Judy Lilley (frontman) tells the crazy story that inspired the song: “”When I was about 18 I stopped off in Venice with some friends after a festival. One hot afternoon in our grubby clothes, we managed to find a place doing pizza slices and beer for a couple of euros. Hidden away from the intimidatingly glamorous tourists we sat on a jetty and tucked into our newly purchased treats. As we were chatting away over our lunch, we were interrupted by a thumping kick drum echoing through the canal. The kick grew louder and louder until a white speedboat drifted at full speed into our view and pulled up to the jetty. EDM blasted from the boat, as a slick, well built man in wrap around shades and a red polo shirt inspected his vast pile of parcels. He bent down, grabbed a stack and hopped off the boat. After making the drop at the house behind us, he hopped back into the motor and shot off into the canals. That’s when I knew: I wanted to be a postman in Venice.”
“Speedboat” is a maniacal rockin’ rocket going full blast after a supersonic-Oasis like intro (but played faster). A mad master blaster with blowtorch hooks, chainsaw riffs, and spicy licks blowing you off your feet while trashing your stereo. A gold medal for the Venice postman, he’s indirectly the inspiration for this KO uppercut.
Be prepared, these idols have a license to write killers…
Guitar insane hit team from Cornish coastal town and now based in London.
Official video for ‘Speedboat’ by Moreish Idols. Produced by Dan Carey. Out now on Speedy Wunderground.
Ten-year anniversary of the extended Giant Sand family’s mythic rock opera; a unification of Euro-based Sand and their downhome Arizonian compadres on Howe Gelb’s filmic homage to his hometown.
The Deluxe triple black vinyl LP in tri-fold sleeve with the bonus LP “Return To Tuscon”. Long out of print and featuring brand new liner notes from Howe Gelb. Ten-year anniversary of the extended Giant Sand family’s mythic rock opera; a unification of Euro-based Sand and their down home Arizonian compadres on Howe Gelb’s filmic homage to his hometown. Expanded with the much sought after “Return To Tuscon“, the triple LP features exclusive remixes by John Parish, Ali Chant and Chris Schulze.
A careful look at the cover of the album “Tucson” reveals that Howe Gelb has credited his band as “Giant Giant Sand,” and with the line-up expanded to 12 musicians (and another five cited as guests along with a children’s chorus), it’s clear Gelb wasn’t afraid to think big for this project. And the scale of the ensemble suits the material; Tucson is subtitled “A Country Rock Opera,” and with the 19 songs clocking in at just under 70 minutes, it certainly has an operatic scope and an impressive musical heft. In addition to a lyric sheet, Tucson includes a 20-page booklet that attempts to explain the story that ties Gelb’s songs together; while the tale is full of atmosphere and telling details, the narrative is murky at best, having something to do with a drifter who frees himself from his possessions, falls in love with a woman he meets at a dancehall, and ends up in an Occupy Tucson encampment with the city’s disenfranchised.
If “Tucson” doesn’t scan especially well as a story, Gelb’s music connects beautifully; shifting between twangy laments, dusty desert rock & roll, stripped-down blues, confessional ballads, and lusty border-town dance rhythms, “Tucson” conjures up a big and very colourful world in its 19 tunes, and while Gelb’s craggy but expressive voice rings through most of these songs, in true operatic form he lets others’ characters take the lead from time to time, and Lonna Kelley, Brian Lopez, and Gabriel Sullivan make the most of the spots here, enhancing the changing moods and flavors of this album. Recorded at studios in four different countries, “Tucson” is a widescreen epic by the frequently shambolic standards of Giant Sand’s work, and the effort pays off — this is an absorbing and engaging album that shows Howe Gelb’s vision to its best advantage.
This deluxe edition includes brand new sleeve notes from Howe Gelb, recollecting the album’s creation, drawings, notes and a plea to Broadway producers.
Ten-year anniversary of the extended Giant Sand family’s mythic rock opera; a unification of Euro-based Sand and their downhome Arizonian compadres on Howe Gelb’s filmic homage to his hometown.
Expanded with the much sought after ‘Return To Tucson’, the triple LP features exclusive remixes by John Parish, Ali Chant and Chris Schulze.
This deluxe edition includes brand new sleeve notes from Howe Gelb, recollecting the album’s creation, drawings, notes and a plea to Broadway producers.
Available to purchase April 23rd 2022 on Record Store Day at participating stores.
For many years, it was virtually impossible to imagine any sort of Pixies reunion. Charles Thompson (aka Black Francis, a/k/a Frank Black) informed his bandmates that he quit via fax in 1993, shortly after they wrapped up a dispiriting slog across America opening for U2 on the Zoo TV tour. By this point, bassist Kim Deal and Thompson weren’t even speaking, and that silence stuck for over a decade.
So many were surprised in early 2004 when word came out that the Pixies were going to perform at Coachella. After a decade-long hiatus, alternative rock legends Pixies reunited for a triumphant set at Coachella Festival in 2004. Hitting the stage before a headline set by Radiohead, they nearly stole the show from Radiohead when they preceded them on the mainstage at Coachella.
Pixies delivered a now iconic performance packed full of classic tracks including ‘Where Is My Mind?’, ‘Here Comes Your Man’ and ‘Debaser’.
So why did they reunite? Simply put, none of them were doing that well financially at the time and their legend had grown to a point where a reunion tour was going to be highly lucrative. “Nobody got ripped off,” said Thompson in Fool the World: The Oral History of a Band Called Pixies. “We all made lots of money. I know everyone’s made a lot of money because I’m privy to how much the checks are for. Everyone did good. For a little indie rock band, we did really good.”
Initially, their break-up seemed poorly timed because it happened to coincide with the mainstream culture fully embracing alternative rock, but the band was a spent force at this point. Their last album, 1992’s “Trompe le Monde“, was essentially a Thompson solo album. Deal had turned her attention towards the Breeders and a break-up was inevitable.
Kurt Cobain did much to preach the gospel of the Pixies after their split, even suggesting that “Smells Like Teen Spirit” was an attempt to “rip off the Pixies.” The prominent use of “Where Is My Mind” in Fight Club helped them gain a new audience, but something bigger was happening. Teenagers were beginning to discover that “Doolittle” and “Surfer Rosa” were pretty much flawless albums. The Pixies became an unlikely part of the classic rock canon.
Now released on vinyl for the very first time, this Record Store Day 2022 exclusive features the epic 20-song set pressed on two 140g yellow and orange marbled vinyl with an etching on Side D. Limited to 8,000 copies worldwide.
“Black Pearl” is the brand new album from 50 Foot Wave: Kristin Hersh’s ‘other’ band – active since 2003, with fellow Throwing Muses’ member Bernard Georges on bass and drummer Rob Ahlers. A sonic trip from the heavy, echoey riff of ‘Staring Into The Sun’ with all of its grunge melancholy and dronecore menace to the perfectly baroque ‘Hog Child’ with its spidery guitar that dissolves into motorik bass and drums.
“50 Foot Wave are infinitely harder hitting and blunter than anything Hersh has produced previously” BBC Music 50 Foot Wave are ever changing, enigmatic, flashing between moods, leaping walls of sound. From their very beginnings, the trio have been hailed in various quarters as “an outlet for the material deemed too weird or wild for Throwing Muses”, their “menacing, stalking, spirals of lean, hungry riffs, set alight” as “feedback rips into the fragile melody”. Detuned and discordant at will.
50 Foot Wave release second single ‘Hog Child’ taken from their new album ‘Black Pearl’set for release on 15th April on Fire Records. At their fuzzy best with time changes, key changes and a sliver of melody introducing a false state of calm, ‘Hog Child’ is a teasingly mellow moment that sounds perfectly baroque with Kristin’s vocal and her spidery guitar slowly dissolving into itself as bass and drums become motorik.
Like passing comets, releases by 50 Foot Wave are few and far between; their hypnotic mixture of ice-cold uneasy listening carefully warmed into its own unique sound by the sun. They are travelling to other dimensions, an unyielding triad that creates a sound so much bigger than the wave they surf.
Last sighted with 2016’s ‘Bath White’EP and before that in 2011 on the ‘With Love From The Men’s Room’,50 Foot Wave returned with ‘Black Pearl’, as its title might suggest; an anomaly, a rarity, a gem. The title refers to the neighbourhood in New Orleans where the record was written.
50 Foot Wave continue to traverse the rigid tension of their own sound. They remain detuned and discordant at will.
Today we unveil something we’ve been working on behind the scenes since late last summer. When PitPony first got in touch about having an album together, I was excited to hear what they’d been working on. On listening, I got to this track and knew we had something special on our hands. The track itself feels like an immersive journey to me, when I saw the video, I couldn’t believe how well they’d captured the intensity, emotion and feeling of the track.
With this and “Black Tar“, hopefully you can see the talent, intensity and depth the band have. Can’t wait for you to hear more from ‘World To Me’ which is the band’s debut album.
We’ve pressed 2 limited edition vinyl versions of this, one a red and black galaxy smoke vinyl version which is available from us and the band (click on the image above). The other a transparent gold vinyl which is exclusive to Indie record shops, places we love and want to support.
As Jackie puts it herself, “This one is a bit more of a storytelling exercise. Spliced experience to make a bit of narrative about two people with unfinished business or perhaps things unsaid but not to be resolved, or are they? Andrew (guitarist) brought the basis of the song which has a very strong krautrock vibe with the motorik beat and same bass throughout.”
“The monotonous start and heavy repetition really leant itself to that kind of everyday kitchen sink narrative. It then slowly gets more frenetic over time and wild towards the end, like most tumultuous relationships do. In terms of influence I’d just read/watched Normal People by Sally Rooney and been listening to Taylor Swift’s Folklore album so take from that what you will.”
‘Supermarket’ out now on Clue Records: the Debut album ‘World To Me’ available on 2 limited vinyl editions; – red and black smoke vinyl (Clue version) – transparent gold vinyl (Indie record shops only)
“Ferocious five-piece” – Mary Anne Hobbs BBC 6 Music “Wonderfully Abrasive. Bring on the ringing” – Narc Magazine “a seething slice of the finest Garage Rock” – Louder Than War
Green Man’s main stage is without doubt one of the most impressive main stages of any UK festival. Not only does it boast a beautiful backdrop of the Brecon Beacons, but the sloping nature of the field it’s in creates an arena-like setting where all eyes are on the band performing.
Throw in impeccable sound and dazzling visuals and you’ve got yourself a seriously impressive set-up at the heart of the revered Welsh festival.
And every single act who graced the magnificent Mountain Stage seemed to revel in doing so as the event made a triumphant return after its 18-month hiatus, as did the 25,000 or so revellers who were lucky enough to snap up tickets.
In the Walled Garden we see festival newcomers. The Far Out stage hosted more out-there performers.
On the Mountain Stage – so named as it sits in the shadow of Sugar Loaf, the best backdrop to a stage ever conceived.
A mix of sprawling, exploratory, psych-pop, prog rock, and heavy garage riffs, Australia’s Psychedelic PornCrumpets rose out of Perth’s indie underground, earning a devoted fan base through hard touring and releases like 2016’s “High Visceral, Pt. 1” and 2019’s more muscular And “Now for the Whatchamacallit“.
Our brand new album “Night Gnomes” drops April 22nd.
North London’s Sorry have shared new single “There’s So Many People That Want To Be Loved” – a thrilling first taste of a new body of work slated for release later this year. The exciting return of Sorry comes with a video, directed by Sorry’s Asha Lorenz and frequent collaborator Flo Webb and produced by Asia Amad.
Lorenz on the new track: “’There’s So Many People…’ is supposed to be a bit of a sad-funny love song! When we’re out of love we can feel detached and think ‘oh we’ll never be in love again… cry, cry’ but also try and laugh a bit… It’s easy to laugh or think you’ll never be That person then the next moment you can feel like the loneliest person in the world.”
“There’s So Many People That Want To Be Loved” is the first taste of new music to emerge from Sorry since the “Twixtustwain” EP arrived in February 2021, alongside the official digital release of their 2017 mixtapes “Home Demo/ns Vol I.” and “Home Demo/ns Vol. II”. The single will be pressed as a limited 7” with “15’4” featured as the B-side.
Comprised of best friends and co-conspirators Lorenz and Louis O’Bryen, joined by drummer Lincoln Barrett, multi-instrumentalist Campbell Baum, and Marco Pini on electronics, Sorry rose from a thriving scene of bands in London; unveiling a series of mixtapes, sporadic singles and generally experimenting with the disparate tastes and sounds that would eventually give their March 2020 debut album “925” its distinctively modern and apocalyptic sound.
In March of 2020, Sorry played one show at Brooklyn’s Union Pool before having to cancel the remainder of their debut North American tour due to the pandemic.
“There’s So Many People That Want To Be Loved”, is a brand-new single from Sorry.
A South London-based, “haiku loving” trio, Honeyglaze formed out of vocalist and guitarist Anouska Sokolow’s desire to not be a solo artist. After meeting up with bassist Tim and drummer Yuri, Honeyglaze began playing live just three days later. After eighteen months of not playing, the band quickly made up for it, with sets at the 100 Club and Green Man Festival already under their belts. Honeyglaze are set to be one of the most exciting bands across 2022 and beyond. With their self-titled debut album set for release later this month which coincides with support slots for Wet Leg – followed by a headline tour of their own, the Speedy Wunderground signees will soon be a household name for those on the hunt for the ‘next exciting thing.’
Continuing their magical few months, the band have this week announced their singing to Speedy Wunderground and marked the occasion with a brand single, “Burglar“.
“Burglar” was inspired by a poem by Charles Bukowski, and attempt to capture the feeling of, “being half-awake before dawn and waiting alone for the clarity of morning“. The lyrics are less a story and more an attempt to capture a feeling, a series of metaphors designed to make you dream, not understand, “you said I was nothing but a dream, I said you were nothing”. If the lyrics are intriguingly obtuse, musically too this is a difficult track to pin down, there are nods to the surrealist pop of Haley Heynderickx, yet the twitchy guitar lines and jazzy rhythms would sound equally at home on an album by Radiohead or Do Make Say Think.
By the time the track slides away on the fabulously intense instrumental outro, you’ll be intrigued and charmed in equal measure. The band claim to be for fans of Salvador Dali and Power Rangers, yet if you don’t fit that particular Venn diagram don’t be put off, there’s something here for everyone from a band who look to be at the start of something very special.
