Posts Tagged ‘Joy’

Ty Segall and White Fence: <i>Joy</i> Review

Once again, Ty Segall and White Fence‘s Tim Presley have slipped the madness of the straitjackets they were fitted for years ago, and made a record not just of songs, but of climactic essence – a stretch of sequential time organized for entertainment’s sake! Behold, Joy—their mind-meld complete, fizzy experimentations and sonorous bangers alike. Joy unrolls from within and in between them and electricity takes many forms, plunging from rock trips to acoustic strollers to poppy reveries to freak-downs at side’s end.
These sounds are too big to be confined just on some wax or your shitty headphones; Ty and Tim are also taking the show on the road! With select West Coast dates in the near future, total joy-ination is imminent. Fellow DC-ites The Peacers will be opening some gigs, as well, so you know it’s going to rule! Who knows what else the future holds?

So another month and another Ty Segall album. the prolific king of California psych/garage/punk-rock is arguably THEE most prolific major musician working right now, and the level of quality he achieves across his releases is incredibly high. The guy is quickly putting together an all-timer of a catalog in such a short time.

The latest entry in said catalog is Segall’s second collaborative album with veteran Los Angeles psych-pop experimenter White Fence, aka Tim Presley, formerly of The Nerve Agents and Darker My Love, and more recently Cate Le Bon’s partner in the project DRINKS. The two men joined forces in 2012 to produce a fun and fuzzed-out collection of songs called Hair, a “glorious mess of an album” .

Joy is a little more messy but almost as glorious. With track times mostly clocking in under 120 seconds, it’s a series of quick hits that are warped but relentlessly tuneful, like a Beatles LP that’s spent a blazing hot afternoon lying on a busy freeway. As songwriters, Segall and Presley complement each other nicely: Segall certainly knows his way around a catchy tune, but Presley’s a more natural melodicist, and while Presley definitely has his own rough edge, Segall’s a prodigious shredder. In the form of…the fucked-up pop song!

Highlights on Joy include “Body Behavior,” a pulsing acoustic rocker that snakes in the verses and sparkles in the chorus; “Other Way” a dead-eyed noise excavation that feels like it fell off the Incesticide tree of influence; and “A Nod,” another rhythmic strummer that may just boast the prettiest melody on the album. It also features one of the least abstract lyrics on Joy:

Tried to please my mother
Tried to please my father
Tried to please everyone but me
Bank says I need money
My friends say I need followers
But I want to believe in me
Me

There are other great songs here: the occasionally jazzy “Good Boy,” the beautiful and Neil Young-ish “My Friend,” and the propulsive “Do Your Hair,” which is powered by a bouncy bass line and uses its 95 seconds with impressive efficiency. The opposite is true for a couple of tracks that show up near the end of the album, “She Is Gold” and “Tommy’s Place,” two silly and/or stoney studio experiments that go nowhere, really. Joy would’ve been a tighter overall package if they’d been cut.

With Segall, though, it’s worth hearing a couple of clunkers if it means he’ll keep making music at his preferred dizzying pace, because his hit-to-miss ratio is so high. And collaborating with Presley doesn’t dent that ratio. In fact, it brings out good things in both men. Here’s hoping their next album isn’t another six years away.

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With Joy, Ty Segall & White Fence’s new collaborative set of songs accelerate wildly from where we last found them, sharing one debaucherous mind. Their hits are like mementos buried in the ground, crawling up from the earth with attractive deformity – an auditory return to Salem’s Lot with fresh, mutated sounds bubbling from beneath the surface!
The new album drops July 20th and whatta Joy it is! Patience is a virtue, good things come to those who wait blah, blah, blah— all that’s totally overrated, and it’s why the Presley/Segall hive-mind is dropping “Body Behavior” today, no waiting required! “Body Behavior” absolutely rips, a shock-and-aaahh-hell-yeah clocking in at just over two minutes! It’s damn catchy, some of the purest post-punk-pop imaginable that only two of the most prolific living musicians can offer! Activating the undeniable chemistry you’ve come to love from Ty and Tim, “Body Behavior” roughs up the edges with jagged results that hurt Too good – but we know you can handle it!

Listen to “Body Behavior” now and hang on for the release of Joy, coming July 20th

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First Listen: The Peep Tempel 'Joy'

Melbourne trio The Peep Tempel are set to release their third album “Joy”, the follow-up to 2014′s Tales,

Joy reignites the band’s distinct drawl, growling and fist-waved plainspoken complaint spun through colloquial larrikinism and picture-book pub-punk storytelling. Yet, with longer studio sessions booked, the band also enjoyed what they describe as a “definite indulgence”, leading to left-field experiments ranging from organs to car engines.

Thematically, it’s equally varied. Snapshots of everyday life butt heads with more straight-shot, politically-ignited rhetoric, as with fiery first single “Rayguns”. At the other end of Joy’s wide-spread spectrum, minimalism lounge-bar ballad “Go Slow” compliments the sparse backdrop with throaty, targeted taunts, taking a far more personal slant to the band’s usual tact.

Joy officially came out October 14th via Wing Sing Records, and available to buy through Bandcamp in full .

Peep Tempel vocalist/guitarist Blake Scott has also been kind enough to compile a track-by-track breakdown of the album, covering the tales and themes behind each song.

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“Kalgoorlie”
“‘Kalgoorlie’ was the last song we recorded for Joy. We were all very relaxed, and just cut loose. It was our farewell to the studio and the environment that we had created over the previous 10 days. There was an incredible Elka X-705 synth/organ in the studio. We all jumped on it for this one. One of us would mash the keys while the others pulled the stops and pressed buttons. It was a nice way to finish the session. This track was originally an instrumental, though we decided to run a vocal, and rehashed some old lyrics. It comes across as a nasty one, though lyrically, it’s tongue in cheek. Basically, a bunch of clichés about Kalgoorlie and life as a hard drinking miner.”

“Totality”
“An impromptu wedding set on a dinghy. “Totality” is an absurdist rom com. It is paranoid and whimsical, though for this moment in time our lovers are on the path to completion. The author is urgent and determined. Not letting the holes in the bottom of the boat discourage, he sets out to sea with his lover Ange and his ex-roommate and celebrant, William. As with many a romance, tragedy lurks. If they are bound for the deep blue, they go there in union. Not so cool for old William, who’ll spend his demise as the uncomfortable third wheel.

The general theme of the track was inspired by the Yorgos Lanthimos film, The Lobster. The central character was inspired by a note left on a public notice board in Coronet Bay, under the ads for old couches and refrigerators, ‘two girls who sat on mattresses with cats, I have lost my scanner and need it to be returned.’”

“We You Forgot”
“Has a bit of the ‘Burke and Wills’ about it this one. Not directly related, but with all the blowflies and dysentery. Our man is an old English explorer, under the spell of congenital psychopathy. Thrusting his heroic jawline westward, he sets out across the land with his grandiose notions of discovery. It’s not long before the expedition takes a turn and everybody dies. Old mate is absolutely aghast when it’s his turn.

We really hurt some amps for this one. We had them cranked with as much low end as we could wind-in. We were doing it in rehearsal and they sounded like they would blow. Once we got them in the isolation booth and cranked them, they did. Was an expensive and inconvenient riff. But it was all in the name of a-path-y. Nice to return the favour, even if it is in one of our silly little stories.”

“Rayguns”
“One of the great drumming performances. Those sizzling hats!! Stunning Stevie Carter, gunning for the greater good. Thoughtful, precise and magnificently brutal. The bedrock for the most enjoyable Peep Tempel song yet. (In my opinion.)”

“Constable”
“The earliest incarnation of this song sounded like the end of our career. Originally titled ‘Ageing Gracefully.’ It was as though the Chilli Peppers had infiltrated our collective psyche. Steve was playing a ‘dad funk’ beat. Stew had found a bass hook with a terrifyingly disproportionate skill to substance ratio, and reinforced its existence at the end of every bar. I felt I had no choice but to rap over it. All our friends loved it. Which was the worst possible result. We discussed disbanding, and spent the following months drinking heavily at rehearsal instead of actually practising. It was during this period that we wrote the rest of the album. For some reason we gave “Constable” another go. After some uncomfortably curt discussions about the importance of a team first philosophy, we ditched the individualistic instrumentation, added a corrupt police officer, an old diesel engine, some galahs and an organ. Desert dreaming.”

“Don’t Race”
“Fast. ‘From Bruce Rock to Beijing’ is one of the more enjoyable lines on the album. (Bruce Rock is a small farming community in Western Australia’s Wheatbelt) This one is an angry little thing. Nothing ground breaking, a solid three star effort and a ripping cardio workout, There is an unfortunate ‘Cat’s in the Cradle’ type bit in the breakdown. But all in all, solid.”

“Neuroplasticity”
“Stewart Rayner ladies and gentlemen, the ace of bass. Disco music is important. As is one’s capacity for change. The fact that Stew was wearing a Dead Moon tee when he wrote this bass riff highlights the ever-increasing possibility that we humans can redirect neural pathways. The studies into the plasticity of the human brain are absolutely fascinating. Reparation of trauma (physical or emotional), the bolstering of the brain’s core capabilities, the reversal of the aging of the brain! Rewire that Neurological Positioning System people. Destination? Joy.”

“Alexander”
“It wouldn’t be a Peep Tempel record without an epic wank. It’s a repetitive riff with some nothing lyrics about someone wanting to talk to a guy called Alexander. It’s got some really cool gang backups and an epic ending. Spectacular.”

“Go Slow”
“I was fishing in Phnom Penh and went into a bait shop to get some burley. The clerk was dressed in drag. We got chatting about fishing and music. We headed up the main street together. My new friend started playing the Shepparton Airplane album on his ghetto blaster. It was remarkable. I began to weep. Just then my dear friend Tony pulled up in a Ford Cortina. He announced excitedly that the mixes were ready. I jumped in and was enveloped by the most amazing music I’d ever heard. It was all synths, massive walls of synth. It had this amazing bass line chugging through it that just tore me apart. I woke up and recorded a version as close to what I could remember. I took it to the day’s rehearsal and somehow we ended up with this. It’s not what I dreamed. But what is?”

“Brains”
“This one is a heavy swill — an oily and claustrophobic acknowledgement of sadness. Musically, it swims in itself. We got this one drunk for days, and then we gave it a megaphone. We had two alternate drop-down parts and decided we’d just go with both and turn it into an epic. It’s the misery that just keeps on giving.”

JOY – ” Captured “

Posted: February 16, 2016 in MUSIC
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‘Captured’ is the first single from Brisbane based JOY. The brainchild of 17 year old alternative artist and producer Olivia McCarthy. JOY. is the project of 18 year old Producer/Singer Olivia McCarthy. JOY. burst onto the scene with her debut single ‘Captured’ – previously having only uploaded a cover she recorded on her phone, the track amassed an impressive amount of attention from top blogs and radio stations the world over. School student by day, beatmaker by night JOY. has spent the months since working on new material – rubbing shoulders with local industry heavyweights The Kite String Tangle, Basenji, Cosmo’s Midnight, and most recently Peking Duk as part of their ‘Like A Version’ for the opening of Aus Music Month on triple j. JOY.’s attention now turns to the live frontier, a multi-instrumentalist JOY.’s one woman band is bound to give you goosebumps.

Out of all the songs on Joy, Departed, “Nolsey” captures the Sorority Noise best. Over some Weezer-style guitar chugging and straight-up rock flourishes, we hear Cameron Boucher yearn for happiness and love. It’s like a much drearier version of “Perfect Situation.” Sorority Noise’s ability to rock out like this allows them to mask depression in a wave of catharsis. That’s the magic (if you want to call it that) of Sorority Noise.

Sarah Howells and Richard Llewellyn make up the brilliant British duo Paper Aeroplanes thier previous album Little Letters is followed by the good news is that Sarah and Richard are preparing to release their third full length album called “JOY” which, combining their folk stylings with more electronic and pop elements, brings a more optimistic tone after a series of albums full of self-confessed “break-up songs”. We have the pleasure of premiering their video for “Good Love Lives”

“I’d basically had enough of feeling a bit sad, frustrated and dissatisfied, says singer Sarah, and wanted to change all of that. During the process of trying to learn that elusive skill of being happy, these songs emerged.  This album is about the light that is revealed after a period of darkness. It’s about love that lasts and the blue that is always behind the clouds, the calm that is underneath the panic in your stomach.”

“This was the first time we’d worked closely with a producer and not arranged all of the music ourselves. Mason Neely (Cerys Matthews, Lambchop, Colorama, Sufjan Stevens) was deeply involved in the making of the album, almost like a third band member which was exciting because it provided a whole new bank of ideas and skills. We found ourselves trying quite different instrumentation and moving into new territories but we hope the essence of our sound endures.” The band are coming to the Nottingham contemporary in May 2015. (more…)