Posts Tagged ‘White Denim’

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White Denim are prolific at the best of times. Put the band – which is driven by frontman James Petralli – in isolation and you’re bound to get results. ‘I Don’t Understand Rock And Roll’ is more of that driving, guitar-heavy, psych rock with delightful pop hooks that the band do so well.  Written and recorded in 30 days under quarantine from March 18th – April 17th, 2020.

World As A Waiting Room’ vinyl update! Thank you for your patience as our manufacturer works through some unavoidable delays with their printing vendor. The current timeline is for records to be assembled the last week of May.

Their isolation album, which they wrote and recorded in just 30 days, is called World As A Waiting Room and it’s available now.

Band Members:
James Petralli,
Steve Terebecki,
Michael Hunter,
Greg Clifford,

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This album was created from March 18th to April 17th by James, Steve, Greg, and Michael, with essential contributions from Mike St. Clair, Ian Salazar, Jim Vollentine, Lucas Anderson, Joshua Block, Jared Samuel, Daniel McNeill, Jim Eno, Joel Raif, Chris McGaha, Adam Chetwood, Kevin Maenen, Cedric Maes, Alessio Di Turi, Jordan Richardson, and Chad McGillivray.

Austin-based psychedelic-rock quartet White Denim recently undertook an ambitious project: create an album from start to finish in thirty days. From March 18th to April 17th, they wrote, recorded, mixed, and mastered nine full-length songs, which resulted in a new release, World as a Waiting Room.

By way of a WhatsApp group chat, recording separately at their Radio Milk Recording Studio in East Austin, constantly sanitizing their hands, and working remotely at their respective home studios, the band pulled it off while social distancing. The album brims with noisy jams reminiscent of their early years, and involved a slew of past collaborators chipping in—if you look through the album’s credits, you’ll recognize names of past band members like Josh Block and Lucas Anderson, who contributed mixing for tracks like “Go Numb” and “King Prospero,” and lyrics for the kinetic track “Work,” respectively.

While the coronavirus pandemic has by necessity brought on new modes of thinking, being, and creating, it also enabled the band to collaborate and reconnect with past creative partnerships in unexpected ways. With fifteen collaborators and thirty days to pull it off completely remotely, the album stands as an impressive reflection of the array of emotions one might feel during this strange time when life seems to have come to a halt. Following the release of World as a Waiting Room last week, we spoke to front man James Petralli about what went into making it.

Thank you to everyone that has pre-ordered and listened, and to the entire team involved in making the album!

World As A Waiting Room’ vinyl update! Thank you for your patience as our manufacturer works through some unavoidable delays with their printing vendor. The current timeline is for records to be assembled the last week of May. They’ll then be shipped to our online store warehouses in the US and UK,

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what a wet week we have had, there’s a good deal of lovely records this week to soothe the aches and (possibly?) time to dry the socks..

The Nick Cave album Ghosteen that everyone has been asking about is OUT! today, It sees Nick and band in fine form, but there’s no mistaking there is a measure of catharsis in both the words and overall tone, understandably. It’s a wonderful piece of work though, despite the sombre atmosphere and flows with Cave’s singular ability to craft a narrative. I am very excited for the deluxe CD reissue of Gene Clark’s opus ‘No Other’ with a lovely booklet inside and an extra CD of rarities and alternate versions, and I was particularly psyched for the wonderful new LP from fave Ryley Walker and superb jazz drummer Charles Rumback. If you liked Grails (or Holy Sons for that matter), then this is a great one for you. Psych folk guitar with hints of Americana and a languid acid jazz backline, Ghosteen

Nick Cave and The Bad Seeds – Ghosteen

Ghosteen is the new two part album from Nick Cave and The Bad Seeds. Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds, following 2016’s Skeleton TreeThe album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at Conway in Los Angeles.

Ghosteen sees Cave restrained and introspective, half singing, half speaking over a mix of piano and slow drifting electronics. He sounds vulnerable but not beaten. There are a lot of mentions of love in the lyrics, soft supportive backing vocals and an attractive warmth to the way Galleon Ship’s high synth sounds open the song wide, or the surprise falsetto he acquires late on in Sun Forest.

It’s a double LP with one album of conventional length songs then on the second – one short song and two of 12 and 14 minutes. They are more complex and grand. There’s a lot to take in but it’s totally absorbing.

2019

Lucy Dacus – 2019

Recorded in here-and-there studio spurts over the last two years, 2019 is made up of originals and cover songs tied to specific holidays, each of which has dropped / will drop around their respective date: Valentine’s Day, Mother’s Day (and Taurus season!), Independence Day, Springsteen’s Birthday (not an official holiday, though we’re told Chris Christie often took that day off), Halloween, Christmas, and New Year.

Dacus uses her gift as a songwriter to help understand and cope with the world around her, including making sense of national holidays, often more geared towards social media boasts and manufactured consumerism than authentic celebration. “What is going on,” she asks herself on these days, retreating from the heightened expectations of holidays to figure out what to make of them and to find her own meaning. “I’ve collected some songs from trying to answer that question,” she says, and “this EP seems like the right place to put them next to each other. These songs are self-contained, not indicative of a new direction, just a willingness to do something different and sometimes even out of character.”

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Pond – Sessions Live

There are very few of this live album from one of our favourite current bands Sessions is the first ever live album from Australian adventurers Pond. Featuring recent singles Paint Me Silver, Sweep Me Off My Feet and Daisy from both their last two albums, Tasmania and The Weather, as well live versions spanning their whole career, including fan favourite Don’t Look At The Sun (Otherwise You Will Go Blind) from their hard-to-find debut album Psychedelic Mango. This release has been two years in-the-making and underlines their reputation as one of the most exciting live acts around.

“We wanted to capture how the band has been playing live lately and commit that to tape while we were in the middle of a long tour,” reveals Pond’s Jay Watson. “As you play the same song for years, or even as a single tour rolls on, the way you play the songs mutates. Little inflections and fills become part of the song, and the structures and even the overall feeling and intent of the songs change. I always loved listening to my favourite bands’ Peel Sessions and wanted something of our own in that vein.”

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Josienne Clarke – In All Weather

In All Weather is a new collection of songs, in which Josienne Clarke goes it alone; musically, as this is her first solo record, and in her own life, laid bare and played out in the leave-it-all-behind-and-start-anew nature of the lyrics. The songs were written in on the Isle of Bute in 2018, where Josienne relocated for a year, overlooked by a snowy Ben Nevis.

Josienne accompanies herself on pared-back acoustic and electric guitar throughout. She’s joined on the record by experimental piano prodigy Elliott Galvin, innovative jazz drummer Dave Hamblett, celebrated Scottish harpist Mary Ann Kennedy and guitarist / bassist Sonny Johns who co-produced the record with Josienne.

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White Denim – Last Day Of Summer

White Denim, dubbed the “last great rock n’ roll band” by The Guardian, has launched Radio Milk Records with a remastered reissue of their 2010 fan-favourite Last Day of Summer. Once impossible to find on vinyl due to a limited pressing of 500 copies, the album has been remastered by Joe La Porta at Sterling Sound, and pressed to heavy translucent green vinyl. This will be the first time the album is available in record shops! Recorded in a 1940s-era Spartan trailer in Driftwood, Texas, the self-produced album is full of “experiments, detours, and well- taken chances” [-Pitchfork]. The cuts on Last Day of Summer range from jazz instrumentals to folk to psychedelia, and showcase the band’s range better than any album in their catalog. Future Radio Milk Records releases will include live recordings from White Denim and other local and international bands.

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Giant Sand – Glum – 25th Anniversary Edition

1994s Glum was to be Giant Sand’s largest record and in order to make it so, Howe Gelb invited everyone along to the party. This carnival help create Giant Sand’s best record to date and Glum is now proudly re-issued by Fire Records.

A conceptual masterpiece, complete with a second disc capturing a classic KCRW Morning Becomes Eclectic session just prior to the original album’s release in 1994. An epic windswept desert dry encounter with one of America’s greatest bands that traverses genres and styles to create a complete masterpiece.

John Fogerty  –  50-Year Trip: Live at Red Rocks

This concert was recorded on June 20, 2019 as part of John Fogerty’s 50 year celebration of Creedence Clearwater Revival’s Woodstock performance.  The 19-song concert features such Woodstock highlights as “Born on the Bayou,” “Green River,” “Bad Moon Rising,” “Proud Mary,” “Keep On Chooglin’,” and “Suzie Q,” alongside later hits like “Centerfield” and “The Old Man Down the Road.”

The Nazz – Open Our Eyes: The Anthology

Purple Pyramid/Cleopatra reissue the 2002 double-disc, 35-song anthology from Todd Rundgren’s early band The Nazz, right down to the original foldout artwork.

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Seven albums in and White Denim still know how to rock. Their latest album, Side Effects, comes 11 years into a career that has kept their supercharged and wired guitar sound at the forefront of their music, More in line with the experimental, freewheeling spirit of their fan-favourite record Last Day of Summer than anything else they’ve done since, Side Effects is a record that captures the essence of the band’s full-throttle live shows.

White Denim is an Austin institution, but they’re the rare group to have emerged as a national act while simultaneously gigging around town. Their early efforts landed them a deal with Downtown Records, but after 2016’s Stiff they left the label, built their own studio (Radio Milk), and released two more albums in as many years. 2018’s Performance was their first effort at their own spot, and their first for the label City Slang. Like most White Denim albums this decade, this new iteration of the group revolved around core members James Petralli and Steve Terebecki.

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Performance and the recently released Side Effects are a tandem of sorts, separated by about seven months. In an era when release schedules can so often be determined by everything but the music itself, White Denim have set up an infrastructure in which they dictate how their music enters the world. It’s a strikingly independent move from a rock band, and their story gives hope to artists: Weird, interesting bands can get to a place where they have their own studio named after their own song and still stand with dignity, intact. They’re no longer just an Austin band, but a way forward.

If you’re coming back to White Denim after a few years away, Side Effects most likely picks up exactly where you left off: a record showcasing a hugely energetic band bursting at the seams. And if you never checked out, then Side Effectsis instead a wholly rewarding record – one that celebrates every form of White Denim to date and sets the stage for a brand-new chapter.

Taken from the new album ‘Side Effects

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The ultimate good-time band dish out another rollicking series of blistering bluesy stompers that emphasise their extraordinary tightness as musicians and maintain the white-knuckle energy of their live shows.

Less than a year after their last album Performance, the ever-prolific White Denim are back with their eighth record Side Effects. More in line with the experimental, freewheeling spirit of their fan-favourite record Last Day of Summer than anything else they’ve done since, Side Effects is a record that captures the essence of the band’s full-throttle live shows. Featuring a rotating cast of band members led by James Petralli and Steve Terebecki, these tracks draw on the sounds of different personnel to create a cohesive whole – the result being an album that’s as varied and vivacious as anything they’ve ever done.

If you’re coming back to White Denim after a few years away, Side Effects most likely picks up exactly where you left off: a record showcasing a hugely energetic band bursting at the seams. And if you never checked out, then Side Effects is instead a wholly rewarding record – one that celebrates every form of White Denim to date and sets the stage for a brand-new chapter.

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Austin psych-blues four-piece White Denim released their last album, Performance, less than a year ago, and they’re already dropping singles off their new one. ‘Shanalala’ is one of two new tracks they just debuted in the lead up to the release of their eighth album in 11 years, titled Side Effects. There are no words to express how lazy this paragraph makes me feel.

Taken from the new album ‘Side Effects’, out March 29th

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The Texas band’s rock music is a vintage kind, an effortless, guitar infectious music that recalls the best of the best while maintaining its own steam. Their new album Performance just dropped and its their eighth album of solid tunes.

Great rock music is, above all things, a ton of fun. Texas band White Denim understand and live by this code. Just listen to their new album Performance. It’s nine songs of pure, unadulterated rock&roll. Packed with funk rhythms and guitar riffs so sharp you could cut glass with them.

‘Double Death’ is one highlight among many, the breakdown section in which could only ever be the product of four-lifetime professional musicians and ardent lovers of the genre. It’s a relentless project, album closer and heartstring puller ‘Good News’ is the closest we ever get to a ballad or downtempo number. Even that is not without its share of distorted guitars and accented drum patterns. It’s worth noting that the guitar solo in this song is perhaps the group’s finest to date. Howling fuzz against a wall of sound.

The album doesn’t suffer from a lack of variety, despite its unyielding high-octane sound. Some tracks, like ‘Performance’ are straight up rock songs. Others like ‘Double Death’ include aspects of classic funk acts like The Meters .

There’s plenty of southern rock influence to be heard too, check out the jubilant ‘It Might Get Dark’. Performance is a perfectly consistent rock record, one which is totally comfortable with what it is. Experimentation is all well and good, but White Denim have again proven once again that raw talent and unmatched songwriting skill is a rewarding well.

From the new album ‘Performance’ – OUT NOW

White Denim on later with Jools Holland TV show

One of the most prolific American psychedelic rock and roll bands are back at it on their 7th LP, the City Slang-released Performance. White Denim are an Austin staple and have come to represent the sound of the city over the years through James Petralli’s sleek guitars, Steve Terebecki’s bass groove and Petralli’s seemingly impossible vocal range. The album’s early singles harken back to the band’s finest material, especially “It Might Get Dark,” a bluesy jam with a flawless melody that is just a flat-out fun endeavor for the ears.

The Austin quartet have long pulled hard at the parameters of rock & roll, admitting garage punk, soul, psychedelia, prog, jazz and blues while holding onto its vital goodtime core. Their up-tempo drive has produced a body of work defined as much by stellar musicianship as off-the-chain exhilaration. Energy and adventurism have always been paramount.

Here are nine songs with clarity and renewed purpose as well as a truckload of attitude. A new studio, new collaborators, and new techniques for writing and recording influenced the elastic possibility and liberation felt throughout.
Theirs is music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere, human drive and ability to spark true exhilaration have been unerring constants of the band’s existence. Ever progressing, never content to camp out on a plateau of their creative accomplishments, there is no other band quite like White Denim – unique in talent and legendarily potent as a live band, they are quite simply a very special band.

It’s safe to say when City Slang releases a record everyone listens, with White Denim now the newest Texan contingent filling the ranks of the German label. Following a longplayer this year from Calexico outta Tucson, White Denim bring the sound of Austin to the label by delivering their ninth long player in ten years. Like the artwork of performance, the music is a colourful montage that brings together saxxy jazz, mellow tropicana and distorted garage to psych rock and pop, with melancholic vocals only adding to its unique cross section of colours. A highlight for us is the ’70s Biker rock of “It Might Get Dark” and finger snappin’, vibrato heavy “Moves On”.

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Austin rockers White Denim have announced they will release their seventh full-length album, Performance, on August 24th via their new label City Slang Records, with whom the band recently signed.

The group has also shared the album’s first single, the thumping, strutting “Magazin,” which can be heard in the  below, along with also announcing a batch of fall USA tour dates, more sandwiched between two European runs.

See White Denim’s tour schedule below.

August 28 – London, UK – Rough Trade East
August 29 – London, UK – Moth Club
August 31 – Vlieland, NL – Into the Great Wide Open
September 2 – Larmer Tree Gardens, UK – End of the Road Festival

Taken from the new album PERFORMANCE

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There’s a select group of live acts that I will see live at all costs, each time they tour. These artists would include Thee Oh Sees, Ty Segall, King Gizzard and the Wizard Lizard, among others, including the band White Denim.

I have had the pleasure of seeing White Denim play quite a few times now.

From White Denim’s last album Stiff,  Seeing White Denim play live with James Petralli on the stage with a cigarette in his mouth and he got right down to business on the guitar. The Austin-based psych rock demigods played tracks off of their new album Stiff . Even without long-time guitarist Austin Jenkins and drummer Joshua Block—who helped produce Leon Bridges’ stellar debut and are now part of his touring band—Petralli and bassist Steve Terebecki comfortably lead a band that has been one of the most consistent live acts in psych.

White Denim have their seventh studio effort, Stiff, the follow-up to 2013’s impressive Corsicana Lemonade, the Austin natives called on Ethan Johns (Paul McCartney, Laura Marling), marking the first time they’d ever leaned on an outside producer.

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Since releasing the album last January, the band have toured heavily ,we’ve heard a pair of promising singles in “Ha Ha Ha Ha (Yeah)” and now this track “Holda You (I’m Psycho)”.  the garage rockers have unboxed another preview with “Had 2 Know (Personal)”, a slice of progressive rock complete with blitzing riffs.