Posts Tagged ‘Burger Records’

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.

diamondhands

Very cool power pop track that will get stuck in your head for day. You’ve been warned.

Debut album by Los Angeles duo Diamond Hands. Both members are audio engineering grads, capable of imbuing their music with organic tones reminiscent of The Beatles, and the Stones; Bowie, Nilsson, The Kinks, and The Other Half. (2016)

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There’s something quietly reassuring about the slow rise of Los Angeles quartet Froth. The gentlest wave of hype has greeted their first two albums, they’ve toured hard, and now with confirmation this week that they’ve signed to Wichita Recordings.

We’ll have to wait until February to hear the bands third long player, Outside (Briefly) , but they have this week given us a taster, in the shape of new single, Contact. Starting with a clip of an interstellar space chat, you’d be forgiven for thinking it was a new track from Public Service Broadcasting, but once the motorik groove and pulsing bass kick in you’re into an altogether psychier-place, the sort of record Hookworms would make if they were feeling particularly mellow. Froth have spoken about dialling back the noise on this record; if the songwriting is as good as this, that might just reveal something spectacular.

Outside (briefly) is out February 10th via Wichita Recordings. Froth tour Europe next month,

Great Pile of Nothing is the first single and title track of the new Mozes and the Firstborn album Great Pile of Nothing which will be out on Burger Records and TopNotch on September 2nd (Europe) and September 9th (rest of the world).

Members
Aartsen, Raven
Blommaert, Corto
Dielesen, Melle
Doorn van, Ernst-Jan

The Aquadolls were founded in Janurary 2012 by Melissa Brooks, the lead singer and writer of the band. Melissa began recording bedroom demos of her songs with guitarist Ryan Frailich and eventually formed a relationship with Southern-California based indie label Burger Records who released The Aquadolls We Are Free EP in early 2013, and their debut album Stoked On You in December 2014.

The Aquadolls are among my favorite bands right now. Their We Are Free EP is excellent. The EP was released on Burger Records last January containing 8 tracks. My favorite song on the album is “We Are Free”. This song is really catchy and relaxing. Also, not a lot of other bands will put Napoleon Dynamite quotes in the middle of their songs, so look out for that.

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I have a sexy Danelectro named Danny. She has amazing vintage tone. Both guitars are played out of vintage Fender Twin Reverbs from the 60s. We love to play loud live and blow out our amps. We know if our amps don’t blow out, it didn’t get crackin enough.

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Image result for cherry glazerr

Scuzzy pop-punk outfit Cherry Glazerr , soon to jet off on a tour with Sky Ferreira, are streaming their new single “Had Ten Dollaz “ online. You can buy it now through Suicide Squad Records – it’s backed with a B-side brilliantly titled “Nurse Ratched”. Fusing Lana Del Rey-y pop vox with the jagged grit of Post Punk Pixes axes and Hole-esque hurricanes, Cherry Glazerr neatly proffer a stunning slab of rock. There’s a lo-fi air to it, but the youthful troupe still sound like they have a fully-formed chemistry.

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“Cosmonauts have done something quite astounding: They’ve taken what is essentially an English sound and transformed it, not only into something SoCal, but also their own. Experience the new era of the paisley underground.”

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