The Swedish indie band Hater have been intermittently blessing us with new singles over the past few years, including 2019’s “Four Tries Down” and “It’s A Mess,” 2020’s “Sift” and 2021’s “Bad Luck.” Now they’re finally ready to roll out their first album since 2018’s “Siesta”.
Following new music last summer, Hater announce their highly anticipated album ‘Sincere’ out 6th May on Fire Records with the release of new single ‘Something’.
Dropping in May, Sincere supposedly features a darker, heavier, more shoegaze-leaning Hater. Lead single “Something,” though, sounds like the same wistful, poppy, guitar-powered band we’ve been championing for the better part of a decade now — which is great, of course, because Hater are great. The track comes with a video by Adèle Tornberg, who writes, “I invite you into a nostalgic place from the past that is lingering into the present, a place where you can’t tell if you’re enjoying yourself or hiding away.” Check it out below.
A reawakening for the Swedish visionaries, “Sincere” solidifies their impressive trajectory in a fuzzed out haze of dark and arresting shoegaze pop. An expansive trip through noisier, bittersweet pop realms that recalls My Bloody Valentine, Slowdive and Deerhunter.
Underpinning everything there’s a continuing sense of drama throughout; richly textured crescendos, chiming guitars and delicate melodies are guided by Caroline Landahl’s tender yet sharpened vocals. “Sincere” is joyously effervescent, but with a dark underbelly where fury manifests in a swirl of entrancing and propulsive percussion.
A gorgeous and dazzling piece of aching romanticism, destined to feature on a thousand mixtapes.
Available now! ‘The Retrospectrum Collection’ explores the sheer breadth of Bob Dylan’s achievement and his monumental impact on the world as a musician, poet and artist. The collection features recurring motifs from Dylan’s portfolio, from scenes of city life to a sense of movement and journeys undertaken.
The collection has been greatly anticipated by Dylan collectors worldwide, since Retrospectrum first opened to the public at Modern Art Museum (MAM), Shanghai in 2019. The provenance of these artworks is exceptional, having formed part of an integral display within the exhibition.
Spanning six decades of Dylan’s artistic caree, the display featured more than 300 paintings, sculptures and drawings. The curation united seven series of Dylan’s visual art, along with archival material and brand-new paintings. Following its opening in Shanghai, the exhibition then toured to the Today Art Museum in Beijing and the Jupiter Museum of Art in Shenzhen.
Titled in celebration of the international tour of Bob Dylan’s major museum retrospective, The Retrospectrum Collection comprises six new hand-signed limited edition graphics. With the unframed portfolio selling out before the official launch, and a limited number of framed sets remaining, we expect this release to sell out quickly.
These highly collectible works explore the sheer breadth of Dylan’s achievement and his monumental impact on the world as a musician, poet and artist. Printed using the fine art giclée process on a 100% cotton paper, the stunning scenes feature recurring motifs from Dylan’s portfolio – including landscapes, city life and architecture – along with rarer compositions, making them a fantastic addition for collectors of his art.
Within this series, we see a nod to the Impressionist colour palette of The Drawn Blank Series, the clear draftsman’s hand of Mondo Scripto, and resonances of the street scenes and travel-focussed compositions of The Beaten Path. This collection constitutes an emotionally intelligent retrospective by Dylan, whose ever-evolving artistry continues to position him as one of the most revered cultural icons.
The most interesting thing about Palberta’s new album Palberta5000 is most certainly the transformation of this New York City trio from relentlessly noisy, DIY post-punk heroes into an archetypal indie-pop band, albeit one with a back burnered proclivity for chaos and razor-sharp edges framing its soft, sweet center. But the most amazing thing about Palberta5000 is that Palberta—Ani Ivry-Block, Lily Konigsberg and Nina Ryser, who are known to take turns on bass, drums and guitar—effectively captured that transformation in a four-day recording session at the Hudson Valley studio of engineer Matt Labozza, who also worked on the Philly band Palm’s 2018 art-rock banger Rock Island. Four days! In just four days, Palberta made the biggest leap of its already productive and distinctive life, and turned out an album that both honours the band’s past and turns a corner toward a bright future.
While punk music was our first love, pop music has become our fixation. Throughout the making of ‘Palberta5000,’ we were focused on making music that people could not only sing along to but get stuck in their heads… that and attempting to make songs longer than 50 seconds…While our melodies have gotten more melodic and our singing less harsh, we haven’t strayed too far from who Palberta is, defiantly Palberta. And no one will shape us to be otherwise.” – Palberta
Two years removed from their triumphant 2018 LP “Roach Going Down“, which Pitchfork described as “a leap to another level” from the beloved NYC trio, Palberta are returning to deliver their clear-eyed fifth album, ‘Palberta5000,’ a collection of adventurous, hyper-melodic songs that will excite their devoted following while welcoming new fans along for the ride. While long heralded as one of the most original and idiosyncratic bands in the East Coast DIY scene, earning regular comparisons to ESG, Captain Beefheart (Pitchfork) and CAN (FADER), on ‘Palberta5000,’ Ani Ivry-Block, Lily Konigsberg, and Nina Ryser max out traditional pop forms—creating hits that catch in listeners’ brains while blowing the genre out into lush, kinetic extensions that morph into absurdist outros and haptic breakdowns—to create their own hardcore style of popular music. In doing so, they have made their most accessible album by a far measure—one that is bursting at the seams with vocal hooks and exuberant playing.
‘Palberta5000’ was recorded with Matt Labozza (PALM, Shimmer), whose Peekskill, New York, studio is located in the original home and family lamp-store of Paul Reuben (Pee Wee Herman). Fuelled by carrots, celery, radishes, and peanut-butter-and-jelly bagels, they diligently tracked ‘Palberta5000’s well-rehearsed songs in four days, never putting down more than three takes. Labozza’s recording and mix capture the band’s rollicking instrumentation and vocal precision.
The first single, “Before I Got Here,” features a charging and emotionally chaotic intro verse—building to the frantic ear-worm lyrics “if you want to talk about it / then we can talk about it / I’m just so sick about it / don’t blame me”—that stops on a dime for a three-part vocal harmony breakdown, then seamlessly rushes off again. The song conveys the raw emotions that can accompany letting someone into your life before pumping the brakes and settling into a hypnotic krout-surf outro, garnished with horns from Matt Norman that reinforce and swell the melody.
“High speed, fast track, slow prose.” ‘Palberta5000’ punctuates its jagged edges with ebullient cries of “Hey!” and rounds its corners with angelic harmonies, while marching-band snares propel the album forward with a metronomic intensity that belies the sixteen tracks’ diverse time signatures and fevered pacing. Hardcore fans will recognize the band’s live staple “Corner Store,” whose heart-melting harmonies layer over irresistible croons of “I meet you anywhere you are”—a promise kept by an album that meets listeners where they are. “Big Bad Want,” another notable piece from the band’s pre-COVID sets, is Palberta’s version of fast punk, with a zig-zag bassline and a call-and-response nursery-rhyme chorus that returns for the song’s outro, stretching defiantly past the three-minute mark with the repeated mantra “Yeah (yeah) I can’t pretend what I want.”
Although Palberta have toyed with repetition and longer song structures on past recordings, ‘Palberta5000’ masterfully digs into a groove and transforms repeated phrases with a cult-like frenzy to hypnotic effect. On their slow waltz, “The Way That You Do,” and the enchanting “Red Antz,” Palberta bring the tempo down for lavish slow jams only hinted at on past efforts like Bye Bye Berta’s “Why Didn’t I.” Such tracks add a variation to ‘Palberta5000’s well thought-out song cycle and contribute to a full album experience that will leave listeners breathless. In the fitful sleeper “Cow,”Palberta sing, “I will be there with my hand on your chest / I feel your rumbling internal mess.” In a time of exhausting disappointment, ‘Palberta5000’ is an album that sees our internal and external messes, openly displays its fragile places, and acts as an energetic complement to the movement for positive change.
Post-punk lovers have a new act to follow in Fake Fruit, a Vancouver-bred, Bay Area-based quartet whose self-titled debut is out now on Rocks In Your Head Records. The band cite Pink Flag-era Wire, Pylon and Mazzy Star as influences, and Fake Fruit bears that synthesis out: You’ll find the first two acts’ versatile, hard-edged, bright- and fast-burning guitar rock “Old Skin,” “Yolk”, as well as the last one’s engrossing quiet-loud dynamics “Stroke My Ego”. But that specific stylistic fusion is only a jumping-off point: “Keep You” finds singer and guitarist Hannah D’Amato’s melodic vocals overlaying hypnotic shoegaze guitars courtesy of Alex Post on lead guitar and a clattering low end Martin Miller on bass, Miles MacDiarmid on drums, while album closer “Milkman” finds D’Amato sharing vocal duties over deft guitar harmonics and a motorik backbeat.
And an X factor in all this is Fake Fruit’s mordant lyricism: “My dog speaks more than you did tonight,” D’Amato sneers on “Keep You,” a laugh line on an album that shows serious potential.
Great electric guitar tone. You know it when you hear it, and you’ll hear it all over Future Forecast, the first full-length album from Melbourne, Australia’s latest great band, Civic. Everything about Civic is no-frills; these are just plain punk songs, featuring hard-charging rhythms, bouncing bass lines, buzz-saw guitars, occasional saxophone and the ever-simmering, sneering vocal style of frontman Jim McCullough. Did we mention the guitars on this record?. This band absolutely rips. Searing guitars, tight and punchy rhythm, and perfectly snotty vocals.My goodness, they sound incredible through headphones.
If you like Radio Birdman, The Dead Boys, and similar seventies punk bands, check these guys out. “Tell The Papers” is the second single off the debut album “Future Forecast” out on Flightless Records 26th of March, 2021 http://www.flightlessrecords.com
Los Angeles band Local Natives have shared a brand new covers EP called ‘Music From The Pen Gala 1983’
The project, which was recorded for the Paul Rudd and Will Ferrell-starring Apple TV+ series The ShrinkNext Door, hears the indie rock band cover songs by Roxy Music, Michael McDonald, 10cc, and Gerry Rafferty.
In addition to providing music for the show, Local Natives – comprising Taylor Rice, Kelcey Ayer, RyanHahn, Matt Frazier and Nik Ewing – also star as a cover band in an episode where Rudd and Ferrell attend the titular Pen Gala. In character, the band performs their cover songs to a dolled-up audience.
Local Natives released their last full-length album in 2019 with ‘Violet Street’. Last year, they followed it up with EP ‘Sour Lemon’ which included the Sharon Van Etten collaboration ‘Lemon’.
In July, the band remixed Manchester Orchestra’s ‘Bed Head’, turning the driving rock song on its head by adding sun-kissed pop rhythms to it.
Tracks:
1 More Than This (Roxy Music cover) 2 I’m Not in Love (10cc cover) 3 Right Down the Line (Gerry Rafferty cover) 4 I Keep Forgettin’ (Every Time You’re Near) (Michael McDonald cover)
Frank Zappa’s legendary 1971 Fillmore East run in New York City and the shocking final Rainbow Theatre gig in London with The Mothers gets a complete 50th Anniversary Commemoration with definitive eight-disc boxed set, “The Mothers 1971″.
The monumental and definitive new eight-disc collection, “The Mothers 1971″, is a new Super Deluxe Edition box set due March 18th via Zappa Records/UMe that showcases these special 1971 line-ups and commemorates these storied chapters in Frank Zappa’s legacy. Overseen by the Zappa Trust and produced by Ahmet Zappa and Zappa and Vaultmeister Joe Travers, the 100-track, nearly 10-hour set brings together every note of the fabled four shows that closed down the vaunted Fillmore East in New York City on June 5th-6th, 1971. The Mothers line-up that ruled the Fillmore East roost in New York City for four extraordinary sets across two back-to-back nights on June 5th-6th, 1971 consisted of Ian Underwood (winds/keyboards), Aynsley Dunbar (drums), Jim Pons (bass/vocals/dialog), Bob Harris (keyboards/vocals) and was rounded out by Howard Kaylan (lead vocals/dialog) and Mark Volman (lead vocals/dialog), aka Flo & Eddie of The Turtles, with special guest Don Preston.
It was a fitting Mothers collective chosen to close the renowned NYC venue, and they performed such iconic tracks like “The Mud Shark,” “Bwana Dik,” and the groupie routine labelled as “Do You Like My New Car?” (For his part, Don Preston provided Mini-Moog at Fillmore East, then re-joined The Mothers fulltime to take over for Bob Harris on keyboards and vocals for the band’s ensuing summertime dates and onward, through that December).
The June 1971 Fillmore East finale was made even more special thanks to John Lennon and Yoko Ono appearing alongside Zappa and The Mothers to perform a final encore for the unsuspecting crowd, including a red hot version of Walter Ward’s “Well” led by John on vocals (an old Beatles live favorite from the Cavern Club in Liverpool) with two solos by Zappa, a seminal reading of “King Kong” that soon enough metamorphosized into an extended jam ultimately called “Scumbag” as well as further improvisational vocal ululations from Yoko with guitar feedback by John and backing from The Mothers.
Says the press release: “Released in August 1971 just two months after it was recorded, “Fillmore East—June 1971” was Frank Zappa and the Mothers’ masterstroke conceptual live album, a well-oiled and well-edited aural treatise chronicling the prurient feast and famine of a certain band’s somewhat salacious life on (and off) the road. In effect, it was the seemly predecessor to October 1971’s expansive, ground-breaking magnum opus, “200 Motels”, the surrealistic documentary and soundtrack which ultimately took on a life of its own.
This astonishing amount of unreleased live material unearthed from The Vault contains every note played over four shows across two nights that closed Fillmore East, including the famed John Lennon and Yoko Ono encore; plus full final show at the Rainbow Theatre in London newly mixed by Eddie Kramer, bonus hybrid Harrisburg and Scranton, PA concert and more.
The complete collection is also available digitally in standard and hi-res audio. All recordings included on “The Mothers 1971” were sourced from their original 2-inch, 16-track, 1-inch 8-track, and ¼-inch 2-track stereo analogue master tapes discovered in The Vault and digitally transferred and compiled by JoeTravers in 2020.
An expanded “Fillmore East – 1971″ 50th Anniversary Edition featuring a new remaster of the original album, along with bonus tracks and period-perfect mixes by Zappa, not found on the boxed set; and the Rainbow Theatre concert, will be released concurrently as 3LP sets. “Fillmore East – June 1971“, the landmark live recording with the scrawled “penzil” cover art made to resemble a bootleg of the day, managed to capture its own level of then-modern zeitgeist in patented Zappa-reconstructed form.
The extensive collection is rounded out with the original rare single for “Tears Began To Fall” and its non-album-track B-side “Junier Mintz Boogie,” signifying the single’s first re-release in 50 years and digital debut, as well as a homemade radio spot and its related outtakes.
The Mothers line-up that ruled the Fillmore East roost in New York City four extraordinary sets across two back-to-back nights on June 5th-6th, 1971, consisted of Ian Underwood (winds/keyboards), AynsleyDunbar (drums), Jim Pons (bass/vocals/dialog), Bob Harris (keyboards/vocals) and was rounded out by Howard Kaylan (lead vocals/dialog) and Mark Volman (lead vocals/dialog), aka Flo & Eddie of the Turtles, with special guest Don Preston. They performed such iconic tracks as “The Mud Shark,” “BwanaDik” and the groupie routine labelled as “Do You Like My New Car?” (For his part, Don Preston provided Mini-Moog at Fillmore East, then re-joined The Mothers fulltime to take over for Bob Harris on keyboards and vocals for the band’s ensuing summertime dates and onward, through that December.)
The June 1971 Fillmore East finale was made even more special thanks to John Lennon and Yoko Ono appearing alongside Zappa and the Mothers to perform a final encore for the unsuspecting crowd, including a red hot version of Walter Ward’s “Well” led by John on vocals (an old Beatles live favourite from the Cavern Club in Liverpool) with two solos by Zappa, a seminal reading of “King Kong” that soon enough metamorphosized into an extended jam ultimately called “Scumbag” as well as further improvisational vocal ululations from Yoko with guitar feedback by John and backing from The Mothers.
Zappa had plans to release this historical encore in its entirety after mixing it in 1971, but shelved it after John and Yoko released their own encore mixes on side four of June 1972’s “Sometime in New York City”.Zappa eventually released his version of the encore as part of October 1992’s Compact Disc, “Playground Psychotics”.
Vinyl lovers will also be able to get their fill via a pair of concurrently released individual 3-LP configurations. First, the expanded 50th anniversary 3-LP vinyl edition of “Fillmore East—June 1971” will have a remaster of the original 1971 live album on LP 1, along with two LPs of bonus tracks, including the John Lennon and Yoko Ono encore and the complete “Billy The Mountain,” plus liner notes by Joe Travers. Significantly, the vinyl version of “Fillmore East” has been expanded to include vintage, period-perfect Zappa mixes, some of which are not included in the CD box set and can’t be found anywhere else. The original album appears on sides one and two, while Sides three to six contain the original “Billy The Mountain” as well as Zappa’s original version of the John and Yoko encore along with other material from the original mix sessions of the Fillmore East album. “The Fillmore East 50th Anniversary Edition” 3-LP set was cut by Chris Bellman at Bernie Grundman Mastering.
This release is significant for marking the first time the complete back-to-back double-header Fillmore East concerts have been released in their entirety, allowing fans to hear the full performances that Zappa edited the album from,
“The Mothers 1971” 50th Anniversary 8-CD box set! shares the complete ill-fated final show at the Rainbow Theatre in London where Frank Zappa was pushed off the stage, resulting in serious injuries, cancellation of the tour and the end of this band. This historic and infamous final show of the Flo & Eddie line-up with The Mothers in its entirety. The concert was the first scheduled after the legendary fire disaster in Montreux, Switzerland, resulting in the group playing on newly acquired gear.
Also included is an unreleased hybrid concert culled from June 1st and June 3rd, 1971, performances in Scranton and Harrisburg, Penn. which denote the first time The Mothers shows were recorded on Zappa’s preferred, then-newly purchased ½-inch 4-track tape machine (throughout the ’70s, this was the main tape recorder used to document shows if the budget allowed).
For the very first time anywhere, the set contains the official audio of the Rainbow Theatre show’s truly shocking ending which was thought to have not been recorded until recently discovered while putting this project together. The “Rainbow Theatre” is the 3-LP vinyl equivalent to the CD box’s contents, featuring a brand new 2021 mix and liner notes by Eddie Kramer. The “Rainbow Theatre” 3-LP set was cut by Bernie Grundman at Bernie Grundman Mastering. Both vinyl sets were pressed on 180-gram high-grade vinyl by Optimal: Media in Germany.
The ever-touring Mothers closed out 1971 with a European jaunt that saw them hitting Denmark, Germany, The Netherlands, and Austria before rolling into Switzerland for a December 4th, 1971 show at the Montreaux Casino that will forever live in infamy in both song and legend. This was due to an errant fan setting off a flare gun and burning the place to the ground – along with destroying all The Mothers’ gear and equipment, sans one solitary cowbell.
Thankfully, the band and audience were relatively unhurt, but subsequent shows in France and Belgium were cancelled and The Mothers had to resort to wrestling with rented equipment for a planned pair of shows slated for December 10th-11th, 1971 at the Rainbow Theatre in London, England.
The December 10th Rainbow Show show came to pass, however, due to an event that changed the course of Zappa’s life forever. After the band played a cover of The Beatles’“I Want To Hold Your Hand,” a crazed fan attacked him by violently shoving him off the stage into the orchestra pit 12 feet below. For some time, nobody knew whether Zappa was alive and there was complete confusion inside and outside the theater. As Zappa recounted in his 1989 autobiography, “The Real Frank Zappa Book:” “My head was over on my shoulder and my neck was bent like it was broken. I had a gash in my chin, a hole in the back of my head, a broken rib and a fractured leg. One arm was paralyzed.”
Once he could finally leave the hospital and be returned to the States, he spent the better part of a year in a wheelchair and a leg brace. When all was said and done, he permanently sustained a lower pitched voice, one leg shorter than the other and chronic back pain. The Rainbow Theatre show would end up being the last ever performed by the Flo and Eddie line-up as the group disbanded while Zappa was in the hospital as they needed to continue to work while he recuperated. Once Zappa recovered from his injuries he ventured into other musical territories.
“The Mothers 1971” boxed set comes in a CD-size slimcase with all eight discs residing in their own respective mini-jackets, which are collectively housed within an inner slipcase, The booklet showcasing a quite revealing, in-depth interview with key Mothers 1971 bandmember Ian Underwood as conducted by Ahmet Zappa, in addition to separate recollections and learned musings from Eddie Kramer and then-bassist Jim Pons alongside detailed, tape-by-tape liner notes from Joe Travers, and historical photos from famed photographer Henry Diltz.
Also in the package is a 68-page booklet with an interview with Ian Underwood by Ahmet Zappa and liner notes by Eddie Kramer (newly mixed the Rainbow concert), Jim Pons (FZ’s then bass player) and Zappa Vaultmeister Joe Travers. Also available seperately The Two 3-LP sets to be released concurrently: The “Expanded Fillmore East”1971 50th Anniversary Edition and the “Rainbow Theatre Concert”.
Cloakroom were one of the earliest leaders of the 2010s wave of Hum-influenced heavy shoegaze bands, and in the time since they put out their instant-classic 2013 debut “Infinity“, that sound went from being scattered amongst a few likeminded bands to becoming a full-fledged subgenre. Cloakroom haven’t released any of their own music in five years — and in the time since then, frontman Doyle Martin became a member of fellow heavy shoegaze band Nothing — but now they’re finally back with a new LP, and it’s a great one. “Dissolution Wave” is intended as a “space western” concept album, “in which an act of theoretical physics—the dissolution wave—wipes out all of humanity’s existing art and abstract thought.
In order to keep the world spinning on its axis, songsmiths must fill the ether with their compositions.” It’s shoegaze, so if you don’t pick up on all of that from listening to the often-obscured lyrics, you’re probably not alone, but even without being aware of the concept, you can tell that “Dissolution Wave” is some of Cloakroom’s most ambitious music yet. It’s an album that can be heavy, beautiful, and hypnotizing all at once, and it’s got an array of different moods, from light jangly indie pop to trippy psychedelia to brick-heavy sludge metal, from relatively upbeat to glacial-paced. It never stays in the same place for too long, and it just gets better with every listen.
Cloakroom celebrate their tenth anniversary as a band with their new album, “Dissolution Wave” – a concept album – a space western in which an act of theoretical physics—the dissolution wave—wipes out all of humanity’s existing art and abstract thought. In order to keep the world spinning on its axis, songsmiths must fill the ether with their compositions. Meanwhile, the Spire and Ward of Song act as a filter for human imagination: only the best material can pass through the filter and keep the world turning. This is the universe that Cloakroom guitarist/vocalist Doyle Martin conceived as a way of processing the last few years. “We lost a couple of close friends over the course of writing this record,” he says. “Dreaming up another world felt easier to digest than the real nitty-gritty we’re immersed in every day.”
With lyrics based on an imagined cosmology, “Dissolution Wave” also marks a grand expansion of Cloakroom’s dreamy space-rock palette. Written from the perspective of the album’s protagonist—an asteroid miner who writes songs by night—”A Force at Play” has an airy, pastoral feel. Meanwhile, the melancholy title track captures the miner’s regret as they lament that they signed up for such a long stint on the job, while closer “Dissembler” describes their anxiety about the revelator who will judge their work. “If you don’t write a good enough song in this universe, you run the risk of being forgotten and lose the opportunity to return as a meaningful form of life,” Martin explains.
In 2022, one of the ultimate acts of resistance is simply embracing our existence. That realization came after listening to Maya De Vitry’s“How Bad I Wanna Live,” from her third solo album, “Violet Light”. Maya takes the experience of her own harrowing hike on a washed-out trail abutting a severe cliffside and turns it into an anthem for continuation.
In just under three minutes of mid-tempo Americana — that seemingly could have sprung from the songbook of Richard & Linda Thompson in their heyday — De Vitry fends off mortality wielding nothing more than generosity, spirit and the soaring harmony she sings with Shelby Means and Joel Timmons of Sally & George. Whether you have been in danger of leaving the earth suddenly, like De Vitry was, or have like so many simply been cracking under the strain of recent events, this song is the perfect soundtrack for uncorking that emotion and (defiantly) loving life again.
Pennsylvania-raised and Tennessee-based, Maya de Vitry first appeared on the folk scene in 2012 as a founding member of The Stray Birds.
Following their critically acclaimed 2019 album, “Morbid Stuff“, and 2020’s raucous “This Place Sucks Ass” EP, PUP are back with their fourth album, their most ambitious release to date. Recorded with Grammy winning producer Peter Katis (Interpol, The National, Kurt Vile), the band spent five weeks in the summer of 2021, recording and mixing the typically furious and anthemic songs that would become “The Unraveling Of Pup the Band“.
If you miss the Flaming Lips and Weezer of the ‘90s, PUP are here to fill the void. The quirky and catchy Toronto-based band take on the persona of a robot in a failing relationship on their new single, “Robot Writes A Love Song.”
Every PUP record arrives with an implied “contents under pressure” warning; the tension between the band’s instinct for the melodic and its gift for chaos propels the songs forward while making them also seem close to flying apart in a horrifying spray of tears and gore. “The Unraveling Of PUPTHEBAND” is the sound of a band that is not just comfortable with but in command of that chaos.
The Fat Angel Sings 