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Indoor Pets (formerly known as Get Inuit) will check boxes for those who love classic Weezer but cringed at their recent attempts at relevance, as well as those who prefer some extra sugar in their indie-rock tea. The British quartet are set to release their debut album, Be Content, on March 8th via Wichita Recordings. With vibrant guitars and frontman Jamie Glass’ high-pitched wails, tracks like “Hi” and “Being Strange” prove they know their way around a syrupy pop hook. It’s not exactly revolutionary to pair angsty lyrics with bubbly pop melodies, but one thing Indoor Pets can claim for themselves is Glass’ distinct, sugary pipes, cheery hooks that are anything but flimsy and riffs that add just enough biting clamor to counteract their highly carbonated pop.

Taken from the debut album ‘Be-Content’.

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Laura Jane Grace is an activist, author and musician best known as frontwoman of the iconic Florida punk band Against Me!. Grace set that project aside in 2016 to focus on a solo endeavor dubbed Laura Jane Grace & the Devouring Mothers. The Bloodshot Records signee has a more intimate, singer-songwriter feel yet maintains LJG’s signature howl and kinetic punk energy. Watch Laura Jane Grace & the Devouring Mothers live performance at Lizard’s Liquid Lounge.

Band Members
Laura Jane Grace – Vocals and Guitar
Atom Willard – Drums
Marc Jacob Hudson – Bass

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Image  —  Posted: March 1, 2019 in FESTIVALS, MUSIC
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Jim Gordon has played drums on hundreds of hit records, with artists ranging from the Beach Boys to Tom Petty, George Harrison to Hall & Oates to Linda Ronstadt. But you won’t find any gold records hanging in his place of residence: For more than three decades now, Jim Gordon has been locked up, for the crime of fatally stabbing his own mother. His story is one of the great tragedies of the rock world.

It happened on June 3rd, 1983. Gordon attacked his mother, Osa Marie Gordon, first with a hammer before grabbing the butcher knife. He later claimed that voices in his head told him to kill her. Sentenced to 16 years to life in prison, he has repeatedly been denied parole; at one hearing he reportedly refused to admit that his mother was even dead. Diagnosed with schizophrenia after his conviction, he remains, according to prison authorities, a threat. He currently spends his days and nights in the California Medical Facility in Vacaville, California.

It didn’t start out that way for Jim Gordon, of course. Born in July 1945, and raised in the San Fernando Valley in Los Angeles, Gordon was awarded a music scholarship at age 17 and began his professional drumming career backing the Everly Brothers. His credits quickly mounted: the Beach Boys’ Pet Sounds, The Notorious Byrd Brothers, Glen Campbell’s Wichita Lineman, Van Dyke Parks’ Song Cycle, John Lennon’s Imagine, CSN’s debut and recordings by Harry Nilsson, Randy Newman, B.B. King, Carly Simon, Alice Cooper, Traffic, the Monkees, Barbra Streisand, Jackson Browne, Merle Haggard, on and on and on.  At the height of his career Gordon was reportedly so busy as a studio musician that he flew back to Los Angeles from Las Vegas every day to do two or three recording sessions and then returned in time to play the evening show at Caesars Palace.

You can hear him on Ike and Tina Turner’s “River Deep, Mountain High,” Nancy Sinatra’s “These Boots Are Made for Walkin’,” Nilsson’s “Jump Into the Fire” (that drum solo!), Steely Dan’s “Rikki Don’t Lose That Number,” Gordon Lightfoot’s “Sundown” and Mason Williams’ “Classical Gas.” He was, by any measure, a first-call drummer. it’s fairly amazing list of tracks.

Listen to George Harrison’s “What Is Life,” with Jim Gordon on drums. His greatest fame came via his involvement with Eric Clapton, who hired Gordon as a member of Derek and the Dominos, the supergroup put together by the guitar great in 1970, basically purloining the musicians who’d been working with soul-rockers Delaney and Bonnie. Gordon can be heard on the Dominos’ mega-popular album Layla and Other Assorted Love Songs and performed with the band in concert during its brief time together. He is credited as the co-author (with Clapton) of the classic title track “Layla” and created the song’s familiar piano coda.  In later years, Bobby Whitlock claimed that the coda was not written by Gordon: “Jim took that piano melody from his ex-girlfriend Rita Coolidge. I know because in the D&B days I lived in John Garfield’s old house in the Hollywood Hills and there was a guest house with an upright piano in it. Rita and Jim were up there in the guest house and invited me to join in on writing this song with them called ‘Time.’... Her sister Priscilla wound up recording it with Booker T. Jones.… Jim took the melody from Rita’s song and didn’t give her credit for writing it.

(The group’s members also appear on George Harrison’s All Things Must Pass, also from 1970.)

That same busy year of 1970, Gordon toured with Joe Cocker’s heralded Mad Dogs & Englishmen troupe and played on Dave Mason’s Alone Together album and much more. But it didn’t take long for things to unravel for him once that decade kicked in; when he wasn’t in the studio or onstage, Gordon’s demons got the better of him. While on tour with Cocker, Gordon allegedly beat his then-girlfriend, singer Rita Coolidge, in a hotel.

Gordon was also part of Frank Zappa’s 20-piece ‘Grand Wazoo’ big band and the subsequent 10-piece ‘Petit Wazoo’ band. Perhaps his best-known recording with Zappa is the title track of the 1974 album Apostrophe (‘), a jam with Zappa and Tony Duran on guitar and Jack Bruce on bass guitar, for which both Bruce and Gordon received a writing credit (Zappa, when introducing Gordon onstage, frequently referred to him as “Skippy”, because of his youthful appearance).

Although Gordon continued to find work as the ’70s rolled on, with Johnny Rivers, Frank Zappa, Chris Hillman (Gordon was a charter member of the Souther-Hillman-Furay supergroup) and others, his erratic behavior was becoming well known among music business regulars. Misdiagnosed by his doctors, who treated him for alcoholism and missed the schizophrenia altogether, Gordon became increasingly violent as his mental illness took hold of him. By the middle of the decade, it had begun to affect his playing and he lost work.

Prior to his murder of his mother, Gordon reportedly heard her voice in his head, and on that horrible 1983 day he finally let the voices take him to that very dark place. His lawyers tried an insanity defense but the court wouldn’t allow it. He was convicted of murder and sentenced in July 1984. As of this writing he is 73, his future prospects looking dim. As recently as 2018, still diagnosed with schizophrenia, Gordon was denied parole again. He will have another chance in 2021.

Whatever might happen to the man, though, his contribution to rock music should be forever cherished. With but a dim possibility for parole, Jim Gordon is the man rock- and-roll forgot. Except, perhaps, for one brief moment on February. 24th, 1993, when, along with Eric Clapton, he was awarded the rock songwriting Grammy for ”Layla”.

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Known both as a songwriter in her own right, as well as a very talented drummer who’s played with the likes of Tim Darcy and Molly Burch, Toronto’s Charlotte Cornfield caught the ear of many with her 2016 release, Future Snowbird. Some three years later, Charlotte is back with a new album, “The Shape Of Your Name”, due in April. The record was the result of a residency at The Banff Centre, as Charlotte explains, “my initial intention wasn’t to make a record at all”, yet with a batch of songs as good anything in her career to date, let’s be very glad a record was made.

This week Charlotte has shared the latest single from the record, “Storm Clouds”, one of the first songs recorded during the Banff sessions. Featuring backing vocals from Kevin Drew, alongside contributions from a number of other Broken Social Scene Members, the track reverberates around the central repeated mantra, ‘storm clouds, elation, desire, mania, darkness’, described by Charlotte as a personal meditation, it’s a phrase she’s carried with her without ever quite knowing what to do with. Musically, the track has a loosely folky feel, the Lucy Dacus-like guitar line paired with a warm melody that has a touch of Natalie Prass or the aforementioned Kevin Morby. An album recorded over a three year period and numerous sessions,

The album has a more honed studio sound than Cornfield’s scrappier 2016 release Future Snowbird, and for good reason: it was recorded in 5 different sessions over the course of 3 years. The songs are Cornfield’s strongest and most striking to date – contemplative and contemporary, funny and heart-wrenching – and they’ve got that stuck-in-your-head-for-days quality that Cornfield is known for.

The Shape Of Your Name is many ways a tribute to taking your time; on this sparkling evidence, it’s time well spent.

Band Members
Charlotte Cornfield,
Sam Gleason,
Steven Foster,
Ben Harney,

The Shape Of Your Name is out April 5th via Next Door Records.

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And the Kids is a spunky trio who write self-reflective bummer pop jams. Hannah Mohan’s guitar playing is kinetic and aggressive; she bounces between walking scales with fuzzed out, alien tones and ringing out massive chords for the band to contextualize with their heavy-hitting drums and driving bass grooves. The harmonious vocal efforts of Mohan and the band blend to articulate personal revelations sometimes delivered in a round. drumstick between the teeth, playing the kit with one hand and a freakin’ glockenspiel with the other,

Listen to the band performing new tracks here on Audiotree Live.

Session Tracklist: And The Kids perform “I Can’t Tell What the Time is Telling Me”, 2. Kick Rocks, 3. Glory Glory, 4. Picture 5. I Dropped Out

on Audiotree Live, April 8th, 2016.

Band Members
Hannah Mohan, Rebecca Lasaponaro, Megan Miller

Hey, everybody. There are two new Hiss Golden Messenger songs out today: “Everybody Needs Somebody” and “Watching the Wires.”

2018 was a hard year–for myself and, as it turns out, most people that I know–and I was thinking a lot at that time about how to cope with what felt like an unnameable existential crisis: Run for the hills, or hug the nearest stranger? As it turns, I’ve been doing a bit of both. Singing these songs has been helpful to me.

I hope you’ll take a few minutes to listen to them. Maybe they’ll speak to you.

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The single, “Watching the Wires” is out now on Merge Records.

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U.S. Girls document the hypnotic quality of their live show with the intimate new “Time” video. Director Alex Kingswell takes a hands-on approach with the clip, filming Meghan Remy and her massive backing band side-stage during their sold-out performance 2018 at Canada’s Sappy Fest. The camera follows Remy as she dances, sings and steps out to a parking lot during a lengthy instrumental jam.

“Time” appears on the latest U.S. Girls LP, the acclaimed In a Poem Unlimited, which was named in most magazine and bloggers top 10 best album of 2018. Remy aimed to push herself from art-pop into more accessible territory with In a Poem Unlimited. she detailed wanting to make “something that could be played in situations where thinking isn’t usually encouraged.” 

‘Time’ by U.S. Girls, from the acclaimed record ‘In A Poem Unlimited’, out now on 4AD

Loose Tooth Keep Up

With Keep Up, Melbourne three-piece Loose Tooth have inked their impeccable ear for a hook on a fresh sonic palate; the howling guitars of their first EP Saturn Returns peeled back to foreground the striking to and fro of the band’s distinctive vocalists.  That’s three for three – Etta Curry (drums, vocals), Luc Dawson (bass, vocals, guitar, keys), and Nellie Jackson (guitar, vocals) – long time friends with a democratic approach to both songwriting and influences.

Where Saturn Returns was squared in youthful abandon, the band’s debut album is the hangover; recognising a tension between keeping up in a shifting landscape of necessity and staking out your own version of happiness as you wave goodbye to your golden twenties.

Raised on the holy trinity of soul, country and Eddy Current, their debut LP is a living reminder that the B-52’s used to be a punk band and the light hasn’t gone out on the storied shores of St Kilda, Loose Toothhave a new clip for ‘Asteroids’ taken from their most recent album Keep Up.

‘A knack for sunny vocal harmonies, addictive basslines and their own take on the striped, sunlight sound made famous by predecessors like the Go-Betweens.” 4 1/2 stars – The Sydney Morning Herald.

Loose Tooth have a new clip for All The Colours Gone from their debut album

‘All The Colours Gone’ is taken from Loose Tooth’s album ‘Keep Up’ out now:

Anna Burch and Fred Thomas take different roads to disaster on their split 7”

Over the last six years, Anna Burch and Fred Thomas have been peers on similar journeys, navigating the ever turbulent world of self-expression in the form of underfunded indie rock. This kinship has included playing in each other’s bands, collaborating on songs together, informal jams and song sketching sessions, and an honest chain of feedback on each other’s sounds.

Anna Burch and Fred Thomas have a lot in common. They’re both disarmingly witty and intuitive songwriters, both Michiganders, both intent on toying with indie-pop and bending it to their will. And ever since Thomas sent Burch’s demo to Polyvinyl Records two summers ago — attached to a note that read “This is not a drill. You need to hear this” — they’ve been label mates too. During the making of their recent albums, they’d share mixes, drafts, and ideas frequently. The two could count on each other for sincerity and to let the other know what was and wasn’t working, and it was coming from a creative equal dealing with the same questions and confusions.

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The two songs here are behind-the-scenes evidence of that kind of communication; extra material that came from those collaborative moments or an ongoing conversation that helped shape their work. Burch contributes the dreamlike but shadowy “St. Adalbert” a track she wrote and recorded a half-decade ago. In contrast to her often melodically upbeat 2018 debut LP Quit The Curse, “St. Adalbert” comes across forlorn — a song about loneliness in the middle of a crisis. “None of my friends wanna hear it / So I’ll try harder to keep it quiet,” she sings ghostlike in the first verse.

Thomas’s “Parkways” is the breezier-sounding of the two, its jangly guitars floating along on a flood of Burch’s harmonies. Like much of Thomas’s work though, the catastrophe and calamity comes through after a couple of listens. “‘Outside again like a dream without a skull to hold it in,’” he sings at the top. “That was the only thought from those dark days / To survive my slowly eroding mental landscape / The only scrap not soaked through with red wine and dread.” Anna’s harmony parts give it such a soaring feeling, even though it’s a pretty depressive song at heart.

released March 1st, 2019