MillyLos Angeles rock group is back with more of their signature shoegaze-tinged alt rock soundscapes. “Birds Fly Free” is the second single from their upcoming “Wish Goes On” EP, which is coming later this year. It follows “Denial”, their single from February of this year. ‘Milly produce a slow-grooving track filled with resounding progressions in “Birds Fly Free.” Boasting ’90s vibes, the track’s accompanying music video sees singer Brendan Dyer go about his day. From the vocalist being chased by a dog to almost getting killed by an action figure that’s come to life, the cinematic imagery complements the track’s builds and drops seamlessly. “Birds Fly Free” will be featured on their upcoming EP, Wish Goes On, which drops April 9th via Dangerbird Records.
‘Watch the video below!
You can see Milly live in concert (on your computer) when they play Baby TV, hosted by Williamsburg hot spot Baby’s All Right! Check their event page for tickets and streaming details https://www.letswatchbabytv.online/shows
Official video for “Birds Fly Free,” from Milly’s new EP ‘Wish Goes On’ coming April 9th, 2021.
In case you weren’t up in the middle of the night, my friend Nicole Atkins, and I covered the dreamy classic song Mr. Blue. We also made some paintings together.
I’m very excited to present to you this collaboration with my friend Nicole Atkins, tracked on Valentine’s Day in the midst of an ice storm. We recorded a cover of the Fleetwood’s ultra dreamy classic, Mr. Blue. With Milky Burgess
Moontype shared their debut single “Ferry” in late 2020, quickly capturing hearts and becoming a Best of the bands who’s next pick. Earthy and earnest tunes. sometimes hard, sometimes soft, always sincere purveyor of poppy liquid weirdness. makes its home on the porous border between dissonance and quiet beauty. Tuesday, the trio released a final single and music video, “Stuck on You,” ahead of their highly anticipated debut LP Bodies of Water, which arrives today, April 2nd, via Born Yesterday Records. The animated music video for “Stuck on You” was created by artist and DJ Lya Finston. The track is fresh and upbeat, playing on the strengths of the trio with singer Margaret McCarthy’s honest and imaginative lyricism, drummer Emerson Hunton’s complex rhythms, and a closing shredding solo from guitarist Ben Cruz.
The song’s light sound conceals the darker themes of its lyrics, as McCarthy tries to cope with having feelings for a person she shouldn’t. McCarthy elaborated on the song in a statement: “This song is about a crush I had on someone who had hurt my friend and really didn’t deserve that kind of love from me. It took me a long time to finally come to terms with what had been in front of me the whole time, that this person was not worth longing for. Despite the subject, it’s really a jaunty song, and it feels really joyful whenever we play it now.
Moontype is Margaret McCarthy, Emerson Hunton, and Ben Cruz.
From “Bodies of Water” out April 2nd on Born Yesterday Records.
On May 28th, Melbourne-via-Tasmania jangle-pop quartet Quivers will release “Golden Doubt”, their second album (and first on Ba Da Bing Records), and the follow-up to their 2018 debut We’ll Go Riding on the Hearses and 2021 full-length cover of R.E.M.’s Out of Time. Lead single and Golden Doubt opener “Gutters of Love” begins simply with singer Sam Nicholson’s voice and a three-chord progression, building patiently to an achingly anthemic climax. Gleaming guitar work, vocal harmonies from Quivers members Holly Thomas and Bella Quinlan, and keen production courtesy of Matthew Redlich (Holy Holy, Husky, Ainslie Wills) all elevate the song into a bruised, yet beautiful rock anthem that makes its home in the fleeting space between joy and pain. “‘Gutters of Love’ is a song about serotonin levels but mostly about love.
We wanted a guitar song that was in love with love, but also knows a comedown is coming and you might need your friends to help you get through it,” Nicholson says in a statement. “That’s why the song is all Holly and Bella harmonies, big guitars, broken Farfisa organ, piano, and a shouty choir. It will be OK.”
Coming from Australia and the strong indie rock area of Melbourne music scene, Quivers have been releasing music for half-a-decade, since their initially self-released debut, “We’ll Go Riding On The Hearses”. After last year’s R.E.M covers of “Out Of Time”, the band are about to release their third record, “Golden Doubt”, due out in June as a co-release between an impressive collaboration between a trio of wonderful labels. Ahead of that release, this week the band have shared a brand-new track, “Gutters Of Love”.
Described by the band as, “a song about serotonin levels but mostly about love”, “Gutters Of Love” muses on the amount of time we all spend talking and thinking about love, whether we’re shouting across dance-floors or sitting on bedroom floors trying to make sense of it all. The track comes in on a muted chord-sequence, slowly morphing into something altogether more melodic, as an abundance of vocals and a wavering Farfisa organ lift it to a scream-along crescendo as a make-shift choir ask as one, “after the serotonin’s gone, could you ever fall in love?”
Filmclip directed by the band from super 8 footage collected in late 2020 in Melbourne and Brisbane, Australia. Edited by Michael Panton. Thanks to our friends who appeared here & also Louie the dog and all the chickens.
Quivers have described Golden Doubt as a record about grief and what puts us back together; how with friends, music and a sense of humour, we somehow manage to find a way to keep-on-keeping-on.
Golden Doubt is out June 11th via Ba Da Bing Records (UK/North America), Bobo Integral (Europe).
St. Vincent has shared a second single from her upcoming album Daddy’s Home, “The Melting of the Sun.” This one’s mellow, groovy, soulful and funky in a ’70s sort of way. Watch the animated video below. On the new single, which St. Vincent (real name Annie Clark) co-produced with Jack Antonoff, she pays homage to several artists who have inspired her, including Joni Mitchell and Marilyn Monroe.
“Saint Joni ain’t no phony/Smoking reds where Furry sang the blues/My Marilyn shot her heroin/Hell she said it’s better than abuse,” she sings on the swirling, Seventies-vibed track. “So who am I trying to be? A benzo beauty queen?”
She recently discussed the women behind the lyric’s inspirations with Rolling Stone. “People tried to quiet them when they were saying something that was righteous or true or hard to hear,” Clark said. “[That song] in particular is a love letter to strong, brilliant female artists. Each of them survived in an environment that was in a lot of ways hostile to them.” “People tried to quiet them when they were saying something that was righteous or true or hard to hear,” Clark said in a statement. “[That song] in particular is a love letter to strong, brilliant female artists. Each of them survived in an environment that was in a lot of ways hostile to them.
“The Melting of the Sun” follows the previously released LP single “Pay Your Way in Pain.” However, this search for the distinct taste of late-night cocktail bars in the ’70s is one that St. Vincent manages to pull off with authenticity. As one might expect with such a subject, at times, the song does feel slightly contrived and perhaps too cliched.
Nevertheless, “Daddy’s Home” is shaping up to be a fascinating release from one of the most unpredictable artists around, who continues to shift into different personas for every single record. So far, the two singles released feel like they’re from two different artists. ‘Pay Your Way In Pain’ was a sassy, vigoured effort and followed up with a nostalgia-soaked ballad. A total contrast, but somehow St. Vincent has managed to make this style work on ‘The Melting Of The Sun’.
Daddy’s Home, which was co-produced by Jack Antonoff, is out May 14. St. Vincent will be the musical guest on Saturday Night Live this weekend
The album is about her father’s release from prison after serving a sentence for white-collar crime. Annie Clark announced the record last month with the glitzy comeback single, ‘Pay Your Way In Pain’. Now with ‘The Melting Of The Sun’, she has offered a moment of calm and contemplation,
New Haven band Mountain Movers are back with new album “World What World” which will be out June 18th via Trouble in Mind. “In 2018, I wrote five separate songs called ‘Way Back To The World’ (some with lyrics/ some instrumental) about how the effort to get away from the world needed to be matched by an effort to return to it,” says guitarist and songwriter Dan Greene of the album’s first single. “The first verse talks about how temporary life is, while the second talks about how deceptive space and time can be. This song— like others on our new record—seem to have a direct connection to the pandemic, but all of the lyrics were written before the pandemic started.”
Mountain Movers arguably are the perfect band for all the true “heads” out there. The New Haven quartet have been at it for 15 years, and the “newest” line-up (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. “World What World” is the band’s eighth album and third for Trouble In MindRecords.
“World What World” is the newest chapter of the group’s continued explorations and efforts to refine their sound. The lyrics of “World What World”s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener “I Wanna See The Sun” and “Final Sunset” lay out what’s in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through “Then The Moon” when the tune’s lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic “Haunted Eyes” – beckoning you with a mournful sidelong glance. Side Two opens with “Staggering With A Lantern”, an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group’s guitarists. The sticky lyrical hooks and sideways jangle of “Way Back To The World” and “The Last City”s midnight-hour, mellow singe come next, before concluding “World What World’s” journey with “Flock of Swans”. The song is the perfect closer and culmination of the album’s mission statement.
The subjects that populate Greene’s songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, knife throwers, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section’s otherworldly chemistry and Battalene’s masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.
Dan Greene – guitar/vocals Rick Omonte – Bass Kryssi Battalene – lead guitar Ross Menze – drums
Madding crowds may have found their bounce to the beat of ‘Bad Blood’s post-punk groove but Working Men’s Club will defy all expectation with their eagerly anticipated follow-up. Forcing backs off the wall and deeper onto the dancefloor, electric stomper ‘Teeth’ possesses enough bite to set pearly whites on edge and induce a wildly ecstatic feeling that’s anything but comfortable.
“It is a metaphor,” teases the band’s singer, guitarist and beat-maker, Sydney Minsky-Sargeant. “It could be about going insane or what you see, what you think you feel inside, a lot of things… put through a drum machine… basically we just want to confuse the fuck out of people, in a good way!”
For Syd, alongside fellow Club members Giulia Bonometti, Jake Bogacki, and recently recruited bassist Liam Ogburn, the last 12 months has seen the 4-piece buckle up for a meteoric rise that’s been a hell of a ride. “Signing to Heavenly Recordings was a big deal for us,” offers Jake. “We’ve worshiped the label and its bands for a long time so it’s nice to be part of the family. It’s a culture; we’re all running in parallel.”
Shows with Fat White Family and The Brian Jonestown Massacre, and a day of packed-out Great Escape appearance have paved the way for the band as they hone their rhythm ahead of Bluedot, Manchester Psychfest, Latitude and Manchester International Festival later this summer, before a tour with Bodega and their first headline tour though October and November.
After ‘Bad Blood’ received early support from Steve Lamacq, demand brought about a third repressing of their debut 7”, and it topped the vinyl charts; giving rise to a band subconsciously making us all slaves to the rave. “We do this because we love it.” says Syd. “But it’s not about us, we’re just faces. Working Men’s Club is about the music, the vibe, and that feeling, forcing you to move. Anyone can join.” Following last year’s terrific self-titled debut album, UK group Working Men’s Club are back with a new single. “X” finds the band laying off the synthesizers just a little to deliver a taut, nervy ripper that you can still dance to. You can watch the video, directed by SJ Hockett, and give their debut a spin,
Rescue Rooms, Nottingham Tuesday 23rd Nov 2021 6:00pm
Boston singer and songwriter Ella Williams released her debut LP as Squirrel Flower, “I Was Born Swimming”, on Polyvinyl Record Co. in 2019. Now she’s announced its follow-up, Planet (i), due out June 25th via Polyvinyl. Ali Chant produced the album, which was written mostly before COVID and recorded in Bristol in fall of 2020. “Planet (i) is my body and mind, and it’s the physical and emotional world of our planet,” Ella says. “It’s both.” You can see the cover art below.
The new single, “Hurt a Fly,” and it’s accompanying music video. The video, directed by Ryan Schnackenberg, finds Williams thrashing around in the same sort of plastic bubble as favoured by The Flaming Lips as of late, all against the almost telephone-like processing of Williams’ breathy, brooding vocals. Lyrics like “Thought that I told you the storm ended, / And I’m never wrong / Took it too far again / Followed you home again” add to the dark atmosphere that the song’s urgent piano and fuzzy guitar help to create.
Williams elaborated on the song’s lyrics, and the creation of the music video, in a statement: “‘Hurt a Fly’ is me embodying a persona of gaslighting, narcissistic soft-boy type shit. The classic ‘sorry I acted violently, I’m not mad that you got upset at me, wanna hang out next week?’ I wanted to see what it was like to be a character trying to skirt around accountability. It’s an angry and unhinged song, and for the video I wanted to be inside a bubble writhing around and trying to get out.
The first single is “Hurt a Fly,” which you can watch the video for below. “Hurt A Fly’ is me embodying a persona of gaslighting, narcissistic soft-boy type shit,” Ella says. “The classic ‘sorry I acted violently, I’m not mad that you got upset at me, wanna hang out next week?’. I wanted to see what it was like to be a character trying to skirt around accountability. It’s an angry and unhinged song, and for the video I wanted to be inside a bubble writhing around and trying to get out. A stranger filmed me practicing choreography at a public park, submitted it to a meme page making fun of ‘influencers,’ and the video got 1,000,000 views, which in my mind is perfect thematically.”
“Hurt A Fly” is taken from Squirrel Flower’s sophomore album, Planet (i), out June 25th, 2021.
Title Fight remain on hiatus, but luckily co-frontman Ned Russin has stayed prolific with his solo project Glitterer, and his new album “Life Is Not A Lesson” (recorded with his TF bandmate/brother Ben Russin on drums) is his most Title Fight-like Glitterer album yet. In fact, some of the energetic punk songs on this record sound even more like classic Title Fight than most of the band’s shoegazy swan song Hyperview. That’s not to say Ned is looking backwards or anything, not at all. These songs share some traits with Title Fight’s fan faves, but it’s clear that he continues to progress as a songwriter, and so far he hasn’t repeated himself. And it’s easy to focus on the TF-style songs because it’s been a while since Ned’s put out that kinda thing, but this is still a Glitterer record, with a handful of cool synthy indie pop songs too.
It’s a good mix of the last couple Title Fight records and the usual Glitterer sound, and it’s pretty unique stuff. Ned’s songwriting style is increasingly unmistakable, and I can’t think of too many other songwriters that fuse together the variety of sounds that Ned does. (If you want a deeper look into what those sounds are, Ned spoke to us about some of the album’s musical and literary influences.)
Out on Third Man Records this July, Savages’ Jehnny Beth and Primal Screams’s Bobby Gillespie have teamed up for a collaboration album titled “Utopian Ashes”. The first single is a yearning, slow-burning ballad called “Remember We Were Lovers.” Beth and Gillespie first met in 2015, and over the years have performed alongside Suicide and the rest of Primal Scream.
For Utopian Ashes, the two explore fictional characters with a revived sense of ache. Inspired by classic country songwriter duets like Gram Parsons and Emmylou Harris’ “Grievous Angel” and George Jones and Tammy Wynette’s “We Go Together,” the two put themselves in the scenario of a crumbling marriage, one that continues to erode with emotional inarticulacy and misperceptions.
“I wanted to put pain back into music. I wasn’t hearing a lot of it in modern rock music,” Gillespie said of the project. “In the same way you create characters for a novel, we’ve created characters here,” Beth shared. “But you put yourself in it, because you’re trying to understand the human situation. The singing has to be authentic. That’s all that matters.”
“When you write a song you marry the personal with the fictional and make art,” added Gillespie. “I was thinking about two people living alone, together but apart, existing and suffering in a psychic malaise, who plough on because of responsibilities and commitments. It’s about the impermanence of everything—an existential fact that everyone has to face at some point in their lives.”
The Fat Angel Sings 