Posts Tagged ‘II’

LANZ (photo by Kate Diego)

Back in 2015 and 2016, when the National were in the middle of the long stretch between Trouble Will Find Me and Sleep Well Beast, the band’s various members went off and explored some new projects. For Scott and Bryan Devendorf, that was LNZNDRF, their trippy/kraut-y group with multi instrumentalist Ben Lanz (pictured above). A few years later, LNZNDRF has added both a new EP (last year’s “To A Lake”) and added a new member (Beirut/Grizzly Bear associate Aaron Arntz). And now, they’re also about unveil a second album.

LNZNDRF’s second outing is called, simply enough, “II”. Like with the material from LNZNDRF’s past releases, II originated when the group convened in Austin in late 2019 for a week of improvised writing sessions, described as “a mass hypnotism, somehow both thunderous and trance-inducing.” Over the course of last year, the group worked those jams into songs, but II doesn’t sound like it’s going to lose any of the psychedelic glimmer that’s characterized LNZNDRF so far. “These songs seem to come from the formless, translucent holograms that appear behind your eyelids just before sleep sets in,” the band said in a statement. “The visions you swear you’ll remember in the morning but never do.”

“These songs seem to come from the formless, translucent holograms that appear behind your eyelids just before sleep sets in,” the band explained via press release.  “The visions you swear you’ll remember in the morning but never do.”

The album – aptly named II – follows up the band’s 2016 self-titled debut as well as the 2020 EP To A Lake. It’s songs aim to “reflect the current dystopia as much as they beckon the Big Mystery awaiting us, when we finally bust through this barrier.”

From LNZNDRF’s new album ‘II’ out January 29th their second album, continuing an all-star project featuring Bryan and Scott Devendorf of The National as well as Benjamin Lanz (The National, Beirut) and Aaron Arntz (Beirut, Grizzly Bear). 

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Metz, II
These mild-looking Canadians revive the golden age of early Nirvana and ’90s grunge with 10 walloping noise-rockers—but there are surprising hooks amid all the Sturm und Drang. The sludgy, tinnitus-inducing sound of the ’90s’ Seattle Sound lives on with this Toronto trio. From the thumping bass lines of album opener “Acetate” to the deafening wall of distortion of closer “Kicking a Can of Worms,” II is ten rounds of pummeling noise-rock that never lets up


II artwork

When word spread that the Courtneys almost got their own animated TV show, only to have it falter over Nickelodeon’s insistence on singling out a “leader,” longtime followers of the Vancouver band couldn’t help but chuckle. Onstage and in interviews, the trio of singers come across as an ideal ensemble cast. Plus their 2013 self-titled debut was rife with chunky guitars and peppy choruses ready for primetime, including one song named after “90210.”


Instead of a TV show, with their sophomore album the Courtneys became the first non-New Zealanders signed to Flying Nun, the influential kiwi-pop label. But II’s sticky-sweet bubblegum could still spark singalongs anywhere Saturday morning cartoons are viewed. Nick may have missed the mark, but fans of whip-smart fuzz-pop should tune in anyway.


Opening with the subtle rumble of early morning Chinatown, hazy instrumental shape into focus with languid guitars, gently welcoming you into a dream .  The Manchester-based multi-instrumentalist/producer Ryan Kennedy,and his  dream pop group Horsebeach. Based around chiming guitars and Kennedy’s downbeat croon, Horsebeach draw inspiration from classic jangle pop. Becoming critics’ favourites with the release of their eponymous debut album in 2014,

The summery groove and the pop majesty of ‘It’s Alright’ soon sends you spinning into infinity, cares eased by the warm tones of chiming guitars, while Beth de Cent’s smokey vocals come together in perfect harmony with Kennedy’s. ‘Andy’ treats you to a yearning tale of forbidden love, packed with erotic overtones so full blooded they’d make Morrissey blush , while the marbled melodies of ‘Broken Light’ come on in nostalgic ripples and waves of sepia-tinged beauty. ‘Let You Down’ finds Kennedy’s voice sounding better than ever, detailing visceral regret over a full bodied groove .

Opening the B-side with a masterful subtlety, synth led instrumental ‘Midnight Pt.2’ sees Kennedy taking us for a moonlit stroll by the ocean before ‘Dana’ ushers in the dawn with the greatest X-Files inspired song ever written (sorry Cerys). The antithesis of over-serious hipster cool, the earnestly emotional lyrics, anthemic chords and shimmering should be enough to prompt John Hughes to rise again and make a much needed sequel to The Breakfast Club. ‘Disappear’ finds Kennedy and drummer Matt Booth drinking in the cosmic vintage of Düsseldorf ’72, as their chiming West Coast guitars are joined by celestial keys, head nodding bass grooves and a motorik rhythm. ‘Clouds’ draws us back into the haze as Kennedy’s multi-tracked vocals gently melt into the swirl of flanged guitar, while ‘Avoid The Light’ closes the LP with a plea to stay in the dreamworld just a little longer.

Alive with lyrical depth, melodic intricacy and lush production, ‘II’ is the work of a confident and mature multi-instrumentalist and songwriter, and it’s your new favourite LP all of a sudden.



1. Intro
2. It’s Alright
3. Andy
4. Broken Light
5. Let You Down
6. Midnight Part 2
7. Dana
8. Disappear
9. Clouds
10. Avoid The Light

Almost 10 years since they released their self-titled debut on Beggars Banquet, The Early Years returned on September 23rd with a brand new album called, simply, ‘II’.

It was recorded in their home studio in rural Cheshire before being mixed in Atlanta, Georgia by Jason Kingsland (Deerhunter)  It’s a record we have been trying to encourage for the best part of a decade, and it’s well worth the wait. It’s stunning; the sound of a band who have matured and relaxed into their playing, created without any external pressures or expectations. It is also more relevant now than ever, despite their long absence; it towers above the legions of kraut-psych bands who came along in their wake with the sheer scale of its scope and vision.

Opener ‘Nocturne’ is a ferocious collision of man and machine: guitars sounding like Will Sergeant has moved to Neil Young’s farm, Roland TB-303s squelching away and the wild-eyed energy of Julian Cope circa ‘Fried’. Cope and the Bunnymen are reference points throughout, but it also takes in the elegiac New Order of ‘Fluxus’, the Dean Wareham duelling Tom Verlaine solos of ‘Out Of Signal’, the Spiritualized lullaby of ‘Hush’, and the Harmonia-meets-pre-definite-article-Verve of album closer ‘Memory Case’.

New song from The Early Years‘ second album, ‘II’, released on September 23rd, 2016


Following the long-awaited release of The Early Years’ new album ‘II’ last week, we are excited to reveal that we have licensed their self-titled debut album for a special 10th anniversary vinyl reissue.

‘The Early Years’ will be released on November 11th as a limited-edition pressing of just 300 copies on transparent orange wax. It’s a brand new vinyl cut by Noel Summerville, who has previously worked on a number of My Bloody Valentine and Warp archive reissues.

Initial orders from the Sonic Cathedral Shop will come with a bonus CD replica of the band’s first demo, which they sent to us in 2005 and contains early versions of ‘All Ones And Zeros’, ‘Things’ and ‘High Times And Low Lives’.

‘The Early Years’ was originally released on Beggars Banquet on September 25th, 2006 and includes the singles ‘All Ones And Zeros’ and ‘So Far Gone’. It also features the live staple ‘Simple Solution’, which closed the band’s incendiary set at Liverpool International Festival Of Psychedelia .On its release, it received glowing reviews from the likes of NME, Uncut, The Fly (RIP), The Independent (RIP) and the standard mid-noughties ,we think it’s an underrated classic that will appeal to fans of ‘Sowiesoso’ and Spiritualized alike. It also comes with the seal of approval of Brian Eno, The Horrors and Damo Suzuki, among others,


HORSEBEACH – ” Its Alright “

Posted: October 22, 2016 in MUSIC
Tags: , ,

Manchester’s Ryan Kennedy leads Horsebeach into a pastel-shaded paradise full of sunny melodies and glittery bedroom-pop. The band will ensnare your heart with jangly C86-isms and warm ’80s vibes – Kennedy’s spoken about the influence of Real Estate in the past – and if you’re looking for something a little more chilled out ahead of the evening’s pummelling punk and delirious dance, catch Horsebeach.


From their second LP entitled ‘II’,

Want loud? Los Angeles-based power trio Fuzz does that, pounding out relentless, ear-splitting riffs with abandon. But they do more, too. For starters, Fuzz is a guitar band par excellence. Name another band where every member—even the drummer—is a guitar-playing badass. Team Fuzz dominates the new wave of SoCal garage-punk-psychedelic-stoner-rock. They are prolific, restless, enigmatic, ubiquitous—their combined output is prodigious—and they’re forever releasing, touring, or supporting something.

At their core, Fuzz is simple enough. Ty Segall (singer, songwriter, guitarist, and solo artist) sings and plays drums. Chad Ubovich (guitar and vocals with the Meatbodies, guitar and bass with Mikal Cronin) holds down the low end. And Charles Moothart (guitar with Ty Segall, GØGGS, and more) plays guitar and is the band’s primary riff generator. With so many different projects, maintaining focus could be difficult. Moothart says it isn’t. “Fuzz is a very specific sound so it’s an easy thing to separate in that way,

Ty Segall’s band Fuzz play Burgerama, pay homage to Woody Allen. Fuzz is a band consisting of guitarist Charles Moothart (Moonhearts / Ty Segall Band) & drummer Ty Segall. Fuzz was formed as an outlet for Moothart’s affection for serious, heavy riffage a’la Black Sabbath, Blue Cheer & Jerusalem. Live they are augmented by bassist Chad Ubovich (Meatbodies / Mikal Cronin band)