Cherry Glazerr played an amazing set at Nottingham Dot to Dot Festival this year, that this concert was so insane and so much fun . If you were not there please check Cherry Glazerr out if you have’nt heard of them before! . a truly wonderful set . Celebrating the release of their third album earlier this year, despite the fact that lead-singer Clementine Creevy is only 19 she came crawling onto the stage on all fours you knew then this was going to be something a little bit special, Cherry Glazerr are from Los Angeles, they arrive on the cusp of something big. Musically, it’s all slightly grungy early-mid 90s riffs, female empowerment lyrics and youthful energy.
Their album “Apocalipstick” is one of the best albums of the year.
Built upon a foundation of strength and self-awareness, The Regrettes are here to let you know that it’s OK to be you. Lead by Lydia Night, and flanked by lifelong friends Genessa, Maxx, and Sage; the four-piece’s music possesses the Riot Grrrl spirit while also channeling bands like The Ronettes, Hole and The Crystals.
The Regrettes cut “Feel Your Feelings Fool” is their 2017 debut, just a few months after the band’s formation, bashing it out in a few quick sessions. Maybe that’s why this album seems so urgent: it gallops forward at a breakneck pace, the music recorded not long after it was written. Energy alone can make for a good album but, fortunately for The Regrettes who are led by Lydia Night, who has a way with a hook and a knack for song construction.Night relies on certain classic pop tropes — girl group choruses pepper the album, she celebrates garagey riffs, and “Picture Perfect” slides into a Salt’N Pepa tribute, this fondness for old-fashioned songwriting gives Feel Your Feelings Fool an understructure upon which The band thread feminism, sneering angst, and ecstasy. All these intertwined emotions give the album an emotional punch that complements its musical rush, a confluence of nervy energy .
The Regrettes—the new poster children for local teen garage rock.” and “The Regrettes rocked with a ferocity and penchant for hooks that schools most indie rockers twice their age. They will surely run an empire in ten years tops.”
This is the 2nd album by Black Needle Noise with our friends Zialand, Kendra Frost, Andrea Kerr, Jennie Vee, Mahsa Zargaran (Omniflux), Mimi Page, Ana Breton, Bill Leeb, Sivert Høyem and Dr Strangefryer
The brillant music of legendary artist-producer John Fryer is released under the moniker of BLACK NEEDLE NOISE with thealbum ‘Lost in Reflections’.
He is best known for producing and shaping the sound of Cocteau Twins, Depeche Mode, and numerous other artists from Mute Records, 4AD and Beggar’s Banquet and later on Nine Inch Nails, Love and Rockets, Cradle of Filth, and many more. But he is also known as 1 of 2 founders of 4AD legacy-group This Mortal Coil, together with Ivo Watts-Russell. This new album continues that legacy, with John Fryer teaming up with a series of brilliant vocalists for this collosal project.
This album arrives on the tail of news of John Fryer’s release with legendary David Lynch muse Chrysta Bell (also starring as Special Agent Tammy Preston in the new Twin Peaks series). They have paid “homage to the infinitely haunting and enduring music of Twin Peaks” in the form of a cover of ‘Falling’ by Julee Cruise, Angelo Badalamenti and David Lynch.
There’s an interesting mix going on with Los Angeles quartet The Black Watch. On the one hand their new single ‘Way Strange World’ starts out with a indie rock sound . On the other hand, their vocalist John Andrew Fredrick brings a gravity and intensity to thier sound.
As bouncy as the track gets, it never loses an essential depth that keeps the track on the earnest straight and narrow. This is mirrored in the music video, which with its sepia tone and faux Super 8 appearance creates a nostalgic and emotional counterpoint to the song.
Leading the band is the multi faceted and talented John Andrew Fredrick. Spending his time making music, writing books, working as a university English lecturer, playing tennis and painting, Fredrick is a real paragon of creativity. When I saw he writes books I don’t just mean for the laugh either. His new novel Your Caius Aquilla was released on April 11th and his first non-fiction title Fucking Innocent: The Early Films of Wes Anderson is set to be released on July 11th.
“The response to the new LP has been overwhelming, to say the least, especially considering we had quite modest expectations going in to the studio and a very casual approach to recording it,” notes John Andrew Fredrick. “I imagine its significance has to do with the astonishing guitar work of new lead guitarist Andy Creighton, and my incapability of stopping writing indie pop songs, despite the fact that all last year all I did was listen to classical!”
Los Angeles rockers Cherry Glazerr, are led by 19-year-old singer Clementine Creevy, the band signed to Secretly Canadian for the release of their latest albumApocalipstick. . Clem, a teen Queen with a headstrong resolve like her hero Patti Smith and a cartoon laugh like Muttley the dog, dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path. And yet, she carries herself very lightly. “This one’s going to be a flop!” she jokes, here to discuss the newly lined-up trio’s second album, Apocalipstick. It’s every bit as epic, funny, life-assuring, doom-defiant and flaming fire as that title sounds. Now bolstering Clem’s vision is the loud-in-every-way-possible drummer Tabor Allen and the level-headed but bad-ass, multi-instrumentalist Sasami Ashworth who plays synths and notably French Horn (Clem is still scheming on how to incorporate that into Cherry Glazerr’s sound). The first time the new trio all jammed together minds were blown. “My world was rocked,” recalls Clem. “I’d never played with someone who was technically that good before. It made me think, Man I gotta really step my shit up!”
The phenomenal Cherry Glazerr at Cheer Up Charlie’s in Austin on Saturday, March 18th, 2017
Cherry Glazerr signed to the fabled indie label Secretly Canadian, made up of singer/guitarist ClementineCreevy, multi-instrumentalist Sasami Ashworth, and drummer Tabor Allen—licked each other’s elbows, detailed the “Fibonacci sequence of snack games,” and told us about being a horn star, not a porn star. But the playful attitude belies its sleek new sound, like the recent singles “Told You I’d Be With The Guys” and “NurseRatched” that show off polished riffs, incisive lyrics, and urgent vocals miles ahead of the band’s garage rock origins. Like Hole updated for the Tumblr era, Cherry Glazerr are the grunge-pop darlings to soundtrack your war against the patriarchy.
Clementine Creevy has said Secretly Canadian is a great label with really cool music lovers and wonderful energy. They’ve allowed us to do what we want creatively so far and they loved our record. We wanted to have some variety and explore all musical pathways.
This second record was much more, I don’t want to sound like we know what the hell we’re doing, but slightly more sophisticated and focused and deliberate and exploratory.
Cherry Glazerr performing live in the KEXP studio. Recorded February 8th, 2017.
Songs:
Told You I’d Be With The Guys
Only Kid On The Block
Trick or Treat Dance Floor
Chewing Cud
With Untouchable, Kelly has raised the stakes even more than his previous album “Goes Missing”, now fully embracing some of the more outwardly power-pop sensibilities he’d hinted at in previous records.
Kelly has become synonymous with L.A. fuzz-punk contemporaries like Ty Segall and Mikal Cronin, and has played in projects with both men. What’s remarkable about Kelly, though, is his confidence in his voice, and it’s a primary focal point throughout Untouchable. Kelly’s vocals are amped up to the forefront, a move that makes for more memorable, hummable moments, as is evident right out of the gate on LP opener “Broken Record.” The song’s slow-burn guitar progression is just monotonous enough to invite Kelly’s meandering melodies to enchant the vibe, as he sings “I took to making circles round the world/every time I run through/I take to making circles round some girl/Like a broken record I hear myself put it in a tune.”
Continuing onto the fantastic “Real Enough to Believe,” Kelly homes in on a perfectly proportioned ‘60s pop format, fully welcoming the dreaded “derivative” song. Rather than being careful to avoid direct aural influences from his favorite styles of music, Kelly embraces the nuances of decades of rock ‘n’ roll and reinvents it in his own smorgasbord of cool. “Real Enough to Believe,” against all odds, rivals the brilliant standout track “Be What You Are” from Goes Missing, a feat that once seemed near-impossible.
Untouchable revels in a generally lo-fi mix that sits well with the record’s found-sound ambiance, in another nod to Kelly’s nomadic muses. “That’s When It’s Over” writhes in a mid-song homage to “Hey Joe,” with Kelly’s scintillating guitar solos saluting both Hendrix and the wormy noodling of the Dead. Perched in the thick of the album’s more thoughtful tunes, “That’s When It’s Over” is a juggernaut of energy that perfectly splits the record into two parts. The song’s breakneck riffing explodes with a full head of steam, chugging along atop motorik drums and Kelly crooning, hooting and hollering to a repeated refrain of “In the heart of her heart, she don’t care.”
In its more tender moments, Untouchable unloads heavier pseudo-ballads like the titletrack. With little more than a reverb-y acoustic guitar and a plunky bass backing, Kelly lets his gorgeous voice take even more of a central role, stripped of the blistering leads that permeate most of the album. “Will It To Be” follows suit near the end of the record, a twisted ballad that finds Kelly cooing “I’m holding back now/but I’m getting closer/I am pretending I don’t need to know or even care at all.” The song’s moody, Velvet Undergroundian darkness comes through despite its Fleetwood Mac facade, with rhythmic instruments set deep and foreboding under Kelly’s fluttering melodies.
The magic moments found on Untouchable speak to Kelly’s swaggering confidence—as if that weren’t perhaps alluded to enough in the album’s very title. As a result, the ambitiousness of his work seems increasingly more destined to join the canon of timeless pop from which The Cairo Gang’s songs find their roots.
The spiny tingle of excitement, the building anticipation of ritual! Chord progressions in the key of the heart! Star-crossed breakthroughs and guitars cross-talking with a bejeweled ennui throughout interrelationships .
Ok, so if you’ve got “Live” or even “Babylon by Bus” so, why do you have to purchase another live Bob Marley album? Just listen to a few seconds of the opening bass line to the first song “Trenchtown Rock” as i did, and as i did you will have to purchase the product inmediately. Don’t need to hear anymore. This is another great live album, perfect vocals, vibrant performances and fantastic sound ( !and its a 1976 recording!). The drum and bass from the BarretBrothers are outstanding ( listen with headphones ) and the songs are spectacular. Only the 24 minutes rendition of “Get up,stand up/No more trouble/War” worth the price of the record alone, but there are 12 other songs. So, this is as good as “Live” but longer, and much better than “Babylon by Bus”. If you like Bob Marley, you can’t go wrong with this one. This concert was originally broadcast live on the KMET radio station in Los Angeles. Because of the radio simulcast, this concert became widely bootlegged beginning in 1976.
Bob Marley and the Wailers“Live” was one of those seminal albums that I played to death when it came out. Then I came across a review of this album, so bought it, and have been blown away. Its easy to think that reggae is an easy music format to play, but it isn’t, and yet the Wailers make it sound like the easiest music form in the world. The opening is stunning, the rhythm section effortlessly dropping into a cool vibe – turn the bass up and listen to a true master at work.
And then there’s Marley himself, passionate, artful, giving a master class in singing with fire and bringing the crowd to a crescendo. This truly is a stunning album, with plenty of recognisable tracks from the earlier part of BobMarley’s career : Burning and Looting is terrific, Trenchtown Rock stunning, and I Shot the Sheriff steals the song back from Clapton.
The sound quality is excellent,turn it up and it feels like you are in the arena with them.The second disc shows what a great band they were with a 22 minute version of Get Up,War,No More Trouble all rolled into one.
It’s been a minute since we last heard from the Los Angeles-based Miya Folick, whose slow but steady stream of folk- and punk-infused releases have amounted to some well-deserved buzz and anticipation towards a full-length debut. You’ll have to keep being patient for that one, but in the meantime, Folick has put together the “Give it to Me” EP, its a follow up to the 2015 “Strange Darling” EP.
The new project Miya Folick’s first release on Terrible Records also takes a page from that decade, though here it’s a decidedly louder, more ruthless one, a la last year’s standalone releases like “Pet Body” and “God Is a Woman”—to say nothing of her and her band’s shredded-up live shows.
You know a song is great when you want to hear it again straight after your first listen, Miya Folick’s “TroubleAdjusting,” , is one of those songs, and that recall might have as much to do with its unhinged grunge hooks as with its subject matter .
“No underwear / I went to the laundromat / I just stood and stared / I’m sorry Mom / I’ve lived alone for so long / but I’m still having trouble adjusting,” she sings, her quiet anxiety unraveling into screams. “How am I to do it again / If I can’t recall how I was in the beginning?”
Here’s what Folick says about the new song and EP, due out later this summer:
“I was writing an album and realized there were a group of songs that didn’t seem to fit, but were also songs that I had been playing live with my band for a while,” she says. “I wanted a proper documentation of the particular sound and energy of our live show, to share but also for myself. My life has changed a lot in the last couple years and that has so much to do with these songs and the people who have been playing them with me. I didn’t even consider myself a musician two years ago. This song is probably a bit of a reaction to that—new people, new environments, new experiences all flooding into my life at top speed, and me trying to navigate them without losing myself. I’m very grateful for the life I have, but sometimes I’m not very good at living it.”
Listen to the Miya Folick’s “Trouble Adjusting” below.
The Florida band Hundred Waters debuted the first song from their third record which they are currently finishing up as a trio. ‘Particle’ is typical of the band to meld electronic textures with more earthly tones. They say it’s “a deeply personal song that reflects a period of profound change within the band wherein the relationships of the members have shifted into unfamiliar territory, reflected in the song’s rapidly morphing textures.
The Fat Angel Sings 