Posts Tagged ‘Jesus and Mary Chain’

Image of The Jesus And Mary Chain - Damage And Joy

The Jesus And Mary Chain are set to release their long-awaited new album ‘Damage and Joy’ on March 24th, their first since ‘Munki’, back in the summer of 1998. The Reid brothers have enlisted the help of super (as in cool, not megabucks!) producer Youth and he has coaxed and cajoled these perma-scrapping siblings (still, even now!!) into producing a magnificent distillation of everything we’ve come to love about their sound.

Fuzzed up trashy or broken and blue, Jim’s honeyed voice takes us over familiar territory while William scuzzes things up in the wings. The songs are all classic Mary Chain.
With the help of Isobel Campbell, Sky Ferreira and the Reids’ own sister Linda on vocals, there’s also a freshness to their palette, bringing their much imitated sound back up to date, here in the now.  It’s great to have them back!

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500 limited edition 12” on Cadillac pink vinyl. Manchester all-female five-piece Pins release a new EP Bad Thing, through Haus Of Pins and features Aggrophobe, their single with the legendary Iggy Pop. Following the release of their acclaimed second album Wild Nights last year, Pins went back into the studio to work on new tracks. Recorded in a studio on the Scottish Borders last October and produced by Mark Vernon and the band themselves, the EP features 5 new tracks, which includes a cover of Joy Division’s Dead Souls. The EP opens with the teasing Bad Thing before moving into the addictive Aggrophobe, featuring Iggy Pop’s iconic vocal, leading onto the chant-like pop of All Hail and the dreamy and synth-laden In Nightmares, before ending with Pins own take on Dead Souls. The four new tracks are synonymous with Pins’ sound but also showcase a vigorous, more mature side to the band, making up a solid and impressive musical body of work.

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Desperate Journalist release their second album, Grow Up, ostensibly eleven tracks of rocketing leftfield delights propelled forth with thundering rhythms, thunderously spectacular guitar and Jo Bevan’s thunderstruck vocals. Such is intense life with Desperate Journalist, one of the most potent, important DIY bands lurking on the underground scene right now.

Image of The Moonlandingz - Interplanetary Class Classics

They began as a fictional band from a fictional town featured on the Eccentronic Research Council’s 2015 concept album Johnny Rocket, Narcissist And Music Machine… I’m Your Biggest Fan. Now The Moonlandingz have lurched, sticky and bleeding, into the real world and are releasing the first great album of 2017. Interplanetary Class Classics, released on Transgressive Records, is a feast of swirling juddering synths, wailing guitars, motorik stomp and extraordinary songwriting. The Moonlandingz have proven themselves to be one of the best live bands in the UK (“Magnificent, cosmic and batshit!” said The Quietus. “Feral antics and louche anarchy!” said The Guardian) and now they’ve produced an album of proper weird catchy glorious filthy pop.
The Moonlandingz is Eccentronic Research Council’s Adrian Flanagan and Dean Honer in cahoots with Fat White Family’s Lias Saoudi (aka frontman Johnny Rocket) and Saul Adamczewski. They recorded the album with Sean Lennon at his studio in upstate New York. Also on the record: Randy Jones the Cowboy from The Village People, Rebecca Taylor from Slow Club, drummer Ross Orton, bassist Mairead O’Connor, Phil Oakey and YOKO fucking ONO, who sings and yowls on epic closer This Cities Undone.

Image of Sonic Jesus - Grace

Sonic Jesus is an Italian musical project lead by multi-instrumentalist Tiziano Veronese. Since signing to Fuzz Club, the project has released a split single with The Black Angels and been remixed by Sonic Boom aka Pete Kember. Their internationally acclaimed debut ‘Neither Virtue Nor Anger’; an industrial barrage of hypnotic, dark psychedelia. Sonic Jesus’ new album ‘Grace’ goes beyond the past boundaries, pushing towards enthralling melodic horizons and modern pounding beats, delivered by a new-found pop sensibility. There’s still a darkness brooding beneath the noise but these new tracks see the project take on a magnificent and insatiable new form.

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Limited to 1000 Copies. Long Time is the second single off Blondie’s new album Pollinator and comes backed with exclusive B-Side Breaks.

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On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year’s aptly named Turn Into compilation showcased a fuzz-loving artist in flux – chronicling her mission to master bedroom recording – then the rising Oakland star’s latest, Everybody Works, is the LP equivalent of mission accomplished. Duterte is as DIY as ever – writing, recording, playing, and producing every sound beyond a few backing vocals – but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk. Everybody Works was made in three furious, caffeinated weeks. She came home from the road, moved into a new apartment, set up her bedroom studio and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like Lipstick Stains all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like 1 Billion Dogs and in the melodic distortions of Take It, we also get the sublimely spacious synth-pop beauty of Remain, and the luxe, proggy funk of One More Time, Please.

Image of Samantha Crain - You Had Me At Goodbye - Bonus Disc Edition

Fifth album (third for Full Time Hobby) from Samantha Crain, following 2015’s “Under Branch & Thorn & Tree” and the 2014 album “Kid Face.”

Written over 4 months at the back end of winter whilst at home in Norman, Oklahoma, You Had Me At Goodbye was penned whilst Samantha was working shifts at a pizza place to save up money for touring, recording, paying bills, and as a self-confessed ‘film nerd,’ binge watching movies. “Oklahoma is beautiful but my relationship with it is complicated. There are mountains, plains, prairies, rolling hills, high deserts and plateaus, with an amazing creative community of people making beautiful visual art, interesting films and loud music. But it’s extremely Christian, conservative, and whilst people say it’s ‘friendly,’ really, people are only friendly if you’re white and aren’t dressed unconventionally. I feel welcome and alienated all at once.”
Bolstered by the visionary production of John Vanderslice (Spoon, the Mountain Goats, Strand of Oaks), mixed and engineered by Jacob Winik (The Magnetic Fields, Hot Buttered Rum), Samantha returned to the Bay Area in California to, once again, record the album in analog at Tiny Telephone Studio.

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Iggy Pop had hit bottom after the messy breakup of the Stooges and he needed help, and when friend and fan David Bowie offered to lend him a hand, he was smart and grateful enough to accept. Bowie produced Iggy’s first solo album, The Idiot, and after Iggy set up a tour to promote the record, Bowie put together the band and tagged along as their keyboard player. Bowie’s presence insured a larger audience than Iggy had attracted during the grim final days of his band, and he was determined to prove he could deliver the goods without making a spectacle of himself or collapsing into a drug-sodden heap on-stage. Unfortunately, anyone familiar with Iggy’s body of work knows the last thing you want from one of his live shows is a professional-sounding performance without a sense of danger, and unfortunately, that’s what the audience got during this March 21st, 1977 show in Cleveland, OH, part of a three-night stand Iggy and the band would perform at the Agora Ballroom. Iggy & Ziggy: Cleveland ’77 finds Iggy in fine voice, and at a time when he had a lot to prove, he leaves no doubt he was a solid musician and showman, singing with a sense of control and dynamics he couldn’t approach with the Raw Power-era Stooges. However, Iggy also seems clearly afraid to push this material too far, and the caution robs the songs (nine of which are drawn from the Stooges‘ songbook) of much of their life force. Even worse, guitarist Ricky Gardiner doesn’t seem to know what to do with the Stooges material — he’s at least as skillful as Ron Asheton or James Williamson, but his attack is so toothless and polite that he reduces some of the greatest rock songs ever to mush. (Bowie’s keyboards are not nearly as ill-advised but they don’t fit the old material very well, though Hunt Sales and Tony Sales are a great rhythm section who do what they can to give Iggy the energy he needs.) Some of the material from this show also appeared on Iggy’s lamentable live album TV Eye Live.

Beach Slang’s James Alex.

On February 10th, Beach Slang will release the second installment of their mixtape cover series Here, I Made This For You (via Polyvinyl). The latest release from the project is a cover of the Jesus and Mary Chain’s “Sometimes Always.” . The cover follows the Adverts’ “Bored Teenagers.” Other covers on the EP include Tommy Keene, the Modern Lovers, and the Candyskins. Last year, Beach Slang released a new album, A Loud Bash of Teenage Feelings.  A curious title, perhaps, coming from a fortysomething songwriter, but for such a miscreant romantic as Alex – mission statement: “We’re here to punch you right in the heart” – rock’n’roll is the eternal elixir of youth.


Our cover of “Sometimes Always” by The Jesus and Mary Chain appears on Here, I Made This For You Vol. 2, our second covers mixtape, due out February 10th, 2017.

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Released in 1985, the style, melodic-pop-swagger and wanton noise of The Jesus And Mary Chain’s debut album ‘Psychocandy’ are all influences still being very much felt in 2022. A beautiful, pure aural assault from brothers Jim and William Reid, and a pre-Primal Scream, Bobby Gillespie, handling the drumming duty on this album.
Fuzz guitar, distortion and feedback drench, but underneath its assertive noise lies a gift for melody inspired by the Beach Boys and girl-group genre. A high-frequency, minimalist, sweet melody-drenched, beauty.

From the second the drums hit on opening track “Just Like Honey,” Psychocandy challenges the idea of a classic pop song. It’s a straight “Be My Baby” beat—galloping, regal and teasing an immanent pronouncement of cinematic sound. But instead of sweeping strings, horns and a female-sung chorus, we meet the reverb-drenched drone of William Reid’s guitar. Mr. Reid’s riff cuts through all that noise and then some.

Thirty years have passed since The Jesus and Mary Chain’s Psychocandy first enveloped and challenged adventurous ears, and the album still sounds just as fresh and vital, equal parts of mercurial grandeur and danger. A new generation of millennials first heard “Just Like Honey” high in the mix at the poignant climax to Sofia Coppola’s 2003 existential dramedy Lost In Translation, soundtracking the moment when Bill Murray and Scarlett Johansson reunite in Tokyo to realize that they love each other. It’s the perfect love song for a film about strangers out of place, both warm and alien.

But the Jesus and Mary Chain’s true contribution to our cultural landscape is tied to their ascension, and a small London label called Creation Records. A give’em’hell misanthrope named Alan McGee started Creation in 1983, fed-up with the synthesized nonsense dominating radio at the time, eager to capture some of the crust and grit of the “instant scene” he had inadvertently created after putting on some shows. JAMC’s sojourn from East Kilbride, Scotland, to London was just the beginning—their first singleUpside Down” took off, and the band’s future success was assured.

At the time, Mr. McGee called JAMC’s juxtaposition between guitar-tone, noise and pure pop “indie,” but given the constant focus on reverb, noise and effects pedals, the British press dubbed the sound “shoegazing,” and the term stuck. This genre was later shortened to “shoegaze,” typified by a whole new “wall of sound.” Eat your heart out, Phil Spector. My Bloody Valentine could pull it right out of your body.

“We had the blueprint for Psychocandy long before we’d written any of the songs,” JAMC front man Jim Reid says in the Creation Records documentary Upside Down. “We used to listen to back-to-back stuff, like Einstürzende Neubauten and the Shangri Las. We’d go from one extreme to the other.”

These extremes are audible in “Some Candy Talking,” slowly swaggering to a waltzy drone that conjures the Velvet Underground. Thematically, it’s pure Lou Reed, alluding to one of Warhol’s factory girls, Candy Darling, who counted herself among Mr. Reed’s muses. It’s also a classic VU drug ballad, in which Mr. Reid sings, “And I need/All that stuff/Give me some/Of that stuff/I want your candy.”

“Everything we’d wear and everything we had we got from rock’n’roll,” he says, “and it was totally heartfelt.”

By inadvertently creating shoegaze, Psychocandy taught a future generation of bands that mixing sounds together was not only possible, but cool. Dynamics, tone and texture were powerful tools in any band’s sonic arsenal, genre classifications be damned.

“Psychocandy” was important because it subverted pop; songs had simple pop structure and melody, but their execution was abrasive and challenging.” In the five years following Psychocandy’s release, shoegaze became a legitimate genre; a term originally penned to dismiss the JAMC’s lack of stage presence was subverted, reclaimed and flaunted as as a virtuous signifier of edginess and noise.

The Mary Chain provided in buckets. But they didn’t want to deny their poppier, rock’n’roll roots either, so it was the perfect aural marriage.”

Psychocandy (1985) Track listing :
1. Just Like Honey
2. The Living End
3. Taste the Floor
4. The Hardest Walk
5. Cut Dead
6. In a Hole
7. Taste of Cindy
8. Some Candy Talking
9. Never Understand
10. Inside Me
11. Sowing Seeds
12. My Little Underground
13. You Trip Me Up
14. Something’s Wrong
15. It’s So Hard

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Cosmosis Festival | Saturday 12th March 2016 | Victoria Warehouse, Manchester.

We are very pleased to announce a snippet of the lineup today including…
The Jesus And Mary Chain
The Raveonettes
Ulrich Schnauss
LSD and the Search for God
The Underground Youth
+ Plus over 30 more artists to be announced over 4 stages

Tickets go on sale this Friday, 25th September via

limited allocation left.

The Jesus And Mary Chain, The Brian Jonestown Massacre, sleaford mods, The Raveonettes, Allah-Las, of Montreal, Deafheaven, Uncle Acid and the Deadbeats + many many more over 5 stages with many other cosmic happenings going on. More details at


The new movie looking at the bands that made you want to be in a band, featuring Cocteau Twins, My Bloody Valentine, Ride, Jesus and Mary Chain a host of others connected to the genre.

Beautiful Noise is a 2014 American music documentary film, written and directed by Eric Green. The film documents three rock bands—Cocteau Twins, The Jesus and Mary Chain and My Bloody Valentine—and their influence on subsequent alternative rock bands and subgenres especially shoegaze. Beautiful Noise features extracts from over 50 interviews with bands and artists, as well as archival footage and music videos.


Green commenced production on Beautiful Noise in early 2005 with producer and editor Sarah Ogletree; production was largely completed by 2008 although the project stagnated due to various financial and legal issues. In response, Green began a successful crowdfunding campaign on Kickstarter in hopes of securing final financial investment for the film’s release. The campaign was supported by several of the bands featured in Beautiful Noise through social media.announced for release in May 2014

The Jesus and Mary Chain, whose brand of psychedelic noise rock remains hugely influential, are to perform their classic album Psychocandy in its entirety on tour this November. Next year marks the 30th anniversary of the album, and this tour will signify the beginning of “a host of live onslaughts, festival dates and other special plans from the band”, according to a press release.
“Psychocandy” was meant to be a kick in the teeth to all of those who stood in our way at the time, which was practically the whole music industry,” said Jim Reid in a statement. “In 1985 there were a great many people who predicted no more than a six month life span for the Mary Chain. To celebrate the approaching 30th anniversary of the album, we would like to perform it in it’s entirety. We will also perform key songs from that period that did not feature on the album.”
The riotous shoegaze band will hit the road in November to perform their debut album in its entirety
The Title of the album itself sums up the band’s sonic style: the group blended sugary girl-group sweetness and insane power on songs, where chugging guitars get swamped by feedback, leaving Reid’s rather pretty voice surfing on top. Their sound helped carve the shoegaze sound of the late 80s and early 90s, and their influence can clearly be heard in contemporary bands like Tame Impala and The Horrors (who also borrowed their leather wardrobe).
Alan McGee, the boss of their label Creation Records, said: “When they released this album in 1985 they were the best band in world this is just a fact. A truly seminal rock n roll band, without them so many other bands after them would have never found there way forwards in a musical sense. The first band I ever worked with that I loved and 30 years later still love.”
The band will play London’s Troxy on 19 November, Manchester Academy on 20 November, and Glasgow Barrowlands on 21 November.

William and Jim Reid formed the Jesus and MaryChain in 1983 and split in the 90’s but the Reid Brothers are back together and ready for some gigs in the UK and dates are booked to play the album “Psychcandy” for its 30th Anniversary in full,One of the most dynamic live brotherly partnerships so far only three dates but maybe more will be added. Be sure to check out the Distortion laden “Upside Down” as well.