Upon first listen, The Beths’ debut album, Future Me Hates Me, bleeds together too much, the songs slipping imperceptibly from one to the next. But soon enough, the bubble-grunge riffs and Motown-backup-singer “whoa-ohs” start to distinguish themselves. The New Zealand band has two gears: The first is a more classically pop-oriented retro sound, like a ’60s girl group doing the shimmy-shimmy-cocoa-pop but with guitars and a shoegaze influence. The second is a caffeinated ’90s alterna-rock head rush, with Superchunk-level riffs and Velocity Girl vocals courtesy of singer-guitarist Elizabeth Stokes.
It can tend toward the simplistic—the title track apes early Weezer, for example—but the middle of the album (particularly “Not Running”) shows that when the band embraces its more rambunctious and harder-edged sound, it captures something powerful. By the time the last notes of the slow-build barnburner “Less Than Thou” close things out, Stokes’ mission is clear: a joyous refusal to stop riffing, no matter how heartbroken.
The Beths‘ forthcoming album, “Future Me Hates Me.”
Hailed as the new vanguard of indie rock following the breakout success of 2016’s Puberty 2, Mitski returns with her new album Be The Cowboy, via Dead Oceans Records.
Mitski’s carefully crafted songs have often been portrayed as emotionally raw, overflowing confessionals from a fevered chosen girl, but in her fifth album, Mitski introduces a persona who has been teased before but never so fully present until now a woman in control.
“For this new record, I experimented in narrative and fiction,” comments Mitski. Though she hesitates to go so far as to say she created full-on characters, she reveals she had in mind “a very controlled icy repressed woman who is starting to unravel. Because women have so little power and showing emotion is seen as weakness, this ‘character’ clings to any amount of control she can get. Still, there is something very primordial in her that is trying to find a way to get out.”
In Be The Cowboy, Mitski delves into the loneliness of being a symbol and the loneliness of being someone, how it can feel so much like being no one. Lead single “Geyser” introduces us to a woman who can’t hold it all in any more. She’s about to burst and unleash a torrent of desire and passion that has been building up inside. While recording the album with her long-time producer Patrick Hyland, the pair kept returning to “the image of someone alone on a stage, singing solo with a single spotlight trained on them in an otherwise dark room. For most of the tracks, we didn’t layer the vocals with doubles or harmonies, to achieve that campy ‘person singing alone on stage’ atmosphere.”
There is plenty of buoyant swagger on Be The Cowboy, but just as much interrogation into self-mythology. Throughout these 14 songs, the music swerves from the cheerful to the plaintive. Mournful piano ballads lead into deceptively uptempo songs. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time. A lot of this record was me not having any feelings, being completely spent but then trying to rally myself and wake up and get back to Mitski.”
Mitski’s discography is a series of scrambled sonic cinematic reels spliced together by one of the most talented lyricists of our generation. Her fifth album, Be The Cowboy, is a new era for Mitski, carrying with it the same impossibly ripped-open emotional nudity that Mitski’s built her legacy upon over the past six years.
The Beta Band have announced details of UK. & North American tours this autumn. The shows will feature the classic line up of Steve Mason (guitar, vocals), Richard Greentree (bass), John Maclean (samples, keyboard) and Robin Jones (drums).
Speaking about the forthcoming tour, the band explained: ‘The Beta Band, as everyone knows, is an institution, like Bedlam, or the RSPCA, and as such has its own indelible stain on the bedsheet of Western culture. It was the great John Noakes who said “you have to shake it out at least once every couple of decades, if you want to know what the moths did”. So with both those facts in mind, we realise the time has come to show the wall the Luminol, kill the lights and hit the UV.’
Because Music have acquired the back catalogue of The Beta Band and will start a reissue campaign with a 4LP deluxe coloured vinyl presentation of the classic Three E.P.’s compilation. Over three EPs Champion Versions, The Patty Patty Sound, andLos Amigos del Beta Bandidos — core members Steve Mason, JohnMaclean, and Robin Jones fused rock, folk, trip-hop, ambient, house music, rap, and more with an effortlessness and humor that still makes them easy to overlook. Their most high-profile fans were Radiohead, who later solidified electronic music’s assimilation with Kid A, a landmark release they once described as their “Beta Band record.” Though the Betas went on to open for Radiohead and release three vibrant albums, they disbanded in 2004 never having fully outgrown that cult status. Speaking to member John Maclean about the breakthrough compilation The Three EPs, released 20 years ago today, and recent reissue of their airtight Best Of compilation, that underdog quality doesn’t feel like the hinderance it’s often framed as. Rather, it’s an extension of what made them so special in the first place.
The acclaimed Scottish band released just three albums and three EPs between 1996 and 2004 (when they disbanded) and it’s those three EPs – Champion Versions, The Patty Patty Sound and Los Amigos Del Beta Bandidos – that were brought together to form their first ‘album’. Innovative and singular, The Beta Band’s unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.
The audio has been newly remastered for this release and pressed on four vinyl records, with Champion Versions pressed on RED vinyl, The Patty Patty Sound on double YELLOW vinyl and Los Amigos Del Beta Bandidos on BLUE vinyl.
All the records are housed in a numbered outer slipcase which also holds a CD of the remastered audio. The Three E.P.’s deluxe vinyl set will be reissued on 14th September 2018
Champion Versions EP A1. Dry The Rain / A2. I Know / B1. B + A / B2. Dogs Got A Bone
The Patty Patty Sound EP A. Inner Meet Me / B. The House Song / C. Monolith / D. She’s The One
Los Amigos Del Beta Bandidos EP A1. Push It Out / A2. It’s Over / B1. Dr. Baker / B2. Needles In My Eyes
We’re very pleased to announce that our new album ‘Only Now Forever’ will be released on the 12th October 2018 on LP / CD / Digital / Cassette via Invada Records.
The new video for the album’s first single ‘Above Us’, directed by Alden Volney, which recently premiered on Clash Magazine, Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait, and will appeal to fans of Depeche Mode, The Soft Moon, New Order, Nine Inch Nails, and My Bloody Valentine.
Taken from The KVB’s forthcoming album ‘Only Now Forever’. Released on Invada Records on all formats October 12th 2018.
The music of El Ten Eleven has been described as “meditation in motion,” which seems apt. To fully realize this descriptor the band worked with an outside producer for the first time in their 16-year career, teaming up with Sonny DiPerri and moving into the incredible confines of Panoramic House on the beautiful Northern California coast. “Phenomenal Problems” is the first single from El Ten Eleven’s new album ‘Banker’s Hill’ – out now on Topshelf Records.
The result is Banker’s Hill This is our tenth record. Thank you so much for coming along on this ride with us. It’s an album that explores the paradox of beauty in anxiety, the importance and effect of family and the fleeting possibility of satisfaction.Made up of Kristian Dunn (bass, guitar) and Tim Fogarty (Drums), they utilize multiple looping pedals to create songs that sound as though they are being played by at least six people. Most first-timers to an El Ten Eleven show are stunned that the band is a duo. It’s a refreshing sight in this age of letting the computers do all the work.
Rolling Blackouts Coastal Fever’s debut full-length Hope Downs, was released just over a month ago, and the critics seem to agree that it’s one of the best of the year. In fact, it’s currently sitting at 84 on Metacritic, making it the 39th best album of the year according to aggregate scores. This included big love from The AV Club, Rolling Stone, Pitchfork, Paste, SPIN, Uncut, Mojo, Under The Radar, and more. Luckily, the fans agree, which led to a big opening week for the band and a virtually sold-out US tour back in April.
The band is gearing up to return, and in advance of this, they’re sharing a new Austin Wilson directed video for their brief-but-wonderful song “Time In Common.” It captures a band on the move, a group of friends rolling up their sleeves, touring the world, and putting in the work (with no small measure of fun, of course).
Fri. Oct. 19 – Manchester, UK @ Manchester Academy 2
Sun. Oct. 21 – Leeds, UK @ Stylus
Tue. Oct. 23 – Brighton, UK @ Concorde 2
Wed. Oct. 24 – Portsmouth, UK @ Wedgwood Rooms
Thu. Oct. 25 – Oxford, UK @ 02 Academy
Mon. Oct. 29 – London, UK @ Koko
Road warriors Frankie Cosmos have spent the better part of 2018 on tour in support of their latest and greatest,Vessel, available now worldwide via Sub Pop Records. The band currently have a handful of overseas dates in August including an appearance at the UK’s Green Man Festival on August 19th.
Then on September 13th, Frankie Cosmos will then begin a 20-date North American run with shows in Baltimore, Durham, Atlanta, New Orleans, Austin, Detroit, Pittsburgh, returning to their hometown of New York, playing area shows at White Eagle Hall in New Jersey on October 5th, Music Hall of Williamsburg on October 6th and The Bowery Ballroom on October 7th. These shows will mark the bands first headlining dates in NYC since the release of Vessel.
In celebration of the bands impending tour dates, Frankie Cosmos have delivered a new video “Duet” which was directed by Eliza Doyle. The new visual stars Greta Kline and depicts a CPR Training video, one in which she becomes completely smitten with an object, and a one-sided romance is born.”
Iron & Wine are following up their 2018 Grammy-nominated full-length Beast Epic with the aptly titled EP,Weed Garden available worldwide on August 31st. Having gone over three years between releases prior toBeast Epic, Weed Garden arrives in short order, but right on time for Iron & Wine fans.
The six-song EP features material that was part of the writing phase for Beast Epic, but for various reasons went unfinished. The term “weed garden” could easily imply that which doesn’t belong, for principal songwriter SamBeam, it was more about getting more “into the weeds” on a creative process to finish the material. Weed Garden serves as the perfect companion piece to last years full length.
While on tour last fall, the final pieces fell into place and a sense of urgency prevailed in bringing these songs to fruition. Space was created at the top of the year to return to The Loft recording studio in Chicago with the band behind Beast Epic – Joe Adamik, Jim Becker, Rob Burger and Teddy Rankin-Parker. The collection of songs range from urgent (“What Hurts Worse”) to fun (“Rock and Roll Heroes”) to personal (“Talking to Fog”). The tones and themes all feel part of the larger narrative that presented itself on Beast Epic bringing this collection of characters full circle.
Weed Garden also includes the fan favorite “Waves of Galveston”. Widely bootlegged, but never officially released until now, this track is the oldest song on the EP. It first appeared as an online performance video as part of The Onion’s AV Club“State Songs”. The Weed Garden artwork also features a series of original paintings from Iron & Wine’s principal songwriter Sam Beam. This cover joins the ranks of previous album covers, Endless Numbered Days, The Shepherd’s Dog, Kiss Each Other Clean and In the Reins that feature his paintings or drawings.
“Tomorrow on the Runway” Written by Karen Peris and Don Peris / The Innocence Mission (BMI)
From the film “Irreplaceable You” directed by Stephanie Laing available exclusively on Netflix. The original version of the song appears on The Innocence Mission album, “Befriended” (Badman Recording Co.)
The Babe Rainbow from Australia released their first track three years ago, it was a gentle guitar kissed , flirting with a sprinkle of drum pitter patters, dotted with a sequence of gentle chimes and whispers. Completely engaged with its distinctive rhythm and sensory experience, it was one of those tracks that really struck a chord; one to hold onto for years to come. So with a little digging, the three long-haired men responsible were found
Since the release of that debut single ‘Love Forever’, the boys have made us want to dance on lilypads, feel the warmth of the sun on our bare naked bodies and view life through kaleidoscopic filters. A psychedelic nirvana promoting love and harmony, the boys make it stick as it is a vision adorned with genuine integrity. None of what they do is an aesthetic, trend or scam; they literally just go about their way peacefully and happily whilst being crazy talented musicians and mood invigorators.
Falling a little quiet since their self-titled EP in 2015, The Babe Rainbow jumped out of the ocean and into the recording studio to gift us their first full-length album, Packed with good intention that has been shaped by an abundance of happy-go-lucky soundscapes, the wall of sound is complemented with rough edges. It’s charismatic feel and sound is just simply fun, and has been released on limited coloured wax through Flightless Records the label set up by fellow psych styled King Gizzard and The Lizard Wizard .
Snow Roller are an indie garage rock band from Portland. We were big fans of their anthemic debut LP, 2016’s What’s The Score, as well as last year’s follow-up XXL. They will soon release their third album Y2K, and this week they dropped a fantastic new single called “Bus 23.”
Coming off the heals of “Kings of Hartford,” the album’s sweeping first single, “Bus 23” is a steady uptempo rocker featuring rollicking guitar riffs and singer Collin Kritz’s direct, assured vocals. Meanwhile, Snow Roller’s newest member, bassist Sarah Hall, harmonizes beautifully with Kritz over the track’s catchy, heartfelt choruses. The song reminisces about a childhood friend who Collin lost contact with, and wonders whatever became of him. “Tried to say that I’m sorry to him but/ He wouldn’t accept it,” they croon together, pangs of regret and nostalgia seeping through in each vivid lyrical line. Also, the closing section of the track reaches a dramatic, stripped-down breakdown in which Hall and Kritz trade off the lines: “I wonder if I’ll ever see him/ I wonder if I’ll ever see him ever again.” It’s a cathartic conclusion to a single that waxes nostalgic on the embarrassments of youth, and a total triumph for Snow Roller.
