In conversations over cheap beer my friends and I were discussing what makes us love or hate a song. Our music tastes overlap a lot but there are a few outliers, the most polarizing being Bruce Springsteen. I’m an unabashed fan and by and large, love his whole catalog. I had never really thought about why a song that really grabs me, but as we talked it became clear that the common thread in most songs I like is genuine emotion. For me to really like a song, it has to make me feel something. I need to believe the emotion in the song.

That’s why if you look through my record collection you will see a lot of music with stories or love, loss, addiction, pain, and often even triumph over these things. Tommy Alexander’s ‘Too Many Miles’ would be right at home amidst albums from the likes of John Moreland, Glen Hansard, and Elliott Smith. The sound of Alexander alone with his guitar captures the feel of the loneliness he is singing about. His voice and guitar playing are reminiscent of John Prine. There’s pain in his singing particularly in the subtle use of vibrato that almost sounds like the beginnings of a sob. It’s real emotion rather than an affectation.  Anyone who has ever been far from those you love, can identify with that loneliness. Though the song is about Tommy’s feeling of isolation, we immediately can put ourselves in the song and it becomes our story.  I’m really looking forward to hearing more from Tommy Alexander and for his upcoming album which will be out in summer of this year.

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This song was inspired by the feeling of being a long way from the ones you love, from your home. Here I am feeling a pull towards introspection and self examination, to get more to the root of my own loneliness. It was  ironic because I wrote the song at my Dad’s house over Thanksgiving weekend,  while visiting the house that I grew up in. I left that home, as many do around 18 years old, and since have spent plenty of time missing my family, missing that home, missing some aspect of a childhood innocence.  In this song I found a small piece to the puzzle of my life.  -Tommy Alexander

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Making it as a musician today can require a heavy helping of DIY spirit, and Tommy Alexander has that in spades. It carried the California born musician all the way to Burlington, Vermont, where he founded Jenke Arts, a nonprofit artists’ collective and record label, and eventually all the way back west, where he found a new artistic home (at least for the moment) in Portland, Oregon. Once in Portland, Alexander connected with producer Mike Coykendall, who has worked with a slew of indie darlings, including M. Ward, She and Him Bright Eyes and Blitzen Trapper. Alexander’s creates a unique, infectious indie rock style all his own. His honest and heartfelt lyricism come to life in his songs which will strike a chord with you the very first listen.

Best news I’ve come across for a long time! Triptides are issuing their brilliant Colors EP for the first time on vinyl (Originally released in 2014 on digital/cassette), The band has teamed up with one of the most exciting labels around for some very limited and completely mindboggling custom Vinyl variants.

I’ve said it before, I’ll say it again; Triptides are truly some of the finest purveyors of sunny psych sounds around! Reverbed licks and hazy vocals, snappy drums and groovy basslines, all perfectly arranged into psyched up pop-pearls that lifts your spirits and sticks that smile right on your face. Their sounds are instantly catchy and easygoing, and at the same time inhabits those small melodic variations in the arrangements that enriches their tunes through repeated listening. Goddamn how much I love this bunch..

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While their whole catalogue (counting 7 album + numerous Eps and singles) is a total bliss, this EP contains some of Triptides’ finest moments. Be sure to check it out underneath, 6 sweet’n salty treats to leave you in the sun gazed haze of a lazy sunday afternoon!,  A miraculous EP with great songwriting and solid pop craftsmanship, probably my favorite by Triptides. “Destiny” is the kind of song that sticks in your head for days and days…

Melbourne’s own Salty Dog Records always takes pride in coming up with the sickest custom variants, and the Brunswick East based one-man operation has really set the bar high with this release.

Glenn Brigman – Vox/Guitar/Farfisa/Mellotron/Bass/Drums
Josh Menashe – Vox/Guitar/Bass

Originally released April 29th, 2014

Recorded and mixed by Triptides at Sun Pavilion in Bloomington, IN.

Fake Laugh (AKA Kamran Khan) kicks off 2018 with a luscious double A Side on limited edition 7” vinyl and digital formats via Headcount Records. Following on from the release of his self-titled, debut album last Summer and ready to hit the road in support of Girl Ray on their UK tour, Kam delivers these two very different but equally peachy cuts. The London & Berlin based songwriter once again recruited Theo Verney to help produce the brutally honest love ballad ‘Better For Me’ and the fuzzed up earworm ‘On Loop’ – both offering a fresh take on the personal journey of Fake Laugh.

‘Better For Me / On Loop’ out now via Headcount Records,

After his album received support from 6 Music, BBC and X FM, Kam (touring member of The Japanese House) has wasted no time in getting straight back into the studio to finish these two new tracks. With more releases planned for the immediate future, man like Kamran Khan is on a roll, released April 30th, 2018

Written and performed by Kamran Khan 
Produced by Theo Verney

Reissue alert! There are three formats for Protomartyr’s Debut album “No Passion All Technique” which was arguably one of the best releases in 2012 being re released in early May. The reissue has been long awaited ever since it’s original release, If you know you know, and Protomartyr’s debut is an album you need to know. Out of print basically from the moment it was released in 2012, it’s been but a whisper. Now hear the roar.

Frontman Joe Casey reflected on the album in a statement: My memory is shot, but I appreciate now, looking back, how raw and off-the-cuff it was. There’s tons of mistakes in it and that wasn’t because we planned on it. We still can’t really admit that it’s as good as it is. You never want to say that your first is the best, but I’m happy that the first ended up not being terrible. It gave us doorway to what we’d want to do later.

This  is a Woozy, lovelorn, plaintive, playful, tender, a list of all things. It could be any of them. It could be all of them. All and so much more. Love is never normal but it’s all I wanted us to be. Normal people, together and apart, finding comfort in the small things: a candle on a birthday, the click of the latch on the door when you return with the groceries. Plaintive components of a spellbinding journey, small cogs across the breadth of a relationship, from learning to love, to watching it all fall apart.

Recommended on a whim, I recommend this album with an utmost certainty that this is music for all ears and listens, among my most anticipated albums of 2018 when it was finally released . “There’s Always Glimmer” by Gia Margaret . And I can already say it’s gonna be one of those few albums that will leave quite an inspiring mark . I just love the sound and mood, subtle use of electronic parts, the overall warmth. Just beautiful.

On the surface, Gia Margaret’s music is somber, glistening songs might seem gloomy — especially when her lyrics revolve around alienation, anxiety, depression and memories she wishes would fade already. But as its title suggests, There’s Always Glimmer is about letting slivers of appreciation and light pierce the melancholy. “Birthday” is downright intoxicating, as Gia Margaret’s drowsy voice nestles comfortably against tender guitar lines.

All songs written, performed and produced by Gia Margaret 

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Recorded and mixed by Nicholas Papaleo and Gia Margaret at Inside Voice, in Gia’s bedroom and at Decade Studios Smoke and West recorded and mixed by Doug Saltzman

Additional musicians:
Brendan Losch — additional guitar + backing vocals (2)
John Morton — backing vocals (2), drums (2, 3)
Scott Jacobson — additional guitar (10)
Ivan Pyzow — trumpet (3)
Quinn Tsan — additional vocals (7)
Bob Buckstaff — bass (2, 5)
Nicholas Papaleo — bass (6, 10), additional keys (2, 5, 10)
Molly Rife — cello (4)
Doug Saltzman — drum production (4, 12)
Chris Dye — drum production (10)

Image  —  Posted: March 18, 2019 in FESTIVALS, MUSIC
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bellows

The Rose Gardener, Bellows’ fourth full-length album and the project’s first for Topshelf Records, is a four-part journey through the uncanny valley of deep psychological disorder and pain. Self-recorded over the course of a single winter while Oliver Kalb was living in Woodstock, NY, The Rose Gardener invokes a bright and pastoral landscape of Americana and folk, with lyrics influenced by a strange pairing of Romantic Poetry and deeply modern interrogations of internet pop-culture discourse. The uncanniness of The Rose Gardener comes from the odd pairing of this bright Americana musical foundation with the album’s dark, bubbling substructure of noise, synthesizers, sampling and vocal manipulation that together create a feeling of paranoia and danger around every corner; as if the album’s narrator cannot escape his plummeting into the dark however much its songs push to remain in the bright rose garden of beauty and creation.

This time around, rather than present great coloured skies and vistas, The Rose Gardener feels more pin-pointed, an exploration of what’s directly around us; a world within a world (the proverbial garden), but also lingering dark corners, the parts of our brain we don’t often find ourselves in.

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Musically, The Rose Gardener finds Kalb and co. in similarly stylistic mood to what’s come before, this aforementioned world brought into life through a series of skewed, odd-pop signatures, both light and dark, shaped by the manipulated vocals and the playful and plentiful rhythmic instrumentals that burst into bloom with the most graceful of touches.

The kind of record that feels tenderly consuming when you’re inside of it, and strangely dream-like when you’re not, the new album is another adventurous and emotive collection of songs, earthy and raw but idiosyncratic too; a maze-like allegory of pop songs, full of twists and turns you can’t explain. 

The Rose Gardener is released on Friday, via Topshelf Records

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Give me a minute or three to extol the virtues of The Gotobeds, the modern rock-and-roll sensation that has always sounded like they love to play. Never maligned by having the world’s weight on their backs,

On May 31st, The Gotobeds – Cary, TFP, Eli and Gavin – return to the fray with their third full length album release, “Debt Begins at 30”. The spirit anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds – as Pittsburgh as it gets, the folk music of the Steel City – have more tar for us to swallow. Debt Begins at 30 is an old-fashioned blast furnace and the liquid iron flows freely.

The album’s first single, “Calquer the Hound,” features guest performances by Kim Phuc singer Rob Henry, and Evan Richards of The City Buses. (The album has guests on all eleven tracks) The song has euphony, a sly bridge, plenty of bash, and a spacey outro.

‘Debt Begins at 30’ (Release date: May 31st, 2019)

Amyl & The Sniffers have just made huge impact at the Austin Texas based SXSW Festival, confirming their status as one of the most talked-about bands of the festival, barrelling their way towards the release of their debut album with intoxicating energy, all channelled through the relentless, scrappy charm of Amy Taylor.

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Proudly reviving a Seventies punk they’re far too young to have experienced, Amyl & the Sniffers move at a breakneck speed. Pounding through tunes so quickly, it seems that they’re indifferent to hooks. But they’re not; rather, they’re just impatient to get to the next one. While the Sniffers seem on the verge of falling apart, Amyl prowls the stage, and her restlessness lends the band a coiled energy. At their best, Amyl & the Sniffers sound like Blondie deciding they’d be better off as a dirtbag bar band who dabbled in hardcore. It’s a combination that results in some glorious noise.

Releases September 21st, 2018

Some Mutts (Can’t Be Muzzled) and Cup of Destiny by Amyl and the Sniffers.
7” available through Flightless in Aus and Flightless via ATO in America. Limted to 1000.
Drums- Bryce Wilson, Bass – Gus Romer, Vocals Lyrics- Amy Taylor. Guitar- Dec Martens.

Brothers of Destruction

The Lemon Twigs album “Brothers of Destruction”, is a six-track EP of previously unreleased material.

Released 22nd September, Brothers of Destruction was written and recorded by the D’Addario brothers – Brian (20) and Michael (18) – on their 8-track at home in New York during 2015, not long after recording their debut album, Do Hollywood.  The half dozen songs, most of which already feature in The Lemon Twigs’ searing live shows, will be made available digitally and as a 12” vinyl.

“In the beginning of 2015 we had songs left over from the Do Hollywood sessions, so we decided to record them at home in New York on our 8-track.  Many of you will recognize some of the songs from our live shows.  They’ve changed a lot over the past year, but these are the original versions.  We consider the EP the last chapter of the Do Hollywood era of our group. So enjoy!”