Sorry - Right Round The Clock

London-based outfit Sorry take a look at some of the things that send us into a head spin in their stunning new track, “Right Round The Clock.” It’s the first offering from their freshly announced debut album 925which arrives next year. The project, steered by Asha Lorenz and Louis O’Bryen and accompanied by drummer Lincoln Barrett and bassist Campbell Baum, launches deep into how grand aspirations and the need to feel wanted can trap us in a whirling cycle of aimless direction. Lorenz and O’Bryen’s straightforward, matter-of-fact delivery acts as a nice companion to the swaying, eccentric production that bounces in the background. As the duo announces in unison “I’m feeling kinda crazy / I’m feeling kinda mad / The dreams in which we’re famous are the best I’ve ever had,” you can feel their yearning to manifest something real and significant. This idea is further amplified in the music video for the single, directed by Lorenz and regular collaborator Jasper Cable-Alexander. While we try and maneuver through our individual realities, one thing is certain:

Sorry is a creative force to keep an eye on. 925 is set to release in the spring of 2020 via Domino.

Broken Bells - Good Luck

Danger Mouse and James Mercer have reunited on “Good Luck,” a fatalistic new single that broods on the desolation of our current day and age. A pounding bass sits at the forefront while Mercer sings of looking “the face of evil” in the eye. “Head up, dead lamb,” he sings, acknowledging that our sacrifice has already been made. Upon declaring that “there’s no divine right,” lines like “In time, it ends” then feel like a promise for a light at the end of the tunnel. While Danger Mouse collaborated with Karen O for Lux Prima earlier this year, Mercer has been mostly quiet since The Shins’ 2018 surprise release of The Worm’s Heart, a reworking of their fifth album Heartworms.

In a joint statement, the duo officially announced an upcoming LP. “We always drift back to one another as Broken Bells,” they stated in their press release for the single. “Right now it’s happened in the form of writing and recording sessions for the third Broken Bells album.”

The debut single from Hamerkop features delirious washes of synth over a driving motorik beat, as Annabel Alpers‘ yearning vocals wash over everything with widescreen flair and a hooky resolve. Sounds like a summer single! Winter may be coming on here, but Annabel hails from down under, where the seasons are in reverse; thus also the song’s theme of migratory birds, as homesick, she measures the distance from the US to New Zealand by wingspan.
Hamerkop is a pair of Baltimore-based sound nerds: Annabel Alpers, the composer, singer and instrumentalist formerly of New Zealand’s Bachelorette, and Adam Cooke, a Baltimorean drummer/audio engineer with credits that include Beach HouseWye Oak and Future Islands. Together, they have created a song-cycle that contrasts the often-mundane (yet often satisfying) everyday world with that of the idealized, longed-for fantasy, to find the spaces in between these things, the place where we all feel good about our existence.
from Remote, releases February 7th, 2020

Hello! Just a head’s up for a limited edition commemorative EP to mark 10 YEARS?! since the debut Withered Hand album Good News was released.

I hope some of you will find these new treatments of old familiars touching. I marvel at Pete’s Harvey’s string arrangements and it was fun to be reunited with Pete at his studio in Perth where the strings were recorded. I laid down new ten-years-older vocals on four songs and spoke about my attempts at creative and broader recovery.

Here’s the official blurb:

The Springsteen of self-deprecation (!) celebrates the tenth anniversary of his debut long player by re-working four of the album’s finest tunes. They were handed over to Pete Harvey (who was involved in the genesis of the original recordings) to re-arrange, lovely new melancholic string sections were recorded, and Willson re-sang his vocals – effortlessly moving the anti-folk classics towards anti-chamber pop.

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Dan Willson – vocals and guitar
Strings arranged by Pete and performed by the Pumpkinseeds:
Kate Miguda – violin
Liam Liam Lynch – viola
Harriet Davidson & Pete Harvey – cello

Album releases November 25th, 2019

Thanks to Wiaiwya and Fika Recordings for their help in making a vinyl incarnation available. With a limited edition meaning only 300 copies of this Vinyl and 500 CDs will ever exist,

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Prolific Athens-based experimentalists Je Suis France are releasing their most ambitious record to date today, following the band’s sharing its first fizzling, thrashy-trashy cut, “House Style,” . Unlike the band’s latter records, Back to the Basics of Love wasn’t written in a constant flux or hashed out between slow internet connections. The record was the product of all of the members of the band coming together from their half-dozen separate cities and communities, and letting their creativity sync up in unison for the first time since 2003’s Fantastic Area.

Je Suis France doesn’t have an off switch. Back to the Basics of Love, which comes out this November from the Ernest Jenning Record Co., will be their seventh official full-length album, but they’ve also released dozens of digital releases and CD-Rs stretching back to the early ‘00s. The band, which first came together in Athens, Georgia, in the ‘90s, has prepared a new release for almost every show they’ve played since 2004. Despite that long history of experimentation, Back to the Basics of Love has all the energy and urgency of a debut from a band that’s 20 years younger. It’s a record that sounds like it could’ve come out in the 1990s, the 2000s, or the 2010s, but that couldn’t have existed at any point other than now.

Je Suis France – House Style – from the album Back To The Basics Of Love

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Taking the piss of Halloween themed TV specials, Toronto’s Pup present “Growing Up Ghouls”, aka their new visuals for ‘Morbid Stuff’ fave ‘See You At Your Funeral’.

Titled “Self Care: A Horror Story”, it follows different lols and spooky themed tricks to stop you from feeling heartbroken, including to exercise (your demons) and achieving inner peace. Easy, eh?

Taken from their third record ‘Morbid Stuff’, when we spoke to them back in April about the album, frontman Stefan Babcock explained of its origins: “I was bored as fuck, sitting around thinking about all this morbid stuff. Like if anyone I’ve slept with is dead and I got stuck on death and dying and obsessive thoughts that won’t let up […] I think that’s part of growing up and becoming more mature, realising that it’s just not gonna fucking work out. It’s just not going to. Being able to let go, for better or worse, makes it become a bit easier with each passing year.”

The Districts announce new album ‘You Know I’m Not Going Anywhere’

The Districts have announced details of a new album. The band, last seen with third album ‘Popular Manipulations’ in 2017, will release ‘You Know I’m Not Going Anywhere’ on 13th March 2020.

They’ve also shared a track from the record, ‘Hey Jo’.

“This song is about relationships unfurling amidst the dysphoria of the modern world,” says the band’s Rob Grote. “We are all imperfect products of the natural world, and more specifically products of our own minds. This song was inspired by navigating how to be your best self and detach from what is destructive in you, to be something more perfect, gentle, and beautiful.”

‘Hey Jo’ from The Districts 4th album ‘You Know I’m Not Going Anywhere’ In stores March 13th, 2020 on Fat Possum Records

Savages’ Jehnny Beth shares new track ‘I’m The Man’

Earlier this year when Peaky Blinders was in full swing. The brilliant Jehnny Beth, of Savages fame, used the show’s soundtrack to debut a snippet of new material, and now she’s shared the whole track.

A blistering offering, ‘I’m The Man’ is the second solo work to come from Jehnny Beth, with the first being her soundtrack for the Chelsea Manning documentary, XY Chelsea.

“‘I’m The Man’ is an attempted study on humankind,” Jehnny says, of the track, “what we define as evil and the inner conflict of morality. Because it is much easier to label the people who are clearly tormented by obsessions as monsters than to discern the universal human background which is visible behind them. However, this song has not even a remote connection with a sociological study, collective psychology, or present politics; It is a poetic work first and foremost. Its aim is to make you feel, not think.”

The track also lands ahead of her new new television show, ECHOES, which is set to air later this year.

Fuzz is fun. There’s not enough fuzz around in 2019, it’s all reverb this, flanger that. Remember the good old days, when you couldn’t move for fuzz? Everywhere you looked it was fuzz, fuzz, fuzz. Remember that? because False Advertising do.

Their second album ‘Brainfreeze’ is rammed full of frantic grunge pop that’ll have you digging out your plaids and Fender Jaguars in no time. Still, while ‘90s rock is definitely the trio’s main point of reference, there are few moments where they jump out of their comfort zone. ‘You Weren’t In My Dream’ breaks through the fuzz into surreal, almost Lynchian chamber pop, while ‘At The Top’ has more than a hint of early Radiohead, suggesting that, in time, the group could evolve into something quite special.

With ‘Brainfreeze’, False Advertising have started something interesting. It’s not perfect, but then grunge never was about perfection, was it?

Rammed full of frantic grunge pop that’ll have you digging out your plaids and Fender Jaguars in no time.

Band Members
Jen Hingley, Christopher Warr and Josh Sellers

The new album ‘Brainfreeze’ by False Advertising Released on 8th November 2019 via Alcopop!

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Lauran Hibberd works up a sweat to end the year with ‘Sweat Patch’, the latest slacker pop number to follow her debut EP, ‘Everything is Dogs’, released earlier this autumn.

“’Sweat Patch’ is arguably a song about drugs, but it’s not like I’m trying to be cool about it,” she says of the track, released today. “I’m pretty much frigid with anything unprescribed. But because of that, this song is based on my idea of that world. There’s loads of songs about getting high, not as many songs about watching and I guess analysing other people do it. I guess this is me, soberly sat in a room watching all of my friends take drugs. I guess there’s also a nod to the elephant in the room, A DUDE. There’s always a dude! And I guess this song stemmed from me being into this guy, but he was pretty much into other things more.”

Released on: 2019-11-07