It’s been a tempestuous times for Dilly Dally since the release of their critically acclaimed debut album ‘Sore.’ It appears that the pressure environment of life on the road, the cycle of relentless promo and touring took a toll on the band’s mental well being to such an extent that they almost called it quits.

They took time out to deal with their own individual needs, find some much-needed headspace and when they the felt ready regrouped and made a decision – ‘fuck this, let’s do our thing.’ The result is their second album, the appropriately named ‘Heaven’ which guitarist and singer Katie Monks has described as “the album we’d make if the band died and went to heaven,”. The lead track ‘I Feel Free’ demonstrates that Monks’ trademark razorwire nettle sting roar remains as impassioned and potent as ever whilst her bandmates have reignited that raging fire that made their debut such a thrilling listen.

The wonderfully poignant cinematic accompanying video, written and directed by Monks herself, sees her literally digging her bandmates (and a rather sexy flying V) from the grave in an attempt to bring them back to life. It acts as a curiously moving metaphor for the recent turbulent times the band have endured as Monks desperately tries to revive them, pleading with them as if to say – let’s not kill this, let’s fight for each, the band, and what we’ve created between us.  It’s a stunning return from Dilly Dally who have always managed to mix rage with vulnerability to produce some wonderfully real visceral music and ‘I Feel Free’ just might be the Toronto four piece’s most succinctly powerful moment yet.

“I Feel Free” from Dilly Dally’s new album ‘Heaven’ out September 14th, 2018.

A Seattle by way of Los Angeles four-piece who drag the sounds of 60s girl bands and classic surf rock into a sun-kissed Californian present. Exuding effortless cool, La Luz take the lazy, endless summer mood of Los Angeles at sunset, and essay on it through driving rhythms, honeycombed vocal harmonies, and breezy surf and garage rock guitar figures straight out of the Takeshi Terauchi playbook. On Floating Features, the four-piece write rich, vivid, and impressionistic studies of life viewed through the surreal, hallucinogenic haze of the city of angels, earning their spot in the Californian sun. La Luz hasn’t made one single weak song- everything they do rips. This new album just continues their unbeaten streak.

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With comparisons to Mild High Club, The Shangri-Las, Dum Dum Girls La Luz started in the summer of 2012 by Shana Cleveland (guitar), Marian Li Pino (drums), Alice Sandahl (keyboard) and Lena Simon (bass).

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‘With Animals’ will be released on August 24th and Mark Lanegan & Duke Garwood have unveiled deep and brooding title track.

talking about the track, Lanegan says:

“The record was recorded in my house by Duke alone and my five Animals to keep him company. If someone were to listen closely with headphones they might hear a bark, meow, growl or whine embedded in the music. Hence the title of the song and album.” Duke Garwood adds:

“It was a heatwave in LA. 109 in the shade. The riff was early morning, slow cooked in the heat haze, until the awesome moment when Mark laid down the vocals. A delish dish.” The equally dark video for the track was directed by Steve Gullick.

‘With Animals’ the title track to be taken from Mark Lanegan & Duke Garwood’s new record ‘With Animals.‘

‘With Animals‘ is released via Heavenly Recordings on Friday 24th August.

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Auckland-based internet pop star Princess Chelsea (aka Chelsea Nikkel) has returned with a new single ‘I Love My Boyfriend‘, the heartfelt track from her upcoming new album The Loneliest Girl. The gently rocking tune explores the dynamic between love and lust, and is accompanied by a self-directed video featuring a full band of Princess Chelseas floating through the cosmos, one of whom is wearing a tee emblazoned with the logo of Wellington thrashers Stalker. The artist even busts out an emotionally frank rap, which could be interpreted as making fun of the narrator’s own feelings. Don’t get confused with any other Princess Chelseas on the internet, the multi-talented artist generously took time out to dish the dirt on her latest creation…

“Playing bass in Hang Loose made me want to write a song on the bass so this came out. It’s the first song I wrote on the bass and I can tell the difference listening – its simpler somehow which I like.

The drums and guitar I played really badly on it for demo purposes but ended up keeping the takes, as when I asked someone else to play them in them better they were like ‘it already sounds good’. That’s why I thought it was funny to clone myself in the video. Also (I’d) just seen Bladerunner 2049 and was obsessed with the billboards. So I tried to do my Chelsea version of Bladerunner billboards which came out like how it did.”

Princess Chelsea never disappoint me. Her new single is about being in a relationship, and loving someone else, and she does it with sugary sweet vocals and a mix between indie/chamber pop and the 60s girl group style. The video is shot in her bedroom with a green screen, and she has directed and edited it herself.

‘The Loneliest Girl’ is out Friday 7th September via Lil’ Chief Records.

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“Nobody” is the second track from Mitski’s upcoming album Be the Cowboy, due out August 17th on Dead Oceans. Following the earlier “Geyser” which plays into her deep and breathy sound from Bury Me at Makeout Creek, “Nobody” shifts to a  funkier groove unlike her previous songs. Working with longtime producer Patrick Hyland, the track is a roller coaster of key changes that only Mitski could streamline into a dance-ready ode to loneliness.

Cymbals ready the song pushing along her signature soft and sigh prone voice. “Venus planet of love was destroyed by global warming/did its people want too much too?” she sings, the dark lyrics contrasting against the song’s deceivingly hopeful beat to emphasize humanity’s never ending capitalistic void. The song continues to swell until the chorus hits leveling out the tempo. “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,” she has said.

The stripped down approach is magnificent, the song’s humility only making it grander. The second half of the song really exercising key changes but it never feels like its bragging. The band leaves for the second chorus then returns, slows down then picks up again, then it all trickles off into a fuzz-fueled recording of the hook. You would think a song made up of someone looping the word “nobody” over and over is doomed to fail but Mitski manages to turn kitschy into catchy without being overwrought. “I’ve been big and small and still nobody wants me,” she groans. Nobody is immune from loneliness—a candid realization we can all take comfort in.

Mitski’s “Nobody” from ‘Be The Cowboy’. Out August 17th on Dead Oceans.

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Massage is five friends who live in Los Angeles. Massage is a band that meets up on Monday nights to bash out songs that crudely approximate their heroes, past and present. Massage is guitarist Alex Naidus, formerly of Pains of Being Pure at Heart, who moved to L.A. in the winter of 2013; furniture designer Michael Felix, who got Alex singing and writing songs when he said he wanted to learn the drums (they didn’t know any covers so they needed something to play together); their friend Andrew Romano, a journalist, who invited himself to their second practice (and now shares singing, songwriting and guitar duties); bassist David Rager, a designer and childhood friend of Michael’s, who tagged along that night, too; and visual artist Gabrielle Ferrer, Andrew’s sister-in-law, who was soon playing keyboards and singing harmonies.

These are two separate singles, but I fell so in love with both them, and I could not just mention one here. Massage could be your next favourite finds this year. They mention several fine influences, – The Go-Betweens, The Feelies, The Lemonheads, Twerps, bands from Sarah Records and Flying Nun Records. Instead of going too deep into their influences, like many indiepop bands sadly do, Massage do their own thing. They sound fresh, and although their inspiration is in the 80s and 90s, they sound very much 2018. Their guitarist Alex Naidus was once a member of The Pains of Being Pure at Heart.

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The second single from Massage’s debut LP Oh Boy, coming July 2018

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Part of what inspired us to start Massage was this new generation of Australian bands like Twerps and Boomgates and Dick Diver, who are ostensibly doing a very retrograde thing – I mean, they’re mostly white guys playing guitar rock – but somehow finding a sweet spot that Americans, who tend toward the muscular and melodramatic, always seem to miss: messier and more casual, but also catchier somehow. ‘Oh Boy’ is our California version of that ramshackle vibe. When I wrote it, I was listening to a lot of ’16 Lovers Lane”’-era Go-Betweens – ground zero for today’s Aussie scene – and I think their influence may have come through in all the droning chords and the domestic imagery. The last lines of the song were dummy lyrics that stuck. I realized what they were about – how honest they were about things I hadn’t even realized I was feeling; about family and fatherhood and settling down and ambition – and the rest of the words were written in response. Sometimes a song tells you what it wants to be.

Culture Abuse / Nothing cover - New Noise Magazine Issue 41

The Culture Abuse / Nothing flexi features an exclusive track from both bands (listen below), and is included with the flexi version of New Noise Magazine Issue #41.

Culture Abuse will be releasing their new album Bay Dream tomorrow, June 15th, through Epitaph Records. Don’t think the lead singer of Culture Abuse is wasted. In fact he has cerebral palsy. “They think I’m fucked up no matter what,” says David Kelling, “so I’ll just act like I’m partying to make people more comfortable.” Kelling explains that cerebral palsy, a condition that reduces muscle strength and motor skills, “affects everything” in his life. People stare at him on the street, he learned to play the guitar with his fingers because he can’t hold a pick.  Kelling’s disability affects his movement on the right side of his body – he walks with a limp and often finds it hard to get on and off stage. The band supported Green Day at Hyde Park, last year and have now planned an extensive UK tour later this year. Kelling writes all the band’s music, which he has previously described as “the Clash and the Ramones mixed with some Nirvana”,

“Each of the 4,500 frames was printed out and 400+ hours went into folding, drawing, spray painting, tearing, taping and manipulating each page, and then it was all scanned back in and edited together. This is an incredible piece of work that we’re all so stoked to share with you guys!! Make art with your friends, it’s a lot of fun!” – Culture Abuse

Culture Abuse from the album ‘Bay Dream,’ available now

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On August 24th, Philadelphian band Nothing will return with a new studio album titled, Dance on the Blacktop. Due out through Relapse Records, it follows 2016’s Tired of Tomorrow and serves as the band’s third LP overall.

For the nine-track effort, the noise-rock outfit enlisted the talents of producer John Agnello (Dinosaur Jr., Sonic Youth). Tracking took place at Dreamland Studios in Woodstock, New York, following 23 days spent demoing in a “coffin-sized NYC apartment”. Much of Dance on the Blacktop draws on the life of founding member Domenic Palermo. In particular, Palermo was influenced by his time spent behind bars and the recent diagnosis of Chronic Traumatic Encephalopathy, a neurodegenerative disease found in people with serious head injuries. Throughout the LP, there are songs that tell stories of self-loathing and self-destruction, as well as paranoia and anxiety stemming from his new illness.

The title, which is prison slang for a fight or altercation, is a “symbolic interpretation of the album’s philosophy.” Palermo elaborates in a statement, saying, “I’ve learned to bask in the absurdity of it all — in the chaos… There’s beauty in the confusion if you can learn to hold its hand.”

Dance On The Blacktop is due out August 24th

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Courtney Marie Andrews, May Your Kindness Remain

The layers of singer-songwriter Courtney Marie Andrews’ May Your Kindness Remain are vast as the music is enchanting. Her sixth record is easy to fall for, with her dusky soprano rising atop an easy-going, yet sultry band. Her groove is reminiscent of Linda Ronstadt, particularly with the way she slides around the spectrum of Americana: country, folk, gospel and something else you can’t quite put your finger on. Lyrically, Andrews is in touch with her own loneliness, kindness and empathy and that shines through songs like “I’ve Hurt Worse,” “May Your Kindness Remain” and “Two Cold Nights in Buffalo.” The inspiration for these songs came from meeting people on her tours and realizing that everyone is suffering from the same types of sadness. May Your Kindness Remain is an accurate, passionate account of facing problems directly and dealing with depression head-on.

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The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or “Cannonball.”

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. “Fronting this kind of band was a new experience for me,” says Stokes. “I never thought I had the right voice for it.”

From the irresistible title track to future singles “Happy Unhappy” and “You Wouldn’t Like Me,” Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me’s dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the ‘60s, while inverting the trope of the “sad dude singer accompanied by a homogenous girl-sound.”

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y.

“There’s a lot of sad sincerity in the lyrics,” she continues, “that relies on the music having a light heart and sense of humor to keep it from being too earnest.” Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.

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“Happy Unhappy” is taken from The Beths‘ forthcoming album, “Future Me Hates Me.”