WITCHING WAVES – ” Eye 2 Eye “

Posted: February 22, 2019 in MUSIC
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Formed back in 2013 as the brain-child of drummer Emma Wigham and guitarist Mark Jasper, Witching Waves have been one of the most thrillingly brutal acts on the London DIY scene ever since. Now relocated to Yorkshire, and with quite possibly music’s busiest person, Estelle Adeyeri adding some bassy brilliance, Witching Waves have recently announced the release of their third album Persistence, and shared the latest single from it Eye 2 Eye.

Persistence was recorded completely live in just two days at Sound Savers, the East London studio Mark co-ran, and which was such an important hub for so many of the records we cover on this site. As the title would suggest Persistence, is in some ways a record about the power of carrying on, a record about change, distance and making things works: perfectly captured here on Eye 2 Eye. The band have described the track as, “an ode to conflict”, that energy matched in the typically frenetic playing, three minutes of breathless, guitar riffing, driving bass and quite possibly the most thrilling drum sound we’ve ever heard. Emma and Mark share vocals throughout, breathlessly spitting out lyrics, barely giving them time to register, only revealing themselves on repeat listens, “when did we decide to talk about it? how do we begin to talk about it?” The energy, the drive, the beautiful, brutal noise of it all, Witching Waves are everything we want in a band, and have never sounded better.

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From Witching Waves new album, Persistence out 5th April on Specialist Subject Records.

STEPHEN MALKMUS – ” Rushing the Acid Frat “

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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Stephen Malkmus has shared an arch, psychedelic new video and song. That track is “Rushing The Acid Frat,” the second single from his upcoming electronically-tinged album Groove Denied, which was previously shelved by Matador Records. His last full-length was last year’s Sparkle Hard with the Jicks. We shared Groove Denied’s last single, “Viktor Borgia” earlier this year.

The slinky Robert Strange- and James Papper directed-video for “Rushing The Acid Frat” portrays a cartoon version of Malkmus, front-and-center, sauntering around an acid-view of Los Angeles locales. Among his stops, Malkmus drops into Koreatown and the Hollywood Forever Cemetery. A whole cast of anthropomorphic animals and objects make cameos as well.

From the new album, ‘Groove Denied’ out March 15th.

FUR – ” Angel Eyes “

Posted: February 22, 2019 in MUSIC
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Brighton quartet Fur have been delivering ’50s and ’60s-influenced pop songs with a sanguine sheen and toe-tapping beat for a few years now. They’ve released six singles to date and their self-titled debut EP is coming out on Feb. 14 via Nice Swan Records. Their recently highlighted their latest single, “Him & Her,” praising frontman Will Murray’s jaunty croon as well as the band’s rollicking guitars and infectious rosiness. Though retro pop and doo-wop are both at play here, their melodious songwriting could easily charm listeners from any decade.

Nice Swan Records, one of the country’s most exciting new labels and landing pad for early releases for the likes of Sports Team, Pip Blom and Sweaty Palms, today announce their latest offering – ‘FUR’, the debut self titled EP from Brighton-based quartet FUR.
The EP, lead by the hook-laden ‘Angel Eyes’, is a collection of warm, nostalgia-inducing yet fresh sounding songs from a band truly coming into their own.

Out on 14th February 2019.

Band Members
Murray/Zwaig/Tav/Flynn

The DOORS – ” In the Coliseum ” Seattle Washington 5th June 1970

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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The Doors’ fifth album, Morrison Hotel, released in February 1970, was seen as a return to form after the critically mauled (but commercially successful) Soft Parade from the previous year. A few weeks before the record’s release, the band set off on their “Roadhouse Blues Tour”, playing across the US, and certain shows in Canada – planned Japanese dates were cancelled during this period – before, on 5th June, performing at the Seattle Coliseum in Washington State’s largest city. Putting on a dynamic but amicable show with Jim Morrison in good spirits, conversing rather than taunting the crowd (albeit somewhat cryptically at times), this rarely heard concert, recorded for FM radio broadcast at the time, proves that The Doors remained a force to be reckoned with, a year from their demise following the death of The Lizard King in July ’71.

This is the first concert taped by Doors road manager Vince Treanor. Vince used a Sony TC-630 stereo tape recorder (a gift from The Doors) running at 3 3/4 ips with a pair of AKG-D1000E cardioid microphones placed on either side of the stage to capture the audio from the vocal and instrument amps. Jim is drunk for the show and interacts quite a bit with the audience. Interesting! What always struck me about this show is how TENSE it sounds. Hecklers get worse and worse throughout the show, Date: June 5th – 1970

VAMPIRE WEEKEND – ” Harmony Hall “

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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Vampire Weekend at Lollapalooza music festival photographed by Koury Angelo in Chicago, IL, USA on 04 August, 2018 for Rolling Stone.

“In some ways [our first three albums were] like kind of one massive period of obsessing, making music, touring, all those things,” Vampire Weekend frontman Ezra Koenig has said. “I think now for the first time in a long time I kinda feel like, a little bit more relaxed. Like, ‘Yeah, we’ll definitely make a fourth album.'” Details are still scant, but the indie rock foursome’s leader revealed that he wants their fourth album to “feel like a new era.” He also said that discarded songs from the Modern Vampires sessions are among the tracks being considered for the as-yet-untitled project.

The NYC outfit recently returned with the joyous new track to launch their upcoming album, ‘Father Of The Bride‘. Ezra Koenig and co. have also announced a lengthy US tour, along with a summer date in Dublin. Now, the group have shared the colourful new visuals for their comeback tune.

The ‘Harmony Hall’ video sees Vampire Weekend cooking up pancakes as a snake lurks around their vibrant kitchen. Later, we see the guys perform in a candlelit room, backed by a dazzling Catherine wheel firework.

Harmony Hall/2021 available everywhere now

GANG of YOUTHS – ” Let Me Down Easy “

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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Australian band Gang of Youths have been getting both critical and commercial acclaim Down Under with an absolutely fantastic second album, ‘Go Farther In Lightness’, leading them to sell out pretty much every venue they play in Oz. for some reason their success doesn’t seem to have reciprocated over here in the UK akin to how successful DMAs have been, but recent radio play for their single ‘Let Me Down Easy’ is sure to bring them to the attention of the wider public.

The first music I heard after landing in Austin was a cascade of metallic-guitar harmonics, cut into declarative power chords and shot over breakneck hard rock as if Mogwai had taken off at the speed of Blue Öyster Cult. Then singer-guitarist David Le’aupepe took the noise to a higher plane of debate with his earnest, preacher’s cry in “What Can I Do If the Fire Goes Out,” an anthemic knockout from Go Farther in Lightness, Gang of Youths’ second album and an award-winner in their native Australia last year. The band was founded in 2012 in Sydney, where members were attending an evangelical church, and there was an air of the early, brazen U2 in “Atlas Drowned” and “Just Say Yes to Life” – but with more guitar-drums bedlam, razing feedback and sly classic-rock touches like guitarist Joji Milan’s Queen-like skids in the latter song. Gang of Youths played another, longer set the next evening, opening up their songbook and spreading the firepower. But there was a striking sense of hurry and mission to their four-song day-party blitz at Sidewinder, as if their lives and our spiritual fates depended on the connection. Le’aupepe introduced “Just Say Yes to Life,” with a reference to his father, who is ill with cancer. The singer spoke about the fear of impending loss and the inspirational lesson that has come with it. “He lived a life and said yes,” Le’aupepe declared. “So don’t fuck around. Just say yes.” The music followed with affirming force.

Music video by Gang of Youths performing Let Me Down Easy (Audio). (C) 2017 Mosy Recordings under exclusive license to Sony Music Entertainment Australia Pty Ltd

FIDDLEHEAD – ” Springtime and Blind “

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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One listen to Springtime And Blind may have you loving the raw sound…quite unpolished indie rock/grunge.  Fiddlehead’s debut album is not punk or hardcore in a traditional sense, but it’s played by people from those worlds while translating the spirit of those scenes. Featuring Pat Flynn of Have Heart on vocals, the record sees him stretching his vocal range further than ever, as he sings almost solely about the death of his father in ways that are evocative but never cloying. In a scant 24 minutes, Fiddlehead makes the kind of music that falls somewhere between post-hardcore and indie rock, finding ways to take songs about uniquely personal experiences and transform them into cathartic anthems. And really, that’s what the best hardcore music has always done.

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The UNDERGROUND YOUTH – ” Montage Images Of Lust & Fear “

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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The bands haunting post-punk melancholia recalls the abrasive banshee-like noise of The Birthday Party and Suicide on the bands 9th album.

New Single From The Underground Youth “it feels like an accurate portrayal of the band live and you can almost envisage the singer squirming on the floor Iggy Pop circa Raw Power style as the track builds in intensity.

The latest The Underground Youth single ‘Last Exit To Nowhere’ from their upcoming album “Montage Images Of Lust And Fear.

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Releases March 29th, 2019

HAND HABITS – ” Placeholder ” Best Albums Of 2019

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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Meg Duffy’s music seems to exist in miniature, but it’s not for brevity or lack of complexity. Just the opposite, in fact: Recording as Hand Habits, Duffy pays scrupulous attention to detail in songs that function like intricate dioramas.

On Placeholder, the singer (who identifies as non-binary and uses they/them pronouns) contemplates the fragility of human relationships and the hard-to-stomach reality that many of the people, experiences and places we’ve loved are only stepping stones on a journey of self-discovery.

“A big aspect of my songwriting and the way I move through the world depends on my relationships with people,” Duffy writes in a statement about the album. “The songs on Placeholder are about accountability and forgiveness. I don’t fictionalize much.”

After a string of bedroom demos made their way to Bandcamp in the early 2010s, Duffy became a fixture on a burgeoning Hudson Valley DIY scene alongside acts like Florist and Bellows. (Duffy was raised in Albany and attended college in Schenectady.) With momentum building, they chose to place Hand Habits on hold, leaving the Northeast for Los Angeles to play guitar with songwriter Kevin Morby’s live band. After several years of touring, Duffy signed to indie label Woodsist and, in 2017, released Wildly Idle (Humble Before the Void), a tender, captivating solo debut.

A gorgeous progression from Wildly Idle, Placeholder captures Duffy’s transfixing intimacy in elevated form. While their earlier work was entirely self-produced, Placeholder was recorded at Justin Vernon’s Wisconsin studio. Duffy’s vocals find new confidence amid gentle guitar strumming and warbling pedal steel, blending into a haze of dreamlike Americana. These songs evoke waves of warm, pop-driven nostalgia, with equal doses of melancholy and optimism.

The album’s title track captures the musings of someone scorned but not dejected. Duffy displays an adept ability to see their own duplicity, never resolving to pin blame on someone else: “Oh, but I was just a placeholder / A lesson to be learned / Oh, but now you’re just a placeholder / For someone wasting time.”

In “yr heart [reprise],” Duffy sings of a phone call to a distant lover with an almost Patsy Cline-like lilt: “And you are far but not that far / I can feel you push your fingers / Through the fabric of all my thoughts.”

The record’s furthest sonic wandering point arrives in a minute-long brass interlude in “the book on how to change part II.” Duffy leaves us with a proverb that doubles as a euphoric moment of clarity: “The book on how to change / Wasn’t written in one day / The book on how to change / Never taught me anything.”

The FLESH EATERS – ” I Used To Be Pretty “

Posted: February 22, 2019 in CLASSIC ALBUMS, MUSIC
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They were started in the fall of 1977 by punk poet Chris Desjardins, a singer known for morbid lyrical themes. Their first gig was December 21st, 1977 at The Masque in Los Angeles. Musicians in various Flesh Eaters line-ups have included Stan Ridgway (Wall of Voodoo), John Doe (X), DJ Bonebrake (X), Dave Alvin (The Blasters), Bill Bateman (The Blasters) and Steve Berlin (The Blasters, Los Lobos). Considered by many to be a precursur of Death Rock, their music was a pastiche of rockabilly, road-house blues, punk rock and jazz.
The Flesh Eaters initially broke up in 1983. Desjardins performed with his new band, The Divine Horsemen until 1988. In 1989 Desjardins recorded an LP with the one-time group Stone-By-Stone. Shortly after this they changed their name back to The Flesh Eaters. They continued to perform on the west coast, ultimately recording two albums. They discontinued performances in the Spring of 1993. Since then, Desjardins has performed intermittently with a variety of musicians under this name. The most recent Flesh Eaters album Miss Muerte was released in 2004 on Atavistic Records. This label has also reissued “No Questions Asked” & “Hard Road To Follow”.

In February 2006 it was announced that the original Flesh Eaters would perform several live shows. This particular line-up of The Flesh Eaters had not played together since the Spring of 1981. John Doe and DJ Bonebrake from X, Dave Alvin and Bill Bateman from The Blasters and Steve Berlin from Los Lobos were scheduled to appear for these shows.

The second single from the Flesh Eaters forthcoming album “I Used To Be Pretty” is “My Life To Live”, an updated recording of the song that originally appeared on their 1982 album Forever Came Today

The Flesh Eaters, Los Angeles’s unconventional “supergroup”, reunites classic 1981 lineup of Chris D, Dave Alvin, John Doe, Bill Bateman, Steve Berlin, and DJ Bonebrake for their first new recording in more than 35 years. Ghost Cave Lament is a new song written by Dave Alvin and Chris D.

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