Everything changed for The Beths when they released their debut album, “Future Me Hates Me”, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their hometown, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.
Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, “Jump Rope Gazers”, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.
“If you’re at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you’re home, you miss everybody, and when you’re away, you miss everybody. We were just missing people all the time.”
With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.
“It was a rough year in general, and I found myself saying the words, ‘wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it–a sentiment we need now more than ever.
Releases July 10th, 2020
The Beths
Guitar: Elizabeth Stokes, Jonathan Pearce
Bass Guitar: Benjamin Sinclair
Drums: Tristan Deck
Vocals, Percussion: All
‘Jump Rope Gazers’ was recorded in Jonathan Pearce’s studio in Auckland, NZ between November 2019 and February 2020
All songs written by Elizabeth Stokes
The filmed version of the acclaimed Broadway show David Byrne’s American Utopia, directed by Academy Award–winning director Spike Lee, will be presented by HBO and will debut on HBO later this year. “David Byrne’s American Utopia is a uniquely transformative experience and a perfect example of how entertainment can bring us together during these challenging times,” said Nina Rosenstein, Executive Vice President, HBO Programming. “Spike’s brilliant direction adds a level of intimacy to this powerful performance, and we’re so thrilled to share this groundbreaking show with our audience.”
“Spike and I have crossed paths many times over the years, obviously I’m a huge fan and now finally here was an opportunity for us to work together,” said David Byrne. “I am absolutely thrilled with the result. The Broadway show was a wonderful challenge as well as an opportunity—it was a joy to perform and, well, best to let the quotes speak for themselves.
Thrilled that this show and the subjects it addresses will now reach a wider audience.”
“It is my honour and privilege that my art brother, Mr. David Byrne, asked me to join him in concert, to invite me into his magnificent world of American Utopia,” Spike Lee said. “And dat’s da ‘once in a lifetime’ truth, Ruth. Ya-dig? Sho-nuff. Peace and love. Be safe.”
The Broadway production of American Utopia featured Byrne, together with eleven musical artists from around the world performing songs from Byrne’s 2018 album of the same name, along with songs from Talking Heads and his solo career for a major cultural milestone in the worlds of music and theater. The original American Utopia album, as well as the Broadway cast recording, were released on Nonesuch Records.
The set list each night included “Once in a Lifetime,” “Burning Down the House,” several selections from Byrne’s American Utopia solo album, and a rendition of Janelle Monáe’s “Hell You Talmbout,” which featured Byrne and the musicians calling out the names of black Americans who have been unjustly killed with the refrains “say his name” or “say her name.”
In a recent interview, Byrne recalled approaching Monáe about permission to use the song. “She loved it,” he said. “I was kind of surprised. There was no hesitation. She’s very generous. So I continue to ask her, ‘We’re doing it on Broadway now. You sure you’re OK with all this?’ ‘Yeah.’ I thought I had to do that; I had to check with her and see what her take was on that, because otherwise, it could seem pretty strange. She’s about getting the message out.”
This one-of-a-kind, dynamic film gives audiences around the world access to Byrne’s electrifying Broadway show that played to sold-out, record-breaking audiences during its run from October 2019 to February 2020 at Broadway’s Hudson Theater. The New York Times called the production “dazzling, jubilant and rapturous,” while the Hollywood Reporter hailed it as “an astonishing knockout.” The Broadway production featured the work of choreographer Annie-B Parson, with Alex Timbers serving as production consultant (both had previously collaborated with Byrne on the acclaimed Imelda Marcos musical Here Lies Love); lighting design by Rob Sinclair and sound design by Pete Keppler; Karl Mansfield and Mauro Refosco are musical directors.
In addition to the partnership of David Byrne and Spike Lee, the feature-length film includes the work of choreographer Annie-B Parson; director of photography, Ellen Kuras (Eternal Sunshine of the Spotless Mind); production consultant Alex Timbers; and editor Adam Gough (Roma). Collaborating with Kuras are eleven camera operators, many of whom are directors of photography in their own right, including Declan Quinn (Leaving Las Vegas) and Sam Levy (Lady Bird).
American Utopia, the album upon which the stage show is based, received a Grammy nomination and was the first by Byrne to reach No. 1 on the Top Current Album Chart. Released by Nonesuch Records in 2018, it was a global hit and the accompanying tour reached more than 27 countries with 150 concert dates.
Believe it or not, Bombay Bicycle Club have been around for quite some time, over 10 years. It’s also been 10 years since the release of their debut album I had the blues but I shook them loose, which set the band off on their musical journey. Since then they have accomplished in releasing five albums, quite the feat wouldn’t you say? So in natural fashion I’ve decided to rank them worst to best (None of them are bad).
I Had the Blues but I Shook them Loose (2009)
This record put Bombay on track and in the minds of future adoring fans. At the time it was released there was a bit of a clamouring for a good indie album for people to take notice of. I Had the Blues but I Shook them Loose hit the spot for a lot of folk, as their unique sound and vocals stood them apart from a lot of the bands. Also the arrangements of the songs were interesting, which driving this point even further home. Songs like ‘Lamplight’, ‘Cancel on me’ and ‘Always like this’ have become pillars in the Bombay setlist, sending the crowd into a frenzy whenever their showcased. Bombay Bicycle Club released their astonishing debut album ‘I Had the Blues But I Shook Them Loose’ (recorded by long-term producer Jim Abbiss) through Island records.
It’s a beautifully literate and ambitious debut. From the dizzying My Bloody Valentine / M83 swoops and morning-after ruefulness of the LP’s opening song to the open-tuned, appalachian folk feel of the record’s closing track, the album thrums with subtle invention and quiet emotional intensity. Fans of Bloc Party, Broken Social Scene and Bon Iver – or any mildly sensitive soul with a fondness for ricocheting guitar chords – will be utterly beguiled. Indie rock rarely gets to enjoy its innocence these days, but Bombay Bicycle Club know that’s exactly what makes it precious. Jamie and Jack formed Bombay Bicycle Club after spending their early teens trying to sneak into 18+ gigs together. they were dissuaded at first by Jamie’s guitar-playing dad, Neill Maccoll (son of Ewan, sister of Kirsty), who once told Jack he should become a plumber rather than a musician if he ever wanted to make a decent living. Then Neill heard the astonishing cache of songs Jack had amassed in his bedroom with garageband and a cheap guitar, and instantly changed his mind, offering to produce Bombay Bicycle Club’s first LP.
Flaws (2010)
Bombay’s acoustic release in flaws is magical. Jack’s gentle voice combined with melodic fingerpicking is something which can only be enjoyed. With an acoustic version of ‘Dust on the Ground’ and title track ‘Flaws’ you get to hear the band at their most calm and mellow. This was an odd release for their second album, with their first being so bold and abrupt. It really took people off the scent of another loud indie band, giving the band some added depth. I always find I need to be in a mood for slow paced acoustic songs which isn’t very often. Flaws’ is the stunningly beautiful, acoustic album by Bombay Bicycle Club. ‘Flaws’ is characterised by a delicate, heart-swelling beauty and lightness of touch throughout. Those that had Bombay Bicycle Club pegged merely as an indie band may need to re-think.
Intricate, finger-picked guitar lines and ethereal melodies pull at the heart strings on new songs such as ‘My God’, the startlingly pretty ‘Leaving Blues’ and title track ‘Flaws’ (a duet with Lucy Rose). On other tracks – ‘Rinse Me Down’ and ‘Many Ways’ – skittering drum rhythms and distant banjo lines drift in, but in the main, it’s a naked intimacy that makes these songs dazzle. the album’s final track, ‘Swansea’, is perhaps the most exciting in terms of where Bombay Bicycle Club will take their sound next.
All the music for ‘Swansea’ was written by Jack, but uses some of the lyrics from a Joanna Newsom track of the same name. A simple folk ballad that opens with plaintive guitar and vocals, swells and morphs into something altogether different, as a synth counter melody slowly floats into reverb-rich vocals and echo chamber drum rhythms.
A Different Kind of Fix (2011)
This album has some of Bombays best work on it without doubt, which is why it deserves to maybe be the album to start with. From the start of the album with the opening to ‘How Can You Swallow So Much Sleep’ you feel as if you’re walking into the clouds as you feel an atmosphere of calm all around you. The duet on ‘Lights Out, Words Gone’ will forever be a favourite of mine on vocals alone, but the simple musicality adds to it. The album doesn’t take on this slow pace as a theme, with Bombay switching it up a few times. Songs like ‘Your Eyes’, ‘Leave It’ and ‘Bad Timing’ are a keen reminder of the bands wilder side.
‘Shuffle’ also features on this album, which will always be among my favourite BBC song. Their joyous sounds built into the track brings an entire audience to life, like putting colour on a blank canvas. A Different Kind of Fix is the bands third album from London’s Bombay Bicycle Club, following the critically acclaimed indie of debut I Had the Blues But I Shook them Loose and the Ivor Novello-nominated sparse folk of Flaws. Recorded in Hamburg, London and Atlanta, A Different Kind of Fix sees the guitars firmly plugged back in for album number three, but added to the mix are synths, sampled loops, layered vocals from all four band members and washes of reverb throughout.
Production-wise, the album reunites BBC with Jim Abbiss–who produced their debut–and also introduces them to Ben Allen (noted for his work with Animal Collective) whilst lead singer, Jack Steadman co-produces throughout. The album Includes first single, “Shuffle”, “How Can You Swallow So Much Sleep” and “Take The Right One”. Towards the end of the song you have the magical call and response of “you gave to me all I know / I will stay here, I will not go’ where Jack lights up the crowd and everything feels perfect. Some may disagree with this choice to make this their best album, but from back to front it’s pretty flawless listen.
So Long, See You Tomorrow (2014)
When this album was released it was 3 years since we heard from the band, so when the release came around it was a major deal. The record saw the band adjust their style slightly, introducing much more musical elements into the songs, operating at one of the highest peaks of their powers. ‘Luna’ was released prior to the record, and I remember it receiving mixed reviews – me included. Yet, when the album was released it was all okay.
The usage of dual vocals and harmonies were beautiful throughout the album, with some perfect vocal contrasted performances on ‘Home by now’, ‘Luna’ and ‘Eyes Off You’. This was released at great time for me, which is probably why it ranks so high, but from start to finish I can semi-confidently say I know all the words and reflects some very special moments . It might seem odd to describe Bombay Bicycle Club as veterans given that nobody in the band is older than 24, but this is their fourth album, which is something of a landmark achievement in today’s blink-and-you’ll-miss-them climate. The Bombay Bicycle Club story is something that isn’t meant to happen any more – a band given the space by their label, Island, to evolve with each release. The album was produced by Jack in the band’s studio in London, making it their most personal record to date. There was always purpose from the beginning to bring everything together for this album, to tell a story from the first track through to the finale with everything interconnecting as a complete body of work.CD – Limited digipack.180 Gram Gatefold vinyl.Boxset – Digipack version of the album on CD, Heavyweight 12″ vinyl, exclusive box-set only 7″, 12×12″ 24-page song and story book.
Everything Else Has Gone Wrong (2020)
From the announcement of the album in late 2019, I already expected a lot and it delivered on most fronts. With some stand out songs like ‘Eat Sleep Wake (nothing but you)’ and ‘Everything Else Has Gone Wrong’ it really defines the sound of the album, as Bombay deviate slightly from their previous record. Yet, there’s a lack of consistency throughout the tracks with some not really hitting, making it feel a little loose. Perhaps this is due to me not having much time with it, but from an early perspective I get the feeling these tracks won’t grow on me as much as their predecessors did. Everything Else Has Gone Wrong is the eagerly anticipated follow-up to the British band’s acclaimed number 1 charting, Mercury Music Prize nominated fourth album, So Long, See You Tomorrow released back in 2014.
The new album was largely recorded out in the US alongside Grammy Award winning producer John Congleton (St. Vincent / Sharon Van Etten / War on Drugs). It features the band’s euphoric new single, “Eat, Sleep, Wake (Nothing But You)”.
Speaking of the record’s title, vocalist/guitarist Jack Steadman explains: “This is an album for anyone who’s ever turned to music in a time of need. It’s about the solace one can get from listening to music or playing music. For me personally it’s about the frustration of not being able to express myself to others, of leaving conversations feeling dissatisfied and misunderstood. Music’s the way I’m able to truly express myself”.
Bombay Bicycle Club have continued to grow, develop and evolve since the release of their debut album, I Had The Blues But I Shook Them Loose, back in 2009 when they signalled their arrival as young teenagers. Rarely in recent years has there been a British guitar band who have the craft and ability to avoid categorisation whilst uniting hundreds of thousands of fans across the globe. With an innate ear for melody and invention, the four-piece are a very welcome return to the fold just as British guitar music makes a timely renaissance.
Overall BBC’s world is at high standard whichever album you choose to listen to.
Former UFO, Lone Star and Waysted guitarist Paul ‘Tonka’ Chapman has died at the age of 66.
The new was confirmed by his family on the musician’s Facebook page, saying that he passed away on what was his birthday. The message reads: “It is with a heavy heart writing this, today is my dad’s 66th birthday. He passed away earlier this afternoon. “He was a brilliant, energetic, loving and most carefree person and the first man I ever loved. Everyone he came in contact with loved him – no adored him. “I will keep everyone posted on his celebration of life. I appreciate everyone’s thoughts and prayers as his family grieves and processes everything at this time.”
Chapman was born in Cardiff on June 9th, 1954, and made his first mark in the music world with Skid Row in 1971, but left in 1972. Chapman joined the legendary British hard rock band, UFO in 1974 playing alongside guitar icon, Michael Schenker. While he was on-stage, shredding through a wall of Marshall amps and slinging a slew of B.C. Rich guitars, Chapman toured with them in support of their third studio album “Phenomenon”. However, his first tenure with the band didn’t last, and Chapman departed the following year to form Lone Star with Kenny Driscoll, Tony Smith, Ray Jones, Jim Matthews, Pete Hurley and Dixie Lee.
Chapman played on their self-titled debut album in 1976 and 1977’s “Firing On All Six”.
He went on to rejoin UFO replacing Schenker. in 1978 and played on the studio albums “No Place To Run, The Wild, The Willing And The Innocent, Mechanix” and “Making Contact”.
Following UFO’s split in 1983, Chapman hooked up with the band’s former bassist Pete Way in Waysted, playing on 1985’s “The Good the Bad the Waysted” and “Save Your Prayers” the following year. Paul WAS a bona fide international rock star — sporting leather pants and great hair. The accent was pretty cool too. Paul had relocated to Melbourne to raise a family with his (then) wife and develop his next band. As a means of making ends meet, in the interim, he taught guitar at various area music stores. Paul remained very much in the game during the ‘90s. with his band Circus Circus had morphed into Ghost with current Nazareth frontman Carl Sentance and Paul was back out playing live again and making frequent personal guest appearances at various music events, all while continuing to give guitar lessons. In the 2000s, he was pursuing new ventures, including an ill-fated Waysted reunion and a stint touring with Gator Country, an all-star southern rock revival featuring original members of Molly Hatchet.
No cause of death has been made public.
Tributes from across the rock world have begun to come in, with UFO saying: “We send our deepest sympathy to the family and friends of Paul ‘Tonka’ Chapman, who died yesterday on his 66th birthday. Paul’s son broke the tragic news on Paul’s Facebook page yesterday evening. R.I.P. Tonka.”
Former Motorhead guitarist Phil Campbell said: “Just woke up to sad news of Paul Chapman passing. He was my main influence on guitar for many years and a brilliant bloke. Thoughts are with his family.”
John Corabi called Chapman a “lovely gentleman and a great guitar player,” adding: “I had the great fortune of meeting him in Philadelphia, and Los Angeles, and he was nothing short of amazing to a young dreamer. 66 is much too young.”
Posting a live version of Lettin’ Go, rock broadcaster Eddie Trunk said: “Listening to Paul Chapman all night. So many great songs he played on and co-wrote in his era. Such a great player.”
To legions of fans worldwide, he was a magnificent rock star — a guitar legend.
The Killers‘ sixth studio album will be called “Imploding The Mirage” The ten track album will features contributions from the likes of Lindsey Buckingham, k.d. lang, Weyes Blood and Adam Granduciel (from The War on Drugs) the newest single from their upcoming new album. This one’s called “My Own Soul’s Warning.” The track features and was co-produced by Foxygen’sJonathan Rado. The new song follows “Caution” and “Fire in Bone.”
you can hear the track ‘Caution’ below (this is the one that Buckingham plays on).
The cover art for “My Own Soul’s Warning” features a painting by the artist Thomas Blackshear depicting the Crow Tribe of Indians, who gave the band their blessing to use the painting. “Artists living across the world inspired by our people and way of life, is a total honour and true testament of the knowledge our people share,“ the Crow Tribe said in a statement. “During this unprecedented time due to the COVID-19 Pandemic as well as the injustice of police brutality protests around the world, our people recognise the need to also help keep our spirits positive.”
The Killers originally announced that Imploding the Mirage would arrive in May, but the album has been delayed over “delays in finalizing the album.” They also debuted the new song “Blowback” on CBS This Morning earlier this year. The Killers’ last LP was 2017’s Wonderful Wonderful.
Chicago trio Dehd will return with their new album “Flower of Devotion”, due out July 17th via Fire Talk. They previously shared lead single “Longer” and have followed that up today with the second single “Flood.” The track’s release comes with a new music video directed by the band’s very own Emily Kempf and Andrew Miller.
“I want nothing more than to be a loner,” Emily Kempf sings early on Flower of Devotion, It’s a startling admission coming from a songwriter who, just a year ago on Dehd’s critically acclaimed Water, wrote eloquently about the joys and pains more than anything, the necessity of love, compassion, and companionship. But then, “admission” isn’t really the right word here, given the stridency of Kempf’s tone. A flood is powerful, uncontrollable, devastating. Water can nourish or destroy.”
The record ups the ante on Dehd’s sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf’s songwriting, even as it captures them at their most strident. Balla’s guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping “ooh!,” pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady’s one-two thumps.
What makes Flower of Devotion so impressive is how its creation seems to have strengthened its creators, both as individuals and as a unit, even as they’ve stared down their own limitations. It’s also striking just how much fun they seem to be having in the process. “It’s okay to be light hearted in the face of despair,” Kempf says. “Flood” is a meditative and atmospheric indie rock offering that carries a great deal of emotional weight and the video perfectly captures this emotive quality visually.
Flower Of Devotion by DEHD out May 22nd on Fire Talk
On 5th July 1968, The Doors celebrated their own independent streak with a performance at the Hollywood Bowl which, like most things they did, has since passed into rock lore (and not just because Mick Jagger was in the crowd).
While parts of it have been released before, this is the first ever vinyl release of the entire show, from intro to, inevitably, The End. Modern technology has found a way to clean up tracks previously considered poorly recorded,
Most of this concert was released back in 1987 but it returns further restored and with a tasty “Hello, I Love You”, the poetry jam “The WASP (Texas Radio And The Big Beat)” and a fruity “Spanish Caravan” added. Never mind all that, though, and never mind that the greatest rock singer ever Jim Morrison could be a bit of a pillock, listening to this all I can think is, “Bloody hell, I wish, I’d seen The Doors live in their prime”. And this is them on essential form – more so than on any of the recentish live albums that’ve come out – the nuanced loud-quiet dynamic, the blues-rock grind, the punk attitude crashing into Ray Manzarek’s stoned organ, “When The Music’s Over” and “The End” indulgently long but utterly seductive, all topped with Morrison’s sleaze-bellowed charisma overload.
Even when he’s rambling about pharaohs like a wannabe beatnik, all it does is make me wish there were more bands now on massive doses of psychedelic drugs attempting to push the envelope. Vital stuff. What shows less is that the band took LSD before going onstage: Morrison sounds relatively cheerful, as if he’d had a big bag of barley sugars. If the musicians were all off their trolleys, one can only assume that rehearsals led to impeccable muscle memory. Ray Manzarek recalled they were “locked in”. Drummer John Densmore had even insisted on a planned set list, to be adhered to (again, something usually anathema to The Doors). There is a crisp, tight zip here, not always evident in the group’s cooed-over canon.
This is a very atmospheric album,you feel like you are at the concert,whilst listening to it. Well i do anyway! Jim Morrison’s vocals are on point throughout,from his crooning to his screaming!He performs his poetry pieces with real passion and verve,these pieces also blend in perfectly with all the songs and music. Manzarek,Krieger and Densmore’s musicianship throughout is very good,as you would expect.
During Light My Fire you can hear firecrackers exploding: it sounds, as they say, like you are actually there, among the 18,000-strong congregation. So from the swing of When the Music’s Over and the sleazy lilt of Brecht/Weill’s Alabama Song, this is a band delivering, knowing they’ve arrived, swaggering without slobbering.
Moonlight Drive and Horse Latitudes are allowed to gleam and the night gathers momentum until that mother of all comedowns, The End, puts a wail in the tail. Love or loathe The Doors, this will polish the windows of your perception.
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.
“Ultra Mono” is the acceptance of now and I and you. We are not the same but behold something together that is true: the moment. I can not control anything but my ideas, my actions and my emotions, I can not control yours. In allowing our art to be momentary, we give ourselves and you the opportunity to perceive who we all are now as truth. It is an engine of all that we can’t control: our race, our age, our class and our past in the form of what we control absolutely – our music, our now.
Joy is still an act of resistance. No more apologies. We will work hard and work honestly. Ultra Mono is joy’s engine and it goes. Well that’s a bit of good news eh? Joe Talbot & his band of merry men are once again back to put the world to rights. ‘Ultra Mono’ is their first album since the brain meltingly good ‘Joy As An Act of Resistance’ – we’re a little bit excited. There are 2 gorgeous versions too – the vortex swirl will look lush spinning on your turntable but we’re particularly taken by the look of the deluxe version with the ‘ultra mono’ catalogue – it looks like it’s going to be rather lovely.
Act fast enough and you can snag a limited print too – an abstract take on the album cover, perfect for framing. far be it for us to tell you what to do, but we’d advise you get your orders in sharpish for the vortex and deluxe editions even if you miss the print – the last two had tasty limited fancy versions that went very fast.
We hope that you feel a sense of strength and purpose from listening to Ultra Mono. It is meant to fill you with the violence love and the rhythm of now. You are now. You are all. All is love.” – Joe Talbot
IDLES – “Ultra Mono” Out September 25th Partisan Records.
On May 1st, 2020 Surfer Blood were due to release “Carefree Theatre”, their fifth studio album, and a return to their first label Kanine Records. Written and recorded in South Florida, its the first record the band has released since John Paul Pitts, the singer and main songwriter moved back to the state. It’s an album not as much looking back as coming full-circle.
The Carefree Theatre in West Palm Beach, FL was the only venue in town for most of the band’s childhood; it’s where kids would go for everything from touring punk bands to community theater productions. It was the kind of experience that would expose a twenty-one year old songwriter to a world outside of Florida, inspire him to start a band, and tour the country.
It was a leap of faith the band took in 2010 with the release of Astro Coast, the band’s celebrated debut. Surfer Blood’s rise was remarkable, from rehearsing in a Florida storage container to mainstage at Coachella and touring with the Pixies. Then after an all-too-commonplace major label disaster, the band rebounded quietly, putting out two adventurous albums and consistently touring the world for over a decade. It’s the kind of resilience and hard-work that that’s admirable in our disposable age, and it looks like the band’s output won’t be slowing down anytime soon: ten years, four full-length records, and a few lineup changes later, the band has re-centered itself with its tightest and most focused songs in years.
Surfer Blood reschedules their album release and tour dates. Carefree Theatre is now out July 17th on Kanine Records and their North American tour dates kick off the following week and continue into Feb. 2021. In the midst of the band’s self quarantine, they’ve started a series of home movies. We’re premiering the first edition for the album’s recent single “Karen” that Flood Magazine called “as much an earworm as anything we’ve come to expect from the group over the years…“
“Karen” is from the upcoming album “Carefree Theatre” out May 1, 2020 on Kanine Records.
Though taken from the sessions for their record, “Joy as an Act of Resistance”, this song from Idles feels distant from the more hopeful messages of the band’s acclaimed 2018 record. After ramping up with chugging, distorted bass lines, frontman Joe Talbot declares in his signature gravelly tones, “Forgive my crippled head / Our revolution’s dead.” Despite the power and fury dripping from every word, the song feels like the aural equivalent of a tiger pacing around the trapping pit in which it’s fallen.
“Mercedes Marxist” is out as 7-inch backed by “I Dream Guillotine” . Ahead of their sold-out US tour Idles“Mercedes Marxist” – pulled from the sessions for their latest LP ‘Joy as an Act of Resistance.’ Frontman Joe Talbot says: “‘Mercedes Marxist’ was a strange beast for us, after ‘Rottweiler,’ it was the first song we wrote for ‘Joy as an Act of Resistance.’ I was pissed off at what I was and where I was: I was sofa surfing on the weekends and spending the weeks looking after my mum. My life balance was way off and this song reflects just how useless I felt. It was me at my worst and without any buoyancy it became catharsis. It was the last splurge from Brutalism so we omitted it. I like it now.”
