The Moondoggies – ” A Love Sleeps Deep “

Posted: March 4, 2018 in CLASSIC ALBUMS, MUSIC
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A Love Sleeps Deep’s bones rattle with all the seismic changes of the last five years since the release of The Moondoggies’ Adios I’m a Ghost. While the Washington band got lumped in early on with the woodsy folk-rock/Americana movement that sprung up in the Pacific North- west in the 2000s, the core Moondoggies sound has always been rock in the more classical sense–more groove-based than Woody Guthrie. A Love Sleeps Deep crystalizes that. Perhaps more importantly, A Love Sleeps Deep finds singer/guitarist Kevin Murphy at his most pointed as a songwriter. There’s no lyrical pussyfooting this time around. Lacking the need to prove himself, he opens up and lays bare his feelings.

“Generally, I feel frustrated because there’s a lot of this escapist stuff going on in rock and roll,” says Murphy. “I just didn’t want to not talk about my frustrations with what I was seeing around me. I have two little girls now, and I’m just thinking about where things are going. Love in my life has changed everything.”

While the album on a whole is about love, there’s an unmistakable anger boiling under the surface. Murphy captures the life-altering glory of finding real love on “Sick in Bed” and “Easy Coming,” and speaks to that special unbridled brand of parental love on “Mother.” But the highs exasperate his counterbalancing frustrations. He sings with poetic pointedness about the casual racism his girlfriend has faced on “Cinder” and how we’re all ruining the planet his daughters will inherit on “Underground (A Love Sleeps Deep).” He further lets his political feelings be heard on the distorted (literal) barnburner, “Soviet Barn Fire.”

Cascadian rockers The Moondoggies have offered up another preview of their forthcoming full-length album A Love Sleeps Deep. “Sick in Bed,” it is a pastoral, harmony-rich love song that blossoms into a kaleidoscopic jam-out in the its back half.
Releases April 13th, 2018

“Easy Coming” is the first single from A Love Sleeps Deep, the new album from ,

 

Recorded in Seattle in the spring of 2017 with production wizard Erik Blood (Shabazz Places, Tacocat, THEE Satisfaciton), A Love Sleeps Deep is also an album of collaboration. The band seemingly threw each tune up in the air to see how it bounced around the room, making sure everyone got their hands on it. From around 30 initial demos, Blood helped select the most jam-heavy numbers. “They had that vibe that made me love the band in the first place, but with a weathered distinction and confidence that moved me,” says Blood.

What has The Moondoggies found inside of themselves in the years they’ve been gone that makes A Love Sleeps Deep stand out? What’s come to the forefront?
“Rawness,” says Blood. “Like a monster singing lullabies.”

With the passage of time, the band feels more comfortable in its own skin. Carl Dahlen’s drums sonically lead the way, crafting a stellar template for everyone else. Dahlen’s rhythm section cohort, bassist Robert Terreberry, further helps lock in the grooves over Caleb Quick’s keys. In addition to lead guitar work, Jon Pontrello taught himself pedal steel since the last record, and it’s intentionally not employed (as a matter of band philosophy) on the more country-leaning tunes, instead adding a more cosmic feel to the heaviest tracks.

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A Love Sleeps Deep, the new album from The Moondoggies, out April 13th, 2018

Band Members
Kevin Murphy, Caleb Quick, Bobby Terreberry, Carl Dahlen, Jon Pontrello

BRUCE SPRINGSTEEN ” Berkeley Community Theatre (Berkeley, CA) “One of His Very First Live Recordings 2nd March 1973

Posted: March 4, 2018 in MUSIC
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On March 2nd, 1973, a young, scraggly, a no-name punk from New Jersey landed in Berkeley, California., just weeks after the release of his first studio album, “Greetings from Asbury Park, N.J.”, to record a performance for the King Biscuit Flower Hour radio show. A certain Bruce Springsteen opened the show that night for Blood Sweat and Tears, ravaging his way through a seven-song set, each tune picking at the essential storytelling-songwriting so heavily influenced by Dylan in those early years.

This performance showcases an early iteration of the E Street Band, with bassist Garry Tallent, keyboardist and accordionist Danny Federici, and Springsteen’s essential partner, saxophonist Clarence Clemons. (The world wouldn’t see the full classic lineup, including guitarist Steve Van Zandt, until 1975.) But it’s the Boss himself who steals the night with an unrelenting energy and obvious wealth of ambition. Some tracks, like “Wild Billy’s Circus Story” and “Bishop Danced,” are folkier and more story-driven. (The latter, with its fluttering accordion, has been rarely performed and never appeared on a true studio recording). Others, like “Lost in the Flood,” “Spirit in the Night” and “Blinded By the Light,” have remained constant in Springsteen’s 40-year touring career. He also offers a fun, fast-tempo “Does This Bus Stop at 82nd Street?”—cheekily chiming in, “A song about New York City, 82nd Street bus,” after a near two-minute intro. Springsteen completes the set with “Thundercrack,” an 11-minute epic that allows each member of the band to jam, with some provocative guitar work about halfway through.

You can tell the young Springsteen is having a great time as he performs—something that has never changed. This is quite possibly the very first professional live recording of The Boss to surface, recorded 45 years ago on this date.

The Band

Bruce Springsteen: guitar vocals Clarence Clemons: saxophone Danny Federici: organ Vini Lopez: drums Garry Tallent: bass

What makes this show particularly interesting and historical is that a few weeks earlier, Springsteen had actually been part of the very first King Biscuit Flower Hour, which was broadcast over three decades ago (February 18th, 1973). On that broadcast, Bruce only performed two songs and had to share the bill with Blood, Sweat & Tears and jazz-fusion pioneers, the Mahavishnu Orchestra.

 

FRANKIE COSMOS – ” Apathy “

Posted: March 4, 2018 in CLASSIC ALBUMS, MUSIC
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On Thursday Frankie Cosmos revealed another new track from their forthcoming album, Vessel, due out on March 30th via Sub Pop Records. Following the previously released “Jesse” and “Being Alive,” this new track “Apathy” is an intimate slacker-pop break-up tune with songwriter Greta Kline wearing her vulnerabilities and naiveté proudly on her sleeve. It concludes with her reveling in newfound clarity: “You could take me and my apathy / Turn us into clarity.”

Band Members: 
Greta Kline
Alex Bailey
Lauren Martin
Luke Pyenson

HURRY – ” Every Little Thought “

Posted: March 4, 2018 in CLASSIC ALBUMS, MUSIC
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What was once a solo project for principal songwriter Matt Scottoline has evolved into the band Hurry, a power pop trio from Philadelphia, Pennsylvania composed of Scottoline, Rob DeCarolis (Univox), and Joe DeCarolis (Psychic Teens). The DeCarolises are cousins and they are both very talented

Hurry’s fourth album is packed front to back with breezy, beautiful songs that will please anyone who loves the classic, strummy power-pop of Teenage Fanclub, Tommy Keene and the Power Pop bands that we have recently featured. “Heatwave” sits in the center of the album and captures the band’s sweet ‘n’ sour sound. “Waiting For You” offers a subtle surf-rock vibe alongside main man Matt Scottoline’s lyrics about loneliness and screen addiction. “Read Between the Lines” is a tightly wound bundle of jangling guitars and reticence, while “On the Streets” is about as close as Hurry gets to punk pace.

Hurry’s album ‘Every Little Thought’ out on Lame-O Records out now.

MOANING – ” Tired “

Posted: March 4, 2018 in CLASSIC ALBUMS, MUSIC
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The impassioned, self-titled debut from Los Angeles-band Moaning produced by Alex Newport.
Moaning is a band defined by its duality. The abrasive, post punk trio comprised of Sean Solomon, Pascal Stevenson, and Andrew MacKelvie, began nearly a decade after they met in L.A.’s DIY music scene. Their debut album comes born out of the member’s experiences with love and distress, creating a sound uniquely dark and sincere. Although the band is just breaking out of their infancy, Moaning’s sleek and cavernous tone emphasizes the turmoil of the era they were born into.

One where the endless possibility for art and creation is met with the fear and doubt of an uncertain future. The trio began regularly frequenting DIY institutions like The Smell and Pehrspace, eventually selling out dozens of their own shows at both venues with their first few bands. Solomon recalls, after a brief hiatus from playing together, Moaning’s conception came when he sent Stevenson and MacKelvie the first demo for Don’t Go, setting the tone for the impulsive songwriting that would follow. The three fleshed out Solomon’s primitive recordings, adding in MacKelvie’s heavy syncopated drumming, and Stevenson’s melodic driving bass and synth parts, capturing each member’s personality in their sparse and fuzzed out tracks. Like many of their previous collaborative projects, Moaning forces pain up against pleasure, using the complexity of personal heartbreak to inform the band’s conflicted sound. The band eventually landed on the apt moniker Moaning, admiring the ambiguity the name held and hoping to reference both an intimate wail and an anguished scream

Moaning (Release Date: March 2nd, 2018)

The HOLY KNIVES – ” To Be Me “

Posted: March 4, 2018 in MUSIC
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The Holy Knives is the sonic vision of brothers Kyle and Kody Valentine, a band that infuses the sultry sounds of rock’n’roll with a tinge of desert psychedelia. The Holy Knives is the sonic vision of brothers Kyle and Kody Valentine, a band that infuses the sultry sounds of rock & roll with a tinge of desert psychedelia. Their debut EP was recorded at Sonic Ranch with Latin grammy-nominated producer Manuel Calderon (The Chamanas, Nina Diaz).
The 4-song EP is a curated tour of The Holy Knives’ sonic possibilities. Drawing inspiration from acts like Portishead, The Doors, and The Afghan Whigs, the band hones a collection of hypnotic, introspective anthems over dark, groovy dreamscapes, allowing the music to feel simultaneously familiar and fresh.
Their recorded music is bolstered by their live quintet performance, a refined ritual that is relentless in its pace and religious in its fervor. 

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Band Members
Kody Valentine | Vocals, Guitar
Kyle Valentine | Guitar
Skyler Ellis | Drums
Jaime Ramirez | Keyboards
Ian Miller | Bass

 

The SHRIVES – ” Money Maker “

Posted: March 4, 2018 in MUSIC
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The Shrives have released the video for new single ‘Money Maker’.

Out now, the single comes ahead of the band’s forthcoming show at Nottingham’s Fox Talbots on March 3rd.Speaking of the single, drummer Joe Michelson said: ‘Money Maker’ is about yearning for somebody who’s already gone. A love that lasted five minutes but hurts for a lifetime.”

With their rock ‘n’ roll meets punk blend, The Shrives continually produce catchy singles that’ll have you bopping along in seconds.

BLOSSOMS – ” I Can’t Stand It’ “

Posted: March 4, 2018 in MUSIC
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Blossoms have announced the details of their second album ‘Cool Like You’.

Due for release on April 27th via Virgin EMI, the album is the follow-up to the band’s number one debut self-titled release. Alongside the album announcement, the band have unveiled the first track from the release with synth-led single ‘I Can’t Stand It’ and announced they will tour the UK in May 2018.

The KILLS – ” List of Demands (Reparations)/ Steppin Razor “

Posted: March 4, 2018 in MUSIC
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For their latest attack,The Kills re-wired the circuits of Saul Williams’ “List of Demands (Reparations)”to create a wounded, volcanic, and urgent anthem. An opaque but powerful litany that could incite the most apathetic to action, a wake-up call capable of being interpreted as personal or political. The song comes backed with a dazzling cover of Peter Tosh‘s “Steppin’ Razor“.

“I always felt envious of the way the ’60s generation shared songs and ideologies. Jimi singing Dylan. Rotary Connection singing Otis Redding. The Stones singing the blues. This is all part of the beauty and power of music and it reverberates deeply in me. All this to say, I’m honored. I liked The Kills before they chose to cover ‘LOD’. If they can feel themselves in that song, it’s because they are as much a part of it as I am”. – Saul Williams

DEAD NEIGHBORS – ” Less “

Posted: March 3, 2018 in CLASSIC ALBUMS, MUSIC
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Athens post-punk trio Dead Neighbors have kept their sophomore LP on the shelf for nearly a year. While the band was busy touring and trying to find a label, its most poignant and compelling work to date has been floating just beneath the surface, waiting to emerge.

Vocalist and guitarist Sebastian Marquez describes performing in Dead Neighbors as “primal scream therapy,” and in that spirit, Less seems like a necessary emotional step. The majority of the songwriting was done in the wake of Marquez’s stepfather’s death, and the album is dedicated to his memory. Its lyrics are heavy with the frustration and fear that come with the loss of a loved one; Marquez seems to be seeking catharsis by putting his feelings on public display.

Sonically, Dead Neighbors remain anchored by a slack-rock sound that occasionally veers into the realms of emo and punk. Marquez is hardly a masterful vocalist, but his delivery feels honest and raw and is backed up by his and his bandmates’ instrumental acumen. Highlights like “Same Thing” and “No Escape” start small and (relatively) quiet before ratcheting up the tension and eventually exploding into a cacophony of sloppy and effective noise. The album’s final two tracks—the eight-minute ambient interlude “(d)” and haunting “Indifference”—bring the 30-minute therapy session to a stunning close.

“Less” (quotation marks included) is the 2nd full-length from Dead Neighbors, a punk trio that hails from Athens, Georgia Their self-titled debut album was recorded in a bedroom in Athens, GA..
Released March 3, 2018

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Band Members
Sebastian Marquez (Vocals/Guitar), Hale Johnson (Drums), Owen Hunt (Bass)
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