Posts Tagged ‘Wichita Recordings’

The Goon Sax have something natural, unforced. Formed while still in high school, their debut album drifted from Jonathan Richman to The Go-Betweens via Beat Happening, while never truly replicating those influences. Charting a nexus of ideas that is truly their own, the band’s debut album was a sleeper hit in the global indie pop community, a record passed from friend to friend.

2018’s ‘We’re Not Talking’ found The Goon Sax maturing a little, developing in confidence and ambition. Since then the group have toured far and wide, travelling a long way from their native Brisbane. Heading to the UK, The Goon Sax are ready to unleash a new video for album cut ‘Strange Light’.

Shot by the band’s own Riley Jones the grainy lo-fi quality has a real immediacy to it, and it perfectly suits the music.

Because they’re the greatest teen band in the world, or at least they were when they dropped 2016’s jaw-dropping Up to Anything and 2018’s refined We’re Not Talking, the former a catalogue of awkwardness from a world before incels weaponized it, and the latter an astoundingly arranged follow-up that matures (castanets! Motown strings!) without dulling out. Now in their 20s, Louis Forster, Riley Jones, and James Harrison  all of whom sing and write  probably know more about love than their parents, which is notable because one of Forster’s sang in the Go-Betweens. But that doesn’t stop them from agonizing over it on the horn-flecked “She Knows,” or for that matter their debut single “Sometimes Accidentally” (“I don’t care about much but one of the things I care about is you”).

Harrison has a knack for nauseated anxiety anthems, but the unusually tense “A Few Times Too Many” duels against his own bassline and loses.

Taken from the album, We’re Not Talking (out September 14th on LP, CD and digital) via Wichita Recordings and Chapter Music

Best Coast

Best Coast the band has revealed a special ten-year anniversary event to celebrate that pivotal moment in Best Coast history back in the year 2010 Best Coast released “Crazy for You”. The debut album from Bethany Cosentino and Bobb Bruno . The duo is going to stream a special performance of the album front to back. Recorded pre-quarantine with special guests including Hayley Williams of Paramore, CHVRCHES singer Lauren Mayberry, and Blink-182’s Mark Hoppus, the online broadcast is set for August 14th at 6 p.m. PST.

“Crazy for You” truly changed my life,” singer-songwriter Cosentino shared in a statement. “I was 22 years old, feeling so lost, confused and anxious — and so I wrote a bunch of songs about it. I had no idea the album would impact people the way it did back then, and I had no idea its legacy would last a decade later. When I started this band, I had no expectations of what would happen, I just wanted to make and play music with my friend. Multi-instrumentalist Bobb Bruno and I feel so lucky to have been able to do everything we have over the last 10 years, and we are so appreciative of our fans who have stuck with us since the beginning.”

Tickets to watch the stream are on sale now for $10 in advance, $15 on the day of the show (plus fees). Any tips will be donated to the Loveland Foundation, which works to “bring opportunity and healing to communities of colour, and especially to Black women and girls” through “fellowships, residency programs, listening tours, and more.”

“This is the first time we have ever played this album in its entirety and we will be sharing some behind the scenes photos/footage/and stories of the making of the album, the songs and the story of how Best Coast came to be,” the group wrote on the ticketing site. The page also reveals a new Crazy for You capsule collection, which includes t-shirts, prints, and face masks.

from the album “Crazy For You”, available to purchase now from the Wichita Recordings

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Ride handed the entirety of their highly acclaimed 6th studio album, ‘This Is Not A Safe Place’, to mysterious London act Pêtr Aleksänder, who stripped the songs back to just the vocals and added their customarily beautiful string arrangements, keys and synth textures beneath them. The results take Ride deep into the neo-classical / ambient territory. Happy release day to ‘Clouds In The Mirror’, the classical rework of ‘This Is Not A Safe Place’ lovingly fashioned by Pêtr Aleksänder.

The concept for the collaboration was originally conceived in the early days of 2019 when members of Ride contacted Pêtr Aleksänder – AKA duo Tom Hobden (of Noah & The Whale) and producer Eliot James (Two Door Cinema Club) – after falling for the swelling strings, expansive sounds and gentle crescendos of their album, Closer, Still. A mutual appreciation of sweeping, cinematic post-rock was established and over a series of email exchanges a dialogue evolved around reinterpreting the tracks on This Is Not A Safe Space using only the vocals as a guide.

Andy Bell says: ‘Pêtr Aleksänder took our album’s vocal tracks and formed an entirely new album around them, and the results are inspired, often really beautiful, and at times, totally mental. They have crafted a delicate web of string and synthesiser arrangements which draws you into a whole other world than our version of the album. I love what they’ve created.’ Pêtr Aleksänder say: ‘Reimagining Ride’s album was a treat. We took a rather unusual approach: although fans of Ride in the first instance, we nevertheless resisted listening to anything other than each track’s main vocal before setting to work, beginning exclusively with string and piano arrangements inspired by the main vocal.

Focusing on the sentiment of the vocal and re-interpreting it with our own arrangements resulted in combinations of melody, harmony and emotion that would have been very hard to achieve via a more conventional song writing / composing approach. We even waited until the band had released the album before choosing to listen to the songs in their original state – a strange experience for us given that we knew our versions of the same songs so well by that point!’

Here’s the divine version of Jump Jet, as taken from the This Is Not A Safe Place rework by Pêtr Aleksänder.

‘This Is Not A Safe Place’ the new album from Ride out 16/8/19 on Wichita Recordings.

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If the apocalyptic album title doesn’t set the tone for The Feels’ sophomore album, there’s this brilliant verse from opening track “Cars”: “All smiles DJT / War dogs on the street / The land of the free / One nation under fraud,” Laena Geronimo sings, adding just the right amount of acidity to the final word. You’d think more rock bands would have stepped up as social commentators the past couple of years; thankfully, thankfully Geronimo, Amy Allen, Michael Perry and (the now-departed) Shannon Lay did. A mix of post-punk and garage-rock, with stinging lyrics and licks worthy of the riot grrrl artists of the past, “Post Earth” assails the present.

The world is burning, and while we’re enjoying our last dances, the people in charge are worrying about whiter teeth. As for the future, the title track wryly wonders about “the one percent’s new life on Mars.” If only they’d leave sooner.

Feels post punk rock + roll whatever band born and raised in Los Angeles, CA and taking the world by storm with the wild energy of their live shows and their 2019 release POST EARTH released on Wichita Recordings. Also check out their Ty Segall produced, self-titled debut LP, released in 2016 on Castle Face Records (LP/CD) and Burger Records (cassette).

Band Members
Laena Geronimo
Michael Rudes
Amy Allen

After a two-year hiatus, Froth are back with their most fully realized work to date, ​”Duress”. Co-produced with longtime friend and collaborator Tomas Dolas (Oh Sees/Mr. Elevator) at his analog-focused Studio 22 in Cypress Park, CA, the record is unapologetically experimental yet undeniably accessible – combining some of the band’s strongest hooks with left-field sounds and unexpected flourishes of electronica. Joo Joo Ashworth has matured into a talented producer in his own right, communicating his singular vision through studio technique as much as his angular, Verlaine-inspired guitar sound. As always, the rhythm section of Jeremy Katz and Cameron Allen displays a tightness and sense of mutual understanding only achieved through years of friendship and extensive touring.

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“Duress” sees the band stepping outside the shadow of their influences and into something wholly their own. It’s an impressive and self-assured statement from a group only just entering their prime

Band Members
JooJoo Ashworth- Guitar/VOX
Jeremy Katz- Guitar/bass
Cameron Allen- Drums
released June 7th, 2019

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Legendary British shoegazers Ride have shared a new cut from their imminent new album, This Is Not A Safe Place, Like other tracks in Ride’s discography, “Repetition” is poppier than other shoegaze songs. Swirling guitars intertwine with jubilant synths, crafting a sunny single that sounds like if Kraftwerk were stripped of technological anxieties and linked up with Devo.

Frontman Andy Bell smiles throughout the track, encouraging listeners to embrace patterns amid substantial life changes. “Repetition is a form of change / So don’t be fazed if the backdrops change,” he chants encouragingly during the chorus. Per the track’s YouTube description, Bell writes that the track “succeeds in bringing me back to all of the things we were into and talked about when we were 18, but also being of the moment, in 2019.”

Ride reformed in 2014 to do some touring and finally released their first new album in 21 years, Weather Diaries, in 2017 via Wichita. That was followed by the 2018 EP, Tomorrow’s Shore. As with those two releases, Erol Alkan produced This Is Not a Safe Place. Alan Moulder mixed the album, the fourth Ride album he has mixed. The band came together at the end of 2018 and the beginning of 2019. A previous press release said the band were influenced by “the Jean Michel Basquiat exhibition at London’s Barbican Centre and the post-punk sound of The Fall and Sonic Youth, for an album rich in their trademark shoegaze atmosphere, whilst simultaneously sounding rejuvenated and creatively ambitious.”

Band Members
Andy Bell,
Laurence Colbert,
Mark Gardener,
Steve Queralt

This Is Not A Safe Place is out on August. 16th via Wichita Recordings.

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Ride opened a fresh chapter with 2017’s ‘Weather Diaries’, a terrific album that found the shoegaze band re-igniting their essential creative chemistry. Produced by Erol Alkan – a long time advocate for the band – it was followed by a lengthy international tour, including some landmark shows.

Recently hinting that they were once again in the studio, Ride have now detailed plans for their next album. Once again produced by Erol Alkan, ‘This Is Not A Safe Place’ will be released on August 16th, through the band’s home Wichita Recordings.

New song ‘Future Love’ is the ideal comeback, a stunning, completely unguarded track that speaks of pure, unashamed optimism. Driven by the positive energy coursing through the band’s veins, this is pristine Ride, managing to recall their fine early work without emulating it.

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Los Angeles trio Froth have placed some distance between their days of fake band hijinks (think staged publicity photos and blank vinyl pressings) and the present, announcing the due date of their forthcoming record, “Duress”, out everywhere via Wichita Recordings June 7th. Froth have also shared their first single and music video (dir. Courtney Gavin of The Courtneys) from the project—a grimy-meets-dreamy strummer that, in true prankster fashion, centers around the internet’s infamous Yanny vs. Laurel debate.

“This song is about a guy who listened to the Yanny/Laurel thing and he can only hear Laurel,” the band share in a statement. “He’s really passionate about Laurel being the correct pronunciation to the point where he will die before admitting otherwise. In the end, he reveals that he loves his girlfriend more than he loves the correct pronunciation of ‘Laurel/Yanny.’”

All jokes aside, “Laurel” is a lighthearted foray into shoegaze-soaked noise-rock, offering up the sort of dazed, nostalgic frivolity that reminds you of warming temperatures. Watch the music video for “Laurel”

“Laurel” is the first song shared from our forthcoming album. The title of that album is Duress

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Indoor Pets (formerly known as Get Inuit) will check boxes for those who love classic Weezer but cringed at their recent attempts at relevance, as well as those who prefer some extra sugar in their indie-rock tea. The British quartet are set to release their debut album, Be Content, on March 8th via Wichita Recordings. With vibrant guitars and frontman Jamie Glass’ high-pitched wails, tracks like “Hi” and “Being Strange” prove they know their way around a syrupy pop hook. It’s not exactly revolutionary to pair angsty lyrics with bubbly pop melodies, but one thing Indoor Pets can claim for themselves is Glass’ distinct, sugary pipes, cheery hooks that are anything but flimsy and riffs that add just enough biting clamor to counteract their highly carbonated pop.

Taken from the debut album ‘Be-Content’.

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“I’m so scared to get out of here / But I really want to get out of here.” It’s a line from “Strange Light”—a late standout from the sophomore LP by The Goon Sax and I’m not sure there’s a lyric that better sums up the feelings of late adolescence. Those prime years when your conflicting instincts are all fucking with each other, and the endless possibilities preached at you from childhood become paralyzing instead of promising. Growing pains and dawning realizations abound, but it’s in this mess that we finally wind up meeting ourselves. It’s an experience you might have all over again after listening to We’re Not Talking, the latest effort from the Brisbane trio. The band’s first album, filled with achingly familiar suburban references like Target and sweaty-palmed hand-holding, was released when Louis Forster, James Harrison and Riley Jones were just 17. This makes Talking, released two years later, an interesting crystallization of growing up. Taken out of context, a line like “I never knew what love meant / And I still don’t,” would be grounds for a heartbreaking ballad, but here it’s just a passing observation, a scanning self-analysis on the way to being an adult. For The Goon Sax, growing up sounds pretty good.