Posts Tagged ‘Surfer Blood’

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Who doesn’t love cover songs? The aptly named ‘Covers’ album features Surfer Blood covering some wildly disparate artists like Outkast, Pavement, Cream, Mudhoney, Modern English, and of course Polaris (aka, the theme-song from The Adventures of Pete & Pete).

This one time pressing is limited to 1000 foil-numbered copies on amber vinyl with black splatter, and includes instant download of MP3 and WAV.

This release is not available via record stores. The only way to get your hands on this bad boy is to order from JNR, or catch the band on tour. “Good Enough” Mudhoney Cover by Surfer Blood off ‘Covers’ out on Joyful Noise Recordings.

A collection of covers we’ve recorded over the years. Limited Edition!
Released October 18th, 2019

Hi!  We’ve just finished recording our 5th album (to be released in early 2020), and right now we’re releasing a teaser EP / 10”, Hourly Haunts, with six brand new songs that won’t be on the album. The limited edition record will only be available for sale at lives shows.

When I set out to write a new Surfer Blood record I had no idea I’d end up with thirty songs. Whenever I sit down to work a new batch of material it usually starts out as a reaction to whatever I was working on last. In this case it was our last record, Snowdonia: an inward-looking record with long interludes that were sparse and fragmented. Now I was ready for the opposite. I set out to write as many short, unrefined pop songs as I could.

It didn’t take long to get some inertia going, the material just kept coming and it felt like it was overflowing. Before I knew it I was sitting on an hour and half of music that felt raw and emotionally satisfying. I worked up the nerve to share the demos with the band and Tyler, Mikey, and Lindsey started sorting through everything. We couldn’t decide on a track listing, so we decided we were going to try and record it all.  It seemed like a crazy idea, but I figured it was a good chance to put everything I’d learned about recording to good use.

We started recording the basic tracks (drums, bass, rhythm guitar) in the winter of 2018. Right away everything was sounding great; the arrangements were coming together, the songs were dynamic, and Mikey and Lindsey were filling the empty space with their delicate harmonies. After a few weeks of all night mixing sessions, everything was falling into place.

“Around Your Sun” is an up-tempo, triumphant love song (or a ‘sensitive banger’ as Lindsey called it). The material from this upcoming Hourly Haunts EP reaches in a lot of new directions, but this one feels like classic Surfer Blood. Loud choruses, straightforward drums, and a sampler of all the new pedal noises we’ve been splatter-painting all over this EP. It’s short and sweet and a great introduction to the next incarnation of Surfer Blood.

The track is a perfect distillation of what made Surfer Blood such a beloved band to begin with — sugary choruses, feel-good vocals and shredding guitars… ‘Around Your Sun’ and the rest of Hourly Haunts represents Surfer Blood’s most refined collection of songs to date.”


Surfer Blood are releasing a Covers EP as a one-time vinyl pressing, covering some wildly disparate artists like Outkast, Pavement, Cream, Mudhoney, Breeders, and even Hey Sandy by Polaris (aka, the theme-song from The Adventures of Pete & Pete).

Who doesn’t love cover songs? The aptly named ‘Covers’ album features Surfer Blood covering some wildly unusual tunes .

This one time pressing is limited to 1000 foil-numbered copies on amber vinyl with black splatter, and includes instant download of MP3 and WAV.

This release is not available via record stores. The only way to get your hands on this bad boy is to order from JNR, or catch the band on tour.

You can stream their take on Mudhoney’s “Good Enough” below. Unavailable in record stores, the nine track EP is limited to 1,000 foil-numbered copies on amber vinyl with black splatter.


  1. Box Elder (Pavement)
  2. Hey Ya (Outkast)
  3. Death and the Maiden (Verlaines)
  4. World of Pain (Cream)
  5. Little Fury (Breeders)
  6. I Melt With You (Modern English)
  7. Summer Song (Chad and Jeremy)
  8. Good Enough (Mudhoney)
  9. Hey Sandy (Polaris)

“Good Enough” Mudhoney Cover by Surfer Blood off ‘Covers’ out now on Joyful Noise Recordings.

A darkness pervades John Paul Pitts’ lyrics on “Snowdonia”, the first Surfer Blood album since the death, by cancer, of guitarist Thomas Fekete, but the overall tenor is joyful. It’s a rebooted version of the band, with Pitts and original drummer Tyler Schwarz joined by guitarist Michael McCleary and bassist Lindsey Mills—the latter two the source of the breezy harmony vocals that sweetened the arrangements.

This is a zippy power-pop record, full of crunchy riffs and ringing leads, even as Pitts sings of mortality, aging and sacrifice. Pitts stretches out with multi part song structure on the title track and shifts “Instant Doppelgangers” into high gear with some judiciously placed distortion that hearkens back to 2010’s Astro Coast. But most of Snowdonia is immediate and direct, as bright and sharply defined as the weather in the band’s native Florida. At times reminiscent of the Lilys’ Better Can’t Make Your Life Better, Snowdonia works within formulas, but it does so with aplomb.

We are very excited to announce our new album ‘Snowdonia’ will be released February 3rd on Joyful Noise Recordings!

The new album. Out 2/3/17

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Snowdonia’s rubbery lead single, Six Flags in F or G.” “I really wanted to contrast one part that was sort of dark and sort of anxious, and kind of feels like a march, maybe a polka even,” Pitts says. “There is something that’s so rigid and … a part that’s really loose and free and American (he laughs), with the wah pedal guitar solo. I was listening to a lot of the Breeders for the second part — specifically a Breeders song called ‘Divine Hammer’ which I may or may not have ripped off a little bit.”

When Surfer Blood came on the scene with 2010’s Astro Coast, they wore their ’90s alternative fan badges with no shame. Those mighty detuned guitars have evolved on this fourth outing into multiple-act epics, reflections on aging and tweaking of common instruments like organs through vintage speakers to birth a new whole species of indie rock. And if Pitts has learned anything over his seven years in the spotlight, it’s to let go and trust his gut.


From the album ‘Snowdonia’, available here:


Image of Moon Duo - Occult Architecture Vol.1

Moon Duo –   Occult Architecture Vol 1,

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album – a psychedelic opus in two separate volumes released in 2017 – is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

In Chinese, Yin means “the shady side of the hill” and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embodies Moon Duo’s darker qualities — released appropriately on February 3rd, in the heart of winter in the Northern Hemisphere.

According to guitarist Ripley Johnson, “the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There’s something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and hermetic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.”

Adds keyboardist Sanae Yamada, “the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.”

Vol. 1 was mixed in Berlin by the band’s longtime collaborator Jonas Verwijnen.

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Real Estate – In Mind

On In Mind, the fourth full-length record from Real Estate, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums – 2009’s Real Estate, 2011’s Days, and 2014’s Atlas – so beloved. Recorded in Los Angeles with producer Cole M. Greif-Neill (Julia Holter, Beck), In Mind delivers the same kind of warmth and soft-focus narratives that one has come to expect from the band – pastoral guitars, elegantly deployed arrangements, a sort of mindful melancholy – but there is also a newly adventurous sonic edge to the proceedings.

It offers a mild shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light – one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version.

Image of Surfer Blood - Snowdonia

Surfer Blood –  Snowdonia

Surfer Blood are one of the best young indie-rock bands around, and their fourth album, Snowdonia, is their most ambitious effort yet. Overcoming adversity, the band has artistically grown and thrived. Following the departure of bassist Kevin Williams and guitarist Thomas Fekete (tragically lost to cancer in May), singer/guitarist John Paul Pitts and drummer Tyler Schwarz have rebuilt a talented lineup with guitarist Michael McCleary and bassist Lindsey Mills, all four alumni of the same high school in West Palm Beach, Florida.

Pitts wrote specifically with the new band’s talents in mind: “When I was writing I was thinking more about background vocals and harmonies. Lindsey and Michael are great singers, and I really wanted that to show in the songs. There are layers of vocals on almost every track, and the call-and-response parts between Lindsey and I are something totally new.” Along with plenty of Surfer Blood’s signature hooks, the band concocted some epic and more complex songs with enormous attention to sonic detail. Pitts wrote and mixed the album alone, for the first time since their debut Astro Coast. The immediacy is intoxicating and the musical and lyrical results are fantastic. Surfer Blood get better and better with each album, and we’re sure they’ll be making great records for years to come

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Weyes Blood and Ariel Pink  –  Myths 002

Myths 002 brings together Natalie Mering – aka Weyes Blood  and Ariel Rosenberg – aka Ariel Pink – for the second installment in Mexican Summer’s collaboration series. Composed and captured in Marfa, Texas during the annual Myths music and arts festival, Mering and Rosenberg inspire each other’s inner pop madrigals to mythological heights for Myths 002. In the middle of March 2016, over a week-long musical residency in the desert, two weird planets went conjunct. Both bore a bright colour palette: Ariel Rosenberg (aka Ariel Pink), an underground icon known for his stylized, subversive pop, and Natalie Mering (aka Weyes Blood), bold bringer of a future cosmic folk realm. They composed and captured the EP, Myths 002. As West Coast singer-songwriters with a shared sensibility for mood, Natalie and Ariel have been collaborating artists, mutual admirers, and friends for years. Mering appeared as guest vocalist on Pink’s 2013 album Mature Themes, Pink produced the infectious Drugdealer song Suddenly featuring Mering. Mering’s third album, Front Row Seat To Earth, was released in October 2016 on Mexican Summer. The atmosphere and auras of these two pop artists assemble as new hues on Myths 002, their distinct voices inexplicably, effortlessly folding into harmony. The four songs capture musicians at play – speak-talking dramatic interludes, twisting up songs strangely before releasing them assuredly in New Romantic resolves. During the annual Marfa Myths festival, Mexican Summer and Ballroom Marfa brought these two musicians together for the second in a record series that promotes collaboration between artists within the label crew and kindred musical spirits from outside the catalog. Marfa is small town known for its remote desert locale in Texas, its arts community, and its strange heavenly lights.

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Ron Gallo  –  Heavy Meta

Heavy Meta is 11 tracks of lyrical confrontation and laughter for cynics laid down roughly on a bed of fuzz, chaotic structures and primal sounds evoked from a red Fender jaguar electric guitar – there is bass, there are drums and not much else besides the occasional icing (no artificial colours or dyes).

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Communions – Blue

Communions are a four-piece from Copenhagen, made up of brothers Martin and Mads Rehof, Jacob van Deurs Formann and Frederik Lind Köppen.

‘Blue’ is Communions’ debut album, following a series of singles over the last two years. ‘Blue’ makes the most of everywhere Communions have been. Through all of this the stakes have changed but the sensitivity and craft with which the band takes risks has bloomed. An eloquence now shines through and you can take it or leave it.

Discarding some of the moodiness found in their previous recordings, ‘Blue’ tells us what was always natural to Communions. It’s about love and taking chances. It’s about trying something and it still doesn’t matter if there’s apprehension.

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The Besnard Lakes  –  Are the Divine Wind

Early in 2016, The Besnard Lakes released their finest album to date, the magisterial A Coliseum Complex Museum and toured worldwide throughout the following months. Jace Lasek and Olga Goreas, the couple at the heart of the band, had spent the previous summer on their annual retreat to their namesake Besnard Lake. In a place with so much personal significance, they spent time writing the music that was to form the album. Culling the tracks down to an album proved a difficult task and inevitably there were tracks they loved that just didn’t quite fit with the overall album. So it is with delight that almost exactly a year on, the band are able to release this 12″ of two brand new, exclusive tracks written and recorded at the same time as the album. Laura Lee is a sibling track to the album’s illustrious first single, The Golden Lion – spacious reverb-y drums echo around an almost sci-fi vocal line sung by Olga Goreas. Meanwhile, the title track The Divine Wind is the Besnard Lakes at their expansive, psychedelic best: a sustained keyboard building through to a bombastic coda, complete with Lasek’s unmistakable falsetto. If you ever needed a reminder of just how unique, beautiful and far-reaching this band is, then The Besnard Lakes Are the Divine Wind delivers.

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Mumford and Sons  –  Dust and Thunder

Chronicling the first meeting of South Africa with its favourite British band, Mumford and Sons, award-winning director Dick Carruthers gets to the very heart of what makes Mumford and Sons such a special act. Filmed live against the beautiful Pretorian outback, the band performs their most recent material and classic hits in front of an exhilarated crowd. Filmed in stunning 4K and mixed in 5.1 surround sound.

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“I feel like this is the first record where I’ve actually been willing to talk about the lyrics and songs and where they come from. Honestly, I’m a pretty reserved person and pretty gun-shy about sharing my work with people,” quoted Surfer Blood’s John Paul Pitts . He’s reflecting on new album “Snowdonia”  to be released February. 3rd on Joyful Noise, Its the band’s fourth full-length and first in a new era for the Florida foursome. Its eight jagged, adventurous songs embrace experimentation while bidding a reverent farewell to founding guitarist Thomas Fekete, who died in 2016 after battling cancer.
Pitts has dared to post Snowdonia’s lyrics on Surfer Blood’s website, peeling back the layers of the glass onion of his creativity.

In past releases, he played his cards close to his chest, especially since his 2012 arrest on suspicion of domestic battery against his then-girlfriend. The charges were dropped once he completed an anger management program. The experience led to the vague 2013 album “Pythons”, which critics and even some fans held at arms’ length — for its possible references to the arrest and because it was seen as a sellout move when they signed to Warner Bros. Two LPs later,
“What can I say? 2016 was a pretty awful year. It started with my mom getting cancer, and somewhere in the middle, Thomas passed. Then we had the election,” he laments while discussing “Carrier Pigeon,” the album’s Monkees-meets-Wilco closer. But then he perks up. “My mom’s doing a lot better now. I’ve been able to spend a lot of time with her. It seems like things are really looking up for her. But it was really scary when I first heard that news.”

When Surfer Blood came on the scene with 2010’s Astro Coast, they wore their ’90s alternative fan badges with no shame. Those mighty detuned guitars have evolved on this fourth outing into multiple-act epics, reflections on aging and tweaking of common instruments like organs through vintage speakers to birth a new whole species of indie rock.
Snowdonia is Pitts shedding his skin. The remnants of Astro Coast, Pythons and 1000 Palms are still there. Fekete’s memory is still there. The major-label trials and the tribulations with former lovers are still there. But there’s a new freedom and more agility to this version of Surfer Blood.

Surfer Blood are a magnificent indie rock band from West Palm Beach, Florida that formed when guitarist/vocalist John Paul Pitts and drummer Tyler Schwarz started playing better-than-great musical notes together in Dreyfoos High School. New members Mikey McCleary and Lindsey Mills also attended the same high school.

Surfer Blood began recording and touring immediately behind their infectious debut, Astro Coast (2010) and quickly took over almost the entire world (except for the deepest realms of the ocean and really, really cold places).
The group followed suit with the Tarot Classics EP (2011), Pythons (2013) and 1000 Palms (2015). In their Rider flip flops, Surfer Blood have performed in 5 continents, toured with heroes like The Pixies and Guided By Voices, played on TV, at Coachella and giant festivals throughout the world, while also occasionally plugging in their amps at all-ages house parties. Surfer Blood are the cleanest and nicest band in existence.


”‘Island’ is one of the songs that’s been in the back of our mind for years, and was considered for our Warner Bros album Pythons. We’ve always liked the chorus and the eerie, dream-like quality, but couldn’t fit the pieces together in the right way. When we started writing for our newest record: 1000 Palms, we decided to use the song in its very first incarnation, the version we preferred before any producers/ label people heard it and started moving things around. In hindsight, I’m glad we waited to record this song on our own terms.

I wrote the lyrics about coming home to my parents house after a long tour, I was sick with a fever and sleeping out on the couch. I woke up delirious and wandered into the kitchen where I got into a conversation with my father, I don’t remember what we were talking about exactly, but it was a very strange experience. I went and jotted down some lyrics afterwards, and didn’t look at them again until weeks later. It was just a few verses, but they ended up becoming the foundation of the song.”

Surfer Blood have circulated a new song “The Grand Inquisitor,” alongside news that they’ll release their third album, “1000 Palms”, on  Fierce Panda Records on 11th May in UK/Europe. Well it seems they’re feeling rather generous post-V Day because below is the premiere of their second cut from the record. Below is “Dorian,” a song singer John Paul Pitts says “embraces the anything goes spirit this record represents.”


It’s classic why-we-liked-them-in-the-first-place Surfer Blood all swoony, plush harmonies, rudimentary drums, and skippy sounding guitars. But there’s a newly felt sophistication in its simplicity too. No standing behind fuzzy effects here; this is clean and deftly delivered.
“This song has everything from classic 80s synth patches to fucked-up vocoder sound collages, embracing a series of left-turns that make it one of the most unique songs in our catalogue,” Pitts continues. “It makes use of almost every sonic element we had available.”
For “1000 Palms” the guys did the back to basics, we were burned by the major label experience thing: they returned to Florida to self-record and produce the entirety of the album. It seems the change of pace (and space) suits them.

“The Grand Inquisitor” was quietly released to Joyful Noise VIP Members on 541 “Lathe-Cut CDs”, which double as 5” records that will play both on a turntable and a computer.