After two critically acclaimed EPs, Flyying Colours are set to release their second album  ‘Fantasy Country’ later this year on Club AC30. Residing in a dream-world that sits somewhere between psych, indie, grunge and shoegaze, the Australian band’s beautifully dynamic new offering showcases their talent for uniting a delicate vocal melody with a satisfying thick wall of abrasive drums and guitars. Flyying Colours premiere their video for Big Mess and let’s just say, we haven’t seen such an aptly named video for a while.

“The video for Big Mess was made with our long time collaborator Thomas Russell,” explained vocalist and guitarist Brodie J Brümmer. “We filmed it in the kitchen at The Bergy in Brunswick, across the road from where the guitars for the album were tracked. We didn’t think we would make such a mess when filming started but as you will see things escalated and we ended up covered head to toe in unbaked sponge cake.

“That’s what happens when you spend as much time with one another as we do and you have an opportunity to crack an egg over your bandmate’s head. “I think the video kind of represents what the song is about – doing what you think is right, but ending up making a big mess of an entire situation. As for the recipe, I wouldn’t suggest trying it at home.”

Leading track and first single “Goodtimes” further stirs the melting pot. Opening with a chaotic looped squeal, the knockout punch of the frenzied opening riff and steady, driving drums sets the bar high for the tracks that are to follow.

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Both new singles from forthcoming 2020 album ‘Fantasy Country’.
The Band:
Brodie J Brümmer,
Gemma O’Connor,
Melanie Barbaro,
Andy Lloyd-Russell,
Released February 7th, 2020

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You can think of Esther Rose’s warm, hopeful country songs like points on a map. The New Orleans singer-songwriter takes pleasure in guiding you through colourful landmarks—especially those throughout her hometown—but she also makes time for smaller, quieter spots: say, the bar where a relationship turned sour, or the dreary high school where she and her sister begrudgingly drove each morning. Recorded direct-to-tape and accentuated with lap steel and fiddle, her songs pull you in like this; she wants you to see the scenery, learn the history, and feel at home before she sends you on your way.

With her two solo records—2017’s This Time Last Night (Mashed Potato) and 2019’s You Made It This Far (Father/Daughter)—Esther Rose is at the beginning of her own journey. Her vibrant, homespun music has earned comparisons to Hank Williams and Rilo Kiley, and, over the past year, she has toured with acts such as Nick Lowe & Los Straitjackets, The Cactus Blossoms, and Charley Crockett. Carving new ground while drawing on the tradition of classic folk music, she uses tender stories to depict deeper cosmic truths. As she sings, she invites you to a world that feels familiar, magical, and entirely her own.

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On her new EP, “My Favorite Mistakes”, Rose and her band cover a selection of downer anthems close to her heart. Recorded live over three days, it includes songs written by Sheryl Crow, Nick Lowe, Roy Orbison, and, of course, Hank Williams. “When I was starting out on my guitar playing/songwriting path,” Rose says, “I would listen to Hank Williams on my headphones and walk for miles and miles across town and back. Hank is one of the best teachers I’ve had when it comes to writing simply and directly, with humour and sincerity.” Through these performances, Rose sings not only in tribute to her heroes but also in deep, intimate conversation with them, traveling their lonesome highways to find her own new destinations.

Released May 29th, 2020

Cloud Nothings

Though musicians make music in relative quarantine all the time, there’s undoubtedly been a different feeling around song writing during the coronavirus lockdown given the sense of claustrophobia that’s being universally experienced at present. It’s a surprise, then, that ‘The Black Hole Understands’ finds Cloud Nothings sounding freer than ever. “When the world shut down in March, making music was the only thing keeping me tethered to any sense of normalcy,” Cloud Nothings frontman and mastermind Dylan Baldi says of the 10-track album that was borne from this period which, Baldi acknowledges, does channel “this early quarantine anxiety and confusion”.

The latest album from this Cleveland group led by Dylan Baldi is a surprise release of summery, hook-filled indie-pop. Rather than the discordant, intense jams of recent Cloud Nothings records, this one features concise, brightly melodic songs with jangly guitars, driving rhythms and breezy melodies juxtaposed with often-melancholy, anxiety-fueled lyrics.

Created entirely over email — Baldi’s skeleton song ideas were sent to drummer Jayson Gerycz before making their way back to the frontman for a final polish — ‘The Black Hole Understands’ is a complete re-calibration of the process behind the making of a Cloud Nothings album. So much of their music is fast and frenetic, often recorded live as they feed off each other’s energy and thrash it out in a room together. Given the manner of its creation, their seventh album, which has been self-released on Bandcamp, feels suitably looser and more melody-focused. “Life won’t always be like this,” Baldi sings on the chorus of ‘The Sound Of Everyone’, coming across like a lifeline to both himself and the listener as we all desperately try to cling on to the idea of another brighter world post-quarantine.

It might be this sense of willing a better situation into existence that makes ‘The Black Hole Understands’ such a vibrant, melody-packed joy. ‘A Silent Reaction’ has a powerful, uplifting ‘90s pop-rock chorus that trades Baldi’s trademark grit and fury into something more soaring, recalling the breeziness of Jeff Tweedy’s Wilco at times. ‘Right On The Edge’, meanwhile, sees Baldi’s vocals follow a perfect, sugary guitar line that ends up at something approaching pop heaven.

Baldi has also described ‘The Black Hole Understands’ as “poppy and also kind of sad, which is more or less my state of mind”. Another new Cloud Nothings album, recorded as a live band just before lockdown, is said to be arriving soon, but this coronavirus-era album will still serve as a moment in time that’s detached from everything that came before and likely everything that’s still yet to come. After all, it’s hard at the moment to imagine a world in which we aren’t all quarantined.

On ‘The Mess Is Permanent’, another of the album’s buzzing pop-rock highlights, Baldi sings: “It’s hard to be in this place when all these walls are coming down.” Though much of lockdown has felt like the walls are closing in, the joyous ‘The Black Hole Understands’ sees Cloud Nothings help us feel like we can bust right through them into a brighter future.

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Boston indie rockers are four albums deep, but “Either Light” marks the first time they’ve worked with a producer—and not just any producer. They brought on Patrick Hyland, who produced the last three Mitski albums—all modern indie classics—and the result is their best album to date. Vundabar are still largely an indie band, but Either Light sees them embrace their new wave and post-punk leanings more than ever before. It’s a groovy, heartfelt record with danceable rhythms and theatrical vocal performances, and it blends modern indie-pop influences with all your favourite new wave staple bands. “Petty Crime” is one microcosm of their irresistible, vivacious charm. “Caroline I think we might be cursed / We’ve been rolling round this town in a hearse,” Brandon Hagen sings before diving into a playful, bubbly chorus.

‘Either Light’ out March 13th 2020 on Gawk Records along with full North American Tour.

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Delighted to welcome illuminati hotties to BSM. The new album ‘Free I.H: This Is Not the One You’ve Been Waiting For’ is out next Friday – and it might just be the most fun and interesting thing you hear this year. Earlier this month, artists like Lucy Dacus, PUP and Sadie Dupuis of Speedy Ortiz shared a SoundCloud link to a self-titled album by a band called Occult Classic. With a solid black album cover and no credits to be found, buzz about the album started to swirl on social media—though that probably wouldn’t have happened if the album wasn’t so mind-numbingly good. Fans immediately began to speculate about whether this was a supergroup whose members included the indie artists tweeting the link, but a close ear would tell you that Sarah Tudzin of Illuminati Hotties is indeed on lead vocals, later spelling out her band name several times on track seven “Content / Bedtime.” It was later confirmed as a new Illuminati Hotties mixtape, and it’s a big step up from their 2018 debut Kiss Yr Frenemies. It’s bolder, punkier and has some of the best rock hooks in recent memory. On their 12 songs (with goofy, lowercase track titles) and less than half-hour run time, you’ll hear tinges of phat electro-rock, invigorating riot grrrl and delectable twee-pop.

Sarah Tudzin, your main illuminati hottie depending on your point of view, has had herself a year. Well we all have but she has had some other challenges as well in regards to getting her sophomore release out in the world.  Though it was tracked locally between drummer Tim Kmet’s rehearsal space and Tudzin’s home, “FREE IH” sounds like an homage to the bands you’d catch on club stages during a sleepless, electrifying cross-country tour. It’s a product of Sarah’s wide array of influences, ranging from snotty Californian forebears Dead Kennedys and Black Flag to the innovation and bravado of Death Grips and Cardi B.

With 12 songs clocking in at 23 minutes, Free I.H. condenses the hooks and hilarity of Kiss Yr Frenemies into 90-second blasts honouring the legacy of SoCal pop-punk miniaturists ranging from the Descendents to Joyce Manor. Elsewhere, Tudzin takes advantage of the format to attempt previously inconceivable experiments in Death Grips-styled noise, an homage to Trio’s “Da Da Da,” and the label-baiting venom of Clipse circa We Got It 4 Cheap — “First I made Frenemies Made a whole lotta frenemies/ Now I owe ‘em seven stacks/ And won’t even get the circle-p,” she snarls a la Drake’s “Energy” on “Superiority Complex (Big Noise).” But its closest precedent might actually be Marvin Gaye’s infamous Here, My Dear: A 1977 divorce settlement granted Gaye’s ex-wife half the royalties from his next album, which he subsequently used to publicly air out the entire bitter affair over his least commercial music to date.
In even better news, the album FREE I.H: This Is Not the One You’ve Been Waiting Foris out now and streaming everywhere! We told you it might just be the most interesting and goddamn catchy record you hear this year – now you can enjoy this absolute gem too.
All songs written & recorded by illuminati hotties
illuminati hotties is Sarah TudzinAdditional music written by Zach Bilson & Tim Kmet
Band Members:
Zach Bilson – Bass, Additional Vocals, Additional Guitar on “content//bedtime”
Tim Kmet – Drums
Anna Arboles – Guitars on “melatonezone”
Sarah Tudzin – Vocals, Guitars, Percussion, Noise,
Big Scary Monsters is an independent currently label based in Oxford. releases July 17th, 2020

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The winds have picked up. The asphalt below you is starting to shake. The skies are opening up. It could only mean one thing…The Heavy Rollers have returned. Frankie and the Witch Fingers are back with more West Coast witchcraft, more head-splitting psych garage sorcery, more solid jams for your temporal lobes. What we have here are two tracks, a-side Cavehead and b-side Mind’s Eye. It’s deranged, it’s delirious, it’s dangerously delicious. Plus, it rocks.

Brand new Frankie & The Witch Fingers 7” & video for new single “Cavehead”! The new 7″ vinyl is a joint release between The Reverberation Appreciation Society and Greenway Records. The 7″ sold out before we could get this information out today, but there’s much more to come! You can still grab a t-shirt featuring art from the “Mind’s Eye” visualizer video, and check out the “Cavehead” video below.

Frankie product tends to sell out quick these days, so don’t dilly dally. Greenway Records has 100 copies of the 7″ on green wax that you can grab after the ‘buy’ link. Levitation Records has 100 copies on orange vinyl . Get one, get two or get crazy and pair it with a t-shirt. Keep your eyes peeled for a BRAND NEW ALBUM coming soon, y’all. It’s gonna slap your third eye right in the balls.

Frankie and the Witch Fingers, have been mutating and perfecting their high-powered rock n’ roll sound. After savagely touring the USA and Europe, this four-headed beast has shown no signs of relenting—appearing like summoned daemons and dosing crowds with
cerebral party fuel.
The main attraction of Frankie and the Witch Fingers is their explosive performance. With their rowdy and visceral approach to live shows, each member brings their own devilry to induce an experience of bacchanal proportions.
Band Members
Dylan Sizemore,
Shaughnessy Starr,
Josh Menashe,

New York Doll (2005)

New York Doll – Documental  Arthur Killer Kane, A recovering alcoholic and recently converted Mormon, Arthur “Killer” Kane, of the rock band The New York Dolls, is given a chance at reuniting with his band after 30 years. The film is a bittersweet, understated but fascinating portrayal of Arthur Kane, the one-time degenerate New York Doll bass player turned Mormon, as he prepares for a reunion concert with his former band mates, and, as it turns out, a far more important gig. The filmmaker treats all of the subjects(including Morrissey, David Johanssen, numerous LDS members, the LDS Church itself, and most of all, Kane) with dignity and respect, and without judgment. The film’s unstated message of tolerance and understanding makes this worth watching

Director:  Greg Whiteley

“We Are The Plague”  is the debut album from Suzie Stapleton. It is a rallying cry, a howl into the abyss, the defiant call of a generation sold down the river and acutely aware of its own imminent demise – a bold soundtrack to the apocalypse.

The album was recorded at OX4 Studios, produced by Stapleton and mixed by award-winning engineer Dan Cox (Thurston Moore, Laura Marling, Pete Doherty) at London’s Urchin Studios. Bassist Gavin Jay (Jim Jones Revue/Righteous Mind) and drummer Jim Macaulay (The Stranglers) provide a solid, seething backbone to Stapleton’s expressive guitar playing and midnight vocal traversing through alternative rock to gothic-blues through to alt-folk. Includes singles Thylacine and Blood On The Windscreen and nine previously unheard tracks including new arrangements and recordings of Negative Prophet and You Were There.

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“It’s rare that a new artist comes along who genuinely defies easy description, but this is certainly the case with Stapleton… a bright new star in the ascendant.”
– Louder Than War
“A supremely delicate and precise feel for the moment…like hearing Cat Power at her very best.“ – The AU Review
“She sounds like the devil convincing you to sell your soul.”
– Tone Deaf
 

releases July 31st, 2020
The Band:
Suzie Stapleton: vocals, guitar, violin, piano
Gavin Jay: bass, bowed double bass
Jim Macaulay: drums
Gareth Skinner: cello (tracks 6, 10, 12)Written and produced by Suzie Stapleton

 

As Midwife, Denver-based multi-instrumentalist Madeline Johnston plays what she describes as “heaven metal,” or emotive music about devastation.  Johnston began developing the experimental pop project in 2015 while a resident of beloved Denver DIY space Rhinoceropolis. The venue/co-op started in the early aughts and nurtured local artists until 2016, when its doors were shuttered due to high tensions surrounding the safety of DIY spaces (not coincidentally following the horrific Ghost Ship fire in Oakland). Residents were displaced around Denver and artists like Midwife were forced to start over.

However, it was at Rhinoceropolis that Madeline became close with Colin Ward, an artistic confidant and friend to whom her new album, “Forever”, is dedicated. Madeline comments, “He was my roommate and was the embodiment of that place [Rhinoceropolis] in a lot of ways. We became really close friends there. I was always learning so much from him, about life and being an artist. He was an amazing teacher and friend to me.” When Ward passed away unexpectedly in 2018, she turned towards sound to express the indescribable feelings that partnered with her grief.

These mournful sounds ultimately developed into her new album, “Forever”. The 6-song LP is a latticework of soft focus guitars and precise melodies– anthems of light piercing through grey clouds of drone. On the track “C.R.F.W.,” we hear Colin Ward reading a poem that speaks of a leaf falling from a tree in autumn: “imagine the way a breeze feels against your leaf body while you finally don’t have to hold on anymore.” Johnston responds with slowly radiating tones, branches stretching out to hold the leaf one last time. “I wanted to write him a letter. I wanted to make something for him in his memory,” Madeline says of Forever.

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On Forever, Midwife combines ambient and dream pop into nuanced, reverb-soaked music that is equally haunting and moving

Released April 10th, 2020

Recorded by Madeline Johnston.
Additional instrumentation by Tucker Theodore, Randall Taylor, Jensen Keller & Caden Marches.

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Brighton’s indie psych collective Moon Attendant emerge to release their debut LP ‘One Last Summer’. a new band featuring old friends. brothers from critically acclaimed psych-space rock group Black Hearted Brother. Blewett swaps bass duties for vocals and electric guitar and other brother Holton once again provides synths & production. label boss and guest Neil Halstead also wires up his pedalboard and crashes some signature Slowdive sound-waves into this record. the line up is completed by Big Potato mainstay Mccutcheon (Slowdive/ Mojave 3) on percussion & guitarist and songwriter Molyneux. Moon Attendant’s psychedelic grunge pop debut LP wields deranged analogue synths within a cozy jacket of fuzzy guitars and over saturated sonics. imagine if Colin Blunstone & Klaus Schulze had released pebbles-esque garage. words & production walk a starry eyed tightrope between childish endeavour and mature lamentation. songs about death, power, drugs and despair have never felt so pop! “there’s so much going on and it all works, they make it sound simple but it’s very hard to do.

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Psychedelic Grungy Synth Pop from Brighton

Released February 14th, 2020