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Ty Segall

Melted - Reissue

    San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, Melted. Segall says it sounds like "cherry cola, Sno-Cones and taffy." Indeed! Over the past two years he's released records more often than most people do laundry, but somehow there is still a heap of anticipation for this new album on Goner packed full of truly psychedelic pop songs with great vocals and exciting arrangements. On the heels of two critically acclaimed solo albums, Segall holed up in a basement studio with Mike Donovan of the Sic Alps in late 2009 and early 2010 to come up with Melted. It's a carefree yet precise balance of acoustic and electric elements.

    Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the '60s without sounding like anything created during that decade. Time melts away, vision melts away, minds melt away. Get Melted! "Ty Segall's short, sharp songs peal out of the garage without raising the doors, sending 1960s rock riffs crashing through splintered, smart-ass lo-fi buzz." -Pitchfork "His second album, Lemons, solidifies his standing as one to watch.... There are few moments when Ty Segall isn't irresistibly catchy." -Nylon "Warped sonics do nothing to diminish the impact of his vigorously nostalgic riff and stomp. Segall thunders along with the timeless, impudently rowdy energy of a cement basement dance-off." -SPIN, ? Third solo album from San Francisco garage psych wunderkind ? Touchpoints: Safe as Milk / Clear Spot-era Beefheart, T. Rex, blurry sweet junk-food highs.

    The Blind Shake, three intense men from Minneapolis creating dense, mystical music: in 1974, Bernie Taupin, feeling on top of the world as Elton John’s “Rocket Man” soared up the charts in 1972, suffered a sudden sense of vertigo outside the Spanish villa where he was vacationing. In a beam of black light he saw and heard the future of the future, a loud vision of The Blind Shake, making music that made Elton John’s “starman as everyman” song seem like so much pastel tissue paper, wet and dissolving in a pretty porcelain toilet.

    The real deal, Celebrate Your Worth is an intense web of connections of bands and sounds unknown to Taupin, strange sounds from Chrome through Bailter Space through Michael Yonkers and John Reis and with tendrils extending throughout an incredible universe of fantastic unknown bands and sounds. “What the hell am I doing?” Taupin cries, now on his knees, staring at the sky. Witness the Blind Shake in all their mystical, wonderful strangeness and energy.

    FORMAT INFORMATION

    LP includes MP3 Download Code.

    Ausmuteants

    Order Of Operation

      Jake Robertson and Billy Gardner started Ausmuteants in late 2011 in Geelong, Australia, after having played since teenagers in trad garage bands (The Frowning Clouds and The Living Eyes, respectively). Per the norm for good-looking rebels who play by their own rules, they cracked the shits, broke loose with just a synth and drums and, in early 2012, knocked out the Split Personalities tape. The addition of Melbourne’s loose-unit Marc Dean on bass followed, and soon after, ex-Canberran hardcore non-guitarist Shaun Connor on guitar.

      Their second album Amusements (note: not self-titled) comes from this fledgling time as a full band, with a heavy dose of the duo’s songs. Since the runaway international success of that record and playing every second weekend in Melbourne, they’re rocked-out full-tilt with all four members writing and singing new songs—23 of which were recorded live with vocal overdubs in the basement of an old ice cream factory by Mikey Young, then mixed and mastered in his idyllic coastal abode. Again the band and their Australian label Aarght! Records strained the friendship with song picks, agreeing on thirteen to make up Order of Operation.

      This record is better than Amusements any way you cut it: songs, lyrics, delivery and sound. It opens with Connor’s forehead- and thigh-slapping musical and lyrical debut, “Freedom of Information.” From there, songs range from balls-to-the-wall punkers (“Felix Tried to Kill Himself”; “Boiling Point”), well-considered workouts (“Family Time”; “Tunnel Vision”) and unguarded tenderness (“Wrong”; “Looney Bin”).

      Even people who couldn’t stand their earlier juvenile bullshit are now onboard. The toilet humor has been ditched, the band has gotten nasty and written songs about other people’s problems, terrible bands, fighting crime and trading sex for porn. Young was heard to say after one particular vocal take: “You deserve to be bashed for that.” The song’s on the record; you guess which one.

      Order of Operation is now their defining moment. If you don’t like this record, you pretty much won’t ever like Ausmuteants.

      After years of recording as one man in several sheds, The Long Con is the first full-on, full-band recording from Ireland’s So Cow. Brian Kelly is this time joined by long-time foil Jonny White on bass and the pride of Dublin, Peter O’Shea, on drums. It’s also their first album to be recorded in a studio and, if that isn’t enough, has an honest-to-goodness producer involved, namely Deerhoof’s Greg Saunier. Recorded live over the course of four or so days, the album is an attempt to capture So Cow’s live sound, as opposed to the overdub-happy chaos that marked the debut LP, 2009’s best-of-up-to-then compilation So Cow, and 2010’s Meaningless Friendly.

      The album was recorded in Ballyheigue in County Kerry, hitherto and probably-now-still most famous as the birthplace of the guy who coined the term “entrepreneur.” Saunier and the band ran through the process at a fairly spectacular pace, most likely inspired by the wi-fi being out of order. The Deerhoof man himself makes an appearance on “Say Hello,” a pretty-muchimprovised final day runabout. The Long Con follows on from the sufficiently varied Meaningless Friendly and their half of Out of Season, a split LP with Dublin’s Squarehead, in that it zips around styles in a way that, to this day, makes their friends find them “hard to describe.”

      The band themselves are of the mind that they sound like The Chills or McLusky, but they’ve lost all perspective at this stage so don’t go taking their word for it. Similarly, lyrics telling of joyriding local politicians, John Deacon’s post-Queen level of contentment, and the terror of turning 30 can probably now be interpreted any number of ways.

      Ex-Cult’s Midnight Passenger is the result of a neverending obsession with the open road. It’s the sound of five people spending the last year in countless dive bars and disgusting motel rooms, sleeping on dozens of dirty floors. Since recording with Ty Segall in 2012 the band hasn’t come up for air, putting under their belt four US tours and tons of weekend trips with the likes of Segall, OBN III’s and Captive.

      In these same dive bars across the USA Ex-Cult truly found their sound. While some of the songs were played for audiences as early as January 2013, it wasn’t until a West Coast tour in June that the blueprint for Midnight Passenger really started to form. Taking pieces of every tour back home with them, the band honed a sound that captures the desperation of the first record while integrating new techniques of negative noise.

      Recorded by Doug Easley in January 2014, Midnight Passenger delivers ten songs meant to be heard together, each one following a different, damaged storyline. The buzz-saw guitars, krautrock rhythms and sneering vocals are all still present, but with Midnight Passenger, Ex- Cult adds a few layers of psychedelic slime to their sound.

      Nobunny

      Secret Songs: Reflections From The Ear Mirror

      Secret Songs: Reflections from the Ear Mirror, Nobunny’s new LP on Goner Records, proves the Bay Area garage rocker’s absurd appropriation of rock ’n’ roll knows no bounds. In true Nobunny style, the album is a mixture of styles and fidelities, like having a garbage bin of awesomeness dumped on your head, the slime at the bottom rushing into your earholes and staining your brain.

      “Lurid and anarchic, Nobunny’s sound is a primitive animal thump informed by the conventions of early rock, classic ’70s punk and New Wave. It’s Chuck Berry with a devilock, Hasil Adkins crammed into Lux Interior’s PVC pants…. A punk rock Elvis impersonator doesn’t invite easy comparisons, but Nobunny’s chaotic live show evokes the costumed mania of Seattle’s the Spits, Black Lips, and the King Khan and BBQ Show… a catalyst for wild pandemonium, awash in sweat, musk, spit, and beer.” —Noisey

      Hey bro, check it out: In Memphis in early 2011, five people joined forces to start a punk rock band. They each came from different scenes—hardcore, psychedelic, and various flavors of indie pop. Things gelled. I mean, really came together, man! Following the release of two killer singles under the name Sex Cult, they were faced with a lawsuit from a similarly named and very aggressive techno label in New York City. So Sex Cult became Ex-Cult. Playing a series of house parties and gigs in dive bars, Ex-Cult honed their sound—a punk rock sweet spot that incorporates angular post-punk, flying saucer fuzz guitar, snotty vocals and bash-your-head-in energy. A real stone groove! Killer linear punk à la Wire, Urinals, Australia’s X or something, man! A show at SXSW caught the attention of indie wonderkind Ty Segall, and the two began making plans to record in San Francisco. This is the end result—a debut album that takes the living energy of their show and crams it onto the grooves of an LP. Wild, man! Wild!

      'The Last Donkey Show' is the latest album from everyone's favorite freaky Texas troubadour John Wesley Coleman. While Coleman's particular madman swerve still recalls Doug Sahm and Roky Erickson, this collection covers more territory than his earlier work. Does this mean the half-mad misfit has grown up? Not quite-but the songwriting chops are all there, from carney kookiness to fuzz rockers to barstool tearjerkers to dustbowl pop.

      In his own words: "That's right. My new album is called The Last Donkey Show. It is a fucking roller-coaster recorded in Oakland, California, at Greg Ashley's studio The Creamery and also in the country near Lockhardt, Texas, at my good buddy's childhood home. Aaron Blount is his name. He is a bad-ass songwriter friend of mine. We ate BBQ all day and shot BB guns and had a bonfire. There is a cast of characters on this record... It's a floodgate of memories. Every song has a crazy story. I will tell them to you some time. The donkey is a symbol of hard work, humor and death. I love it! See you at town near you. Eat Gus's Fried Chicken!"


      They've drawn comparisons to Wire, Can, The Fall, Fugazi and The Stooges. They have a singer who wears black gloves to overcome stage fright. They won the $30,000 Australian Music Prize for their 2008 album Primary Colours - then recorded the next one themselves in a few hours in their practice space and spent the dough on a photo shoot for the album cover. They do not care about you and your expectations. You could call them "fiercely independent" but they don't seem fierce at all.

      Quietly, and definitely on their own terms, Eddy Current Suppression Ring has become a force in underground music. Now, after three albums, it's time for a compilation of singles tracks, demos and other stuff they had lying round. Turns out there was lots to choose from-and even after trimming, they ended up with a double album. Goner Records is happy to provide 'So Many Things'.


      Memphis is home to several of rock’s most endearingly off-kilter rock storytellers, from Jim Dickinson to Jeffrey Evans to Ross Johnson. To that list, one can now add Shawn Cripps, leader of The Limes. On the band’s debut full-length, "Rhinestone River", Cripps retains the musical talents of Harlan T. Bobo, who previously helped on The Limes’ Rock ’n’ Roll Heart single. Bobo’s hypnotic keyboards perfectly complement Cripps’s gritty guitar work and vocals, particularly on “Sounds Like A Shimmy”.

      "Rhinestone River" also features contributions by Memphis scene stalwarts Ross Johnson, Paul Buchignani (Afghan Whigs, Bobo’s backing band), Alicja Trout (Lost Sounds, River City Tanlines) and Bruce Saltmarsh (’68 Comeback, Porch Ghouls). The title track, with its wobbly gait and lyrics like 'Sitting on this barstool, sweating the rhinestone river', can induce secondhand drunkenness in anyone within earshot. “Rhinestone River” is the closest an American band has gotten to the pickled poetry of the Country Teasers. The momentum and melody of “Bottom of the Hole” unfurl like the narrative thrust of a bourbon-soaked anecdote at two in the morning. The album’s crown jewel is the closing track, “Last Year”. Cater-cornered rock guitars and Cripps’s talkin’ vocal style build up to a woozy climax that culminates in a feral 'woohoo'. Like the other great songs on "Rhinestone River", it threatens to fall apart several times but Cripps, with a little help from his friends and his engaging personality, holds it all together.

      Overnight Lows

      City Of Rotten Eyes

      Goner Records release "City Of Rotten Eyes", the debut from Jackson, Mississippi’s Overnight Lows. It’s about time. Marsh and Daphne Nabors, guitar and bass, have been playing out as Overnight Lows ever since their previous band, The Comas, imploded in early 1995. Goner and many other labels have badgered them to record for years. Their reluctance to release anything until now reflects both their disdain for musical trends and their quest for a recording worthy of their sound. With "City Of Rotten Eyes", they’ve achieved it. Playing everything 'in the key of Hep C', the Overnight Lows mix a sick and sickened attitude with a classic Angry Samoans / Queers aesthetic: establish a blazing guitar riff, yell some memorable antisocial blather over it, hit a chorus, and get out. Who has time for anything else these days? Overnight Lows aren’t going to waste your time attempting to show you the path to enlightenment or the way to your lover’s heart. They’d rather show you the door. Melodies? Sure, kinda, but more like rhythmic chants to accompany you on your third trip back to the liquor store. The male / female vocal trade-offs add to the band’s desperate charm. Marsh and Daphne are backed by chef Paul Artigues from New Orleans’ Die Rotzz, a batterer of both drums and food.

      "Things Are Not All Right" is the second album on Goner from the Chicago bash-and-crash pop trio CoCoComa. Comprised of husband-and-wife Bill and Lisa Roe on drums and guitar, respectively, plus Mike Fitzpatrick on bass and organ, the band is part garage, part psych pop, and all pure punk energy. "Things Are Not All Right" takes the catchy, spazzy push of their first album and adds depth and more realized production values without slowing down in the least. 'CoCoComa's songs sound rowdy and loose—the band's reckless, infectious enthusiasm makes them feel like they could run off the rails at any time, even on a recording'. — Miles Raymer, Chicago Reader.

      Burying 60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live set-up is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, "Lemons" is the natural next step after his celebrated self-titled 2008 debut on Castle Face.

      FORMAT INFORMATION

      Ltd LP Info: 180 gram vinyl pressing, also includes a download code.


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