Posts Tagged ‘California’

Itasca announces her sublime new album “Spring”, written in a century-old adobe house in New Mexico. Feat. Chris Cohen, James Elkington, & members of Bitchin’ Bajas & Sun Araw, it contains her most quietly dazzling songs to date. Hear “Bess’s Dance” below, Itasca, is the mesmeric project of California songwriter Kayla Cohen, she has announced her new album Spring, due out November 1st. “Bess’s Dance,” describing it as “a beguiling rumination. Kayla Cohen’s got a voice that glows like the sun at dusk, and plays acoustic guitar with a nimble yet intricate touch.”

Cohen wrote the anticipated follow-up to her acclaimed 2016 album Open to Chance in a century-old adobe house in rural New Mexico. Inspired by the landscape and history of the region, the sublime Spring—its title summoning both season and scarce local water sources—dowses a devotional path to high desert headwaters.  James Elkington adds cinematic string arrangement graces “Bess’s Dance”, and members of Gun Outfit and Sun Araw.

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“Spring” contains Cohen’s most quietly dazzling and self-assured set of songs to date.

Featuring contributions from Chris Cohen, Cooper Crain (Bitchin’ Bajas), James Elkington, and members of Gun Outfit and Sun Araw.

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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.

Mikal Cronin has announced his fourth solo album album. “Seeker” is due out October 25th via Merge Records. Check out the Yasi Salek-directed video for his new single “Show Me.” Cronin has also announced an upcoming tour—find those dates at the Merge website.

“Show Me’ is a song about feeling small in an overwhelming world,” said Cronin. “There’s a not-quite-subtle hint of the Heartbreakers in the instrumentation and arrangement, having asked many friends to play or sing. It’s one of my favorite songs from the album, I hope you like it too.”

Seeker is Mikal Cronin’s fourth and finest full-length to date. Recorded live with a crew of close friends and engineer Jason Quever at Palmetto Studios in Los Angeles, it finds Cronin pushing his often devastating power pop into darker territory. “Fire—specifically its cycle of purging and reseeding the landscape—is a central theme to the record. Death and rebirth,” says Mikal. “I was looking for something: answers, direction, peace. I am the seeker.”

Mikal Cronin recorded Seeker with engineer Jason Quever. He was backed by Ty Segall’s Freedom Band on the album, which is his follow-up to 2015’s MCIII.

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Slowness was formed in 2008 in San Francisco by Julie Lynn and Geoffrey Scott. Their 2011 debut EP “Hopeless but Otherwise” was produced by Monte Vallier (Weekend, The Soft Moon, Wax Idols). The LPs “For Those Who Wish to See the Glass Half Full” and  “How to Keep from Falling off a Mountain” followed and were supported by tours in America and Europe. “Berths” was released on June 7th, 2019.

This is their 4th record.

Released June 7th, 2019

Written by Julie Lynn and Geoffrey Scott
Lyrics by Geoffrey Scott
Geoffrey Scott – vocals, guitar and keys
Julie Lynn – vocals, bass and keys
Christy Davis – Drums and additional vocals

 

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CFM is the project of one Charles Moothart, the California garage-rocker who plays in Ty Segall’s Freedom Band, Fuzz, and GØGGS. Last week, he released his third album as CFM, “Soundtrack For An Empty Room”, much of which he write while out on tour with Segall. And today, he’s sharing a new video for the dreamily psychedelic LP cut “Greenlight,” a black-and-white clip that follows a deformed humanoid wandering a desert landscape. As Moothart explained to The song “Greenlight” comes from a very vulnerable and surreal place in my mind. I wanted the visual experience to have a dreamlike quality similar to some Kenneth Anger movies. Josh had the idea for the humanoid wandering through a surreal feeling wasteland, and I thought the idea was great. Josh and Star did an amazing job making it feel like a dream sequence of confusion and conflict which is essentially what this song is to me.

From the new LP: Soundtrack To An Empty Room Available now at www.intheredrecords.com

Heaven is Humming has been a long time coming. Three years coming, to be exact: singer/guitarist/songwriter Kenny Becker, singer/guitarist Drew Eccleston, bassist Caleb Wicker, and drummer Christian Koons started work on the album in the summer of 2016, right around the time Goon’s debut EP Dusk of Punk came ripping in from the Los Angeles sky, spilling from the brim with monster riffs and deep hooks.

Heaven is Humming is fearlessly weird, but it’s also comforting and familiar at the same time, taking the sounds of foundational groups like Pixies and Boards of Canada and contextualising them through a modern lens, placing Goon alongside contemporaries like Forth Wanderers, METZ, Young Jesus, and Partisan label-mates Dilly Dally. Becker croons like Michael Stipe one minute and snarls like Frank Black the next, but you never lose the sense of who these four guys are making a beautiful racket right in the here and now.

releases July 19th, 2019

Expanded version of seminal debut from cult band, includes unheard extras and a bonus 7” by 15 Minutes.

• a reissue of “Days of Wine & Roses” endorsed by the entire band!
• a vinyl reissue of their original 4 song 12-inch EP (long out of print)
• exact facsimile replica of Steve Wynn’s rare “15 Minutes” 7-inch single

Plus: new interviews with Kendra Smith, producer Chris D., & Paul B. Cutler (who recorded the “Down There” EP), ephemera from the Dennis Duck archives – Lovingly curated by Dream Syndicate archivist Pat Thomas.

An exceptional early ‘80s guitar-powered gem, remastered in full and includes the band’s debut indie EP and both tracks from main protagonist Steve Wynn’s earlier combo 15 Minutes.

With few exceptions, the bands that rose from L.A.’s Paisley Underground scene in the ’80s had only one real thing in common — all of them were obsessed with the rock & roll touchstones of the mid- to late ’60s, whether it was psychedelia (the Rain Parade), country rock (the Long Ryders), or AM pop (the Bangles). But while most of these bands looked to the sunny side of ’60s rock, the Dream Syndicate were the Paisley Underground’s juvenile delinquents, smart but cynical and happy to spread bad vibes for the hell of it.

Nearly all of the Paisley bands were audibly Californian, but while they hailed from Davis, Californiathe Dream Syndicate’s key influences were significantly from the East Coast: the Velvet Underground (particularly White Light/White Heat), and mid-’60s Bob Dylan (think Highway 61 Revisited). At the core of their sound was the bracing thrust and parry between Karl Precoda’s lead guitar, noisy and elemental but inspired in its wanderlust, and the sharp report of Steve Wynn’s rhythm guitar, yielding a tougher and more abrasive sound than their peers. Consequently, the Dream Syndicate’s debut album, 1982’s The Days of Wine and Roses, is arguably the finest LP to come out of the Paisley Underground’s salad days, and ultimately atypical of the movement, a blast of beautiful but ominous rock & roll chaos whose speedy guitar-based attack was held in place by the intelligent minimalism of bassist Kendra Smith and drummer Dennis Duck. While the Dream Syndicate’s influences were obvious (the initial vinyl pressing of The Days of Wine and Roses included the helpful run-off groove message “Pre-Motorcyle Accident”), the way they manifested themselves were not; the skronky impact of the guitars recalled the Velvets, but Precoda’s billows of noise had a personality all their own, and though Wynn’s vocal delivery had the bite of both vintage Dylan and Lou Reed, his lyrical voice was his own, offhand but deeply personal at the same time. And Chris D.’s no-frills production captured the Dream Syndicate gloriously, and the greatest pleasure of The Days of Wine and Roses is how well this band plays together, like a miraculously contained explosion that seemed to be going a dozen places at once but confidently and fearlessly rolls forward, and the expressive jams on “Then She Remembers,” “Until Lately,” and the title cut are outstanding. The Dream Syndicate would be a very different band when they cut Medicine Show two years later, but while they would remain an interesting band to the end, The Days of Wine and Roses captures them at their peak, and it’s essential listening for noise guitar fiends and anyone interested in ’80s alternative rock.

The Days Of Wine And Roses’ is as timelessly potent as the records that inspired it.” Uncut
Central to the hugely influential Paisley Underground scene of the early 1980s that spawned Green On Red, The Bangles, Long Ryders and Rain Parade. 

“Arguably the finest LP to come out of the Paisley Underground’s salad days.” AllMusic

With a nod to the Velvet Underground, Quicksilver Messenger Service and Dylan, packed into an incendiary slow-burn punk fuse, ‘The Days Of Wine And Roses’ is a glorious, upbeat sprawl, everything that rock ‘n’ roll should be.

The 7th studio album from The Dollyrots, The Dollyrots are a female-fronted rock n’ roll band from California. Titled Daydream Explosion, the upcoming album follows the huge success of their breakout album, 2017’s Whiplash Splash, and will be released in July this year.

Well known for being a very successful DIY band, the release of Daydream Explosion is the first time THE DOLLYROTS have worked with a label since their days working with Joan Jett‘s Blackheart Records in the mid-late 00’s. The album has also turned out to be one that was particularly inspired by some tough times in the band’s home life, as their vocalist and bassist Kelly says, “it threw us for a loop in December when my dad passed away [of complications from heart disease and a type of dementia]. We had just a handful of songs written. But we managed to keep our kids happy through the holidays, and then every night we’d go into our studio and write. Somehow we wrote the best group of songs of our career in those few weeks.”

Alongside the announcement of the new album, the band have launched a new music video for the first song taken from the upcoming record; titled Everything.

releases July 12th, 2019

Performed by The Dollyrots (Kelly Ogden and Luis Cabezas)

 

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Ty Segall presents a new single “Radio,” from his forthcoming album, “First Taste”, due August 2nd! Just in time for the July 4th festivities (such as they are), “Radio” should satisfy all our barely-subsumed bloodlust and immutable desire to rule while also providing a majestically boomboxable anthem to revel along with at the cookout.

“Radio” sizzles with koto by Segall, saxophone and piano by Mikal Cronin, bass by Emmett Kelly, percussion and drums by Segall and Charles Moothart, and back up vocals by Shannon Lay.

“‘Radio’ is a science non-fiction song,” says Segall. “We live in a Cronenberg film. It has Videodrome saxoheadphones. I am a slave to the new radio and so are you.”

First Taste is an introspective set for Ty Segall after the extroversions of 2018’s Freedom’s Goblin, yet just as steeped in hard beats. These twelve songs form a tightly revolving cycle of song and sound. Throughout, Segall reflects on family, re-encountering pasts, anticipating futures, and hits on oneness, self-esteem and the parents, while reaching outward, feeling for a shared pulse in the world around him.

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Segall will play First Taste in full, alongside select albums from his expansive catalogue, in LA, New York, and select European cities with residencies starting this month and going through the end of the year.

A first taste of Ty? Hardly, but First Taste erects extreme new sonic skylines for Segall to soar over. His natural state of urgency is paired with a thirsty contemplative vibe as Ty examines both sides now, twisting some of his best songs and production wack into hard left turns both sweet and hot.
Releases August 2nd, 2019

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Though she conjures up an electrical storm of rockstar fireworks with her main gig, La Luz, Shana Cleveland settles into a more contemplative mode on solo LP “Night of the Worm Moon”. A mellow set of sci-fi lullabies written on acoustic guitar rank, the songs on Night rank among the most haunted recordings of Cleveland’s career. “Fingerpicking feels more meditative to me so I go to a more introspective place lyrically and thematically when I play acoustic guitar,” Cleveland said in an interview about “Night of the Worm Moon”, and certainly her fingerpicked patterns create a gentle rhythmic flow that becomes nearly ambient in its soothing tones and pensive unfurling. But what anchors Night isn’t just Cleveland’s accomplished musicianship, but how she expertly excavates wisdom from weirdness on songs that toe the line between what is real and what seems half-remembered from a dream. “Nothing’s the loudest sound in a house when no one’s around,” Cleveland sings on the title track, a truly spooky song wherein the artist imagines herself as a constant presence who watches from within the walls. Throughout Night of the Worm Moon, Cleveland uses the potent power of such psychedelic signifiers to illuminate bright emotional truths in a darkening world that will probably never make sense again.

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what an exceptional collection of transcendental lullabies.  Night of the Worm Moon was recorded during a rare cosmic occurrence: 2017’s solar eclipse. “We took a break from recording during [the] totality and looked at the sun’s image through a piece of cardboard projecting onto a garbage can,” Cleveland says. “When we came back inside the studio was covered in dozens of tiny crescent suns, refracted from a mirrored disco ball that [engineer Johnny Goss] had hanging in a window.” Abetting Cleveland during the recording process was a familiar gallery of co-conspirators: multi-instrumentalist Will Sprott of Shannon & the Clams, original La Luz bassist Abbey Blackwell, Goss, pedal steel player Olie Eshelman, and Kristian Garrard, who drummed on Cleveland’s previous solo effort (with then-backing band The Sandcastles), 2011’s Oh Man, Cover the Ground.