Los Angeles rockers The Regrettes are their most sophisticated yet on the synth-y “I Love Us,” which arrived along with a cheeky animated visual. These days, bandleader Lydia Night notes that she’s been inspired by Charli XCX, The 1975, St. Vincent and Brockhampton, so don’t be alarmed if you hear hints of eccentric pop infiltrating The Regrettes’ typical raw rock sound.
The Regrettes third studio album, “Further Joy”, released on the 8th of April via Warner Records. The band, consisting of singer and songwriter, Lydia Night, as well as Genessa Gariano (guitar), BrookeDickson (bass) and Drew Thomsen (drums), have written a manual for living in these times, replete with highly personalized songs about things we’re all going through.
“Further Joy” is a step into the band’s next era, and it is their most actualized, collaborative, and vulnerable album to date. These new songs, written in Night’s singular voice and with vast influences including Pat Benatar, Blondie, and Gwen Stefani, touch on subjects such as anxiety and mental health, feeling lost in one’s own environment, and coming to terms with one’s sexuality. They are also about hope, embracing and standing up for your inner child. A lesson she hopes fans can take away from the album is that “we all deserve happiness and to be present, and we’ll never get there if we feel so much shame and guilt for not being there already,” she adds. “Don’t get caught constantly chasing joy.”
new song and vid out now!!! ‘What Am I Gonna Do Today?’ is a song we recorded ourselves remotely in quarantine and we hope it brings you as much joy as making it did for us
The Regrettes are a ‘punk’ band out of Los Angeles and with ‘Further Joy’ are onto their third album. Punk is in inverted commas as this is about as punk as a washcloth. It’s polished alt-rock with nods back to Katy Perry and before that No Doubt and Blondie. It’s all about…you know… this shit we’re all going through right now.
It’s tough to keep up with garage rock’s wunderkind Ty Segall recorded output. Between his steady release schedule of LPs, raucous side projects like Fuzz and GØGGS, and collaborations with fellow songwriters Mikal Cronin and Tim Presley, it’s as if a season can’t pass without Segall dropping a new record. And that’s not even taking his cassettes, splits, and EPs into consideration.
Fortunately, Segall’s bottomless well of creativity, production savvy, and boundless fascination with the various niches of the rock world makes every new release an occasion to celebrate. Suicide Squeeze Records is proud to offer the latest entry in Ty’s impressive canon with the “Sentimental Goblin” EP 7”. Side A features “Pan”, a fuzz-soaked proto-metal jam that links Beatles’ pioneering guitar dirge “I Want You (She’s So Heavy)” to later lurch classics by Sir Lord Baltimore and Pentagram. In true Segall fashion, he switches gears on Side B and conjures the erudite pop appeal of T. R ex and Bowie with the lush glam rocker “Black Magick”.
The fourth pressing consists of 1000 copies on translucent green vinyl and includes a download card. In a testament to his restless creativity and tireless work ethic, Ty also provides the artwork for the record.
‘Fear Of The Dawn’ is the fourth solo album from Jack White. In the wake of three US chart-topping solo efforts, it continues to see White sprawling over territory that the aesthetic restrictions of The White Stripes and The Raconteurs prevented him from exploring. Features the single ‘Taking Me Back’.
“Fear Of The Dawn” is the most focused and exciting White solo record yet, a precision-tooled digital reconfiguration of his rock bona fides. By splitting his 2022 albums into two distinct projects and saving his quieter material for “Entering Heaven Alive“, White has delivered his best release since 2012’s “Blunderbuss”, and one of the most consistently exciting albums in his 25-year-career.
An album with relentless energy, White howls over fuzzed-out guitar throughout one long jam session, characterised by effortless genre transitions. From the slick hip hop beats of “Hi-De-Ho“, featuring the lyrical prowess of legendary A Tribe Called Quest rapper Q-Tip, to the blazing riffs of album opener “Taking Me Back“,you’re in store for one hell of an eclectic ride. True to White’s DIY roots, this record was recorded at White’s Third Man Studio throughout 2021, mastered by Third Man Mastering, pressed to vinyl at Third Man Pressing and released by our great friends at Third Man Records.
Loud, idiosyncratic and proud, “What’s The Trick?” finds one of modern blues rock’s most exciting gatekeepers evoking Captain Beefheart and early Rage Against The Machine, in a jagged, hard-riffing explosion of fuzz and fury. The man born John Anthony Gillis has veered in multiple directions since The White Stripes called it a day in 2011; this is the sound of him at his angular, addictive best.
After his interview with Stephen Colbert, Jack White takes the stage to perform a song from his latest album, “Fear of the Dawn.” on the Late Show.
A couple of nights ago he visited The Late Show with Stephen Colbert for a sizzling live version of “What’s The Trick?“, one of the hot tracks of the LP.
The Official Video for Jack White’s new single “Taking Me Back” from the upcoming album “Fear Of The Dawn” out April 8tgh, 2022.
For over 20 years, Calexico has highlighted the unique social and linguistic intersections at the U.S.-Mexico border and imagined the possibilities of a borderless world. That’s true in a political sense, but in a musical one, too: Together with their collaborators, Joey Burns and John Convertino have long been hailed for their windswept, desert-hewn rock that reflects the cultural blend of their home state of Arizona. On their latest album, 2022’s “El Mirador,” they’re joined by Gaby Moreno, Jairo Zavala and more in a blend of haunting desert noirs, buoyant jolts of cumbia and Cuban son.
Our new song “Harness The Wind” from our forthcoming album “El Mirador” is out now. It’s a song about hope and sharing compassion to fellow travellers and dreamers who are trying to find their way.
I wrote some of the lyrics on flights between Boise and Tucson, where I had hours of being up in the clouds. I started remembering flying dreams I had as a child and I wanted to instill some of those metaphors in the lyrics. We’re pleased to announce the upcoming release of our new album ‘El Mirador.’ In the summer of 2021, we reunited in Tucson and began writing and recording tracks at our keyboardist Sergio Mendoza’s home studio. You can hear the title track, a slow cumbia about transformation and finding one’s way back home to their heart. It features Gaby Moreno, Tom Hagerman, and AlessandroStefana.
When we recorded the track it felt like we tapped into a spark of bright light and positivity. Everything fell together quickly and naturally. With the shiny electric guitar weaving in and out of John and Sergio’s propelling drums and bass, the song always had a vibe that stood out from the other songs. We sent the tracks to Sam Beam to add his vocals on the chorus which made the tune float even more.
Our new song “Harness The Wind” from our forthcoming album ‘El Mirador’ is out now:
In addition to our previously announced April and May European tour dates, we are thrilled to announce a US Tour, beginning June 3 in Portland! Tickets for all shows go on sale Friday at 10am.
Leeds art-rock group Mush (Dan Hyndman – vocals / guitar, Phil Porter – drums, Nick Grant – bass, MylesKirk– guitar) are set to return with album ‘Down Tools’ via Memphis Industries. The new record marks the prolific band’s third album in as many years, following hype- building early singles ‘Alternative Facts’ and ‘Gig Economy’, 2020’s debut LP ‘3D Routine’ and 2021’s acclaimed ‘Lines Redacted’, which pushed their sound further and, as Uncut wrote, saw them become “kindred spirits to Wand and King Gizzard & The Lizard Wizard, two other bands prolifically honing their sound and approach, steadily developing their voice.”
On ‘Down Tools’, this voice grows again into a more brilliantly singular sound. It sees Mush getting loose, moving away from the defined moods and textures of ‘Lines Redacted’ with a musical openness, straddling genres while avoiding pastiche. Hyndman says of the lyrics on ‘Down Tools’ that “there was a conscious decision to retreat further from an observational approach” with vocals being ad-libbed lending the record a more abstract feel. Hyndman continues: “this album is less dark than the previous one. The Armageddon obsession has eased, or at least the symptoms have become milder due to saturation. Musically there’s a lot more chill on the record – there’s a few more mellow tracks out there and the most astute listener may even be able to decipher some of the words, fingers crossed.”
While grief and work balance form themes on the record, Hyndman’s approach is largely made up of abstract, disconnected streams of consciousness and lines liberally taken from books, paintings, films and beyond. On ‘Human Resources’, Hyndman dramatically retells a battle he had with an HR department at a job in a David and Goliath style. The song ‘Group Of Death’, a phrase chillingly familiar to any football fan, is emblematic of the turn towards softer, more considered sounds. Hyndman says: “In my warped imagination it just sounds like a Paul McCartney song,
but it won’t to others. I initially had the idea of doing a World Cup song called ‘Group of Death’, but by the time it was written nothing beyond the title had any relevance to football. Anyway, the next World Cup is in Qatar so fuck that shit.” Northern Safari meanwhile is a song about the way the North of England has been portrayed in the media and used as a mirror to reflect some of the nastier elements of what’s going on in society, in particular vox pops around Doncaster, portraying a particular narrative of the collapse of the red wall and the disgruntled ex-miners. ‘Down Tools’ then sees Mush idiosyncratically ping-pong from finger picked looseners to noise-rock bangers to brilliantly entertaining effect, avoiding post punk saturation with an easy style and wit.
Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ bring you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill a minute dive into the crazy awesome world of Garage Psychedelic Rock.
From the Psych sound explosion onto the Underground club scene in the US and UK in the mid 1960s, its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990- early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!
From the opening bars of The Sonics ‘Have love Will Travel’ through the Psych workout that is Count Five’s ‘Psychotic Reaction’ to the joys of 60s Beat Psych groups from the US such as The Paragons, The Preachers, The Strangeloves, The Squires, and the eccentric stylings of The Monks. The album careers along at a blistering pace of Garage Psych brilliance, jammed packed full of Underground floor fillers a plenty.
US legendary underground acts such as The Electric Prunes, The Chocolate Watch Band and MC5 all deliver classic tracks for the cause, and singer-songwriter Harry Nilsson even makes a foray into the psych rock sound with ‘Jump into the Fire’.
In recent years such bands as Thee Oh Sees, Moon Duo and Allah-Las from the US have taken the Garage Psych influence and 60s sound and made it their own. A whole crop of bands such as White Hills,Gnod and Goat from the scene have evolved the music into a heavier ‘Pyzk Rock’ feel with a darker and heavier vibe, but crucially still with the joyous undertones that the scene brings to its devotees.
The Garage Psych sound has influenced groups from around the globe with bands like Liverpool’s TheStairs ‘Weed Bus’, Scotland’s finest The Poets with ‘That’s the Way It’s Gotta Be’, The Bogeymen, a largely undiscovered 90s Psych Hammond band from France with ‘Electrocution’. Hailing from SwedenGoat bring us ‘Gathering of Ancient Tribes’ and The Hives their dance floor anthem ‘Main Offender’. From Perth, Australia Pond’s Psych leanings on ‘Fantastic Explosion of Time’ are clear to see. Finally, Kevin Parker’s band Tame Impala were very influenced by the whole garage psych sound in their early band incarnation, as perfectly showcased here on the epic wig out that is ‘Half Full Glass of Wine’ that closes the album.
This isn’t meant to be a ‘crate diggers’ album or a compilation of ‘obscure hard to find tracks’ to out-do your mates. It is quite simply a celebration of the Garage Psychédélique scene and a chance to revel in its brilliance and dance around your kitchen. If it means you go down a rabbit warren of discovery to unearth more gems and brilliant bands from the Garage Psych scene then job done!
Tracklisting:
A1. The Sonics – Have Love Will Travel A2. Count Five – Psychotic Reaction A3. The Paragons – Abba A4. Kim Fowley – The Trip A5. The Preachers – Who Do You Love A6. The Strangeloves – Night Time A7. The Monks – Oh, How To Do Now A8. The Bogeymen – Electrocution
B1. Harry Nilsson – Jump Into The Fire (Single Version) B2. The Eyes – When The Night Falls B3. 13th Floor Elevators – Reverberation (Doubt) B4. The Poets – That’s The Way It’s Gotta Be B5. The Squires – Going All The Way B6. The Electric Prunes – I Had Too Much To Dream (Last Night) B7. The Chocolate Watch Band – I’m Not Like Everybody Else B8. MC5 – Gotta Keep Movin’
C1. The Stairs – Weed Bus C2. The Hives – Main Offender C3. Pond – Fantastic Explosion Of Time C4. Novella – Somethings Must Change C5. Thee Oh Sees – Web C6. Allah-Las – Catamaran
D1. Moon Duo – Eye 2 Eye D2. White Hills, Gnod – Run-a-Round D3. Goat – Gathering Of Ancient Tribes D4. Tame Impala – Half Full Glass Of Wine
Sony Legacy are to reissue “Combat Rock”, the last ‘proper’ Clash album, with a bonus disc of rare and early versions of songs.
Originally released in May 1982, “Combat Rock” is the final album from the Joe Strummer, Mick Jones, Paul Simonon and Topper Headon line-up. The album features three singles, including ‘Rock The Casbah’ and ‘Should I Stay Or Should I Go’. The latter got to number 17 in the UK charts but reached number one in 1991, when it was re-released.
This deluxe reissue includes 12 bonus tracks collected under the banner ‘The People’s Hall’. Having returned to London following their pivotal 17-show residency at New York’s Bond’s Casino in 1981, This is a reference to the hall where the band camped up to rehearse and record before heading off on a tour of the East and South East Asia (Pennie Smith captured the album cover photo on this tour when they were in Thailand). “The People’s Hall” was in the so-called Republic of Frestonia an area of West London which was a creative hub for artists, musicians, writers, actors and activists. Many squatted there (the name came from Freston Road) and the residents eventually set up a housing trust with the local council.
The tracks on ‘The People’s Hall’ chart the period from what was their last single ‘This Is Radio Clash’ right up to the release of “Combat Rock“, and includes unheard, rare and early versions of tracks. Broadly speaking we are talking about late 1981 and early ’82.
The bonus cuts include a new version of ‘Know Your Rights’ and the previously unreleased instrumental ‘He Who Dares Or Is Tired’. Other tracks include ‘Futura 2000’, an unreleased original mix of ‘The Escapades of Futura 2000’, Mikey Dread’s ‘Radio One’, and the outtakes ‘The Fulham Connection’, previously known as ‘The Beautiful People Are Ugly Too’ as well as ‘Idle in Kangaroo Court’.
This deluxe edition of “Combat Rock” is a 2CD set or a 3LP vinyl package (with “The People’s Hall” requiring two LPs, although side D contains no music so it’s either etched, or just blank). Both editions come with a poster.
“Combat Rock/The People’s Hall” will be released on 20th May 2022 by Sony Music.
Mo Troper is one of the premiere power pop songwriters of our time. Since his tuneful, fuzzed-out solo debut “Beloved” in 2016, the Portland-based musician has been steadily releasing LPs that have added muscle definition and ornate arrangements to his classic throwback hooks and witty-but-withering lyrics. For his latest release, Mo Troper undertook a challenge worthy of lofty songwriters from Elliott Smith to Booker T and The MG’s and R. Stevie Moore alike: recording a full covers album of The Beatles’ “Revolver”, with all of the proceeds going towards Defense Fund PDX and Austin Mutual Aid.
Released in the summer of 1966, “Revolver” saw the Fab Four transition from the reigning pop mop-tops of the first half of their career to the countercultural trailblazers that would solidify them as arguably the most influential and certainly most documented and scrutinized rock band of all time. John Lennon’s comments earlier that year about the group becoming “more popular than Jesus” sparked an apoplectic response from the social and religious Right—the Ku Klux Klan picketed Beatles shows, records were ceremonially burned, and their songs were pulled from radio stations. They would never tour again. As such, the album has developed an enigmatic mystique, and many modern listeners consider it to be the ultimate Beatles LP.
More than a rote imitative exercise or novelty tribute, Mo really absorbs himself in what makes “Revolver” actually special: That in its heart of hearts, even for being inarguably peak Beatles, it’s the mother of all DIY bedroom pop albums.
Released March 12th, 2021
Mo Troper: vocals, guitars, bass, keys, drums, programming, Tyler Blue Broderick: vocals on “Yellow Submarine”
recorded and mixed by mo troper at home in late 2020/early 2021, Top Beatles album covers but I love the homemade jangly vibe. Wafts of Olivia Tremor Control. Giving all the funds to charity too.
all songs written by Lennon-Mccartney, with the exceptions of “Love You To,” “Taxman” and “I Want To Tell You,” written by George Harrison. recorded and released with permission from sony/atv music
Shortly after their “bigger than Jesus” remarks rocked the United States, The Beatles released “Revolver”. They never toured again after that, maintaining a credibility and untouchability that gets reissued and remastered every three years. Mo Troper, after releasing his full-length cover of “Revolver”, announced and abruptly cancelled a tour because something much bigger than Jesus was rocking the planet. You’d hope it was Mo himself. It wasn’t, but Mo’s rocking, anyway.
“Dilettante” also known as Mo Troper IV—combines decades of power-pop worship, scholarship, and penmanship into a 28-track collection of sprints. The playlist-as-album pundits might call it a data dump, but Mo brands it as a relaxed way to finish song sketches in unprecedented times. IV is a work that some of his friends call a musical, but this claim remains unverified. If there’s anybody aching to spin up a limiter-drenched production centered around scrolling a cluttered inbox for serotonin, prototype theme songs for public access shows plugged into the scene, and gasp-long dips into math rock, 1990s video game cheese, and medieval revelry, get in touch. (You might have to cut Mo’s rejected jingle for Reese’s Peanut Butter Cups, even though the stage needs to hear it.)
For those less dramatically inclined, there’s plenty here to pick up the slack. Mo gushes about “The Perfect Song” with syrupy, undeniably guitar pop that’s a remarkable stand-in for the gold he describes. False showtune “Sugar and Cream” goes medium about the wizardry found in a cup of coffee. Clipped moments like the sub-minute love song “Skyscraper Sized Bong” are as ephemeral as they are effective, shoving callouts to Big Star and Teenage Fanclub into pocket- sized arrangements.
“I think that’s the thing about this album – I don’t even really care about touring or making vinyl anymore, I’m generally pretty sick of the PR rigmarole, I just want to release as much stuff as I can before I’m dead,” Troper explains. Call it information overload or a heaping of odds and ends, but “Dilettante” finds MoTroper at his most sincere, present, and challenged. It doesn’t take fifty million screaming fans to prove him right.
Originally released in digital version on October 15th, 2021, vinyl version ready by April 8th, 2022.
