Julia Kugel of The Coathangers released her debut solo LP “Derealization” under a new moniker, Julia, Julia. The LP includes dreamy and captivating recently released singles: “Do It Or Don’t”, “No Hard Feelings”, “Fever In My Heart”.

Recorded at COMA, her and her husband’s home studio in Long Beach, CA, the album was a large part of healing for Kugel, after losing her voice. It also sees Julia playing nearly all the instruments and taking her first stab at engineering.

“Derealization” feeling detached from one’s surroundings; a conscious confusion about the “realness” of surrounding people and objects: a feeling of observing oneself outside of one’s body: feeling like one is living in a dream. This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms.

On her first solo full-length album “Derealization“, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, “Derealization” is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbedout country ballads, all centered around straightforward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt reflection of Kugel’s personal growth and journey toward self-acceptance.

This raw and personal approach to the lyrics is present throughout “Derealization“. On the opening track “I Want You,” Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats “do you feel it?” in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On “Fever In My Heart” the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on “Words Don’t Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted “Do It Or Don’t,” an alluring walk through the winding road of lonely choices. The final four tracks on the album originally appeared as limited edition releases under the White Woods moniker and serve as a tether between the present and past.

...the debut solo record from Julia Kugel as Julia, Julia is shaping up to be a meditative—if not downright peaceful—capsule of the songwriter’s more introspective side.” – FLOOD Magazine
“While her previous work rested on the rambunctious and energetic side, she steers in the opposite direction with this new single, offering a more intimate and psychedelic experience. “Fever in My Heart” is like a drug that keeps drawing you deeper and deeper into its reign.” – Consequence

“…a cryptic, atmospheric tune about feeling completely ungrounded, but liking the freedom of being untethered from the rest of the world.” – Grimy Goods

Julia, Julia “Derealization” out September 30, 2022 on Suicide Squeeze Records.

TONY IOMMI SG Gibson

Posted: October 1, 2022 in MUSIC

Tony Iommi’s iconic riffs, heavy tones, and innovative tunings set him apart from the rest and defined the heavy metal genre. At the center of it all was Tony’s heavily modified 1964 Gibson SG™. Inspired by Tony Iommi’s original Gibson SG, Epiphone is proud to release the Tony Iommi SG Special. This artist model is available in right and left-handed versions and features a two-piece mahogany body, a bound one-piece mahogany neck with a rounded profile, an Indian laurel fretboard with 22 frets, a Graph Tech® nut, Grover® Rotomatic® tuners with contemporary style buttons, and chrome-covered Epiphone PRO P-90 pickups that are wired to CTS® potentiometers and Orange Drop® capacitors. A static cling reproduction of Tony’s “Monkey” sticker is in the included hardshell case. No need to be paranoid, the Tony Iommi SG Special is now available!

MOJO MAGAZINE

Posted: October 1, 2022 in MUSIC

“I, for one, am sick of doing sounds that people can claim to have heard before.”

These are the words of Paul McCartney in June 1966, charging headlong into the sonic unknown via the pages of NME. He’s talking about a new track The Beatles have recorded with “electronic effects” and words from the Tibetan Book Of The Dead. The track, of course, will soon be unveiled as Tomorrow Never Knows, and its parent album, “Revolver“, will ultimately be understood as where The Beatles consolidated their song writing brilliance while broadening their musical horizons. Now gifted and ambitious bands could go anywhere, try anything, without necessarily alienating their fans.

This month in MOJO we celebrate the arrival of a kaleidoscopic new, expanded edition of “Revolver”. And we also reflect on how The Beatles, so eager to explore a wider world of sound, made a magazine like MOJO possible. Stockhausen “opens your eyes and ears,” McCartney told NME, and Stockhausen figures on the eclectic roster of one of MOJO’s boldest CDs ever – “The Meaning Of Within” – alongside other outré Beatles influences like Ravi Shankar, Timothy Leary, Ornette Coleman, Delia Derbyshire, AMM, John Cage and Nat King Cole.

Also in the issue you’ll find many more radical artists, like Björk, Don Cherry, Black Flag, Dry Cleaning, Big Joanie, , Diamanda Galas and Brian Eno. They might not all be to everyone’s taste, but they all make a kind of sense next to one another, vital parts of our latest monthly tack through music’s wild and diverse expanses.

Plus! A staggering extract from Nick Cave’s new book. Graham Coxon on Blur, Britpop and way beyond. The chaotic last stand of Joe Strummer. Blue Oyster Cult. The Equals. Lewis Taylor. Mickey Jupp. Lee Fields. Beth Orton. Lamont Dozier. The Cult. Musical Youth. And the ‘90s band who could have been the new Beatles (It’s not Oasis).

The Stones and The Who “visibly sat up” when the Beatles played them “Tomorrow Never Knows” for the first time, Paul McCartney reports in 1966. “We also played it to Cilla… who just laughed!”

Philadelphia power-pop group 2nd Grade release their new album “Easy Listening” this Friday and here’s one last nugget before they share the whole thing. “Teenage Overpopulation” is a jangly earworm that namechecks everyone from Justin Bieber to Tommy Stinson. “Easy Listening” is our third release with 2nd Grade, and they just keep getting better. This album covers everything from teenagers, Seinfeld, telecasters, Liv Ullman, you name it.

Power pop is alive in the year 2022 and we hope it sticks around, we’re having fun.

“2nd Grade Is The Best Part Of The 2022 Power-Pop Renaissance”
—Uproxx

“You’ll come for the soaring choruses, perfect middle-eighths that glide into tight solos, and raging hormones, and then stay for the nods to Bergman and Seinfeld.”
—Brooklyn Vegan

“…the supergroup of some of Philly’s finest indie-rock stylists have crafted an adventure of an album, traversing the highs of rock-stardom, the lows of celebrity loneliness and a pervasive sense of ennui that can only be cut by righteous riffs.”
—Paste Magazine

releases September 30th, 2022

The Band:

Catherine Dwyer— guitar, vocals
Peter Gill— vocals
Francis Lyons— drums
Jon Samuels— guitar
David Settle— bass, vocals

WINTER – ” Lose You “

Posted: September 30, 2022 in MUSIC

Winter’s glittery, holographic image takes on a darker shade in the grooves of their 4th album, “What Kind of Blue Are You?” The record sees Samira Winter return to the kind of hooky shoegaze of her early recordings. A darker, more world-weary perspective informs the honest and emotionally unguarded lyrics. Sonically, What Kind of Blue... is Winter’s greatest achievement yet. Texturally,, bellowing fuzz and wirey guitars evoke a new sonic territory. Tracks like “Atonement” (ft. Hatchie), “Good” (ft. Sasami) and “Fool” claw, scrape and wriggle their way into your ear.

Out in October, the new album from Brazil-born, LA-based songwriter Samira Winter features collaborations with SASAMI , Joo Joo Ashworth (Froth), and members of Hatchie, who help “Atonement” shimmer with shoegazy riifs and a grooving bassline.

Produced by Joo Joo Ashworth (Sasami, Automatic, Dummy).

“Lose You” by Winter out via Bar/None Records

Neil Young has announced a new album with his band Crazy Horse, titled “World Record”, that will be out November 18th via Reprise Records. They made it with Rick Rubin at his Malibu recording studio Shangri-La, and it’s “a cohesive vision that spreads positive energy while not flinching from our present situation.” Young noted on his website, “Real magic lasts and we think we have it.”

On a recent episode of Jack White’s Broken Record podcast, Neil said the album features “unheard-of combinations of instruments.” Maybe just for Crazy Horse, though. Opening track “Love Earth” is a gently rollicking song featuring the unheard-of combination of piano, acoustic guitar and drums as Neil encourages us to embrace nature, envisioning a world where “The sky was blue and the air so clean / The water crystal clear / We lived by the sun and had it all / We were livin’ the dream.”

“World Record” is an almost double album, pressed on three sides of a double album, with an etching on Side 4. 

The Super Deluxe Edition features newly remastered versions of ‘Carl and the Passions – “So Tough”‘ and ‘Holland,’ plus ‘Holland”s ‘Mount Vernon and Fairway (A Fairytale)’ EP (complete with its original instructions to “please listen in the dark”) and boasts an unreleased live concert recorded at NYC’s famed Carnegie Hall on Thanksgiving 1972, the first-ever release of a complete Beach Boys concert from this era with the original setlist. Also including the entire previously-unreleased Thanksgiving 1972 Carnegie Hall concerts, a variety of bonus material, and for the first time ever, a reproduction of Brian Wilson’s EP ‘Mount Vernon and Fairway (A Fairytale)’ on 7-inch, the format it was originally released on as a companion to ‘Holland.’

Not known for their rhythm-and-blues vibes or their rocking, soulful heft, The Beach Boys left some of the surf behind to welcome South African singers and musicians Blondie Chaplin and Ricky Fataar to the band just in time for Carl Wilson to take the lead of the Boys as Brian Wilson was slipping onto the shores of depression and into more ruinous forms of disassociation. With more of a slow, 1970s FM anthemic rock feel (“Sail on Sailor”) than anything teen-focused, the ruminative tracks from “Carl & the Passions” and “Holland” are great reminders of what gorgeous, familial harmonies can sound like when put through middle age’s tests. 

The vinyl box is available to pre-order on its own or as a limited edition set with lithographs. A variety of abbreviated versions are also available to pre-order, including a 2LP + 7″ EP set, available with or without a limited edition reproduction of the original ‘Holland’ promotional book telling the story of the making of the album; a 2CD deluxe edition; and digitally.

‘Sail On Sailor – 1972’ highlights ‘Carl and the Passions – “So Tough”‘ and ‘Holland’ with a bounty of unreleased outtakes, live recordings, demos, alternate versions and mixes, instrumentals, and a cappella tracks.

‘Sail On Sailor – 1972’ 5LP + 7” EP Super Deluxe Edition box set arriving November 18th.

TITUS ANDRONICUS – ” Baby Crazy “

Posted: September 30, 2022 in MUSIC

New music comes today from Titus Andronicus! check out a lyric video for “Baby Crazy” just ahead of the release of their seventh studio album, “The Will to Live” Titus frontman Patrick Stickles describes “Baby Crazy” as “a user’s guide for the album,” and hopes that listeners might gain

“a richer listening experience… or they can just tap their foot to it, whatever works.”

With “The Will To Live”, Titus Andronicus invite listeners on a journey from fear to faith, from anger to acceptance, from grief to gratitude, all chasing the mythical ideal of Ultimate Rock. Drawing on maximalist classic rock epics from Who’s Next to Hysteria, the band have crafted their richest, densest, and hardest-hitting album to date, matching the sprawl and scope of their most celebrated work while also streamlining their ambitious attack to greater effect than ever before.

“The Will to Live” was produced by Titus Andronicus singer-songwriter Patrick Stickles and award-winning Canadian producer Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s hotel2tango recording studio in Montreal. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” says Stickles, “but the pursuit of Ultimate Rock knows no borders.”

The album comes packaged with gorgeous triple gatefold artwork

The forthcoming seventh studio album by Titus Andronicus, ‘The Will to Live,’ available September 30th from Merge Records.

“When I wrote ‘Don’t Say It’s Over’ I had in mind wandering through some bustling holiday town at night, two people sharing strange and beautiful moments together,” Gaz says of this elegant new song. It’s from his new album “Turn the Car Around” that’s out in January.

‘Turn The Car Around’ is a record that I’ve been building up to for the last seven years,” says Coombes. It’s a record of feeling, an album that captures the ups and downs of modern life and all the small print in between. Written and recorded by Coombes in his gloriously ramshackle Oxfordshire outhouse Studio, he has emerged with the best work of his illustrious career. It’s an album that both taps into the sonic palettes and lyrical themes of its predecessors and marks the third and final part of a trilogy of records alongside 2015’s Mercury and Ivor Novello nominated sophomore album “Matador” and 2018’s “World’s Strongest Man“. At the same time it carves a bold new way forward for one of the UK’s most gifted and cherished singer-songwriters. “There’s a lot of subject matter in there that I’ve played with and maybe not managed to see through in the past. I’ve evolved and I feel like I’ve got better at what I do”.

‘Turn The Car Around’ features additional instrumentation from members of Gaz’s live band, Garo Nahoulakian, Nick Fowler and Piney Gir. The album also sees Coombes reuniting with his live band’s vocal trio ‘The Roxys’ (a nickname given to them by Nile Rodgers when they shared the bill at a Later with Jools show) to create a rich and nuanced sonic tapestry. Cameo performances appear courtesy of Willie J Healey and Ride’s Loz Colbert, and Coombes shares co-production duties with long-term collaborator Ian Davenport.

As he celebrates 10 years of his lauded solo career since the release of his debut ‘Here Come the Bombs’, and riding a crest of the Supergrass reunion, the announcement of ‘Turn The Car Around’ solidifies Gaz Coombes status as one of the UK’s most interesting, enduring and effortlessly classy artists.

The new Single: “Don’t Say It’s Over” is out now on Hot Fruit Recordings/Virgin Taken from Gaz’s forthcoming album “Turn The Car Around”, released on 13th January 2023

PARAMORE – ” This Is Why “

Posted: September 30, 2022 in MUSIC
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Paramore have announced their sixth album “This Is Why” and the title track, As promised, Paramore have released their new song “This Is Why.” In addition to the comeback single, the band has announced its new album: “This Is Why” is due out February 10th via Atlantic Records. Check out the video for the new song—directed by Turnstile’s Brendan Yates and filmed in Malibu, California. 

Paramore’s evolution from their early pop-punk sound into the more groove-laden post-punk and new wave they’ve since embraced has been a lot of fun to watch. Their songwriting chops have never been in doubt, though the immediacy of new singles “The News” and “This Is Why” is paired with a rhythmic complexity that shows even more frontiers for the group to continue exploring. While Paramore’s evolution has felt organic, it’s been anything but predictable.