This podcast is unpaid and survives on donations. You can donate here via paypal https://www.stephenmbland.com/olas-kool-kitchen or buy merch here https://bit.ly/3ePRH6n I’m a DJ on KCLA 99.3FM In LA, 107.5 Andhow.FM in New Zealand, Maximum Threshold Radio, Rock Radio UK, Sword Radio UK, Jammerstream One, Kor Radio, Bombshell Radio, Pop Radio UK, Radio Wigwam, Rock XS Radio. Radio Candy Radio and Radio Lantau you can hear more shows here https://hearthis.at/olaskoolkitchen/ Show 444
1. Wolf Alice-Smile 2. Garbage-The Creeps 3. Night Beats-Never Look Back 4. White Flowers-Portra 5. The Berries-Saturday Music 6. The Skids-The Saints are Coming 7. The Chills-Little Alien 8. Facs-Strawberry Cough 9. Japanese Breakfast-Be Sweet 10. Doris- Don’t 11. Curtis Harding-On and On-Face Your Fear-Anti 12. The Belles-Come Back-single-Tiara 13. Damien Jurado-Song for Langston Birch-The Monster Who Hated Pennsylvania- Maraqopa Records 14. Black Midi-Marlene Dietrich-Cavalcade-Rough Trade
When Mia Berrin started her band Pom Pom Club in high school at age fifteen, the band name and social media handles preceded the music. “It’s like the people who buy web domains with the hopes that they’ll be worth a million dollars in a couple of years,” she jokes of grabbing the Instagram and Twitter handles before recording a single song. “That was me.”
Make no mistake: Despite the order of operations, Berrin valued music above all else. The Orlando-raised singer-songwriter had been learning guitar while messing around in GarageBand, and inspired by riot grrl — specifically, the idea of “being in a non-men band” — she asked around at her Orlando school to see if any other classmates were interested. Unfortunately, the “one girl who played bass in the entire school” turned her down. “I didn’t know off the top of my head that I would turn it into something,” Berrin, now 23, remembers. But with her claim to the name in her back pocket, she graduated from high school and moved to New York to study production engineering. She also progressed from playing and singing alone in her room to performing live, first solo, then with a full line-up female bassist and all.
Within a few years, Pom Pom Squad was officially “something” indeed.
Berrin who is soft-spoken but quick with sarcasm, oscillating easily between humour and sincerity — cut her performing teeth first by singing with other bands around Manhattan and Brooklyn prior to forming her own group. (Bassist Maria Alé Figeman, drummer Shelby Keller, and guitarist Alex Mercuri round out the current Pom Pom Squad line up.) “I felt like I hopped into this stage persona. I had no idea who I was, but I was very extra and that was great,” Berrin says. “It was a lot of self-discovery and picking up a skill that I had no idea I could do.”
Berrin released singles and EPs through Bandcamp, gathering momentum with 2017’s “Hate It Here” and 2019’s “Ow“. Drawing upon indie rock, alternative, pop and grunge influences (at any given moment, Berrin’s sonic mood board might contain musicals, Ariana Grande, Weezer, or Kathleen Hanna), Pom Pom Squad quietly established itself as one of the most riveting rock acts to emerge over the year.
The way MiaBerrin can nod to her influences—be they of the iconic 60’s girl group, characters from a John Waters film, or cutting edge fashion from today, while simultaneously spinning a beautiful and original story in her songs—is absolutely thrilling. This is the kind of record that makes you not only excited to see what you can do with an artist in a post-pandemic future, but also how you can build their career in the present circumstances.
It’s a razor-sharp bite of cathartic punk that the Brooklyn four-piece’s powerhouse frontperson Mia Berrin wrote in the traumatic throes of her adolescent feminine awakening while realizing the ever-present gaze of the male patriarchy.
“Crying” sounds like a sentimental breakup ballad but Mia Berrin doesn’t seem hung up on anyone but herself in the lyrics. It’s all self-flagellation for failing in attempts at relationships, castigating herself for making “a game of breaking promises,” feeling nothing, losing arguments, and obsessing on people who she thinks hate her. Berrin sings it all with convincing feeling, but it’s also clear she’s playing up the melodrama and winking at the audience a bit. The song effectively has it both ways – it indulges your self-pity, but also gently nudges you to notice that maybe the reason connecting with other people has been so hard is that even aside from all the ways you self-sabotage, you’re just too caught up in yourself to really notice or care about how anyone else feels.
Except for: “Cake,” music by Henson Popa (ASCAP) and lyrics by Mia Berrin and Henson Popa
“Crimson + Clover,” music and lyrics by Tommy James and Peter Lucia Jr. (Originally performed by Tommy James and the Shondells)
“Forever,” music by Mia Berrin and Garret Chabot (ASCAP) and lyrics by Mia Berrin Violin arrangement for “Forever” by Camellia Hartman
“Shame Reactions,” music by Shelby Keller (ASCAP) and lyrics by Mia Berrin
“This Couldn’t Happen,” music by Lionel Newman and lyrics by Dorcas Cochran (Originally performed by Ida Lupino) based on the version by Doris Day
Bass: Mari Alé Figeman Drums and Percussion: Shelby Keller Lead Guitar: Alex Mercuri
The band’s first release via Germany-based indie label City Slang, “Death of a Cheerleader” (out June 25th) is the impressive culmination of Berrin’s musicianship to date.
Sharon Van Etten’s Philly-recorded sophomore album “epic” turned ten years old back in September. To mark the anniversary of the record that got her music career under way, a new vinyl edition of the album will feature a bonus LP of covers by a range of artists who Van Etten admires (and vice versa).
There’s a range of voices putting their spin on Van Etten’s songs for epic Ten, from Courtney Barnett and Vagabon interpreting “Don’t Do It,” to Fiona Apple tackling the burning album closer “Love More.”
“I am in awe of the artists who wanted to participate in celebrating my anniversary and reissue, from young inspiring musicians, to artists who took me under their wing, who I met on tour, and to artists I’ve looked up to since I was a teenager,” says Van Etten in the reissue announcement. “Each one of these artists continue to influence my writing and provide a sense of camaraderie during this new era of sharing music.”
XPN faves Lucinda Williams and Shamir are also involved, and with the project announcement comes a rendition of the opening track “A Crime” by Big Red Machine, the collaboration of The National’s Aaron Dessner and Bon Iver’s Justin Vernon.
In a press release, Dessner calles Van Etten “one of my favourite song witers” and speaks effusively of interpreting her music with Vernon, calling it “an honour.”
“Recording ‘A Crime’ with Justin, more than 10 years after we covered ‘Love More’ at Music Now with my brother Bryce – and thinking about all our shared memories – it felt like coming full circle,” Dessner writes. “We felt like the door should be about to fall off the hinges of this version and I think it sounds like that.”
“epic Ten” Tracklist 1. “A Crime” – Big Red Machine 2. “Peace Signs” – IDLES 3. “Save Yourself” – Lucinda Williams 4. “DsharpG” – Shamir 5. “Don’t Do It” – Courtney Barnett (ft. Vagabon) 6. “One Day” – St. Panther 7. “Love More” – Fiona Apple
Last April, Van Etten and her band will livestream a documentary about “Epic Ten”, featuring a full album performance from Los Angeles venue Zebulon;
Synth-punk duo Lovelorn has spent the past few years crafting their debut record, and it’s finally coming to fruition.
After debuting in a March of 2018 gig at Underground Arts, the project of Pat and Anna Troxell — formerly the rhythmic core of Philadelphia heavy psychedelic four-piece Creepoid — released a string of nervy electronic singles inspired by a spectrum of artists from Suicide to Spaceman 3. At the top of the COVID-19 pandemic, they released the anxiety-ridden Deep Breaths EP and relocated to Austin, and this week they’ve announced “What’s Yr Damage“, their debut full-length, due out on 6131 Records this summer.
The announcement comes with the release of album teaser “Sickness Reward,” a barreling burner that puts Anna’s commanding vocals in the forefront as she belts lyrics like “when I win I’m losing / and when I’m losing I’m alive”; a press release refers to the song as “a meditation on failure in all of its forms.”
Take a listen check out the album from 6131 Records, where it will be released on August 6th. Pat tells us some live dates might be in the cards beginning in September.
Emerson, Lake & Palmer were formed in 1970 by the brilliant keyboard virtuoso Keith Emerson, gifted singer / composer / guitarist Greg Lake and dynamic drummer / percussionist Carl Palmer. Torchbearers of the progressive rock sound, ELP jointly created the super-group concept and are among the most important bands in the history of rock music. ELP were one the most commercially successful rock bands of the 1970s, their first 7 albums reaching U.K. Top 10 and U.S. Top 20. Despite the tragic deaths of Keith Emerson and Greg Lake in 2016, their amazing and inspirational music very much lives on.
The remastered 11 classic original ELP albums (1970-94), on CD, with original sleeve artwork reproduced: EMERSON, LAKE & PALMER (1970), PICTURES AT AN EXHIBITION (1971), TARKUS (1971), TRILOGY (1972), BRAIN SALAD SURGERY (1973), WELCOME BACK, MY FRIENDS, TO THE SHOW THAT NEVER ENDS (1974) (2CD), WORKS VOLUME 1 (1977) (2CD), WORKS VOLUME 2 (1977), LOVE BEACH (1978), BLACK MOON (1992), IN THE HOT SEAT (1994)
Previously unreleased, gatefold, triple vinyl LP album: LIVE IN MILAN & ROME, ITALY, MAY 1973
Previously unreleased CD albums, mastered from original tapes:
LIVE AT POCONO RACEWAY, U.S.A., 1972, LIVE AT WATERLOO CONCERT FIELD, U.S.A., 1992; LIVE AT BIRMINGHAM SYMPHONIC HALL, U.K., 1992; LIVE AT ÉLYSÉE MONTMARTRE, PARIS, FRANCE, 1997; ON THE BBC: OLD GREY WHISTLE TEST 1979, POP GOES SUMMER 1993
Audio Blu-Ray, containing the stereo 5:1 and surround sound mixes of the albums:
EMERSON, LAKE & PALMER (STEVEN WILSON, 2012); TARKUS (STEVEN WILSON, 2012); TRILOGY (JAKKO M JAKSZYK, 2015); BRAIN SALAD SURGERY (JAKKO M JAKSZYK, 2014)
Remastered 7” singles with reproduced original sleeve artwork:
LUCKY MAN / KNIFE-EDGE (1970); FANFARE FOR THE COMMON MAN / BRAIN SALAD SURGERY (1977)
Deluxe, hardback 12” book with band photos and extensive notes, featuring quotes from Keith Emerson, Greg Lake & Carl Palmer / Reprinted original 1970 promo poster, 1972 promo brochure, 1974 and 1992 tour programmes / Metal & enamel ELP logo pin badge.
Here is another chance to buy ‘Fanfare’ (1970-1997), deluxe box set celebrating 50 years of ELP. Contains all 11 original albums on CD, 2 x 7” singles, live vinyl 3LP, 5.1 surround sound mixes, Live & BBC archive CDs, photo-book with rare photos and sleeve notes, enamel ELP badge. Out on June 11th,
Hudson Valley singer-songwriter Laura Stevenson will return this summer with her sixth studio LP on long time label Don Giovanni Records. “I’m so proud of these songs & the way I’ve grown as a songwriter,” she announced the news this morning. “I thought after all these years, I had finally made a self-titled record.”
Stevenson wrote the record during a universally difficult year leading up to and encompassing the earliest days of the COVID-19 pandemic; when it was time to record, a press release notes, Stevenson was pregnant with her first child, and she describes the resulting record as a “purge and a prayer.”
“It was a very intense experience to re-live all of the events of the previous year, while tracking these songs, with my daughter growing inside me, reliving all of that fear and pain and just wanting to protect her from the world that much more,” Stevenson says. “It made me very raw.”
There’s nothing holding back those feelings on the gripping black & white video for “State.” Directed by Christopher Hainey and starring dancer Leslie Bembinster moving about the frame and destroying obstacles while footage of Stevenson is projected overtop her, it recalls both the claustrophobia of Radiohead’s “No Surprises” video and the catharsis of Beyoncé’s “Hold Up” video. As Bembinster topples vases and smashes computer monitors, Stevenson sings poetic lines like “What a sterling way to come, I become rage / a shining example of pure anger / pure and real and sticky and moving and sweet.”
In a press release, Stevenson sheds some light on the personal trauma that inspired the song and video: “Someone I love was hurt and almost killed by another person and I was so absolutely consumed with this level of rage that I had never known before and it was really powerful and frightening but somehow freeing when I was willing to just let it wash over me.”
“Laura Stevenson” via Don GiovanniRecords; the album comes out August 6th. A short run of fall tour dates will bring Stevenson hopefully to the UK.
Grace Vonderkuhn are a garage/psych/dream pop for true believers band from Wilmington, Delaware is back this summer with their long-awaited second LP, “Pleasure Pain”. It releases August 13th via Sheer Luck Records, and the first single from the record — a smoking psych-rock ripper called “Put It On Me” it’s a roaring jam that did a tremendous job shutting down Grace’s gigs in the before times, the song’s head-spinning riffage circles around distressed, trippy imagery evoking ideas of tension and release: “She’s got spider legs in her hair, she is coming down the stairs / She is putting out the fires when she’s coming up for air.”
That plays on the album’s themes, with singer / songwriter / guitarist Grace Koon wrote in the pre-pandemic era after spending some time with Alan Watts’ The Wisdom of Insecurity. Following a year of global trials and tribulations, that message of finding balance resonates even harder for her. “There is something so comforting in the idea of just ‘riding the waves of life’,” she says in a press release. “The album follows my path out of my own head and into self-awareness and objectivity. It’s about growing pains and identifying my patterns.”
Pleasure Painfeatures Koon’s longtime bandmates Dave McGrory on drums and Brian Bartling on bass and was recorded at Headroom Studios in Philly with Kyle Pulley.
released June 23rd, 2021 Grace Koon – Guitar, Vocals Dave McGrory – Drums, Vocals Brian Bartling – Bass
Toronto-based singer-songwriter Alyson McNamara has recently released her new album “Let Me Sleep” which includes the previously shared tracks “Thats Today” and “Waiting”, along with album highlight “Got All Night.”
It’s a a song she describes as a “homage to this weird and mystical dumpy apartment I used to live in – the story is about inviting someone over for the first time, assuring them it’s nice inside”
As with those tracks, McNamara showcases her supreme song writing prowess here in a way that carries the torch of smart folk-leaning song writing, but through a charming indie-pop sensibility that reveals itself to be even catchier than you imagined. It coasts along with a light ease to it but still packs a significant emotional wallap.
Give the lovely “Got All Night” a listen , where we have also shared a longer quote from McNamara about the songs background.
“That was a huge lesson for me: if it doesn’t feel good, don’t do it,” says Alyson McNamara about “After Hours,” the opening track of her latest release Let Me Sleep. It’s a song that Alyson wrote nearly ten years ago and it was almost included on her 2018 album We All Heard Nothing. But the sonic layers and quick tempo of the 2018 version didn’t sit right with her so she scrapped the song.
Over the years, “After Hours” blossomed into something new and the version heard on Let Me Sleep has a hazy and laid-back vibe that sets the introspective mood of the entire record: “Take a deep breath,” Alyson urges. By the end of the track, she is revitalized and, ready to take on whatever comes next, declares: “Another page has been turned. ”Let Me Sleep” marks a new beginning for the Toronto-based indie-folk musician.
I had my own place in Toronto for a few years and my friends and I would always refer to the house as “Garbage World”. It housed a lot of musicians over the years and we all just enjoyed it for what it was, leaky ceilings, rickety balconies, scary mystery rooms and all. It was a bit of a celebrity house on the block due to its constantly tarped-up porch and spooky look. I talked my way into some very cheap rent and loved it there, but it came with a few caveats, namely not having a lock on my apartment door and inheriting a pile of strange clutter that I wasn’t allowed to get rid of.
“Got All Night” is a bit of an homage to this weird and mystical place – the story is about inviting someone over for the first time, knowing they’ll likely be a bit hesitant and assuring them that it’s nice in my place at the top. I wrote this song in a little hut at a song writing residency in the mountains and it felt so much easier to paint a picture about living and dating in the city once I had removed myself from it.
All Songs Written by Alyson McNamara Musicians: Alyson McNamara – Guitar, Piano Vocals Daniel McNamara – Bass, Piano Kevin Richards – Drums, Percussion Daniel Hass – Cello Dave Monks – Backing Vocals, Additional Guitar
Colleen Green has always been cool, but on 2015’s I Want To Grow Up, she didn’t necessarily feel it. Too young to be free of insecurities but old enough to be sick of them running her life, Green was experiencing an existential crisis. Five years and a new album later, we find her parsing out what it means to be grown-up—and realizing that it’s actually pretty Cool.
Opener “Someone Else” is a paean to power in which Green lets a lover know that double standards can go both ways. A groovy bass loop and zig-zagging guitar lines underscore her realization that happiness is in her own hands, and the vibe is set. Next up is the witty, catchy “I Wanna Be A Dog,” where Green celebrates the simplicity of a canine life and questions why she’s still overcomplicating her own. Dark and slinky “Highway” uses ruthless driving as a metaphor for a lifestyle that no longer interests her.
Burnt out on bad feelings and ready to have fun with melodies and beats, Green enlisted producer Gordon Raphael (The Strokes) to take her songs to higher ground while keeping her lo-fi aesthetic intact. Raphael was already a fan, having caught a show in L.A. and finding himself “struck by how confident and powerful she looked, even though she was the only one onstage.” He agreed to take the gig, and together with drummer Brendan Eder and hip hop producer Aqua over a few weeks in Los Angeles, “Cool” was created.
The album’s themes come together on the anthemic “It’s Nice to Be Nice,” Green’s reminder to herself that you get what you give, so it’s important to try and be the best person you can—a hard-won but essential lesson in the emotional maturity that defines Cool.
We’re rapidly approaching the 40th anniversary of R.E.M.’s debut single, the epochal “Radio Free Europe,” released on July 8, 1981. The band has a few things in the works to celebrate, but in the meantime, let’s dip into the band’s live archive. The band ha a few things in the works, but in the meantime, let’s dip into the band’s live archive. It’s always fun to hear Stipe, Buck, Mills and Berry in their revved-up early days and this excellent audience tape from late ’81 does not disappoint. R.E.M. had only been together since April of the previous year, but they already have a surprisingly rich repertoire, with a distinctive sound firmly in place. Mills and Berry are a dream rhythm section, buoyant and danceable, while Buck jangles majestically over the top. Stipe is a deeply unique vocalist, but he’s never alienating in the way that other singers of the era often could be. He really leans into those soaring choruses with gusto. R.E.M. were just getting started at this point, but they’d already come so far.
Set One: 01. Just A Touch 02. Burning Down 03. Shaking Through 04. (Don’t Go Back To) Rockville 05. There She Goes Again 06. Permanent Vacation 07. Pretty Persuasion 08. That Beat 09. Mystery To Me 10. Carnival Of Sorts | Set Two: 11. Ages Of You 12. I Can’t Control Myself 13. Ha (We Get Paid For It) 14. Laughing 15. Romance 16. Sitting Still 17. Wolves, Lower 18. Gardening at Night 19. 9-9 20. Windout 21. 1,000,000 22. Radio Free Europe
The Fat Angel Sings 