Ducks Ltd. were at one point called Ducks Unlimited. Any disappointment that there’s now no unlimited access to ducks has been blown away by the release of the band’s debut LP ‘Modern Fiction’. Ducks Ltd. play bright indie-pop in the style of the strummy end of C86/80s New Zealand scene.
Crucially, they have the tunes to match their ability to recreate the sounds of mid-80s Flying Nun Records. If you are stuck for time then simply play opener ‘How Lonely Are You?’ – you’ll feel like you’ve been cleansed in a Antipodean waterfall once the busy guitars have washed over you and the topsy-turvy melodies have become ensnared in your head.
The thing is, ‘How Lonely Are You?’ is not a one off. Everything on ‘Modern Fiction’ is like that. Many have tried to capture the thrill of the best 1980s indie-pop, but through their sheer energy and chutzpah Ducks Ltd. have come closer than most. If Rolling Blackouts Coastal Fever really got inside the sound of The Go-Betweens and The Triffids without it being an exercise in pure nostalgia, then these Ducks have done the same thing with the likes of The Bats and The Clean.
There’s nothing else to say except… this is a quacker. “18 Cigarettes” is taken from Ducks Ltd.’s album, “Modern Fiction”, out on Carpark Records / Royal Mountain Records on October 1st, 2021.
Jethro Tull have released a second single from their forthcoming album “The Zealot Gene”, which is due for release on January 28th. You can watch the video for “Sad City Sisters” below.
The band’s frontman Ian Anderson noted in a press release that “‘Sad City Sisters’ throws up memories of a Saturday night in Cardiff, Wales, when I was on my way home from our concert in St David’s Hall some years ago. It could equally well have been any town in the U.K., I suppose, or even most cities of the Western World. What possesses hell-bent and vulnerable young people to slip so easily into that tragic loss of dignity and end up sprawling drunk in a wet and windy street at midnight?”
The first single from the new album, “Shoshana Sleeping,” was released last month. “The Zealot Gene“,which was originally scheduled to be out in 2020, is the first LP to be released under the band’s name since 2003’s The Jethro Tull Christmas Album.
Anderson has been releasing music under his own name since 2012, and even though he’s the only remaining classic-era member of the band, he felt using the group moniker was appropriate for the new record.
“A lot of water’s gone under the bridge since the earliest days of Jethro Tull,” Anderson said in an interview posted to his YouTube channel. “But I think all of these musicians can very truly consider themselves [as] really a part of Jethro Tull, the ‘brand name.’ The band and the brand are illuminated in this recording, which I hope people will enjoy.”
Taken from the album ‘The Zealot Gene’, released 28th January 2022.
Nearly 20 years ago a band known as the Wrens released a terrific album. Every so often there would be an update on social media from the band’s perfectionist-genius arranger Charles Bissell promising that a new album was around the corner. But nothing has materialised.
Earlier this year the ‘New York Times’ published a history of that never-released LP alongside an interview with Kevin Whelan, one of the other members of The Wrens. Whelan had also been waiting on the album, and he says that the delay led to a riff growing between himself and Bissell. Now, Whelan has decided to just release the songs he had written for the album-that-never-was as part of his solo project Aeon Station.
Maybe that’s too much context, but it’s impossible not to think on all that time passing when approaching ‘Observatory’. After all, Whelan literally used the word “Aeon” in his pseudonym.
A more obvious link than either of those, though, is just how much this sounds like The Wrens. Eighteen years on things haven’t changed Whelan’s voice, the way he can unlock feelings with his strained and muscular delivery in a way that evokes Bruce Springsteen.
Most everything here is somewhat familiar. ‘Observatory’ opens with ‘Hold On’, a gentle piano ballad that sets the scene in much the same way ‘The House That Guilt Built’ did for ‘The Meadowlands’. The songs which follow have that familiar sense of acceleration that drives the best Wrens songs – a skill honed during the group’s early days as a Pixies tribute act – and the way Whelan takes the energy from that acceleration and transforms it into explosive catharsis works as well as always.
To say this sounds familiar, though, is not to say that it is the same as what came before. Bissell is conspicuously absent from the contributors list here, and so too is the sense of his relentless tinkering. Whether you’re on #TeamCharles or #TeamKevin, it’s at the very least interesting to hear what The Wrens might have sounded like without Bissell’s art-rock impulses. ‘Observatory’ has a directness that The Wrens’ music could sometimes lack, and in striking that balance it feels very much of a kin to Hamilton Leithauser’s recent solo excursions.
Whelan downplays the arty impulse here, but nor does he completely do away with it. We shouldn’t forget that The Wrens are a band who have released multiple songs that are just two songs being played at once and tracked onto each channel – listen to the weirdly successful ‘Destruction / Drawn’ on that front. Whelan mashes two different tracks together again here on the wonderful ‘Queens’, albeit with one following another after the first’s apparent end rather than the pair playing simultaneously. For music otherwise built on momentum, the song causes an oddly welcome whiplash.
So yes, at last in some way there is some new music from The Wrens.
Aeon Station from their album ‘Observatory’ (Out December 10th, 2021)
“Roxy & Elsewhere” was one of the great albums of the 70s, one of the few jazz rock albums of that era that could match the ex Miles Davis bands of the time ( Mahavishnu, Weather Report, RTF, Mwandishi etc) and only Jeff Beck ( Wired etc) and King Crimson (Great Deceiver etc) were on a par in the rock field.
“Roxy by Proxy” is a collection of outtakes produced by Frank Zappa in 1987. As Ruth Underwood makes perfectly clear in the liner notes these are not the finished article and would not have been released by Frank. She was a band member so should know. The sound is very hard & digital as befits 1987 technology.
The 2015 Soundtrack from “Roxy the Movie” is far superior in every way. Mixed by Bruce Botnick of Doors fame this is a better selection of tracks, as good as the original album, but the sound is a serious improvement on previous version.
I approached this album with trepidation. Like many Zappa fans, I particularly like Roxy & Elsewhere, so I was wondering if this would be a rip-off, with Gail Zappa wanting us to buy only slightly tweaked versions of the same old songs. But no, I was blown away by the brilliance of the performance.
Basically the CD gives us one whole gig at the Roxy, from which a few of the tracks on R&E were taken and polished, overdubbed and remixed, so what we get is the performance as Frank would have heard it, centre-stage, through the monitors. And the audience, presumably. As a warts-‘n’-all, fly-by-the-seat-of-yer-pants performance, it’s utterly brilliant, a fabulous and even exciting addition to Frank’s live catalogue.
What makes the listening experience even better is Ruth Underwood’s effusive commentary in the booklet. Many non-musicians won’t get much from it, but for those who know what (for instance) a G2-chord is, it’s a fascinating insight into the wild and nutty life of a Zappa band member. I can see that, when you stepped onstage with Frank, you learned to expect the unexpected, and you had to have the imagination and instrumental chops to go with it, and Ruth had both.
Glad I purchased this disc, different track list to the original “Roxy & Elsewhere” album and those that are repeated from the earlier disc are all different versions. The recording quality is not so good here, but in some ways that makes this more enjoyable as it sounds much more ‘intimate’ if that makes any sense, it feels like you are listening to a recording you may have made yourself at the concert. Having said that, don’t get the impression this is poor quality, far from it, just a little less ‘polished’ than the possibly overly cleaned up “Roxy & Elsewhere”. The band, (in my opinion this is the best line up Zappa ever had), are really tight and obviously very well rehearsed, and most importantly, sound as though they are thoroughly enjoying themselves. There are a few instances of bum notes and bad sections of recording, but it is, as stated by other reviewers, a direct recording with no overdubs or serious studio work afterwards. Maybe not a good choice if you are not familiar with Zappa’s work, but if you already have some Zappa in your collection then I would definitely recommend this disc.
Long considered to be a Holy Grail period by Zappa aficionados, “The Roxy Performances” are the super-duper definitive item (portions of the evenings have previously been available on the albums “Roxy AndElsewhere” (1974) and “Roxy By Proxy” (2014), with special mention also for “Roxy: The Movie” (2015)). Co-producer of the project, Ahmet Zappa, executor of the Zappa Family Trust, describes it perfectly: “This is one of my favorite FZ line-ups ever. This box contains some of the best nights of music Los Angeles has ever seen with their ears at a historic venue. Hold on to your hotdogs people. This box is the be-all-and-end-all. This is it. This is all of it. It’s time to gets your rocks off for The Roxy.”
It was December 9th-10th, 1973 when Frank Zappa and his celebrated cohorts – many of them fresh from the “Over-Nite Sensation” sessions – presented their lengthy new stage show, having rehearsed on December 8th for a film shoot/soundcheck. Not only does The Roxy Performances showcase both nights’ early and late shows, it offers generous behind-closed-doors material: a private, invite-only Bolic Studios Recording Session – held in Ike Turner’s Inglewood set-up – plus an unreleased track called “That Arrogant Dick Nixon” (the hapless Pres features quite a bit on these recordings).
Musically and sonically it’s a mind blast. The five shows feature songs from 1969 to 1973, with many cuts culled from “Uncle Meat, Hot Rats, Waka/Jawaka”, and “Over-Nite Sensation”. There are also stacks of live goodies that capture Frank and his Mothers in their pomp: we’re talking favourites the likes of “Village Of The Sun,” “Pygmy Twylyte,” the music for monster movies “Cheepnis” and “Penguin In Bondage.”
The interplay between Zappa and his players is astonishing. He revels in their virtuosity and gives them free rein. They repay him in full. Keyboardist George Duke, one of Frank’s all-time favourite collaborators, adds so much jazz-funk to the mix that it explodes with – what else? – invention. Bassist Tom Fowler holds it down while brother Bruce Fowler brasses it right up on trombone. Don Preston’s synths are way ahead of the game – and that also goes for percussionist Ruth Underwood. Listening to her keep up with – and ahead of – the pack is astonishing in itself.
With a band that good, it’s no wonder Zappa took off for the stratosphere on the complex instrumentals “Echidna’s Arf (Of You),” “Don’t You Ever Wash That Thing?” and “Be-Bop Tango (Of the Old Jazzmen’s Church),” all of which display Zappa’s fabulous chops as he peels off some ridiculously great solos. Check the intricacy of “Inca Roads” and the associated “RDNZL,” which appear to lampoon the overly serious nature of many progressive rock groups while out-maneuvering them at their own game.
Contemporary press reviews of this hometown LA spectacular included the Los Angeles Times, who praised The Mothers’ sensational performances, while the Los Angeles Herald Examiner fingered Frank as “the counter-culture’s John Cage.”
The illustrious box set is enhanced by a 49-page booklet crammed with relevant photographic material, illuminating liner notes from fellow-producer, and Vaultmeister, Joe Travers, and nostalgic first-hand accounts from family friend, the Australian writer Jen Jewel Brown. The Blasters’ Dave Alvin also contributes, warmly recalling, “The Roxy Mothers were a grand combination of high art, low art, masterful technique and razor-sharp humour with a touch of wild abandon.”
Fair enough. Now it’s surely time to pursue the mysterious towels of destiny, enter “Dupree’s Paradise” and get into full jive mode for a trip through the “Cosmik Debris.”
Broken Social Scene have announced a career-spanning collection of B-sides, rarities, and outtakes compilation, and you can hear lead single “This House Is On Fire”. ‘Old Dead Young: B-Sides & Rarities’ is a career-spanning collection of B-sides, rarities, and outtakes pulled from 20 years of 7-inches, compilations, soundtracks, and hard-to-find releases.
“Our crew has made a lot of music over the years which you have let into your bedrooms, your cars, your beach parties, your campfires, your solitudes. We are honoured and will always be forever grateful. With this compilation, we hope once again, you allow us into your lives. This is a collection of some of our favourites from over the years that never truly got their moment in the sun.
“This House Is On Fire” (2009) is taken from the ‘Forgiveness Rock Record’ recording sessions and available. on the forthcoming career-spanning compilation ‘Old Dead Young: B-Sides & Rarities’ (available January 14th, 2022)
Please enjoy and thank you from all concerned parties of Broken Social Scene.” Available on digital and streaming on-demand January 14th ‘22, you can pre-order the vinyl on our shop now: 2xLP standard weight vinyl, wide spine jacket, embossed cover, digital download card, pull out insert with archival photos and liner notes written by @stuberman, author of This Book Is Broken. [Vinyl may not ship until the spring due to global manufacturing delays.]Today, you can hear the first single “This House Is On Fire,” a lush dream pop track taken from the 2009 “Forgiveness Rock Record” recording sessions.
Due January 14th via Arts & Crafts
Tracklist 1) “Far Out” (2009, From the ‘Forgiveness Rock Record’ pre-order EP ‘Lo-Fi For The Dividing Nights’) 2) “Do the 95” (2001, B-Side to “Stars and Sons” 7-inch) 3) “Curse Your Fail” (2009, From tour 7-inch split with Sea and Cake) 4) “Not At My Best” (2010, From the end credits for film ‘It’s Kind Of A Funny Story’) 5) “National Anthem of Nowhere” (2004, Early Broken Social Scene version of an Apostle Of Hustle song) 6) “Golden Facelift” (2009, ‘Forgiveness Rock Record’ outtake. Released on Globe & Mail’s Broadsheet Music project) 7) “This House Is On Fire” (2009, ‘Forgiveness Rock Record’ outtake) 8) “Canada vs America” (2004, From the ‘Self-Titled’ bonus CD “EP to be You and Me”) 9) “Day Of The Kid” (2005, Released on Arts & Crafts 20th anniversary comp) 10) “Stars and Spit” (2006, B-Side to “7/4 Shoreline” 7-inch) 11) “Until It’s Dead” (2006, From Lake Ontario Waterkeeper compilation ‘At The Barricades: Vol 1’) 12) “All My Friends” (2004, From the ‘Self-Titled’ bonus CD “EP to be You and Me”) 13) “Death Cock” (2001, Very first recording with producer Dave Newfeld. Released on A&C 20th anniversary comp) 14) “Old Dead Young” (2016, ‘Hug Of Thunder’ vinyl-only track)
Girlpool are back with a melancholy, slow-burning new single, “Faultline,” and an accompanying video directed by Julian Klincewicz. “The Faultline represents everything you do as a means of escape that pushes you further into the very thing you’re escaping,” Harmony Tividad says,
UK indie-punks Fresh have signed to Get Better Records, and they’ve also just followed this year’s “TheSummer I Got Good At Guitar EP with new single “Morgan & Joanne.” It’s a super catchy song that references the blind date that went viral in 2019. The Punx from London who love emo, shredding, touring, oat milk, and using friendship to fill a gaping uncertain hole inside of yourself. “I was so struck by the charm of Morgan and Joanne and how they turned what had the potential to be a really typical first date into an adventure,” singer Kathryn Woods says. Fresh have worked tirelessly since their inception – releasing two albums, touring with the likes of The Beths, PUP, Adult Mom, playing Fest, Manchester Punk Festival and The Fiest in Madrid. The EP continues their progression from 2019’s “Withdraw“, deeply personal and visceral song writing played in the most lively, fuzzy and catchy way possible!
After quietly releasing their self-titled debut album in 1999 while still in college, American Football disbanded after the album’s release to focus on other projects, only to reunite 15 years later to a fanbase that had been consistently growing throughout the underground / emo scene. The album later appeared on Rolling Stone’s “40 Greatest Emo Albums of All Time” While Pitchfork gave its deluxe reissue the “Best New Reissue” title, calling it the “most influential album in the genre.” The reunion was followed by 2 more self-titled full-length albums (LP2 and LP3), collaborations with the likes of Paramore’s HayleyWilliams, San Holo, boyband and others, as well as numerous sold-out world tours.
American Football have followed their first new music since 2019’s excellent “LP3“. It’s a new song called “Rare Symmetry” which feels cut from the same lush, atmospheric cloth as “LP3”, backed by a gorgeous cover of Mazzy Star’s “Fade Into You” with guest vocals by Miya Folick.
On the “Rare Symmetry / Fade Into You” 10” single, American Football (Mike Kinsella, Nate Kinsella,Steve Holmes) expand on the dense beauty of “LP3″ with “Rare Symmetry”, incorporating chiming vibraphones, intricate picking patterns, and devastating lyrics. For the B-side, the band offers up a dazzling cover of Mazzy Star’s 1994 hit single, “Fade Into You,” with Miya Folick contributing vocals.
“I think all my friends are jealous that I’m on an American Football song,” said Miya. “I truly couldn’t believe when they asked me to sing with them. And to sing this song. Is there anyone who has heard ‘Fade Into You’ and not loved it? To me, it is a perfect song. I feel ancient when I sing it.”
“Fade Into You” is kind of an over-covered song, but this one’s very worth hearing. American Football truly make it their own; they stretch it from a five-minute song to a seven-minute song, incorporate their trademark guitar and trumpet style, and if you didn’t know any better, you really might mistake this for an American Football original.
“Fade Into You” featuring Miya Folick (originally by Mazzy Star) is the new digital single from American Football – 10″ vinyl arrives June 10th, 2022.
The songs are the band’s final recordings with drummer/trumpeter Steve Lamos, who amicably left the band earlier this year. They’re coming out as a 10″ vinyl single on June 10 via PolyvinylRecords.
Shame have shared a new single, “Baldur’s Gate.” Despite the Dungeons & Dragons-y title, it’s a holiday song of sorts, but apart from a hint of sleigh bells in the opening moments and a mention of Christmas, you wouldn’t really know it. “Baldur’s Gate” is definitely a Shame song, though, with sinewy guitars and a dark romantic vibe: “If I could rip off all my skin,” Charlie Steen sings in the opening lines, “And parcel it inside a tin, I’d write your name in biro, on the ribbons, like decorations.”
“It’s about a period of time in which I’d regularly be trekking up to the streets of Edinburgh to see an ex-partner,” says Steen. “These are some of the thoughts I’d have when I’d be leaving Waverley station, en route back to London in the winter nights.
Shame released “Drunk Tank Pink” earlier this year “Baldur’s Gate” by out now on Dead Oceans Records
Old Crow Medicine Show cut loose with a bright blast of roots-rock in their new song “Paint This Town,” the title track from the Nashville band’s upcoming album due out April 22nd.
“Paint This Town”, will be the group’s seventh studio album, follows 2018’s “Volunteer” and sees the group moving back to former home ATO Records. This time around, Old Crow kept things close to home, co-producing the album with Matt Ross-Spang (Margo Price, John Prine) at their own Hartland Studio.
With its jangling guitars, harmonica, and decidedly rocking drums, “Paint This Town” feels like a continuation of the group’s evolving style on “Volunteer” rather than a return to the old-timey bent of their early years. Singer and de facto leader Ketch Secor evokes Bob Dylan and John Mellencamp as he describes a rebellious adolescence with a sense of nostalgia and awe. “I walked and crawled across six state lines by the time I was 8 years old,” he sings.
The accompanying video for “Paint This Town” captures one glorious night of youthful exuberance. After a quick cameo by Jim Lauderdale as a TV weatherman, a teenager slips out of his house with the keys to the car and gathers his friends. They score a case of beer on a fake ID and head to a party that’s broken up by the cops (Secor plays the angry neighbour who calls the police). Later, they end up at an all-night rager that features Old Crow as the band.
Of course, the group of young friends also bear a strong resemblance to the current lin-eup of Old Crow Medicine Show, a point they illustrate in the video’s final frame.
The Fat Angel Sings 