The first example of a rock poster to feature band photographs, these by Herb Greene. Wilson’s lettering, by now evolved into a more elegant ‘blocky’ style, reflected his discovery of the work of Vienna Secessionist designer, Alfred Roller. Together again, Jefferson Airplane, with original vocalist Signe Anderson, and the Grateful Dead shared this August billing.

We have already told you about the wonder that was “Been Around”, but the album by A Girl Called Eddy is turning into a phenomenon on many levels. We know about the support it is receiving from critics, but its fan base is growing at an incredible rate, the way the best of news spreads: word of mouth. Or, keyboard to screen; as you wish. It is a combination of impeccable songs and a handful of marvelous videos. This new single of “Jody” is joining this handful now. With echoes of Steely Dan ,Laura Nyro, it is one of the brightest songs, musically speaking, and the saddest, lyrically. Erin Moran’s farewell to her friend Jody is represented here full of colour and full of class, in a new show of prodigious animation by Pooley (Woom Studio). Vintage and current interact with the song’s lyrics in an absolutely marvelous visual work, which also pays homage to the graphic designer Saul Bass. We are enjoying this album so much. It is such a pleasure to discover it down piece by piece.

Erin Moran, who records as A Girl Called Eddy, released her entrancing self-titled debut in 2004. Finally, she’s returned with Been Around, a follow-up that’s just as beautiful and haunting as its predecessor.

Although it echoes the likes of everyone from Dusty Springfield and Chrissie Hynde to Carole King and Dionne Warwick, Been Around is no simple act of reverent nostalgia. Moran’s pop classicism feels fresh and urgent, turning romantic tales of regret, desire and occasional hope into timely dispatches from a heart roiled by the sheer intensity of everyday life. The buoyant “Jody” is an ode to a long-lost friend (“He liked to call me kid, I liked it when he did”) while the shimmering “Someone’s Gonna Break Your Heart” mixes New Wave and girl-group vibes to thrilling effect. The elegant melancholy of “Not That Sentimental Anymore” provides the perfect setting for her dark, stately voice, which conjures a world of emotional travail; when she sighs, “What brought me to tears just yesterday now only gets in my way,” her weary disappointment makes total sense.

Been Around features some A-list collaborators, among them co-producer Daniel Tashian (whose credits include Kacey Musgraves’ Golden Hour) and composer Paul Williams (known for the Carpenters hits “Rainy Days and Mondays” and “We’ve Only Just Begun”), who co-wrote one song with her, but this is Moran’s show, and a compelling one it is.

Released July 15th, 2020

One of the most exciting rock bands of the last decade, the Detroit-based post punk band will release its fifth album, “Ultimate Success Today” July 17th. The word prophetic isn’t a stretch. With its references to disease, institutional brutality, and gross inequality—symptoms of “a cosmic grief, beyond all comprehension”—the new record matches the apocalyptic mood of the US, and much of the world, in 2020. But it also speaks to the continued growth of the Protomartyr aesthetic, pairing guest vocals and contributions by players associated with free jazz and experimental music with reverb-drenched guitars and brittle rhythms.

Writing about the album, Ana da Silva of the Raincoats says: “Our world has reached a point that makes us afraid: fires, floods, earthquakes, hunger, war, intolerance…there are cries of despair. Is there any hope?” . Protomartyr’s artistic growth, the uncanny influence of Robocop, and other doomed and damned topics.

In stark contrast to its title, Ultimate Success Today—the fifth full-length from Detroit’s lugubrious post-punks Protomartyr—is a deeply dark album riddled with chaos, neurosis, illness, angst and anger about the state of the world. And rightly so. Yet while these songs are a fitting reflection of an America that feels like an empire on the verge of collapse—with an explosion of documented police brutality and murder, and the subsequent riots against the systemic racism that drives it, and the utter mishandling of the coronavirus pandemic, which continues to spread at alarming rates across the country—they were all written before that stuff really started spiralling out of control.

In fact, the initial inspiration was frontman Joe Casey’s own physical ailments, coupled with the usual existential dread that tends to reside within him. The result is a harrowing record both sonically and lyrically, one that sounds as much like the product of a terrifying David Lynch nightmarescape as much as it reflects the actual horrors of the real world—a far cry, as Casey explains, from the “happy” record he hoped it might have been.

It’s a weird time, because you learn not to dwell on the past, but you’re also frightened of the future, so all you have is the present. Which is why it’s “ultimate success today.” And at  the end of it you hope that you can seize the day, as corny as that is. With “Worm In Heaven,” the music sounded so beautiful, I felt if I’m going to write a swan song or a farewell address, I might as well do it now and get it off the books, so I don’t have to worry about that later on. They can play this song at my funeral now, so maybe I can think about other things. It’s a way to confront these weird feelings, get them down and then hopefully I won’t dwell on it—and the next album will be the happy one!.

Protomartyr’s sound is forged from the bones of punk and the blood of indie rock. The Detroit four-piece delivers heady lyrics with an ironic detachment in the vein of Destroyer and the Mountain Goats, while the blistering noise and distorted intensity of their music brings to mind Sonic Youth and early Sleater-Kinney. Their fifth album, Ultimate Success Today, continues this stylistic balancing act, with existentially oriented lyrics accompanied by ferocious guitars and frantic percussion that sustain a sense of anxiety. References to philosophical concepts and pre-Enlightenment literature could be considered over-thought if Protomartyr’s sound didn’t possess such raw immediacy. The band’s catalogue is strewn with such musings about life as a fulfillment of a disappointing fate, and they’ve perfected that obsession here. The restless punk spirit and flippant, downtrodden ethos that prevail over the album render Protomartyr’s painstaking intellectualizations as fuel for a visceral winding up and release of discontent.

Bridging the gap between one post punk era and next, these Michigan anti heroes influence is as clear and loud as is their bombast and rage. Album number 5 proving that the possibilities are unbound by any constraints or expectations.

“Angry and exhilarating. In short—dissonant angst delivered with precision.” Socialist Worker

“The soundtrack of an uncertain future, capable of unleashing pulverising guitar noise, but not reliant on it.” The Guardian ★★★★

“Harrowed, humane and stout-hearted, Protomartyr hold out for hope to the end and beyond.” Record Collector ★★★★

Ultimate Success Today

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Though their music has often been tied to American roots music, Holy Motors were formed in Tallinn, Estonia in 2013, when founding member Lauri Raus (songwriter/guitar) recruited Eliann Tulve to join the band as songwriter and lead vocalist. With Tulve’s gorgeously foreboding vocals serving as a ballast for the guitar section’s “infinity-pool-style shimmer” the band quickly became as un-ignorable as they were inscrutable. 2018 saw the band release their critically acclaimed debut LP, Slow Sundown, which won them praise from Stereogum (Album of the Week), Bandcamp (Album of the Day) and DIY (Neu Pick) to name a few.

They even landed on one of their very own idols’s radar – Anton Newcombe of the Brian Jonestown Massacre – who went on to work closely with the band in 2019. Since then Holy Motors’ incongruence has only grown all the more prevalent and endearing. They remain musicians from an ex-Soviet country who write songs that have been described as “shoegaze that sounds like the old West” .The resulting mystique, paired with their ability to write lyrics and music that resonate with a deeply relatable feeling of isolation, has allowed their music to connect with people from devoted shoegaze and western psychedelia fanatics to dreamer cowboys, driving through wide open country roads under the stars. Their second album Horse will land 16th October 2020 via Wharf Cat Records.

“Country Church” is from Holy Motors ‘Horse’ LP (out 10/16) you can pre-order LP/CD/Special Edition LP here https://www.wharfcatrecords.com/store…

Joan Shelley is a songwriter and singer from Louisville, KY. Often joined by guitarist Nathan Salsburg, she has shared shows with the likes of Jake Xerxes Fussell, Bonnie “Prince” Billy, Daniel Martin Moore, the Other Years, & Michael Hurley.  This live set is truly special. For many reasons. As soon as I saw this amazing bunch touring these songs across the US I was like: “Please, please come to the UK!”. This LP shall more than do for now.
Recorded at the Bomhard Theater in Louisville, KY on December 13th, 2019 with the Best Hands Band: Jake Xerxes Fussell, Nathan Bowles, Anna Krippenstapel, and Nathan Salsburg. Guest appearances by Julia Purcell and Bonnie “Prince” Billy. Best live LP in its genre of the year so far.

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Proceeds from this album go to support the BEST HANDS BAND that supported me. With their own tours delayed and the future uncertain, they deserve some love!
The support I have felt from you all recently has been moving beyond words. I thank you for keeping music close to your hearts right now. Love to everyone.
-Joan

released April 9th, 2020

The performers:
Joan Shelley – vocals, guitar
Nathan Salsburg – vocals, guitar
Jake Fussell – bass
Nathan Bowles – drums
Anna Krippenstapel – vocals, fiddle
Julia Purcell – vocals
Bonnie “Prince” Billy – vocals

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Marking the band’s second release of the year after ‘Love’s Not Enough’, which received playlisting from BBC Radio 1 and BBC6 Music, ‘I Win Every Time’ arrives audaciously into driving bluesy garage rock. Laced with distorted grunge guitars, frontwoman Lia Metcalfe’s compelling vocals draw you into the hellish world her band have crafted on their darkest and most fearless track to date. The accompanying visuals see her trapped in her bedroom in isolation, slowly descending into chaos. From the opening riffs onwards this is a sub-three minutes slice of electricity to send shivers down your spine and soul screaming up to the sky.  This is heavy, dirty and thunderous; and achieves the rare balance for today of being both radio-friendly and yet fires up memories of the energy that comes from watching a band live.

Not only have the Liverpool rockers proved their worth in the live arena by selling out all the dates on their first ever headline UK tour, they have already headlined the BBC Introducing Stage at Reading and Leeds Festival, as well as playing support slots for Royal Blood, Sea Girls and The Amazons following the release of their debut EP ‘Take Control’ last summer.

After a stellar 2019, the band were included in NME’s 100: Essential new artists for 2020 list, saying: “The Mysterines take the raw elements of grunge and blow them sky-high with some huge, classic rock choruses. Singer Lia Metcalfe has a snarl so ferocious and stage presence so commanding that any naysayers still doubting guitar music’s future in 2020 will be left pissing their pants.”

The Mysterines “I Win Every Time” Official Video

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Linda Ronstadt – The biggest shout out to the great Linda Ronstadt celebrating her 74th birthday today. From the great sprawling Southwest on a ranch in Tucson, Arizona sprang Linda Ronstadt, destined to be among the greatest singer’s of her generation. She was exposed to a wide range of musical influences in her home during her formative years – Rock, Folk, Country, R & B, Pop, Light Opera, Doo-Wop and Mariachi – which she heard on the radio or sung by family members. Her home then was the incubator for her eclectic tastes over a 40-year career. Is there anyone in popular music with a more powerful voice, with a greater range, and with a stronger emotional connection to a lyric? And is there another female singer who has combined such wholesomeness with such sexiness?.

Ronstadt’s first taste of success came with the Folk-Rock group the Stone Poneys in 1967 with the Michael Nesmith song “Different Drum,” a Top 13 hit, which became a signature song for Ronstadt. The band broke up after a year and three albums, and Ronstadt went solo, scoring her first hit, “Long Long Time,” (1970) a beautiful ballad that was a precursor of things to come. For the next five years success eluded her. But she worked with Sweetwater, an early, notable Country Rock band, and the original Eagles for a short stint in 1971. While recording “Don’t Cry Now,” her third solo album and biggest seller to date and feeling the need for a producer with a compatible vision, she teamed up with Peter Asher (One half of the English Pop group Peter & Gordon and the brother of one-time Paul McCartney flame Jane Asher), which was the turning point for Ronstadt, and the partnership yielded immediate rewards with their professional relationship lasting from 1973 until 1988.

With the album “Heart Like a Wheel,” their first collaboration in late 1974, Ronstadt enjoyed her first #1 album with the hit singles “You’re No Good,”(#1) and “When Will I Be Loved,” (#2) on the Billboard Hot 100 singles chart. This was the first of six top Ten albums, including “Hasten Down the Wind,’ (1976). By the time of Simple Dreams (1977), Linda Ronstadt had few peers as an interpreter of rock, country and pop. Her unerring ear for material and incandescent vocals made her one of the decade’s most successful performers – that 1977 Asylum release includes a pair of songs from early rock ‘n’ roll greats Buddy Holly and Roy Orbison that became Top 10 singles (“It’s So Easy” and “Blue Bayou”), more recent rockers from The Rolling Stones (“Tumbling Dice”) and Warren Zevon (“Poor Poor Pitiful Me”), and a country hit recorded with Dolly Parton (“I Never Will Marry”). Add the talents of some of L.A.’s best session players, and Simple Dreams couldn’t miss – it became Ronstadt’s fifth consecutive platinum LP, and spent weeks at No.1, knocking Fleetwood Mac’s Rumours out of the top slot.

“Living in the USA,” (1978) – the latter two both hitting number one. By decades end, Ronstadt had become the Top Female Pop Singer of the 1970s – the reigning queen of album sales.

In the 1980s she branched out in new directions appearing on Broadway in “The Pirates of Penzance (which ran for nearly two years), and collaborating with conductor Nelson Riddle on three Pop standard’s albums, one of which “What’s New,” (1983) climbed to #3. A collaboration with Emmylou Harris and Dolly Parton in 1986 resulted in “Trio,” an album garnering a Grammy Award for Group Country vocal. The ensuing album in 1987 “Canciones de mi Padre,” an album of traditional Mexican songs, inspired by her childhood, also copped a Grammy Award for Mexican American album which went double platinum (2 million units sold). Finally, there was her collaboration with Aaron Neville in 1989 “Cry Like a Rainstorm,” featuring the smash duet “Don’t Know Much.” Flush with massive success, Ronstadt entered the 1990s on a high note. Though album sales dipped during the decade, there was “Mas Canciones,” a second album of Mexican songs (and yet another Grammy award winner), and a second “Trio,” album, with both faring well.

By the dawn of the new Millennium, Ronstadt had won every conceivable award (too many to cite here), and had collaborated with the crème de la crème of recording artists including Warren Zevon, Johnny Cash, Paul Simon, Frank Zappa, Neil Young and a host of others. She has sold in excess of 100 million records and has had 10 Top 10 albums of the 36 that have charted, and three chart toppers. She finally received a long overdue award – an induction into the Rock and Roll Hall of Fame in 2014, and in 2017 received a lifetime achievement artistic award at the Kennedy Center of Performing Arts in Washington DC… Ronstadt retired in 2009 and announced her Parkinson’s diagnosis in 2013. She has retreated to her home in the Sea Cliff section of San Francisco overlooking the Golden Gate Bridge…. It is a cruel irony that Ronstadt who was blessed with such a magnificent voice should be silenced by this disease, but her spirit is strong and she will always be loved by her multitude of fans, and will be elevated to the pantheon of the greatest vocalists who have ever walked this earth.

Teasing new music yesterday, the Melbourne faves followed through this morning and produced a music video to boot. “Honey” is the brand-new single from King Gizzard & The Lizard Wizard. Revisiting the microtonal theme, Honey feels sombre and slightly eery, which seems fitting for the times in 2020.
Honey has an accompanying video by frequent collaborators/studio mates PHC, it’s an  eerie, yet gorgeous tune in ‘Honey’.

“I wrote this song a couple of years ago,” Mackenzie said on Twitter. “It’s nice to have it out in the world.” ‘Honey’ is the first we’re hearing from King Gizzard and The Lizard Wizard since 2019’s Infest The Rats’ Nest album and (hopefully) an early taste of another dive into microtonal goodness. 2020 has kept the band busy so far, delivering three bushfire benefit albums, as well as their first concert movie Chunky Shrapnel, all the while working on a new album which will be their 16th! release.

Filmed at sunsets during Melbourne’s first lockdown Stu Mackenzie performs alone in the video directed by longtime King Gizzard collaborator, John Angus Stewart. Which features Stu Mackenzie taking his isolation to the sunsetting streets of Melbourne. Recently, King Gizz also shared a live documentary film online in RATTY, which gives fans an insight into the making of the record.

The full video is now on YouTube after originally only being available to view with a small price tag attached to raise money for the Indigenous Social Justice Association Melbourne, BlaQ Aboriginal Corporation, Australians for Native Title and Reconciliation and DJIRRA organisations.

Amby: Harmonica Cavs: Drums, Percussion Cookie: Piano Joey: Bass Stu: Guitar, Vocals, Percussion, Keyboards, Bass, Clarinet, Organ

Recorded and mixed by Stu Mackenzie Mastered By Joe Carra

Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – “Ultra Mono”. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono.

‘A HYMN’ from the new album Ultra Mono”  released on 25th September 2020 on Partisan Records.

‘GROUNDS’ from the new album ‘ULTRA MONO’ released on 25th September 2020 on Partisan Records

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Fire Talk is excited to announce the signing & new EP from Cindygod, the project which saw Gauntlet Hair’s Andy Rauworth and Craig Nice reuniting, are announcing their second effort, following their 2018 Demos EP, under the new name with EP2 out August 14th on the label. The lead single “Rhys” takes a darkly sinister route, with Rauworth’s ghostly vocals flickering between Nice’s driving rhythms, culminating in a potent post-punk-meets-new-wave warped reverie. “Rhys” establishes the new direction Cindygod are taking with confoundingly pummeling rhythms cut with oscillating riffs that lend a sonic unease to the lyrical unease at the heart of the first single. EP2 is full of familiar yet skewed sonics, simulacrums of dream pop sit atop menacing angular guitars while the occasional yelps from Rauworth agitate between dreamy synths. The sublimely idiosyncratic amalgam of genres on Cindygod’s EP2 points not only to how far the duo have come since disbanding Gauntlet Hair in 2013 but the new EP succinctly soundtracks our ongoing descent into a fully realized dystopia.

EP2 is the second EP from Cindygod the new project is due out July 10th 2020 on Fire Talk. Stereogum noted 2018’s EP1 filled with “new wave shimmers and hooks… a sort of ramshackle and scrappy charm.” The new EP doubles down on the hollowed-out saccharine sound of Rauworth’s recent work, while retaining glitchy agitated electronics that pierce together the best of dream pop, post-punk and indie nostalgia. Fans of Gauntlet Hair rejoice! Cindygod is an honest creative extension of some of those original ideas, a little darker & sinister around the edges.

Conveniently enough the only song available at this moment(“Rhys”) happens to be absolutely stellar, though if you’re lucky enough to have already heard “Not Right” you might agree that it combines the magic of “Simple” and “Top Bunk” into yet another banger from Andy and Craig. Impossible to pick a favourite track but then if you’re a longtime fan of Gauntlet Hair it’s a familiar and welcome problem to have. Demos B-Sides in due time?.

From Cindygod’s EP 2 Out August 14th on Fire Talk