Los Bitchos are prepared to blow your pants clean off this coming February, and they don’t need to utter a word to do it. The pan-continental quartet will share their instrumental debut album “Let The FestivitiesBegin!” on 4th February and follow it up with a tour that must be attended to be believed. At their over-attended set at this year’s Wide Awake festival, the instrumental band well and truly staked themselves as a live favourite, a title that will soon be matched by their debut album.
Produced by Alex Kapranos (Franz Ferdinand). Panthers prowling through a desert. Cowgirls swaggering into a saloon and kicking up dust. Riding shotgun with a Tarantino heroine. Having the fiesta of your lives under a giant piñata with all your friends. Los Bitchos’ hallucinatory surf-exotica is as evocative as it is playful: the London-based pan-continental group could well be your new favourite party band with their instrumental voyages that are the soundtrack to setting alight to a row of flaming sambucas and losing yourself to the night. They’ve got a bun-tight knack for a groove – and they’ve got the best fringes in rock’n’roll too.
Serra Petale (guitar), Agustina Ruiz (keytar), Josefine Jonsson (bass) and Nic Crawshaw (drums) hail from different parts of the world but met via all-night house parties, or through friends, in London. Their unique sound binds them together, though, taking in a retrofuturistic blend of Peruvian chicha, Argentine cumbia, Turkish psych and surf guitars. They are London’s answer to Khruangbin, if Khruangbin spent all weekend getting slammed on cheap tequila in.
Reviews will rave, fans will assemble and the Los Bitchos name will be on everyone’s lips in 2022: their music is simply too good for it not to be so.
If you’re feeling disillusioned with the state of things, at least The Linda Lindas are here to restore some of your faith. If you’re opening for Bikini Kill in 2019 and then going viral for a track called ‘Racist, SexistBoy’ two years later (a response to a racist comment made by someone at school) while not even being legal adults yet, you must be doing something right. Half Asian and half Latinx. Two sisters, a cousin, and their close friend. The Linda Lindas channel the spirit of original punk, power pop, and new wave through today’s ears, eyes, and minds. Mila , Eloise , Lucia , and Bela first played together as part of Kristin Kontrol’s pickup cover band comprised of inexperienced kids for Girlschool L.A in January 2018, where they were joined by Bobb and Bethany from Best Coast and Karen O. hand-picked by Riot Grrrl legends Bikini Kill to open up for them at one of their reunion shows at the Hollywood Palladium.
The Linda Lindas perform live for a World Cafe Session with host, Raina Douris. Recorded in Los Angeles at EastWest Studios in January 2022.
Set List: Oh!; Racist Sexist Boy; No Clue; Growing Up.
Comprising four teen and tween girls, they formed almost four years ago, they’re already well on their way to real stardom despite their young ages—the eldest is 17 and the youngest is just 11. Released through Epitaph Records is an artist-first indie label founded in Los Angeles by Bad Religion guitarist, Brett Gurewitz. Early releases from a variety of punk heavyweights helped launch the 90s punk explosion. Along the way, Epitaph has grown and evolved creatively while sticking to its mission of helping real artists make great recordings on their own terms.
Most recent single ‘Oh!’ has riot grrrl energy and post-punk excitement, while ‘Racist, Sexist Boy’, live from the LA Public Library, has relentless DIY punk spirit. After their amazing performance of “Racist, Sexist Boy” at the LA Public Library we couldn’t wait to meet this tween & teen punk band. Jimmy checks in with them backstage during the monologue and they talk about going viral and the meaning behind their now famous song, and later in the show they make their national television debut performing live in our studio!
Imagine where they could be in five or even ten years’ time, when they’ll still only be in their twenties. But first, it’s time to see them grab 2022 by the scruff of the neck.
For many up-and-coming South London bands, the first play on Steve Lamacq’s BBC Radio 6 show is a sacred rite of passage. One that rewards their hard work, cements their ‘one to watch’ status, and sets them on their way. Well, Legss aren’t your typical South London band. Vocalist and guitarist Ned Green recounts the revered DJ’s debut play of Legss’ recent single ‘Hyde Park Coroner’. “He played it and at the end just said, ‘Well, that was rather oblique.’” Despite the anti-climax, Green wears a beaming smile while relaying the story.
With but one headline tour under their belt, the mathy post-punk of Legss are already sending whispers rippling through the London music scene. That’s in large part because they’re thrillingly tight live; a blast of power that has managed to overshadow many of the bands they have already supported. Their capricious sound regularly strays far from centre, entering realms unfamiliar for guitar-driven music, incorporating dark sonic expositions, strong fictional characters, and elements of theatre. At times, all three all at once.
Now at the head of many a line-up, this London four-piece will be treading the Shame/Squid/black midi path to national consciousness in 2022, if not for frontman Ned Green’s pithy lyrics then for the dizzy improbability of their musical acumen.
It’s pretty bold to start an EP with a song called ‘Bleugh’, but then again, Lauran Hibberd isn’t one to beat around the bush. Since her last EP in 2019, she’s been establishing herself as a key figure in the UK live music scene, appearing in as many independent venues and festival line-ups as is humanly possible. Now, she’s pulling together her recent work into the “Goober” EP.
‘Bleugh’ was an excellent choice to open the EP, starting as she means to go on with unforgettable choruses. Hibberd has a real knack for telling stories in her songs, refusing to hide behind ambiguous lyrics so that she can tell you exactly what’s going on. Her music is narrative-driven: not in the sense of reading a story, more like catching up with an old friend. It opens “Goober” with that self-deprecating, sharp-witted charm that everyone loves to hear from her.
Hibberd’s collaboration with previous tour mate Lydia Night of The Regrettes ‘How Am I Still Alive?’ stands out as not only the best song on the EP, but as a favourite song of the year. They’re a perfect duo; voices complementing each other perfectly with the ability to convey a real sense of fun with razor-sharp lyrics. Lines like “I’m getting really good at talking to myself/ I kinda noticed you were fucking someone else” are simple but gutsy, and their bubblegum vocals pair beautifully with crunchy guitar-fuelled choruses.
Most of the EP stays close to Hibberd’s own brand of ‘slacker-pop’, but when we reach ‘Boy Bye’ and ‘OldNudes’, her vibrant choruses stray towards grungy, nostalgic sounds that you can aggressively sing along to into a hairbrush. She’s had this kind of style in previous releases, but on “Goober” it feels more cohesive. Paired with lines like “if I could only pull you out a strand at a time” or “missed you like my last payment of rent”, Hibberd has a winning formula that shows her off at her best.
There are some massive songs on “Goober” that are going to be amazing to experience once Lauran Hibberd can get back on stage again. The only setback is that they don’t always flow together. Although the individual tracks of the EP stand strong, there’s a certain inconsistency in the tone that holds Goober back from being a stellar body of work. It’s not necessarily a bad thing – there are amazing singles on here that will brighten up any playlist, but they eclipse tracks towards the end like ‘Crush’ and ‘You Never Looked So Cool’. But when Lauran Hibberd is at her best, she’s unbeatable.
We may be putting the cart before the Horsegirl, as the Chicago trio are only releasing their first single for Matador in March. They are also busy beyond music, with two members in the first year of college at NYU and the other finishing up senior year of high school, but we certainly hope there’s more where “Billy” is coming from and that we won’t have to wait till 2023 to hear it.
Having only formed in 2019, and with merely three singles released so far, Chicago trio Horsegirl have quickly captured the ears and attention of fans and critics world-wide, garnering early critical acclaim from notable institutions such as Pitchfork, NPR, Stereogum, Sirius XMU, NME and BBC Music. On new single “Billy”, Horsegirl push their singular brand of innovative guitar music a step further, expanding their already enveloping wall of sound with three-part harmonies, swelling, overdriven guitars and unexpected tempo changes. Produced by the band and legendary producer John Agnello (Dinosaur Jr., Sonic Youth, Kurt Vile), the electrifying new track not only marks a significant evolution for the young group, but further solidifies Horsegirl as the exciting new bastions of alternative music.
“Billy” 7″ single backed with a cover of the Minutemen’s “History Lesson Part 2”
If you’re not already aware of young Irish upstarts NewDad, then now is the time to get familiar. Formed in lockdown, the Galway-based quartet burst onto the scene early last year with their debut EP “Waves” a raw, dark and utterly mesmerising first release that introduced the world to their captivating blend of shoegaze and dream-pop. Now back with their brilliant second EP “Banshee”, NewDad look primed to set the world alight.
Recorded in Belfast and mixed by John Congleton whose production credits include releases from the likes of Lana Del Rey and Phoebe Bridgers — the extra time and firepower in the studio seems to have helped NewDad push forward sonically. With “Banshee“, they have returned with a collection of songs that are richer, bolder and even more enchanting than their previous effort.
Recent single ‘Say It’ kicks off proceedings with some wonderful hazy guitars, over which frontwoman Julie Dawson softly sings of the frustrations of unrequited love. It’s a perfect bittersweet pop song, with the catchy, upbeat melody contrasted nicely against the heartache found within the lyrics. This song then makes way for the rousing title track “Banshee“, where Dawson first touches on the anxiety and insomnia she has felt in the past year, born out of lockdown-living in the west of Ireland house share that all four members of NewDad co-habit together.
The stress of being anxious and trapped seems to be a recurrent theme throughout all the songs here, with ‘Spring’ a more introspective track that continues along a similar vein. It begins gently as Dawson achingly sings: “I’ve let myself down, run myself into the ground; I’ve let myself drown, so deep I can’t be found” before a gigantic splash of instrumentation arrives to really bring the listener into her restless mindsight. Although only a short three-and-a-half minutes in length, the regular switches between ambient guitars to huge, epic swells help make the song feel sprawling and expansive despite its modest run-time.
‘Thinking Too Much’ also features these dramatic changes of pace, which seem to be quickly becoming a signature of NewDad’s sound. Although still centrally built around their wistful guitars, the song also rapidly jumps between laidback bass-driven grooves to dazzling rising synth passages. Before you know it, the EP then draws to a close with their excellent late 2021 single ‘Ladybird’, a song inspired by Greta Gerwig’s 2017 movie of the same name. With an intoxicating melody and a lighter, brighter feel when compared to the other four tracks, it makes for quite the triumphant and happy ending.
It is clear, then from “Waves” and now “Banshee” that NewDad — whose four members are amazingly all still in their early twenties — have tapped into something truly magical with their music. By the time “Banshee” is over, you’ll be hard-pressed to have not been completely swept away in the sounds and emotions they have forged. With a debut album now surely on the horizon, the future for NewDad is looking very promising indeed.
Keith Richards of the Rolling Stones continues the restoration and reissuing of his storied solo catalogue with this set of “Main Offender” releases featuring remastered studio and live album recorded in 1992.
The “Main Offender” Deluxe Box set is presented in a unique art-Book. The “Main Offender” LP and CD is newly remastered under the supervision of original producer and X-Pensive Wino Steve Jordan. Also included is the exclusive “WinosLive in London ’92” album that puts you in the Front row at the show with previously unreleased versions of “Eileen,” “Hate It When you Leave,” “Happy,” and more.
This one debuted on “Main Offender” and was remastered in 2010 for inclusion on Vintage Vinos, the first collection of Keith’s solo material. From BMG and Mindless Records comes the definitive “Main Offender” Deluxe Box Set. Following the award-winning “Talk Is Cheap” and “Live at the HollywoodPalladium” packages, this collection is presented in a unique art-Book Format and is pressed on smoke-coloured vinyl available only in this set.
This collection also includes an 88-page book with never-before-seen photos, reproductions of handwritten lyrics, reprinted essays From the album’s release, and more, plus an archival envelope containing exact replicas of promotional and tour materials from Keith’s archive.
30th Anniversary super-“Main Offender” deluxe boxset of —out March 18th with an unreleased “Winos Live In London ’92″ full concert; smoked double-vinyl; and an 88-page book with never-before-seen photos of Keith, handwritten lyrics, tour memorabilia & more!
Not just content with releasing their first new music since their acclaimed debut as a standalone single, Yorkshire dream pop group bdrmm place ‘Port’ into a remix-loaded EP. bdrmm have gone all dark and scary on their new single ‘Port’ – a slow building epic thing with thunderous production and some very very noisy guitars indeed. It is ripe for remixing and for this new EP they have enlisted some pretty big names their own Mouth Company and Jonathan Snipes from Clipping to give it the old once over.
The grittier and much heavier ‘Port’ includes remixes from fellow guitar noisemakers A Place To Bury Strangers, W.H. Lung, and Working Men’s Club, whilst techno producer Daniel Avery takes it to the club dancefloor and clipping.’s Jonathan Snipes boosts its industrial heft.
Their very own Mouth Company flips it on the final cut too, making for seven varied versions in total. On 12’’ colour vinyl and CD.
Since the demise of his previous band Ultimate Painting, Jack Cooper – under his Modern Nature guise – has never stopped looking ahead, exploring and reaching for something further. Since 2019, he’s released an EP, last year’s mini album “Annual“, one full length LP, one 7” and three live cassettes – in the process mapping out astonishing new terrain. “Island Of Noise” presents an obvious new peak in his discography.
Over the last 12 months, Cooper has constructed a beautiful, free-flowing box set’s worth of material featuring a new album, a separate and equally engaging instrumental interpretation of the album and an accompanying book featuring the work of wide-ranging, non-musical artists (including Booker-nominated poet Robin Robertson, mycologist Merlin Sheldrake, illustrator Sophy Hollington, and writer Richard King) that reinterpret, deconstruct or take inspiration from the 10 tracks on the record.
“Island Of Noise” represents an absolute career highlight, combining Cooper’s celebrated song writing and compositional skills with a free flowing expansiveness coloured by British free music luminaries such as saxophonist Evan Parker, pianist Alexander Hawkins, bassist John Edwards and violinist Alison Cotton, as well as long term collaborators Jeff Tobias and Jim Wallis.
“Be not afeard, the isle is full of noises”
On re-reading The Tempest in 2019, Cooper was moved to write this quote on the wall of his workshop and doing so sparked the initial ideas and activity that culminated in this record. The short quote, part of a longer passage spoken by Caliban, “summed up what I was thinking about at the time, from the nature of music, noise and silence, to the chaos and confusion that seemed impossible to navigate.” says Cooper.
The rich imagery and themes of The Tempest have long been a springboard for artists, from Derek Jarman’s unnerving adaptation and Sibelius’ Stormen to Jackson Pollock’s Full Fathom Five, but it was the setting of an island and the insular framework it represented that appealed as a way of elaborating on the musical and lyrical themes Modern Nature has been exploring since their first record in 2019.
“I imagined the island’s landscape and how it would change and shift through the record. My guitar, Jim Wallis’ drums and John Edwards’ bass would represent a slowly evolving landscape that would provide the bedrock for the other instruments to colour. The forests, the valleys and the life would be represented by an orchestra of improvisers and classical musicians, working around certain modes and composed melodies.”
Standing in the edgelands, where the concrete meets the forest; the island’s story is told through the eyes of an outsider, arriving and trying to make sense of the mystery and chaos. What do they make of the island’s systems, its customs, the inhabitants and their beliefs. How would an outsider interpret the inequality and divide? Where would they find solace, compassion and friendship?
The album was completed during a relaxation of the pandemic restrictions and for Cooper and his fellow musicians, its recording came to represent a sanctuary in itself. The feeling of freedom with which they made the record allowed for hours of improvisation and experimentation, resulting in a companion record called “Island Of Silence”; a more impressionistic instrumental picture of the island and its music.
Elaborating one step further, Cooper approached ten artists he felt an affinity towards (including Booker-nominated poet Robin Robertson, mycologist Merlin Sheldrake, illustrator Sophy Hollington, polymath Eugene Chadbourne and The Lark Ascending author Richard King) and asked them to reinterpret, deconstruct or take inspiration from one of the ten pieces of music for an accompanying book. Island Of Noise and Island Of Silence were both recorded on 2” tape with long-term collaborator and co-producer Ed Deegan and then cut directly to vinyl. Similar attention has been paid to the production of the book and box-set, with all of the material, including the vinyl, sourced from recycled and sustainable materials.
Cooper once said: “With every song we record or musician we gain, another door seems to open on a route that’s worth pursuing.” More than ever, this rings true on “Island Of Noise” and “Island Of Silence“, with the musicians sharing a collective vision that builds the most cohesive and exploratory version of Modern Nature yet. “Island Of Noise” fits beautifully between genres sitting alongside (modern) classics like Mark Hollis’ Mark Hollis, David Sylvian’s Blemish and Bert Jansch’s Birthday Blues.
Like those, this is an album that may confound or challenge some, but will stand the test of time to those that open themselves up to Modern Nature.
Directed by Jack Cooper & Conan Roberts Filmed by Jack Cooper, Conan Roberts & Phoebe Cooper Music by Modern Nature
Good Morning from Melbourne Australia Stefan Blair and Liam Parsons are rulebreakers. Not in a sexy, flamboyant way — more in a casual, resigned kind of way. Accidental and incidental rulebreakers. They are friends first, band second, business third, often in spite of function, and often at their own expense. Every time the machinations of the industry have zigged, Good Morning have zagged. In late 2019, after the release of The Option and Basketball Breakups, with a lengthy American tour looming, Good Morning decided to go back to basics — to record as a duo again, as they had on 2014’s “Shawcross” and 2016’s “Glory“. Over the course of the year, they demoed any number of songs in their Collingwood studio space, meeting up every Tuesday to write and record together as they always had. In November, as their American tour wrapped up, the pair decamped in Chicago, to properly record the demos they had amassed at Wilco’s famed studio, The Loft, with Tom Schick, the studio’s in-house engineer.
Despite how quietly epochal “Barnyard” is — a milestone in the history of Good Morning — it’s also the band’s most meditative record, thoughtful and careful in its evocations. “Barnyard” is world-weary, concerned with the state of things in a loose, unfocussed sort of way. In spite of the appropriately bleak vibe, these songs feature some of Good Morning’s catchiest and most distinctive productions. The spritely groove and easygoing harmonies of “Depends On What I Know” belies its frustration-ridden lyrics; the gripping, awesome propulsion of “Country” persists in spite of its appeal to return to a simpler, easier way of being. Thoughtful, melodic, and idiosyncratic,” Barnyard” is all the things one might love about Good Morning, this time around presented with the fat trimmed and the edges sharpened, loose ends tied and ducks all in a row.
Barnyard was made at The Loft, Chicago, IL, USA, from November 18 til November 22 in 2019 It was produced by us, Good Morning, with help from Tom Schick, who also mixed and engineered it.
Everything got played and sung by us except for… Vibraslap on ‘Burning’ slapped by Joe Alexander Saxophone on ‘Big Wig // Small Dog’ saxed by Glenn Blair
