Los Angeles hard-working heavy-metalloids Hooveriii might have more in common with Simply Saucer than Sabbath, but that just means they really know how to make a riff into a revelation—especially if they’re using their synthesizer. Last year’s self-titled album was as much space exploration as space rock, and now they’re making contact again with the cheerfully cosmic new “Fathom” single.
B-side “I Dream Of Mark Lee” is like one of those heartwarming Michael Rother autobahn instrumentals with an injection of Pink Fairies/Hawkwind/Larry Wallis guitar nitro. Or, says Hooveriii mainmind Bert Hoover, it’s like “instrumental Peter Green meets Neu!-like chugging jam filled with soaring guitar. A dancing number for the good times! Dedicated to our good friend, Eel Kram, who is warm in our hearts.”
Following up their excellent album of space-sliced psych from last year, L.A.’s Hoover III return with a new single on French enclave Six Tonnes De Chair. Starting with a riff that scratches the ol’ runes of Sabbath in the sand, the band proceeds to drive the track in a lighter direction, welding the heavy guitar chug to echo-dripped harmonies. The track doesn’t just troll for grooves, though. As they arc into the second half the band stomp boxes the warp drive and takes “Fathom” through a few layers of cosmos. Hoover III have been working a particularly potent strain of Space Rock in their first couple of releases, and if this new single is an indicator of where they’re headed, then the next LP threatens to be one to watch out for. In the meantime, this is a good reminder to shake the earthly tether once in a while.
The Los Angeles singer/songwriter Christian Lee Hutson has shared a new single, “Northsiders,” taken from his forthcoming, currently untitled album. The LP was produced by none other than Phoebe Bridgers, a frequent collaborator of Hutson’s. “Northsiders” features Hutson’s kindhearted vocal melodies, light acoustic guitar plucks and rousing strings that linger in the background. In his lyrics, Hutson masterfully mixes witty, dark humor with observational sentimentality. Hutson began his musical career as a member of The Driftwood Singers, he is a current member of Jenny Lewis’s Band.
Lyrical highlights include “We were so pretentious then / Didn’t trust the government / Said that we were communists / And thought that we invented it,” “Tried cocaine at my cousin’s house / I’m probably addicted now” and “Morrissey apologists / Amateur psychologists / Serial monogamists / We went to different colleges.” Underlying all the droll comedy is a sobering reality—the kind of realization that makes you pull over your car to shed a few tears before pulling yourself back together (“Nothing’s going to change it now”). Hutson is the kind of songwriter that you’ll want to root for—painfully relatable lyrics, comforting melodies and a sharp-witted personality that money can’t buy
“Dreaming The Dark”; the long anticipated follow up to 2017’s “Cranekiss” isn’t exactly what I thought it would be, but that might be a good thing. Tamaryn has continued to change her sound throughout her career, exploring new territory as she goes; which has made her an artist to stay connected with and to watch. I tend to get bored with artists who don’t somehow grow and change. Some listeners want that “standard” band sound, but I appreciate never quite knowing what to expect.
This album is even more firmly synthpop than “Cranekiss” was; which teetered on the genre as well as dreampop. There are still many dreamy elements presents in “Dreaming The Dark” but it has an overall more 80’s throwback and dance vibe. This album also seems much more personal, delving into Tamaryn’s psyche with different topics for each song. “Cranekiss” seemed to be a sexy, romantic album overall; at times seeming like a very steamy love letter. “Dreaming The Dark” covers more territory and is done in a very calculated way, making those different threads still weave themselves into a cohesive complete set; a solid album in it’s entirety.
The early released singles, “Fits of Rage” and “Angels of Sweat” seem to have lots of nods to strong female indie rock vocalists who came before. I got impressions of Tori Amos, Kate Bush, and even Bjork upon listening, given the certain ways in which Tamaryn chose to deliver her vocals. Regardless of if you hear those echoes or not, there is a fierceness and tenacity that has not been as present in Tamaryn’s prior work. There are some great collaborative moments here as well, as The Horrors worked with her on “Path to Love”; as well as provided a remix to that song, and Jorge Elbrecht is still very much involved and helped to produce the album.
Other stand-out tracks include “You’re Adored” which Tamaryn shared via her Instagram page is an ode to her beloved dog, Tennessee; who had been struggling with cancer and sadly now has passed away. It’s a forelorn lovesong asking someone to stay when you know that they are fading away. The closing title track also stands strong and is the perfect summary of “Dreaming The Dark” as a whole.
As I mentioned above, this album wasn’t exactly what I thought it would be, and upon initial listening, didn’t strike me a hard as “Cranekiss” did. However, I am finding the more time I spent listening, the more I appreciate it and it’s absolutely growing on me. Maybe I’m not quite ready to move away from those beautiful, yet frivolous love songs and dig a little deeper.
A swirly cocktail of new wave and dreampop. Tamaryn’s new album pushes her into the kinds of territory I’d like to hear more artists exploring. A perfect album to kick off spring! Love the New Wave vibe it’s got. Catchy songs, crafty songwriting with hypnotic vocals.
After becoming enmeshed in the Los Angeles underground scene after 2013’s The End of Comedy, Raw Honey (Michael Collins second album as Drugdealer) sees Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.
Raw Honey features contributions of Josh Da Costa (drums), Jackson MacIntosh (guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself.
This one is particularly meaningful to me, and maybe touches on some complicated, but real themes between people. I wanted to lay out a ballad dedicated to the treacherously emotional, ‘in your feelings’ weirdos that can’t turn it off. No one better to vocalize this type of heart on your sleeve stuff than Natalie, who’s voice has brought me to tears more than anyone I know – and thankful to incredible harmonies by Michael and Brian of The Lemon Twigs
Drugdealer – “Honey” from the new album ‘Raw Honey’, out April 19th on Mexican Summer.
Drugdealer – “Fools” from the new album ‘Raw Honey’, out April 19th on Mexican Summer.
Produced by Gregg Foreman (Cat Power, Delta 72). L.A. Witch’s eponymous debut album tapped into the allure of warm nights on the West Coast while hinting at the loneliness and lawlessness of living on the periphery of a country founded on a dark past. The three-piece composed of Sade Sanchez, Irita Pai, and Ellie English culled sounds from the outlaws of warmer climes, whether it was 13th Floor Elevators’ lysergic rock n’ roll or the cool hand fatalism by The Doors on songs like The End. It’s an album transmitting subdued revelry while also smirking at the inevitable consequences of the night.
There is no better season for these kinds of songs than the autumn, when the promises of summer have abated and the nights of reckoning grow longer. L.A. Witch seized the moment by revisiting some of their early tracks and reshaping them into Octubre, a five-song EP that delves deeper into their darker side.
With only two EPs and some stray singles, grungy LA four-piece Goon have garnered a devoted fanbase and compelling sound. They released Happy Omen back in 2017, following their debut EP Dusk Of Punk the previous year. Goon have now shared a new single, “Datura” and a glitched out, saturated Vinyl Williams-directed music video.
“Datura” is heavier than Goon’s classic ’90s-indebted rock, but preserves their lo-fi fuzz. “This song isn’t really about any one thing. It touches a lot of different weird ideas,” singer and guitarist Kenny Becker says in a statement.
The original melodic idea for the song was just to make a tune that had a chorus with a bass line that revolved around three notes, only half-steps apart. The rest of the song moves around quite a bit and I’ve always really liked that contrast.
I wanted to have the chorus never use any repeating phrases, which led to stream-of-consciousness style lyrics. Because of that, this song isn’t really about any one thing. It touches a lot of different weird ideas. Like datura flowers that grew in the canyon near the house that I grew up in, or questioning the effectiveness of praying for god to take away stomach pain of an old friend.
“The original melodic idea for the song was just to make a tune that had a chorus with a bass line that revolved around three notes, only half-steps apart. The rest of the song moves around quite a bit and I’ve always really liked that contrast.
I wanted to have the chorus never use any repeating phrases, which led to sorta stream-of-consciousness style lyrics. Because of that, this song isn’t really about any one thing. It sorta touches a lot of different weird ideas. Like datura flowers that grew in the canyon near the house that I grew up in, or questioning the effectiveness of praying for god to take away stomach pain of an old friend.”
Best news I’ve come across for a long time! Triptides are issuing their brilliant Colors EP for the first time on vinyl (Originally released in 2014 on digital/cassette), The band has teamed up with one of the most exciting labels around for some very limited and completely mindboggling custom Vinyl variants.
I’ve said it before, I’ll say it again; Triptides are truly some of the finest purveyors of sunny psych sounds around! Reverbed licks and hazy vocals, snappy drums and groovy basslines, all perfectly arranged into psyched up pop-pearls that lifts your spirits and sticks that smile right on your face. Their sounds are instantly catchy and easygoing, and at the same time inhabits those small melodic variations in the arrangements that enriches their tunes through repeated listening. Goddamn how much I love this bunch..
While their whole catalogue (counting 7 album + numerous Eps and singles) is a total bliss, this EP contains some of Triptides’ finest moments. Be sure to check it out underneath, 6 sweet’n salty treats to leave you in the sun gazed haze of a lazy sunday afternoon!, A miraculous EP with great songwriting and solid pop craftsmanship, probably my favorite by Triptides. “Destiny” is the kind of song that sticks in your head for days and days…
Melbourne’s own Salty Dog Records always takes pride in coming up with the sickest custom variants, and the Brunswick East based one-man operation has really set the bar high with this release.
Rosie Tucker’s songs can be wry and funny, but they’re always sincere, with a gift for metaphor and a clear understanding of just how precarious life can be. Tucker examines the aftermath of a painful loss in “Lauren,” interrogates a hard-wired tendency to stay quiet in “Habit” and paints a loving everyday portrait of crucial safe spaces in “Gay Bar,” which closes with a pointedly chosen Dusty Springfield sample.
Goodness, this one came out of nowhere and absolutely punched me right in the face. There’s something so engrossing about those moments when everything cuts out and Rosie starts rattling off her pointed observations, memories and/or grievances with old loves that won’t die (and maybe never fully will, honestly). They are my favorite moments in a song so far in 2019.
If I were Wolfy I’d know how to deliver a disarmingly funny & deceptively heartfelt thank you in ten words or less. Given that I’m stuck being myself, bear with … thank you to Wolfy for being objectively good at art, to Jessica Reed for being one take wonderful, to Anna Arboles for being the Tegan to my Sara and the Brandi to my Carlile. Greg Katz, thank you for insisting that these songs are worth the work. This album wouldn’t have reason to exist without listeners like you. -Ro
Written and performed by Rosie Tucker
Produced by Wolfy
Guitars by Anna Arboles
Drums by Jessica Reed
Texas singer-songwriter Hannah Read is the creative force at the heart of lo-fi folk project Lomelda, who released their third album Thx last year.
My new album ’M for Empathy’ is mostly things said or shoulda said, heard or shoulda. Much of it, and it’s just a lil, came to me, or outta me, outta a deepening silence. Something you can hear a lot of I hope. It let me voice again. It also let me not, and only sing as much as I wanted, which is important too. Making peace with the word in me, just a lil, all my might.
xo, Hannah
The Fat Angel Sings 