Two years ago, No Age returned after a five year stretch without releasing a new album with the excellent Snares Like a Haircut. Alongside their newly reconvened independent status in signing with the truly autonamous Drag City Records, their fifth full-length effort heard Dean Spunt and Randy Randall putting together the best of their scratchy lo-fi ethos with enriched fever dreaming throughout their soundscape that made for a deliriously, caffeinated binge of art punk. A return to form it was, but without rehashing the past, if you will.

It’s not going to take another half decade to get new No Age, thankfully. This June, the heroes of the Los Angeles Smell scene era will return with their sixth studio effort Goons Be Gone. It’s being touted as their most direct statement yet, and that’s not a bluff when listening to its leadoff listen “Turned to String”. The hook-concentrated listen swirls in a woozy chug-along of thick-riffed wave riding and sunspot synths looping their way into the static. “But I already know too much / Not better now,” Spunts reflections wane into the sky, though this listen proves otherwise.

http:/

No Age’s latest and greatest, Goons Be Gone, is finally out! Effortlessly raw and extravagant in one practiced swoop, Goons Be Gone sees No Age set their live/bedroom internal clock to get out early into a glorious wind-tunnel of naked beats and sunbaked guitars, forming a wave from which they hang eleven tunes.

No Age is Randy Randall and Dean Spunt.

“For this series of paintings the idea was to create pictures that would not be misinterpreted or misunderstood by me or anybody else.” – Bob Dylan about The Beaten Path

No photo description available.

 

Image may contain: sky and outdoor

Image may contain: sky and outdoor

Very pleased to release our new singles club release “The Gold Room” for Bandcamp No-Fee Friday with cover art by painter Chris Johanson! All sales from today will also go directly to the Black Resilience Fund: The Woolen Men, songs were written by singer and guitarist Lawton Browning — a definite change of pace from the collaborative process the Portland lo-fi indie rock trio usually works with when writing new material.

Musically, The Woolen Men are brainy and loose post-punk indie rock, Browning’s self-taught guitar playing adding bursts of noise and angularity, with grooves both awkward and infectious. 

“I picked up a guitar like most disaffected, bored teenagers when I was about 13,” Browning says, but lessons didn’t stick. “I have a very weird style,” he says, but the gaps in his technique give Woolen Men’s sound a unique cast. In the studio, the band records live with no multi-tracking, applying the notion of “first thought, best thought” to their music.

“With a vocal take, if it’s not there in the first one to three takes you need to go back and rework what you’re doing,” Browning says. “More often the not it’s the first take that turns out to be the best one. We’re not interested in slaving over the songs. It’s more about them feeling right.”

http://

2nd Release in the Woolen Men singles club!
Released June 5th, 2020
Piano, Voice – Lawton Browning
Bass – Alex Geddes
Drums – Rafael Spielman

 

Image may contain: 3 people, people standing

Inspired by a painting in the Imperial War Museum, The Blinders have shared their new single and video, “Mule Track”, the latest to be taken from their upcoming album Fantasies Of A Stay At Home Psychopath, out on 17th July via Modern Sky UK.

A brooding blend of driving guitars and distorted vocals, the track weaves between explosive crescendos of volatile intensity and woozy passages which plunge into a dark and ethereal ambience, before igniting once again with blistering intent.

The darkly surreal video matches the raw, frenetic energy of the song perfectly.

The Blinders announced their new album, “Fantasies Of A Stay At Home Psychopath”, A dark blues-waltz underpinned by propulsive bass and evocatively prosaic lyricism, the track straddles the lines between ode and lament while addressing life’s confusing crossroads. The track is accompanied by an arresting video, which cuts between the band performing and wandering the atmospherically bleak landscape.

The Album will be the follow-up to their critically acclaimed debut album, “Columbia”, released in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, “Fantasies Of A Stay At Home Psychopath” is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.

Taken from the album ‘Fantasies Of A Stay At Home Psychopath’. Out July 17th 2020.

Image may contain: 4 people, stripes

The Jacques have released their new EP, “Born Sore”.
Featuring previous singles Kiss The Pharaoh, Alka-Seltzer and I Never Want To Be Your Boyfriend as well as the newly released title track, the EP is an infectious sonic journey.
“I’m pretty sure Born Sore was the first song we wrote with Will and Harry, so in a way the first song we wrote as this band,” explains singer Finn. “It’s really quite a dark piece of music about birth, fertility and original sin. There are hardly any lyrics actually – it’s more a big theatrical construction than a song. Of course, there is still some tongue in cheek though – “I’ve got two rubber toys, and they’re scaling Jacob’s Escalator” nearly got me in trouble with a producer once.”
Weaving between gritty, distorted, punk influences, chaotic instrumentation and lush dream-pop, and tied together by unique vocals, inventive musicality and evocative lyricism, the EP sets the scene for exciting things to come from the band.

The release comes ahead of an extensive UK headline tour in March, which sees them play an 18-date run of shows starting at Manchester’s Night & Day Café on the 1st, and including a show at The Victoria in London on the 20th. The band have also announced a number of supports, including 45ACIDBABIES and DAMEFRISØR, with full dates and details below.
Having established a devoted following in both the UK and Europe since their formation five years ago, particularly in France where they are true indie-heroes, the band have taken their time evolving and crafting new material.

The Jacques  “Born Sore” Ep available through Modern Sky Records

No photo description available.

Last year, Indiana based songwriter Kevin Krauter recorded his debut EP while attending school in Muncie. The songs were a collection of old demos thrown together into a six-song EP for a friend’s semester project. A year later, the same friend approached Krauter with the idea for another six-song project. This time, Krauter had been writing new songs over the past year with the intention of releasing them together on an album. What resulted is a cohesive collection of songs that range from a multitude of influences from bossa nova to Americana. Each song is born from a different emotional/personal background, but they each follow a theme of change and growth. Using his solo work as an outlet for non-Hoops material, Changes is Krauter’s first attempt at writing and recording a set of songs that flow together thematically while maintaining their own distinctive sound and feeling. Changes was released on December 2nd on Winspear & Warm Ratio.

http://

Originally released December 2nd, 2016

All songs written and performed by Kevin Krauter with Keagan Beresford (electric piano/organ on tracks 1 & 5 and electric guitar on track 6) and Adam Jefferies (trumpet on tracks 1 & 2).

Image may contain: 3 people

This Deluxe remastered edition of Giant Sand’s excellent 1991 record boasts a second disc featuring the Mad Dog studio sessions prior to the album’s release.
“Ramp” was the second of three stellar albums released by Giant Sand at the beginning of the ’90s. It was preceded by Swere and followed by “Center Of The Universe”. Excellent material and sympathetic, energetic playing unify the trio.
Leader Howe Gelb’s songs can be anthemic (“Romance of Falling”), or can quietly celebrate small and delicate moments (“Wonder”). Guest Victoria Williams’ harmony vocals on the former make for a bracing mix. Band friend Pappy Allen sings “Welcome to My World,” giving an impassioned commitment to every phrase that is mirrored in the band’s supple support. Surprises are to be found within almost every song, as well as in the construction of the album as a whole, which follows its own sort of hallucinogenic logic. This album and its two bookends make perfect starting points.

A Deluxe remastered edition of Giant Sand’s 1991 album ‘Ramp’ with a second disc featuring the Mad Dog sessions from earlier that same year.

“Convertino’s brush-work and Burns’ upright bass provide the perfect foundation for Howie Gelb’s parched voice and chaotic guitar, and guests include Rainer, Victoria Williams and country veteran Pappy Allen. It’s one of Giant Sand’s strongest and most complete albums.” The Quietus

Featuring piano lounge music for an off-world colony interrupted by an onslaught of guitar when needed, it’s light and dark and the better for it, a musical journey on a road less travelled. With Gelb’s lyrical invention to the fore: “His thoughts unfold in long, rolling sentences that don’t always follow conventional rules of grammar or syntax.” The Quietus

The Tucson sound at its very best. “The second of three stellar albums released by Giant Sand at the beginning of the ’90s, excellent material and sympathetic, energetic playing unify the trio.” AllMusic

Giant Sand ‘Ramp’
Double Black vinyl LP, Gatefold sleeve

recordstore day

Image may contain: 6 people, people standing

The burden of great expectations weighs heavily on American Aquarium leader B.J. Barham. He worries about overcoming the addiction-plagued ghosts of his gene pool, the small-town strictures of his home and the toil of the road. He doesn’t want to let down his bandmates or fans, his wife or family. These troubles define his lyrics, and for the first time, he sings as though he’s trying to be no one but himself. Aided by a team of imaginative producers, the band steps up, wrapping his words in a sort of art-country glow that’s afraid neither to be simple nor sophisticated. For years, the road-loving American Aquarium has been a popular, club-filling band; “Lamentations” is the first guarantee they can be a great one, too. Absolutely a heart-crushing, beautiful songs!!.

American Aquarium have always been great at catering to both the outlaw and pop side of the alt country spectrum. Lamentations takes it to the next level in terms of song writing, heartfelt relevance, and anthemic hook. The production is magnificent and BJs vocals have never sounded so crisp and gritty
released May 1st, 2020

Produced by Shooter Jennings

http://

Members: BJ Barham-Vocals/Rhythm Guitar, Ryan Johnson-Lead Guitar, Whit Wright-Pedal Steel, Bill Corbin-Bass, Kevin McClain-Drums, Colin Dimeo-Lead Guitar

All songs written by BJ Barham
American Aquarium Music

Image may contain: 1 person, beard and text

What a deliriously delightful journey through American landscapes of sounds, images, cultures, people, powers. How sharp, intelligent and fun is your reading of the world. “You ain’t big” it’s a treat of intelligence and grooviness. And yes, dear Rufus, about the present moment in America (and all over the world), we can’t change what we aren’t aware of and that’s all about it what we are going through.

My new single “You Ain’t Big” is out now! I’m poking fun at myself, yes, but really the music industry in general. It’s straight to the crux of the matter, in terms of being an American artist in particular. The fact is that if you can’t get an audience in the Rust belt or the Bible belt or the Sun belt, you’re not considered successful. In other words, if you can’t get belted, you ain’t big. As we all know and are experiencing so deeply at the moment, America is a very divided country and if we are not able to bridge the divide, the abyss is just going to get deeper and deeper. We’re just over a month away from the Unfollow The Rules album! There’s so much more that I can’t wait to show you,

Rufus Wainwright – You Ain’t Big

Bright Eyes, photo by <a href="http://shawnbrackbill.com/">Shawn Brackbill</a>

Conor Oberst were coming to New York, L.A., England, and Japan, Bright Eyes signed to Dead Oceans for a new album and then announced their first live performances in more than nine years. Conor Oberst was about to play England’s End of the Road festival festival in September. befor the lockdown happened.

Dead Oceans co-founder Phil Waldorf said in a press release, “Bright Eyes is not just a formative artist for me personally, but for countless people who work at Dead Oceans. To get to work with a band that is part of our own origin stories in falling in love with music is the rarest of privileges. We are thrilled to be part of another great chapter in Bright Eyes enduring legacy.”

Bright Eyes’ last studio album was 2011’s The People’s Key. Earlier this month, the group launched an Instagram account, posting a mysterious teaser video. They’ve also shared images of posters plastered on city walls via their Instagram stories. Conor Oberst, Mike Mogis, and Nathaniel Walcott signed to Dead Oceans and have been recording, with intentions to release new music this year. The band have also shared a teaser video featuring them recording in the studio with an orchestra.

Their shows were to include a stop at Dorset, England’s End of the Road festival, There has been speculation that there might be more in the works from Bright Eyes this year after the band popped back up on social media recently.

Since Bright Eyes went on hiatus, Mogis has kept busy as a producer and Walcott has worked as a film composer. Oberst’s punk band Desaparecidos also reformed for 2015’s Payola.

“Persona Non Grata” features Conor Oberst (vocal, piano), Mike Mogis (bajo sexto), Nathaniel Walcott (Hammond organ, electric piano), Macey Taylor (bass), Jon Theodore (drums, percussion), Joe Todero (bagpipes), Malcolm Wilbur (bagpipes), Joe Fuchs (bagpipes), and Susan Sanchez (vocals).

It is produced by Bright Eyes, engineered by Mike Mogis with assistance from Adam Roberts. Mixing by Mike Mogis. Mastering by Bob Ludwig.