Posts Tagged ‘Los Angeles’

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Girlpool have shared “Hire,” their first single off their newly announced forthcoming album What Chaos Is Imaginary, due out February. 1st, 2019, on ANTI- Records.

“Hire” follows the pair of songs Girlpool released earlier this year, “Lucy’s” and “Where You Sink.” While “Hire” is a more rollicking ride, it shares a tenderness with those previous releases. The central revelation of all of these songs is co-vocalist Cleo Tucker’s voice—Tucker transitioned after the band’s last album, and their voice is now a hearty, wounded baritone. The band’s signature harmonies feel weightier, Tucker’s vocals landing with heft while Harmony Tividad’s ethereal coos swirl overhead.

“Hire” finds Tucker maxing out their dynamic range, slowly raising the stakes from hop-along valleys of groove to scorching peaks of winding screams. The possibilities raised by the band’s new vocal dynamics are far-reaching, and “Hire” is a bracing proof of concept.

Listen to “Hire” The band will be touring with Hatchie in 2019


“Hire” by Girlpool from the album ‘What Chaos Is Imaginary,’ available February 1st


MOMMA – ” Interloper “

Posted: November 1, 2018 in ALBUMS, MUSIC
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Los Angeles‘ Momma is the project of two life-long friends, navigating their way through high school (yep, they are that young) in exceptionally surreal vignettes on their debut album, Interloper. Songs like “Caterpillar” take a sparse melody and use it to imagine life as a confident bug with no vertebrae, while the relatively grungy warble of “Belong On The Bed” is built on self empowerment and washing machine metaphors. The entire album highlights the duo’s songwriting with bare compositions that rip just a little too much to call bedroom pop, and for that we’re thankful. Their songs are full of harmony (“Sidewalk”), bent pop (“Pipe Thing”), and dreamy indie rock (“Work”), making Interloper a truly impressive debut from a young band we hope to be hearing about for years to come.


Released May 25th, 2018

all songs written by Etta Friedman & Allegra Weingarten

For her third album Quiet Signs, Jessica Pratt offers up nine spare, beautiful & mysterious songs that feel like the culmination of her work to date. “Fare Thee Well” and “Poly Blue” retain glimmers of On Your Own Love Again’s hazy day spells, but delicate arrangements for piano, flute, organ and strings instill a lush, chamber pop vim. The record’s B-side, meanwhile, glows with an arresting late-night clarity; the first single, “This Time Around,” pairs the Los Angeles artist’s intimate vulnerability with a newfound resolve. Ultimately, this confidence is what sets Quiet Signs apart from Pratt’s previous work, the journey of an artist stepping out of the darkened wings to take her place as one of this generation’s preeminent songwriters.
Releases February 8th, 2019

Jessica Pratt“This Time Around” from the new album ‘Quiet Signs’ Released by Mexican Summer and City Slang Records.

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After releasing two EP’s—2015’s Strange Darling and 2017’s Give It To Me Los Angeles singer-songwriter Miya Folick has shared her debut album in the form of the starkly titled Premonitions, which is characterized by her jaw-dropping vocal range. Her larger than life vocals derive, in part, from her classical training, but she also has the kind of pipes that just don’t seem teachable. On songs like “Stock Image” and “Thingamajig,” she exhibits an otherworldly, operatic beauty, while on “Freak Out” and “Cost Your Love,” there’s a bouncy, sugary and simple joy marked by frenetic synths, grounding guitars and spry percussion. Even the largest songs have a clear sense of intimacy while introspective tracks like “Baby Girl” and “What We’ve Made” are distinctly grand. A lyric from “What We’ve Made” is a perfect metaphor for the album. She sings, “We make tiny happinesses in each moment,” which is exactly what this record feels like.

She handcrafts everyday situations into something angelic yet relatable and celebratory yet poignant. Her appeal extends well beyond the realms of pop as there’s a distinct, developed lyrical voice and a dynamic, extraordinary literal voice that makes 2018 feel much less scary and isolating and much more pure and magical.

Premonitions, the new album, is available now:

Sufjan Stevens and Angelo De Augustine performing “Time”

Angelo De Augustin burst onto the scene at the back end of last year with his excellent second album, Swim Inside The Moon, a charmingly lo-fi record that was quite literally recorded in a bathtub. This week Angelo has announced details of his upcoming third album, Tomb, released again on Sufjan Stevens’ Asthmatic Kitty Records, as well as sharing the first single from it, Time.

Tomb is the first time Angelo has worked in a proper studio, collaborating with renowned producer, Thomas Bartlett aka Doveman, and listening to Time, it seems to suit him. Time loses none of the gorgeous simplicity and minimalism of Angelo’s previous work, but in Thomas Bartlett’s hands this sounds lusher and more ambitious than ever before. Described by Angelo as, “a lovelorn examination of heartbreak and moving on”, the addition of muted piano, gentle electronics, and even whistling (!) all just work to highlight his enviable songwriting instinct.

Equally good as the recorded version is live version, where Sufjan Stevens joins Angelo on Grand Piano. An album about heartbreak that ends up as a prayer for love, Angelo might sound broken, but he’s still dreaming, still open, still ready for love. the live version of his new track “Time” with Sufjan Stevens on piano. Watch their performance live from Manhattan’s Reservoir Studios

Out January 18th via Asthmatic Kitty.  From the album “Tomb,”

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The first track to come from forthcoming LP ‘Almost Free’, ‘Can’t You See’ finds FIDLAR nixing the old tricks of short, bratty punk bursts in favour of a more subtle new angle. Over repeated, pulsing guitars, singer Zac Carper’s verse vocals are given an almost psych-y twist – shut one eye and you might think they’ve roped in our old pal Kevin Parker for a guest spot. The bridge, meanwhile, is more trad Zac; the cumulative effect is almost like he’s singing a duet with himself.

Far more reigned in than the grubby skate kids we were first introduced to way back when, ‘Can’t You See’ still has elements that are recognisably the sound of Fidlar but there’s a more restrained swagger here that suits them. Rather than a chaotic explosion of hedonism, Zac and co might be converts to the less is more approach.

Band Members
Zac, Elvis, Brandon, Max

From the new album Almost Free out January 25th, 2019. Pre-order available now at

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Girlpool full-band transformation has illuminated its raw sound in deep and unexpected ways, as heard on last year’s Powerplant. In addition to “Picturesong” — a one-off single with Blood-Orange” Dev Hynes Harmony Tividad and Cleo Tucker have continued to explore different textures in self-released solo recordings, which provide clues for a pair of new Girlpool songs out now.

“Where You Sink” first appeared on Tividad’s Oove Is Rare as a quiet acoustic track, but here gets transformed into dream-pop at a clop-along drum-machine beat. The song coos sweetly as it puzzles over human desire. Tividad writes in a press release:

“Where You Sink” explores our fixations on characters in our lives and the projections we create. It explores our natural human desire to be made special by another. I wrote it when I found myself looking at one person from various angles (emotionally); I found them to be beautiful in toxic but charismatic ways. It’s about loving someone who you don’t really have the chance to get to know fully because their time is spent trying to get out of their head, further from reality. It explores the complications of trying to get close to someone who ultimately wants to be far from themselves.”

“Lucy’s,” likewise, also appeared on a solo recording — now deleted — from Cleo Tucker. Girlpool’s version turns inward with big, jagged, Polvo-style guitar chords as Tucker ponders “stubborn feelings from a past relationship”

I wrote “Lucy’s” a couple of years ago to sort through some droning thoughts about hope, distraction and love. “I swear I’ll be all right / Although (you) are in the sky,” continues to resonate. These lyrics distinguish a time when my partner would check out from our relationship. I reassured myself that even when they were not present, and I was, that I would be all right. I was hopeful that my partner would find resolve from their struggles, which stifled their capacity to provide the kind of care and attention that I needed. I practiced nurture, and I hoped that they would find the ambition that I saw in them.

Girlpool is an indie rock band from Los Angeles, California. Its members are Cleo Tucker (guitar, vocals) and Harmony Tividad (bass, vocals). Their self-titled debut EP was posted on their Bandcamp account in 2014, and re-released on Wichita Recordings later that year. The band released its debut album, Before the World Was Big, in 2015, also on Wichita Recordings. Their second album, Powerplant, was released in 2017, via Anti- Records. They added a drummer, Miles Wintner, on their Powerplant album.

On Avery Island is the debut and penultimate studio album by American indie rock band Neutral Milk Hotel. It was released on March 26th, 1996 by Merge Records. “On Avery Island”, is an inscrutable concept album, a chronicle of an insular world told in a remarkably universal language. A fuzzy masterpiece of experimental lo-fi recording, the album wraps its ragged pop songs in ribbons of loops, marching-band squawks, and Casio noodling; the opener, “Song Against Sex,” is as much a manifesto as a kickoff, a self-propelled marvel hopped up on rapid-fire wordplay and a stunningly ramshackle melody punctuated by bloated trombone moans. Throughout the record, Jeff Mangum’s wheels threaten to fly off at any time — his songs are cryptic and crazed, his ideas fast and furious, and together they force the home-recording concept out of the basement and into a brave new world.

Neutral Milk Hotel has its origins in the small town of Ruston, LA. Jeff Mangum has always been Neutral Milk Hotel’s central figure, and he’s used that moniker for everything from his own solo excursions to marching band-like musical happenings.



Los Angeles based Flat Worms – which includes members of Oh Sees, Kevin Morby’s band and Wet Illustrated  are releasing a new 7″ vinyl single, that has been produced by Ty Segall and finds them getting darker and weirder than on their excellent 2017 debut. We’ve got the premiere of the A-side, “The Apparition,” which gets into Fall/Protomartyr territory with sung/spoken vocals and a hard-hitting riff. The video paints a dystopian view of America though damaged black and white found footage.

The “Apparition” 7″ is out October 12th on Famous Class Records.

The new Flat Worms 7” comes out in just over a week and today The new video for The Apparition to help tide you over until that sweet sweet vinyl arrives. don’t forget to snag a copy of the green vinyl if you haven’t yet. Orders start shipping this week!

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

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.