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It’s fair to say that we’re living in one of the most rewarding times ever for power pop fans. From Charly BlisstoKero Kero Bonito, a bunch of current acts are finding the way to merge classic power pop tropes (crunchy guitars with radio-friendly melodies) with a more bubblegum and cartoonist approach that is progressively making power pop less of an all-boys club. With a new album coming out early next year via Father/Daughter Records, you might (and you should) want to add Sir Babygirl to your lists. New Hampshire-based artist Kelsie Hogue is the mastermind behind this project that aims to capitalize the “pop” in “power pop” while adding her own fresh and queer twist.

Her latest single “Flirting With Her” is a true pop gem that pays tribute to female-fronted 90s rock acts like Hole or Liz Phair as much as it does to teenage pop from all eras. In a way, Sir Babygirl feels like the natural evolution of early 2010s acts like La Sera or Best Coast. Whereas those artists brilliantly appropriated garage aesthetics and 60s girl groups melodies while giving them a rather crunchy spin, Sir Babygirl is keeping the “power” in “power pop” while updating the “pop” to keep up with current trends – it would make complete sense to see Hogue collaborating with PC Music. Boasting perfect harmonies and an insanely catchy outro, it could be argued that the last minute in “Flirting With Her” is simply pop perfection. But that would be a disservice to the rest of the song. “Flirting With Her” is pop perfection in its entirety, and after her debut bop “Heels”, it’s also the second killer single we’ve gotten from Sir Babygirl in the past few months. If I had to put my money on it, I’d say there are more of them coming.

“Flirting with her is like butterflies screaming” is a demonic way to open a song and one I back 100%.

Sir Babygirl‘s “Flirting With Her” is taken from her debut album “Crush On Me”, due out February 15th, 2019 via Father/Daughter Records.

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Released in association with our friends at Lost and Lonesome in Melbourne Australia. Monnone Alone is Mark Monnone (formerly of The Lucksmiths) with an assorted cast of friends, buddies, pals, cronies, deadbeats, etc. He is also AUSTRALIAN-FINNISH and visited our studio in HANKO during the summer!

Since settling on a solid line-up of Joe Foley (Aleks & the Ramps), Louis Richter (Mid-State Orange) and Gus Franklin (Architecture in Helsinki, The Smallgoods) the once solo Monnone Alone is now anything but. Though still deeply laden with Monnone’s signature indiepop warble, the band step off in a new direction on ‘Cut Knuckle’, leading the charge on their forthcoming second album Summer of the Mosquito, ‘Cut Knuckle’ is the first single to come from the outfit since 2013’s well-received debut LP Together at Last. Weighing in at just over two-and-a-half minutes, the snappy indiepop banger is a loaded amalgamation of the group’s broad stylistic influences from Hoodoo Gurus to The Kinks; Paul Kelly & the Coloured Girls to Television Personalities, yet holds Monnone’s winsome turn-of-phrase and bruised-but-beautiful melody central to its unique core.

First single from Monnone Alone’s second album Summer of the Mosquito, out in 2019.

The Band

Mark Monnone – vocals and guitar Gus Franklin – drums and backing vocals Joe Foley – bass and backing vocals Louis Richter – 12-string

TY SEGALL – ” Orange Rainbow “

Posted: October 29, 2018 in MUSIC

Ty Segall quietly released a new album this week. During the October 18th opening reception for his art show “Orange Rainbow” in Los Angeles, he sold a limited run of 55 tapes also titled Orange Rainbow. There’s a listing for the tape on Discogs with a tracklist; Segall’s representative verified its accuracy to Pitchfork.

With an Edition 6 of 55 Cassettes. Ty said it was mixed from tapes accumulated over the years on a 16-track. It was released at his art gallery “Orange Rainbow” in Los Angeles showcasing his paintings.

Segall has already released three albums this year—Freedom’s Goblin, an album with GØGGS, and an album with White Fence. A fourth—an all-covers album called Fudge Sandwich—is out this Friday (October 26). He also put out an EP with his band the CIA—a collaboration with his wife Denee Segall and Cairo Gang’s Emmett Kelly.

TY SEGALL AKA LAG EL STY – “ORANGE RAINBOW” 1. Lag El Sty 2. Lawnmower 3.Carpet 4.I Killed Him 5.Big Stuffs 6.Centipede 7. Scene 4 8. Dueling Lords 9. Rainbow Bridge 10. I Killed Him 2 11. Rug 12. Commercial 13. Denty

God? Records

Ty Segall (Miriam Vera Coolmedia/NurPhoto)

The ever-prolific Ty Segallhasreleased two albums in October, taking him up to five in total for the year. “Class War,” a cover of The Dils original, is proof of why Segall heads never tire of him flooding them with new music.

Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output. Covers album includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks.

Fudge Sandwich out 10/26 on In The Red Recordings.

Grace Vonderkuhn is a rock musician based out of Wilmington, DE. Her music combines psych and garage rock aesthetics with a sharp pop sensibility. Vonderkuhn oscillates between heavy riffs and driving melodies drawing influences from bands such as The Breeders, T-Rex, and Autolux. Since releasing her debut EP, which landed a premiere on Noisey and mentions on Pitchfork, she and her band have been playing up and down the east coast, sharing the stage with the likes of Titus Andronicus, Lower Dens, Sheer Mag, Alice Bag and more.

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Band Members
Grace Vonderkuhn: Guitar, vocals
Brian Bartling: Bass
Dave Mcgrory: Drums

Young Jesus

The initially Chicago-based indie rock band Young Jesus released their debut album Home in 2012, and were basically ready to break up not long after that until frontman John Rossiter moved to LA and ended up writing its followup. He says the album is “the product of one of those heavy moments of confusion and depression,” adding, “Essentially, I thought I knew a lot, I realized I knew nothing. Classic angst.”
Home’s followup is called Grow / Decompose, and is out via Hellhole Supermarket . That’s the artwork above, with a picture of Rossiter in drag as one of the album’s main characters, Neil. Three tracks from the new album have been released so far, and a fourth called “Milo” makes its premiere in this post. “Milo” has roots in ’90s slowcore and early ’00s home-recorded indie, and it’s propelled by the kind of anthemic melody that feels instantly familiar without sounding like anything in particular.

“Gulf” will appeal to fans of Built To Spill and/or people looking to fill 20 whole minutes with glacial emo music.

Young Jesus – Gulf From the album The Whole Thing is Just There – Out Now!

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There’s a new Jeff Rosenstock record. Jeff Rosenstock wrote Post- in a double-wide trailer in the Catskill Mountain town of East Durham, the snow-covered hills surrounding him like a landscape of blank pages. The serene, empty space was a big change of scenery for a guy who bounces around the world like a human comet, playing super-catchy, super-devastating shout-alongs to dedicated fans around the world. After playing with Bomb the Music Industry! for a decade, Jeff switched gears and produced records for The Smith Street Band, Dan Andriano, Mikey Erg and more, and started putting out records under his own name. After the release of Worry, things started to get way more intense for Jeff and his band. They made their first TV appearance on Last Call with Carson Daly, USA Today called Worry the number 1 album of 2016, and the band took to the road, touring endlessly for the past two years, taking breaks only to record new albums. Written in the days after the 2017 Presidential inauguration, Post-‘s lyrics get (really) heavy but the melodies are so catchy and the builds are so big and bright that the end result is more of a rallying cry than a surrender.

The album was recorded in a one-week, 86-hour marathon recording session with Jack Shirley (Joyce Manor, Deafheaven) at the Atomic Garden in East Palo Alto, CA. “The four of us stood in a room without headphones on and just played the songs live to tape, and after that we had some friends (Dan Potthast, Laura Stevenson, Chris Farren, Pup) fill out some of the sound,” So, if the record feels even more unifying than usual, like a party that turns into a sleepover that turns into egg-n-cheese sandwiches on the beach that turns into a protest march that unites a gang of buddies for eternity, well, maybe that’s why.

“9/10” is taken from Jeff Rosenstock’s new album, Post-, out now!

“Pastel Blues” is the new single – the band’s Cameron Wade says “it’s the least serious thing we’ve written in years. It’s a playful exploration of the phrase on repeat in the chorus, “wondering how it feels bad to be good all the time”. It’s a really dumb set of words, but a funny thing to think about in depth. So we’re exploring that with this kind of wandering commentary, reconfirming that life would be super bland if we only ever did what we were told we should. I think you can almost feel the music taking a few steps back and lazily fall into line with the idea.”

I just love the spirit and the pace of this poppy groover. C’mon let’s all go out, swing in the streets and save this troubled world, at least today…The Attics claim it’s the least serious thing they have written in years and the whole song focuses around the phrase “wonder how it feels bad to be good all the time” and is an exploration of those words. ‘Pastel Blues’ is wrapped up in a nice little package, measuring three minutes and ten seconds long, containing catchy lyrics, cool guitar sounds and a heavier break-down towards the end.

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Written and performed by The Attics

Austin-based band Moving Panoramas will release their highly anticipated sophomore album In Two on February 22nd via Modern Outsider. The album can be pre-ordered now on CD and LP at the Modern Outsider online store.

It’s been three years since Moving Panoramas’ debut One took over our hearts, set up residence and longed for Texan sunsets and lullabies about one night stands. In that time, the band has re-arranged itself into different incarnations, like Dr. Who, shifting and remolding -not remodelling- itself into a dreamgazing machine.

‘Baby Blues’ is the new single off their new album, In Two. There’s no time for sadness, with an intrepid pace that burns through, the echoes of the crackling fires still resonating after the deed has been done. Well-worn pop staples like a delectable bridge and a quiet part the driving tempo fires beneath Leslie Sisson’s typically exquisite guitar tones, rolling into a hook that jumps with Cara Tillman’s backup vocals. The longish track ultimately snowballs into a kingdom-come moment of shoegazey audio overload.” shine it make ‘Baby Blues’ a good omen for the upcoming In Two. The album comes out in February 2019 and that’s a damn long time to wait

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Moving Panoramas – “Baby Blues” digital single available October 26th, 2018
via Modern Outsider Records From their upcoming sophomore album, In Two, in stores Feb 22, 2019.

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Acid Dad, a gang of Brooklyn rockers injecting a healthy dose of psychedelia into their livewire punk, dropped their self-titled debut LP back in March. Now, in advance of a sprawling fall tour of North America, the band has shared a brand new single, “Living With A Creature”.

Written and released with the dim, leaf-strewn milieu of Halloween in mind, the stormy, rollicking track conjures images of insomnia and claustrophobia. It all swirls around the song’s central monster, which lives “under my house,” “under my floors”, and, most tellingly, “up in my head.” The accompanying music video channels the song’s bleary melodies and vampiric vocals, with blurry horror clips conjuring the warped TV antennas of yore. To watch the video is to relive those bygone midnights in the TV’s glow, knowing that a little bit of static isn’t enough to keep the Wolfman, Dracula, or Frankenstein from clambering through that screen.

Since forming in 2016, Acid Dad has put out a handful of well-received singles and releases, toured the US and Europe, and shared stages with bands like Oh Sees, Diarrhea Planet, and Night Beats. They’re currently working on LP 2, Out October 26th via Greenway Records