Posts Tagged ‘Goat Girl’

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Huge release List this week and the big reissue of the week is  St. Jude by Manchester darlings, The Courteeners, plus grab a listen to the beautifully accomplished LP and CD version of the acoustic reworks of the very same album. It’s a testament to their flexibility that the instruments can be stripped back and still be every bit as anthemic . Daniel Avery, whilst not necessarily rocking the spring vibes, has kept his sound concise and melodic, with a few surprises thrown in there for good measure on his latest, ‘Song For Alpha’. Goat Girl have blown all of us away with their rocking but finely balanced blend of punk rock, garage and indie rock and/or roll. It’s a superb debut album, and one that will be played for a long time to come catch them on tour this week.

There’s the new Unknown Mortal Orchestra album too, it is everything you’d expect. Riffs, brilliantly athletic vox and grooves throughout, all bolstered by their singular instrumental style. Another stormer in this week is the new one from Hinds, pitting their snarling three-part vocal onslaught against the clashing, fuzzed-out guitars and snappy, insistent drums, much like in their previous iteration, but injected with the experience of dealing with and touring their hit debut album.

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Goat Girl  –  Goat Girl

Across 19 tracks in just 40 minutes, Goat Girl’s self-titled debut creates a half-fantasy world out of a very dirty, ugly city reality.

Goat Girl belong to a burgeoning, close-knit south London scene, born in venues like The Windmill in Brixton and including bands like Shame, Bat-Bike, Madonnatron, Horsey, Sorry, and many more. “We help each other – I put you on, you put me on – because we genuinely like each other’s music. We’d played gigs all over before but never really settled in a comfortable environment, which is what The Windmill is. It’s an important place for us, it was the first space that our music made sense to exist within. It’s a safe space where music is genuinely listened to and appreciated, and where laws and licensing haven’t reached over to ruin the venue.”

This live freedom enabled the band to think without constraints when it came to recording. Goat Girl enlisted producer Dan Carey (The Kills, Bat For Lashes, Franz Ferdinand) to help them capture their vision, set a goal to write and record a piece of music in a day in effort to capture that raw first-creation moment, and chose to record to tape.

It’s a very English album — sharp-eyed observations like The Kinks, louche rage like The Slits — but it’s also full of swampy, swaggering guitars and singer Lottie’s filthy drawl. Each member brings a diverse range of influences and contributions, ranging from krautrock to bossa nova, jazz to blues. They resist being boxed in to an indie, guitar-based genre, and focused intensely on the layers and textures of each song as well as the different contexts they could sit within.

The result, Goat Girl, succeeds in conjuring a complete world all unto itself, and is arranged in segments — divided by improvised interludes — that offer glimpses of an even stranger parallel universe. With each song acting as its own story of sorts that features different settings and characters, listeners are transported therewithin. It’s dark yet cheeky, varied yet cohesive, and striking in its vision; this world is populated by creeps and liars, lovers, dreamers, and wonderful lunatics. Lead single “Cracker Drool” is at once jaunty and sinister, a foreboding tale full of swirling guitar, echoing vocals and synthetic drum hits that stumbles and gurgles straight into “Slowly Reclines,” an equally menacing and considerably heavier track. “Creep” is, predictably and grimly enough, inspired by actual events: Creep on the train / I really want to smash your head in.

On “Country Sleaze,” she sings about sex in a way that embraces visceral reality and defeats shame. “If you say you’re sexually free, as a woman, society still deems that a bad thing. But really it’s a beautiful thing to be confident in yourself – to know that you can have sex and it doesn’t have to mean anything and that doesn’t make you a bad person.” Ellie smiles: “That song is quite disgusting, in a good way. It’s not trying to be nice, it’s not a love song.” Goat Girl is altogether an album crafted with intention, and invites imaginations to run wild; it draws listeners in to its half-fantasy world from the slow fade, eerie instrumental intro “Salty Sounds,” to the gorgeous, unsettling closer “Tomorrow” — a rendition of the song featured in Bugsy Malone — which ends with dawn-chorus birds and the feeling of new possibilities after a long and messy night.

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The Shacks  –   Haze

One of the best debut albums of 2018. Fronted by 19-year-old singer / bassist Shannon Wise and 21-year-old guitarist / producer Max Shrager, The Shacks are already well on their way to becoming one of the year’s big breakouts, and their remarkable debut album, Haze, solidifies their status as a band with ability to deliver on the well-deserved buzz.

Produced together by Shrager and Big Crown co-founder Leon Michels (who’s played with Bradley, Sharon Jones, and Fields in addition to working with The Arcs, Lana Del Rey, and countless others), the album was recorded in bits and pieces between Shrager’s basement and Michels’ Diamond Mine studio, which the Observer dubbed “the Shangri La of Soul.” Haze opens with the title track, which is, appropriately enough, the first song Shrager and Wise ever wrote together. It’s a spare, smoky tune that shimmers and sparkles as it shifts in and out of focus, and it’s an ideal gateway into the immersive world of The Shacks.

The 13 songs featured on Haze plays out like the soundtrack to some long lost 16mm film, beckoning you into their grainy, saturated world of analog beauty. In the short time that they’ve been together, The Shacks have already made an impressive mark. Their hypnotic cover of Ray Davies’ This Strange Effect soundtracked a global iPhone commercial, one which actually stars Wise herself, and their self-titled EP earned the band dates with St. Paul and The Broken Bones, Chicano Batman, and their Big Crown Records label mates Lee Fields and The Expressions.

3CD – Rough Trade Exclusive Version. CD one is the album. On the second CD is The Shacks Self-Titled EP, Selections Previously Issued Only On 7″ Vinyl And Complete Instrumentals From Haze. And on CD three is the Rough Trade exclusive bonus 9 track CD – The Shacks EP Instrumentals.

LP+ – Rough Trade Exclusive. 1000 Copies only on Coke Clear Vinyl with Download (featuring just the main album) and Rough Trade Bonus CD.

LP – Black Vinyl with Download (featuring just the main album) and Rough Trade Bonus CD.

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Island  –  Feels Like Air

Following the release of their hypnotic new single Try, the London-based Island release their debut album Feels Like Air on Beatnik Creative and French Kiss Records. Mellow, not melancholy, their deep rhythms roll with light and shade that’s uplifting and makes you want to move, but no sooner will have you stood still and beguiled in their scenic musicality. It’s totally captivating, hypnotic and emotional. It mixes the intensity and stadium filling potential of U2 with delicate soundscapes and an intense, throaty vocalist.

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Son Volt  –   Search – Deluxe

Led by the songwriting and vocals of Jay Farrar, Son Volt was one of the most instrumental and influential bands in launching the alt-country movement of the 1990’s. Originally released in 2007, and out of print for the past several years, this deluxe reissue of The Search features bonus content. The Search takes Jay Farrar’s signature juxtapositions of the arcane and the modern to provocative extremes, contrasting the blue highways of a disappearing cultural landscape with a perilous world in which the center no longer holds – a world of information overload, of clueless leaders carrying out sinister agendas, of “Hurricanes in December – earthquakes in the heartland / Bad air index on a flashing warning sign,” as the artist sings ruefully on The Picture. The Search’s 14 songs locate and vividly portray the prevailing modes of the human condition in the first decade of the 21st century: cynicism (Beacon Soul), reflection (The Search), restlessness (L Train, Highways and Cigarettes), yearning (Adrenaline and Heresy), paranoia (Automatic Society), despair (Methamphetamine) and conditional hopefulness (Underground Dream, Phosphate Skin). By turns melancholy and exhilarating, the album further cements Farrar’s status as one of rock’s most eloquent chroniclers of contemporary existence.

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Haley Heynderickx’s   –  I Need to Start a Garden

Haley Heynderickx’s highly anticipated debut album. Haley has a wonderful voice and the lyrics are poetic and heartfelt. Musically it’s sometimes reminiscent of early Velvet Underground in that many of the songs quickly build into frenetic and emotive climaxes. The difference here is that these crescendos dissolve into tender moments of unabashed vulnerability, rather than fragmenting into splinters of drug-fueled confusion. It’s beautiful and heartfelt. For fans of Velvet Underground, Angel Olsen and Cat Power.

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Eels  –  The Deconstruction

After a four year wait, Eels release their highly-anticipated new album The Deconstruction via E Works. “Here are 15 new Eels tracks that may or may not inspire, rock, or not rock you. The world is going nuts. But if you look for it, there is still great beauty to be found. Sometimes you don’t even have to look for it. Other times you have to try to make it yourself. And then there are times you have to tear something apart to find something beautiful inside.” Eels singer-songwriter E (Mark Oliver Everett).

2×10″ – Double Translucent 33rpm Yellow Vinyl.

2LP – Double 45rpm Translucent Pink Vinyl Deluxe Boxset. Printed box on uncoated paper. CD Digitpack. 28 page perfect bound lyric booklet with exclusive photos. 12” artwork print. A4 digital handwritten Rusty Pipes lyrics signed by E and E Tip and Strip pen.

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King Crimson  –  Live in Vienna, December 1st 2016

Three CDs featuring the complete concert from Vienna on Dec. 1st 2016 mixed from the original multi-track tapes. CDs Presented in concert sequence with discs 1 and 2 featuring the complete first and second sets. CD 3 features Vienna encores plus the long awaited live recorded debut of Fracture by the 2016 line-up as performed in Copenhagen. CD3 also features a series of soundscapes edited into newly sequenced pieces. Drawn from the introduction music (composed / improvised afresh for each night) and featuring Robert Fripp, Mel Collins and Tony Levin, this essential component of current live King Crimson shows also receives its most complete presentation to date. Presented in a 4 fold-out digifile package with 16 pages booklet featuring tour photos and notes by David Singleton and housed in a slipcase

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Zola Jesus  –  Okovi – Additions

Limited Gray and Black Starburst Vinyl. Zola Jesus’ Okovi: Additions LP offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists. Johnny Jewel turns Ash to Bone into a late-night cinematic torch song, Tri Angle Records composer Katie Gately’s Siphon is a dark choir of warping angels, black metal band Wolves in the Throne Room’s take on Exhumed makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes Soak feel like an aching classical standard – until it starts warping in on itself and goes somewhere else entirely. The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

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Fenne Lily  –  On Hold 

Over the last couple of years Fenne Lily has made a real name for herself as a songwriter, surpassing over 30 million streams for her five self-released singles and supporting the likes of Marlon Williams, Charlie Cunningham and many more across Europe. Despite the first song she wrote at the age of 15 proving an almost instant hit upon release, she’s not rushed into releasing her debut collection, instead taking time to perfect her songs and develop her sound while living in Bristol and continuing to perform around the continent. Deciding she wanted to get out of the city to record the album, Fenne travelled to see some musical friends on The Isle of Wight where she formed a band and recorded a number of tracks in a basement studio with upcoming producer James Thorpe. Returning to Bristol to finish the tracks with long-time collaborator Dave Dixon (Tamu Massif) and Ali Chant (Youth Lagoon, Perfume Genius, PJ Harvey) her debut album has taken shape and is now ready for release.

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Hop Along –  Bark Your Head Off, Dog

Written over the course of 2016 and 2017 and recorded in the summer of the latter year by Frances Quinlan (songwriter/vocalist/rhythm guitar), Tyler Long (bass), Joe Reinhart (guitar), and Mark Quinlan (drums), the album addresses disappointment, particularly in man’s misuse of power, and relates accounts from the periphery — one’s attempts to retreat from the lengthening shadows of tyrants, both historical and everyday. It considers what it’s like to cast off longheld and misguided perceptions, yet without the assurance of knowing what new ones will replace them. Much like on Hop Along’s first and second records, Get Disowned and Painted Shut, Quinlan seeks in real time to work through these issues.

Throughout the album, one gets the sense that Quinlan is wandering in the thicket of a forest—a state of being that will feel familiar to long time listeners—and on this outing, she hasn’t left a trail of breadcrumbs behind her. The album’s artwork, which Quinlan painted herself, invites the listener into that forest, as well. “There is a terror in getting lost,” she says, “the woods are at the same time beautiful and horrifying.” This curious wandering gives the album, both lyrically and musically, a heightened dimensionality.

Bark Your Head Off, Dog is, without question, Hop Along’s most dynamic and textured record yet. Self-produced and recorded at The Headroom in Philadelphia by Reinhart and Kyle Pulley, Bark Your Head Off, Dog features the familiar sounds that have always made the band allergic to genre: grunge, folk, punk, and power pop all appear, with inspiration from ELO to Elvis Costello to ‘70s girl group vocal arrangements. This time around, they’ve added strings, more intricate rhythms, lush harmonies (featuring Thin Lips’ Chrissy Tashjian), along with a momentary visit with a vocoder. In more than one place, Mark Quinlan drums like he’s at a disco with Built to Spill.

Most significantly, Bark Your Head Off, Dog shows the band at its strongest and most cohesive. Hop Along (which originally began as Quinlan’s solo project under the moniker Hop Along, Queen Ansleis) has never sounded so deliberate, so balanced. “So strange to be shaped by such strange men” is a line that repeats on more than one song on the album. “I’ve been thinking about that a lot. That I just deferred to men throughout my life,” Quinlan says. “But by thinking you’re powerless, you’re really robbing yourself. I’m at a point in my life where I’m saying instead, ‘Well, what can I do?’”

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Wye Oak –  The Louder I Call, The Faster It Runs

The Louder I Call, The Faster It Runs – the triumphant fifth album by Wye Oak – begins with an explosion. For a few seconds, piano, drums, and a playful keyboard loop gather momentum; then, all at once, they burst, enormous bass flooding the elastic beat. “Suffering, I remember suffering,” sings Jenn Wasner, her voice stretched coolly across the tizzy. “Feeling heat and then the lack of it, but not so much what the difference is.” The moment declares the second coming of Wye Oak, a band that spent more than a decade preparing to write this record – their most gripping and powerful set of songs to date, built with melodies, movement, and emotions that transcend even the best of their catalogue. Louder is the third record that Wasner and Andy Stack, who launched Wye Oak in Baltimore, have made while living in separate cities – she in Durham, North Carolina, he in Marfa, Texas. They flew to one another for a week or so at a time, hunkering in home studios to sort through and combine their separate song sketches. These shorter stints together produced less second-guessing and hesitation in their process, yielding an unabashed and unapologetic Wye Oak. The result is the biggest, broadest, boldest music they’ve ever made. Louder pursues a litany of modern malaises, each track diligently addressing a new conflict and pinning it against walls of sound, with the song’s subject and shape inextricably and ingeniously linked.

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Mien  –  Mien

Debut album by MIEN, the exciting new four piece band comprised of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, Elephant Stone’s Rishi Dhir and The Earlies’ John-Mark Lapham. The seeds were sown for this collaboration as long ago as 2004, when Rishi Dhir (Elephant Stone) found himself in a chance encounter with Black Angels frontman Alex Maas whilst performing sitar with his former band on a bill at SXSW in Austin with The Brian Jonestown Massacre. Not long afterwards, he would also stumble across electronics guru and producer John Mark Lapham from Anglo-American band The Earlies, via a shared love for one song – the ‘classic sitar banger’ by The Association, ‘Wantin’ Ain’t Gettin’.

Some years later, another piece of the puzzle came into place, when Dhir was now playing bass with The Black Angels in 2012, and found the band sharing several bills with The Horrors. Thus he made the acquaintance of Tom Furse, and yet another pact was made to work together. Several traversals of the globe by both plane and audio-file later, the result is an album that sees this quartet transcending their origins whilst maintaining a cohesive unity borne of a desire for outward exploration.

John Mark’s vision, as he puts it, was “imagine the Black Angels as Nico in her 80’s industrial phase mixed with George Harrison and Conny Plank.” – true to form, it’s an album that finds equal room for radiant groove-based propulsion and ambient dreamscapes alike – as comfortable with the murky hallucinogenic voyage of ‘You Dreamt’ as the powerful widescreen sweep of ‘(I’m Tired Of) Western Shouting’, yet with songwriting acumen as potent as the production values are expansive and exploratory. This may have been a record put together at a distance – yet the chemistry between these four figures is manifest amidst a kaleidoscopic series of atmospheres and excursions whereby the fertile songwriting of the golden age of ‘60s psychedelia is transmitted into a transcendental realm above and beyond the second decade of the 21st century.

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Unknown Mortal Orchestra  –  Sex and Food

Where are we headed? What are we consuming, how is it affecting us, and why does everything feel so bad and weird sometimes? These are some of the questions posed on Ruban Nielson’s fourth album as Unknown Mortal Orchestra, Sex and Food. Recorded in a variety of locales from Seoul and Hanoi to Reykjavik, Mexico City, and Auckland, Sex and Food is a practical musical travelogue, with local musicians from the countries that Neilson and his band visited pitching in throughout.

Sex and Food is the most eclectic and expansive Unknown Mortal Orchestra release yet, from the light-footed R&B of Hunnybee to the stomping flange of Major League Chemicals. If You’re Going to Break Yourself and Not in Love We’re Just High chronicle the effects of drugs and addiction on personal relationships, while the lyrics Ministry of Alienation drip with modern-day paranoia like the silvery guitar tones that jewel the song’s structure. The modern world, and all the thorny complications that come with living in it, loomed large on Ruban’s mind while making Sex and Food. A statement of selflessness, to be sure-but make no mistake: Sex and Food reaffirms the vitality of Ruban’s voice in today’s musical landscape.

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The Courteeners  –  St Jude Re:Wired

Courteeners mark the 10th anniversary of their debut album with a new, fully re-recorded version of the seminal record. St Jude Re:Wired has been produced by Liam and Joe Cross. Originally released in April 2008, St Jude charted at no 4 in its first week and went on to win the inaugural Guardian First British Album award, beating albums by Duffy, Adele and Glasvegas. The record saw Courteeners present to the world outside a first set of songs that perfectly soundtracked modern life in the UK.

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Suede  –  Suede – 25th Anniversary Edition

Brett Anderson believes that Suede’s debut album, winner of the Mercury Music Prize in 1993, probably has more cultural resonance than any other of their albums, as a pre-cursor to Britpop and a supplanter of grunge. It is also home to four ground-breaking singles. This deluxe edition features the album; the b-sides; a CD of demos, monitor mixes (several previously unreleased) and the band’s first BBC radio session, arranged chronologically; plus a concert from February 1993. The DVD features six contemporary TV performances (including their first ever TV appearance), and an hour-long film of Brett and Bernard Butler discussing the writing and recording of the album, all issued for the first time. Also included is a new note by Brett about his memories of the recording of the album, along with the lyrics, hand-written lyric drafts, tape boxes, and photos from the band’s collections.

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Love  –  Forever Changes (50th Anniversary Edition)

Love’s Forever Changes is the psychedelic folk-rock pioneers’ finest achievement. Mostly overlooked when it was released in 1967, today the album is considered an indispensable masterpiece. In 2008, it was inducted into the Grammy Hall of Fame, and – in 2012 – the Library of Congress added it to the National Recording Registry. Love celebrate the acclaimed album’s golden anniversary with an extensive 4CD / DVD / LP collection housed in a beautifully illustrated 12 x 12 hardbound book that features a newly written essay and track-by-track notes by music historian Ted Olsen. Recorded during the Summer of Love in Hollywood, CA, Forever Changes is the group’s most fully realized studio effort, featuring Arthur Lee (vocals, guitar), Johnny Echols (lead guitar), Bryan MacLean (rhythm guitar, vocals), Ken Forssi (bass) and Michael Stuart (drums, percussion). The original album introduced classics like Andmoreagain, Red Telephone, A House Is Not A Motel and Alone Again Or. The set features a few firsts for the album, including the CD-debut of a remastered version made by its original co-producer and engineer Bruce Botnick, as well as the first-ever release of the mono version on CD. Also included are alternate mixes of the album, as well as a selection of rare and unreleased singles and studio outtakes. Botnick’s stereo remaster of the original album makes its vinyl debut on the LP included with this set. It was cut from high resolution digital audio by celebrated audio engineer Bernie Grundman. The DVD that accompanies the anniversary collection includes a 24/96 stereo mix of the album version of the original album remastered by Botnick. Also featured is Your Mind And We Belong Together, a rare promotional video directed by Elektra producer Mark Abramson that was originally released in 1968. Forever Changes: 50th Anniversary Edition boasts more than a dozen rarities, including single versions of Alone Again Or and A House Is Not A Motel that are available now for the first time since 1967. Two other recordings on the set have never been released: the backing track for Live And Let Live and an outtake backing track for

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Spacemen 3 –  Recurring

The fourth and final Spacemen 3 studio album Recurring; the follow up to their seminal Playing with Fire album. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts; the first seven tracks written and performed by Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.), and the last seven tracks written and performed by Jason Pierce (Spiritualized) punctuated by the cover version of Mudhoney’s When Tomorrow Hits the only track on which both Kember and Pierce appear together.

CD – Presented in a shrink-wrapped 6 panel fold out card wallet featuring the original vibrant cover artwork used on the original US release of this album.

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Richmond Fontaine  –  Don’t Skip Out On Me

Richmond Fontaine and Deline’s singer / songwriter, Willy Vlautin releases his fifth novel, Don’t Skip Out On Me on Feb 1 2018 (Faber and Faber). Like his previous novel Northline it will have an accompanying soundtrack included with the book on CD. While the CD will be included with the book, Décor release the album on vinyl. Don’t Skip Out on Me is magnificent. Willy Vlautin is now one of America’s great writers.’ The Don’t Skip Out on Me soundtrack was recorded early 2017 just after the band called it quits on their final European tour.

LP – 180 Gram vinyl – limited edition of 1000 copies.

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Katie Von Schleicher  –  Glad To Be Here

Glad To Be Here / Party Dawn is the first material the Brooklyn-based songwriter has shared since her critically acclaimed debut album, Shitty Hits, last year. Katie said the following about the tracks: “On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smashed by silence, and it was lonely, so I made these songs. Glad to Be Here is where I find myself right now. Party Dawn is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it.”

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The Lucid Dream  –  SX1000

Very limited 12’’ single in yellow disco bag, single sided. The Lucid Dream return in April with the release of new single SX1000, the first taster from the recently completed 4th album. The track is a slice of pure acid house, and will again see them acknowledged for venturing into pastures new, setting themselves apart from ‘genres’, ‘scenes’ or what any other band are currently doing. SX1000, as with the whole album, was penned over the summer by Mark Emmerson (vocals / guitar / synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing.
Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. 5 months on from those writing sessions and The Lucid Dream have competed their 4th album in 5 years, this track a perfect indicator as to what awaits. A record made for the dancefloor.

Up and coming South Londoners Goat Girl have shared new track Scream, a B-side to the excellent recent single Cracker Drool.  After recently sharing the single ‘Cracker Drool’ the quartet Goat Girl have also shared the b-side to the release ‘Scream’, alongside a fresh video and a lovely chunk of tour news.

It’s been a seminal year for the four-piece band. A year in which they, signed for Rough Trade Records and broke ahead of the pack and announced themselves as not only a very socially adept and politically charged band, but also one that makes great music – irrespective of political leaning.

Refreshing to say the least. The band have jumped on this well-deserved good feeling and are now plotting a rather large UK and Ireland tour for the new year.

Recorded by Dan Carey and Alexis Smith at The Windmill

GOAT GIRL – ” Goat Girl “

Posted: February 7, 2018 in ALBUMS, MUSIC
Tags: ,

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Across 19 tracks in just 40 minutes, Goat Girl’s self-titled debut creates a half-fantasy world out of a very dirty, ugly city reality. In the group’s words: “Simply put, it’s an album that comes from growing up in London and the first hand experience of our city’s devolution. We wanted to think of it as this place seen not necessarily just through our eyes, but someone who can’t get past the abnormalities and strange happenings that exist in our city. We think this gives the freedom lyrically and musically to explore unspoken truths and emotions that we all as humans feel.”

Goat Girl belong to a burgeoning, close-knit south London scene, born in venues like The Windmill and including bands like Shame, Bat-Bike, Madonnatron, Horsey, Sorry, and many more. “We help each other – I put you on, you put me on – because we genuinely like each other’s music. We’d played gigs all over before but never really settled in a comfortable environment, which is what The Windmill is. It’s an important place for us, it was the first space that our music made sense to exist within. It’s a safe space where music is genuinely listened to and appreciated, and where laws and licensing haven’t reached over to ruin the venue.”

This live freedom enabled the band to think without constraints when it came to recording. Goat Girl enlisted producer Dan Carey (The Kills, Bat For Lashes, Franz Ferdinand) to help them capture their vision, set a goal to write and record a piece of music in a day in effort to capture that raw first-creation moment, and chose to record to tape. “We wanted it to have a similar expression to our live sets and so knew from the start that a tape-based approach would work for us. There’s less awareness of trying to achieve perfection as you can’t edit out mistakes and so you allow them to occur instead. It felt like a really relaxed and natural environment, and you can hear the comfortability in the energy of our sound. Recording to tape also meant that we were able to get the foundations of each song down very quickly, and there was a lot more thought put in to the pre-production of the album, as well as how we would allow the songs to flow in a cohesive manner from one to the next to create a story, rather than an album made up of singles.”

It’s a very English album — sharp-eyed observations like The Kinks, louche rage like The Slits — but it’s also full of swampy, swaggering guitars and singer Lottie’s filthy drawl. “It wasn’t exactly intentional to have this warped country sound, but I think that was initially what we were all drawn to and inspired by, bands that existed in a lo-fi, dissonant, scratchy context.” Each member brings a diverse range of influences and contributions, ranging from krautrock to bossa nova, jazz to blues. They resist being boxed in to an indie, guitar-based genre, and focused intensely on the layers and textures of each song as well as the different contexts they could sit within. “It seems all too easy to exist in that kind of world with the instrumentation of our band, and so now was our chance to transcend that feeling. The joy of working in Dan’s studio is that you’re surrounded by these possibilities to sound more electronic, with such a vast array of different analog synths and sounds to choose from…to be able to experiment and evolve with our music in the recording process has allowed us different possible future routes for our music to take.”

The result, Goat Girl, succeeds in conjuring a complete world all unto itself, and is arranged in segments — divided by improvised interludes — that offer glimpses of an even stranger parallel universe. With each song acting as its own story of sorts that features different settings and characters, listeners are transported therewithin. It’s dark yet cheeky, varied yet cohesive, and striking in its vision; this world is populated by creeps and liars, lovers, dreamers, and wonderful lunatics. Lead single “Cracker Drool” is at once jaunty and sinister, a foreboding tale full of swirling guitar, echoing vocals and synthetic drum hits that stumbles and gurgles straight into “Slowly Reclines,” an equally menacing and considerably heavier track. “Creep” is, predictably and grimly enough, inspired by actual events: Creep on the train / I really want to smash your head in. “You want to think you could stand up for yourself in that kind of situation,” says Lottie. “But then a lot of the time a quiet politeness takes over and you act like nothing has happened – even though in your head everything has happened. I think the purpose for a lot of the lyrics in the songs is to act out that power role that isn’t necessarily a truth, but the freedom of writing gives you that sense.”

On “Country Sleaze,” she sings about sex in a way that embraces visceral reality and defeats shame. “If you say you’re sexually free, as a woman, society still deems that a bad thing. But really it’s a beautiful thing to be confident in yourself – to know that you can have sex and it doesn’t have to mean anything and that doesn’t make you a bad person.” Ellie smiles: “That song is quite disgusting, in a good way. It’s not trying to be nice, it’s not a love song.” Goat Girl is altogether an album crafted with intention, and invites imaginations to run wild; it draws listeners in to its half-fantasy world from the slow fade, eerie instrumental intro “Salty Sounds,” to the gorgeous, unsettling closer “Tomorrow” –– a rendition of the song featured in Bugsy Malone — which ends with dawn-chorus birds and the feeling of new possibilities after a long and messy night.

London’s most thrilling new band Goat Girl – aka Clottie Cream, Rosy Bones, Naima Jelly and L.E.D – have announced that their debut, self-titled album will be released on 6th April! (violet coloured vinyl + a limited edition signed fanzine art and lyrics booklet available from Rough Trade webstore).

To whet your appetite, the fourpiece have unleashed the official video for their killer new single and longtime live favourite “The Man”, directed by CC Wade and described by the band as “a parody on fandom and a delve into the male psyche”

‘Goat Girl’ was produced by fellow South Londoner Dan Carey in in the Autumn of 2017. It’s a very English album – sharp-eyed observations like The Kinks, louche rage like The Slits – but it’s also full of swampy swaggering guitars and singer Clottie’s filthy drawl. In the group’s words: “Simply put, it’s an album that comes from growing up in London and the first-hand experience of our city’s devolution. We wanted to think of it as this place seen not necessarily just through our eyes, but someone who can’t get past the abnormalities and strange happenings that exist in our city. We think this gives the freedom lyrically and musically to explore unspoken truths and emotions that we all as humans feel”.

Spawned within the burgeoning, close-knit South London scene that includes Shame and Sorry, and having supported the likes of The Fall, Fat White Family and Parquet Courts, Goat Girl are something to behold live!

GOAT GIRL – ” Cracker Drool “

Posted: November 8, 2017 in MUSIC
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London four-piece Goat Girl have released their new single ‘Cracker Drool’, along with a dark video. Anyone who knows the band know they’ve got a gross/dark/disturbing streak, so it’ll come as no surprise that to celebrate this All Hallow’s Eve eve, they called on us to help share their fourth and most deadly music video yet, Cracker Drool. Directed by Paraic and Michael Morrisey, the girls strapped a camera to the front of a nice old car and drove deep through the woods. Where are they off to? Well, if our now memories are to be believed, this particular country road trip will likely end with the disposal of a body… but there’s only one way to find out.

Directed by CC Wade, the black and white clip shows the girls on a drive in a vintage car along a country road.

Goat Girl are on tour now:

GOAT GIRL – ” Country Sleaze “

Posted: September 18, 2017 in MUSIC
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Goat Girl’s debut double a-side single “Country Sleaze” / “Scum” is out now on Rough Trade Records, have teamed up with director Douglas Hart of The Jesus and Mary Chain for their first ever video for “Country Sleaze”!
The band’s debut double a-side single “Country Sleaze” / “Scum” is out now digitally and on 7″ vinyl:

The London 4-piece recently signed to Rough Trade, playing dark and guttural indie.

And here we have it: Goat Girl’s debut single played live in Margo’s Living Room, the downstairs portion of the producer’s house converted into a studio frequented by Phobophobes, Shame, Fish, Dolls, Dead Pretties, Long Teeth and countless other bands.

 

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Goat Girl have a gang and they want you to be in it. Based in South London and signed to Rough Trade, the four-piece have spent 2017 signing up as many new members as possible. Speaking amidst the hum and fumes of a busy Streatham High Road, where she’s taking a break from recording sessions at producer Dan Carey’s home studio, singer and guitarist Clottie Cream gets straight to the point. “We’re big on meeting people,” she says. “We talk to fans after shows, they might be doing interesting things like setting up their own gigs that we can play at. I hate when musicians get big for their boots, those relationships are really important. You can connect to people really easily, it’s nice.”

Crow Cries b/w Mighty Despair out on limited edition 7″ on 25th August on Rough Trade Records

Their numerous shows at Brixton’s Windmill caught Rough Trade’s attention and led to a record deal. But to say they haven’t looked back since would be wildly inaccurate. You’ll still regularly find the group – completed by guitarist L.E.D., bassist Naima Jelly and drummer Rosy Bones – creating “special energy and letting out anger” on bills at the Windmill, Peckham’s Montague Arms and various other back rooms in the area. “Those gigs are the ones we enjoy most, it’s home, where we started,” says Clottie. “Tim Perry at The Windmill has enabled bands like us to be known to the public, and his nights are always good so we want to be playing them. We’ll do bigger support tours, but we don’t want people to be left out so we’ll keep doing smaller gigs.”. The singer is happier discussing their songs – sharp, furious, political little beasts, submerged in moody atmosphere. Check out new single Crow Cries – online now and due on 7” next month – for an example. “If people listen to your lyrics, why not make them interesting and inspiring?” she deadpans, reasonably. “We’re allowing for issues to be spoken about, you just have to be sincere about it, that’s integral.”

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Goat Girl, are a band willing to insult everyone who crosses their path. On ‘Scum’, their second track to date, the Rough Trade signings filter frustration through an Iceage-like racket. Trading blows with every modern day evil, they boldly ask: “How can an entire nation be so fucking thick?” It would be convenient to call ‘Scum’ a post-Brexit call to arms. But you get the sense Goat Girl’s sense of unease has been bubbling up for years.

On the one hand, their dry wit sarcasm (“hold tight to your pale ales”, they bellow at one point) and faux-jolly, drunken and staggering melodies aren’t a flash of light in the dark. But few spit such venom with this kind of nonchalance. For every axe they grind, they express disgust like few others.

Goat Girl’s debut double a-side single “Country Sleaze” / “Scum” is out now on Rough Trade Records

Limited to just 500 Copies on Rough Trade Records. The debut single by teenage South London four piece Goat Girl. Goat Girl head up an emerging set of groups from South London who have been inspired by the burgeoning local circuit there. Goat Girl are a special band. Songs that use subtlety as their main ingredient while remaining disarmingly fierce at every turn. Lyrics that mean everything despite being written down in the most simplistic and non-aggressive way possible… they are an anomaly in the UK music scene as 2016 draws to a draggy close: four people playing guitars, bass and drums who have the ability to make you feel //alive// again. Goat Girl release two songs on Rough Trade, each one a caustic commentary on the England they’ve grown up in: Country Sleaze is a brooding two-chord time capsule that sounds like it’s been beamed over from a Seattle divebar in 1989. Both tracks were recorded purposefully quickly in a no-nonsense north London studio a few weeks ago with fast-rising producer Margo Broom.

Goat Girl’s debut double a-side single “Country Sleaze” / “Scum” is out 7th October on Rough Trade Records

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Julia Jacklin –  Don’t Let The Kids Win

Julia Jacklin highly anticipated debut album, ‘Don’t Let The Kids Win’, is released via Transgressive Records. Hailing from the Australian Blue Mountains, Julia Jacklin is a guitarist and singer like no other. Her music courses with the aching current of alt-country and indie-folk, augmented by her undeniable calling cards: her rich, distinctive voice, and her playful, observational wit. For the past several years Jacklin has lived in a garage in Glebe (a suburb of Sydney), working a day job on a factory production line making essential oils, all the while finding time to hone her craft – to examine her turns of phrase, to observe the stretching of her friendship circles, to wonder who she was and who she might become. And now, as Jacklin quits her factory job to focus solely on a music career, the future she had once imagined is becoming her present day reality. For fans of Margo Price, Mazzy Star and Lana Del Ray.

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Hiss Golden Messenger  –  Heart Like A Levee

The writing of the songs that became ‘Heart Like a Levee’ started in a hotel room in Washington DC in January of 2015 during a powerful storm that darkened the East Coast. At that time I was feeling – more acutely than I had ever felt before – wrenched apart by my responsibilities to my family and to my music. Forgetting, momentarily, that for me, each exists only with the other. How could I forget? Though maybe my lapse was reasonable: I had just quit my job, the most recent and last, in a series of dead-end gigs stretching back 20 years, with the vow that my children would understand their father as a man in love with his world and the inventor of his own days. They would be rare in that regard. And then – driven by monthly bills and pure fear – I left for another tour, carrying a load of guilt that I could just barely lift. But in that snowy hotel room I found the refrain that became my compass: I was a dreamer, babe, when I set out on the road; but did I say I could find my way home? M.C. Taylor Available CD – Digipak with poster style insert. 11 Tracks.2CD – Deluxe 2CD is Digipak / Softpak with obi wrap and poster style insert. Includes the 8 Track ‘Vestapol’. 19 Tracks total.LP – 11 Tracks with Download.2LP – Deluxe 2LP in Gatefold Sleeve poster plus obi wrap and Download. Includes the 8 Track ‘Vestapol‘. 19 Tracks total.

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Goat Girl  –  Country Sleaze / Scum

Limited to just 500 Copies on Rough Trade Records. The debut single by teenage South London four piece Goat Girl. Goat Girl head up an emerging set of groups from South London who have been inspired by the burgeoning local circuit there. Goat Girl are a special band. Songs that use subtlety as their main ingredient while remaining disarmingly fierce at every turn. Lyrics that mean everything despite being written down in the most simplistic and non-aggressive way possible… they are an anomaly in the UK music scene as 2016 draws to a draggy close: four people playing guitars, bass and drums who have the ability to make you feel //alive// again. Goat Girl release two songs on Rough Trade, each one a caustic commentary on the England they’ve grown up in: Country Sleaze is a brooding two-chord time capsule that sounds like it’s been beamed over from a Seattle divebar in 1989. Both tracks were recorded purposefully quickly in a no-nonsense north London studio a few weeks ago with fast-rising producer Margo Broom

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C Duncan – The Midnight Sun

Glasgow’s prodigious talent C Duncan released his critically acclaimed and Mercury Prize nominated debut full-length ‘Architect’ last July, wrapping up an extremely successful first year with a headline tour and stunning sell-out performance at Union Chapel. Follow up ‘The Midnight Sun’ sees the bedroom producer return with a more expansive and experimental second offering, blending electronic elements and sweeping synth sounds with his signature layered vocals and dreamy instrumentation.

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Babeheaven  –  Moving On

Babeheaven return with their second single on Handsome Dad and limited to just 250 Copies. It’s a beautifully immersive slice of ethereal trip-hop. Pinned together with lead vocalist Nancy Andersen’s shimmering voice, it’s another smooth triumph for the London based five piece. As time passes, it feels kinda like they’re morphing into this generation’s Portishead.

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White Lies  – Friends

After three consecutive Top 5 albums, White Lies release their fourth album ‘Friends’. With ‘Friends’, White Lies haven’t so much abandoned their trademark synth-rock sound as given it a spring clean by exploring new sounds. For many reasons, it felt like a fresh start. The trio were temporarily without a label after a bout of record company reorganisation. Rather than re-sign straight away, they decided to start ‘Friends’ under their own steam without the pressure of a deadline or a budget, or even the guidance of a producer. Whatever sound each song suggested, White Lies went with it. Hence, when ‘Hold Back Your Love’ and ‘Is My Love Enough’ sparkled with disco grooves, they embraced it. When the beautiful ballad ‘Don’t Fall’ jettisoned their signature sound entirely, leaving only frontman Harry McVeigh’s sumptuous, sonorous vocals to connect it to White Lies of old, they stuck with it. Similarly, when the triumphant ‘Summer Didn’t Change A Thing’ harked back to the arena-ready rock of their debut, they didn’t mind. The changing nature of relationships is a recurring theme throughout the album. ‘Friends’ was recorded in Bryan Ferry’s private studio in London’s Olympia and was self-produced by the band. White Lies enlisted the help of an expert team including Grammy Award-winning engineer James Brown (Foo Fighters, Arctic Monkeys), David Wrench (Caribou, FKA twigs) on mixing duties and long-term collaborator Ed Buller who contributed additional production.

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Happyness – Tunnel Vision On Your Part

The harmony-packed single Anna, Lisa Calls appears here as the opener to Happyness’ Tunnel Vision On Your Part EP, with the band saying; “This is our first phone call song and our 5th song in E major. We wrote it one day in the studio in June and recorded it straight away – I think we were going for a kind of Traveling Wilburys thing. Also we felt like we hadn’t put a synth in a song for a while, so there’s a synth.” The EP, which also includes single SB’s Truck – a track penned by the band in homage to Samuel Beckett, who famously used to give the beloved, late, 80’s wrestler André The Giant lifts to school in his truck, owing to him being too large for his dad’s car – also provides a rare direct glimpse into the band’s influences as they offer their own interpretation of Club Gaga’s Friend Of The Revolution. Originally featuring on their Suburban Lake album, it’s a record that Happyness hold up as one of their favourites of all time, saying “Most (if not the whole) of the record is findable on YouTube. There were a few different songwriters in the band – but this one’s by the great Peter Fancher.”

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Lush – Lollapalooza Festival, Miami Fl August 22, 1992

Numbered Limited edition of 349 copies on White and Red splatter vinyl. Following the release of 1992’s Spooky, produced by Robin Guthrie of Cocteau Twins fame, Lush brought their first wave shoegaze sound to the US for their second stateside tour, as part of the Lollapalooza tour, which that year included Red Hot Chili Peppers Ministry, Ice Cube, Soundgarden, The Jesus and Mary Chain, and Pearl Jam

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Lou Reed – The RCA / Arista Albums Collection

A limited edition 12″x12″ deluxe box set library, Lou Reed – The RCA and Arista Album Collection is the ultimate tribute to an essential epoch in Lou Reed’s career as a transformative figure in American music. This definitive anthology contains 16 full-length albums on 17 compact discs in addition to an 80-page hard-bound book featuring memorabilia from Lou Reed’s personal archives, rarely seen photos and artwork, interviews with Lou conducted during his years as a recording artist for RCA and Arista and evocative in- depth liner notes – written by Lou’s longtime friend and the collection’s co- producer Hal Willner – chronicling Lou Reed’s involvement with the making of Lou Reed – The RCA and Arista Album Collection. The collectible deluxe box set also contains – suitable for framing – five 8″x10″ prints and a facsimile reproduction of a rare RCA promotional poster (598mm x 572mm, folds to 299mm x 286mm). The set includes

1. Lou Reed (April 1972)
2. Transformer (November 1972)
3. Berlin (July 1973)
4. Rock n Roll Animal (live – February 1974)
5. Sally Can’t Dance (August 1974)
6. Metal Machine Music (July 1975)
7. Coney Island Baby (December 1975)
8. Rock and Roll Heart (October 1976)
9. Street Hassle (February 1978)
10. Lou Reed Live Take No Prisoners (2 CDs – November 1978) 11. The Bells (April 1979)
12. Growing Up in Public (April 1980)
13. The Blue Mask (February 1982)
14. Legendary Hearts (March 1983)
15. New Sensations (April 1984)
16. Mistrial (June 1986