Posts Tagged ‘Methyl Ethel’

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Triage, the third album by Methyl Ethel. Written, produced and performed by lead singer Jake Webb, mixed by Marta Salogni and mastered by Heba Kadry, Triage was recorded in Webb’s home studio in West Perth, Australia.

With the creation of this album, Webb felt a sense of closure – completing the triptych of his three releases.  Methyl Ethel has always been a surrealist outfit – a dark and obscured expression of life set to the backdrop of dream pop hooks.  But Triage is a more reflective album – one that explores the notion of coming of age, only to reference it for the snapshots and passing memories that it has become.

Methyl Ethel is the musical project of Jake Webb which expands to a five-piece live band that includes Thom Stewart, Chris Wright, Lyndon Blue and Jacob Diamond.   Methyl Ethel has enjoyed phenomenal successes over the last year.  In Australia, ‘Ubu’ (the hit single from second album Everything Is Forgotten) became an ARIA Accredited Gold single .  The band has clocked up over 46 million streams on Spotify alone and sold out shows in Australia and the UK.

“One of Australia’s most essential current bands.” – Paste
Methyl Ethel is one of Australia’s weirdest, most beguiling bands, with its endlessly creative frontman Jake Webb nimbly leaping between sounds that draw upon classic pop, shoegaze, and R&B.”  – Consequence of Sound
“Choc-a-bloc with hooks and head-nodding electro-pop from the get-go, Methyl Ethel have reached great new heights with this stellar effort.” – NME
“Their finest work yet.” – The Line of Best Fit
“Quite dazzling.” – DIY Magazine

‘Trip the Mains’ is the new single taken from Methyl Ethel’s new album ‘Triage’ out on 4AD Records on February 15th 2019,

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Methyl Ethel will release their third album “Triage” on Friday 15th February 2019.

The album was written, produced and performed by lead singer Jake Webb, recorded in Jake’s home studio in West Perth and mixed at Mute Studio in London with Marta Salogni.

With his thirtieth birthday, and the ceremonial cap on three records and three EP’s, Webb felt a sense of closure in the making of Triage. Methyl Ethel has always been a surrealist outfit – a dark and obscured expression of life set to the backdrop of dream pop hooks. But Triage is a more reflective album – one that explores the notion of coming of age, only to reference it for the snapshots and passing memories that it has become.

Methyl Ethel is the musical project of Jake Webb. As a live band it expands to a five piece and includes Thom Stewart, Chris Wright, Lyndon Blue and Jacob Diamond. 

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Methyl Ethel has enjoyed phenomenal successes over the last years. ‘Ubu’ became an ARIA Accredited Gold single earlier this year off the back of landing at #4 in triple j’s 2017 Hottest 100. The band have clocked up over 25 million Spotify streams alone and all of their tour dates in Australia and the UK since 2016 have sold out.

released February 15th, 2019

All songs written and recorded by Jake Webb 

All instruments played by Jake Webb 

The most impressive thing about Jake Webb’s musical project, Methyl Ethel, is how consistent the quality of music is. Have you ever listened to a Methyl Ethel song you didn’t like? Think about it. Also, while you’re thinking, how ’bout the fact that no one’s ever seen Nicholas Cage and Marilyn Manson in the same room at the same time? Exactly. ‘Scream Whole’ is the first single off Methyl Ethel’s upcoming record, Triage, out Friday 15th February, 2019.

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The musical project of Jake Webb, Methyl Ethel, has always been a surrealist outfit – a dark and obscured expression of life set to the backdrop of dream pop hooks.

But Triage is a more reflective album than their previous two – featuring singles ‘Scream Whole’ and ‘Real Tight’, it explores the notion of coming of age, only to reference it for the snapshots and passing memories that it has become. enjoying phenomenal successes over the last few years, the single ‘Ubu’ was recently accredited gold in Australia , and their tour dates in Australia and the UK since 2016 have all been sell outs.

The band released a brand new single on Friday called ‘Real Tight’. Their new album Triage will be out next year!

It’s coming on black, white and blue vinyl + cassette tape + CD + digitally!, There are also some extra special gifts like free t-shirts and signed Record Store Day 7″s if you pre-order vinyl from special outlets.

‘Real Tight’ is the new single taken from Methyl Ethel’s new album ‘Triage’ out on 4AD on February 15th 2019,

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Methyl Ethel share ‘Scream Whole’; the first new music from the Perth act since their second record Everything Is Forgotten was released in March 2017.

Premiered yesterday on Australia radio station triple j’s Drive with Veronica & Lewis show, ‘Scream Whole’ is a nimble art-rock cut which Jake Webb describes as, “That cold sweat.  That swollen throat.  That sick feeling bubbling up from your guts.  When midday moves dredge suppressed memories that scream for closure.  What to do?”

The video was premiered via Consequence Of Sound – ““What’s the point/ Undo, undo again,” Webb wails against crystalline synths that electrify the senses and, upon disappearing, conjure a sense of chilly, awestruck isolation. Each word feels careful and deliberate, emerging with a concentrated effort from Webb’s mouth, which, fittingly, serves as the centerpiece of “Scream Whole‘s accompanying video. By the time the song descends into its woozy, drunken bridge, it’s stained in dirt and restrained with rope.”

Methyl Ethel is the musical project of Jake Webb with a five-piece live band that includes Thom Stewart, Chris Wright, Lyndon Blue and Jacob Diamond.  Methyl Ethel has enjoyed phenomenal success in its native Australia in recent years.  ‘Ubu’  along with fellow Everything Is Forgotten single ‘Drink Wine’.  Methyl Ethel also won in the Best Album and Best Pop Act categories in 2017

‘Scream Whole’ is the new single from Methyl Ethel. Out now on 4AD Records:

Limited to 1,000 worldwide on Black vinyl 7″ inserted in white inner sleeve and housed inside cardboard sleeve with art designed by the band. Features 2 original tracks that have never been physically available. Released for Record Store Day 2017 the tracks “Architecture Lecture” / “Lagotto Romagnolo

Features 2 original tracks from the ‘Guts’ and ‘Teeth’ EP’s/

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Today sees the release of Everything Is Forgotten, the new album by Australian band Methyl Ethel.

Those in the know back in Australia have been talking up Methyl Ethel for quite some time. Their home city of Perth has a way of breeding artists both talented — it’s given us Tame Impala, The Drones, and The Triffids, amongst others — and also somewhat odd. Methyl Ethel’s singer/mastermind Jake Webb definitely ticks both boxes. This is a polished, sparkling record that’s often startlingly radio-friendly — lead single “Ubu” is so catchy but it also comes with an undercurrent of strangeness.

Methyl Ethel’s second full-length, the record is a vivid, compelling and mysterious creature, all curvaceous pop nuggets and enigmatic currents.  Written and recorded by Perth-based frontman Jake Webb, it was brought to life by acclaimed British producer James Ford (Arctic Monkeys, Foals).  The pair’s collaboration has infused Methyl Ethel’s shoegaze dream-pop palate with electronic and polyrhythmic flourishes, allowing Webb’s keening, gender-fluid vocals and searing poetry to take centre stage.

“A mind brimming with ideas and inspirations” – FasterLouder (9/10)
“One can only stand back and gawp at the strength of Webb’s songwriting here, the talent pouring from these tracks… a tight, exciting, stonker of an album.” – Loud & Quiet (8/10)
“By turns weighted and buoyant, half darkness and half shimmering light.” – DIY ****

Everything Is Forgotten

catch them live at the Bodega Social Rooms,

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Since the announcement of their new album “Everything Is Forgotten” which comes out next week via 4AD Records, we have been chomping at the bit for some new material. Luckily following the brilliant ‘Ubu’ the band have released new track ‘L’Heure des Sorcieres’.

The track is a dancefloor hit, merging the great and the good of Methyl Ethel with a nuanced electronic sound which spells only good things for the forthcoming album. The Perth band have given us a real glimpse of their artistic heart and it looks like a beat we can all enjoy. Everything Is Forgotten is out on March 3rd via 4AD Records

L’Heure des Sorcières’ by Methyl Ethel.
New album ‘Everything Is Forgotten’ is released 3rd March 2017

Album packshot 2

Temples release their second album Volcano on Heavenly Recordings. It was self-produced and recorded at the band’s home studio in Kettering. It doesn’t take too long with Volcano to realise that, while all the things that made the band special the first time around remain intact, a noticeable evolution has taken place. It’s there from the outset: the beefed-up beats of Certainty reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. One thing you do notice is that it’s harder to spot the influences this time around. It would be disingenuous to evade the psych-pop tag, for sure, but mystical language has been supplanted by something a more direct – and while those influences are still there, it’s no longer possible to pick them out. They’ve been broken down and blended together – fossilised into a single source of creative fuel, so that what you can hear this time around, sounds like nothing so much as Temples. This is the sound of a band squaring up to their potential.

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18 months and 10,000kms travelled since many needles first dropped on her debut LP Listen To Formation Look For The Signs, it’s safe to say with new album Preservation, Nadia Reid now knows herself extremely well. An ode to self-reflection and self-betterment, Preservation is the sound of Nadia showing her true colours, taking back a bit of power, and learning more about herself. Deeply intellectual but felt by all, it punches harder than before. Nadia’s beautifully warm vocals coolly wrap around feelings of turbulence, and exude a gently improved confidence. Returning to the production skills of Ben Edwards in his Sitting Room studios and long term guitarist Sam Taylor, this time around everything is rubbed in more grit and channels Nadia’s deftly profound take on life and whilst we already knew it, her own realisation that it is music which drives her. Nadia has seen the world she once knew become a whole lot larger. Simply singing her truth has taken her to becoming acquainted with her Scottish and Irish heritage during her first full European tour, downtime with long-time sister-from-another-mister Aldous Harding and even making the odd award shortlist along the way (NZ’s 2016 Taite Music Prize). Rather than growth in its most typical sense of any artist finding their way in the world, Preservation marks a natural passing of time – what you pick up along the way is a bonus.

The wave pictures canvey island baby

The always prolific The Wave Pictures release an exclusive 10″ on Madrid-based label Acuarela with five very fine covers and an original in tribute to the legendary Wilko Johnson, mythical founder of the rhythm and blues band Dr. Feelgood. The Wave Pictures are strange: they are an indie rock band without indie rock influences. Everything they have been listening to throughout the years is blues and American 50’s and 60’s rock‘n’roll. Nevertheless, they have never enjoyed those retro behaviors which slavishly copy the looks, sound, haircut and sources of the past which escape from the spirit of the music they love. They have their own style and they don’t want to be a blues band, but the blues is there, in the invisible nucleus of everything they do. Following on from 2015’s Billy Childish collaboration Great Big Flamingo Burning Moon, their recent acoustic record A Season in Hull and their latest LP Bamboo Diner In The Rain, The Wave Pictures pay tribute in Canvey Island Baby to one of their major influences: Wilko Johnson. The founding member of Dr. Feelgood credited as one of the greatest ascendancies of the English punk movement has also been part of the cast of HBO’s Game of Throne as Sir Ilyn Payne back in 2010. In 2013, Johnson was diagnosed with late stage of pancreatic cancer and played what was going to be his final show guesting with Madness on the television program Madness Live: Goodbye Television Centre broadcasted on BBC Four. It seemed as if Johnson’s career was over after he cancelled his two final shows in Canvey Island, but on April 2014, he reappeared at the Icon Awards ceremony to surprise the world with the news that after radical surgery he was now cancer-free. The Down By The Jetty album was an early influence on David Tattersall for the way Wilko Johnson combined the roles of lead and rhythm guitar. But for The Wave Pictures, Wilko’s music is also loads and loads of fun. Citing David “he’s a wonderfully idiosyncratic singer and an original songwriter, always finding a little trick in that old blues song form to make a new, poppy point”. Wilko Johnson doesn’t use effects pedals and neither do The Wave Pictures. They have made this EP out of fun. After all, it is homage to one of the most influential guitarists and to the career of this living legend. It is a 10” which has as part of its title the name of his birthplace (Canvey Island), 5 covers of Wilko’s songs and a new original Wave Pictures song.

Blanck mass

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself. World Eater, the new album by Benjamin John Power’s Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, “actual love songs.” “Maybe subconsciously this was some kind of countermeasure to restore some personal balance,” Power explains. On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015’s brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself. “As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.”

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Everything Is Forgotten, the new album from Methyl Ethel (Perth, Australia), is a vivid, compelling and mysterious creature, all sinewy, curvaceous pop nuggets and enigmatic currents. Written and recorded by frontman Jake Webb, the album was brought to life by acclaimed producer James Ford (Arctic Monkeys, Foals). The pair’s collaboration infusing the band’s shoegaze dream-pop palate with electronic and polyrhythmic flourishes, allowing Webb’s keening, gender-fluid vocals and searing poetry to take centre stage.

Methyl Ethel’s new album “Everything Is Forgotten” is a macro-dose of those enjoyable parts of a dream. It’s an album that makes you want to crawl out of your clammy skin, but in a way you sort of like it.

And like a fever, the Perth band’s third album consistently teeters the line between wanting to bare down and give up, resulting in the audible hot anxiety of a split decision. Riddled with controlled forward motion and head-spinning wonky ’80s dream pop melodies, “Everything is Forgotten” nods to psych rock and electronic influence glossed in an art rock exterior.

Bouncing from influence to influence, frontman Jake Webb skates from the slumped shoegazey pop of first single “No. 28” to steady thudding electricity of tracks like “Hyakki Yakō” or “Summer Moon” with ease. Despite the stylistic ground it covers, the songs are erratic, but the album as a whole is anything but. In fact, it’s their pointed erraticness that creates the kind of sticky atmosphere which allows each track to exist together. “Groundswell,” for example, is a modern take on a more conventional brand of ’80s synthpop than some of the other tracks, but it keeps the album’s dark, sweltering tint alive, even in its most glittery moments.

In their anxieties, the songs aren’t non-committal, but rather committing to existing as a bunch of closely moving parts. “Schlager” intentionally pushes tempo with repetitive guitar syncopation that moves past drum rhythms with aching closeness, never touching. The exasperated lyrics pour out anxieties like “sighing and nervous, awake in the dark” and “who would not sympathize with a wrecking ball?” They encapsulates life’s chaos and churns it out into calculated song. Another highlight, “Ubu,” moves in a steadier direction with a rock-solid bassline and consistent beat, but maintains the mess in its amplifying repetition of vocals restlessly asking “Why’d you have to go and cut your hair? Why’d you cut your hair?”

Methyl Ethel has also mastered a strange dichotomy between glam rock influence and anxious subtlety that comprises this album. The result is an unassuming draw. They’re the party guest that shows up dressed head-to-toe in diamonds, speaks in near-poetry, but shyly refuses to make eye contact. Tracks like “Drink Wine” and “Femme Maison/One Man House” lean more toward glamour and melodic revel, but uncertainty still seeps from their cracks—in the cinematic cumulation to which “Femme” summits or in the consistent spitting synth in “Drink Wine.” If Everything is Forgotten maintains a youthful relevance in its showy alt-pop tendencies, it does even more so in its fidgety discomfort.

Methyl Ethel made an album that pushes a tense step beyond the baseline; it’s pop for odd and anxious times. Their undeniable catchy embrace acquaints you with familiarity, but their artistry spikes your temperature and all you can do bite your lip and let go. Sometimes the only way to break a fever is to ride it out, but Everything is Forgotten will assure you’ll be dancing too hard to notice when it does.