These guys seem to be getting everywhere these days and they totally deserve it. This album has many strong points and things that set itself apart from others in their genre. Having burst onto the scene in their homeland, releasing their first two LPs to widespread national acclaim, alongside supports with Royal Blood, Dune Rats and Black Mountain, the band have developed a staunch grassroots following with their captivating blend of psychedelia. The albums are fuzzy, heavy and echoes in your cranium with every beat. An epic detour of neon flavoured noise grows to entangle your dissolving brain. Savagely mutant energies bubble through the air. Your body is out of reach, turning itself into a sponge as your mind floats towards another dimension.

I had trouble writing this review because I was too wrapped up in listening to this album on repeat. Absolutely fantastic!

The quartet have delivered an entrancing video for Cornflake, discussing their ideas in detail: “Existence is a strange concept so we wanted to create an animation that explores the idea of how weird life is. Even after all the soul-searching, religious preaching and spiritual journeys there is not one answer to anything”. “The video salutes to the song perfectly, venting more energy, colour and strangeness that leaves most people perplexed. It’s sometimes hard to grasp we’re one of a billion grains of rice in a huge sushi roll; the video reinstates that awareness, so stop worrying and do something you care about before the aliens invade”.

Psychedelic Porn Crumpets is Jack McEwan (lead vocals, guitar), Luke Parish (guitar), Danny Caddy (drums), Luke Reynolds (bass).

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High Visceral {Part 2} also contains some interesting new ventures in rhythm and melody. The rhythm interaction between the percussion and guitars in “Move” are pleasant to the ears. “Move” also contains a riff-reference to previous track “Gurzle”, a nice touch for the progressiveness of the album that makes it all feel a little more intertwined.

There are also some really interesting influences apparent on the album that come as a pleasant surprise.“Coffee”, a smooth relaxing track that goes down well with your morning cuppa, oozes with influence from Unknown Mortal Orchestra. The last half of the track also contains some incredibly colourful synthesizers that reminded me of those found on Tame Impala’s Lonerism. The closing track, “November”, also warmly reminded me of riffs played by the likes of Stevie Ray Vaughan and Jimi Hendrix.

“Dependant on Mary” has a poppy riff that will be getting plays at house parties across Australia. The second act of the track breaks down into a slower descent into the cosmos, but before you doze off into space the track crawls back up to pace with your head banging again.

Psychedelic Porn Crumpets describe themselves on their Unearthed page as “Space Fuzz”. That description applies more than ever to High Visceral {Part 2}. Some tracks will have you feeling as if you are indeed floating through space. “Coffee”, as I mentioned before, and more-so in It’s Not Safe to Leave this House.

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Psychedelic Porn Crumpets songs are filled with long, hypnotising riffs that lock you in with your jaw drooling as if something just hit your serotonin receptors”. I still strongly stand by that statement, and having those tunes refined in the studio with extra polish is an excellent final touch.

Released April 14th, 2018

Recorded & Produced by Psychedelic Porn Crumpets 
Drums Recorded by Dave Parkin at Blackbird Studios

Artwork by Zouassi

Ben Caddy – Violins/Viola
(All String Compositions)
Jon Tooby – Cello
(First Light Move, Coffee, Mary
Safe House, November)
Jamie Canny – Saxophone (Gurzle)
Zoe Gol – Vocals (Move)
Chris Young – Piano/Synth
(Dependant on Mary)

Child Honey

Three dudes from the coast of Ocean Grove, Tiny Giants mix their loose drum staggers with flowing bass and effect-ridden fried guitar into a psychedelia trip reminiscent of Nuggets and Back From the Grave. Tiny Giants debut release ‘You’re Too Excitable’ received rotation nationally on Triple J and ‘locally’ on Triple R and PBS. With heavy roots in psychedelic and blues Tiny Giants released their sophmore album INUEN//DOS, recorded at Jaspers house in Ocean Grove and mixed by Paul Maybury at his warehouse in Fairfield.
The three have played the first King Gizzard Gizzfest at Corner Hotel, Queenscliff Music festival and supported the likes of Cherry Dolls and The Murlocs. 2016 has seen the band tour up the East Coast of the sunburnt country and release their first single of the year ‘Suicide’ 
sees Tiny Giants change gear from their regular high energy Garage Psychedelia to a greater detail to songwriting intertwined with cruisy coastal sensibilities. 2016 will see the band release their third LP ‘Riverside’ through self run Dare Records .

The Second single from Tiny Giants forthcoming record due in 2019

Band Members
Jasper Jolley
George Wilson
Etienne Mantelli

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Saving a Beauty follows Blue Ranger’s debut album Actual Food, released on Bandcamp and cassette in 2016, and frontman Josh Marre explains in the band’s bio that he wants their latest to serve as an artful, yet accessible introduction. The album’s title track offers a first taste of Josh Marre and company’s attempts to strike this balance, inviting the listener in and showing them the way to someplace meaningful. If the song’s dovetailed acoustic guitars—bolstered by Marre’s twin brother Evan’s legato bass notes and Matt Griffin’s deliberate drumming, with sparing piano accents from Kenna Hynes—aren’t enough to draw you in from the get-go, Josh Marre’s vocals open on a sweetly reassuring scene, the flicker of a tenuous connection: “It’s been a cold one, shivering / you had a rough go, you ok / I asked you.

Saving A Beauty is the title track off Blue Ranger’s phenomenal new album which is due out October 26th, 2018 via Five Kill Records.

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Joe Jackson announced the release of his 20th studio album on January. 18th, 2019. The eight-track LP is named Fool and follows 2015’s Fast Forward. Next year also marks the 40th anniversary of his debut album, Look Sharp.

“When it looked like I’d be recording in late July and mixing around my birthday, in August, it struck me that the only other occasion that had happened was while making my first album,” Jackson said in a statement. “It still took a while for it to sink in: This would be 40 years since my debut album release.

Jackson noted that the “road to this album is littered with the wrecks of songs and half-songs that didn’t make the grade. There are eight survivors, which I think is enough. … I never have an overall theme in mind when I start trying to write songs for an album, but sometimes one will develop. In this case it’s Comedy and Tragedy, and the way they’re intertwined in all our lives. The songs are about fear and anger and alienation and loss, but also about the things that still make life worth living: friendship, laughter, and music, or art, itself. I couldn’t have done this in 1979. I just hadn’t lived enough.”

You can watch the video for the first single, “Fabulously Absolute,”

The album was produced by Jackson along with Pat Dillett, who’s previously worked with David Byrne, Sufjan Stevens and others. Joe Jackson and his band – Teddy Kumpel, Graham Maby and Doug Yowell – launch a North American tour on February running until Mar. 9, with dates in Europe and the U.K. to follow.

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Songwriter and multi-instrumentalist/producer Scott Hirsch has recorded a follow up to his critically acclaimed 2016 record, Blue Rider Songs. On Lost Time Behind the Moon, Scott chronicles confronting ghosts of the past, acknowledging that darkness rides alongside the light, and avoiding the pitfalls of regret. The record was recorded and produced by Hirsch with the help of Mike Coykendall (M Ward), and features musical guests William Tyler, Mikael Jorgensen (Wilco), Orpheo McCord (Edward Sharpe), Jimmy Calire (America) and Jesse Siebenberg (Lukas Nelson, Supertramp).

Maybe it’s the season of the Earth, but it’s hard not to feel lately like we’re standing on some high precipice looking down on what we’ve made of the world and trying to make sense of the view. Gazing back down the narrow roads leading out of our old towns, are we strangers or friends with the rear-view mirror? These are hard questions—of taking stock and taking leave—that my friend Scott Hirsch sings about so powerfully on his new album Lost Time Behind the Moon...  more

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Releases December 7th, 2018

All songs written, produced, recorded, mixed by Scott Hirsch © 2018 Dreamwood Music. Recorded at Echo Magic West in Ojai, California and at Blue Rooms in Portland, Oregon with Mike Coykendall. Mixed at Echo Magic West. Mastered by Ian Sefchick at Capitol Records. Artwork by Daren Thomas Magee. Layout and design by Darryl Norsen. Photos by Scott Hirsch.

Personnel:

Mike Coykendall: Drums, Harmonica and additional recording, Orpheo McCord: Drums, Mikael Jorgensen: Keys, William Tyler: Elec Guitar Karl Hunter: Saxophone, Jesse Siebenberg: Pedal Steel, Jimmy Calire: Organ, Lauren Barth: Vocals, Jade Hendrix: Vocals, Yair Evnine: Cello

Fans of St. Vincent’s 2017 album Masseduction are about to hear its songs in a new light, starting with a stripped-down version of “Savior.” Swapping synths for piano, “Savior” now showcases Annie Clark’s vocal range while tapping into the original’s darker, more plaintive undercurrents.

The song comes as a taste of MassEducation, a new version of Masseduction that pairs Clark’s resonant voice with Doveman’s Thomas Bartlett on piano. Intimate and focused, the reworked songs were performed and recorded in two days at Manhattan’s Electric Lady Studio. A handwritten letter by Clark sets the scene for this process: “Thomas and I faced each other — him, hunched over a grand piano, me, curled on a couch.”

Clark suggests that it’s the impromptu collaboration with Bartlett that lends the songs a new dimension. She describes the new record as “two dear friends playing songs together with the kind of secret understanding one can only get through endless nights in New York City.”

‘Savior’ reimagined for St. Vincent’s newest album ‘MassEducation’ coming October 12th. ‘MassEducation’ is in fact another dimension of last year’s universally acclaimed MASSEDUCTION.

MassEducation comes out Oct. 12 on Loma Vista Recordings.

“Here’s a contemporary visual document exploring what truth and myth is, what Le Kov is about – where we’re at, and how we got here. A collaboration between Steve Glashier and Gwenno, exploring landscape and a sense of place. A postcard of the now that may one day be forgotten, so let’s enjoy the moment before it disappears.”

Following the success of her second album ‘Le Kov’, Gwenno now shares a new exciting short film titled ‘Le Kov, a landscape…‘ a collaboration with filmmaker, Steve Glashier.

The film premiered on Rough Trade:

Gwenno has just recorded her second solo album entirely in Cornish, the language she learned as a child. The follow-up to Welsh-language Y Dydd Olaf (2014), which won the Welsh Music prize, Le Kov would be a fantastic album whatever it was sung in – spacey, strange and richly melodic – but there’s no doubt that the language gives it an added sense of purpose. Without wishing to make any rash claims, it seems likely that it’s the first ever Cornish electronic psych-pop concept album.

There has been a vibrant Cornish-language folk scene for decades. The late singer and poet Brenda Wootton was its best-known exemplar, while Saunders has a soft spot for a band called Bucca, who released a solitary album,

The website Kernow Beat has assembled an exhaustive database of wildly obscure bands from Cornwall, pulling back the curtain on a vibrant regional music scene: who knew punk took such a grip on Penzance in the late 1970s? But, alas, not one of the frequently mind-boggling names it lists (Constable Zippo’s Electric Commode Band, Furry Vermin, Big Dick and the Deviants) seems to have used Cornish. Its solitary appearance in something approaching pop was on Aphex Twin’s 2001 album Drukqs,

COURTNEY BARNETT – ” Small Talk “

Posted: October 11, 2018 in MUSIC

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Earlier this year, Courtney Barnett released Tell Me How You Really Feel, a stunning album that retained Barnett’s gregarious charm while deepening the sense of introspection in her work. Barnett has released “Small Talk,” a song from the Tell Me sessions that didn’t make it onto her sophomore album.

“Small Talk” sets Barnett’s direct, conversational tone — “Can I get you anything? / A soda? Campari? With lemon? / You got it / I got better things to do than shave my legs” — against a rambling bassline. Eventually, Barnett tires of the polite conversation (“I like very much being here with you / But you see, all this small talk is killin’ me”) and the song morphs into a series of playful instrumental jams.

In honor of the 10 year anniversary of Mom + Pop records, Aussie rocker Courtney Barnett has shared a new tune dubbed “Small Talk.” The song puts forth Barnett’s signature laid-back rock groove, and it will be featured on Mom + Pop’s forthcoming celebratory compilation.

Barnett will also perform at the 10 Years of Mom + Pop gathering on October. 22nd at New York’s Brooklyn Steel. She will share the bill will Sleigh Bells, Neon Indian, Alice Merton, Sunflower Bean, Tom Morello and more.

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Four years ago, Jocie Adams of The Low Anthem, stepped aside from the Rhode Island band she was a member of to begin the next evolution in her musical career as lead singer for Arc Iris. This Friday, Arc Iris will release its third album, Icon Of Ego, via Ba Da Bing Records. On it, Adams collaborates with her band mates — keyboardist/sample artist Zach Tenorio-Miller and drummer Ray Belli — on a collection of songs that bridge avant-pop with her folksy, musical roots.

“If You Can See” from the forthcoming album. Lovingly made while walking around downtown Providence, R.I., the song is ebullient and optimistic, an “up with people” anthem we all could use in these divisive times, regardless of the side you’re on.

The first thing you see in the video are faces, lots of them. Most are smiling. There are old folks and young folk, and people of all colors. These are everyday people, moving along to the song, all mouthing small phrases of it as Adams sings

The video culminates with everyone singing repeatedly in unison “we can work together” that results in a boost of emotional inspiration.

“‘If You Can See’ is a reminder that the world is giving us gifts of support and love from many places all of the time,” Adams says via email. “We need to remember and acknowledge the good as well as the bad in order to maintain our positivity, which is needed to create change. If we all consider our grumpy egos to be justified by our ideas of a dystopian present and future, there is no motivation to be conscientious. Here we offer a ‘keep your chin up’ song for everyone. Life is hard.

Icon Of Ego is out Oct. 12 via Ba Da Bing Records.

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Girlpool full-band transformation has illuminated its raw sound in deep and unexpected ways, as heard on last year’s Powerplant. In addition to “Picturesong” — a one-off single with Blood-Orange” Dev Hynes Harmony Tividad and Cleo Tucker have continued to explore different textures in self-released solo recordings, which provide clues for a pair of new Girlpool songs out now.

“Where You Sink” first appeared on Tividad’s Oove Is Rare as a quiet acoustic track, but here gets transformed into dream-pop at a clop-along drum-machine beat. The song coos sweetly as it puzzles over human desire. Tividad writes in a press release:

“Where You Sink” explores our fixations on characters in our lives and the projections we create. It explores our natural human desire to be made special by another. I wrote it when I found myself looking at one person from various angles (emotionally); I found them to be beautiful in toxic but charismatic ways. It’s about loving someone who you don’t really have the chance to get to know fully because their time is spent trying to get out of their head, further from reality. It explores the complications of trying to get close to someone who ultimately wants to be far from themselves.”

“Lucy’s,” likewise, also appeared on a solo recording — now deleted — from Cleo Tucker. Girlpool’s version turns inward with big, jagged, Polvo-style guitar chords as Tucker ponders “stubborn feelings from a past relationship”

I wrote “Lucy’s” a couple of years ago to sort through some droning thoughts about hope, distraction and love. “I swear I’ll be all right / Although (you) are in the sky,” continues to resonate. These lyrics distinguish a time when my partner would check out from our relationship. I reassured myself that even when they were not present, and I was, that I would be all right. I was hopeful that my partner would find resolve from their struggles, which stifled their capacity to provide the kind of care and attention that I needed. I practiced nurture, and I hoped that they would find the ambition that I saw in them.

Girlpool is an indie rock band from Los Angeles, California. Its members are Cleo Tucker (guitar, vocals) and Harmony Tividad (bass, vocals). Their self-titled debut EP was posted on their Bandcamp account in 2014, and re-released on Wichita Recordings later that year. The band released its debut album, Before the World Was Big, in 2015, also on Wichita Recordings. Their second album, Powerplant, was released in 2017, via Anti- Records. They added a drummer, Miles Wintner, on their Powerplant album.