Posts Tagged ‘Dilly Dally’

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This week my most awaited LP of 2018 thus far coming from the inimitable Low on their shadowy electronic masterpiece, ‘Double Negative’. There are synths akimbo on the new one from MCR up-n-comers Pale Waves, reminding me of a more youthful Kristin Kontrol (if only everyone loved that LP as much as I did), or a less saccharine Tegan & Sara. In fact, it’s a very electronic week on the heavy hitters, Those of you who love a good guitar can do FAR worse than The Goon Sax’s new outing on the ever-reliable Wichita Recordings, absolutely brimming with lyrical fire and melodic cleverness, and with the propulsive slacker vibes the Aussies do so well.

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Low  –  Double Negative

In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.

To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies.

This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative co-writers, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves.

Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?

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Toy  –  The Willo

Since 2010, Toy have earned a reputation as a band of integrity, virtuosity and taste, with Tom, Maxim, Dominic, Charlie and (joining in 2015) Max creating a sound that is embedded in the underground tradition, yet distinctly their own. Now here comes a two-track twelve-inch on Tough Love, a foretaste of a forthcoming album in January 2019, which marks a new dawn for this most singular of bands.

‘The Willo’ is a dreamlike, seven-minute glide, redolent of a forest at sunset and just as pretty, but not without hints of malevolence. Maxim’s fingerpicking acoustic melds with electric twang from Dominic, and a whirling organ from Max Oscarnold gives this elegant creation an extra layer of disorientation and depth. “People appear to have seen Will-o’-the-wisp, a mysterious green-blue light, over the centuries. It generally means something ominous is about to happen”, says Tom.

Then there is ‘Energy’, which lives up to its name with thunderously metronomic drums from Charlie Salvidge and a ferocious guitar from Dominic O’Dair. The lyrics, culled from a story written by Max about a nighttime ritual, are obscured by the barrage-like forward momentum of the music.

The twelve-inch, recorded and mixed by the band between Oscarnold’s Stoke Newington flat and a south London studio, is the first release for Toy on their new label Tough Love, representing the latest stage in the evolution of the band. Since their inception, they have released the acclaimed albums Toy (2012), Join The Dots (2013) and Clear Shot (2016), and toured everywhere from Serbia to China, while holding onto that youthful, magical moment of discovering strange new worlds of innocence and experience.

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The Goon Sax

The Goon Sax are James Harrison, Louis Forster and Riley Jones from Brisbane, Australia. Still in high school when they made their first album Up To Anything in 2016, their brand of awkwardly transcendent teenage guitar pop took earned them wide-spread critical acclaim.

For album number two, they flew to Melbourne to record with James Cecil and Cameron Bird, respectively former/current members of Architecture In Helsinki, and ‘We’re Not Talking’ shows how much can change between the ages of 17 and 19. It’s a record that takes the enthusiasms of youth and twists them into darker, more sophisticated shapes. Relationships are now laced with hesitation, remorse, misunderstanding and ultimately compassion.

Drummer Riley Jones really comes to the fore here, joining Louis and James in singing lead and writing songs for the first time, making the band the musical equivalent of an equilateral triangle (the strongest shape in physics).

Delivering brilliantly human and brutally honest vignettes of adolescent angst, The Goon Sax brim with personality, charm and heart-wrenching honesty. ‘We’re Not Talking’ is a record made by restless artists, defying expectations as if hardly noticing, and its complexity makes ‘We’re Not Talking’ even more of a marvel.

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Dilly Dally – Heaven

Heaven highlights Dilly Dally’s rough edges in all their ragged glory, drawing every potent ounce of energy from the foursome’s swampy tones, raspy vocals, and volatile rhythm section. While the music is undeniably ferocious, there’s uplift woven into the fabric of every track. The album opens with the dreamy “I Feel Free”, which begins as a floating, untethered soundscape before transforming into a soaring anthem for a world that’s ready to finally turn the page on all the darkness and disillusion the last few years have wrought. The inexorable “Believe” insists on self-confidence, while the driving “Sober Motel” celebrates the lucidity a clear mind, and the lilting “Sorry Ur Mad” makes a case for releasing yourself from the prisons of anger and resentment. Heaven carves out its own atheistic religion to get through the day, a faith that validates our pain as real but responds with a beaming light of hope. [Limited white colored vinyl pressing also available.]

Slothrust the pact

Slothrust  –  The Pact

Slothrust is principal songwriter, guitar player and unrepentant aesthete Leah Wellbaum, with drummer Will Gorin and bassist Kyle Bann. On their fourth full-length album The Pact, Slothrust constructs a luscious, ethereal cosmos perforated with wormy portals and magic wardrobes, demonstrating more clearly than ever the band’s deft shaping of contrasting sonic elements to forge a muscular sound that’s uniquely their own. Bizarre and mundane, tender and confident. The awkward duality of the forever outsider, rightly reclaimed as power. This is The Pact. Produced and engineered by Billy Bush in Los Angeles (the band’s new home base), Slothrust’s new album is a confident journey across 12 songs that oscillate between a quietly reflective tenderness and a slick, sleek confidence; balancing playful innocence with ballsy swagger. “This is the most fun I’ve ever had making a record,” Wellbaum confirms. “We were able to take risks. I’m saying yes more than no these days.”

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Pale Waves  – My Mind Makes Noises

After signing a record deal with Dirty Hit in 2017, Manchester’s Pale Waves released their debut single “There’s a Honey”, followed by “Television Romance”. The following year, the band were ranked fifth in the BBC Sound of 2018 poll and won the NME Under the Radar Award at the NME Awards. They now return with their debut album which features the singles ‘There’s A Honey’, ‘Television Romance, ‘Kiss’, ‘Eighteen’ and new single ‘Black’.

Pale Waves are Heather (vocals, guitar), Ciara (drums), Hugo (guitar) and Charlie (bass).

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Richard Thompson – 13 Rivers

Richard Thompson’s new album is his first self-produced record in over a decade. It’s a minimal and spacious recording which, according to Thompson, is a projection of current events in his life. “This has been an intense year for myself and my family, getting older doesn’t mean that life gets easier! There are surprises around every bend. I think this reflects in the immediacy of the stories, and the passion in the songs. Sometimes I am speaking directly about events, at other times songs are an imaginative spin on what life throws at you. The music is just a mirror to life, but we try to polish that mirror as brightly as possible.” 13 Rivers spans thirteen tracks. It is an album as much about growth as it is about reflection. Says Thompson, “I don’t know how the creative process works – I suppose it is some kind of bizarre parallel existence to my own life. I often look at a finished song and wonder what the hell is going on inside me. We sequenced the weird stuff at the front of the record, and the tracks to grind your soul into submission at the back.” [Limited black and cream colored vinyl pressing also available.]

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First Aid Kit – Tender Offerings

“Technically, Tender Offerings are the four songs that did not make it onto Ruins. For these ladies, these precious songs did not fit the bombastic folk-nature of the album. Instead, they truly felt like tender offerings; too sweet and soft in scope to be fluidly aligned with their other tracks. Once, you hear such gorgeous tracks like, “I’ve Wanted You” and “All That We Get” you will understand their point. Instrumentally, you feel every hook, melody, and chorus was precisely and clearly made as a cloud creates a raindrop. This duo turn their guitar melodies into field of amber strings dancing in the suns of their voices like grains move with daylight.”

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Paul Weller – True Meanings

To put it simply, True Meanings, the fourteenth Paul Weller solo album and the 26th studio album of his entire career, is a record unlike any he has ever made before. It’s characterized by grandiose-yet-delicate, lush orchestration: an aesthetic to which Weller’s better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited. A dreamy, peaceful, pastoral set of songs to get lost in, it’s both an album that his faithful audience has been wanting him to make for a long time, and an album that many new people outside of that audience will relate to.

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The Doors – Waiting For The Sun [Reissue/1968]

50th Anniversary reissue. This double-CD and single-LP collection features a new version of the album’s original stereo mix on both CD and 180-gram vinyl LP, which has been newly remastered from the original master tapes by Bruce Botnick, the Doors’ longtime engineer/mixer. The CD set also includes a second disc of 14 completely unreleased tracks: nine recently discovered “rough mixes” from the album recording sessions and five live songs from a 1968 Copenhagen show.

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Joni Mitchell – Both Sides Now: Live at The Isle of Wight Festival 1970 DVD

Directed by Academy Award winning filmmaker Murray Lerner, Both Sides Now: Live At The Isle Of Wight Festival 1970 features new interviews with Joni, discussing her recollections of the event intercut with festival footage, both onstage and behind the scenes, offering a fascinating insight into a now legendary concert from the artists point of view and putting the events of the day into context.

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In the short time since they released their acclaimed debut record, ‘Sore,’ Dilly Dally toured the world and took the press by storm, only to nearly collapse under the weight of their own success and call it quits forever. Rising from the ashes with more power and conviction than ever before, the Toronto rockers’ new album is, appropriately enough, titled ‘Heaven,’ and it’s a fierce, fiery ode to optimism, a distortion-soaked battle cry for hope and beauty in a world of darkness and doubt. Frontwoman Katie Monks describes the songs as coping mechanisms, and the collection does indeed form something of a survival kit for hard times, but even more than that, it’s a declaration of faith in the power of music and a burning reminder that we need not wait until the afterlife for things to get better.

 Recorded with producer Rob Schnapf (Elliott Smith, Beck), ‘Heaven’ highlights Dilly Dally’s rough edges in all their ragged glory, drawing every potent ounce of energy from the foursome’s swampy tones, raspy vocals, and volatile rhythm section. While the music is undeniably ferocious, there’s uplift woven into the fabric of every track. ‘Heaven’ opens with the dreamy “I Feel Free,” which begins as a floating, untethered soundscape before transforming into a soaring anthem for a world that’s ready to finally turn the page on all the darkness and disillusion the last few years have wrought.

The inexorable “Believe” insists on self-confidence, while the driving “Sober Motel” celebrates the lucidity a clear mind, and the lilting “Sorry Ur Mad” makes a case for releasing yourself from the prisons of anger and resentment. Escape is a frequent goal—from the bruising “Marijuana” to the epic queer tragedy of “Bad Biology”—but it ultimately solves very little, at least in any permanent way, and so the album carves out its own atheistic religion to get through the day, a faith that validates our pain as real but responds with a beaming light of hope (and maybe a little bit of weed).

Monks and guitarist Liz Ball originally formed the band in high school after bonding over a shared love for explosive, grungy rock and roll. By the time they recorded their debut, the pair had fleshed out the lineup with bassist Jimmy Tony and drummer Benjamin Reinhartz and hit a blistering stride that floored critics on both sides of the Atlantic. Rolling Stone hailed ‘Sore’ as a “blazing” breakout that “sounds like an unleashed id with a sick distortion pedal,” while Fader said it “hits that ever-elusive sweetspot between total recklessness and sly control,” and Pitchfork raved that the record “oozes with female desire” and offers up “a heavy swagger redolent of some of the best ever alt-rock.” In the UK, The Guardian praised the band’s “bludgeoning bass, gnarly guitars and red-raw vocals,” and The Line Of Best Fit dubbed it “a seminal first album.” The music earned Dilly Dally dates with Grouplove, METZ, and Fat White Family in addition to their first-ever international headline tour and festival appearances from Osheaga to Field Day.

“Doom” from Dilly Dally’s new album ‘Heaven’ out now!

It’s been a tempestuous times for Dilly Dally since the release of their critically acclaimed debut album ‘Sore.’ It appears that the pressure environment of life on the road, the cycle of relentless promo and touring took a toll on the band’s mental well being to such an extent that they almost called it quits.

They took time out to deal with their own individual needs, find some much-needed headspace and when they the felt ready regrouped and made a decision – ‘fuck this, let’s do our thing.’ The result is their second album, the appropriately named ‘Heaven’ which guitarist and singer Katie Monks has described as “the album we’d make if the band died and went to heaven,”. The lead track ‘I Feel Free’ demonstrates that Monks’ trademark razorwire nettle sting roar remains as impassioned and potent as ever whilst her bandmates have reignited that raging fire that made their debut such a thrilling listen.

The wonderfully poignant cinematic accompanying video, written and directed by Monks herself, sees her literally digging her bandmates (and a rather sexy flying V) from the grave in an attempt to bring them back to life. It acts as a curiously moving metaphor for the recent turbulent times the band have endured as Monks desperately tries to revive them, pleading with them as if to say – let’s not kill this, let’s fight for each, the band, and what we’ve created between us.  It’s a stunning return from Dilly Dally who have always managed to mix rage with vulnerability to produce some wonderfully real visceral music and ‘I Feel Free’ just might be the Toronto four piece’s most succinctly powerful moment yet.

“I Feel Free” from Dilly Dally’s new album ‘Heaven’ out September 14th, 2018.


Dilly Dally’s debut LP “Sore” was released on 10/09 via Buzz and our buds at Partisan Records!From their debut album “Sore” comes the lead single “Desire” via Buzz Records and Partisan Records.

This blunt-force grunge album from Toronto’s Dilly Dally is more than a 90s throw-back. In fact, it strips the plastic wrap off of everything trendy about the 90s revival and reminds you what made grunge rock so good in the first place, and that’s pure, unadulterated angst. Even the screeching feedback that kicks off the record is no match for the fiery, deep-seated roar of new-comer Katie Monks: Her apathy is boiling and she’s a kettle to the mic. But it’s not just the sound of Monks’ voice or the piercing guitars that make Sore feel so raw. The lyrics grate at Monks’ vexed desires with verses like “I miss you, the ballin’ chain.” Every song on Dilly Dally’s powerful debut—starting with the explosive lead single “Desire” to the aforementioned “Ballin Chain”—scrapes against loving what might kill you in the end.

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Listen to the lead single “Desire” right now.

DILLY DALLY – ” Snakehead “

Posted: March 28, 2016 in MUSIC
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Dilly Dally share bonkers and brilliant ‘Snakehead’ video

Dilly Dally played quite a few sets at SXSW this year , their live show is just so good. They’re taking it all over North America this year, and we’ve got some new dates below along with the video for “Snake Head” from last year’s terrific album Sore. This is the song they’ve been opening with on tour, and it serves as a hell of an introduction, an infectiously ugly mess of howling and pounding and melodic lead guitar. Scott Cudmore’s clip finds the band having a humorous subtitled conversation in a shitty apartment. All the bands out there making garbage music videos should take note: This is a great example of how you can make an entertaining video on a low budget

The stop-start clip pairs up with the group’s recent set-opener, and find the four-piece in ultimate self-referential mode. “Music videos are bullshit,” they claim just seconds into the, er, music video, “What a waste of time, what a waste of money.” From there on out, they go all-in on their boredom, ironically producing one of the best videos of the year so far in the process.

‘Snakehead’ is taken from ‘Sore’, their phenomenal debut album. finding them on the verge of becoming one of the most vital groups around.

Dilly Dally will be part of the performers on the holiday special. The Strombo Show which welcomes Dilly Dally onto the program for an intimate holiday performance from the home of George Stroumboulopoulos

Here is a peek of what’s to come with the closing track off the band’s excellent debut album, Sore.

The Strombo Show is celebrating 10 years on the radio dial in 2015, hosted by award-winning personality George Stroumboulopoulos on CBC Radio 2, Sunday nights 8 – 11 PM. It’s a program created by music lovers for music lovers, celebrating the conversation around song. There are no boundaries, with the gamut running from Aretha Franklin to Slayer and everything in between. We have welcomed many musical guests onto the program, including major international artists like Queens of the Stone Age, The National, Ani DiFranco, Vampire Weekend, Ghostface Killah, Steve Earle and Patti Smith to Canadian talent such as Neil Peart, Blue Rodeo, Gord Downie, Tegan & Sara, Death From Above 1979 and City & Colour.

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Dilly Dally performing live in the KEXP studio. Recorded October 28, 2015.

The word “aggressive” came up a lot when Dilly Dally’s breakout debut, Sore, came out last fall.

“Yeah, but we’re aggressive about a lot of very positive ideas,” clarifies singer/guitarist Katie Monks. “Everyone in the band has their own reasons as to why we gravitated toward heavier music or ‘aggressive music.’ I really like epic, exciting things. I like exciting video games that are violent, and I like movies with explosions and dragons and aliens, and I like hanging out with people who are weird and cool, and I like to eat lots of hot sauce. So, when I listen to music or go see a live show, specifically, I want to be engaged. I want something to move around to…to push people around to…and something that isn’t just hand-claps. I want something that is an escape. It’s an escape!”

Songs:
Ballin Chain
Next Gold
The Touch
Desire

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Toronto’s Dilly Dally put out a fantastic LP with Sore, featuring incomparable vocals by the dusty voiced Katie Monks, who shreds tracks apart by use of her voice and blaring guitar. This is evident on songs like “The Touch,” where driving drums pummel over echoing guitar fuzz, and Katie rasps over the song’s ending with multiple “oh whoa whoa oh”s that seem too natural for someone who sounds like they’re ripping their voice apart. “Witch Man” has Monks singing interesting melodics and breaking into a haunting howl that works all too well. This entire album is meticulously planned out and tastefully composed, loud and thunderous.

Dilly Dally sore

Dilly Dally Sore

Sore, is the debut record from Toronto’s Dilly Dally is a dark and fragile post-punk album that deeply concerns itself with gender dynamics and sexual expression. Despite clear feminist underpinnings, all these girls had in mind at the time was making rock music that reflected their experience. “We were really just trying to make a rock album,” lead singer Katie Monks told me in an interview earlier this year. Then her fellow founding member Liz Ball quickly followed that up: “[Sore] is obviously resonating really deeply for both sexes. Which is the goal, and which is quite feminist I guess.” Whatever the intention, the result is clear: Sore is a combustible, seething collection of honey-sweet, venomous rock songs that achieved all the goals Monks and Ball might have had and more. Dilly Dally burned their way to the top, pegging themselves as one of this year’s most exciting bands to watch, and establishing Toronto’s burgeoning rock scene in the process

Dilly Dally release haunting ‘The Touch’ video

Thought November 1st meant all the scares were gone for another year?  Dilly Dally are upping the fear factor with their new video for ‘The Touch’.

While the phrase itself means “to move or act too slowly,” the rise of this Toronto based band Dilly Dally has been anything but. On their debut album, Sore, the band transform their love of ’90s bands like The Pixies and Nirvana into a dynamic, powerful set of songs, punctuated by the ragged, raw vocals of frontwoman Katie Monks.

Today’s KEXP Song of the Day is particularly special. Monks explained to Stereogum, “I wrote this song for a friend of mine who was having suicidal thoughts. I felt this huge sense of urgency, and wanted to nurture him in anyway I possible could: sexually, emotionally, and then finally realized that I could help him through music. It was all very instinctual. The song attempts to reach him in his dark place, and then lure him away from there. The chorus in this song is very sweet and gentle. It is meant to be comforting and remind him of romance and the softness of a woman’s touch. If that isn’t enough to live for, than I don’t know what is.”

Dilly Dally were just in Seattle last month, and will be heading to the UK in early 2016. check out this video, directed by David Waldman, a Toronto-based music photographer of over ten years.

Shaky, blown-out, black-and-white footage of the band’s raw-as-sushi performance is intercut with that of black cats, pointy nails, black lingerie and whips.

‘The Touch’ is taken from Dilly Dally’s debut album ‘Sore’, out now on Partisan. Read DIY’s 4-star review of the record, and catch up with our recent chat with the band, where they talk about egging ex-boyfriends’ houses. Charming.