To say that sinus woes suck would be a serious understatement: Your senses grow dull, your eyes throb with pain, and your whole noggin begins to feel like a fruit-gusher candy getting slowly crushed between two steel plates at any given moment. At least there’s a silver lining to all that snot; not only does the sickness eventually end — at least for a time — it might just inspire you to make a kickass album. Los Angeles grunge-gaze band Goon have done just that with their debut record, “Heaven Is Humming”, which mastermind Kenny Becker wrote while battling a chronic sinus condition. Rather than snuffle and lament, the musician sought inspiration from the good days. “I find encouragement in the fact that I’m able to be productive in the times that I’m not sick,” he said in a press release. “People like to romanticize the periods in which, for example, someone like Van Gogh was suffering, but it was actually because he was sick that he would go outside, and see a cherry-blossom tree, and be struck by its beauty.”

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Heaven is Humming has been a long time coming. Three years coming, to be exact: singer/guitarist/songwriter Kenny Becker, singer/guitarist Drew Eccleston, bassist Caleb Wicker, and drummer Christian Koons started work on the album in the summer of 2016, right around the time Goon’s debut EP Dusk of Punk came ripping in from the Los Angeles sky, spilling from the brim with monster riffs and deep hooks.

Heaven Is Humming, then, is the rare example of a grunge album that isn’t mired in the artist’s despair, but rather his perseverance in the face of the fever dream. The noise-rock malaise hanging poison cloud-like over the record’s two heaviest cuts, “Datura” and “Deny,” along with Becker’s tension-laden yelps throughout, proves that journey as anything but easy, but chill vibes win out in the end. Tracks like “CCLL” and “Northern Saturn” run a little harsh, a little hazy, and a little high: just the way I like my rock.

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BIBIO – ” Ribbons “

Posted: July 19, 2019 in ALBUMS, MUSIC
Tags: , ,

, The 30 best albums of 2019 so far

Bibio’s back catalogue is a walk through different grounds of experimental sound. Starting his Warp Records journey with Boards of Canada influenced IDM, flirting with folk along the way and eventually falling into ambient textures on 2017’s Phantom Brickworks, Bibio has always pushed the boundaries of his work. This year’s Ribbons album sees him committing fully to dreamy, old-fashioned folk.

“Ribbons” initially feels like exactly the type of easy listening, laidback music that saturates chill Spotify playlists and the mood-based listening that dominates streaming platforms but Bibio’s unique qualities come in the weirdness and experimentation that breathes through his pretty, delicate instrumentation. Bibio’s relationship with British old-style folk isn’t a passing influence used to add another sound to his canon, its a full-bodied embrace and there’s a risk-taking charm in releasing wide-eyed tracks like ‘Erdaydidder-Erdiddar’ and ‘Watch the Flies’ to a Warp audience.

This album has been made very much in admiration of nature yet through a tinted window of manmade escapism. Spending more time in the British countryside, walking, photographing, listening and recording has certainly affected how I’ve been thinking and expressing myself in the studio – recalling the beauty in nature and the sadness of seeing it spoiled.

Yet, Bibio could teach his IDM peers a lesson with the intricate instrumentation and skilled layering exhibited throughout Ribbons. Ribbons brings you on a whimsical journey to another world that you might never want to return from.

Less than a year after their last album Performance, the ever-prolific White Denim are back with their eighth record “Side Effects”. More in line with the experimental, freewheeling spirit of their fan-favourite record Last Day of Summer than anything else they’ve done since, Side Effects is a record that captures the essence of the band’s full-throttle live shows. Featuring a rotating cast of band members led by James Petralli and Steve Terebecki, these tracks draw on the sounds of different personnel to create a cohesive whole – the result being an album that’s as varied and vivacious as anything they’ve ever done.

“I keep a few CDs of demos and rough mixes in my car, and when the radio gets unbearable, I’ll put them on to see if I feel anything,” Petralli says on how Side Effects first found life. “The songs on Side Effects are ones I heard from these demos – they were the ideas that sounded the most developed to me. I had this feeling that just because these tracks weren’t the right fit for the previous records, doesn’t mean that they couldn’t go on to be great in the right context.”

With that in mind, Side Effects takes on a more incisive feel than previous White Denim records. Contrary to Performance – the story of a questioning performer on stage – Side Effects is the off-stage life of the man behind the makeup. Spearheaded by Petralli and Terebecki (who tag-teamed production and called in specific talents from their rolodex of musicians), Side Effects has the feeling of a band providing fan service in a way only White Denim could do – by referencing their own material and putting out a record for fans to dig deep into. “We don’t put any limitations on what the band could do or should do in the studio,” says Petralli.

The album’s opening track, ‘small talk (feeling control)’, barrels out of the gate with a garage-rock prowess not heard from the band since the days of Workout Holiday. Not only does it invoke nostalgia for the band’s early days, but its second verse is also from the first batch of lyrics Petralli ever wrote for the band. “When we made Workout Holiday, we captured a feeling that comes from having fun and playing music on the weekend. I’m always looking for that feeling in the room – to get everyone laughing and playing well. ‘small talk’ is a great example of that.”

‘Reversed Mirror’ meanwhile comes directly from the stage as another take on the live favourite. An expertly crafted instrumental, it’s a reworking of both ‘Mirrored in Reverse’ and ‘Mirrored and Reverse’ and perfectly captures the raw, improvisational nature of the live band. ‘Shanalala’ on the other hand sees them embracing a post-punk side in the vein of Suicide – all stuttering, off-kilter electronics and breakneck drum machines. It’s a track that beautifully captures the playful attitude of the album – a song that shows off one of the many outfits White Denim have in their wardrobe.

Then there’s the album’s centrepiece – the six-minute odyssey ‘NY Money’. It features the backbone of the current live incarnation of the band on record (Petralli, Terebecki, Michael Hunter – Keys, Greg Clifford – Drums) and effortlessly traverses through the sounds of Soft Machine and Trans Am. “I cobbled the lyrics together from an old notebook I had on tour in 2015,” Petralli says. “It was after a night of drinking with The War on Drugs guys, and the Neu-influenced production at the back part of the tune is a winking homage to what they’ve been up to for the past few years.”

If you’re coming back to White Denim after a few years away, Side Effects most likely picks up exactly where you left off: a record showcasing a hugely energetic band bursting at the seams. And if you never checked out, then Side Effects is instead a wholly rewarding record – one that celebrates every form of White Denim to date and sets the stage for a brand-new chapter.

White Denim - Side Effects

Hey buds, dig into these summer jams and cool off your mind.

The BBiB 2019 Summer Jam Sampler is $5 minimum BUT all proceeds will be going to RAICES, the Refugee and Immigrant Center for Education and Legal Services; a nonprofit that promotes justice by providing free and low-cost legal services to under-served immigrant children, families and refugees in Central and South Texas.
AND anyone who pays $10 or more, will be entered to win several prizes that range from vinyl to BBiB t-shirts to tote bags to test pressings! We will have several winners. And you can feel good about your donation to RAICES. Obviously it’s money that is much needed right now.

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Released July 15th, 2019

“What to do with a spud like you?” Melbourne post-punk wags Terry return this summer with their new EP “Who’s Terry?”. Following on from last year’s huge-sounding I’m Terry album, this third EP from the band brings you right up to date with their wobbly politico-pop.

Spud is a class A toe-tapper that sees the band don fatigues and set their sights on the enemy. The rough and the tough, wrestled wrists and fools with crooked smiles all make an appearance as Terry sing as one over snare snaps and keyboard croaks.Bizzo and Tophat follows with a stride acrossthe underbelly, a thick slice of bop-heavy observation that gives way to one of Terry’s most elegiac refrains… “holding on and going forth”! Their gang vocal approach never sounding more resolute. Eggs then picks up the pace, a sure-footed romp that skips alongside prods of saxophone to join the parade.

Drawn for Days pulls the EP to a close, a sedate, melodic ponderance of strummy guitar, jangling bells and Amy and Xanthe’s soft-sung vocals. “Haunted by the big and small, hunted hanging for the fancy fall”. “I can’t stand up” the band decry in unison as the track scales its peak and gives way to warping synth noise. Who’s Terry encapsulates what Terry does best, the queasy marriage of the upbeat and traumatic, the catchy instant and the nagging distance. Their alliterative lyrics always sharp as tacks, their sense of melody and beat sunk deep in the heart of now.

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Seattle trio Dude York have returned with the new full-length Falling, their tribute to adolescent romance and the pop-punk that clogged up FM radio wavelengths of yesteryear. To celebrate the announcement, the band has shared a new animated music video for the album’s impossibly catchy title track. Falling will be out Friday, July 26th on LP, CD, Digital, and Cassette . First-run LP copies come on frosting-colored vinyl.

“There are two ways things can fall” says Dude York’s Claire England. “They can fall and be ruined, or they can fall gently like a feather and be fine”. On Falling, their second full-length for Hardly Art, the Seattle trio explores that sentiment

“Falling” is from Dude York’s 2019 album of the same name.

Francis Lung (Tom McClung) describes his new album as sounding “like a short Mancunian boy single-handedly trying to incite Beatlemania” he’s really not too far wide of the mark. Released later this summer, Lung’s much-anticipated debut. His new single “Up & Down” – the latest track to be taken from his debut album “A Dream Is U” (out 02nd august 2019).

“up & down” is a bipolar love story – two lovers with manic mood swings,

Manchester’s own Francis Lung, the nom de plume of former Wu Lyf member Tom Mclung, releases his new single his debut release for Memphis Industries, where he joins the likes of the go! team, poliça, field music, it comes with a gorgeously intricate self-produced video.

Following on from the home-recorded volumes 1 + 2 eps, which contained titbits written during his time in Wu lyf, sees Francis Lung return with a bigger, more expansive sound. recorded at low four studios with brendan williams on production duties (Dutch Uncles, Go Go penguin) it’s a baroque pop rocket that signals Francis Lung’s new found ambitions.

from the debut album ‘A Dream Is U’ out August 2nd on Memphis Industries

Mike McCartney (a.k.a. Mike McGear)’s 1974 album McGear was produced by his brother Paul McCartney who also wrote or co-wrote the majority of the tracks.  Linda McCartney, Denny Laine, Jimmy McCulloch, and Denny Seiwell also appear on McGear, which has been dubbed by some fans as a “lost Wings album.”  Now, McGear has now been newly remastered from the original master tapes in a compact but lavish box set and expanded with 21 bonus tracks, including 13 that have never been released, plus rare single edits that make their CD debut here.

The album featured a selection of tremendous songs such as ‘Rainbow Lady’, ‘Simply Love You’, ‘Givin’ Grease a Ride’ and ‘The Man Who Found God on the Moon’. McGear also featured an inspired cover of the Roxy Music song ‘Sea Breezes’, the evocative ‘The Casket’ and the hit single ‘Leave It’. Among those is the non-album single “Dance the Do” featuring the Bonzo’s Vivian Stanshall. The set also includes a DVD featuring interviews with Mike McCartney recorded at Liverpool’s Everyman Theatre and the Liverpool Institute of Performing Arts, as well as the 1974 promotional film for “Leave It.”  A 32-page booklet and foldout poster are also included.  The LP reissue is just the original album.

Esoteric Recordings is pleased to announce the release of a newly re-mastered and expanded 3 disc clamshell box set edition of the album, “McGear” by MIKE McGEAR, featuring 2CDs and a DVD. Originally released in 1974, McGear was the second solo album by Mike McGear (McCartney) and was a more “serious” record than his work with the Liverpool satirical trio Scaffold, or his work with Roger McGough on the “McGough & McGear” album.

“McGear” was charming, eccentric and unique in equal measure and was one of the great unsung albums of its time. Now acclaimed, but unavailable on CD for over twenty years, this long awaited expanded three disc edition reissue of “McGear” has been compiled with the full involvement of Mike (McGear) McCartney.

Available today in the U.K. and next Friday in North America.

Western Australia’s finest The Southern River Band continue to tease the release of their upcoming second album “Rumour and Innuendo” with the brand new single “Second Best” out now!

Showing their melodic side, “Second Best” is a hooky slice of 70’s FM rock with tight-ass harmonies and of course the band’s patented tasty guitar work courtesy of lead vocalist, guitar slinger and in-house stand-up Cal Kramer.

The song’s video, directed by Steve Browne and shot by Drew Kendell, features an amazing retro themed wrestling drama where try as he might, our hero Cal does indeed only manage to come off second best. As renowned Melbourne rock ‘n’ roll man about town and Cherry Rock impresario James Young attests, “Second Best has soul, swagger and power-pop sensibilities. Don’t let anyone say that The Southern River Band sound like The Darkness or Lynyrd Skynyrd. They don’t.”

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With a video for “Second Best” due on release, more new music on the way and some big news to come SRB are stepping it up in 2019 and ready to take on the world. Young concludes, “When I think of Southern River Band I think of Countdown on the ABC in the 70s. Colour, movement, magic and a guaranteed global smash hit.”

Released July 19th, 2019

Rightfully hailed as “the noisiest pop music on the planet” by Pitchfork, Austin, TX’s cult noise rock trio Cherubs have been purveyors of sonic bedlam since their inception in 1991. After an unforeseen return to the scene from a two-decade hiatus in 2014, the Cherubs have now joined forces with the equally revered Relapse Records for the release of their fifth long-player Immaculada High. Recorded and engineered by Erik Wofford (Explosions in the Sky, The Black Angels, My Morning Jacket) at Cacophony Studio in Austin, Immaculada High is 11 songs of signature Cherubs clamor with an added twist of Texas-sized, psychedelic racket. Smooth, rumbling low-end rhythms interplay with feedback drenched, chuggin’ guitars, relentless tone and vocalist Kevin Whitley’s shrill, life-of-the-LSD-party vocals. On Immaculada High, Cherubs loudly proclaim their title as bonafide noise rock legends who continue to forge transgressive yet remarkably accessible punk for a jaded world.

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Formed in 1992, Cherubs emerged on the Austin, TX, LSD punk scene with a jackhammer of nightmarish, rhythm-driven song structures and plenty of Butthole Surfers whimsy and terror to keep things more than interesting. Fast forward 20 years later and the band has reformed with more energy and songwriting acumen then ever.