Posts Tagged ‘Fire Records’

Brand new music from the much-praised Vanishing Twin…“This is a band that fearlessly floats in the hazy space between the real world and an imagined one, blurring the line between warmly nostalgic and eerily haunted”

Following their hugely successful second album ‘The Age Of Immunology’ (roundly raved over by The Line Of Best Fit, PopMatters, Pitchfork, Q, MOJO, The Quietus and Uncut) and one of Rough Trade, MOJO and Uncut’s albums of 2019.

Cocktail umbrellas and chlorinated fantasies! It’s time to get cool in the pool with Vanishing Twin.  Here are four streams of analogue consciousness to super-soak your deckchair daydreams.

“Fantastical soundscapes that are as welcoming as they are unusual.” All Music

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Available from Fire Records

‘Sun Racket’ is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines.
A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.
When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that”. Two-minute songs reappearing as twisted instrumentals or another song’s bridge.
They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. ‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal”.
“All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box.

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Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” –
Kristin Hersh

Releases May 22nd, 2020

Argentinian grrl group Las Kellies return with new album ‘Suck This Tangerine’ out 27th March on Fire Records and will be touring Europe in Spring 2020.
Sucking you in, Las Kellies takes us straight back to the party reminding us of what we’ve been missing with their libidinous mix of garage, punk and dub. Thrashing it out on the dancefloor, ‘Suck This Tangerine’ deals with the
difficulties of a society in never ending crisis (‘Funny Money’) to the highs and lows in relationships (‘He’s Who’, ‘Let You Go’) and there’s a guest appearance from ex-Kellie Julia Worley on ‘Close Talker’.
Recorded at home in Buenos Aires, the chemistry of the duo’s formative years remains as does their febrile new wave post-punk sound soaked in fiery dance beats and dub-pop. Their first release since 2016’s ‘Friends & Lovers’ was “impressively varied” (The Vinyl District) whilst “seamlessly melding psych/fuzz pop, post-punk attitude and dance beats” (Louder Than War).
Las Kellies are Cecilia Kelly (bass, guitars, vocals) and Silvina Costa
(drums, percussion and vocals).
Releases March 27th, 2020

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Melbourne’s RVG return with their highly anticipated second album, “Feral”.

Following their beloved 2017 debut ‘A Quality of Mercy’RVG perform the tricky alchemy of combining rock’s urgency, punk’s anarchy, and pop’s empathy to create a record that feels vital: Feral is a catharsis, a call to arms, and a forthright indictment of contemporary complacency. ‘Feral’ was recorded at Head Gap studios with producer Victor Van Vugt (PJ Harvey, Nick Cave & The Bad Seeds, Beth Orton).

Internationally renowned, Van Vugt currently resides in Berlin, Germany and travelled to Melbourne to work with RVG. One of the producer’s key tenets is a sense of spontaneity, of capturing the essence of a song’s live performance, a concern that RVG prize above all else when recording, RVG return with new single “I Used To Love You” from their highly anticipated second album. RVG perform the tricky alchemy of combining rock’s urgency, punk’s anarchy, and pop’s empathy. A goodbye that’s devasting in its simplicity, ‘I Used to Love You’ is shattering, potent and powerful. Simple and sincere, the track breathes through the pain. “There’s a lot of power in reclaiming yourself but also a lot of sadness. I adore Tom’s video and feel like it captures the energy of the song perfectly.” Romy explains.

The band recorded the album’s instrumentals live to track, allowing their playing to be infused with the kind of electricity that has seen the band’s live show lauded across Australia and internationally.

‘Feral’ is RVG’s first full-length release in three years and marks the beginning of an exhilarating new era for the band. Both a cry for help and a call to action, this is an album that demands your attention.

RVG is Romy Vager, Reuben Bloxham and Marc Nolte.

From RVG’s new album ‘Feral’ (out 24 April 2020),

Throwing Muses get nautical on the thrashing new song “Dark Blue.” The track is the lead single off the band’s new album, Sun Racket, out May 22nd on Fire Records. Returning with their signature sound, the legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges,

“If I were a better dreamer, you’d be a dream come true,” Kristin Hersh seethes on “Dark Blue.” She sings over a crunching guitar riff, swimming through the dark waters of the chorus before repeating “Coming down” over and over, making her way back to shore. The album is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh’s well-thumbed notebook of storylines and haunting vocals that get into your psyche.

A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.

“All it asked of us was to commingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box,” Hersh said in a statement. “Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After 30 years of playing together, we trust each other implicitly but we trust the music more.”

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Sun Racket will be the band’s 10th album, following 2013’s Purgatory/Paradise“We all have big muscles when it comes to this shit, and we are so nice you would think we were doormats,” Hersh said in 2013. “Something about the pairing of balls and kindness is what attracts me to these people.”

This item will be released on May 22nd, 2020

The Black Lips new album ‘Sing In A World That’s Falling Apart’ and new single ‘Gentleman’ both continue to flick the middle finger to one and all.
This ain’t another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren’t the usual clichés about drinking, honkytonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre by not sounding or dressing their musical predecessors. They also dug contemporary hip-hop and punk and actualized themselves

Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band’s stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before – huge venues, network television shows, and major music festivals.

Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. Skidding onto the asphalt in a shower of sparks, they roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks.

Atlanta originals, The Black Lips join forces with Fire Records revealing first single ‘Odelia’ with a new album out early 2020 in collaboration with Vice. Now twenty years into their career the exuberant quintet are touring across the US before heading to Europe for an extensive tour this November.

A powerhouse of angst wrapped in traditional melodies, it’s a wild rumble fusing their musical journey from garage rockpunk and psychedelia into a mind-blowing hybrid of cosmic broken country, fragmented Paisley Pop and heart-on-the-sleeve back porch reportage, all delivered with vengeance in their eyes.

Atlanta misfits, The Black Lips join forces with independent record label Fire Records revealing first track ‘Odelia’ from new album coming early 2020.

Twenty years into their career the exuberant quintet are currently touring across the US and head over to Europe for an extensive tour this November.
A powerhouse of angst wrapped in traditional melodies, it’s a wild rumble fusing their musical journey from garage rock, punk and psychedelia into a mind-blowing hybrid of cosmic broken country, fragmented Paisley Pop and heart-on-the-sleeve back porch reportage, all delivered with vengeance in their eyes.

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What Black Lips do so well is tease the horror out of wholesomeness and recast golden-age rock’n’roll in a strange, discomforting light” Pitchfork

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Returning to their roots, Black Lips headed into Laurel Canyon’s newly reopened legendary Valentine Recording Studios recording studio, and with the help of engineer and co-producer, Nicolas Jodoin, they recorded direct to 2″ tape. New single ‘Odelia’ will be available digitally from 17th October with news of their ninth studio album to be revealed imminently.

released October 17th, 2019

Bold, weird, wild, wired, sonically luxurious yet never losing touch with its DIY-‘til-I-die roots, Thumb World is a voyage to the outer rings of Pictish Trail’s mind at its darkest, funniest and most inventive – a plugged-in, fuzzed-out, fucked-up contemplation on, as he puts it, “life repeating and gradually degrading, the inevitable cyclical nature of things, and the sense of their ultimately being no escape.”

Expect alien abductions, thumping beats, Trump-haired pigs, paternal panic, astronaut sex, bad acid trips, worse hangovers, lashings of distortion and a lot of anthropomorphic thumbs. “Our opposable thumbs are the things that separate us from most other animals on Earth,” Pictish explains, of the fat digit symbolism, “they are also the things that we use to swipe on screens, to separate ourselves from our normal lives, but which in turn trap us within an artificial reality.”

Produced and mixed by Rob Jones, featuring string arrangements from Kim Moore and drumming from Alex Thomas (Squarepusher, Anna Calvi, Air), Thumb World is Pictish Trail’s most collaborative album to date.

An audio-visual dialogue with Swatpaz, AKA Scottish artist Davey Ferguson – the man behind the Turbo Fantasy series and an entire episode of cult TV phenomenon Adventure Time – furnished Johnny with not just a graphic aesthetic for the album, but even helped him to shape the sound of the finished record. “I sent Davey a work-inprogress mix of the album,” Johnny says, “he came back with sketches in which he had reimagined Thumb World as an 80’s arcade game. Some of the songs are centered around specific visual images, inspired by Davey’s sketches.”

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Due for release on Fire Records on February 21, 2020. Four years in the making, Thumb World is the much-anticipated follow-up to his critically acclaimed Scottish Album of the Year Award public vote winner Future Echoes.

Releases December 20th, 2019

Since their formation in 2016, the Swedish indie-pop quartet Hater have released two EPs and two full-length albums, the most recent being last year’s excellent Siesta (released via Fire Records),  With Caroline Landahl on vocals and guitar, Måns Leonartsson on guitar, Adam Agace on bass, and Lukas Thomasson on drums, the band’s dreamy and oftentimes moody sound was augmented by some atmospheric lighting. Hater treated the crowd to a 13-song setlist spanning the entirety of their discography, including both sides of their latest 7”, “Four Tries Down” backed with b side “It’s a Mess”

As they are Hater are gearing up for their first-ever North American tour, and to promote it they’ve got a new 7″ single that’s out September 6th. Like on last year’s terrific Siesta, A-side “Four Tries Down” is dreamy guitar pop with a melancholy aura.

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Hater announce ‘Four Tries Down/It’s A Mess’ 7″ vinyl out 6th September

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If you’re not sold based on album title alone allow us a moment to convince you of the genius of Howe Gelb’s latest. And indeed his work to date. Never a dull moment, in this lifetime he has flirted with flamenco, adventured into Americana and gone for it with gospel choirs. The result is a back catalogue packed with great ideas, and inspiration for more great ideas. Enter Giant Sand, where artist dons disguise and revisits his old classics to make them fresh and different. Here Gelb, or Giant Sand, takes on the second Gelb album, “The Ballad Of Thin Line Man”. First released in 1986, when New Hollywood was kicking Reaganite attitudes to the curb in favour of modern high plains drifters influenced by the preceding LSD decades, that same ethic is here, only louder and more urgent. A strange but familiar and abstract Americana, with roughness turned up to 11.

it’s a re recording of a 1986 album that never saw the light of day in USA distribution. here now entitled “Recounting the Ballads ( of Thin Line Men) “ with original drummer(s) Tommy Larkins for a most of it and Winston A Watson Jr. for a minute too. ( just the opposite of their involvement of the previous re recording on last year’s re do of “Returns to Valley of Rain”. This album also features good ol’ Thøger Tetens Lund on low frequency ( as he has provided for the last 15 years ) and Annie Dolan for a minute too. Plus special visitation by Paula Jean Brown. The album was co produced by Gabriel Sullivan and the beautiful cover is by Rosson Crow.

We will be touring on it in Europe ‘tween Nov. 9th – Dec. 8th. .. a kind of fare-thee-well escapade. hind sight being 2020, am looking forward to something else next year. Thank you all so severely mucho. – howe