Luton dance-punk trio Regressive Left are releasing their incredible debut EP, ‘On The Wrong Side Of History’, today on Bad Vibrations! To celebrate the release the band are also sharing a new video for the ‘World On Fire’ track. Taking influence from the booming post-punk, funk and disco scenes of New York, Regressive Left’s sound is stark and danceable.
Angular guitar scratches meet dirty synth basslines, whilst Simon Tyrie’s Edwyn Collins croon is chased around by effervescent drums. The banal horror of life in Tory Britain expressed with sharp and dry wit, and then set to truly barnstorming and infectious dance music
On ‘World On Fire’, front-man Simon Tyrie says: “I don’t know if we’ll ever write a song that’s as obvious as this. It does what it says on the tin. We’re burning the world for the sake of investment portfolios, and hoping that so-called green stocks can save us, when the problem is the system itself.”
the debut EP “On The Wrong Side of History” out now on Bad Vibrations: regressiveleft.lnk.to/history
Swedish post-punk band Viagra Boys shared a video for their new single, “Punk Rock Loser.” It is the latest release from their forthcoming album, “Cave World“, which will be out on July 8th via YEAR0001.
“Punk Rock Loser” displays the band’s trademark wit and makes fun of guys who try to out-punk-rock each other. “I tried to warn ya that I’m bad and I’m loose/I’m looser than a piece of low hanging fruit,” frontman Sebastian Murphy sings. “And I don’t go to parties where folks get dressed up I go to the function just to fuck shit up/I warned you baby, that ain’t juice in my cup/It’s Promethazine and a little 7 Up.”
The song is accompanied by an equally amusing video directed by SNASK and featuring Murphy strutting through an Old West town shooting off his pistol nonchalantly.
Upon announcement of the new album in April, Viagra Boys shared the song “Ain’t No Thief,” They later shared the album track “Troglodyte,” . The Stockholm punks Viagra Boys“Cave World” channel the chaos of our crisis-riddled era on their latest. Satirical, tragicomic takedowns of the alt-right, anti-vaxxers and gun violence set to debauched, muscular post-punk grooves | Black LP
Their previous album, “Welfare Jazz“, came out last year via YEAR0001. “Cave World” Out July 8th 2022 on YEAR0001
Introducing the latest Uncut Special Edition, It’s a pleasure to introduce the latest of our Curated By…Editions, in which we invite a single artist to tell us, in depth, about their influences, their recordings – ultimately, about their life in music. This time around, it’s the turn of one of the world’s most unpredictable and best-loved bands: Pavement, now reconvened to play live for the first time in 12 years.
The full story of Pavement, by Pavement. Their work. Their words. Their life in music.
Each of the band’s members (and one prominent ex-member) has given us an idea of the music which was most influential on them, introducing features from our extensive archive of classic interviews. The band have also picked over the records nearest their stereos to choose (getting on for) 100 important albums in their lives. It’s been illuminating. Not only that, in a series of far-ranging new interviews, the band have told us all about their current reunion, and spoken in detail about making the impressive, freewheeling catalogue of music which has brought it about. From their debut EP “Slay Tracks 1933-1969” in 1989, to the grand and psychedelic “Terror Twilight” ten years later, here you’ll find the definitive history of their music – told in Pavement’s own words.
We’ve also made time to explore some lesser-known parts on the band’s story. We’ve tracked them across the globe from, Stockton, California in the 1970s and 80s to Hull, UK in the 1990s and all points in between, to join them at pivotal moments in their history. Along the way, we’ve unearthed rarely-seen photos – the Malkmus/Nastanovich/Berman house! – and important stories of key relationships. We’ve confronted them with the assertions on their Wikipedia pages, and heard the tales of their most mind-blowing live music experiences.
Pavement’s latest live show’s selected 30 Pavement deep cuts we’d like to hear on tour, met Rebecca Cole, the latest addition to the Pavement family (“She’s a musician,” Bob Nastanovich tells us, “which makes her the second, possibly the third in the band”). We’ve talked to Steve Keene, sleeve artist of “Wowee Zowee“, tracked down Pavement’s first drummer Gary Young, and the people who are making a film about him – and heard about his part in the band’s story.
Not every 20-something band would have taken a chance on an alcoholic drummer who was as likely to be doing a headstand as keeping time on the next song. If they hadn’t, Pavement might have happened more efficiently, but it certainly wouldn’t have happened quite as in such an original way. “It was not quite like the British trope that you write an ad in NME and the right person turns up who’s into Bowie and the Velvet Underground,” says Stephen Malkmus. “We don’t have that.” Instead, from inception to reunion, Pavement have been a band to break the mould. It’s been a pleasure working with them on the issue. I hope you enjoy it.
Father John Misty is announcing a live bootleg series featuring recordings of select performances from the tour that will be available every Tuesday beginning August 9th, 2022. The shows will be available for download and streaming via Father John Misty’s Bandcamp page.
The first installment of the bootleg series is one from the archives and available now, a blistering set from the “I Love You, Honeybear” tour at Ancienne Belgique in Brussels during the fall of 2015.
Father John Misty will also be livestreaming three dates from his upcoming tour – New Orleans’s Orpheum Theatre on Saturday, August 13th; Asheville’s Rabbit Rabbit Saturday, September 17th; and Nashville’s The Ryman Auditorium on Thursday, October 6th. Each performance will be a multi-camera concert special and directed by longtime collaborator Grant James.
Father John Misty Band: Josh Tillman – Vocals, Guitar Daniel Bailey – Drums Chris Dixie Darley – Guitars, Vocals Kyle Flynn – Piano and keyboards Eli Thomson – Bass and synths David Vandervelde – Guitars, Keys, and Vocals
The sophomore effort from Canadian post-classic-rock pair Partner was characterized by the kind of resilience that’s proven essential in 2020, not to mention more than a little much-needed fun. “Never GiveUp”, the follow-up to the duo’s Polaris Music Prize-nominated 2017 debut “In Search of Lost Time”, doubles down on their flair for waggish rock ‘n’ roll theatrics, The band now have a new album for release in October “Time Is A Car”Partner is the “mature” effort of two best friends named Josée Caron and Lucy Niles. Together, with Rock as their trusty guide, they explore a variety of themes in an attempt to understand the meaning of life.
Lucy and Josée formed the band Partner in the spring of 2014. They were looking to experiment with genre, discuss being gay, and share some jokes and ideas. Their objective has remained the same over the past six years, although in that time their sound has shifted considerably.
Their debut album “In Search of Lost Time”(2017) made an impact with its big guitars and polished sound. The record, mixed by Chris Shaw (Ween, Bob Dylan, Cheap Trick), landed a spot on NPR’s All Songs Considered, along with Stereogum, Noisey, Exclaim, CBC Music, Indie 88 and many more best of 2017 lists. The album was shortlisted for the Polaris Prize, and Partner were the recipients of the SOCAN songwriting prize for their song “Play the Field”.
bringing Lucy Niles and Josée Caron’s charming interplay to the forefront, and writing party-starting joy large with each raucous guitar solo. Partner are an easy band to root for, and a testament to just how alive and well rock continues to be.
“Never Give Up” was written in rehearsal spaces, in the band’s bedrooms, in a condo, in friends’ and strangers’ houses, Air BnBs, in a cafe and on Josée’s couch and in the studio, and in the booth. “We talked. We were honest with each other and honest with ourselves. Sometimes it was a lot. And when it got to be almost too much we would repeat to each other, first as a joke and then not as a joke at all, “never give up”.”
“Time Is A Car” is set for release October 7th, 2022
Dummy follows up their debut LP “Mandatory Enjoyment” with two songs for the Sub Pop Singles Club. The A-Side, “Mono Retriever” is a baroque-drone-pop rager that imagines what a punk Free Design song might sound like. The lyrics criticize the corporate greenwashing and dishonesty at the root of ecological devastation. On the B-Side, “Pepsi Vacuum” the band experiments with sampling and digital editing, taking inspiration from 90’s ambient and chill-out music. As a lyrical counterpoint, “Pepsi Vacuum” is about the spirituality of nature; the powerful feeling of universality and connection, down to the molecular level.
The two songs function as mirrors, referencing the other musically, and both sharing oceanic lyrical themes.
We are excited to announce “Dumb” EPs, a vinyl-only compilation of the first two EPs by Los Angeles based band Dummy, which will be released via Sonic Cathedral on September 2nd.
After a tip-off from our friend Matt Wilkinson, we bought the “Dummy” EP from Bandcamp after its release by Maryland punk label Pop Wig back in May 2020 and then the follow-up, “EP2“, which came out in November of the same year via Chicago’sBorn YesterdayRecords. It was also through one of the band’s regular Bandcamp updates that we first heard Horsegirl and went on to release their first 7” single. Everything is connected.
Compiled together, the 11 tracks from the two EPs manage to show off all of the band’s broad range of influences – from Stereolab-style drone-pop to baroque psych, chamber folk, noisy shoegaze and Japanese ambient and new age – which have made them one of the most exciting new bands to come out of the US for years.
Anyway, since we agreed to give the previously tape and digital-only EPs their first outing on vinyl, the band went on to record their debut album, “Mandatory Enjoyment”, which came out via Trouble In Mind and was one of the finest releases of 2021 and they’ve just put out the excellent single ‘Mono Retriever’ through the Sub Pop Singles Club.
“We remain super proud of these EPs,” says the band’s Joe Trainor. “They were mostly self-recorded, and we were still discovering our sound and each other as a group. “Mandatory Enjoyment” wouldn’t sound the way it sounded if it weren’t for all the time and trial and error we spent on the EPs.”
“Dummy has all the makings of a modern cult band” – Pitchfork
“Purveyors of absolutely blissful drone-pop” Post-Trash
“Like a scrappy, punch-drunk Stereolab or a blissed out, mantra-hypnotized Wire” – Aquarium Drunkard
Dummy are currently making waves touring the US with Horsegirl and Lifeguard and caused an inexplicable Twitter storm thanks to a Bandcamp tour diary by Mariana Timony where they shared their views on the importance of the music community and DIY culture.
After previous cancellations, they are “extremely hyped” to finally be playing the following UK tour dates in September :
September 20 – London, UK – Studio 9294 September 21 – Bristol, UK – The Lanes September 22 – Brighton, UK – Komedia September 23 – Leeds, UK – Headrow House September 24 – Manchester, UK – YES
The 11 tracks have been especially remastered for vinyl by Simon Scott from Slowdive and will be available on translucent green vinyl or a Bandcamp-exclusive toxic yellow version.
Sylvan Esso have announced their upcoming fourth album, “No Rules Sandy”, and released the latest single, “Didn’t Care.”
The studio set will be released August 12th via Loma Vista Recordings, nearly two years after 2020’s “FreeLove”. In addition to “Didn’t Care” the album contain lead single, “Your Reality” which the electronic pop duo first unveiled in late June in the wake of minimalist one-off “Sunburn”.
In a statement, Amelia Meath promised the album “feels like who we actually are. It just feels like us. We’re not trying to fit into the mould, just happily being our freak selves.”
To kick off the era, Meath and producer bandmate Nick Sanborn surprised the crowd at the Newport Folk Festival on Sunday by playing the entire album front to back during their set. Next, they’ll offer early previews of the studio effort at Pioneer Works in Brooklyn on July 27th and Gold Diggers in Los Angeles on August 4th.
Meath came together earlier this summer with Brandon Boyd of Incubus and Lucius members Jess Wolfe and Holly Laesig for a virtual round table celebrating the 50th anniversary of David Bowie’s seminal The Rise and Fall of Ziggy Stardust and the Spiders from Mars with the acclaimed album’s co-producer Ken Scott as the panel’s very special guest.
The new album “No Rules Sandy”, out everywhere August 12th
As Bruce Springsteen hits the stage once more, the latest MOJO magazine takes an epic road trip through his 50 Greatest Songs. Entrapment and escape, love and betrayal, murder and mayhem, cars and girls: all human life encapsulated by a force of nature and his Swiss Army band. Plus, a 40th anniversary dive into the twisted landscape of “Nebraska”, Springsteen’s bravest, strangest album.
Released after an ever growing live following and the string of successful chart hits, the Advert’s debut has cemented its place in punk rock history.
Now this 2xAlbum set release including an extra album with 12 tracks made of up single recordings and live bonus tracks. from the sonic armageddon which ushers in ‘One Chord Wonders’ through to the deliriously protracted fade of ‘Great British Mistake’, ‘Crossing The Red Sea’ never put’s a foot wrong. Created at the height of punk, recorded with all the venom and passion which gave the era such vitality, ‘Crossing The Red Sea’ was at once a statement of intent and a bellow of defiance, a refusal to take anything for granted, even its own brilliance. more than that, though, the album defined and thus became the precious moment in time when the establishment rules of rock fell away, and new ones still had to be carved out. and by those brittle standards,
The Adverts weren’t simply ‘Crossing The Red Sea’, they were parting it. With TV Smith’s intelligent and perceptive lyrics, and Gaye Advert’s thundering bass, the songs still pack a punch. From the screeching first chord of “One Chord Wonders” through to the surprisingly still relevant a blistering final song “The Great British Mistake“, it drives the listener forward.
The Adverts were never speed merchants, and their brand of punk rock was miles away from, say, Sham 69, and are closer in tone to The Ruts or mid period Clash. But these track still have the power to send a shiver down the spine and the hairs on the neck to rise.
What can I say except this has to be one of the greatest punk albums of all time a masterpiece.
