North Carolina singer/songwriter Indigo De Souza has shared another preview of one of our most anticipated records this month. “Real Pain” is the third single from the rising star’s forthcoming “Any Shape You Take” (August 27th on Saddle Creek Records), following “Kill Me” and “Hold U,” .
“Real Pain” begins in a place of radical acceptance in the face of suffering: “When pain is real, you cannot run,” De Souza sings to open the song, the lyric as devastating as her vocals are delicate. A single electric guitar and a few scattered synth notes expand into enveloping percussion and reverberant distortion while De Souza insists, “I still feel you,” allowing us to wonder whether she’s addressing a person or her pain itself, then sweetly croons, “I don’t believe the way I’ve been / going.” From there, the song is all beautiful breakdown, a symphony of screams set to a pounding, deep drum. You won’t believe the way De Souza brings it all home until you hear it.
‘Real Pain’ is about facing grief and loss, and having compassion for yourself in that space. It’s about learning to be unafraid of experiencing a full spectrum of emotion, and welcoming the way it teaches you and changes you,” De Souza says of her new song in a statement. “For one of the sections in the song, I put out an invitation for people to anonymously send me voice memos of ‘screams, yells, and anything else.’ I layered the voices on top of one another to embody a kind of collective experience.
“I felt an incredible catharsis hearing their voices stacked with mine,” she continues. “While we live such separate lives, we are connected in the way that we all navigate immense amounts of pain and love and fear in our bodies every day. It can be hard to be a person! It’s okay to acknowledge that sometimes. It’s okay to feel things fully and to allow others space to do the same.”
from Any Shape You Take out August 27th on Saddle Creek Records.
The Australians are coming out in full force. One of the continent’s finest bands, Melbourne duo Good Morning, announced their newest album “Barnyard” due out October 22nd via Polyvinyl, which arrives two years after their packed 2019 that saw the release of The Option and Basketball Breakups.
In addition to the album announcement, the band have released its lead single, ‘Country’. Written by frontman Liam Parsons, the track reflects on the singer’s desires when he was younger, and how they’ve panned out in adulthood.
Alongside the announcement was the duo’s newest single, “Country.” Over an infectious guitar riff that slowly builds into a folky bounce, Liam Parsons sings of wishing to return to a simpler life and younger desires. The entrancing video is set against the backdrop of Parson’s childhood: 1st Eltham Scouts Hall. “I was always too embarrassed to admit that I was a scout to my school friends, the same way I was too embarrassed to admit that I got piano lessons,” Parsons reveals. “Both of those things are ridiculous. Scouts is cool and so are piano lessons.” Ditto “Country.”
The record was made “in slightly simpler times” at Wilco’s recording studio, The Loft, in Chicago over a five-day period.
From the album ‘Barnyard’ out October 22nd via Polyvinyl & Good Morning Music Company Worldwide
Karly Hartzman, vocalist and lyricist of Asheville five-piece Wednesday, she writes with a rapidly shifting focus and no sense of chronology, imprinting a sense of longing on their songs.
Hartzman cites Brautigan as an influence on the band’s forthcoming album, “Twin Plagues”, out on August 13th via Orindal Records. Brautigan’s work predates shoegaze, but Wednesday’s distorted, wailing guitars pair perfectly with this style of writing, which is just as blustery and powerful as their triple guitar barrage. Wednesday aren’t a straightforward band by any means they also fold in elements of slacker rock and country, but they harness a considerable amount of force from their rugged guitar roars and quiet-loud dynamic.
A lot of shoegaze sounds like it exists outside of time and space, but because Wednesday’s music contains Southern twang and suburban imagery, their songs feel like a dream world placed right in the backyard, a place where the shed starts to levitate, birds move like marionettes and the adjacent home feels just as deeply as humans do. Lyrically, “Twin Plagues” is a gloomy album ominous, even, but it feels like a destination that must be visited in order to move past pain.
Sonically, their hooks give the album an exhilarated joy, which heightens all the other emotions present. Twin Plagues is one of the best and most consistent records you’ll hear this year. It’s a stunning body of work for many reasons the way it grapples with trauma, the way it captures suburban melancholia, the way each hook somehow sounds better than the next, the way they manage to spark something inside the listener with such specific lyrics—but more broadly, it’s because every song feels like a cathartic explosion.
“I have a pretty good memory, especially for bad times,” Hartzman says over the phone as she strolls through the hilly streets of Asheville. “I’m honestly trying to forget and move on, rather than hold onto these memories. I’m writing about them to let them go. I’m ready to move on from a lot of stuff. That song about the broken foot and my friend doing acid and jumping out of a window [“Birthday Song”], like I’m desperate to forget that memory.”
The band’s new LP is their third to date and second as a full band, and it largely centers on the traumas Hartzman incurred during her junior and senior years of high school. “That’s a hard time for everyone, but there’s a lot of bad stuff that happened that I’m still processing,” Hartzman says. “It’s just really hard to escape pain, even in a moment of happiness. I think that’s just how trauma works. Any moment of happiness, you’re going to be like, ‘I wish this person was here to experience it with me.’ Or ‘I wish I could let myself feel this fully, but my mind is thinking about this other thing.’”
Throughout the album, Hartzman alludes to a car crash that had a big impact on her life, and she also lays out more general fears and anxieties she can’t quite evade. It’s an album rooted in pain, but the way it describes the messiness of memories and the tension that lingers in the air when things aren’t okay feels like an emotional breakthrough and the turning of a page. It also has an affection for her Southern upbringing and all the imagery that elicits, which adds a softness to the record. Throughout our conversation, she professes her love for the slow pace of the South, and she jokes about the normalcy of the Greensboro neighbourhood she grew up in. “My neighbourhood was called Northern Shores, and there was a Southern Shores and an Eastern Shores and every direction Shores,” Hartzman says. “It was very typical.
On “Handsome Man,” she compares her surroundings to a snow globe, and on “Gary’s,” she describes a long walk to get the mail, but chief among the references to her hometown is the title of track three, “The Burned Down Dairy Queen.” To most, that image would seem rather dark—a disconcerting reminder that things don’t last forever, or a relic of capitalism—but Hartzman sees it differently. “I don’t think that’s a sad image,” she says. “It more just encapsulates where I am, and because of that, it makes me happy. Even though it represents, to me, being an empty shell of a person, I look at it and say, ‘There’s me.’ I’m so glad I can see myself reflected in this place where I live and these things I’m surrounded by.”
Hartzman has always been in touch with her creative side. She skipped classes during high school roughly three days out of the week to write and draw at a coffee shop, and she frequently tagged along with a friend to DIY shows in Greensboro. As she gradually saw more female musicians in her local scene, she began to fantasize about joining a band. She read as many memoirs by female musicians as she could find, and she was inspired to keep plugging away at the guitar after watching Mitski’s 2015 Tiny Desk Concert. Hartzman moved to Asheville for college, which is where she met guitarist and eventual bandmate Daniel Gorham. Gorham, who has since left the band to play with Prince Daddy & The Hyena, helped Hartzman record her first album as Wednesday, “yep definitely”, a lo-fi pop record heavily inspired by The Sundays.
Hartzman formed a band called Diva Sweetly with her high school friends, who had previously performed as Pictures of Vernon. They released one album titled In The Living Room back in 2019, but it was a far cry from the type of music Hartzman was hoping to make. Hartzman was psyched to finally be in a band, but as a shoegaze fan, she knew she hadn’t yet fulfilled her artistic vision. Wednesday eventually expanded and became a full group, resulting in the release of their second album I Was Trying to Describe You to Someone in 2020. Hartzman is proud of the record, and it felt closer to the sound she was trying to capture, but still considering herself a musical beginner, she knew she could make something even better.
By the time the band started composing and recording “Twin Plagues”, Hartzman felt much more confident in her abilities as a musician and songwriter, and you can tell by the immediacy of the songs. You can also hear the band’s growing musical chemistry, particularly in the way their three guitarists interact with each other. Hartzman plays guitar alongside her partner Jake Lenderman and Xandy Chelmis, who plays lap steel, and this combo creates a fascinating back-and-forth. “I’m always so impressed by them and their ability to work around each other and create space for each other,” Hartzman says. “They always know when to hit with the same part, musically, and when to do different things.”
Hartzman doesn’t think about Wednesday’s music in stylistic terms. Instead, she tries to align their sound with the emotions of every line she’s written, which accounts for the dramatic peaks and troughs within their songs. “I feel like ‘Cody’s Only’ is a really good example of that,” Hartzman says. “I wanted the song to shrink away and then explode at the end because that’s how I felt singing the words. So it’s really just trying to match up everything emotionally, and it happens pretty naturally once we gather what I’m feeling about stuff, line to line.”
Specific imagery like a Dallas Cowboys urn (“Cliff”), condensation on the bathroom mirror (“Cody’s Only”) and a gutter that drips like a runny nose (“Toothache”) draws you closer to Wednesday’s songs, creating an intimate bond that wouldn’t occur if these songs were painted with broad strokes. In a way, Hartzman is trusting listeners with these images, inviting them into the depths of her memory and sharing the good, the bad and the ugly. “I always feel like there are so many songs about general stuff that anyone and no one can identify with,” Hartzman says. “But your memories, specifically, and the more details you use to describe them, that’s the most special goldmine of lyrics in the world, because no one else is gonna [write] the same way you do.”
Hartzman sings, “Jealous of the rooms whose floors can feel your weight upon them,” on a song from Twin Plagues. Both lines exude love, pain and loneliness, and the evocative, roundabout way they describe these feelings brings new meaning to these sentiments. Wednesday’s music feels sacred, like something you’re going to keep in a safe place and devour routinely in times of need.
vocals and guitar Karly Hartzman lead guitar Jake Lenderman Bass Margo Schultz Drums Alan Miller Lap Steel Xandy Chelmis
“Twin Plagues” is out on August 13th viaOrindal Records.
London-based experimental post-punk ensemble Bas Jan return with a new expanded line-up and their first brand new music in three years. Released as part of Lost Map’s PostMap Club monthly subscription service in August, and available to stream and share from August 13th, ‘You Have Bewitched Me’ is an enrapturing reflection on the mesmerising power of first attraction and new love. It follows the release on Lost Map Records in 2018 of the Instant Nostalgia EP, and before that, Bas Jan’s critically acclaimed debut album Yes I Jan, which was hailed for its “messy majesty” (9/10, Uncut) and “beautifully fractured art-pop” (★★★★, MOJO).
“This track was a result of an Arts Council funded project,” explains Serafina, “for Bas Jan to rehearse and record as live at a performance space [Cafe Oto, London] during lockdown autumn 2020. It was then mixed by Capitol K at Total Refreshment Centre. ‘You Have Bewitched Me’ marks a new era of collaborative writing as a four-piece – more of which to be revealed soon.”
Bas Jan are:
Rachel Horwood Emma Smith Serafina Steer Charlotte Stock
Dave Benton (formerly of New York band LVL Up ) has announced his third album as Trace Mountains, “House Of Confusion”, set for an October 22nd release on Lame-O Records. The lead single “America” is out now alongside a music video.
“‘America’ is a road song written from a place of disillusionment & desperation,” Benton explains in a statement. “My guitarist Jim Hill created this video inspired in equal parts by Easy Rider, Wayne’s World & The Lord of the Rings to mirror the themes of the song in jest.
“Writing & arranging this song was a real journey for us, with lots of rewrites & changes,” he continues. “I almost cut the song from the album at one point because it was torturing me so much! I wanted it to be real but also light hearted & upbeat. I think Jim captured that energy perfectly in his visual interpretation of the song.”
From a near-cut to the lead single is quite a journey indeed, and for “America,” that’s entirely appropriate. Benton describes a long, lonely night drive over breezy acoustic guitar and propulsive drum machine, with soft chimes punctuating the song’s forward momentum. Despite the cheery instrumentation, it feels like Benton isn’t wandering, but lost, overwhelmed while in search of something so elusive, it may not have ever existed. “They always said that you could make a life of it,” he sings ruefully, like someone all too aware of the difference between making a living and making a life. “AMERICA” screeches to a halt outside the “House Of Confusion”, where Benton’s only reward is a different, deeper rabbit hole.
“House Of Confusion” follows last year’s excellent release “Lost In the Country” and 2018’s A Partner to Lean On. Benton is joined on the record by Trace Mountains mainstays Hill (guitar, keys), Greg Rutkin (drums) and SusannahCutler (vocals, mellotron), as well as new additions Bernard Casserly (bass), J.R. Bohannon (pedal steel, guitar), David Grimaldi (guitar ) and Ryan Jewell (drums, marimba ).
“America” by Trace Mountains from the album ‘House Of Confusion,’ out October 22nd via Lame-O Records.
In 2007, legendary Zeppelin frontman and all round rock superstar Robert Plant and award-winning bluegrass musician/songwriter Alison Krauss collaborated on the celebrated album “Raising Sand” a soulful yet restrained record that earned the duo many accolades, including the Grammy for album of the year. Now 14 years later, they’ve announced “Raise the Roof“, a new album of covers from some of their influences, including Merle Haggard and The Everly Brothers, with some new originals, as well.
Recorded by Raising Sand producer T. Bone Burnett, the new album features an array of collaborators on drums, bass and pedal steel guitar, fleshing out the folk and roots influences the duo strive for. “We wanted it to move,” says Krauss. “We brought other people in, other personalities within the band, and coming back together again in the studio brought a new intimacy to the harmonies.”
The announcement arrives with new single “Can’t Let Go,” a cover of the Randy Weeks classic famously performed by Lucinda Williams. out November 19th on Rounder Records.
Robert Plant and Alison Krauss’ “Can’t Let Go” from their forthcoming release, ‘Raise The Roof’, out November 19th.
Grace Vonderkuhn is the full band project of songwriter Grace Koon. Koon performs a hectic brand of grungy alternative rock with flecks of psych, garage and punk.
Grace Vonderkuhn, who releases their second LP via Sheer Luck Records this Friday. “Pleasure Pain”is the same noisy, punk-rock Grace Vonderkuhn sound we love, but with even more to offer than before.
Delaware singer / songwriter Grace Koon attributes the growth in her music to her own personal growth, as well as the recording team at Headrooms Studios and the band’s recent signing with Sheer Luck Records, a Philly label focused on “elevating marginalized voices.” With a new team of engineers and management, Grace was ready to share her next evolution with the world. Enter, COVID-19. After over a year of sitting on the completed record, the timing is finally right to release. Fortunately, no relevancy was lost in delaying the release–a sign of a timeless album.
Let it also be known that however much you enjoy Grace Vonderkuhn’s recordings, their live performance will transcend that. I’m really glad to be working with them. We were on Egghunt Records for the first album, and now, working with Sheer Luck, has been amazing. They are just very supportive and I feel like they got my back. And I love that it’s run by women.
Grace Koon – Guitar, Vocals Dave McGrory – Drums, Vocals Brian Bartling – Bass
The 25th anniversary of Oasis‘ historic two-night stand at Knebworth Park where they performed to 280,000 fans in total, and it was estimated that 2% of the UK’s population tried to buy tickets for the shows. To celebrate the anniversary, the trailer for Jake Scott’s documentary about the Knebworth shows has now been released.
Following the release of their recent concert documentary,Oasis have shared a new clip that sees them performing ‘Some Might Say’ on the second night of their iconic headline show at Knebworth. The clip comes from Oasis Knebworth 1996, directed by Jake Scott and produced by Black Dog Films. Noel and Liam Gallagher were also directly involved with the creation of the documentary, both serving as executive producers.
The clip comes after Oasis released a similar clip of themselves performing ‘Champagne Supernova’ at Knebworth. This rendition of ‘Some Might Say’ sees the band deliver one of their best-loved singles.
Oasis Knebworth 1996 will be in cinemas worldwide on September 23rd
Additionally, there’s a full live album and DVD/Blu-ray, also titled Oasis Knebworth 1996, that will be out November 19th via Big Brother Recordings Ltd that features performances from both nights. Formats include 2CD, and triple vinyl LP, with the digital version of the album featuring HD audio. The DVD will be released as a triple disc set including the ‘Oasis Knebworth 1996’ cinematic documentary plus both nights of the live concert in full, with the Blu-ray in single disc format.
The live album formats include 2CD, and triple LP on heavyweight vinyl with the digital version of the album featuring HD audio. The DVD will be released as a triple disc set including the ‘Oasis Knebworth 1996’ cinematic documentary plus both nights of the live concert in full, with the Blu-ray in single disc format. Limited edition formats include the 2CD with DVD of the cinematic documentary, plus a Super Deluxe Box Set including the triple LP, 2CD and triple DVD plus replicas of the original gig memorabilia, available exclusively from the band’s online store.
The soaring new single from Beach Riot is all about watching hopelessly as life fades away through a shit relationship. But we’re kinda feeling it as a much-needed mid-summer wake-up call to shake off the sweaty season doldrums and snap back into reality. As this shitbag summer continues to slowly trudge along through sandy halls of confusion and calm chaos, we need this kind of jolt to our senses.
Luckily, the English fuzz-pop quartet straight out of Brighton are happy to oblige, as today’s (August 10) “Wraith” is a searing track that takes hold within seconds. The guitar-rock ripper will be featured on Beach Riot’s forthcoming debut album, “Subatomic Party Cool”, due out via Alcopop Records September 17th.
“Jonny [Ross] hits the hi-hats so fast on this one that his hands are actually playing five seconds in the future compared to the rest of his body,” the band says. “Also it’s a song about your life force being slowly drained away in a fading relationship and there’s nothing you can do about it but watch and brace yourself.”
From the Debut album ‘Subatomic Party Cool’ out September 17th on Alcopop! Records
DIY kitchen pop project of Glenn Donaldson (Skygreen Leopards, Art Museums etc). “Anxiety Art” LP is out now via Slumberland (US) & Tough Love (UK). Tough LoveRecords will be reissuing the long out of print debut album by The Reds, Pinks and Purples. The new version of “Anxiety Art” is pressed to blue vinyl in an edition of 1000 and comes with revised artwork by Matthew Walkerdine.
Two hundred copies of Anxiety Art were originally pressed on Spanish label Pretty Olivia in 2019 and disappeared in a flash. This is the debut where The Reds, Pinks & Purples solidified the cathartic kitchen pop of later more widely distributed titles on both Tough Love and Slumberland. As The Reds, Pinks & Purples Glenn Donaldson – the man with the lengthy (perhaps The Most Lengthy?) Discogs page – decided to find his way out of the wilderness following some big and small personal tragedies and the demise of his former bands.
He landed on a way to weave his influences from Athens, Georgia to Bristol, England into something unique to his life in the Inner Richmond district of San Francisco. As mentioned above, the repress features an alternate cover with more of Donaldson’s neighbourhood photographs, tying it to both to the place of its conception and visually to the other releases in the ever-growing RP&Ps catalogue.
VINYL REISSUE COMING FROM TOUGH LOVE.
Recorded 2018-2019 in my kitchen in SF
dedicated to the Inner Richmond neighbourhood and all the good people who rock there.
