Toronto based singer, Caitlin Woelfle-O’Brien makes music by herself under the name Blunt Chunks sneaks up on you when you least expect it. By the time the swaying country-twang of “Body Rush” fades out in echoing reverb into wry Faye Websterian domestic humidity on “Natural Actors,”Jaunt’s Caitlin Woelfle-O’Brien has perhaps already played with expectations more than the average five-track debut EP. But “BWFW,” the fourth song in the cycle, is a Roman candle — a distortion-drenched alt-rock anthem with a barbed truth of startling simplicity at its centre: “When I’m with you, I’m alone.”
released May 6th, 2022
Produced by David Plowman, Nathan Burley and Caitlin Woelfle-O’Brien at Patchwork Studios.
The Clean a South Island New Zealand indie rock band that formed in Dunedin in 1978. They have been described as the most influential band to come from the Flying Nun label, which recorded many artists associated with the “Dunedin sound”.
Led through a number of early rotating line-ups by brothers Hamish and David Kilgour, the band settled on their well-known and current line-up with bassist Robert Scott. The band chose their name from a character from the movie Free Ride called Mr. Clean. Hamish and David Kilgour started to play and write music together in Dunedin in 1978, “building up a fat songbook of primitive punk, minimalist pop, infectious folk rock, and adventurous psychedelic instrumentals. Their sound was built around David Kilgour’s off-kilter, 1960s-influenced guitar, Hamish’s motorik drumming, and melodic driving bass, first from Peter Gutteridge, then Robert Scott“.
The trio, which always wrote collectively, with all three members switching off on lead vocals, has reunited with inconsistent consistency, resulting in a bunch of new records and live performances from a group most fans thought they’d never hear or see again.
Back in Dunedin in late 1980, the Kilgours picked up Robert Scott on bass, completing the group’s classic line-up. The band’s 1981 debut single “Tally Ho!” was the second release on Roger Shepherd’s Flying Nun Records label. Other major tunes instantly memorable songs including ‘Anything Could Happen’, ‘Beatnik’ and ‘Getting Older’ and the lengthier drone of “Point That Thing Somewhere Else,” Clean songs were exercises in unbridled minimalism and maximum impact. David Kilgour didn’t play a lot of notes, but his guitar provided a haunting, half- psychedelic, half-spy-movie tone, with sleek, fuzzy lines that could lay down a trance and inspire sing-song silliness.
The Clean operated in fits and starts for the next four decades and beyond, exploring the confluence of noise and melody on essential early singles and EPs as well as branching into different articulations of their sound on full-length albums like 1994’s “Modern Rock” and 2009’s “Mister Pop”. The band remained sporadically active — including U.S. tours in 2012 and 2014 — until Hamish Kilgour’s death in 2022.
Boodle Boodle Boodle
A defining moment in New Zealand music history. In September 1981, The Clean – brothers David and Hamish Kilgour, and Robert Scott – entered a makeshift studio in Auckland’s Arch Hill and emerged with “Boodle Boodle Boodle”, one of the country’s landmark records.
The five-song EP, recorded by Chris Knox and Doug Hood and released on Flying Nun Records, followed the jangly single ‘Tally Ho!’, which had come out that same year and found its way to number 19 in the New Zealand charts. But “Boodle” would push things even further, eventually peaking within the top five and spending a good six months hanging around on the chart. Not bad for a handful of songs that commercial radio refused to play.
Through 1981 and 1982 they placed a string of vibrant indie EPs and singles in the New Zealand Top 20. The keyboard-driven classic groovy organ swing of ‘Beatnik’ from their second the seven-track EP “Great Sounds Great Good Sounds Good, So-So Sounds So-So, Bad Sounds Bad, Rotten Sounds Rotten!!”..aided by heavy touring The third release from The Clean, and their second 12-inch EP from June 1982.
But for most of the 1980s, The Clean had disbanded; but during this time, the Kilgour brothers worked together on an experimental album and EP with the deliberately pun titles “The Great Unwashed” and “Clean Out of Our Minds”.
Even with the group in abeyance “The Odditties” compilation tape of unreleased material appeared in July 1983, followed by a live EP, “Live Dead Clean“, in 1986, and a greatest hits collection called “Compilation” and second “Odditties” tape in 1988. In 2003, the two-disc compilation “Anthology“, released through Merge Records, which awakened new interest in the band in the US, building on an international reputation that had been enhanced by endorsements from prominent 1990s indie groups such as Pavement and Yo La Tengo.
“Compilation” collects some, but not all, of the early stuff, including highlights from the two EPs and “Tally Ho!”; the import CD tacks on six live tracks. “Odditties” is just that, the veritable odds-and-sods collection; originally released on cassette, the CD also has extra material. And as the title would suggest, “Live Dead Clean” (recorded in ’81 and ’82, with several songs not found on the previous vinyl releases) was thought to be posthumous. But before that record even came out, there was already the Great Unwashed, which saw the Kilgour brothers taking up with original bassist (and one-time Chill member, though practically every Kiwi musician can say that) Peter Gutteridge in the place of Robert Scott, who’d gone and started the Bats. Just to further confuse the discography, the “Odditties 2” cassette mingles outtakes and live tracks (from ’79 to ’84) by the Clean and the GreatUnwashed.
In July 1988, Kilgour, Kilgour and Scott played a reunion gig at the Fulham Greyhound in London, resulting in the sublime and frenzied “In-a-Live” EP, which features five of the band’s best old songs (“Fish,” “Anything Could Happen,” “Flowers,” “Point That Thing Somewhere Else,” “Whatever I Do Is Right”), recorded, amazingly enough, on a 16-track board.
Vehicle
The Clean made what was technically its very first album. “Vehicle” finds the band in immaculate form, churning out little diamond cuts of nervous guitar, earnest vocal harmonies and pesky little hooks that sting, tickle and shock. The sound quality is better and the rhythms more elastic, but otherwise it’s as if they never left. “Draw(in)g to a (W)hole,” “Dunes,” “Big Cat” and “Diamond Shine” would all be candidates for the best little singles in the world if they came in 7-inch form; songs like “Home” and “I Can See” are gorgeously shimmering ballads.
The Clean toured some in support of “Vehicle” and then scattered again. David began a solo career, Robert continued with the Bats and Hamish moved to New York, where he and his wife formed the Mad Scene.
Like lovers who could never quite say goodbye, the group reunited in 1994 to record a new album. “Modern Rock” was released in late 1995, followed by “Unknown Country” in 1996. The trio went their separate ways yet again.
Modern Rock
“Modern Rock” was recorded and released. Suggesting influences like the Velvet Underground, Nick Drake and maybe even Stereolab (though the Clean has always wielded the same sort of rolling keyboard trickery), it’s a more grown-up affair that floats off-kilter melodies and tiny tensile guitar in a slower, softer swirl of cloudy organ lines and spacey electric piano textures, with liberal use of strings and folk instruments.
The archly titled “Modern Rock”, slyly digging at the tag often applied to the band’s music in earlier years, a la “college rock,” finds the trio merrily making its way through fourteen gently rocking, gently chiming originals. Though recorded over only ten days, the combined experience and ability of the three members allowed them to whip up a fairly elaborate set of songs, as indicated by some of the intriguing arrangements. The spacey echo on the keyboards for “Outside the Cage” and spectral backing vocals on “Something I Need” are two highlights among many.
There’s also a pleasant low fuzz at points bespeaking both the continuing influence of the Velvet Underground and New Zealand’s vaunted tape subculture that seems just right for the proceedings. Hearing Scott’s vocals on a slightly different tip than his work in the Bats is especially a treat — after the series of eternally sparkling jangle-rock he’s made his own, hearing more consciously experimental touches behind his voice makes a fine contrast. The Kilgours continue in their own particular veins, with everyone trading around vocals in a fairly even split. Those familiar with the band mostly through “Tally Ho!” or the other earlier work will find this version of the Clean — generally calmer in many areas, downright reflective or melancholic in more — an intriguing change. The members have matured, but in such a way as not to sound like typically sleepy midlife crises come to life.
Unknown Country
Originally released in 1996, The Clean’s “Unknown Country” makes its debut appearance on vinyl in the US on March 2021.
Of this album, The Clean’s David Kilgour writes, “The Clean always wanna try something different, but on this LP, we were obsessed with the idea.” Bandmate Robert Scott agrees, saying, “I really enjoyed recording this as it was free of expectation. Certainly our most experimental album.”
“Unknown Country” seems to be the sound of a group of songwriters and performers who don’t have the time or energy to dedicate to an album, showing little of the jangling, interesting pop/rock charms found in the band members’ full-time groups, the Bats and Bailter Space. The Clean is a supergroup gone sour. Making matters worse, there are a number of mind-numbing instrumental interludes that drag the album down.
Highlights such as “Happy Lil Fella” and “Clutch” sound like lesser tracks from the artists’ full-time bands. “Happy Lil Fella” sounds like a B-side to a song from the Bats’ Silverbeet. “Clutch” displays a heavy Chills vibe. “Rope” shows that the Clean had been following the work of Matador artists; it sounds like Pavement gone New Zealand. “Cooking Water” and “Wall Walk” might as well be Bailter Space on a bland day. The album couldn’t be more unfocused. It’s as if members of the Clean went into the studio with no ideas and simply toyed with sounds from their pasts and their peers, to no good effect. There’s not an ounce of passion in the music.
Getaway (Deluxe 2016 Remaster)
After time spent away working on solo projects and with other bands, the trio got back together in 2000 for a festival in their Dunedin hometown, they stayed together for more shows and a new album, “Getaway”, which was released in 2001 on MergeRecords and featured guests Ira Kaplan and Georgia Hubley of Yo La Tengo.
Great album, great reissue. The piano-based “Slush Fund” versions are really something else. Favourite track: “Point That Thing Somewhere Else” (Slush Fund Version).
The Clean always had a hard time staying apart. Through the years, they would go their separate ways to work on other bands, like “the Bats” for one shining example, or on solo careers, but some inescapable force always drew them back together. When they made 2001’s “Getaway”, the Kilgour brothers, David and Hamish, and Robert Scott hadn’t made a record together in four years, yet it’s clear from the opening notes of the first song, the prettily droning “Stars,” that their almost telepathic chemistry was still as strong as ever.
The album features plenty of the sprightly, noisy jangle pop the trio is best known for while also taking side trips into lengthy guitar workouts, folky instrumentals, sweet indie pop ballads, and the occasional bit of jaunty rock & roll. Some of the songs have the kind of hooky melodies of their best work; some of them have a pleasantly off-kilter approach that is also reminiscent of their best work. The studio-fresh production and the graceful ease the three play the songs with means that “Getaway” lacks some of the scrappy youthfulness of their early recordings. They make up for it by exhibiting excess amounts of tender melodicism and sonic imagination, enough to make the record an under-the-radar indie rock gem. It’s no coincidence that two members of one of the bands considered indie rock’s best make guest appearances here; Ira and Georgia of Yo La Tengo owe plenty to the Clean, and their being on the record is a tribute to both the Clean’s historical importance and their continuing mastery.
Mister Pop
The Clean continue to release records “Mister Pop” in 2009, The Clean were the seeds of New Zealand punk. They carved out a big sandbox for everyone to play in, and their influence resonated not only in NZ but around the world. This fall’s “Mister Pop” sees The Clean continue the great pop pastiche. Circus ragas (“Moonjumper”), hazy sunset anthems (“In the Dreamlife You Need a Rubber Soul”), and the loose Dada approach to word-smithery continue alongside “proper” lyrical forays and a few Autobahn-referential instro moments to boot (“Tensile”).
Over the next few years the band kept playing shows, a few of which were documented on limited-edition live albums — 2001’s Slush Fund, 2003’s Syd’s Pink Wiring System, and 2008’s Mashed. The trio ended the decade with a new studio album, 2009’s Mister Pop, then spent the next year playing a select set of concerts around the globe.
Once back home, they began sessions for a possible new album, but abandoned them after the catastrophic earthquake that hit New Zealand in early 2011. They got back together to tour the next year, playing some shows in the U.S. They did the same in 2014, and then in early 2015 played two concerts in Australia. In the years that followed, the members of the Clean turned to other projects. Scott with the Bats and both Kilgour brothers with solo work.
Los Angeles alt-pop trio MUNA dropped a comment on Taylor James’ single-shot music video for “Kind of Girl” noting that the mountain-scraping country breakup song is “about accepting yourself as you are and admitting that you still want to grow and change.” This is one of those vibrant tracks you flip on when you want to pump yourself up before venturing outside again. It’s got a presence that can’t be denied: Dust-devil swirls of pedal steel and a desert trudge of acoustic guitar strumming slowly pick up speed as the gale of a chorus lifts the whole thing up and away. When Katie Gavin belts out the chorus—“Go out and meet somebody / Who actually likes me for me”—it’s like she’s already halfway out the front door with keys in hand.
This windswept and sumptuous heartland track was overshadowed by the ’90s alt-pop jam “Silk Chiffon” (featuring friend and labelhead Phoebe Bridgers) and the other flirtatious offerings on MUNA’s self-titled album. The trio served as a de facto lightning rod for several queer culture think-piece articles this year, but “Kind of Girl” is a masterful bit of sleight of hand in the middle of an otherwise very modern third album.
Country music is a symbol of traditional values, but here it’s atomized by an invigorating queer vision of pop music. Gavin, Josette Maskin, and Naomi McPherson are the kind of songwriters who tell stories, but not in ink, because they can still change the ending. Enjoy blowing on a dandelion today, traditionalists, because the winds of pop are changing soon, and MUNA are one of the main catalysts for that shift.
Victoria Bergsman was first introduced to the music of Colin Blunstone while crate digging in the late 1990s with her bandmates from the indie-pop group The Concretes. Blunstone became a cornerstone influence on her solo career as Taken by Trees ever since the discovery of “One Year“, an underrated 1971 classic garbed in poppy strings and romantic longing. The singer-songwriter recently moved from Los Angeles back to Sweden and was working on her own material again when someone suggested she record some covers of songs by The Zombies frontman.
Bergsman’s incomparable alto range is the central draw for this wintery five-song collection of covers that pull from that debut solo record and its 1972 follow-up, “Ennismore”. Bergsman’s voice comfortably sits within the penumbra of everyday speaking tones, yet she amplifies her softer singing intonations just enough to create tension and a sense of theatricality. As a singer, Bergsman has always sounded like she’s been frozen behind a wall of ice, patiently thawing her way out over the course of each song. “One Year’s” original string arrangements are replaced by lilting vibraphones, flutes, sax, and clarinets throughout. Contributors for the EP included longtime friends Peter Bjorn and John, who featured Bergsman on their 2006 indie-pop hit “Young Folks.” Björn Yttling stepped in as the executive producer and guitarist at his studio space, while John Eriksson covered percussion.
Pop vibraphonist Esther Lennstrand is the real highlight on the release beyond Bergsman, though. Esther’s firm command of the instrument makes these covers stand out from Blunstone’s originals, even when comparisons are harsher on the slow-burning new interpretations. Hushed exchanges of vibraphone and sax illuminate the edges of “One Year’s” “Say You Don’t Mind” and “Ennismore’s” “Time’s Running Out.” The originals enjoyed the accompaniment of jaunty strings and Nick Drake–like acoustic drawls, respectively. The new versions stand on their own.
The other Ennismoresong on this release is “I Don’t Believe in Miracles,” on which Bergsman’s hesitant voice comes across like a dark lullaby in its construction and timbre. Taken by Trees as an ongoing project has always sought new and peculiar instruments to attach to its rich pop melodies. The same can be said of Another Year as a mournful saxophone drives the closing track “She Loves the Way They Love Her.” The original Zombies version was a madcap pop odyssey about stardom and a waning love affair, but Taken by Trees slows it down and focuses more on the woman at the center of the harsh spotlight who has dealt with her fair share of live performance anxiety.
One of Colin Blunstone’s best singles as a solo artist was “Caroline Good Bye,” which chronicled a breakup with actress Caroline Munro, who would go on to be a Bond girl in 1977’s The Spy Who Loved Me, among other roles. Bergsman’s rendition is beautiful in a more restrained and crystalline way, as vibraphone and piano inch forward and eventually meet with the full band as backup vocals rise and fall for the choruses.
“Another Year” is a demure EP that’s not overindulgent in its approach. It’s best to take it as a compact and nonchalant appetizer before possible future recordings from Taken by Trees, or just another reason to engage with Colin Blunstone’s strong solo discography again. Victoria Bergsman lends each of these songs her unique style with no pressure to overcommit beyond showcasing some quiet appreciation for another songwriter.
Pop-punk and parenthood go together like, well, pop-punk and parenthood. But then, The Wonder Years have never been your traditional pop-punk band. Even when the six-piece started out in Lansdale, PA, they had more substance than most bands in the scene, offering up impassioned and emotive songs about depression, existential despair, death, the human condition, mental health, and a whole lot more, all while developing and redefining and pushing their sound.
Now, their stunning seventh album “The Hum Goes on Forever” offers a glimpse into the mind of frontman Dan Campbell’s delights of becoming a father (twice!) since their previous record in 2018, as well as a no-holds-barred account of the postpartum depression he encountered when that happened. With all that comes the day-to-day struggle he feels about bringing children into this world and having to care for them—especially when, sometimes, he feels like he can’t even take care of himself.
The result is an incredible record that’s both beautifully tender and powerful, and which captures the terrifying complexity of, among other things, what it means to be human—how it feels to be lost and have purpose at the same time. An absolute triumph of a record with some killer hooks and choruses to boot.
The Wonder Years is a band. That descriptor both defines and understates the rock band that has released some of the most life-affirming, cultural touchstones of the 2010’s and 2020’s. On the band’s fifth full length studio album, “The Hum Goes OnForever,” The Wonder Years created the most “The Wonder Years” album in their career. With their trademark call-backs to previous songs / albums, and thought-provoking and heartfelt vulnerability on display,“The Hum Goes On Forever”is one for The Wonder Years’ fans, for anyone who listens, anyone who needs it, everyone who’s grown up with the band and has sought, and continues to seek, refuge in their songs.
COC return with their first new album in 20 years, “Mystic Sisters”. When guitarist/vocalist Brandon Evans, guitarist Jeff Kane, drummer Ryan Parrish and bassist/vocalist Kevin Longendyke unveiled their self-titled debut in 2002, their emotional, frenzied and often cinematic music was at the vanguard of the burgeoning screamo movement. Along with bands like Pg.99 (with whom they shared members), Majority Rule, Planes Mistaken For Stars and others, they helped develop a style of music that took hardcore into convulsive new territory.
Let’s face it: Most people never thought there would be another City of Caterpillar album, so the fact that the legendary screamo act released a follow-up to their self-titled debut two decades later is a miracle unto itself. Better yet, instead of tarnishing the Richmond, Virginia–based band’s legacy, that legacy is solidified via improved production, plenty of dissonant riffs, and songs that range from delicate (“Mystic Sisters”) to crushing (“Panormaladies”)—sometimes within the context of the same song (“Manchester”). Speaking of maladies, if you’re also a fan of the terminally underrated Malady album from 2004 (which featured members of City of Caterpillar and Pg. 99), “Mystic Sisters”is a more ambitious version of that same distinctive screamo sound that inspired everyone from The Blood Brothers to Thursday.
After years spent living in other parts of the country and playing in other bands—including Darkest Hour, Malady and Ghastly City Sleep, the long awaited City Of Caterpillar reunion shows snowballed into writing sessions. The result – “Mystic Sisters”, an album that recaptures the magic of old while taking the band’s music into exciting new territory! The winding and atmospheric title track that embodies City Of Caterpillar’s experimental side features some noise violin from Evans’ former Pg. 99 bandmate Johnny Ward, while tracks like “Decider” and “Paranormaladies” showcases the band’s roots with a flurry of viceral, noisey hardcore swagger.
Tracked primarily at Montrose Recording in Richmond, “Mystic Sisters” was self-produced by the band and then mixed and mastered by Jack Shirley (Deafheaven, Bosse-de-Nage). Ultimately, City Of Caterpillar are more concerned with creating a mood than telling a story. “The band is always focused on mood,” Evans confirms. “To me, that’s the most important thing. I don’t really want people dissecting what we’re trying to say, because it’s not really about us. It never has been. What we cared about 20 years ago was innocent, raw emotion, and that’s what we care about now.
British bedroom Indie queen, Nilüfer Yanya is a London-based singer-songwriter known for soft-spoken music that packs an emotional punch. She released her first EP in 2016, launching her career into the festival circuit; coming out with her debut album “Miss Universe” in 2019. As she’s progressed, she’s honed her talent while keeping her original jazzy bedroom pop style. Her release, “Feeling Lucky?”is a three-track EP with heavy 80’s influence, featuring spacious synths, echoing vocals, and accompanying music
“Same Damn Luck” is a slow-paced, glitzy track with an ethereal aura. A lo-fi metronomic beat ticks across the bottom of the song while her voice bounces above. Using minimal instrumentations, this track is vast with a bass that oozes into the background of the track, filling the space in your head. This song is a show of her prowess, unabashed, and without fear of vulnerability.
The music video is colourful collage that reflects her chameleon-like abilities to implement different stylings. “Same Damn Luck” as well as the singer’s other videos, are directed by her sister Molly Daniel. This video features Yanya in a tropical setting, swimming and modeling overlaid with picturesque B-roll.
Wet Leg are one of the leading lights of a new wave of British bands, a group that also includes Yard Act and The Mysterines, that are making headway in North America. Wet Leg’s self-titled debut album is receiving many positive notices, and with good reason.
Wet Leg are a duo that hail from Isle of Wight, England and are comprised of vocalist/guitarist Rhian Teasdale and guitarist/vocalist Hester Chambers. Their debut single “Chaise Longue” went viral upon its release in June 2021. The success of the song surprised Teasdale and Chambers, as it had been the first tune that they had written and recorded as a duo. “Chaise Longue” is an off-kilter song that features Teasdale delivering some of the lyrics in a spoken-word monotone. It also includes some fun sexual innuendo. The song exploding out of the box the way that it did led some listeners to ponder whether or not WetLeg would be a one-hit wonder.
That question was put to rest with the release of their subsequent singles and this album. In fact, “Chaise Longue” isn’t even the best song on the album. That honour goes to the spectacular rocker “Angelica.” In addition, listeners of the album are surely pleased to discover that there are no throwaway tracks on it. All of the songs are worthwhile, and the album is a delight to listen to from start to finish. The lyrics are very frank and quite vivid, and in many cases, they echo how twentysomething people really talk. There is a very good chance that the album will be the breakout hit of the summer.
The opening track “Being In Love” is excellent guitar-based power pop with good vocals by Teasdale and Chambers. “Angelica” has something of a mid-1990s Britpop sound to it and a quiet/loud/quiet dynamic. They really rock out during the heavy bits. It features great guitar and perfect vocals. It’s magnificent.
“I Don’t Wanna Go Out” has standout vocals with quirky lyrics and some nice guitar work. It slows down a bit in the midsection for a somewhat dreamy effect and then picks up pace again. “Wet Dream” is another Britpop-like song, and its lyrics contain quite a bit of sexual innuendo. (Not surprising, given the title.) Teasdale and Chambers provide terrific vocals throughout, particularly in the chorus. And how can you not love a song that references the cult film Buffalo 66 in its lyrics?
“Convincing” has Chambers doing the lead vocal. It’s good guitar-based power pop and has the feel of Juliana Hatfield’s best work. “Loving You” is a bass-heavy track with nice guitar work and a strong Teasdale vocal. There is some great vocal interplay between Teasdale and Chambers in the song’s midsection. The electronica-sounding power pop of “Ur Mum” is outstanding. It’s something of a bizarre song that even includes a prolonged scream, but it works. The off-kilter but rocking “Oh No” features some nice guitar work and stellar vocals from Teasdale and Chambers.
The hushed “Piece of Shit” is a chilled-out song with a sweet-sounding Teasdale vocal that drops quite a few F bombs. The blues/pop hybrid tune “Supermarket” is a chilled-out, spacey listen. Bass heavy at the start, album closer “Too Late Now” features echo-laden guitar and a nice Teasdale vocal. She does a spoken-word bit in the song’s midsection. After that, it picks up pace for an alt-rock/power-pop vibe.
Wet Legis a debut that goes from strength to strength, and it makes the listener greatly anticipate what will come next. Teasdale and Chambers will be touring in support of this album for a while. Here’s hoping that they can find some time while on tour to work on their next batch of songs
The long-awaited return of Alvvays continues to be one of this summer’s most pleasant surprises. Their latest single “Easy on Your Own?” is our second preview of “Blue Rev” (October. 7th Polyvinyl), the band’s first new album in five years. Alvvays shared “Blue Rev’s” opener “Pharmacist” upon its announcement last month, and now follow up with the album’s second track, “Easy on Your Own?”
It’s another brisk blast of the band’s signature dream-pop sound, with complex textures not previously found in their discography. Molly Rankin’s vocals sit lower in the mix than usual, entering alongside synth buzz and forceful low end before buzzing glide guitar envelops her voice a la My Bloody Valentine.
When her singing does burst through in the choruses, it hits like a ray of sunshine through the clouds, even though her lyrics (where discernible) describe a long-term relationship so damaged, it might not be worth saving. The song shudders to a stop in under three minutes, another concise stunner seemingly designed to reward repeat listens.
The general feeling of disaffection — tempered by urgency, turbulence and angst — is masterfully relayed in Alvvays’ third and best record so far. Replete with hooks, licks and clever lyrics that are never too-clever, “Blue Rev” is a monument to power pop furnished with a rich cultural and musical lexicon, and delivered with explosive defiance. Simply put, and as my best friend said, “It makes me wanna put my head inside a speaker.
Alvvays return with an album that keeps up their hot streak and we are here for it. Classic indie pop dynamics meet sweetly dark lyrical turns for an album that improves listen on listen. Welcome back Alvvays, we’ve missed you!
After their incredibly well received, completely genius debut album. caroline have crushed a UK and EU tour since the last email. They are an unstoppable force moving incredibly slowly. Festivals coming up, as well as a handful of dates in USA!
“caroline’s debut represents a reinvention that’s as stylishly coherent as it is surprising…Production subtleties sudden blurts of strings and a far-off vocal on “Good Morning (red)”, the faint whine on “Messen #7” abound and compound the set’s ear-swivelling impact.” – Uncut
8 people travelling around is a slog, and their MINIMAL live set up involved taking 5 guitars around. These troopers have been soldiering on in the face of adversity with nothing – but one of the greatest live shows you could ever hope to watch, and one of the most brilliant debut albums ever – to their name.
“Sometimes things sound much better when there’s empty space,” says Llewellyn. “Sometimes you might populate [a song] with too many things and forget that an element on its own is enough.” Elsewhere on the record the band have employed a collage-like technique, combining snippets of lo-fi recordings from a myriad of different locations – a barn in France, the members’ bedrooms and living rooms, the atmospheric swimming pool in which they also filmed sublime live sessions for ‘Dark blue’ and ‘Skydiving onto the library roof’ – with more traditional group sessions at the Total Refreshment Centre and their studio in Peckham.
I went to Motel Mozaique festival in Rotterdam to watch their 3 day artist residency there. The finale was an hour of improvised music with the incredible duo Able Noise and I filmed it and we recorded the audio, and I hope that sometime soon we can share it.
“For caroline are a superorganism that feeds off itself. There is all the fun of the fair to be had in watching how the band’s two electric guitarists, Caspar Hughes – who met Llewellyn at the University of Manchester – and O’Malley, egg each other on. At the close of Skydiving onto the Library Roof, they dare one another to leave bigger and bigger gaps between the clanging downstrokes they play in unison. It’s a musical staring contest that would be comedic if it weren’t so tense. Trumpeter Freddy Wordsworth watches both guitarists, judging when to add his blare.” – live review in The Observer
