Posts Tagged ‘Burger Records’

Fans of Colleen Green probably know that blink-182 has always been an influence on her lo-fi indie punk — she released a cover of “M+Ms” off their 1995 debut album Cheshire Cat back in 2010 — and now she is releasing a full covers album of their 1997 sophomore album “Dude Ranch”. She says that she actually first recorded the album in 2011 but lost it when her computer crashed, but now the idea is finally fully coming to fruition. Colleen drastically slowed down and recorded with just her voice and a distorted bass. It’s blink-182 like you’ve never heard them before, but the melodies remain untouched and these stripped-back renditions remind you how good blink were at writing pop songs even before the TRL days.

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I don’t remember where or when I got the idea to cover my favorite album of all time. , I don’t remember much of 2011. All I know is that sometime about 7/8 years ago, I decided that I was going to cover Blink 182’s “Dude Ranch” in its entirety…on bass. I borrowed a short scale from my friend Sandy Vu and gave myself 2 weeks to complete the project. 13 days later as I was applying the finishing touches, my computer started acting funny. I thought to myself, “Gee, I sure hope my computer doesn’t crash.” 14 days later, my computer crashed. I had no back ups because I always fly by the seat of my pants! I tried to recover my work to no avail. I was heartbroken, so much so that I was unable to revisit the project in earnest until October 2018. Today I can say with much pride, happiness, and relief that “Blink 182’s Dude Ranch as played by Colleen Green” is finally real and ready to be enjoyed by fans of Colleen Green and/or Blink 182. This was truly a labor of love and I hope that those fans can recognize and appreciate that. And to the band who has influenced me and my life in so many ways: Thank you.

 “Dude Ranch” by Blink 182 as Played By Colleen Green available on Burger Records (2019) Released August 6th, 2019.

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CHAI – ” Punk “

Posted: April 3, 2019 in ALBUMS, MUSIC
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Chai is a band who screams yes to joy, and Punk is a record written in earnest about being yourself, loving your friends, and not caring about what anyone else thinks about the way you live your life.”

Chai released their epic second LP ‘Punk’  via Burger Records on Friday and the reviews across the board are all amazing! Check out the album below and see them here in May..at the Bodega Social.

This Japanese bubblegum disco-punk band Chai. are getting great reviews fresh off the drop of their new album Punk at SXSW they rightfully received Best New Music from Bloggers Pitchfork, each of their sets were boiling over with more glittering energy than seen on stage in recent memory. Pop perfection and iconic matching pink and orange outfits, like some sort of guitar-wielding collective of superheroes, SXSW convinced everyone if anyone’s gonna save us, it’ll be Chai.

Now they have shared a video for the album’s “Curly Adventure.” The band’s bassist and primary artistic director YUUKI designed the animated video, which was animated by LA-based artist/animator Sean Solomon.

But the most fun act of South By South West was Chai, the jubilant four-piece rock band from Japan who charmed the hell out of everyone who saw them this week. Decked out in fitting shades of pink, all four women sustained their grins for the entirety of their set, during which they played songs from their delightful, uproarious new album PUNK. Toggling between Japanese and English, Chai destroyed any premonition of a language barrier. Also, the only love song ever written is about dumplings.

Our latest album on Lolipop/Burger—’Psychsploitation Today’—has had a great run, garnering a lot of attention & rad vibes. You may have heard that there were videos being made for all 10 album tracks…not only is that true, but we’ve also made a 35-minute movie featuring all of the tracks. Carve out some popcorn time for ‘Psychsploitation Today: The Video Album’

The Prefab Messiahs are back with a new installment of wiggy Garage-Pop-Psych scheming. Their fourth full-length release ‘Psychsploitation Today’ comes to you via Lolipop Records, with Burger Records .

These 10 self-produced songs represent a unique kaleidoscopic voyage through today’s cultural zeitgeist — taking on everything from 21st century media “Psychsploitation” to explosive ruminations about the “Last Day On Earth.” 

The Prefabs’ front Xerox Feinberg, a self-described “Lost Generation Wanna-be Spokesperson,” calls the album “a mental and sonic continuation of the things we were obsessed about from the beginning — mashing up the sounds and attitudes of ’60s garage-psychedelia with post-punk ’80s stuff and dragging all that into whatever ‘today’ is — while generally trying to poke people in the ribs and skewer some of the Big Shams behind all the Shiny Facades. We’re still trying to toss everything into the mix including the kitchen sink. We’re still bemused and shocked and disgusted with The State of Things — and also in love with the noises in our heads. The Prefab Messiahs’ work is never done.”

Released January 26, 2018

The Prefab Messiahs music with a 60’s influenced rock laden in lots of harmonies and layered vocals. Animation suits the music well and would especially appeal to collage kids–underground stuff, with much subtle, hidden commentary about life and its struggles without being heavy. Could watch it again and again and each time see something funny and new in the content.

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Los Angeles has often been described as a “dream factory” both a mecca where dreamers converge to pursue long-held aspirations, and a topography of hallucinogenic contradictions: enchanting tangerine sunsets diffused by smog, crystal-clutching spiritualists mingling with deep-pocketed narcissists, rows of scenic palms competing with garish billboards for commuters’ attention.

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It was against this backdrop that the four members of La Luz–singer/guitarist Shana Cleveland, drummer Marian Li Pino, keyboardist Alice Sandahl, and bassist Lena Simon–conceived of Floating Features, the band’s third studio album. For this, their most ambitious release yet, La Luz consulted landscapes both physical and psychological.

Only La Luz could conjure up Floating Features’ Leone-on-LSD vibes, and the album finds the L.A. band at the height of their powers–golden rebels in a golden dream.

“California Finally” is the second single from La Luz’s Floating Features, out May 11th, 2018 on LP,

Band Members
Shana Cleveland – guitar
Marian Li Pino – drums
Alice Sandahl – keyboard
Lena Simon – bass

The spontaneous regeneration of The Prefab Messiahs continues to be one of the best left field surprises of the past few years. For those in need of a history lesson, the group started their life back in the early 1980’s as a band of young, scrappy, left field, DIY, post-punk, garage-psych-pop provocateurs, and a part of the Wormtown (Worcester, MA) underground scene. It was there they spent time kicking around with private press legend Bobb Trimble, playing local gigs warming up for bands like Mission of Burma, and recording a ton of spiky, retro-delic rockers.

For those keeping score at home, only a few tracks of the band’s output managed to sneak out during their brief lifespan. Most of the stuff they recorded was eventually collected and finally released on their most excellent anthology, Devolver, which was released on Burger Records a few years back.

Flash forward to 2018 – Psychsploitation… Today! is the group’s first full-length album since returning from their Reagan-era status and is the follow up to 2015’s excellent maxi-EP, Keep Your Stupid Dreams Alive. Using the psychedelic sounds of the mid-to-late 60’s as their modus operandi, the Prefabs have put together a solid set of day-glo tunes with their latest long player.

Even though their sound most definitely hearkens back to that golden age of jangly Rickenbackers and Beatle boots, the group is not content to simply be a revival act regurgitating the sounds of yesteryear. There’s a punk energy and urgency to these proceedings.  Take for example the “The Man Who Killed Reality,” which if you squint your third eye just enough, you might think belongs on some alternate universes’ Yellow Submarine soundtrack. Despite the band’s best efforts to turn on, tune in, and drop out in “Having A Rave Up,” or jam on monster hooks in the appropriately titled “Monster Riff,” the darkness of our modern times just seems to keep creeping up on them; whether it’s a “Warm Sinking Feeling,” the universal concerns of getting older on “Gellow Mold,” or the apocalyptic album closer “Last Day On Earth.”

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Perhaps it’s in troubled times like these we need bands like The Prefab Messiahs most. It almost goes without saying that it’s great to have them back.

Pretty much all you need to know about Death Valley Girls can be summed up by the line from the 1975 sexploitation film Switchblade Sisters that became the band’s unofficial slogan: “Everybody’s gotta be in a gang.” All those images of leather-clad, grime-covered, rebellious fun that such a phrase evokes are just what the Los Angeles quartet personifies. It’s slightly crazy, completely sexy, and just frightening enough that you want nothing more than to be inducted into the club.

Luckily, Death Valley Girls are sending an open invitation with their sophomore record, Glow in the Dark. On Burger Records, the follow-up to 2014’s Street Venom plays like a beacon from space sent to incite a cultural mutiny. Tracks like “Love Spell” and “Disco” beckon the listener to shed the chains of repressive modesty in favor of letting loose in the neon light of the night. “Horror Movie” and “I’m a Man Too” strike out at the definitions laid down by a society enslaved to consumerism and clearly delineated classifications. All of it bursts out in surfy proto-punk layered with sugary shrill harmonies that cut through the garage door like so many steel studs.

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If the message of the album isn’t clear enough, this band delivers  “Join the experience that will cosmically unite the living and turn on the dead. The battle is now, Be part of the revolution. Glow in the dark.

Lovely Bad Things (2017) by Caroline Baker

Lovely Bad Things are a quintet from the California town of La Mirada, a place the band describe as, “a fitting place to find solace in music”. The band offer a DIY-take on early 90’s rock, fusing layered melodious vocals with a vicious three-pronged guitar assault and powerful rhythm section. Having honed their sound for the best part of eight years, Lovely Bad Things released EP Homebodied this year sharing the debut single of  the single, Hiding To Nothing.

With its prominent rolling basslines, arsenal of jangling guitar tones, and heavily beaten drums,finds the potent middle ground between the alt-rock of Dinosaur Jr and the poppy melodies of The Goon Sax. The stars of the show are the contrasting vocals lines, Camron Ward’s easy-going Stephen Malkmus-like delivery set against Lauren Curtius’ powerfully melodic tones – The Pixies comparisons are as accurate as they are predictable.  A band who’ve taken their time to perfect their sound, Lovely Bad Things now emerge as a thrilling prospect, and with a full length release and European tour to come they are a band who might just be.

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It’s not as catchy a ‘Westgate’ or ‘Balaclava Lover Boogie’, rather, it’s a fierce, 47-second rant that advocates violence in a way that’s unmistakably Aussie and so relatable that it’s a little confronting. “Rack off mole / I wanna see some biting, I wanna see some biff,” Amy Taylor yells over an urgent three-chord riff. The lyrics could be confused as flippant or sarcastic, but Amy insists she’s serious. “It’s about this chick that I was hanging out with and I got really fucken sick of her so it’s a bit of a biff song.” She pauses for a second, then clarifies, “Well, not a biff song, but it’s like, ‘Fuck off, bitch.’”

Mole’ is also about Amy’s preference for audience participation at her shows: “I just want everyone to push each other and go nuts and have a go,” she explains. “I don’t want everyone to just stand there and chill.” Amyl and the Sniffers gigs aren’t supposed to be chill.

A bit over a year ago, the members of Amyl and the Sniffers were living together in a sharehouse in St. Kilda. They’d been talking about starting a band “for ages”, then one day they all got home from work, uni and whatever else they’d been doing and spontaneously wrote and recorded their first EP. They called it Giddy Up and Declan, the guitarist, was still wearing his Big W uniform when they finished it. It took them just four hours to get the whole thing done, after which they released it for free on Bandcamp. “We were like, ‘We’ll start a house band, play at parties and it will just be something funny we can do,’ ” Amy explains.

“I don’t really know what the fuck has happened between now and then,” says Amy, “but it’s crazy.” Indeed, Amyl and the Sniffers have some pretty big gigs lined up: they’re touring with the Aussie punk legends, the Cosmic Psychos in November, then playing Gizzfest, Meredith and touring with the Foo Fighters in January. In addition to all that, they just scored a deal to put out a tape with California label Burger Records.

None of this would be particularly surprising if they were playing the kind of radio-friendly rock and roll you commonly hear on a station like triple j, but Amyl and the Sniffers are a garage punk band who sing about biffs, blowjobs and Chiko rolls. They’ve all got mullets and they look like the sort of people who could drink a Tasmanian skateboarder under the table. They’re proudly sporting shitty tatts and they named their band after a seedy drug that provides a brief, intense euphoria, followed by a brutal headache—which may or may not be a metaphor. They give off the vibe that while they’re stoked to be playing gigs, they’re not taking any of it too seriously.

With the mullets, the aggression and the unflinching embrace of Australiana, Amyl and the Sniffers have been likened to the sharpie subculture of the ‘70s—a pre-punk movement that was birthed in Melbourne and characterised by “sharp” outfits and that quintessential Aussie larrikin attitude. The soundtrack to this era was Australian boogie: bands like Skyhooks, The Coloured Balls and AC/DC. Amy says she and the boys are definitely influenced by that ‘70s Aussie rock, but lyrically, she’s also intrigued by the storytelling of country singers like Dolly Parton; she likes the cheek of a Southern woman in the 1960s singing about cheating on her husband.

Amy grew up in Mullumbimby, a small town just north west of Byron Bay, which, coincidentally, is also where I grew up. We agree that the music scene in Northern NSW always seemed to be wildly polarised—a typical gig was either some soul-surfer guy with an acoustic guitar or a brutal hardcore band playing an all-ages gig at the youth centre. At 15, Amy gravitated towards hardcore shows, “I was pretty into it because in Mullum everyone’s so focused on being chill and happy and nice, but I felt like that was the only scene where people were ok with being violent. I was like, ‘Yeah, this is sick.’ ”.  Amy mentions her appreciation for shitty tattoos, muscle cars and touch-footy, which segues into a story about her favourite tatt—the words “GIDDY UP”, which she stick-and-poked into her own foot one night in her living room. “We were just drinking goon at home and I was pretty pissed and I was like, ‘I should do a tattoo,’ ” she says, “You can read it but it’s pretty shocking.” The boys in the band have similar stories, Amy explains: “The other night Gus [the bassist] got Bryce [the drummer’s] middle name tattooed on his leg.” The plan was for Bryce to return the favour but they ran out of ink so it wasn’t to be.

With the record deal and all those upcoming shows, Amy says that while the band just want to “fuck around and have a bit of fun”, they’re also pinching their pennies for a tour overseas at some point. At the moment, there’s not too much holding them back. She explains: “Declan works at Big W, Bryce works at Woolies and me and Gus are unemployed at the moment so everything’s pretty casual. Like, we don’t take work too seriously.”

An ad designer, illustrator, and set builder, Mattiel enjoys testing her strength in new and unknown territories. She was born an only child in Georgia and grew up working on her mother’s farm. This rural, isolated space gave her room to grow and experiment with a wide range of interests. As an adolescent, she found refuge in her mother’s limited record collection, which included several albums by Donovan, Peter Paul and Mary, and The Monkees.

After moving to Atlanta, Mattiel developed a palette for more diverse musical interests. She developed her vocal style over the course of several years – often alone in her car on long drives to work.  She ventured into songwriting after meeting Randy Michael and Jonah Swilley in 2014. Mattiel took what she knew about constructing visual design and applied that methodology to writing music.

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As the group began producing more material, a full length album was written and recorded in a span of nine months (not unlike the gestation period of a human baby.) Their process was simple: Michael and Swilley supplied instrumental compositions and handed them over to Mattiel for lyrical content and melodies. Her influences include Screamin’ Jay Hawkins, Andre 3000, Marc Bolan, Sister Rosetta Tharpe, The Staple Singers and Jack White among many others.

This year, Mattiel struck a friendship with Burger Records, and her debut album is set to hit shelves and turntables this fall.