Earlier in the decade there was one band championing the South London scene. That band was Palma Violets and with their brand of swashbuckling indie-punk they paved a way for many others south of the river. The band though, after some work on maintaining their ‘ones to watch’ status, sadly went down the Thames with many others before them.

That hasn’t stopped Sam, Will and Phil of the band finding their sound again, and now with the help of guitarist Adam Brown alongside The Big Moon’s Celia Archer, they’ve got a brand new project underway by the name of Gently Tender. They arrive with some new tricks, some old traits and a brand new song, ‘2 Chords Good’.

Luckily, the project is still dabbled with the chaos and ramshackle charm of Palma Violets, but are offering more melody and texture as the spoken-word croon details the nugget of truth at the centre of their new song.

Sam explained “The song is essentially me replaying that moment in my mind, and almost kicking myself about my average and weak response [‘Probably yeah’] to her question, ‘Are you going to put some more chords on your new album?’”


He continues: “The song is me talking to myself … and making excuses like I was feeling ‘kinda stressed that day’. I had been suffering with anxiety at the time of the meeting, but as I gradually formulate what the answer should have been, I cultivate pictures in my mind of visions and scenes that move me; memories of ‘golden evenings’ and ‘sunlit canals’ and songs that I have loved.”


Cut Worms is the nom de plume of songwriter Max Clarke, whose debut LP will seduce you right off the bat with its sparkling opening track, “How It Can Be.” With his intimate indie voice and facility for instantly memorable melodies and guitar lines, Clarke conjures a kind of garage-tested Everly Brothers, reminiscent of early Shins, with breezy pop ballads just tart enough to soundtrack lonesome summer days. Hollow Ground was recorded in the L.A. home studio of Foxygen’s Jonathan Rado, and in New York with Jason Finkel at Gary’s Electric. Check out the animated video for “Don’t Want To Say Good-bye,” and prepare to hum it for the rest of the day.

“Don’t Want To Say Good-bye” from debut LP “Hollow Ground” out May 4th on Jagjaguwar

Tons of Everly Brothers and Buddy Holly in Hollow Ground, which flies in the face of present day music. What’s wrong with this one man band Max Clarke and his compulsion of a bygone era? Who cares, when it sounds this good.


“Cash For Gold” from debut LP “Hollow Ground” out May 4th on Jagjaguwar Records


Limited 12″ Edition. Standout tracks from Parquet Courts’ latest album Wide Awake! get the dancefloor treatment in a collection of remixes available on 12” vinyl. The A-side features a re-work of the danceable title track by legendary first wave NYC disco pioneer Danny Krivit, who has delivered classic vinyl re-edits of tunes from Visage, James Brown, Giorgio Moroder, Kraftwerk, and many more.

The B-side features remixes of two tracks by prolific Australian producer and engineer Mikey Young, known for his work in Total Control and Eddie Current Suppression Ring. “Mikey has always impressed me as a musician and person,” says Parquet Courts’ A. Savage, “but he’s developed a remarkable talent for producing electronic music, as evidenced by projects like Lace Curtain and Total Control. He has a skill of impressing his genius and personality into a track and elevating it to something more.

SadBad was written in Chicago then carried back to upstate NY where it was subjected to TOTAL INSTRUMENTATION courtesy of Angela Devivo and Kyra Skye. SadBad was then further illuminated via guests Sheer Mag’s Kyle Seely & multi-instrumentalist Curt Oren.

SadBad! Finally someone has created a word to describe how so many of us are feeling on a day to day basis. Sometimes a bit sad, sometimes a bit bad, sometimes a combination of the two. Izzy True named their sophomore album SadBad, a record that takes the sound of their debut and expands into new territory. Due out on August 3rd via Don Giovanni Records, the album takes True’s earnest lyricism and adds some twang, confessional sparseness, bursts of jazzy jubilance, and emotional beauty that’s both optimistic and heartbreaking. Themed with death, break-ups, and the end of the world, you might not believe there’s much optimism to be found, but True works hard to find that comfort in the darkness. There’s a lot of moods and dynamic songwriting throughout SadBad, a terrific growth of all that was already great about Izzy True’s music.

The first single and title track, “SadBad” captures an Americana spirit to True’s usual heartbreaking pop. It’s a passionate and soulful track, built on a slow and dusty progression that just rolled in with the breeze. True’s voice is soft but powerful, quietly proclaiming “you can’t stay” before the repetition of  “it’s the wrong time”. The song’s guitar twin melodies intertwine with a jangle and harmonic warmth, the perfect compliment to the relaxed rhythm and True’s gorgeous Angel Olsen reminiscent voice. Joined together by Angela DevivoKyra Skye with guest appearances from Sheer Mag’s Kyle Seely and Curt Oren, Izzy True and company have made a record that only gets better with every listen.

releases August 8, 2018

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The Lemon Twigs‘ most ambitious project yet, Go To School is a concept album about a chimpanzee named Shane who is adopted by childless aspiring musicians and raised as a human. Written, Recorded, Produced and Mixed By Brian and Michael D’Addario in their Long Island home studio, the album features Todd Rundgren and their mother Susan Hall’s vocals as Shane’s adopted parents, as well as Jody Stephens of Big Star on drums, Natalie Mering of Weyes Blood providing backing vocals and a host of string and horn players, some of which taught the Brian and Michael in school.

The album drops on August 24th, and follows the breakout success of their technicolour debut full length ‘Do Hollywood’.

The material will be previewed at a select batch of fan only shows, Referring to the contents of the record Brian and Michael D’Addario hint: “Something now, then, big, small, bleak, and hopeful. All in under an hour.”

‘If You Give Enough’ from The Lemon Twigs‘ new album, ‘Go To School’, out on 24th August.

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Twenty years after the Beastie Boys first said “Hello Nasty” to the world, D.A. Stern and Jacuzzi Boys are teaming up to celebrate its birthday in the form of a split 7” of covers brought to you by Slumberland Records. Focusing on two fan-favorite deep cuts, the three JBs and one D.A. chose songs that showcase the Beasties’ unique versatility while offering messages of mindfulness, emblematic of their later career.


“Song For the Man,” a Horovitz-penned feminist anthem originally steeped in Sixties psychedelia now sees a garage treatment that only Jacuzzi Boys could deliver while “I Don’t Know,” once an Adam Yauch bossa nova standout, gets the D.A. Stern treatment replete with jangly guitars and sun-drenched backing vocals supplied by Felicia Douglass (Dirty Projectors, Ava Luna). The Beasties were about a lot more than just fighting for your right to party, and this great single is a fitting tribute to their depth in miniature form.


Released by: Slumberland Records Release date:3 August 2018

Bazan onstage with a guitar and microphone

The hope of a great cover song, so that it has its own movement and color. David Bazan has proven himself an understated interpreter with a distinct bent towards desperate intensity, from his early covers of Radiohead (“Let Down”) and Nirvana (“Something in the Way”) to more recent songs, like Protomartyr’s “The Devil in His Youth” and The Long Winters’ “The Commander Thinks Aloud.” He likes to take on forebears and contemporaries, artists with whom his own music carries a conversation. This is why David Bazan’s version of “Thread” by Now, Now feels something like a renewal.

The cover appears on volume eight of Kevin Devine’s Devinyl Splits series, which has featured sides from Worriers, Tigers Jaw, Owen and Craig Finn. This particular pairing sees Devine and Bazan — both with at least a couple decades’ experience making music  tackling one song each by the relatively younger Now, Now (Devine covers “Prehistoric”). With the sparkling pop of Saved still fresh in our ears (and perfect for summer playlists), this revisit of material from 2012’s Threads . Bazan was the lead singer and creative force behind the band Pedro the Lion and was the lead singer of Headphones.

Find ‘Devinyl Splits No. 8’ at Bad Timing Records webstore: http://badtimingrecords.limitedrun.co.

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Moody, rich and dark. Pigs of the Roman Empire croon songs of love and hate in the sparse Post-Punk atmosphere of Melbourne.
With roots in the heavier side of music, Pigs have sculpted the thick tonal resonance of Stoner and Doom and applied it to the dissonant world of Joy Division and The Birthday Party.

A lovely big slab of twangy, swampy doom, guaranteed to make your ears ejaculate the words,  a song that truly deserves to be described as epic. The twanging eight minute long track “Hitchcock” from Melbourne duo Pigs of the Roman Empire sounds like Nick Cave fronting Southern Death Cult and is the best 8 minutes you’ll spend this week. It builds and builds into a wall of sound that’s more Spectre than Spector.


Released December 10th, 2017

Written and performed by Pigs of the Roman Empire 
Troy Keith – Guitar, Bass, Vocals
Jarrad Robertson – Drums, Vocals

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Phoebe Bridgers gave indie rock a shot in the arm last year with the wonderful “Stranger In The Alps”, the Los Angeles musician’s debut album – she became one of our favorite artists of 2017, and her song “Funeral” was among our most played tracks of the year’s roundup. Today, she’s back with a beautiful cover of “The Gold” by Manchester Orchestra, and contrary to the title, the Elliott Smith-harkening song is about a relationship that’s lost its lustre

Phoebe’s cover of Manchester Orchestra‘s “The Gold,” the excellent single from last year’s A Black Mile to the Surface. Phoebe doesn’t change the song up too drastically, but she performs it in that same intimate, instantly-gripping way that she performs her own music, and really makes the song sound like one of her own (as she has done with other covers, like the Mark Kozelek song she did for her great 2017 album Stranger in the Alps.

Manchester Orchestra“The Gold (Phoebe Bridgers Version),” out now on Dead Oceans Records.

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The Dirty Nil play rock and roll. Loud, distorted, and out of control, they play like it’s a fever they’re trying to sweat out. Reveling in the din of distorted guitars, pounding drums, and desperately howled vocals, the Hamilton Ontario three-piece makes music for turntables and hi-fi’s – music for dive bars and house parties – for beer drinking and joint smoking – for road trips and barbecues – for fighting and yelling and shouting and singing and screaming and howling – for sweating and bleeding – trying and failing and trying again anyways. Gravel-in-your guts, spit-in-your-eye, staggering, bloodthirsty rock and roll. They have two 7″s available that capture the snarl and destructive noise they create. The Dirty Nil play rock and roll – cause they couldn’t do a damn thing else if they tried. The Dirty Nil present their second single Pain Of Infinity from their upcoming album Master Volume, out September 2018 on Dine Alone Records.


Band Members
Luke Bentham: Guitar and Vocals
Kyle Fisher: Drums
Ross Miller: Bass and Vocals