Posts Tagged ‘Kanine Records’

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Garden Centre are both subtle and not-at-all subtle. Their sound is led by chief singer/songwriter Max Levy, whose voice sounds like Wand’s Cory Hanson if he inhaled a ton of helium and lived in a mushroom-shaped dwelling from a children’s book. Levy’s high-pitched vocals might be off-putting at first, but it doesn’t take long to warm up to them, especially when they pair so well with his fantastical lyrics and off-kilter instrumentals. Garden Centre released their latest album, A Moon for Digging, last year on Brooklyn’s Kanine Records, and its leisurely, oddball pop songs à la Daniel Johnston are heartwarming at the very least, and at most: an absolute emotional tidal wave.

From the album “A Moon for Digging”

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For the past few years, London four-piece Honey Lung have quietly been making some of the most satisfyingly melodic guitar music available. The band recently signed to Big Scary Monsters (American Football, Beach Slang) for the release of a forthcoming EP, the follow-up to their singles and demos collection, Memory, which landed on the list of best EPs of 2019. There’s something vaguely classic and deeply meaningful about their lo-fi rock songs. File Honey Lung under heartfelt, yearning lyrics and eccentric, dynamic instrumentals.

Led by singer/guitarist/songwriter Jamie Batten, Honey Lung’s sound pulls from ’90s indie rock, alt-rock and shoegaze and puts equal emphasis on melody and hooks and wild guitar squalls. Honey Lung released their debut album, Memory, via Kanine Records last year and recently returned with new single “Nothing”:

Honey Lung are: Jamie Batten, Harry Chambers, David Sherry, Omri Covo.


Listening to Weeping Icon’s debut album is too enter a dim catacomb of psychical catharsis. Urgent yet calculated riffs rip through a thunderous pummel of percussion, with a blend of punk and psychedelic drumming which carries the songs with an atmosphere of organized chaos. Lyrically they are both serious and sarcastic, trading off vocalists to confront issues central to a generation, dosing listeners with the controlled sense of horror and humour like flavors in a dish.The band’s debut record “Weeping Icon” is a collection of 7 songs that archive the metamorphosis into heavier and more provocative territories.

In keeping with their live performance’s, a sequence of dystopian sound interludes complete the album, serving as guided meditations between the candid subversive fury of the main tracks. Recorded and mixed by Uniform’s Ben Greenberg and mastered by Jonathan Schenke in New York City.

Weeping Icon’s self-titled debut album, out now on Fire Talk and Kanine Records, is a chilling adrenaline rush. It’s the kind of record that will make you run faster out of fear. Their gothic psych-punk is a noisy, dark tunnel, and the only way you can get out is by riding their wave of pummeling rock ‘n’ roll.

It’s an undeniably underground record, and this trio’s maniacal cacophonies will appeal to those on the fringes, but all the better given that New York City has more than enough outsiders.

Weeping Icon’s debut self titled album on Fire Talk Records.

The late 80’s and early 90’s were a huge influence for many new artists. But when they cite sounds from great artists like Johnny Marr, Cocteau Twins, The Cure, and the Beach Boys, you know they are on track to something great. Combining up-beat drum beats, melodic bass riffs, jingly guitar leads, and fluttery lighter-than-air vocals, Tallies gives out a soft, yet bouncy ray of sunshine not unlike The Sundays’ debut album Reading, Writing, and Arithmetic. Tallies bridges that long lost sound with yet a new and youthful take on something all their own.

Coming out of Toronto, this indie pop band recently formed this year by lead singer and guitarist Sarah Cogan and guitarist Dylan Franklin. With Cian O’Neill on drums and Stephen Pitman on bass they release their debut album via Kanine Records and Fear of Missing Out.

Jingly, jangly, and memorable, Tallies hit the mark and leave a lasting impression with their debut album.


Band Members
Guitar/Vocals: Sarah Cogan
Guitar: Dylan Frankland
Bass: Patrick McCormack
Drums: Cian O’Neill
debut album from Toronto, Canada’s Indie pop. Memphis Industries Records.
released January 11, 2019

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London quartet Honey Lung are one of the most promising bands of the past few years, and their recent vinyl-only EP, Memory, released on Brooklyn’s Kanine Records, is further evidence of their striking melodic intuition and incredibly moving woe. The eight-track EP, which was recorded with help from Yuck’s Max Bloom, consists of four singles and four demos that range from dejected lo-fi sketches to some of the most satisfying hook-driven rock tracks of 2019. Young adult depression, self-deprecation and the undying need for companionship fill the lines of Memory, and though post-night-out exhilaration and downcast, sleepless nights are what largely characterize this EP, Jamie Batten’s compassionate vocals and invigorating melodies are restorative. Honey Lung made their U.S. live debut at this year’s SXSW, where they also recorded an exclusive session for the blog Paste, performing two songs from Memory and an unreleased track. Following their EP, they released a new single and their best track to date, “Nothing,” which marries the off-kilter flourishes of their demos with the fierce catchiness of their singles.

Things are looking very bright for Honey Lung in 2020.

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London four-piece Honey Lung have consistently churned out hyper-melodic rock with heart and bite, and it’s not a stretch to say they’re writing fiery, tender rock better than any young band out there today. Memory, their recent 12-inch release via Brooklyn’s Kanine Records, consists of eight well-crafted songs—half of them singles and half demos—each with mind-bogglingly dynamic hooks and punchy riffs.

Honey Lung was coined upon a hazy writing session at Jamie’s house as they were listening to Jesus & The Mary Chain ‘Just Like Honey’. You’ll hear a lot of 90’s grunge, shoegaze, and alternative rock influence (Radiohead, The Smashing Pumpkins and Dinosaur Jr) in their sound as the band got into this style of music though hearing it in their parents cars. Like many young new bands, the 90’s spoke to them as it was a time they didn’t really remember, but felt a connection to.


With a do-it-yourself attitude Honey Lung wll do things on their own terms often creating to their own desires and interests. Drawing influence from Car Seat Headrest, Sparklehorse, Elliot Smith and The Brian Jonestown Massacre, the band used their charity shop guitars and a modest home recording set-up to create songs. Memory is a collection of singles, and their first ever vinyl release out on Kanine Records February 1st, 2019.

Renowned songwriter, known for his main band and then you suddenly write a song that just doesn’t belong? It happened recently to The Natvral, aka Kip Berman from The Pains Of Being Pure At Heart, “I opened my mouth one day and heard a different voice. It was mine, but unfamiliar. I didn’t know – and still don’t know – where it’ll take me, but I’m going to follow it.” So far it’s taken Kip to his debut EP as The Natvral, Know Me More, and this week he’s shared a new video to stand-out track,”Home”.

“Home” is undeniably a different beast to Kip’s other band, it’s pretty much stripped bare, just a strummed electric guitar and Kip’s vocal, which as he himself noted sounds like an almost entirely different person. Lyrically, Kip has suggested the track is, “a reflection on the relationship that began seventeen years ago as a tumultuous and short-lived romance, and grew into a marriage with two children.” Passionate, minimal, raw and honest, The Natvral is a stunning re-invention of Kip Berman’s songwriting, and whisper it, might actually be even better than The Pains Of Being Pure At Heart.

Know Me More is out now via Kanine Records. released October 5th 2018

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“I went to the moon, I saw your head up in the clouds, What could I do?” is such a great opening line from this swoon-worthy NYC trio. Back in January we had the pleasure of sharing the premiere of Wooing’s “In Colour” video, a song taken from their debut EP, Daydream Time Machinereissued at the start of the year via Ba Da Bing Records. The New York trio will bookend with 2018 with the release of The Clouds, a new 7″ due out next month on Kanine Records. The single’s a-side “Could Have Been” is another great psych pop song, led by Rachel Trachtenburg’s breathy vocals and visionary lyrics. Working itself into a claustrophobic space, Wooing dig into brightened pockets of layered melodies and dense textural effects that rest between haunting tension and soaring above the clouds. Trachtenburg sings “once I came back down to planet Earth” creating an inescapable feeling of an alien presence, and we’re ready for the invasion. Ultimately the song deals with relationships lost as we’re left with the repeated “you could have been dear to me.”

Wooing offer hauntingly beautiful vocals backed by echoing guitars: the urgency of underground 90s rock (i.e. Helium, Quasi) meets the psychedelic Syd Barrett sounds of the 60s.

From the forthcoming 7″ The Clouds on Kanine Records,

Rachel Trachtenburg -Guitar & Vocals
Rosie Slater -Drums
JR Thomason -Guitar

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Model, solo artist and singer, Rachel Trachtenburg, has been performing live since the age of just 6. Originally with The Trachtenburg Family Slideshow Players, best known for that song about Eggs, and then in Supercute!, her music has always felt on the verge of a breakthrough. Perhaps that will come with her latest project Wooing, who have this week shared one half of their new 7″ single, Could Have Been.

Could Have Been is the first track that Wooing have worked on collaboratively, guitarist JR Thomason, and drummer Rosie Slater contributing to what is their most exciting single to date. Could Have Been is a track of beautiful contrasts; there’s an intensity to the insistent guitar line and pounding tom-heavy rhythms, that perfectly juxtaposes the lightness of the vocals and the swirling, hazy quality of the production. It’s a trick equally matched in Rachel’s vocal, one second it’s bassy and mellow, the next it leaps to yelped shrieks, as she dissects, “the disappointment of shallow friendships and the need to move on from them”. It’s a song as good as their band name, and where Wooing are concerned, consider us completely wooed.

The Clouds 7″ is out November 9th via Kanine Records.

Beverly the duo of Drew Citron ( The Pains of Being Pure at Heart, Frankie Rose) and Scott Rosenthal, latest album, The Blue Swell. they’ve shared a video for the track “South Collins.” Directed and edited by Pitchfork the clip mingles shots of vast woodlands with footage of an eerie bar—which becomes “a wild and progressively sinister party,” according to Citron. Read her description below, and scroll down to watch the video.

I originally wrote the song “South Collins” as a noir film script, the music and lyrics describe a murder at an art deco hotel. One weekend after a friend’s wedding in the Catskills, I came across The Colonial Inn, and it was the perfect setting to film the video. It’s a 150 house replete with 150 years worth of taxidermy and tchotchkes. The place definitely had a surreal and creepy vibe, and the owner Steve was amazing. He has a friendly relationship with a brown bear named Baby, who comes into the hotel occasionally to eat leftovers, much to the dismay of the neighbors and wildlife protection service… Steve was totally down to let me and 20 of my friends take over the hotel for a weekend, and we ended up casting him as the older bartender.
The idea behind the video is that I walk into a hotel, and the sight of me triggers the bartender’s flashbacks to a nightclub singer he met decades before at the same hotel. A wild and progressively sinister party ensues. Years later he is still haunted by it – what happened that night? Director Jim Larson created the perfect look of an eerie “Twin Peaks” Shining-like world, without getting too overtly into ghost stories and the supernatural.

South Collins is from the Beverly album The Blue Swell.