Archive for the ‘WE LOVE’ Category

PJ Harvey’s 1993 sophomore “Rid Of Me” is a perfect album, a monumental release that radiated mischief and androgyny. It took apart the perculiarities of performing gender, and began her ascent in becoming one of the most important figures in contemporary music, underground or otherwise. Presented alongside the album demos, “Rid of Me” thunders with the same throaty and menacing intensity it did almost 2 decades ago.

September 24th, 1993, Polly Jean Harvey made her “Tonight Show” debut with a peculiar solo performance of the title track from her second album, “Rid of Me”. Her black hair looked crunchy and wet, so shellacked with product it gleamed. Sloppy streaks of raspberry lip liner ringed her mouth, and thick brows framed eyes that radiated mischief. In a dramatic departure from the androgynous black uniform she’d adopted in advance of her debut, 1992’s “Dry”, she wore a gold, sequined cocktail dress that sparkled in the light. Her self-presentation screamed femininity—but the form that femininity took was so performative, so purposefully imperfect, it confronted you with the arbitrary strangeness of gender itself, the visual equivalent of repeating the word “woman” over and over until it sounded like a foreign utterance.

After the tense summer tour that had followed Rid of Me’s spring release, she had split with her bandmates, drummer Rob Ellis and bassist Steve Vaughan, in the trio they’d called PJ Harvey. So Polly appeared on Jay Leno’s “Tonight Show” accompanied only by her guitar. From a technical standpoint, it wasn’t a stellar performance. On the album and in concert, Ellis had taken over the haunting falsetto backing vocals: “Lick my legs, I’m on fire/Lick my legs of desire.” Even the demo was mixed to layer Harvey’s throaty, menacing leads over her high-pitched chant.

But on Leno’s stage, she played both overlapping parts at once, and the effect was hair-raising. Her falsetto sounded involuntary and unnaturally girlish, a genderless being’s impression of women, as though the song of violent obsession had awakened some histrionic alternate personality within Harvey. She closed by taking her hand off the strings, repeating the “Lick my legs” chant a cappella smiling more to herself than to the audience. Leno pronounced her performance “very nice,” with all the forced enthusiasm of a high-school English teacher who’d asked the quiet girl to read her poem aloud. In the short interview that followed, he raised what must have seemed like an innocuous topic: Harvey’s rural roots on a sheep farm in Dorset. “So you still go back and do the chores?” Leno wanted to know. She responded with a list of tasks that included castrating sheep. “For the male lambs that you don’t want to become rams, you have to ring their testicles with a rubber band,” Harvey explained, as frank as any lifelong farmer would be. “And after about two weeks, they drop off.” The crowd roared as though she’d made a joke. Her Leno appearance feels like a truer representation of who she was at the time than any contemporaneous profile.

The British weeklies lost their minds about every new song her band put out—and more so about every image of Harvey that accompanied them. She had appeared naked from the waist up, her back to the camera, on the cover of NME in 1992, offending the delicate (and hypocritical) sensibilities of Melody Maker. Even the cover of “Rid of Me”, Maria Mochnacz’s photo of the artist in the bath, which exposed only her head, shoulders, and a shock of wet hair in whip-like motion, caused an outcry.

In the burbling bass tones that tie most of the songs together, simmering under the surface of “Rub ’Till It Bleeds,” twitching through the intro to “Yuri-G,” building tension in the hushed interlude a minute before “Dry” launches its final attack. She also imported these sounds from an agricultural region thousands of miles from Dorset: the Mississippi Delta. “Rid of Me” was neither the first nor the last PJ Harvey album that, unlike the punk-derived rock so many of her white contemporaries were making at the time, felt grounded in the blues. 1995’s “To Bring You My Love”, her masterpiece of dark sensuality, drew even more heavily on the structures and tropes of American roots music. But “Rid of Me” is still the PJ Harvey release that succeeds most spectacularly in evoking the unvarnished emotional intensity of the blues without ever resorting to mimicry.

At other moments on the album, it’s the sparseness of the instrumentals that throws Harvey’s words into relief: “I might as well be dead,” she bellows, amid the droning guitars and clanking percussion of “Legs.” Then, suddenly, the song is ending, and only the ghost of a strum accompanies the chilling final line, “But I could kill you instead.” On “Dry,” written for the album of the same name but saved for “Rid of Me”, a similar quiet sets in the first time Harvey utters the defining kiss-off of her early career: “You leave me dry.”

“Man-Size,” which appears in two very different versions, makes for a cathartic shout-along rocker; as a poem recited over a haunted string sextet, it’s unsettling enough to soundtrack a Hitchcock thriller. Amid the campy, sci-fi/rockabilly sprint of fan-favourite single “50 Ft. Queenie” and brutal verbal assaults like “Snake,” “Missed” is the most conventionally pretty song. In a chorus that escalates as she repeats “No, I missed him,” Harvey could be baring her lonely soul.

“Rid Of Me” and 4 Track Demos vinyl reissues, Originally released through Island Records UK in 1993, “Rid Of Me” was produced by Steve Albini and features the singles “50ft Queenie and “Man-Size”. The 4 Track Demos, also released in 1993, is a collection of demos recorded at home between 1991-1992 and presents a number of songs from “Rid Of Me” in their first incarnation. Artwork for both was shot by long-term creative collaborator Maria Mochnacz.


The band’s sound adjusted for this new material. In the past, Field Report staked its name on the singer-songwriter’s M.O.: poetically charged lyricism confessed against an earnest guitar. On Summertime Songs, the bands casts its net wide, drawing in synths, up-tempo rhythms, and chromatic crescendos to electrify Porterfield’s lyricism with a resounding crackle. The opening song “Blind Spot” magnetically captures the moment a person can change another’s life. Porterfield describes himself in terms of space—“This heart is a cold cave, my mind is a parking lot”—but in recounting those absent places, he failed to account for the presence lingering in one. “You were in my blind spot,” he sings on the hook, the band’s backing vocals adding a touch of shoegaze.

Out this week, Summertime Songs is a remarkable step forward for Field Report, electrifying their music with a fresh undercurrent of emotion. Worry and talk—and talk about worry—have a special place within the singer-songwriter tradition, but so does physicality, movement, and life. “I love you in the low light baby, but let’s dance,” Porterfield sings.

The opening conversation in “Summertime Songs” is somebody asking  “Why don’t you try summertime songs?’ and all of the things that that implies, which would be maybe more simplicity, maybe a little more upbeat, maybe a little less verbose. So there’s that, and then also me doubting my ability to be a good parent and maintain sobriety, and be as good as required for that kind of thing. It’s a bit Springsteen, it’s a big Arcade Fire, it’s a bit LCD Soundsystem, it goes into some soaring U2 stuff at the end, all tongue in cheek at first, but then it tied into this thing that felt right.


Little Cloud Records was founded in October 2016 by Mike Nesbitt, Josiah Webb and Mike’s twin brother, Joe. What started as a way to release Magic Shoppe records has become a vehicle for releasing vinyl for other bands we dig. This includes releases from Pete International Airport (Pete Holmström of Dandy Warhols), New Candys (dark psych rockers from Venice, Italy), The Orange Kyte (tripped-out Irish transplants living in Vancouver, BC), Firefriend (São Paulo psych warlords) , Heaven (Brooklyn based psych rock) and Arizona’s Wiccan Godesses, Burning Palms. 
We’re partnering with a Portland, OR vinyl based plant and Joe runs a Chicago based printing facility. This allows us to produce all records, printing jacket design / printing and vinyl pressing in-house. We have been established by Cobraside in the United States and Fuzz Club Records in the UK. For digital distribution we use our own department to plaster your bit Across the usual suspects … like Spotify, iTunes, Google Play Music, Amazon Music, YouTube Music and many more.


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With new record Bloody Lovely set to be released on Feb 2nd, DZ Deathrays are driving up a new avenue, exploring a “swagger-rock” sound that’s bigger and nastier than ever before.

The video for Total Meltdown saw you turning into three dimensional versions of yourself in an eerie, alternate reality,frontman Shane says about the song:

The song was written in two parts, originally when we were doing Blood On My Leather I had the riffs of Total Meltdown and I couldn’t finish any vocals for it. And I sort of had a mind meltdown after being under pressure in the studio so I wrote the verses about that, about having a mini meltdown but it’s not really that serious.

The chorus was then written maybe two weeks before we went into the studio, I had written six choruses for that song and was just screaming things into the microphone. So that’s why the chorus and verses don’t have any connection at all. It’s a big dumb rock song.

The upcoming record Bloody Lovely, had a more conscious decision to drop the dance beats from before. We just want this record to have more of a live feeling and a swagger-rock, poppy sound. It took us so long to write it but now its been done for a year I’ve forgotten how different it is from the rest of them. It’s a bit bigger and nastier and I think the songs are a bit more pop.



Masseduction, St. Vincent’s fifth solo album, is a neck-snapping magnum opus. Though dark, it avoids the kind of overdone, maudlin doom and gloom that mopes instead of shocks; it’s the most conceptually perfect and perfectly constructed album in a whole catalog incredible albums. Every second and noise is accounted for, but it’s not so stuffy that there isn’t air to breathe. Rather, the fester of drugs, fame, loss, sex, indulgence and suicide found on Masseduction are strained through Annie Clark’s signature clever grin. While other artists attempted high-concept album roll-outs in the last year, none did so as successfully or cohesively as St.Vincent’s Masseduction — in part because her themes are vital in our current cultural conversation. For her first album in three years, Annie Clark dissects sexuality, power dynamics, and fractured identity in an industry embroiled in assault and harassment. And though she addresses the loss of control head on, she asserts her own power and control without ever presuming either can be had. Masseduction is defiance writ large by exploring reality’s smallest and most pervasive pains.

Read through the write-ups on St. Vincent’s brilliantly Kubrick-esque new record and count up how many times the male producer of this record is mentioned. It is a weird level of ignoring the endless work St. Vincent has done cultivating her sound. From her early days in Polyphonic Spree to the perfect pop of Strange Mercy to that psychotic record with David Byrne to the new album Masseduction her most succinct statement, like it or not — St. Vincent has willed her vision into life. “Los Ageless” is her best song too. Well, that’s probably “Year of the Tiger”. But “Los Ageless” is her most succinct song, it’s her most well-executed song. It soft and delicate in its delivery while still being thrifty in its layers.

“New York” may be Annie Clark’s finest ballad, and the competition for that title is stiff. Her 2014 self-titled LP alone offered two credible contenders: “Prince Johnny” and “Severed Crossed Fingers”, the latter song being that masterpiece’s crowning achievement. But in an album packed with errant pop extravaganzas, “New York” stands in stark contrast as Masseduction’s grand and naked centerpiece.

Apart from a soaring gospel chorus, what makes “New York” so remarkable is its thematic plasticity. Is Clark lamenting the end of the early-aughts NYC music scene, recently documented (to great acclaim) by Lizzy Goodman? Is she mourning the death of David Bowie? Is she addressing her breakup with Cara Delevingne? The answer is, of course, all of the above and beyond.

“New York” is a classic composite song that, in the right light, fits this or that narrative. Which is to say, it’s universal, an elegy for many occasions, a multi-faceted opus. Choose your own adventure. But it only soars so high because Clark’s shattering melody can easily bear such a heavy burden, with weightlessness and might.

Los Ageless

We named Los Angeles Police Department as a band to watch based on the strength of their debut album released in 2014 , and they followed that up with a string of singles over the last year, including Insecurity,” “Water And Wine,” andHard.” Today, Ryan Pollie has announced that LAPD has signed to Anti- Records for a full-length coming later this year, and has since shared a new single called “The Plane 2.” It’s the most lush and ambitious thing that Pollie’s put out under the name yet, a gleaming declaration of devotion that crackles past the four minute mark before cutting out abruptly for a warm piano outro.


SoCal songwriter Ryan Pollie expertly weaves bedroom pop under the moniker Los Angeles Police Department. and is now gearing up to unveil his follow-up LP later this year.

Pollie’s first for label ANTI- (Japandroids, Neko Case), the record is being teased today with a new single called “The Plane 2”. A press release writes that it’s a love song “deeply adventurous in arrangement,” an apt description considering the loops and layers of twinkling xylophone, dusty percussion, and elastic synths.


“The Plane 2″ is out now. A full-length is due out later this year

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The Wave Pictures return with a brand new, vinyl only album called A Season in Hull, due out on 12th February on their own label Wymeswold Records. The album was recorded on acoustic guitars in one room, with a bunch of their friends, live in to one microphone on singer Dave Tattersall’s birthday, January 28th, 2015. The songs were written as quickly as possible and the recording captures that specific moment in all its spontaneous, thrilling and immediate glory. As Tattersall elaborates: “That’s what this is – a one-microphone happy birthday recording.”


American Band is not a bashful album. As a collection of songs, it’s not quite as effective as say Southern Rock Opera or even The Dirty South. But as a political statement, it’s easily the most emphatic work by the band Drive By Truckers. “What It Means” takes a subdued approach to the subject of African-Americans killed at the hands of police (or, in the case of Martin, a vigilante cop-wannabe). “Darkened Flags on the Cusp of Dawn” is the brawny flipside, full of the growling, intertwined guitars that have become something of a Truckers signature over the years. Singer Patterson Hood mostly handles the downhearted tunes, singing from the perspective of a military veteran wounded as a civilian by an act of domestic terrorism on the moody “Guns of Umpqua,” sighing in the gloom over a gentle piano phrase on “When the Sun Don’t Shine” and parsing his own struggles with depression on “Baggage,” written after Robin Williams committed suicide. Although the songs on American Band are arguably not the band’s catchiest, it’s a body of work that is starting to feel increasingly essential as the American political landscape gets more and more surreal



Image result for matt pond and laura stevenson

Originally from Philadelphia, Pennsylvania, Matt Pond PA is going on tour in support of their recent album The State of Goldreleased on Doghouse Records. The album features guest vocals from Laura Burhenn of The Mynabirds and drumming from Matt Iwanusa of Caveman on it’s lead song “More No More.”

The album is available in limited edition gold translucent double LP edition of The State of Gold.  The guy’s a craftsman, and his body of work proves he’s got reliable songwriting aptitude. In what employ he decides to use it, well, that’s what will sum up everything in the end.

Laura Stevenson, is an artist finally hitting real stride. Though pleasant, her musical footprint has to this point been somewhat indistinct. But she’s got a new album, Cocksure, that’ was released October on Don Giovanni Records . Like a modern-day Tanya Donelly, Stevenson leaves the whimsical folk and pop detours behind and really digs into a direct indie-rock sound that’s muscular and classic on this ‘90s-channeling record. A mixture of sweetness, crooked charm and sharpening marksmanship, this simultaneously beaming and driving album is easily her most definitive work yet.


These Days as covered by Matt Pond (feat. Laura Stevenson & Chris Hanson) From the Wes Anderson film Royal Tenenbaums, Originally performed by Nico Written by Jackson Browne .