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ICE
35th Anniversary of the Platinum-selling Sophomore Album, co-produced by Ice-T and Afrika Islam. Releasing as a Limited Edition 'Ice Cold Gold' Colour Vinyl, this record includes legendary singles like "I'm Your Pusher" and "High Rollers" from one of rap's Original Gangsters.
TRACK LISTING
Side A:
1. Intro
2. Power
3. Drama
4. Heartbeat
5. The Syndicate
6. Radio Suckers
Side B:
1. I’m Your Pusher
2. Personal
3. Girls L.G.B.N.A.F.
4. High Rollers
5. Grand Larceny
6. Soul On Ice
7. Outro
Galya Bisengalieva
"Hold Your Breath: The Ice Dive" Original Motion Picture Soundtrack
One Little Independent
Following the release of Netflix’s inspiring documentary short, ‘Hold Your Breath: The Ice Dive’, Galya Bisengalieva presents her official soundtrack, via One Little Independent Records.
To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax.
Galya uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. The soundtrack commands attention while giving the characters their own space to breathe.
“Employs swirling drones and saturated textures to evoke a fragmented world” - MOJO.
“[The tracks] beautifully storyboard the titular film, but also stand on their own as life-affirming ambient pieces” - Electronic Sound.
To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax.
Galya uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. The soundtrack commands attention while giving the characters their own space to breathe.
“Employs swirling drones and saturated textures to evoke a fragmented world” - MOJO.
“[The tracks] beautifully storyboard the titular film, but also stand on their own as life-affirming ambient pieces” - Electronic Sound.
TRACK LISTING
Prelude
First Dive
Sisters
The Crash
Elina’s Fears
Healing
Melting Ice
Tapani
Lake öllöri
Should I Panic About Dying?
Rebuilding
The Night Before
The Dive
Ending
Coming on like a mutation of all the wild and tempered instrumentation of the Dirty Three in full flow, the ambling and meandering yet intense desert rock of Scenic via a long and delightful trawl around the mountain tops of the Mediterranean coastline… evocative and exhilarating music that pulls you along for the ride!! although an instrumental record, this album is as joyous as some of the most rambunctious and rowdy pop albums you’re ever likely to hear.
For fans of Mdou Moctar, Dirty Three, Scenic, Captain Beefheart, Music Ehtiopiques etc// good times!
“One of us once came in with a guitar riff he’d made alone at home and asked the band to play it the way he composed it. The result was a disaster!”
Portron Portron Lopez don’t do concepts. There are no great discussions about where they should pull their influences from, or pre-planning about how to structure studio work. The Parisian-formed trio exist in spontaneity, a creative co-habitancy that relies on feel and groove – as evidenced on their three studio albums to-date. Exploratory odysseys that bely the potential pitfalls an improvisational-minded group might fall into during the recording process, they’ve moved between shades of psychedelia and Middle Eastern-inflected drones as well as more electronic and club-based touchstones, doing so in a way that feels effortlessly free. That sense of adventure is furthered still on forthcoming album Ice Cream Soufi.
“We need exploding ideas that allow us to build tracks that we can emotionally convey onstage” they say. “It's not about being a concept band, but about striking ideas that make sense. It’s not ‘our music’ we’re making - it’s transposing who we are into music.”
Portron Portron Lopez were formed in 2011 in Paris by guitarists and brothers Marceau and Valentin Portron. High school friend and drummer Lucas Lopez joined after a two-day long improvisation session in a Parisian wine bar. He left after two records – 2012’s beguilingly Beefheart-meets-Afrobeat set of tracks on Uh!, and 2015’s similarly acid-fried Moi Aussi J'ai Des Amis Qui Font Du Bruit – but his position was taken by Olivier Kelchtermans. The Belgian artist had contributed to PPL’s previous studio recordings as a saxophonist but switched to behind the kit in time for the 2016 tour dates and then the 2018 release De Colère et d'Envie’s mix of lo-fi hypnagogia and proto-punk recalling mayhem.
Ice Cream Soufi certainly doesn’t eschew all the chaos of that record, but the seven tracks that make up the group’s fourth LP lean further into their penchant for cross-pollination across globally inspired styles. Opener Comment Vas-Tu Rossignol’s roots are in western Iran and a recording Valentin made there of local musicians playing in the ethnographic museum of Sanadaj. The material served as inspiration for the resulting track, which leans on Kurdish folk style and structure while the trio whip themselves into a sense of frenzy around it.
Elsewhere, third track A Stranger I May Be came out of several improvisations based around the group’s goal of “getting to a country-techno song” – an on-paper incongruous mix that makes a hell of a lot of sense when listened to. It’s unwavering kick drum drives through the group’s duelling guitars and unburdened vocal shrieks, supplemented by musician and comedian Charly Fournier who adds a touch of knowing absurdity to proceedings.
Those two tracks bookend Pensée Sans Tête, which was improvised and demoed in April 2019 during a rehearsal, before being taken to an old barn in Normandie the following year to flesh out. The track’s repeato-riffs gradually spin quicker and quicker as the group underpin it vocally and with rolling percussion.
Arguably the centre piece of the record, though, is Aubes – an 11-minute-long opus of cacophonic drones that gather and bustle for space amidst each other, a line of tension pulled tight through them. It’s a stirring midpoint that encourages the listener’s mind to pick its own sonic adventure within the different shades of sound.
“At first, the original concept of the album was to put three straight rock songs in and a 23-minute drone” the band comment. “But the result was not satisfying”.
Instead, they cut half the drone and added a few overdubs. Valentin added some recordings he’d made during a trip to Iranian Kurdistan where he’d seen Farzad Memar - the uncle of ambient composer Porya Hatami - playing duduk. He also mixed in some Târ playing by his beloved Persian friend Mostafa Heydarian.
“The initial idea of three songs and one drone was boring because it was a rational concept” they say. “All of a sudden, a new album started to take shape in front of us, as a rosebud growing under our very touched eyes. It was a beautiful surprise.”
Aubes’ peak allows the two following tracks to giddily scramble down the other side of the record, with Fin De Partie perhaps the most garage rock-inspired track on the album, its rawness the result of a direct lift from the outro of a live set that took place in a small basement in Bordeaux. Tayau rounds things out, a short two-minute finale recorded at home on Marceau’s phone in his bedroom.
Recorded across six different locations over a period of 20 months, sessions saw the trio set up everywhere, from various rehearsal studios to band members respective homes, a large church in Sète and an old barn in Normandie. The three group members are now spread out across Paris, Corrèze in the central west of France and Sète on its south coast. All that meant, though, was that the sessions for the album took on even more of an improvisatory vibe as they sought to make the most of their increasingly limited time together.
“One of the greatest achievements of these sessions was being able to put up an album that is like a house with lots of different rooms” they say. “You never want to stick in the main hall when you're visiting someone, and that's the feeling you may have when listening to a record fully recorded and mixed in the same place and time. For us, the live nature of the tracks and the different moods they take on make it feel more like a journey through us.”
And beyond the feeling of it, nothing else matters.
For fans of Mdou Moctar, Dirty Three, Scenic, Captain Beefheart, Music Ehtiopiques etc// good times!
“One of us once came in with a guitar riff he’d made alone at home and asked the band to play it the way he composed it. The result was a disaster!”
Portron Portron Lopez don’t do concepts. There are no great discussions about where they should pull their influences from, or pre-planning about how to structure studio work. The Parisian-formed trio exist in spontaneity, a creative co-habitancy that relies on feel and groove – as evidenced on their three studio albums to-date. Exploratory odysseys that bely the potential pitfalls an improvisational-minded group might fall into during the recording process, they’ve moved between shades of psychedelia and Middle Eastern-inflected drones as well as more electronic and club-based touchstones, doing so in a way that feels effortlessly free. That sense of adventure is furthered still on forthcoming album Ice Cream Soufi.
“We need exploding ideas that allow us to build tracks that we can emotionally convey onstage” they say. “It's not about being a concept band, but about striking ideas that make sense. It’s not ‘our music’ we’re making - it’s transposing who we are into music.”
Portron Portron Lopez were formed in 2011 in Paris by guitarists and brothers Marceau and Valentin Portron. High school friend and drummer Lucas Lopez joined after a two-day long improvisation session in a Parisian wine bar. He left after two records – 2012’s beguilingly Beefheart-meets-Afrobeat set of tracks on Uh!, and 2015’s similarly acid-fried Moi Aussi J'ai Des Amis Qui Font Du Bruit – but his position was taken by Olivier Kelchtermans. The Belgian artist had contributed to PPL’s previous studio recordings as a saxophonist but switched to behind the kit in time for the 2016 tour dates and then the 2018 release De Colère et d'Envie’s mix of lo-fi hypnagogia and proto-punk recalling mayhem.
Ice Cream Soufi certainly doesn’t eschew all the chaos of that record, but the seven tracks that make up the group’s fourth LP lean further into their penchant for cross-pollination across globally inspired styles. Opener Comment Vas-Tu Rossignol’s roots are in western Iran and a recording Valentin made there of local musicians playing in the ethnographic museum of Sanadaj. The material served as inspiration for the resulting track, which leans on Kurdish folk style and structure while the trio whip themselves into a sense of frenzy around it.
Elsewhere, third track A Stranger I May Be came out of several improvisations based around the group’s goal of “getting to a country-techno song” – an on-paper incongruous mix that makes a hell of a lot of sense when listened to. It’s unwavering kick drum drives through the group’s duelling guitars and unburdened vocal shrieks, supplemented by musician and comedian Charly Fournier who adds a touch of knowing absurdity to proceedings.
Those two tracks bookend Pensée Sans Tête, which was improvised and demoed in April 2019 during a rehearsal, before being taken to an old barn in Normandie the following year to flesh out. The track’s repeato-riffs gradually spin quicker and quicker as the group underpin it vocally and with rolling percussion.
Arguably the centre piece of the record, though, is Aubes – an 11-minute-long opus of cacophonic drones that gather and bustle for space amidst each other, a line of tension pulled tight through them. It’s a stirring midpoint that encourages the listener’s mind to pick its own sonic adventure within the different shades of sound.
“At first, the original concept of the album was to put three straight rock songs in and a 23-minute drone” the band comment. “But the result was not satisfying”.
Instead, they cut half the drone and added a few overdubs. Valentin added some recordings he’d made during a trip to Iranian Kurdistan where he’d seen Farzad Memar - the uncle of ambient composer Porya Hatami - playing duduk. He also mixed in some Târ playing by his beloved Persian friend Mostafa Heydarian.
“The initial idea of three songs and one drone was boring because it was a rational concept” they say. “All of a sudden, a new album started to take shape in front of us, as a rosebud growing under our very touched eyes. It was a beautiful surprise.”
Aubes’ peak allows the two following tracks to giddily scramble down the other side of the record, with Fin De Partie perhaps the most garage rock-inspired track on the album, its rawness the result of a direct lift from the outro of a live set that took place in a small basement in Bordeaux. Tayau rounds things out, a short two-minute finale recorded at home on Marceau’s phone in his bedroom.
Recorded across six different locations over a period of 20 months, sessions saw the trio set up everywhere, from various rehearsal studios to band members respective homes, a large church in Sète and an old barn in Normandie. The three group members are now spread out across Paris, Corrèze in the central west of France and Sète on its south coast. All that meant, though, was that the sessions for the album took on even more of an improvisatory vibe as they sought to make the most of their increasingly limited time together.
“One of the greatest achievements of these sessions was being able to put up an album that is like a house with lots of different rooms” they say. “You never want to stick in the main hall when you're visiting someone, and that's the feeling you may have when listening to a record fully recorded and mixed in the same place and time. For us, the live nature of the tracks and the different moods they take on make it feel more like a journey through us.”
And beyond the feeling of it, nothing else matters.
TRACK LISTING
Side A
01 Comment Vas-Tu Rossignol
02 Pensées Sans Tête
03 A Stranger I May Be
04 Trois-Cent-Dix-Huit Poussettes
Side B
01 Aubes
02 Fin De Partie
03 Tayau
Dinked Edition Bonus 7”
A: Train Bluc
B: Kula
Dinked Edition
13 TRACK BONUS CD IN SLEEVE
A Bakers Dozen: PPL Primer.
1: BICHETTE
2: SOL MAMMOUTH
3: JEROME
4: VELVET TARGUI
5: UNE BARQUE SUR L'OCEAN
6: LEELOO
7: ADIOS JUAN NAVIDAD
8: BICHETTE II
9: EVERYBODY'S GOT A NUMBER IN THE NECK (LIVE)
10 LA CHAUVE SOURIS (LIVE)
11 CIRCUS
12 TRAIN BLUC
13 KULA
Angeles, California—Divine Horsemen, the fiery, eclectic ’80s group that rode the unique vocal chemistry of Chris Desjardins (a.k.a. Chris D.) and Julie Christensen, return to the musical stage with Hot Rise Of An Ice Cream Phoenix, a collection of all-new recordings. Co-produced by Desjardins and Craig Parker Adams (who engineered I Used To Be Pretty, the 2019 release by Chris D.’s groundbreaking ’70s punk band the Flesh Eaters), this new 13-track album comprises the first new music by the Horsemen in thirty-three years.
Founded after the dissolution of the Flesh Eaters and launched with the 1984 Enigma Records album Time Stands Still, billed as Chris D./Divine Horseman, the band released three albums and an EP on SST Records, all of which featured the searing harmonies of Desjardins and Christensen, who were married at the time. The couple split professionally and personally just prior to the release of their January 1988 EP A Handful of Sand. However, the two musicians remained in touch over the years, and Christensen contributed vocals to five tracks on I Used To Be Pretty, which reunited the 1980 “all-star” edition of the Flesh Eaters heard on the Ruby/Slash classic A Minute To Pray, A Second To Die. By then, the idea of reviving Divine Horsemen was already percolating.
Featuring onetime Divine Horsemen guitarist Peter Andrus, who had appeared on A Handful Of Sand and the 1987 album Snake Handler, and Bobby Permanent, the 2021 Divine Horsemen lineup is completed by drummer DJ Bonebrake of the incomparable L.A. band X. Hot Rise Of An Ice Cream Phoenix stands as a bracing new achievement by a distinctive musical partnership that has always marched to the beat of its own drum. Like the Flesh Eaters’ recent reunion, it’s a welcome return that plays to the group’s historic strengths.
Founded after the dissolution of the Flesh Eaters and launched with the 1984 Enigma Records album Time Stands Still, billed as Chris D./Divine Horseman, the band released three albums and an EP on SST Records, all of which featured the searing harmonies of Desjardins and Christensen, who were married at the time. The couple split professionally and personally just prior to the release of their January 1988 EP A Handful of Sand. However, the two musicians remained in touch over the years, and Christensen contributed vocals to five tracks on I Used To Be Pretty, which reunited the 1980 “all-star” edition of the Flesh Eaters heard on the Ruby/Slash classic A Minute To Pray, A Second To Die. By then, the idea of reviving Divine Horsemen was already percolating.
Featuring onetime Divine Horsemen guitarist Peter Andrus, who had appeared on A Handful Of Sand and the 1987 album Snake Handler, and Bobby Permanent, the 2021 Divine Horsemen lineup is completed by drummer DJ Bonebrake of the incomparable L.A. band X. Hot Rise Of An Ice Cream Phoenix stands as a bracing new achievement by a distinctive musical partnership that has always marched to the beat of its own drum. Like the Flesh Eaters’ recent reunion, it’s a welcome return that plays to the group’s historic strengths.
TRACK LISTING
1. Mystery Writers
2. Falling Forward
3. Ice Cream Phoenix
4. Mind Fever
5. Handful Of Sand
6. Any Day Now
7. 25th Floor
8. Can't You See Me
9. No Evil Star
10. Strangers
11. Barefoot In The Streets
12. Stoney Path
13. Love Cannot Die
Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the ice into a viscous, briney slush and, eventually, nothing at all. Beginning with the dynamic chaos of “Up & Down,” and ending with Crumb’s closest thing to a lullaby, Ice Melt’ s ten tracks combine, like ice sculptures melting into a glistening puddle.
From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.
Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterizes the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.
From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.
Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterizes the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.
STAFF COMMENTS
Barry says: All analogies aside, there's a lot to be said for the warming haze of Crumb's meandering mixture of downbeat, indie and psychedelic rock. It's a wonderfully emotive and hypnotic outing, superbly balanced and would be perfectly at home on the stereo or soundtracking a particularly poignant movie moment.TRACK LISTING
SIDE A
1. Up & Down
2. BNR
3. Seeds
4. L.A.
5. Gone
SIDE B
6. Retreat!
7. Trophy
8. Balloon
9. Tunnel (all That You Had)
10. Ice Melt
‘Ice Data Centre’ is the second track to be showcased from Victories At Sea's forthcoming second album, ‘Everybody’s Lost And All I Want Is To Leave’, released in January 2020. ‘Ice Data Centre’ continues Victories deserved reputation for elegantly crafted melody and deep dive lyricism, a sound characterised by Gigwise, in their premiere of the video for ‘Quiet House’, as ‘an ambitious, widescreen collage of moods and ideas’. ‘ Everybody’s Lost And All I Want Is To Leave’ has been two years in the making. Having made a name for themselves with debut album ‘Everything Forever’ and a string of releases for renowned independent Static Caravan, the trio elected to step off the promotional and release roundabout to focus on making a definitive album. Early recordings on the shores of Loch Fyne set the widescreen tone, whilst additional sessions and mixing back in the urban sprawl of their Birmingham hone town tempered the freedom felt in the Scottish highlands with the claustrophobia of modern city life.
TRACK LISTING
Ice Data Centre
‘Platinum Tips + Ice Cream’ is new from Royal Trux.
The songs were written over a span of time as wide as eagle’s wings but the recordings are new, live, unrehearsed and were presented in real time to a few thousand people in California and NYC.
Performance art? Yes! But only because, unlike so many other aural ‘content providers’, Neil Hagerty and Jennifer Herrema are true artists writing their own futures into the present. This was, and will always be, Royal Trux.
The songs were written over a span of time as wide as eagle’s wings but the recordings are new, live, unrehearsed and were presented in real time to a few thousand people in California and NYC.
Performance art? Yes! But only because, unlike so many other aural ‘content providers’, Neil Hagerty and Jennifer Herrema are true artists writing their own futures into the present. This was, and will always be, Royal Trux.
TRACK LISTING
Junkie Nurse
Sewers Of Mars
Red Tiger
Sometimes
Mercury
Esso Dame
Deafer Than Blind
Waterpark
Platinum Tips
The Banana Question
Blue Is The Frequency
Ice Cream
Over their almost decade-and-a-half career, The Kills have released four records. Each one a restless, reckless enigmatic art statement that bristled with tension, anxiety, sex, unstudied cool and winking ennui, yet not one of them sounded like the previous one. Ash & Ice is the follow up to 2011’s critically lauded Blood Pressures and was five years in the making in part due to Jamie Hince’s five hand surgeries, which resulted in him having to re-learn how to play guitar with a permanently damaged finger.
Unlike earlier albums, which have largely been written and recorded at Key Club Studio in Benton Harbor, Michigan, the bulk of the recording for Ash & Ice took place in a rented house in LA and at the world famous Electric Lady Studios in NYC. The album was produced by Jamie Hince and co-produced by John O’Mahony (Metric, The Cribs), and mixed by Tom Elmhirst (Adele, Arcade Fire, Amy Winehouse) and Tchad Blake (Black Keys, Arctic Monkeys).
It was during Hince’s recuperation from surgery that he first started sketching out what would become the songs for the album. To shake up the writing process, Hince booked a solo trip on the infamous Trans-Siberian Express for inspiration while Alison Mosshart, now residing in Nashville, TN, wrote some of the most affecting, poetically candid lyrics that she ever has, painting word pictures that mine the dangerous terrain between romantic obsession, prophecy and tough love. Where previous albums had an air of detachment and emotional austerity, underpinned by an uneasy self-awareness and unexpressed anger, the 13 songs on Ash & Ice are more understated, less tempestuous and more affecting because of that, exposing the kind of push-pull you feel when you find yourself in a complicated but all-consuming relationship. Ash & Ice is The Kills at their emotionally charged, arresting best. Prepare to be slayed.
Unlike earlier albums, which have largely been written and recorded at Key Club Studio in Benton Harbor, Michigan, the bulk of the recording for Ash & Ice took place in a rented house in LA and at the world famous Electric Lady Studios in NYC. The album was produced by Jamie Hince and co-produced by John O’Mahony (Metric, The Cribs), and mixed by Tom Elmhirst (Adele, Arcade Fire, Amy Winehouse) and Tchad Blake (Black Keys, Arctic Monkeys).
It was during Hince’s recuperation from surgery that he first started sketching out what would become the songs for the album. To shake up the writing process, Hince booked a solo trip on the infamous Trans-Siberian Express for inspiration while Alison Mosshart, now residing in Nashville, TN, wrote some of the most affecting, poetically candid lyrics that she ever has, painting word pictures that mine the dangerous terrain between romantic obsession, prophecy and tough love. Where previous albums had an air of detachment and emotional austerity, underpinned by an uneasy self-awareness and unexpressed anger, the 13 songs on Ash & Ice are more understated, less tempestuous and more affecting because of that, exposing the kind of push-pull you feel when you find yourself in a complicated but all-consuming relationship. Ash & Ice is The Kills at their emotionally charged, arresting best. Prepare to be slayed.
STAFF COMMENTS
Barry says: The Kills return with their newest album since 2011's 'Blood Pressures' and this might just be their most intricate and emotive offering yet. Further emphasising their innate ability to pluck at the heartstrings whilst soothing the soul. Mossheart's vocals are as sultry and emotive as ever, and the instrumentation is just as you'd expect : raw, honest and beautiful.TRACK LISTING
1. Doing It To Death
2. Heart Of A Dog
3. Hard Habit To Break
4. Bitter Fruit
5. Days Of Why And How
6. Let It Drop
7. Hum For Your Buzz
8. Siberian Nights
9. That Love
10. Impossible Tracks
11. Black Tar
12. Echo Home
13. Whirling Eye
Debut release from Laissez Faire Club Records is the second single from Brighton based Ice Black Birds, "As Birds We’d Be Fine". It’s a slice of blues fueled, anthemic indie rock fit for the summer festival season, and has already been championed by Huw Stephens on Radio 1 as well as Steve Lamacq and Tom Robinson on 6Music.
The flip side is live favourite "Doors", a highly charged rock ‘n’ roll riot all over in two-and-a-half minutes – like they used to make in the good old days.
Fans of CCR, Kings Of Leon, White Denim and The Black Keys will love this.
The flip side is live favourite "Doors", a highly charged rock ‘n’ roll riot all over in two-and-a-half minutes – like they used to make in the good old days.
Fans of CCR, Kings Of Leon, White Denim and The Black Keys will love this.
TRACK LISTING
Side A:
As Birds We’d Be Fine
Side B:
Doors
"Miami Ice" is the upbeat and wide-ranging third full-length album from Chicago/Philadelphia ensemble Icy Demons. As on previous releases, the band's altered pop music draws on a wide range of musical vocabulary—sometimes within a single song. Though recorded throughout a very busy year, the album has a very natural feel and excited energy, like the warming of the senses in spring after a long winter. Icy Demons co-founders Chris Powell (a.k.a. Pow Pow) and Griffin Rodriguez (a.k.a. Blue Hawaii) use an odd assortment of vintage keyboards and ethnic percussion, and evoke a past that actually might prove to be the future. Their live shows are energetic and fast-paced, with the multi-instrumentalist members dancing around the stage playing interlocking rhythms. Rodriguez sings of dreams and endurance, alien paranoia and fun food, time travel and the western frontier.
Guillermo Scott Herren (aka Prefuse 73, Savath & Savalas) is one of the most renowned producers of avant-rock and hip hop around today. Zach Hill is an incredible, self-taught drummer, hailing from California. He's played in bands with Chino Moreno (Deftones), Rob Crow (Pinback), Marnie Stern and will soon be drumming with The Mars Volta, as well as playing in his main group Hella. Together they've formed Diamond Watch Wrists, and this is their debut album. "Ice Capped at Both Ends" shows an entirely new form of Herren creations, organic songs featuring Guillermo's plaintive vocals, guitar and studio wizardry, Hill's singular drumming as well as previously unheard nods to 60s European acid-folk, classic American singer-songwriters and krautrock. Ty Braxton (Battles) also guests on "Simple Love Notes (5 Years Later)". Deceptively complex in their arrangements, the songs never fail to strike a fascinating balancing act between brooding and uplifting, making for an uncommonly well-rounded album.
Tracklisting
1. My Last Time In This Place
2. Polite Passage
3. One Second Early Late
4. Onward Push Me Out
5. Diamond Falling Off My Grill
6. Dot Org Green Consumer
7. Start Wrong
8. Simple Love Notes (5 Years Later)
9. Speculative Forensic Investigation
10. Epidemic Episodes Of Epidemics
11. Taped Up Swagger (High School Version)
12. Ending
Tracklisting
1. My Last Time In This Place
2. Polite Passage
3. One Second Early Late
4. Onward Push Me Out
5. Diamond Falling Off My Grill
6. Dot Org Green Consumer
7. Start Wrong
8. Simple Love Notes (5 Years Later)
9. Speculative Forensic Investigation
10. Epidemic Episodes Of Epidemics
11. Taped Up Swagger (High School Version)
12. Ending
We Are Free has already brought you one of the most exciting bands of recent years in Yeasayer – now prepare yourselves for the onslaught of Baltimore's craziest band, Ponytail. Their music is total spastic bliss, a complete sugar high freak out, smiles, dimples and grins beam from the crowd to the band, and from band to crowd.
Live favourite, New Young Pony Club anthem and Intel advert soundtrack "Ice Cream", gets re-released! The track is a sparsely minimal punk funk jerkout that sounds like a distaff version excursion on disco-era Rolling Stones fronted by the Slits' Ari Up and produced by David Byrne and Brian Eno. This CD single also includes and extended version plus video, AND remixes by Herve and Metal On Metal, both more for peak-time club play.