Posts Tagged ‘Trouble in Mind Records’

The debut album from Melbourne, Australia quintet Possible Humans has been a long-time coming. Since forming in 2012, the band (comprised of Samuel Tapper, Leon Cranswick, and the three Hewitt brothers; Steven, Adam, and Mark) have self-released a “live improv” cassette & a two-song 7-inch on Sydney’s Strange Pursuits label while periodically teasing a forthcoming full-length and burning up live venues across Australia. Resulting album“Everybody Split” was announced to arrive on April Fool’s Day of 2019 on ex-Twerps drummer Alex MacFarlane’s (very excellent) Hobbies Galore label. Thankfully, it wasn’t a prank & the edition of 200 LPs sold out in a flash. Trouble In Mind is proud to re-release Everybody Split worldwide in a more substantial pressing in hopes of getting this amazing album into everyone’s ears. The album reminds me of why I fell in love with that 80s/90s alt rock sound. Melodies are on point, hooks are plentiful and the guitars are warm and nicely distorted. All is as should be. Early GBV and REM fans, this is your jam

All five members have shared songwriting duties on “Everybody Split”, & the album’s nine tracks jangle and clang with that urgent, nervous energy felt in some of the best DIY/underground rock from the past three decades, R.E.M., Guided By Voices, Feelies et al, but also absolutely of the NOW, swooning with a smoothed, amber patina of melancholy and longing (see opener “Lung of the City”, or “Nomenclature Airspace”).

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There’s a palpable crackle emanating from the tunes on Everybody Split, throwing sparks thru a myriad of interesting melodic/lyrical twists & turns, like the earworm riffage on “The Thumps”, that hotwire solo on “Aspiring To Be A Bloke” or the stutter stops / breakdown in the raging “Stinger”. Stick around for “Born Stoned”, the album’s undeniable highlight, packing its near-12 minutes with nods not only to the aforementioned R.E.M. & Feelies dark jangle, but also the smoke & velvet solos of Heyday-era Church or Blue Oyster Cult. Yes, it’s really that good. Everybody Split was recorded by MacFarlane himself & mastered by Oz-legend Mikey Young for maximum oomph.

released August 2nd, 2019

Possible Humans is: Leon Cranswick, Samuel Tapper, Steve Hewitt, Adam Hewitt and Mark Hewitt.

Taken from the Melbourne band’s debut album “Everybody Split”. released by Trouble In Mind Records on August 2nd, 2019

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Trouble In Mind Records is extremely honored to re-release Melbourne band Possible Humans‘ debut album “Everybody Split”. After selling out (in 24-hours no less) of it’s original 200-copy LP run on Melbourne label-du-jour Hobbies Galore, we are releasing it in hopes of getting this amazing album into more people’s record collections! ~ Pressed on Limited Red vinyl while supplies last (& unlimited Black Vinyl after that disappears!).

“It’s so easygoing that one might overlook its fascinating warps of a traditional jangle sound. There’s a beauty in that quality; Possible Humans never demand attention, but they deserve it anyway.”

“It’s a hell of a debut…they’re branching out from the expectations built up among an underground that’s constantly intriguing, but has also cannibalized its influences a few times over. Though the LP was scant, this one’s worth it in any format.”

the album “Everybody Split” (releases April 1, 2019 ) Label: Hobbies Galore

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In the new song “Cotton & Cane” and in the track’s colorful video, psychedelic folk duo Olden Yolk use nostalgia as a road-map for the future. Through layers of warm harmonies, spirited drum fills and bright guitar riffs, Shane Butler and multi-instrumentalist Caity Shaffer craft a kaleidoscopic world that steadily builds on its own momentum, landing somewhere between Laurel Canyon lyricism and Real Estate’s shimmering dream-pop.

“At the time we started writing ‘Cotton & Cane,’ Shane was thinking about his relationship with his father, and the lyrics of the song started to take on the tone of a conversation between them,” the duo shared in a statement about the song. “Less than a week before we went into the studioShane’s father passed away, and the song’s meaning began to unfold completely; the confusion, the awe, the complex picture of his entire life. For us it was a space to reflect on all that had happened over the year and all that we were moving towards.”

Sometimes Olden Yolk grows into new yolk ~ Excited to announce our second full-length LP ‘Living Theatre’, out May 17th on Trouble in Mind Records Listen/watch the video for our first single Cotton & Cane 

Shane and Caity announce their return with Living Theatre, a new effort for Trouble in Mind Records. Once the opening strum of the guitars fades away here, you can tell that there are grander goals in the songwriting with this new album; I love the little notes underneath the surface like the way the keys build gradually or the little hint of a shaker that draws your ear nearer.

From the album ‘Living Theatre’ to be released May 17th, 2019

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Sparrow Steeple’s music exists in its own universe. An imagined utopia (or is it a dystopia?) of wolfmen, murderous wizards, whispering woods & leprechaun treasure. Their second album “Tin Top Sorcerer” arrives near the front end of 2019, just in time for spring to blossom.

Comprised of three members of inscrutable indie legends Strapping Fieldhands (who blazed many musical trails in the Nineties via records for Siltbreeze, Shangri-La & their own Omphalos Records), Sparrow Steeple specialize in mini-opuses that drift & careen haphazardly like Grimm’s Fairy Tales sung by Syd Barrett – psychedelic tales of rapturous joy & sinister machinations by creatures real & imagined, all wrapped around dreamlike tunes of avant folk, psychedelia, and outsider music. “Roll Baby”s drunken-tavern sing-a-long is peppered by blistering guitar leads & wobbly harmonica (courtesy of Philly-legend “Harmonica” Dan Balcer) while “Stabbing Wizards” backwards guitar lends a foggy aura of disquiet to the tale of treachery & betrayal. Despite the fantastic yarns spun (see the tragic tale of the “Wolfman of Mayberry”, or “Girl of the Whispering Woods”), “Tin Top Sorcerer” has an air of realism – or perhaps “magical realism”, that place these songs in a place simultaneously out-of-time and from a possible future, permeated by a sense that these things could actually have happened (or will happen) at some point in our shared existence.

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From the Philadelphia band’s second album “Tin Top Sorcerer”, out April 5th, 2019 via Trouble In Mind Records

Having shared David Nance’s cracked, nerve shredding cover of Merle Haggard’s Silver Wings last year, we now have the anthemic track Poison, taken from his latest full-length album release, Peaced and Slightly Pulverized coming out on Chicago’s excellent Trouble in Mind Records on the 5th October. The album is credited to the David Nance Group and features Nance alongside his recent live band of fellow Omaha musicians; guitarist Jim Schroeder, bassist Tom May, and drummer Kevin Donahue.

Check out the single below – with its fuzzed-out guitar riff that leans into a Crazy-Horsian guitar maelstrom and white-hot solo. It’s a blistering journey that is impossible to not be swept up by – this is deviant rock and roll at it’s best!

Taken from the Omaha, NE musician’s fourth proper album, “Peaced and Slightly Pulverized”, due out October 5th, 2018 via Trouble In Mind Records .

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Omaha, NE musician David Nance is nothing if not prolific. Over the course of the past six years, he has released three full-length albums for labels Grapefruit and Ba Da Bing, a 7-inch, numerous cassettes, CDRs and unlicensed “cover albums” of artists like Lou Reed, The Beatles, Rolling Stones and Doug Sahm. His latest full-length is credited to the “David Nance Group” and features Nance alongside his recent hot-shit live band.

Christchurch, New Zealand’s Salad Boys are back with “This Is Glue”, the follow up to their critically acclaimed 2015 debut album “Metalmania”. Recorded once again by bandleader/guitarist Joe Sampson at his home studio, “This Is Glue”s twelve songs dig deeper, with sharper hooks embedded deep within a more mature musicality.

This Is Glue” hones Sampson’s songwriting chops to a razor edge, with many of the album’s songs sounding utterly timeless. The riffs and melodies seem all too familiar, perhaps recalling greats that came before them this entire scene owes a heavy debt to New Zealand’s Flying Nun Records and the various bands that recorded for it in the 1980s. On songs like “Psych Slasher” and “Blown Up” the Salad Boys share the propulsive drive and rich guitars of Rolling Blackouts, charging ever forward into deeply satisfying pop territory, but with an almost metallic heaviness rarely found in bands like the Clean or the Chills. That edge might make them the best bet on this list to break out in America like Rolling Blackouts have.

From the album “This Is Glue”, out January 19th, 2018 on Trouble In Mind Records,

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Omni is an indie post-punk trio who write coarse, angular tunes meant to be jammed at full volume. They embody simplicity at its finest with every tone, riff and beat precisely dialed in to satisfy its specific contribution to the whole.

With Philip Frobos’ partially monotone voice coupled with Frankie Broyles’ skilled, wiry guitar sounds the band create a pit of tension. The sound is hardly ever rounded out, but if you are familiar with Omni, you’re well aware that they aren’t necessarily looking to fall in line with popular music trends. The authenticity of the trio makes the punchy chords and anxiety ridden basslines all the more digestible. Frobos attributes their sound to that of the New Wave genre, and it’s undeniably true, especially up close and in person.

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Band Members 
Frank Broyles – Guitar ,
Philip Frobos – Vocals and Bass,
Doug Bleichner – Drums,

This en attendant ana record is really great. favourite rock-y thing I’ve heard in 2018. This French indie pop quintet En Attendant Ana earned a small but fervent fanship with their 2016 Cave EP, a noisy six-song set that melded strong melodic songwriting with elements of garage rock and a droning Velvet Underground influence. It was enough to earn the Parisian combo a distribution deal with American label Trouble in Mind, which released their full-length debut, “Lost and Found”, in 2018. Less ramshackle and overall more sophisticated than their EP, Lost and Found is a small wonder of naive pop charm and unexpected rock muscle. Frontwoman Margaux Bouchaudon has an effortless way of delivering pure melodies that seem both fresh and familiar, and the band, chugging along with earnest abandon, energetically prop up the tunes in all the right places.

Augmented here and there by piano, organ, and trumpet, En Attendant Ana are largely a guitar band with a penchant for group backing vocals that give the songs a lively, unified feeling. From the propulsive all-instrumental “Intro” to the dynamic “(Not) So Hard” and standout closer, “I Don’t Even Know Your Name,” the songs often take on the breathless feel of minor epics. The band’s craft is immediately apparent in their excellent songwriting, which is paradoxically supported by technical skills that haven’t quite caught up yet. It’s the slight greenness of their delivery that helps create that perfect recipe of youthful passion and sincerity without sinking into the snarky swagger of garage punk or the fey affectations of more straight-ahead indie pop. The result is a remarkably solid debut with intent and an infectious energy.

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En Attendant Ana is :

Margaux Bouchaudon : lead vocals, keyboards, back up guitar
Romain Meaulard : lead guitar, back up vocals
Camille Fréchou – trumpet, back up guitar, backup vocals
Antoine Vaugelade – bass
Adrien Pollin – drums

omni sunset preacher 7 chunklet industries records 2018

Record label Chunklet Industries are on fire, The latest release is from Atlanta garage-pop knee jerkers OMNI and it’s their second single for the label since 2017. It’s a fantastic snapshot of their body of work until now, which also includes two excellent albums to date on Trouble In Mind Records.

What Sunset Preacher brings are two explosively wonky and intricately built jagged-pop gems, cut at obtuse angles and loaded with fractal guitars. Get caught in this tangle and this 3-piece crew will sink its hooks in deep and cleanly with overwhelming finesse. If the guitars don’t getcha the lyrics will, with B-side “Confessional” proving that early and often. “Drinks with your divorce/ feelin’ pleasure and remorse,” spits Philip Frobos – “Steel reinforced/ she was built to stay the course,” he spits again, pairing together a handful of vocal hooks that are downright pleasing.

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However, the spring-loaded bass and guitar combo spearheads their primary attack, delivering this relentlessly crooked sound with the utmost sense of urgency. “Sunset Preacher” displays many sharp angles and twists, provided by Frankie Broyles and his dazzling guitar work. The strings are tight and the reflexes are quick, coming with harsh strumming and finely tuned plucking that masks a glassy rattling hidden in the background. Words don’t really do anything that’s happening on this 7″ piece of vinyl.

San Francisco’s The Love-Birds have been tearing up their local scene, breaking hearts and making fans across the city’s disappearing DIY spaces and proper venues alike since 2016. After releasing a 7-inch EP in early 2017 via local label Empty Cellar Records, they’re ready to unveil In The Lover’s Corner, their debut album & first release on their new home, Trouble In Mind Records.

The album eases into view with the first track, “Again”; it’s gentle acoustic strum augmented by guitarist Eli Wald’s chiming electric twelve-string. From there the listener is treated to dynamic, life-affirming power-pop; bell-ringing, fuzz stompers (”River Jordan”), warm, carefully crafted fragile pop (”Clear The Air”, “Failure and Disgrace”), and urgent, crystalline rockers (”Hit My Head”, “Weak Riff”). The Love-Birds approach their craft with a classicist’s ear; with nods to their Seventies originators as well as Nineties torch-bearers, composing near-perfect future classics that ooze with subtle, interesting melodic twists and hummable, finger-pricking hooks that are instantly memorable. Aside from mastering by Norman Blake (Teenage Fanclub), In The Lover’s Corner is a decidedly local affair, with album art by Shayde Sartin (Fresh & Onlys, Sonny and the Sunsets) and recorded in two sessions, one with engineer Glenn Donaldson (Art Museums, Skygreen Leopards) and another with Kelley Stoltz.

Released May 25th, 2018

The Love-Birds are:
Charlie Ertola: Bass
Eli Groshelle: Drums & Percussion
Thomas Rubenstein: Vocals & Guitar
Eli Wald: Vocals & 6 / 12-string Guitars