“Produced by the Grammy-winning French band themselves, and recorded in Paris’s Musée des Arts Décoratifs, which sits in thePalais du Louvre, “Alpha Zulu” is everything Phoenix does best: Effortlessly catchy melodies married with always-innovative production, resulting in what is destined to be one of 2022’s albums of the year. Indeed, “Alpha Zulu” — the band’s first album since 2017’s critically acclaimed record “Ti Amo” — is an immediate reminder of what has made Phoenix one of the most beloved artists of the last two decades, reinforcing the band’s enduring (and continued) influence on pop culture.
Working at the Musée brought Phoenix full circle, in a way. As kids growing up in Versailles, they had rebelled against the oppressive French classicism they grew up around — the idea that culture belonged in a museum. And yet, here were four of France’s most important cultural ambassadors, making their next work in such a space. It worked perfectly: Away from the exhibits at the Musée, their studio became a holding space for a jumble of works: Dalí next to Medieval pieces and Lalanne sculptures. “The backstage of the museum is like a mashup,” says Deck. “It’s very pop in a way — like how we make music.”
Receiving a shatterproof cult following in 2019 across the Midlands, through their zesty slacker-rock psychedelia, Sancho Panza have gone from strength to strength. Through age and experience from previous musical endeavours, such as The Lizards & The Hijinks their audiences have grown each gig.
Whilst filling the capacity for both their single launch ‘The 2200 Year Event’ in Rough Trade Notts, and top billing at Rescue Rooms for Beat The Streets, Sancho Panza, have appeared as main supports around the country for the likes of Inhaler, Fling and The Rhythm Method. Throughout 2019, the band garnered a trilogy of singles all which were played and supported by BBC’s Dean Jackson himself.
2022 sees Sancho Panza working on further releases as the curiosity amongst their cult following continues to spread.
Based in Nottingham, the quintet – Jack Burton (vocals), Cameron Harris (guitar), Harry Taylor (bass), Callum Jones (guitar) and Jay-Jay Hancocks (drums & percussion) – have already been likened to the dreamier side of C86 (think The Springfields or The Clouds) only updated with a 21st century sheen like a thrift shop Horrors or Brian Jonestown Massacre.
The past couple of years have been a whirlwind and I rarely get the chance to reflect on everything that’s happened. Over the past few months I’ve been looking back; at the music I’ve made, the people I’ve met, the incredible experiences we’ve shared together and where I’m heading on a personal level. Playing my songs on tour, seeing them out in the world, and how they’ve affected people differently has made me want to give them another life so much I’ve put them together in the order i would listen to them in now, a fresh evolution of my first two EPs.
I’ve also added a brand new song called “Can You Afford To Lose Me?” which is probably one of my favourite songs I’ve ever written. I feel like I’ve changed quite a lot since releasing some of my tracks, so I decided not to include a couple of them – while I’ll always love those songs, I wanted to highlight the ones that resonate the most with where I’m at in my life in this moment.
I hope you guys can listen to these songs in new ways, just like I have. I guess this is me closing the chapter on the first part of my journey. I’m writing my debut album as we speak and it’s going to come next year, it’s my most personal music yet and I hope I can continue to document my experiences for them to become yours. lots & lots of love, HH xx
This startling collection of rare and previously unreleased material showcases the brilliance of the Ohio trio, and reminds us why they’ve been the favourite band of artists such as The Black Crowes and The Black Keys
Among the stellar material included here are covers of “T- Model Ford”, Rocking Horse, The Nerves, and Eddie Hinton. Buffalo Killers’ sound harks back to the late 60s/early 70s when rock bands such as CSN&Y, The Band, Poco and The Rolling Stones were beginning to tinge their rock with a touch of country, but also holds its own melodically against the cream of current college rock.
Buffalo Killers are an American rock band comprising guitarist and vocalist Andrew Gabbard, bass guitarist and vocalist Zachary Gabbard and drummer Joseph Sebaali. The band was formed in Cincinnati, Ohio, in 2006 following the dissolution of Thee Shams, of which the trio were members. Buffalo Killers were quickly signed by Alive Records and their self-titled debut album was released in October 2006; “Buffalo Killers” drew the attention of Chris Robinson, who invited the band to open a string of dates for The Black Crowes in 2007. Buffalo Killers’ second album, “Let It Ride”, was produced by Dan Auerbach of The Black Keys and released in July 2008.
Cover of the great blues man T-Model Ford by the Ohio trio. Taken from the album “Stay Tuff/Lost Cuts” on Alive Naturalsound records
The Dollyrots are a female-fronted rock n’ roll band from California.The electric version of “Rather Be A Zombie”, which originally appears on our acoustic album “Love Songs, Werewolves, & Zombies”.
We decided to cut an electric version of “Rather Be A Zombie” for Halloween! we thought it’d be fun to hear it loud and electrified!
And yes, we had our kid put a bunny head on for the single art haha!
Happy Halloween!! Hope your tricks and treats are super fun 🙂
released October 29th, 2022 Performed by The Dollyrots
Liverpool four-piece Courting return with their much anticipated debut album “Guitar Music”. The new album comes on the heels of Courting’s 2021 debut EP ‘Grand National’, which saw them earn plaudits across a wide array of media for their boisterous whip smart lyrics and angular instrumentation. The release saw them land two singles on the BBC Radio 6 Playlist (including an A-list) as well as coverage in multiple end of year lists incl. NME 100, Dork Hype List 2022, Daily Star Ones to Watch 2021, DIY Hello 2021 and more…
Whilst the album follows closely on the back of the EP, the new material sees the band making a marked step in a new direction, exploring more dynamically expressive song writing than ever before.
If you were caught up in the instrumentation of Courting’s cheekily titled debut album, “Guitar Music”, unmindful of Sean Murphy-O’Neill’s charged lyrics, it would seem that he and his bandmates were running around London, partying, falling in love, having the time of their lives. But even their funniest songs have a dark underbelly, and on closer listen, “Guitar Music” is occupied with far thornier subjects: bodily autonomy as it relates to beauty standards and adulthood, and the way changing cityscapes can create tour routes for poverty porn.
“Guitar Music” was originally made as a “rock” album before producer James Dring helped rip it to shreds and put it back together. Album opener “Cosplay/Twin Cities” is the sound of a band who is annoyed at publications who label them a guitar band. It’s Courting’s abrasive and deceptive prelude: A lush melody and romantic strings are consumed by an earth-shattering bass, sinister glitches, and censor beeps.Courting aren’t afraid to pull the rug out beneath the listener. The cumulative effect makes these songs feel like tatters of unearthed time capsules that got mixed up in the same burial ground.
Since their 2019 debut single “Not Yr Man,” a satirical screed about masculinity norms, Courting have evolved beyond tight-fisted romps in the style of Parquet Courts or IDLES. There’s still plenty of pop culture shoutouts and nods to modern mundanity delivered in a deadpan voice, but at their best they feel less like provocations and more like world-building details—observations of a messy world contextualized with messy anxieties about growing up. “Famous” references luxury trends associated with self-care and upward mobility: “All of my friends are getting work done,” Murphy-O’Neill notes. “Fillers, facials, personal trainers/Calvin Klein collaborators/The American dream.” After imagining a now-scattered group of friends flying home to hang out and watch sports like the good ole days, Murphy-O’Neill cries, “Why’s everybody getting older?” Serrated guitars, short-circuiting background vocals, and Murphy-O’Neill’s searing tone create a sense of distrust and disgust while working through tumultuous changes.
The album’s longest song is a strange, alarming ode to falling in love with a robot influencer, “Uncanny Valley Forever” begins as the album’s quietest track, with an eerie sweetness reminiscent of a Smashing Pumpkins ballad. Garbled high-pitched speech staggers into softly plucked electric guitar, then Murphy-O’Neill begins to sing gently about the future’s infinite possibilities. He sounds like he’s in love, but something isn’t adding up:
“Every day she makes me laugh and I make her dinner/Although she can’t eat.” Soon, reality sets in and the division between humanity and technology appears like an exposed wire; it becomes unclear who’s the robot in this relationship as the song simpers from a guitar jam into a nearly indecipherable fried vocal outro.
From head-scratching to head-banging, Courting transform observations from our bizarre reality into vivid storytelling and ambitious song structure, all in an effort to push pop further into the future.
Prima Queen’s love story is one which cinema could only aspire to. An instant connection that was nearly missed. A divide of 4,000 miles and an Atlantic Ocean. An almost-marriage. A tour supporting The Big Moon, Dream Wife and Wet Leg, and six-figure streams. The magic of their ethereal, guitar-driven sound is built not on romantic love, but something immeasurably stronger: female friendship.
Louise Macphail and Kristin McFadden almost didn’t meet at all. Kristin travelled from her native Chicago to join the same course as Louise last minute in London, and as soon as she saw her perform in front of the class, Louise as good as musically proposed to her right there and then: “Will you be in my band?”
Armed with bassist Kitty Drummond, drummer Heledd Owen and an arsenal of demos, the band began to cut their teeth on the live circuit of South London, putting their songs to the test in the likes of Brixton tastemaker, The Windmill. The arrival of their 2019 debut single “Milk Teeth” was a statement of intent, with its mellow grooves and intimate, diaristic lyrics which unfurled their feelings in media res, steeped equally in storytelling and vibrant imagery.
After sparking a friendship with Juliette “Jules” Jackson and Fern Ford of Mercury Prize shortlisters, The Big Moon on tour, the pair volunteered to assist Prima Queen on the production of singles “Chew My Cheeks” and “Invisible Hand”, encouraging them to elevate their sound to new emotional and musical heights through experimentation.
It stands to reason that Prima Queen’s upcoming singles are their most adventurous and sensitive portrayals so far. “Eclipse” is an anthem of incredible tension and release about the way your first heartbreak is the hardest to recover from, and “Butter Knife” is a masterclass in spoken-word catharsis, exploring the deterioration of a loved one due to Alzheimer’s.
For Prima Queen, it’s these moments of shared intimacy in their music, entrusting closely guarded feelings, that creates a togetherness they love to feel with their audience: “Our songs mean so much to us, and it’s the best feeling in the whole world to see someone really belting out our lyrics at a show.” Resonance, above all else, is what Kristin and Louise are striving for.
Flavor Crystals and The Telescopes return for a soundtrack to the Danish film that was never made in 1991, “Under the Trees”.
Featuring lyrics and vocals by Stephen Lawrie (The Telescopes), Music by the Flavor Crystals additionally with Ricky Maymi (Brian Jonestown Massacre, Imaginary Friends), Peter Anderson (Ocean Blue), Jennie & Melissa Kalpin, Dave Gatchell (Selby Tigers), Anna Gordon (Sludge Party) and Erik Sexe.
Here’s the first video from the new Foam Giant album “Under The Trees”. On mpls ltd. There’s going to be a video for each track on the album, so in a way the film isn’t imaginary this time. This is the first track, “Billiken“. There is a Special Ltd edition metallic vinyl
Cover art by Robert Pollard released October 25th, 2022
The second album from London trio Moin has far more going for it than just that title. Joe Andrews, Tom Halstead (Raime / Blackest Ever Black) and their longtime collaborator Valentina Magaletti (Tomaga / Vanishing Twin) craft what their Bandcamp bio terms a “collage of the known and unknown,” their sometimes spartan, sometimes clamorous, but always atmospheric guitar rock employing repetition, samples and blank space to entrancing effect. Magaletti’s percussion clatters and races on “Melon”; guitar harmonics haunt “Hung Up”; vocal samples flicker across “Life Choices” like wind on water.
Got caught up in the moot! album, and i’ve been addicted to Moin since then. The incredible miscellaneous of sounds, the narrative of each song, it could translate itself into diferent short stories.
It’s the kind of record that reminds you how boundless rock music can be, and its creators tread this territory without batting an eye, balancing the energy of a band in a room with the imagination of a collective consciousness, exploring unmoored.
On Drugdealer’s latest, the grooves breeze by and make you wonder what decade you’re really in. Tracks like “Madison” and “Valentine” suggest a Steely Dan influence, both with the laid-back, yet lively guitar licks and the lyrics, emphasizing a romanticized but mysterious woman. As the fall chill deepens, this album works hard to recreate the feeling of sun on your face. It’s difficult to muster up any sort of anxieties in the balmy world of this LP.
Singer/songwriter Kate Bollinger’s vocals on “Pictures of You” arrive sweetly and just in time in the middle of the album, showing that the band truly understand the direction of their music, and who works best as a collaborating partner. Although the album does not expand far out of the funky relaxation it quickly settles into, the band carry it off effortlessly. Closing track “Posse Cut” best holds this easy groove, while vocals full of unexpected notes keep the listener under their spell.
“Madison,” the opening track on “Hiding in Plain Sight”, is the first song Collins wrote singing in this suggested range. His newfound confidence as a yarn-spinning vocalist in the gruff tenor tradition of Nick Lowe, or even Van Morrison, is readily apparent, with Conor “Catfish” Gallaher’s pedal steel adding a dusting of cosmic country to Collins’ down-hard love song.
When Collins wrote the would-be AM Gold hit, he was summoning an imaginary vision of a love that had eluded him in reality. The song focuses on an unknown figure he could idealize. “All the art I’ve made is related to this searching archetype,” Collins says. “I feel there’s no one way that people find love in their life. When I started to make this album, I noticed that all the lyrics dealt with this subject. On ‘Madison,’ the chorus goes ‘Hoping you’ll find a love/You’re one design of love.’ Then the next song I wrote went ‘Find someone to love…’ At that point, I pretty much knew where it was going. Sasha (my main musical partner) and I are both incredibly romantic. We’ve worked on multiple projects that are all based around this search for love.”
Tim Presley sings on the second song, “Baby,” and Collins had a clear role in mind for the California avant-rock mainstay. “I love White Fence so much, but I also wanted to hear Presley sing a song that sounded like an early ’60s sock hop band who had never tried drugs in their life.” Meanwhile, Kate Bollinger floats an effervescent lead vocal over the Rhodes-driven groove in “Pictures of You.” As usual, Collins wrangled a who’s who of background singers and instrumentalists to carry out Hiding in Plain Sight’s vision. Mainly, however, the record acts as a welcome showcase for Collins as an emboldened lead singer, a wayward bandleader who has found a way to love himself as a singer, songwriter and storyteller.
On “Hard Dreaming Man,” he looks back at a restless decade on the road through the rearview mirror. “Hard dreaming man/lemme tell you anything I know… I gotta go any place I can go,” he sings over a chorus of honky-tonk guitars you might hear wafting out of saloon doors. “The thing I actually do at a high level isn’t playing piano,” Collins says, “it’s telling stories. Our group of musicians, we all just really like to hang out and tell stories together.”
Drugdealer – “Pictures of You feat. Kate Bollinger” From the album ‘Hiding in Plain Sight’ out 28th October 2022
