CD+Blu-ray Deluxe Edition. ‘Noise & Flowers’ documents a 9-date tour that began just two weeks after Young’s lifetime friend and manager of more than 50 years, Elliot Roberts, passed away at the age of 76.
‘Noise & Flowers’ explores all corners of his vast discography. It balances all-timer anthems with rarely aired ’70s deep cuts and ’90s gems. His frequent backing band since 2015,
Young approached each show as a celebratory memorial service to honour his late friend. It’s a trek the legendary singer/songwriter describes as “wondrous.”
In the album’s liner notes, Young says, “Playing in his memory [made it] one of the most special tours ever. We hit the road and took his great spirit with us into every song. This music belongs to no one. It’s in the air. Every note was played for music’s great friend, Elliot.” In paying tribute to the manager who guided Young’s career for over a half-century, ‘Noise & Flowers’ explores all corners of his vast discography. It balances all-timer anthems (‘Mr. Soul’, ‘Helpless’, ‘Rockin’ in the Free World’) with rarely aired ‘70s deep cuts (‘Field of Opportunity’, ‘On the Beach’) and ’90s gems (‘From Hank to Hendrix’, ‘Throw Your Hatred Down’). His frequent backing band since 2015, Promise of the Real effectively bridges the extremes in Young’s sound, .
The companion film (directed by Bernard Shakey and dhlovelife) emphasizes both the intimacy and ecstasy of these performances. “Noise and Flowers” is entry No. PS 21 in the Neil Young Archives Performance Series of live releases – a special addition to a robust, and still-growing catalogue.
Available On CD, 2LP And Deluxe Box Set (CD/2LP/Blu-Ray)
To celebrate the 50th Anniversary of Rory Gallagher’s second album ‘Deuce’, a deluxe 4CD boxset will be released on 30th September.
This new release digs deep into the archives and includs a new mix of the original album, twenty-eight previously unreleased alternate takes, a six-song 1972 BBC Radio ‘In Concert’, and seven Radio Bremen radio session tracks alongside a 64-page hardback book with unseen images, essays and memorabilia. with a foreword by Johnny Marr of The Smiths, unseen images by the late Mick Rock, essays, and memorabilia from the album recording.
“Deuce” would make it Rory’s third fully self-penned album in a row, having written all of Taste’s second album “On TheBoards” as well as the debut solo album “Rory Gallagher”. “Deuce” was originally released 28th November 1971 Rory Gallagher, where Gallagher tried for a precise, organised sound, “Deuce” was his first of many attempts to capture the energy of a live performance in the studio.
Released in November 1971, just six months after his eponymous solo debut, Rory Gallagher’s second album, “Deuce“, was the summation of all that he’d promised in the wake of Taste’s collapse. Rory wanted to capture the feeling of a live performance, so he would look to record immediately after live concerts while keeping production to a minimum.
He chose Tangerine Studios, a small reggae studio, in Dalston in East London, due it’s history with legendary producer Joe Meek. With Gerry McAvoy on bass guitar and Wilgar Campbell on drums, the album was engineered by Robin Sylvester and produced by Rory. Deuce features many Rory highlights, from the blistering “Crest Of A Wave” to the Celtic-infused “I’m Not Awake Yet“.
2 CD and 3LP versions plus a special D2C 1LP of ‘BBC In Concert – Live at The Paris Theatre”, 13th January 1972’ are also available to pre-order.
Formats : 4CD / 2CD / 3LP / 1LP Colour (D2C) / Digital HD & SD
A long-lost live recording of Creedence Clearwater Revival’s 1970 show at London’s Royal Albert Hall is finally set for release later this year. When CCR took the stage for two nights in April of 1970, the band members had reached the height of their international stardom and arrived ready to prove themselves as equals to the likes of Led Zeppelin, Jimi Hendrix, and the Beatles, who had announced their breakup just days before. Their performance—which included hits like “Born On The Bayou,” “Proud Mary,” “Fortunate Son,” and “Bad Moon Rising”was met with a 15-minute standing ovation and rave next-day reviews in the UK’s top publications.
“Creedence Clearwater Revival at the Royal Albert Hall” features the band John Fogerty, Tom Fogerty, Doug Clifford and Stu Cook performing favourites like “Fortunate Son,” “Proud Mary” and “Bad Moon Rising,” the latter of which can be heard down below.
The original 1970 multitrack tapes were restored and mixed by Giles Martin and engineer Sam Okell. Due on September. 16th, “Royal Albert Hall” will be available on compact disc, cassette tape, digital and vinyl. (Select retailers will also offer a variety of exclusive colour variants too, including Walmart’s “Tombstone Shadow” gray vinyl and Target’s “Green River” vinyl.)
A concert film of the performance titled Travelin’ Band: Creedence Clearwater Revival at the Royal Albert Hall will also be available. The film documents the band’s rise to fame and features previously unseen footage. Directed by Bob Smeaton (The Beatles Anthology and Jimi Hendrix Band of Gypsies) and narrated by actor Jeff Bridges, Travelin’ Band is the only concert footage of the group’s original line-up to be released in its entirety. It will roll out on September 16th, though details on where it can be viewed have yet to be announced.
Confusingly, a decade later in 1980, Fantasy Records released a live album by the band, titled The Royal Albert Hall Concert. However it was quickly discovered that the audio was, in fact, from the aforementioned Oakland Coliseum show. The label did rush to sticker the album to correct the error – and properly renamed the January 1970 performance as “The Concert” for later production runs
A deluxe, 2LP/2CD/Blu-ray edition of the set will be released on November 14th and includes two 45-RPM 180-gram vinyl LPs as well as on compact disc, plus a second CD with music from the film featuring formative recordings from the band’s early years as Tommy Fogerty and the Blue Velvets and the Golliwogs. This package also includes a reproduction of the original 1970 tour program, a 36×24″ poster and a 16-page booklet with an excerpt from Bridges’ voice-over script.
In the film, Bridges marvels over the group’s achievements in 1969, as Creedence Clearwater Revival released “Bayou Country”, “Green River” and “Willy and the Poor Boys”. “In only 12 months,” Bridges says, “the band had achieved five Top 10 singles and three Top 10 albums on the American charts, outselling the Beatles. They had appeared on the legendary Ed Sullivan Show and played to over a million people across America, including the hundreds of thousands gathered at Woodstock. ‘John, Tom, Stu and Doug’ may not have had the familiar ring to it of ‘John, Paul, George and Ringo,’ but Creedence were challenging the Beatles for the title of the biggest group in the world.”
Ahead of the set’s release, you can listen to its first single, “Bad Moon Rising,”
The title of The Stroppies’ newest LP, “Levity“, serves as a creative statement of intent and an acknowledgment of the dichotomy between the music they have made and the conditions in which they were produced. For a group that started over an initial idea to “create open ended music, quickly and haphazardly”, the logistical challenges of creating their second album in the midst of a pandemic, in a city that endured the longest lockdown in the world, created a need to redefine process.
“Levity”, The Stroppies strongest creative statement to date, is the result of this new approach to creative process. Playful yet focused, but broader in scope and experimentation than previous efforts, the ten songs that comprise “Levity” continue the band’s exploration of the pop song as both foil for experimentation and conduit for personal reflection.
Whereas the group’s debut LP “Whoosh!” demonstrated their ability to craft clean, concise jangle pop, “Levity” takes a different route by utilizing a darker pallet of sounds to create its impressionistic whole. Fuzz and distortion are employed to add weight to songs built on tape loops and Motorik drum patterns. Warbling synthesisers and modulated keys add new moods and dimensions to The Stroppies unique brand of pop classicism. Thematically, the band continues their exploration of the personal refracted through the lens of the absurd, though this time around the music feels a few shades darker, a somewhat inevitable consequence of the collective trauma of the past 24 months. The songs still hit with the immediacy that made their debut so engaging, but there’s a creeping cynicism and wistfulness that now permeates The Stroppies sound.
While the narrative around the ‘lockdown record’ is increasingly commonplace, there are unavoidable realities involved in making creative decisions under such circumstances that can’t be overlooked, especially for a band that thrives on collaboration. “The restrictions around COVID really informed the way we made the record’, says Angus Lord, the band’s co-founder and guitarist.
“There was a lot less opportunity to meet and build ideas collaboratively, which is how we’ve worked in the past. Instead, ideas were developed in isolation, then shared digitally, developing slowly over correspondence and only bearing fruit when we were able to be in a room together. I think this had a big effect on the songwriting and execution.” adds drummer Rory Heane . This process even extended to the studio, where The Stroppies found a kindred spirit in John Lee of Phaedra Studios, who mixed the record in isolation, somehow managing to synthesise the band’s pop sensibilities with their penchant for studio experimentation. Furthermore, the addition of new member Zoe Monk to the , known for playing in a diverse array of Melbourne acts (Eggy, Thibault, The Opals) contributed both synthesiser experimentation and a rock solid rhythm guitar style, a huge addition to the band’s developing sound, an infectious combination of the off-kilter 90s US underground, British artpunk ala Wire and a more than generous love of classic Pop song writing.
Reflecting on the making of the record, bassist and co-vocalist Claudia Serfaty understands their shift in approach, noting that, “the world feels strange and in turn making pop music feels even stranger. A healthy dose of levity had to be employed in order to find meaning in the process.” In spite of this light hearted attitude, The Stroppies have managed to craft a record of weight and substance. Through “Levity” the Stroppies have, at least temporarily, found their feet amongst the chaos.
The band’s 2018 debut, ”Constant Image“, was a triumph – a set of songs both dizzy and explosive, balancing new-wave lushness and post-punk frenzy. “Love is Yours” steps up the ambition and reaches for the horizon. The record is ablaze with mood, melody, and carefully threaded hooks, finding the band foregrounding the pop sensibilities that had always been present in their previous releases. The album was written and recorded amid a moment of flux for the band. Now a duo, guitarist Taylor Mulitz and drummer Emma Baker had to reimagine Flasher’s voice. When it was first completed, Mulitz was shy about sharing the album, worrying that old friends would find the new sounds unrecognizable. “Love is Yours“ is unquestionably made up of Flasher’s DNA, but it’s true that something pivotal has shifted. If Constant Image found the band tightening up and transcending its basement-punk roots, ”Love is Yours” marks another, major moment of ascent, this time toward something that’s easy to embrace, but harder to pin down – still thrilling, but newly illuminated and entirely their own.
Washington, DC’s Flasher are back with album number two, but things have changed a little bit. They’re down to a duo and their songs don’t shy away from obvious infectious pop. The new LP is full of dancy pop that has saccharine elements of Ultra Vivid Scene and a bit of Unrest obtuseness with an eye to get played on the indie dance floor. Songs like “I’m Better” and “Love Is Yours” certainly deserver to get their chance to make you boogie.
Flasher – “Love Is Yours” from the album ‘Love Is Yours,’ out now on Domino Record Co.
