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Formed in 1991, the Philadelphia-based quintet have spent some thirty years mapping guitar music’s outer limits – dialing into extremes of noise, chaos, and harmony in free-form compositions that now unfurl across 12 full-length records and a near-limitless body of EPs, cassettes, and CD-Rs Recorded by the lineup of John Gibbons (guitar), Michael Gibbons (guitar), Isobel Sollenberger (voice, flute), Clint Takeda (bass), and Joe Culver (drums), Amanita is the place where the band’s spontaneous collective creativity blazed into maturity.
TRACK LISTING
Limerick
Sentence
Tantric Porno
Wank
The High Frequency
Sometimes Words
Yellow Turban
Rumination
Be A Fish
Tapir Song
RM
Clean Sweep
Brambles
DARKSIDE is an American rock band formed in Providence, Rhode Island in 2011. The group consists of Chilean electronic musician & vocalist Nicolás Jaar and American multi-instrumentalist Dave Harrington. Jaar and Harrington first met while studying in Providence through their com- mon friend and saxophonist Will Epstein. In the summer of 2011, they toured Europe and Australia in support of Jaar’s breakthrough debut album Space Is Only Noise.
Upon returning to Providence, they continued to write together, releasing their self-titled EP in 2012 and their critically acclaimed debut album Psychic on Matador Records in October 2013. The album was met with glowing reviews, including a 9.0 from Pitchfork and The New York Times calling it “the soundtrack to a lost David Lynch sci-fi movie.”
In the summer of 2018, Harrington and Jaar rented a small house on Lenni-Lenape territory, which is present-day Flemington, New Jersey. The group spent a week there, making a song a day. While it would take another year and a half to complete their second album, six songs from the band’s new record Spiral were written and recorded during this initial session.
“From the beginning, DARKSIDE has been our jam band. Something we did on days off. When we reconvened, it was because we really couldn’t wait to jam together again,” says Jaar. Harrington echoes this, “It felt like it was time again,” he said. “We do things in this band that we would never do on our own. DARKSIDE is the third being in the room that just kind of occurs when we make music together.”
Upon returning to Providence, they continued to write together, releasing their self-titled EP in 2012 and their critically acclaimed debut album Psychic on Matador Records in October 2013. The album was met with glowing reviews, including a 9.0 from Pitchfork and The New York Times calling it “the soundtrack to a lost David Lynch sci-fi movie.”
In the summer of 2018, Harrington and Jaar rented a small house on Lenni-Lenape territory, which is present-day Flemington, New Jersey. The group spent a week there, making a song a day. While it would take another year and a half to complete their second album, six songs from the band’s new record Spiral were written and recorded during this initial session.
“From the beginning, DARKSIDE has been our jam band. Something we did on days off. When we reconvened, it was because we really couldn’t wait to jam together again,” says Jaar. Harrington echoes this, “It felt like it was time again,” he said. “We do things in this band that we would never do on our own. DARKSIDE is the third being in the room that just kind of occurs when we make music together.”
TRACK LISTING
Narrow Road
The Limit
The Question Is To See It All
Lawmaker
I’m The Echo
Spiral
Liberty Bell
Inside Is Out There
Only Young
Since forming in high school, Brisbane band The Goon Sax—the trio of Riley Jones, Louis Forster, and James Harrison, best friends who take turns writing, singing, and playing each instrument— have been celebrated for their unpretentious, kinetic homemade pop. Mirror ll, The Goon Sax’s first album for Matador, is something else entirely: a new beginning, a multi-dimensional eclectic journey of musical craftsmanship that moves from disco to folk to no wave skronk with staggering cohesion. Gone are the first-person insecurities of their school days—they’ve been made expansive, more universal, more weird.
Mirror II is intense, the sum of everything that has always made The Goon Sax great: robust sprech- gesang, raw lyrical candor, ascending guitar pop structures that would make the most storied jangle bands blush, elevated into their newfound narra- tive verisimilitude and expanded sonic xperiment- tations. Each member’s idiosyncratic style comes across on record: Riley’s bubblegum noise is more present than ever before, Louis’ moody, super- natural avant-pop, and James’ psychedelic folk.
Mirror II is intense, the sum of everything that has always made The Goon Sax great: robust sprech- gesang, raw lyrical candor, ascending guitar pop structures that would make the most storied jangle bands blush, elevated into their newfound narra- tive verisimilitude and expanded sonic xperiment- tations. Each member’s idiosyncratic style comes across on record: Riley’s bubblegum noise is more present than ever before, Louis’ moody, super- natural avant-pop, and James’ psychedelic folk.
TRACK LISTING
In The Stone
Psychic
Tag
Temples
The Chance
Bathwater
Desire
Carpetry
Til Dawn
Caterpillars
This new gift from Dacus, her third album, was built on an interrogation of her coming-of-age years in Richmond, VA. Many songs start the way a memoir might—“In the summer of ’07 I was sure I’d go to heaven, but I was hedging my bets at VBS”—and all of them have the compassion, humour, and honesty of the best autobiographical writing. Most importantly and mysteriously, this album displays Dacus’s ability to use the personal as portal into the universal.
“I can’t hide behind generalizations or fiction anymore,” Dacus says, though talking about these songs, she admits, makes her ache. That Home Video arrives at the end of this locked down, fearful era seems as preordained as the messages within. “I don’t necessarily think that I’m supposed to understand the songs just because I made them,” Dacus says, “I feel like there’s this person who has been in me my whole life and I’m doing my best to represent them.” After more than a year of being homebound, in a time when screens and video calls were sometimes our only form of contact, looking backward was a natural habit for many.
If we haven’t learned it already, this album is a gorgeous example of the transformative power of vulnerability. Dacus’s voice, both audible and on the page, has a healer’s power to soothe and ground and reckon.
“I can’t hide behind generalizations or fiction anymore,” Dacus says, though talking about these songs, she admits, makes her ache. That Home Video arrives at the end of this locked down, fearful era seems as preordained as the messages within. “I don’t necessarily think that I’m supposed to understand the songs just because I made them,” Dacus says, “I feel like there’s this person who has been in me my whole life and I’m doing my best to represent them.” After more than a year of being homebound, in a time when screens and video calls were sometimes our only form of contact, looking backward was a natural habit for many.
If we haven’t learned it already, this album is a gorgeous example of the transformative power of vulnerability. Dacus’s voice, both audible and on the page, has a healer’s power to soothe and ground and reckon.
TRACK LISTING
1. Hot & Heavy
2. Christine
3. First Time
4. VBS
5. Cartwheel
6. Thumbs
7. Going Going Gone
8. Partner In Crime
9. Brando
10. Please Stay
11. Triple Dog Dare
On 21st May, Matador Records will release Afrique Victime, the long-awaited new album by Mdou Moctar.
With Afrique Victime the prodigious Tuareg guitarist and songwriter rips a new hole in the sky – boldly reforging contemporary Saharan music and “rock music” by melding guitar pyrotechnics, full-blast noise, and field recordings with poetic meditations on love, religion, women's rights, inequality, and Western Africa’s exploitation at the hands of colonial powers.
The music listeners are the beneficiaries of the staggeringly powerful do-it-yourself musical ethic of Mdou Moctar – the man and the band – who’ve worked so hard to bring the spirits of families and communities in Niger to the West. Afrique Victime sounds and feels like a Tuareg hand reaching down from the sky, and we are very lucky for this chance to get lifted.
With Afrique Victime the prodigious Tuareg guitarist and songwriter rips a new hole in the sky – boldly reforging contemporary Saharan music and “rock music” by melding guitar pyrotechnics, full-blast noise, and field recordings with poetic meditations on love, religion, women's rights, inequality, and Western Africa’s exploitation at the hands of colonial powers.
The music listeners are the beneficiaries of the staggeringly powerful do-it-yourself musical ethic of Mdou Moctar – the man and the band – who’ve worked so hard to bring the spirits of families and communities in Niger to the West. Afrique Victime sounds and feels like a Tuareg hand reaching down from the sky, and we are very lucky for this chance to get lifted.
TRACK LISTING
Chismiten
Taliat
Ya Habibti
Tala Tannam
Untitled
Asdikte Akal
Layla
Afrique Victime
Bismilahi Atagah
Guided By Voices’ long out-of-print ninth studio album repressed on vinyl - originally released in 1996 as the follow up to the breakthrough Alien Lanes, Under The Bushes Under The Stars further cemented GBV as one of rock music’s most lauded contributors
TRACK LISTING
Man Called Aerodynamics
Rhine Jive Click
Cut-Out Witch
Burning Flag Birthday Suit
The Official Ironmen Rally Song
To Remake The Young Flyer
No Sky
Bright Paper Werewolves
Lord Of Overstock
Your Name Is Wild
Ghosts Of A Different Dream
Acorns & Orioles
Look At Them
The Perfect Life
Underwater Explosions
Atom Eyes
Don't Stop Now
Office Of Hearts
Big Boring Wedding
It's Like Soul Man
Drag Days
Sheetkickers
Redmen And Their Wives
Take To The Sky
Little Oblivions is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.
STAFF COMMENTS
says: Julien Baker returns for another beautifully rich set of crescentic rock, coloured with an unmistakeable country hue. It's a delicate balance and is accomplished here with a beautiful warmth and comforting melodicism. Another wonderful journey, full of emotional duality and songwriting genius from Baker.TRACK LISTING
1. Hardline
2. Heatwave
3. Faith Healer
4. Relative Fiction
5. Crying Wolf
6. Bloodshot
7. Ringside
8. Favor
9. Song In E
10. Repeat
11. Highlight Reel
12. Ziptie
Bailter Space’s ‘Wammo’ is back in print for the first time since the album’s release 25 years ago.
Formed in Christchurch, New Zealand in 1987 as Nelsh Bailter Space, the band’s musical family tree touches on some of the nation’s most revered weirdo luminaries - including Flying Nun mainstays like The Skeptics, The Clean and The Gordons.
Bailter Space embraced chaos but celebrated precision, finding melody amid networks of brooding noise and feedback. After relocating to New York City, the band - who by then included Alister Parker, John Halvorsen and Brent McLachlan - arrived on Matador in in time for the US release of ‘Robot World’ (1993).
‘Wammo’ was the trio’s third and final full-length with the label (their fifth album overall). At the time, music scribes were a bit puzzled by the record’s “accessibility.” In retrospect though we can recognize ‘Wammo’ for the perfectly melancholy and drone-laced brain-zap that it is.
Formed in Christchurch, New Zealand in 1987 as Nelsh Bailter Space, the band’s musical family tree touches on some of the nation’s most revered weirdo luminaries - including Flying Nun mainstays like The Skeptics, The Clean and The Gordons.
Bailter Space embraced chaos but celebrated precision, finding melody amid networks of brooding noise and feedback. After relocating to New York City, the band - who by then included Alister Parker, John Halvorsen and Brent McLachlan - arrived on Matador in in time for the US release of ‘Robot World’ (1993).
‘Wammo’ was the trio’s third and final full-length with the label (their fifth album overall). At the time, music scribes were a bit puzzled by the record’s “accessibility.” In retrospect though we can recognize ‘Wammo’ for the perfectly melancholy and drone-laced brain-zap that it is.
TRACK LISTING
Untied
Splat
At Five We Drive
Zapped
Colours
Retro
Glimmer
Voltage
D Thing
Wammo
Remastered by Bob Weston, ‘Mountains’ comes back to us as a gold foil-embossed gatefold double LP and includes the previously unreleased original takes of ‘Return to Pirates’, ‘Poison Moon’ and ‘Killed by the Telephone’, which were delivered along with the original master tapes 20 years ago but were omitted from the final album.
The record is completed by a newly recorded orchestral version of ‘Valley of One Thousand Perfumes’ produced by composer Joe Wong (Russian Doll, Midnight Gospel) and mixed by Dave Fridmann.
At the turn of the Century, Timony (Ex Hex, Wild Flag, Hammered Hulls) was already a celebrated presence in American underground music - a fixture of D.C. and Boston rock ’n’ roll via her work in Autoclave and Helium respectively. By 1998, though, Helium was drawing to a close and Timony was feeling uncertain about the future. “I had never been good at the rock ‘n’ roll business, and making a living from being in a band just didn't seem like it was in the realm of possibility for me,” she writes. “I just knew I wanted to make another record because that was the part of being in a band that I liked the most.”
The record is completed by a newly recorded orchestral version of ‘Valley of One Thousand Perfumes’ produced by composer Joe Wong (Russian Doll, Midnight Gospel) and mixed by Dave Fridmann.
At the turn of the Century, Timony (Ex Hex, Wild Flag, Hammered Hulls) was already a celebrated presence in American underground music - a fixture of D.C. and Boston rock ’n’ roll via her work in Autoclave and Helium respectively. By 1998, though, Helium was drawing to a close and Timony was feeling uncertain about the future. “I had never been good at the rock ‘n’ roll business, and making a living from being in a band just didn't seem like it was in the realm of possibility for me,” she writes. “I just knew I wanted to make another record because that was the part of being in a band that I liked the most.”
TRACK LISTING
Dungeon Dance
Poison Moon
I Fire Myself
The Bell
Painted Horses
The Hour Glass
13 Bees
The Golden Fruit
Whisper From The Tree
1542
Valley Of One Thousand
Perfumes
Tiger Rising
An-deluzion
The Fox And Hound
Rider On The Stormy Sea
Return To Pirates (Kingston St. Session)
Poison Moon (Kingston St. Session)
Killed By The Telephone (Kingston St. Session)
Valley Of One Thousand
Perfumes (Orchestral Version)
Where 1997's "Brighten The Corners" saw Stephen Malkmus and his merry band of indie rock pranksters shine a light on the band's rock-centric qualities, "Terror Twilight" harkens back to 95's "Wowee Zowee", when Pavement were all about the shambolic sprawl of Alternative possibility. Of course, four years later the context is entirely different - the band's fate as rock's (commercially unsuccessful) great post-Nirvana hope is nearly sealed. And maybe that's where both the terror and the twilight come into play - in the realization that preaching sprawling possibility to the converted is more a noose than an open field, that failed expectations are a setting sun.
So, a downbeat spirit pervades "Twilight"'s songs. And in this gloom, Malkmus looks for and finds soft, dark, melodic wonders: "Spit On A Stranger" turns its eye towards relationships, "Major Leagues" towards a careerist's self-worth, and "Ann Don't Cry" tries to be an anthem for outsiders while visibly flashing its own lonely tear. It's not until the closing "Carrot Rope", a sunny bit of mid-tempo Pavement-pop-foolery with two competing and overlapping vocals, that a major-key ray of light is cast upon the proceedings. Let's hope that this little light is enough to get them through the night.
So, a downbeat spirit pervades "Twilight"'s songs. And in this gloom, Malkmus looks for and finds soft, dark, melodic wonders: "Spit On A Stranger" turns its eye towards relationships, "Major Leagues" towards a careerist's self-worth, and "Ann Don't Cry" tries to be an anthem for outsiders while visibly flashing its own lonely tear. It's not until the closing "Carrot Rope", a sunny bit of mid-tempo Pavement-pop-foolery with two competing and overlapping vocals, that a major-key ray of light is cast upon the proceedings. Let's hope that this little light is enough to get them through the night.
TRACK LISTING
Spit On A Stranger
Folk Jam
You Are A Light
Cream Of Gold
Major Leagues
Platform Blues
Ann Don't Cry
Billie
Speak, See, Remember
The Hexx
...And Carrot Rope
Our Love to Admire marked a critical and commercial breakthrough for the band. Recorded at New York's Electric Lady and the Magic Shop studios with producer Rich Costey (Muse, Death Cab for Cutie), the album boasts an expansive, cinematic sound that drove home such notable songs as The Heinrich Maneuver, Pioneer to the Falls, No I In Threesome, Mammoth and Rest My Chemistry. Upon its release, the album debuted in the Top Five in both the U.S. and the U.K. Interpol formed in the late 1990s and quickly established a dense, intoxicating sound featuring layers of guitar, bass and synthesizers. The band came up through the vibrant New York scene, alongside such notable contemporaries as the Strokes and the National, but gained crucial early attention in Britain, where they recorded a prestigious live session for legendary BBC DJ John Peel.
TRACK LISTING
Pioneer To The Falls
No I In Threesome
The Scale
The Heinrich Maneuver
Mammoth
Pace Is The Trick
All Fired Up
Rest My Chemistry
Who Do You Think
Wrecking Ball
The Lighthouse
Belle and Sebastian present twenty-two live performances featuring songs from across their 25 year career. The recordings showcase the Scottish septet at the height of their power during their 2019 tour, including tracks performed on the band's own Mediterranean cruise, "The Boaty Weekender."
TRACK LISTING
1. The Song Of The Clyde
2. Dirty Dream Number Two
3. Step Into My Office, Baby
4. We Were Beautiful
5. Seeing Other People
6. If She Wants Me
7. Beyond The Sunrise
8. Wrapped Up In Books
9. Little Lou, Ugly Jack, Prophet John
10. The Boy Done Wrong Again
11. I Can See Your Future
12. Funny Little Frog
13. The Fox In The Snow
14. If You’re Feeling Sinister
15. My Wandering Days Are Over
16. The Wrong Girl
17. Stay Loose
18. Poor Boy
19. Dog On Wheels
20. The Boy With The Arab Strap
21. I Didn’t See It Coming
22. Belle And Sebastian
Pavement's fourth proper LP seems to be a direct response to anyone who thought 1995's "Wowee Zowee" sealed a downward spiral from indie-pop heroes to incomprehensible, in-joke nonconformists. On "Brighten The Corners", the rock hero in Pavement re-emerges as the dominant stereotype, making the lyrical idiosyncrasies on which critics of the band like to harp into witty window-dressing. Nowhere is this dichotomy better heard than on the electrifying opener, "Stereo", which rages with anthemic power-chords and a rock-star chorus ('Hey! Listen to me! I'm on the stereo'), while also pondering the longest-standing mystery in rock, the voice of Rush singer Geddy Lee ('how did it get so high/I wonder if he speaks like an ordinary guy').
Musically, "Brighten The Corners" extends the rock tradition to the other side of Sonic Youth's dissonant discoveries while staying free of grunge's self-defeatist mentality. No longer a group of lo-fi pranksters, Pavement has tightened up into a mighty ensemble, able to jam like psychedelic maniacs (the closing "Fin") or fly by night like punks on speed ("Embassy Row"). Lyrically, Stephen Malkmus and co-conspirator Scott Kannberg (aka Spiral Stairs) have started questioning where they belong in a late-90s world seemingly devoid of secrets and mysteries. Their declarations present yet another yin-yang to the Pavement whole: Kannberg's answers seem to lie in emotional stability, Malkmus' in the never-ending search itself. These uncertainties of dealing with one's unrecognised worth play out like an Irvine Welsh novel: the chapters full of spunky glee, the ending steeped in melancholy.
Musically, "Brighten The Corners" extends the rock tradition to the other side of Sonic Youth's dissonant discoveries while staying free of grunge's self-defeatist mentality. No longer a group of lo-fi pranksters, Pavement has tightened up into a mighty ensemble, able to jam like psychedelic maniacs (the closing "Fin") or fly by night like punks on speed ("Embassy Row"). Lyrically, Stephen Malkmus and co-conspirator Scott Kannberg (aka Spiral Stairs) have started questioning where they belong in a late-90s world seemingly devoid of secrets and mysteries. Their declarations present yet another yin-yang to the Pavement whole: Kannberg's answers seem to lie in emotional stability, Malkmus' in the never-ending search itself. These uncertainties of dealing with one's unrecognised worth play out like an Irvine Welsh novel: the chapters full of spunky glee, the ending steeped in melancholy.
TRACK LISTING
Stereo
Shady Lane/J Vs. S
Transport Is Arranged
Date W/IKEA
Old To Begin
Type Slowly
Embassy Row
Blue Hawaiian
We Are Underused
Passat Dream
Starlings Of The Slipstream
Fin
‘Brighten The Corners: Nicene Creedence’ 2CD Bonus Tracks:
And Then (The Hexx)
Beautiful As A Butterfly
Cataracts
Westie Can Drum
Winner Of The
Birds In The Majic Industry
Harness Your Hopes
Roll With The Wind
Slowly Typed
Cherry Area
Wanna Mess You Around
No Tan Lines
And Then (The Hexx)
Harness Your Hopes
The Killing Moon
Winner Of The
Embassy Row Psych Intro
Nigel
Chevy (Old To Begin)
Roll With The Wind (Roxy)
Oddity
Type Slowly
Neil Hagerty Meets Jon Spencer In A Non-Alcoholic
Bar
Destroy Mater Dei
It's A Rainy Day, Sunshine Girl
Maybe Maybe
Date W/IKEA
Fin
Grave Architecture
The Classical
Space Ghost Theme I
Space Ghost Theme II
Originally released in 1994, this was Pavement's second album, and it signaled the end of Pavement seeing themselves as a recording experiment and the beginning of Pavement as a full time touring band. One of the casualties of this change was the eccentric and usually drunk drummer Gary Young (included here are eight tracks of pre-album Gary Young sessions), whom was replaced by Steve West who bought a greater stability to the line up. The new line up recorded "Crooked Rain Crooked Rain" in NYC, and it proved to be an instant indie classic, packed with superb tracks including singles such as the awesome "Cut Your Hair", "Range Life" and "Gold Soundz".
TRACK LISTING
Silence Kid
Elevate Me Later
Stop Breathin
Cut Your Hair
Newark Wilder
Unfair
Gold Soundz
5-4=Unity
Range Life
Heaven Is A Truck
Hit The Plane Down
Fillmore Jive
‘Crooked Rain, Crooked Rain: LA’s Desert Origins’ 2CD Bonus Tracks:
Camera
Stare
Raft
Coolin' By Sound
Kneeling Bus
Strings Of Nashville
Exit Theory
5-4 Vocal
Jam Kids
Haunt You Down
Unseen Power Of The Picket Fence
Nail Clinic
All My Friends
Soiled Little Filly
Range Life
Stop Breathing
Ell Ess Two
Flux = Rad
Bad Version Of War
Same Way Of Saying
Hands Off The Bayou
Heaven Is A Truck (Egg Shell)
Grounded
Kennel District
Pueblo (Beach Boys)
Fucking Righteous
Colorado
Dark Ages
Flood Victim
JMC Retro
Rug Rat
Strings Of Nashville
Instrumental
Brink Of The Clouds
Tartar Martyr
Pueblo Domain
The Sutcliffe Catering Song
‘Quarantine The Past: The Best Of Pavement’ spans the entirety of Pavement’s career from 1989 to 1999, from the scratchy and mysterious sounds of their early vinyl-only releases to the rich, multi-layered warmth of their final recordings.
TRACK LISTING
Gold Soundz
Frontwards
Mellow Jazz Docent
Stereo
In The Mouth A Desert
Two States
Cut Your Hair
Shady Lane/J Vs. S
Here
Unfair
Grounded
Summer Babe
Range Life
Date W/ IKEA
Debris Slide
Shoot The Singer (1 Sick Verse)
Spit On A Stranger
Heaven Is A Truck
Trigger Cut/Wounded-Kite At :17
Embassy Row
Box Elder
Unseen Power Of The Picket Fence
Fight This Generation
In 1992 "Slanted And Enchanted", arguably the first and best release of 90s 'slacker rock', felt like a compendium of all the very best post-punk moments from the previous fifteen years as well as a surprising new combination of wit, absurdism, noise and pop. All these years later, the album is still fresh, still exciting and still makes most of the competition sound derivative and lazy. So to summarise; still slanted, still enchanting.
TRACK LISTING
Summer Babe
Trigger Cut/Wounded-Kite At :17
No Life Singed Her
In The Mouth A Desert
Conduit For Sale!
Zürich Is Stained
Chesley's Little Wrists
Loretta's Scars
Here
Two States
Perfume-V
Fame Throwa
Jackals, False Grails: The Lonesome Era
Our Singer
Westing is a compilation of Pavement's early singles and rarities, that shows the band growing from the initial "Slay Tracks" EP through to the singles and EP's from their first two albums.
TRACK LISTING
You're Killing Me
Box Elder
Maybe Maybe
She Believes
Price Yeah!
Forklift
Spizzle Trunk
Recorder Grot
Internal K-Dart
Perfect Depth
Recorder Grot (Rally)
Heckler Spray
From Now On
Angel Carver Blues/Mellow Jazz Docent
Drive-By-Fader
Debris Slide
Home
Krell Vid-User
Summer Babe
Mercy Snack: The Laundromat
Baptist Blacktick
My First Mine
My Radio
"Wowee Zowee", originally released by Matador in April 1995 on the eve of Pavement's infamous mud-bespattered mainstage appearance at Lollapalooza, began life as a controversial release. Fresh off the success of "Crooked Rain, Crooked Rain" with its chart topping Modern Rock hit "Cut Your Hair", the band went into the studio and came out with a deliberately chaotic and eclectic album that sounded nothing like its predecessor. With influences from the Groundhogs to the Frogs, Captain Beefheart to the more obscure mid- 80s central California hardcore bands featured on Maximum Rock'n'Roll comp "Not So Quiet On The Western Front", "Wowee Zowee" confused critics and alienated fans. How fantastic, then, that it went on to scan 122K copies and became many fans' fave Pavement album. A return to their pre- Crooked cacophony, the songs have a darkness that now seems appropriate, and with Bryce Goggin at the mixing desk, the production was the band's most rocking to date.
TRACK LISTING
We Dance
Rattled By The Rush
Black Out
Brinx Job
Grounded
Serpentine Pad
Motion Suggests Itself
Father To A Sister Of Thought
Extradition
Best Friend's Arm
Grave Architecture
AT&T
Flux = Rad
Fight This Generation
Kennel District
Pueblo
Half A Canyon
Western Homes
Wowee Zowee: Sordid Sentinels Edition’ 2CD Bonus Tracks:
Sordid
Brink Of The Clouds
False Skorpion
Easily Fooled
Kris Kraft
Mussle Rock
Give It A Day
Gangsters & Pranksters
Saganaw
I Love Perth
Sentinel
Sensitive Euro Man
Stray Fire
Fight This Generation
Easily Fooled
Soul Food
It's A Hectic World
Kris Kraft
Golden Boys/Serpentine Pad
Painted Soldiers
I Love Perth
Dancing With The Elders
Half A Canyon
Best Friend's Arm
Brink Of The Clouds/Candylad
Unfair
Easily Fooled
Heaven Is A Truck
Box Elder
No More Kings
Painted Soldiers
We Dance
The strangest thing about Pavement? Not that there were ever many non-strange things about Pavement? Even though they made their era’s finest rock albums, the albums only told half their story. Pavement also made some of the Nineties’ best albums that never happened. Until now.
Pavement made five proper album-as-albums: ‘Slanted And Enchanted’ (1992), ‘Crooked Rain, Crooked Rain’ (1994), ‘Wowee Zowee’ (1995), ‘Brighten The Corners’ (1997) and ‘Terror Twilight’ (1999). Each has its own sound. Each has its own legend. But each of their official albums has a shadow album - and it’s usually as strong as the album that actually did come out. It’s time for the world to hear the albums Pavement could have made if they’d been a little less ambitious about music and a little more ambitious about the music business. If they’d been the kind of band to sweat the legacy. But if they were that kind of band, would they have written so many great songs? Much less these great songs?
The first, naturally, is ‘The Secret History, Vol. 1’, collecting the songs that got away during the era of ‘Slanted And Enchanted’, which Stephen Malkmus, Scott Kannberg and Gary Young recorded on the cheaper-than-cheap in January 1991. This album collects gems from Peel Sessions (‘Kentucky Cocktail’, ‘Circa 1762’) and 7”s (‘Baptist Blacktick’) as well as live slop from the first European tours, with Mark Ibold and Bob Nastanovich in the fold. Some are outtakes from ‘Slanted And Enchanted’ - imagine leaving these tunes off your first album, when as far as you know or imagine, it’s your only album. These tracks (some of which had never been rumoured among Pavement freaks) came out on the 2002 ‘Slanted And Enchanted’ reissue. But they’ve never been separately available as an album in their own right and many of them have never been on vinyl before.
Pavement made five proper album-as-albums: ‘Slanted And Enchanted’ (1992), ‘Crooked Rain, Crooked Rain’ (1994), ‘Wowee Zowee’ (1995), ‘Brighten The Corners’ (1997) and ‘Terror Twilight’ (1999). Each has its own sound. Each has its own legend. But each of their official albums has a shadow album - and it’s usually as strong as the album that actually did come out. It’s time for the world to hear the albums Pavement could have made if they’d been a little less ambitious about music and a little more ambitious about the music business. If they’d been the kind of band to sweat the legacy. But if they were that kind of band, would they have written so many great songs? Much less these great songs?
The first, naturally, is ‘The Secret History, Vol. 1’, collecting the songs that got away during the era of ‘Slanted And Enchanted’, which Stephen Malkmus, Scott Kannberg and Gary Young recorded on the cheaper-than-cheap in January 1991. This album collects gems from Peel Sessions (‘Kentucky Cocktail’, ‘Circa 1762’) and 7”s (‘Baptist Blacktick’) as well as live slop from the first European tours, with Mark Ibold and Bob Nastanovich in the fold. Some are outtakes from ‘Slanted And Enchanted’ - imagine leaving these tunes off your first album, when as far as you know or imagine, it’s your only album. These tracks (some of which had never been rumoured among Pavement freaks) came out on the 2002 ‘Slanted And Enchanted’ reissue. But they’ve never been separately available as an album in their own right and many of them have never been on vinyl before.
TRACK LISTING
Sue Me Jack
So Stark (You're A Skyscraper)
Summer Babe Winter Version
Mercy Snack: The Laundromat
Baptist Blacktick
My First Mine
Nothing Ever Happens
Here (Alternate Mix)
Greenlander
Circa 1762 (John Peel Session #1)
Kentucky Cocktail (John Peel Session #1)
Secret Knowledge Of Backroads (John Peel Session #1)
Here (John Peel Session #1)
Rain Ammunition (John Peel Session #2)
Drunks With Guns (John Peel Session #2)
Ed Ames (John Peel Session #2)
The List Of Dorms (John Peel Session #2)
Conduit For Sale! (Live Brixton Academy, London, December 14, 1992)
Fame Throwa (Live Brixton Academy, London, December 14, 1992)
Home (Live Brixton Academy, London, December 14, 1992)
Perfume-V (Live Brixton Academy, London, December 14, 1992)
Summer Babe (Live Brixton Academy, London, December 14, 1992)
Frontwards (Live Brixton Academy, London, December 14, 1992)
Angel Carver Blues/Mellow Jazz Docent (Live Brixton Academy, London, December 14, 1992)
Two States (Live Brixton Academy, London, December 14, 1992)
No Life Singed Her (Live Brixton Academy, London, December 14, 1992)
So Stark (Live Brixton Academy, London, December 14, 1992)
Box Elder (Live Brixton Academy, London, December 14, 1992)
Baby Yeah (Live Brixton Academy, London, December 14, 1992)
In The Mouth A Desert (Live Brixton Academy, London, Decemeber 14, 1992)
Continuing with their ever-expanding Revisionist History series, Matador Records announce a 25th anniversary reissue of Yo La Tengo’s 1995 album Electr-o-pura. Now in a gatefold sleeve and cut from the original 58-minute master, the new reissue is pressed for the first time on two LPs to ensure the highest quality of audio the album has had on vinyl to date.
On their seventh studio album, Yo La Tengo would further expand on the venturous songwriting established on their previous album Painful with stunning craft and a deepened exploration of contrasting textures, moods and atmospherics. Chock full with moments of pop gold like “Tom Courtenay,”melancholic ballads such as the heartbreaking “Pablo And Andrea,” and sweeping, feedback-laden jams like the show-stopping “Blue Line Swinger”, Electr-o-pura is a thrilling document of one of America’s most beloved bands hitting their creative stride and remains one of the most sublime records the band has released in their uninterrupted 36-year career.
On their seventh studio album, Yo La Tengo would further expand on the venturous songwriting established on their previous album Painful with stunning craft and a deepened exploration of contrasting textures, moods and atmospherics. Chock full with moments of pop gold like “Tom Courtenay,”melancholic ballads such as the heartbreaking “Pablo And Andrea,” and sweeping, feedback-laden jams like the show-stopping “Blue Line Swinger”, Electr-o-pura is a thrilling document of one of America’s most beloved bands hitting their creative stride and remains one of the most sublime records the band has released in their uninterrupted 36-year career.
TRACK LISTING
Decora
Flying Lesson (Hot Chicken #1)
The Hour Grows Late
Tom Courtenay
False Ending
Pablo And Andrea
Paul Is Dead
False Alarm
The Ballad Of Red Buckets
Don't Say A Word (Hot Chicken #2)
(Straight Down To The) Bitter End
My Heart's Reflection
Attack On Love
Blue Line Swinger
Once again moving the bar for 'what can be done in just one record', no two songs sound the same. There's everything from epic soundscapes to jaunty popsongs, to gorgeous love songs with a few rock'n'roll numbers thrown in. All delivered with humour, a smattering of falsetto and a huge dose of that unique Yo La Tengo charm.
Sixty five plus minutes of breath-taking material recorded under smooth circumstances in lovely Nashville, TN. This one will without a doubt appeal to long time Yo La Tengo fans, considering the fact that this is their very best one yet. The really good thing, though, is that a lot of people who will buy this record will do so without knowing that it probably is the only TRULY GREAT record they will buy in their lives. Until the next one comes out, of course!!
While their colossal sonic achievements are well-documented, Yo La Tengo's ninth album is more "In A Silent Way" than "Interstellar Space": a quietly intense melange of pulsing beats, acoustic guitar strum, ringing vibraphone and organ washes. Add electric guitar buzzing underneath dreamy, nearly whispered vocals, and "ATNTIIO" is more mood swing than song cycle. Yo La Tengo have stripped away layers of electric guitar chaos from their sound. Is it so we can hear their voices? So they can hear each other? Whatever the reason, Georgia and Ira's most audible and distinctive vocal performances to date are genuinely intimate and affecting. The quieter settings allow other subtle details to emerge: guest Susie Ibarra's percussion on the first single, "Saturday," high close harmonies swelling in from nowhere, Hubley's delicate brushwork, the gorgeous shimmer of vibes and mellotron. Such are the gifts of Yo La Tengo. They are a pop band, but don't just write pop songs; they write what can only be described as Yo La Tengo songs. By not rocking out, Ira, Georgia and James have made a record which shows how tight-knit a musical unit the trio have become. They are like a three-cornered atom harnessing its energy to the point where blinding explosions are no longer necessary to emanate power.
Muzz, the new project of Paul Banks (Interpol), Josh Kaufman (producer/multi-instrumentalist and one third of Bonny Light Horseman), and Matt Barrick (drummer of Jonathan Fire*Eater, The Walkmen, and Fleet Foxes’ touring band), announce their self-titled, debut album.
Muzz was born out of longstanding friendship and collaboration. Banks and Kaufman have known each other since childhood, attending high school together in Spain before separately moving to New York. There, they independently crossed paths with Barrick while running in similar music circles. They kept in touch in the following years: Barrick drummed in Banks + Steelz and on some of Kaufman's production sessions; Kaufman helped on Banks’ early Julian Plenti solo endeavour; various demos were collaborated on, and a studio was co-bought.
The self-titled debut album, written, arranged and performed by all three, is dark and gorgeous, expansive and soulful. No matter the sonic direction, Muzz goes there effortlessly and with maximum emotional charge.
Muzz was born out of longstanding friendship and collaboration. Banks and Kaufman have known each other since childhood, attending high school together in Spain before separately moving to New York. There, they independently crossed paths with Barrick while running in similar music circles. They kept in touch in the following years: Barrick drummed in Banks + Steelz and on some of Kaufman's production sessions; Kaufman helped on Banks’ early Julian Plenti solo endeavour; various demos were collaborated on, and a studio was co-bought.
The self-titled debut album, written, arranged and performed by all three, is dark and gorgeous, expansive and soulful. No matter the sonic direction, Muzz goes there effortlessly and with maximum emotional charge.
TRACK LISTING
Bad Feeling
Evergreen
Red Western Sky
Patchouli
Everything Like It Used To Be
Broken Tambourine
Knuckleduster
Chubby Checker
How Many Days
Summer Love
All Is Dead To Me
Trinidad
Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs.
In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past , resulting in his most dynamic and open-ended work to date.
Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages. 2015’s Teens of Style was a collection of songs from his early years. The band’s proper Matador debut, Teens of Denial, followed in 2016 and catapulted them to overnight commercial success and widespread critical acclaim, as well as highlighting Toledo as a prodigious lyricist. 2018’s Twin Fantasy, an epic re-imagination of an album originally released in 2011, demonstrated newfound scale, depth and ambition.
In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past , resulting in his most dynamic and open-ended work to date.
Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages. 2015’s Teens of Style was a collection of songs from his early years. The band’s proper Matador debut, Teens of Denial, followed in 2016 and catapulted them to overnight commercial success and widespread critical acclaim, as well as highlighting Toledo as a prodigious lyricist. 2018’s Twin Fantasy, an epic re-imagination of an album originally released in 2011, demonstrated newfound scale, depth and ambition.
TRACK LISTING
Vinyl
Weightlifters
Can’t Cool Me Down
Hollywood
There Must Be More Than Blood
Hymn
Deadlines
Martin
What’s With You Lately
Life Worth Missing
Famous
CD
Weightlifters
Can’t Cool Me Down
Hollywood
Martin
Hymn (Remix)
There Must Be More Than Blood
Deadlines
What’s With You Lately
Life Worth Missing
Famous
Deadlines (Alternate Acoustic)
Hollywood (Acoustic)
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 Chris Christie often took that day off, aaparently), Halloween, Christmas and New Year.
Lucy 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.”
Lucy 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.”
STAFF COMMENTS
says: Lucy Dacus’ warm vocals are a welcoming bliss in this miserable November weather. Her ability to cover classics such as ‘In The Air Tonight’ and give it an entirely different tone is breath-taking, while her own song writing in ‘Fools Gold’ are stunningly original and moving.TRACK LISTING
Fool’s Gold
La Vie En Rose
My Mother & I
Forever Half Mast
Dancing In The Dark
In The Air Tonight
Last Christmas
After two years of seemingly endless tours, the quartet returned in early 2004 to Peter Katis’s Tarquin Studios in Bridgeport, Conn., to record their second album. They had already debuted a handful of songs earmarked for Antics on the road: “Length of Love,” “Narc,” “C’mere.” Meanwhile, having revisited – and reinvented– the material from Bright Lights night after night, they discovered new strengths. There was more room for experimentation in these songs, for toying with arrangements and intricacies of individual parts, than on their debut.
With Antics, Interpol has delivered a disc even more engaging than its celebrated predecessor, without sacrificing any of the depth that has made them such an important band for so many. The songs are at once catchier and more variegated, revealing themselves over time to a degree heard on few current releases, and nothing is ever obvious. Frontman Paul Banks describes, “A lot of time, there are specific topics or events that that inspire the songs, but it’s not explicit in my lyrics.“ Indeed, with Interpol, things are rarely what they seem.
With Antics, Interpol has delivered a disc even more engaging than its celebrated predecessor, without sacrificing any of the depth that has made them such an important band for so many. The songs are at once catchier and more variegated, revealing themselves over time to a degree heard on few current releases, and nothing is ever obvious. Frontman Paul Banks describes, “A lot of time, there are specific topics or events that that inspire the songs, but it’s not explicit in my lyrics.“ Indeed, with Interpol, things are rarely what they seem.
TRACK LISTING
Next Exit
Evil
Narc
Take You On A Cruise
Slow Hands
Not Even Jail
Public Pervert
C’mere
Length Of Love
A Time To Be So Small
Reduced
Days of the Bagnold Summer began life as a 2012 award-winning graphic novel by Joff Winterhart, was turned into a feature film and the directorial debut of Simon Bird (The Inbetweeners, Friday Night Dinner), and is now a wonderful, rich, bittersweet, and warmly welcoming original soundtrack album by Belle and Sebastian on Matador Records.
The album features eleven brand new Belle and Sebastian songs, as well as re-recorded versions of classics 'Get Me Away From Here I'm Dying', originally appearing on 1996's If You’re Feeling Sinister, and ‘I Know Where The Summer Goes’, from 1998's This Is Just a Modern Rock Song EP.
The album features eleven brand new Belle and Sebastian songs, as well as re-recorded versions of classics 'Get Me Away From Here I'm Dying', originally appearing on 1996's If You’re Feeling Sinister, and ‘I Know Where The Summer Goes’, from 1998's This Is Just a Modern Rock Song EP.
STAFF COMMENTS
says: Whether they're writing stand-alone albums, performing live or soundtracking, Belle And Sebastian have a pedigree that can't be denied. 'Days Of The Bagnold Summer' is in the latter camp, but works perfectly as a standalone album too, showcasing exactly why they're one of the most beloved bands on the indie circuit and have been for a great many years.TRACK LISTING
Sister Buddha (Intro)
I Know Where The Summer Goes
Did The Day Go Just Like You Wanted?
Jill Pole
I'll Keep It Inside
Safety Valve
The Colour's Gonna Run
Another Day, Another Night
Get Me Away From Here I'm Dying
Wait And See What The Day Holds
Sister Buddha
This Letter
We Were Never Glorious
Available in its first pressing for Matador Records, Snail Mail’s debut EP “Habit” serves as a nascent example of Lindsey Jordan’s extraordinary talent as a songwriter, singer and guitarist. The seven song disc features the six original 2016 tracks as well as “The 2nd Most Beautiful Girl In The World,” penned by K Records Band Courtney Love and recorded by Snail Mail in 2018, available on record for the first time. The EP features a full-color cover as it had originally been designed, and has been remastered by Dave Cooley at Elysian Masters.
TRACK LISTING
01. Thinning
02. Habit
03. Static Buzz
04. Dirt
05. Slug
06. Stick
07. The 2nd Most Beautiful Girl In The World
The final Matador album from Dayton, Ohio’s legendary geniuses Guided By Voices which, at the time, was set to be their last ever. After twenty- odd years, twenty-odd line ups and twenty-odd albums, EPs, singles, triples, stolen bases, misdemeanour convictions and broken hearts, Dayton’s fortunate sons took a leave of absence only to re-emerge in 2010 at a certain label’s 21st birthday celebrations in Las Vegas. Back in print for the first time since 2008!
TRACK LISTING
Everyone Thinks I’m A
Raincloud (When I’m Not
Looking)
Sleep Over Jack
Girls Of Wild
Strawberries
Gonna Never Have To Die
Window Of My World
Closets Of Henry
Tour Guide At Winston
Churchill Memorial
Asia Minor
Sons Of Apollo
Sing For Your Meat
Asphyxiated Circle
A Second Spurt Of
Growth
(S)Mothering And
Coaching
Huffman Prairie Flying
Spanning a career well into its third decade, Spoon returns with a ‘Best Of’compilation, ‘Everything Hits At Once: The Best of Spoon' In addition to the 12 fan-adored tracks making up this single LP, Spoon return with the bold new single “No Bullets Spent.” How many rock bands from the past 25 years could get away with a greatest-hits album? Spoon stand alone, with a career-spanning retrospective culled from all over their unique songbook. It’s a flawless compilation of their best-known, best-loved tunes, yet it’s still full of surprises—the only thing you could expect from a band that’s spent their whole career taking people by surprise.
STAFF COMMENTS
says: For a mindblowing nine albums worth of material, it's hard to collate a 'Best Of' that accurately represents a band who have consistently and reliably smashed it out of the park. There are none of the big hits here that I wouldn't expect to be here, The Underdog sounds every bit the proto punk-folk clanger it was back in 2007, 'I Turn My Camera Off' kicks things off and I honestly couldn't think of a better appetiser than that. This is a brilliantly diverse and essential summary of a great band at a ridiculously good price. Get on it!TRACK LISTING
I Turn My Camera On
Do You
Don't You Evah
Inside Out
The Way We Get By
The Underdog
Hot Thoughts
I Summon You
Rent I Pay
You Got Yr. Cherry Bomb
Got Nuffin
Everything Hits At Once
No Bullets Spent
Recorded at Battery Park NYC’s River to River Festival on July 4th 2008, this now classic Sonic Youth set features totemic live versions of career spanning tracks such as ‘The Sprawl’, ‘Schizophrenia’ and ‘Bull In The Heather’. Initially only available with preorders of 2009’s ‘The Eternal’, this incredible live document has been made available again on vinyl a decade after its original release.
TRACK LISTING
She Is Not Alone
The Sprawl
World Looks Red
Jams Run Free
Hey Joni
The Wonder
Hyperstation
Bull In The Heather
100%
Making The Nature Scene
Recorded during time spent in upstate New York with Dave Fridmann, the five songs that make up A Fine Mess gradually emerged as a body of work with a narrative and flow unto itself. The resulting set is a living, breathing postcard from the band to their fans as they tour the world throughout 2019, and a linear continuation of the visceral and contagious energy set loose with Marauder.
Echoing its title, the artwork for A Fine Mess is illustrated by a series of lost images, recovered from an abandoned police station in Detroit, MI. In a crumbling evidence room - amongst the rubble - an undeveloped roll of film, dated “1-20-96”, featured latent images of a breaking and entering scene, the rooms in chaos.
From the beguiling refrain of the title track, to the soulful topsy-turvy of ‘No Big Deal’, cathartic chorus of long sought-after live favourite ‘Real Life’, anthemic swell of ‘The Weekend’, and angular shades of ‘Thrones’, A Fine Mess is a bracing and distinct entry in Interpol’s oeuvre.
Echoing its title, the artwork for A Fine Mess is illustrated by a series of lost images, recovered from an abandoned police station in Detroit, MI. In a crumbling evidence room - amongst the rubble - an undeveloped roll of film, dated “1-20-96”, featured latent images of a breaking and entering scene, the rooms in chaos.
From the beguiling refrain of the title track, to the soulful topsy-turvy of ‘No Big Deal’, cathartic chorus of long sought-after live favourite ‘Real Life’, anthemic swell of ‘The Weekend’, and angular shades of ‘Thrones’, A Fine Mess is a bracing and distinct entry in Interpol’s oeuvre.
TRACK LISTING
Fine Mess
No Big Deal
Real Life
The Weekend
Thrones
Long out of stock, now re-pressed and re-issued.
Produced by John Agnello and the band, ‘The Eternal’ not only marks Sonic Youth’s return to the independent label sphere (titles on their own SYR label excepted) after a long association with Geffen but, more importantly, it ranks as one of their more inspired efforts in a 28 year career.
Recorded through November and December of 2008 at the band’s Echo Canyon West studio in Hoboken, NJ, ‘The Eternal’ features many firsts for a Sonic Youth album, including a number of shared vocals between Kim, Thurston and Lee and the studio debut of former Pavement / Dustdevils bassist Mark Ibold, a member of Sonic Youth’s touring band for the past few years.
Produced by John Agnello and the band, ‘The Eternal’ not only marks Sonic Youth’s return to the independent label sphere (titles on their own SYR label excepted) after a long association with Geffen but, more importantly, it ranks as one of their more inspired efforts in a 28 year career.
Recorded through November and December of 2008 at the band’s Echo Canyon West studio in Hoboken, NJ, ‘The Eternal’ features many firsts for a Sonic Youth album, including a number of shared vocals between Kim, Thurston and Lee and the studio debut of former Pavement / Dustdevils bassist Mark Ibold, a member of Sonic Youth’s touring band for the past few years.
TRACK LISTING
Sacred Trickster
Anti-Orgasm
Leaky Lifeboat (for Gregory Corso)
Antenna
What We Know
Calming The Snake
Poison Arrow
Malibu Gas Station
Thunderclap For Bobby Pyn
No Way
Walkin Blue
Massage The History
Memphis, TN-based songwriter Julien Baker is the latest addition to the Matador Records roster. The 21-year-old’s devastating and vulnerable debut album, ‘Sprained Ankle’, which was originally released in 2015, is now being made available again. A 7” single by Julien Baker is also being released at the same time.
For years, Baker and a group of close friends performed as the band Forrister (formerly The Star Killers) but when college took her four hours away, her need to continue creating found an outlet through solo work. The intent was never to make these songs her main focus, yet the process proved to be startlingly cathartic. As each song came into shape, it became more apparent that Baker had genuinely deep, surprisingly dark stories to tell from her thus far short life. Tales of her experiences are staggering and when set to her haunting guitar playing the results are gut wrenching and heartfelt, relatable yet very personal. There’s something wonderfully hypnotizing about Baker gently confessing her soul with such tremendous honesty.
“Richly poetic songs of trauma and redemption, moving from almost unbearable fragility to confessional strength.” - The New York Times
For years, Baker and a group of close friends performed as the band Forrister (formerly The Star Killers) but when college took her four hours away, her need to continue creating found an outlet through solo work. The intent was never to make these songs her main focus, yet the process proved to be startlingly cathartic. As each song came into shape, it became more apparent that Baker had genuinely deep, surprisingly dark stories to tell from her thus far short life. Tales of her experiences are staggering and when set to her haunting guitar playing the results are gut wrenching and heartfelt, relatable yet very personal. There’s something wonderfully hypnotizing about Baker gently confessing her soul with such tremendous honesty.
“Richly poetic songs of trauma and redemption, moving from almost unbearable fragility to confessional strength.” - The New York Times
STAFF COMMENTS
says: Sounds that are as raw as they feel with lyrics that offer brutal emotional honesty. Depression, drugs and a deep end well of loneliness. A monster album filled with blues and sensibility.TRACK LISTING
Blacktop
Sprained Ankle
Brittle Boned
Everybody Does
Good News
Something
Rejoice
Vessels
Go Home
Body/Head, the duo of Kim Gordon (CKM, Sonic Youth, Free Kitten) and guitarist Bill Nace (X.O.4, Vampire Belt, Ceylon Mange), release their second studio album, ‘The Switch’, on Matador Records.
Their debut album together as Body/Head, ‘Coming Apart’, from 2013, was more of a rock record - heavy, emotional, cathartic, spellwork in shades of black and grey. ‘The Switch’ is their second studio full length and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document ‘No Waves’) but much of it happened purely in the moment.
On ‘The Switch’, their vision and focus feel truly unified. If ‘Coming Apart’ was dark magic, ‘The Switch’ works with light, though it never forgets that these approaches are two sides of the same coin and that binaries - black/white, near/far, emotion/analysis, body/head - are made to be broken open and that the truth of things is in the energy between.
Their debut album together as Body/Head, ‘Coming Apart’, from 2013, was more of a rock record - heavy, emotional, cathartic, spellwork in shades of black and grey. ‘The Switch’ is their second studio full length and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document ‘No Waves’) but much of it happened purely in the moment.
On ‘The Switch’, their vision and focus feel truly unified. If ‘Coming Apart’ was dark magic, ‘The Switch’ works with light, though it never forgets that these approaches are two sides of the same coin and that binaries - black/white, near/far, emotion/analysis, body/head - are made to be broken open and that the truth of things is in the energy between.
STAFF COMMENTS
says: Stained with biker grease and fried on the engine heat, this basically drum-less excursion into exhaust fume biker blues hits like a spice-laced cigerette in Piccadilly Gardens. Y'ouch!TRACK LISTING
Last Time
You Don’t Need
In The Dark Room
Change My Brain
Reverse Hard
Snail Mail’s full-length debut album, Lush, is a debut for the record books — a refreshing marvel of songwriting and technical composition, that’s both cohesive and explosive — Her voice rises and falls with electricity throughout, spinning with bold excitement and new beginnings at every turn.
Lush feels at times like an emotional rollercoaster, only fitting for Jordan’s explosive, dynamic personality. Growing up in Baltimore suburb Ellicot City, Jordan began her classical guitar training at age five, and a decade later wrote her first audacious songs as Snail Mail. Around that time, Jordan started frequenting local shows in Baltimore, where she formed close friendships within the local scene, the impetus for her to form a band. By the time she was sixteen, she had already released her debut EP, Habit, on local punk label Sister Polygon Records.
Lush feels at times like an emotional rollercoaster, only fitting for Jordan’s explosive, dynamic personality. Growing up in Baltimore suburb Ellicot City, Jordan began her classical guitar training at age five, and a decade later wrote her first audacious songs as Snail Mail. Around that time, Jordan started frequenting local shows in Baltimore, where she formed close friendships within the local scene, the impetus for her to form a band. By the time she was sixteen, she had already released her debut EP, Habit, on local punk label Sister Polygon Records.
TRACK LISTING
Intro
Pristine
Speaking Terms
Heat Wave
Stick
Let’s Find An Out
Golden Dream
Full Control
Deep Sea
Anytime
2018 marks the 25th anniversary of Liz Phair’s landmark Exile in Guyville album. On May 4th, Matador Records will reissue the album on vinyl and CD. Re-mastered by Emily Lazar at The Lodge, the album is set for a remembrance worthy of its greatness. In addition to the straight reissue, Matador is also releasing Girly-Sound To Guyville, an extensive vinyl box set to celebrate the anniversary.
Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless.
Since the release of Exile in Guyville, Liz Phair has continued to defy expectation and break barriers. She has released five albums, and is currently working on a new one with Ryan Adams. She has also composed music for television shows and received awards for that work. In November, it was announced that she would be fulfilling a longtime dream to be an author, having received a two-book deal with Random House. Her first book will be called Horror Stories which focuses on “heartbreak, motherhood, and everything in between.
Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless.
Since the release of Exile in Guyville, Liz Phair has continued to defy expectation and break barriers. She has released five albums, and is currently working on a new one with Ryan Adams. She has also composed music for television shows and received awards for that work. In November, it was announced that she would be fulfilling a longtime dream to be an author, having received a two-book deal with Random House. Her first book will be called Horror Stories which focuses on “heartbreak, motherhood, and everything in between.
TRACK LISTING
1. 6'1"
2. Help Me Mary
3. Glory
4. Dance Of The Seven Veils
5. Never Said
6. Soap Star Joe
7. Explain It To Me
8. Canary
9. Mesmerizing
10. Fuck And Run
11. Girls! Girls! Girls!
12. Divorce Song
13. Shatter
14. Flower
15. Johnny Sunshine
16. Gunshy
17. Stratford-On-Guy
18. Strange Loop
Beyondless radiates joy. It’s an album that shows Iceage finally catching up with their ambition, all the while retaining the rich character of the band’s brash beginnings. It’s important to pay attention to the journey, from New Brigade (2011), a juvenile delinquent take on post-punk, full of cold, distant condemnation, and onto the ecstasy of You're Nothing (2013), shedding the more aggressive hardcore influence and dragging in more light, a tendency followed on Plowing Into The Field Of Love (2014). Throughout their career, the band’s charm has rested in their running ahead of themselves with blind confidence; on Beyondless, they are treading with a disarming assurance, but no loss of charm.
The album was produced by the band with Nis Bysted, and recorded all-analog by Mattias Glavå at Kungsten Studios in Göteborg, Sweden, and mixed by Randall Dunn at Avast Studios in Seattle. The album was played entirely by Iceage with additional performances by Nils Gröndhal (violin), horns by Kasper Tranberg (trumpet), Lars Greve (saxophones) and Morten Jessen (trombone).
The album was produced by the band with Nis Bysted, and recorded all-analog by Mattias Glavå at Kungsten Studios in Göteborg, Sweden, and mixed by Randall Dunn at Avast Studios in Seattle. The album was played entirely by Iceage with additional performances by Nils Gröndhal (violin), horns by Kasper Tranberg (trumpet), Lars Greve (saxophones) and Morten Jessen (trombone).
STAFF COMMENTS
says: Switching from nodded-out psychedelic shambling melodies to driven garage-rock interludes, Iceage are brimming with spirit and equally matching their loosely laid melodic foundations with a relaxed but effective approach to songwriting.TRACK LISTING
Hurrah
2. Pain Killer
3. Under The Sun
4. The Day The Music Dies
5. Plead The Fifth
6. Catch It
7. Thieves Like Us
8. Take It All
9. Showtime
10. Beyondless
2018 marks the 25th anniversary of Liz Phair’s landmark Exile in Guyville album. On May 4th, Matador Records will release Girly-Sound To Guyville, an extensive limited edition box set to celebrate the anniversary. The box set contains the first ever official release of the legendary Girly-Sound songs, which have been restored from their original three cassettes and mastered onto vinyl. It also contains a remastered double LP edition of Exile In Guyville and a 44 page book containing an extensive oral history, essays by Liz Phair and journalist Ann Powers, never before seen photographs, artwork and ephemera.
Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless.
Since the release of Exile in Guyville, Liz Phair has continued to defy expectation and break barriers. She has released five albums, and is currently working on a new one with Ryan Adams. She has also composed music for television shows and received awards for that work. In November, it was announced that she would be fulfilling a longtime dream to be an author, and she received a two-book deal with Random House. Her first book will be called Horror Stories which focuses on “heartbreak, motherhood, and everything in between.”
Originally released in 1993, Exile In Guyville is a seminal album and a feminist landmark. Its legendary status has only grown over the years. It’s continually included in countless lists…Rolling Stone’s 500 Greatest albums of all time + 100 best albums of the 90s, Pitchfork’s Top 100 albums of the 90s, etc. Numerous essays and think pieces have been written about it and the number of accolades piled on is endless.
Since the release of Exile in Guyville, Liz Phair has continued to defy expectation and break barriers. She has released five albums, and is currently working on a new one with Ryan Adams. She has also composed music for television shows and received awards for that work. In November, it was announced that she would be fulfilling a longtime dream to be an author, and she received a two-book deal with Random House. Her first book will be called Horror Stories which focuses on “heartbreak, motherhood, and everything in between.”
TRACK LISTING
6'1"
Help Me Mary
Glory
Dance Of The Seven Veils
Never Said
Soap Star Joe
Explain It To Me
Canary
Mesmerizing
Fuck And Run
Girls! Girls! Girls!
Divorce Song
Shatter
Flower
Johnny Sunshine
Gunshy
Stratford-On-Guy
Strange Loop
White Babies (Girly-Sound Version)
Shane (Girly-Sound Version)
6 Dick Pimp (Girly-Sound Version)
Divorce Song (Girly-Sound Version)
Go West (Girly-Sound Version)
Don't Holdyrbreath (Girly-Sound Version)
Johnny Sunshine (Girly-Sound Version)
Miss Lucy (Girly-Sound Version)
Elvis Song (Girly-Sound Version)
Dead Shark (Girly-Sound Version)
One Less Thing (Girly-Sound Version)
Money (Girly-Sound Version)
In Love W/Yself (Girly-Sound Version)
Hello Sailor (Girly-Sound Version)
Wild-Thing (Girly-Sound Version)
Fuck And Run (Girly-Sound Version)
Easy Target (Girly-Sound Version)
Soap Star Joe (Girly-Sound Version)
Ant In Alaska (Girly-Sound Version)
GIRLSGIRLSGIRLS (Girly-Sound Version)
Polyester Bride (Girly-Sound Version)
Thrax (Girly-Sound Version)
Miss Mary Mack (Girly-Sound Version)
Clean (Girly-Sound Version)
Love Song (Girly-Sound Version)
Valentine (Girly-Sound Version)
Gigolo (Girly-Sound Version)
Flower (Girly-Sound Version)
Batmobile (Girly-Sound Version)
Slave (Girly-Sound Version)
Open Season (Girly-Sound Version)
Whip Smart (Girly-Sound Version)
Suckerfish (Girly-Sound Version)
California (Girly-Sound Version)
South Dakota (Girly-Sound Version)
Bomb (Girly-Sound Version)
Easy (Girly-Sound Version)
Chopsticks (Girly-Sound Version)
Lucy Dacus is done thinking small. Two years after her 2016 debut, No Burden, won her unanimous acclaim as one of rock's most promising new voices, Dacus returns on March 2 with Historian, a remarkably assured 10-track statement of intent. "This is the album I needed to make," says Dacus, who views Historian as her definitive statement as a songwriter and musician. "Everything after this is a bonus."
Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.
Dacus and her band recorded the album in Nashville last March, re-teaming with No Burden producer Collin Pastore, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard, is far richer and fuller than the debut — an outward flowering of dynamic, living, breathing rock and roll. Dacus' remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers.
STAFF COMMENTS
says: Dacus' light Americana leanings of the superb No Burden are sidelined slightly for her grander, more expansive new outing, Historian. Though her smouldering guitar work and unmistakable voice are ever present, they are skillfully woven into an intricate and all-encompassing web of orchestration, grandeur and beauty. This is a stunner, and every bit the successful follow-up.TRACK LISTING
Night Shift
Addictions
The Shell
Nonbeliever
Yours & Mine
Body To Flame
Timefighter
Next Of Kin
Pillar Of Truth
Historians
Harking back to their 1997 release of three consecutive EPs (Dog On Wheels, Lazy Line Painter Jane, and 3.. 6.. 9 Seconds Of Light), Belle and Sebastian have kicked of 2018 with three new EPs under the umbrella title How To Solve Our Human Problems. The EP trilogy culminates with this beautifully packaged limited edition vinyl box set containing all three EPs.
TRACK LISTING
1. Sweet Dew Lee
2. We Were Beautiful
3. Fickle Season
4. The Girl Doesn’t Get It
5. Everything Is Now
6. Show Me The Sun
7. Same Star
8. I’ll Be Your Pilot
9. Cornflakes
10. A Plague On All Other Boys
11. Poor Boy
12. Everything Is Now (Part Two)
13. Too Many Tears
14. There Is An Everlasting Song
15. Best Friend
Harkening back to their 1997 release of three consecutive EPs (Dog On Wheels, Lazy Line Painter Jane, and 3.. 6.. 9 Seconds Of Light), Belle and Sebastian will release three new EPs under the umbrella title How To Solve Our Human Problems, with the first EP coming out on December 8th, the second on January 19th, and the third on February 16th.
Just as those three early EPs are at the very heart of the Belle and Sebastian canon, so these three new releases deserve to be treated not as a stopgap, but as definitive releases in their own right. How To Solve Our Human Problems is both an era of its own, and part of a long, rich history. How To Solve Our Human Problems is, if you like, Belle and Sebastian Redux.
Just as those three early EPs are at the very heart of the Belle and Sebastian canon, so these three new releases deserve to be treated not as a stopgap, but as definitive releases in their own right. How To Solve Our Human Problems is both an era of its own, and part of a long, rich history. How To Solve Our Human Problems is, if you like, Belle and Sebastian Redux.
Harkening back to their 1997 release of three consecutive EPs (Dog On Wheels, Lazy Line Painter Jane, and 3.. 6.. 9 Seconds Of Light), Belle and Sebastian will release three new EPs under the umbrella title How To Solve Our Human Problems, with the first EP coming out on December 8th, the second on January 19th, and the third on February 16th.
Just as those three early EPs are at the very heart of the Belle and Sebastian canon, so these three new releases deserve to be treated not as a stopgap, but as definitive releases in their own right. How To Solve Our Human Problems is both an era of its own, and part of a long, rich history. How To Solve Our Human Problems is, if you like, Belle and Sebastian Redux.
Just as those three early EPs are at the very heart of the Belle and Sebastian canon, so these three new releases deserve to be treated not as a stopgap, but as definitive releases in their own right. How To Solve Our Human Problems is both an era of its own, and part of a long, rich history. How To Solve Our Human Problems is, if you like, Belle and Sebastian Redux.
TRACK LISTING
1. Show Me The Sun
2. Same Star
3. I’ll Be Your Pilot
4. Cornflakes
5. A Plague On All Other Boys
Harkening back to their 1997 release of three consecutive EPs (Dog On Wheels, Lazy Line Painter Jane, and 3.. 6.. 9 Seconds Of Light), Belle and Sebastian will release three new EPs under the umbrella title How To Solve Our Human Problems, with the first EP coming out on December 8th, the second on January 19th, and the third on February 16th.
Just as those three early EPs are at the very heart of the Belle and Sebastian canon, so these three new releases deserve to be treated not as a stopgap, but as definitive releases in their own right. How To Solve Our Human Problems is both an era of its own, and part of a long, rich history. How To Solve Our Human Problems is, if you like, Belle and Sebastian Redux.
Just as those three early EPs are at the very heart of the Belle and Sebastian canon, so these three new releases deserve to be treated not as a stopgap, but as definitive releases in their own right. How To Solve Our Human Problems is both an era of its own, and part of a long, rich history. How To Solve Our Human Problems is, if you like, Belle and Sebastian Redux.
Julien Baker releases her highly anticipated second album, ‘Turn Out The Lights’, via Matador Records.
‘Turn Out The Lights’ arrives nearly two years to the day after Baker’s debut album, ‘Sprained Ankle’, which was widely acclaimed by outlets including The New York Times, Pitchfork, Rolling Stone, Noisey, and MOJO, among others.
Recorded at the legendary Ardent Studios in Baker’s hometown of Memphis, TN, ‘Turn Out The Lights’ expands upon the sound and vision of ‘Sprained Ankle’ while retaining the haunting, confessional songwriting style for which she has become known. Throughout the album, Baker reflects on experiences of her own and those closest to her, exploring the internal conflicts that wrestle inside us all: how we deal and cope with our struggles and how it all impacts both ourselves and our relationships of all kinds. The result is a deeply empathetic album that embraces the greys and complex truths of humanity and mental health.
‘Turn Out The Lights’ was written and produced by Baker and mixed by Craig Silvey (The National, Arcade Fire, Florence & The Machine).
‘Turn Out The Lights’ arrives nearly two years to the day after Baker’s debut album, ‘Sprained Ankle’, which was widely acclaimed by outlets including The New York Times, Pitchfork, Rolling Stone, Noisey, and MOJO, among others.
Recorded at the legendary Ardent Studios in Baker’s hometown of Memphis, TN, ‘Turn Out The Lights’ expands upon the sound and vision of ‘Sprained Ankle’ while retaining the haunting, confessional songwriting style for which she has become known. Throughout the album, Baker reflects on experiences of her own and those closest to her, exploring the internal conflicts that wrestle inside us all: how we deal and cope with our struggles and how it all impacts both ourselves and our relationships of all kinds. The result is a deeply empathetic album that embraces the greys and complex truths of humanity and mental health.
‘Turn Out The Lights’ was written and produced by Baker and mixed by Craig Silvey (The National, Arcade Fire, Florence & The Machine).
STAFF COMMENTS
says: 'Sprained Ankle' went down a storm in here (was it really that long ago?) and I have no doubt this will surpass that. More heartfelt lyrics, cleverly constructed melodies and introspective moments, all wrapped in that warm veneer of Baker's spellbinding voice.TRACK LISTING
Over
Appointments
Turn Out The Lights
Shadowboxing
Sour Breath
Televangelist
Everything That Helps
You Sleep
Happy To Be Here
Hurt Less
Even
Claws In Your Back
“The title Villains isn’t a political statement. It has nothing to do with Trump or any of that shit. It’s simply 1) a word that looks fantastic and 2) a comment on the three versions of every scenario: yours, mine and what actually happened… Everyone needs someone or something to rail against—their villain—same as it ever was. You can’t control that. The only thing you can really control is when you let go."—Joshua Homme
Hundreds of epic shows, memory lapses, unexplained injuries, one yearlong detour with Iggy Pop and multiple Grammy nominations later, Queens Of The Stone Age re-emerge from the desert newly scarred and somehow strangely prettier with lucky seventh album, Villains.
Produced by Mark Ronson and co-produced by Mark Rankin and mixed by Alan Moulder, Villains is the first full album offering from Queens Of The Stone Age since 2013’s …Like Clockwork gave the band its first #1 album in the U.S. Like the stunning artwork of returning illustrator Boneface, the sonic signatures of the line-up that took …Like Clockwork around the world and back are as unmistakable as ever, though coexisting with sufficient new twists to induce recurring double takes. As Homme himself puts it, “The most important aspect of making this record was redefining our sound, asking and answering the question 'what do we sound like now?' If you can’t make a great first record, you should just stop—but if you can make a great record but you keep making records and your sound doesn’t evolve, you become a parody of that original sound."
Of his role working within such a closed and confident ecosystem as Queens Of The Stone Age, Ronson says, "Queens are and have always been my favourite rock n roll band ever since I walked into Tower on Sunset and bought Rated R in the summer of 2000, so it was incredibly surreal to be welcomed into their secret, pirate clan—or the ‘jacuzzi’ as Josh likes to call it. There were moments during the making of the album in which I was aware I was watching my musical heroes craft something that was sure to become one of my moments on any Queens album. And to have some part in that felt like being in a dream--a very heavy, dark, wonderful dream.”
Long-time Queens cohort co-producer Mark Rankin added, "After the baptism of fire that was …Like Clockwork, I was excited to get into the studio again with the challenge of pushing the sound for this record, especially with the addition of Ronson into the creative mix… What we’ve made is forward looking yet unmistakably Queens."
Hundreds of epic shows, memory lapses, unexplained injuries, one yearlong detour with Iggy Pop and multiple Grammy nominations later, Queens Of The Stone Age re-emerge from the desert newly scarred and somehow strangely prettier with lucky seventh album, Villains.
Produced by Mark Ronson and co-produced by Mark Rankin and mixed by Alan Moulder, Villains is the first full album offering from Queens Of The Stone Age since 2013’s …Like Clockwork gave the band its first #1 album in the U.S. Like the stunning artwork of returning illustrator Boneface, the sonic signatures of the line-up that took …Like Clockwork around the world and back are as unmistakable as ever, though coexisting with sufficient new twists to induce recurring double takes. As Homme himself puts it, “The most important aspect of making this record was redefining our sound, asking and answering the question 'what do we sound like now?' If you can’t make a great first record, you should just stop—but if you can make a great record but you keep making records and your sound doesn’t evolve, you become a parody of that original sound."
Of his role working within such a closed and confident ecosystem as Queens Of The Stone Age, Ronson says, "Queens are and have always been my favourite rock n roll band ever since I walked into Tower on Sunset and bought Rated R in the summer of 2000, so it was incredibly surreal to be welcomed into their secret, pirate clan—or the ‘jacuzzi’ as Josh likes to call it. There were moments during the making of the album in which I was aware I was watching my musical heroes craft something that was sure to become one of my moments on any Queens album. And to have some part in that felt like being in a dream--a very heavy, dark, wonderful dream.”
Long-time Queens cohort co-producer Mark Rankin added, "After the baptism of fire that was …Like Clockwork, I was excited to get into the studio again with the challenge of pushing the sound for this record, especially with the addition of Ronson into the creative mix… What we’ve made is forward looking yet unmistakably Queens."
STAFF COMMENTS
says: ‘Villains’ finds the QOTSA boys in fine rockin’ form. Heavy sonic riffage with an added groove appeal too, no doubt courtesy of Mark Ronson in the producer’s chair.TRACK LISTING
Feet Don’t Fail Me
The Way You Used To Do
Domesticated Animals
Fortress
Head Like A Haunted House
Un-Reborn Again
Hideaway
The Evil Has Landed
Villains Of Circumstance
Perfume Genius, nom de poster-wraith of musician Mike Hadreas, will release his fourth album, No Shape, May 5 on Matador Records. The album was recorded in Los Angeles, produced by Blake Mills, mixed by Shawn Everett.
Perfume Genius’s 2014 breakout album Too Bright— featuring seismic anthem ‘Queen’ — marked a musical and performative leap that sounds unlike anything before or since. With his new songs, Hadreas goes even further, merging church music, makeout music, R&B, art pop, krautrock, and queer soul into his take on stadium anthems, completing the journey from critically acclaimed underground hero to fully fledged pop auteur.
Of the album, Hadreas says: “I pay my rent. I’m approaching health. The things that are bothering me personally now are less clear, more confusing. I don’t think I really figured them out with these songs. There’s something freeing about how I don’t have it figured out. Unpacking little morsels, magnifying my discomfort, wading through buried harm, laughing at or digging in to the embarrassing drama of it all. I may never come out the other side but it’s invigorating to try and hopefully, ultimately helpful. I think a lot of them are about trying to be happy in the face of whatever bullshit I created for myself or how horrible everything and everyone is.”
Perfume Genius’s 2014 breakout album Too Bright— featuring seismic anthem ‘Queen’ — marked a musical and performative leap that sounds unlike anything before or since. With his new songs, Hadreas goes even further, merging church music, makeout music, R&B, art pop, krautrock, and queer soul into his take on stadium anthems, completing the journey from critically acclaimed underground hero to fully fledged pop auteur.
Of the album, Hadreas says: “I pay my rent. I’m approaching health. The things that are bothering me personally now are less clear, more confusing. I don’t think I really figured them out with these songs. There’s something freeing about how I don’t have it figured out. Unpacking little morsels, magnifying my discomfort, wading through buried harm, laughing at or digging in to the embarrassing drama of it all. I may never come out the other side but it’s invigorating to try and hopefully, ultimately helpful. I think a lot of them are about trying to be happy in the face of whatever bullshit I created for myself or how horrible everything and everyone is.”
TRACK LISTING
1. Otherside
2. Slip Away
3. Just Like Love
4. Go Ahead
5. Valley
6. Wreath
7. Every Night
8. Choir
9. Die 4 You
10. Sides (feat. Weyes Blood)
11. Braid
12. Run Me Through
13. Alan
Produced by Spoon and Dave Fridmann, Austin’s most esteemed rock ambassadors have created the bravest, most sonically inventive work of their illustrious career.
Reuniting the band with the label that released their 1996 debut, ‘Telephono’, and following on Spoon’s streak of three consecutive US Top 10 albums—‘Ga Ga Ga Ga Ga’ (2007), ‘Transference’ (2010) and ‘They Want My Soul’ (2014)—‘Hot Thoughts’ is nothing short of epic. Listening to ‘Hot Thoughts’, it’s instantly apparent why Spoon are considered one of the most critically acclaimed acts of the first decade of the new millennium.
Within the space of 10 captivating songs – all written by Britt Daniel- ‘Hot Thoughts’ creates a musical universe all its own, with individual worlds ranging from the kaleidoscopic opening/title trackthrough the gargantuan stomp of “Do I Have To Talk You Into It” and ubiquitous wiry hooks of “Can I Sit Next To You" to the bittersweet “I Ain’t The One” and beyond.
Reuniting the band with the label that released their 1996 debut, ‘Telephono’, and following on Spoon’s streak of three consecutive US Top 10 albums—‘Ga Ga Ga Ga Ga’ (2007), ‘Transference’ (2010) and ‘They Want My Soul’ (2014)—‘Hot Thoughts’ is nothing short of epic. Listening to ‘Hot Thoughts’, it’s instantly apparent why Spoon are considered one of the most critically acclaimed acts of the first decade of the new millennium.
Within the space of 10 captivating songs – all written by Britt Daniel- ‘Hot Thoughts’ creates a musical universe all its own, with individual worlds ranging from the kaleidoscopic opening/title track
STAFF COMMENTS
says: As addictive, funked up rhythms give way to distorted bursts and effervescent vocal melodies, this sonically fascinating but brilliantly accessible LP twists and turns break into pulsing synth pop and grooving head-nodders.TRACK LISTING
1. Hot Thoughts
2. WhisperI’lllistentohearit
3. Do I Have To Talk You Into It
4. First Caress
5. Pink Up
6. Can I Sit Next To You
7. I Ain’t The One
8. Tear It Down
9. Shotgun
10. Us
Body/Head, the duo of Kim Gordon (CKM, Sonic Youth, Free Kitten, etc.) and guitarist Bill Nace (X.O.4, Vampire Belt, Ceylon Mange, etc), will release ‘No Waves’ via Matador Records.
Recorded on March 24th, 2014 during Big Ears Festival in Knoxville, TN at the Bijou Theater, this high quality live recording captures Gordon and Nace at peak chemistry, clearing pathways of possibility using great waves of amplification and voice, during the tour supporting 2013’s critically lauded ‘Coming Apart’.
Instead of presenting ‘tracks’ or ‘songs’ from the record, this album should be considered a ‘moment’, one pinnacle set that was beautifully caught in time. World-renowned artist and longtime friend of Gordon’s, Raymond Pettibon, has made an original piece of art for the cover of the album.
“‘Coming Apart’ was arguably the heaviest record of 2013 and received with open arms and blown minds across the world. The fact that a record steeped so heavily in non-traditional structures and improvisation could touch so many people was not a surprise to anyone who had seen Body/Head in a live setting. ‘No Waves’ captures that raw improvisation and harnesses the power into a listening experience of pure, unmediated intensity.” - Ben Chasny (Comets On Fire, Six Organs Of Admittance)
Recorded on March 24th, 2014 during Big Ears Festival in Knoxville, TN at the Bijou Theater, this high quality live recording captures Gordon and Nace at peak chemistry, clearing pathways of possibility using great waves of amplification and voice, during the tour supporting 2013’s critically lauded ‘Coming Apart’.
Instead of presenting ‘tracks’ or ‘songs’ from the record, this album should be considered a ‘moment’, one pinnacle set that was beautifully caught in time. World-renowned artist and longtime friend of Gordon’s, Raymond Pettibon, has made an original piece of art for the cover of the album.
“‘Coming Apart’ was arguably the heaviest record of 2013 and received with open arms and blown minds across the world. The fact that a record steeped so heavily in non-traditional structures and improvisation could touch so many people was not a surprise to anyone who had seen Body/Head in a live setting. ‘No Waves’ captures that raw improvisation and harnesses the power into a listening experience of pure, unmediated intensity.” - Ben Chasny (Comets On Fire, Six Organs Of Admittance)
Richmond, VA-based songwriter Lucy Dacus is the latest addition to the renowned Matador Records roster.
Lucy Dacus's No Burden is full of surprises—sharp lyrical observations, playful turns of musical phrase, hooks that'll embed themselves in your frontal lobe for days. But the most surprising thing about this album might be the fact that it's a debut; it has a keen sense of self about it, and it nearly glows from the self-possession held by the woman at its core.
The 21-year-old Dacus grew up in Richmond; she was adopted at a young age, an experience that informed her curious, openhearted songwriting. "When my parents were explaining what adoption was—which was very early on in my childhood—they always said that my birthmother thought I was worthwhile even though she couldn't be my mom," she says. "And so from essentially infancy, I was taught that life was innately worthwhile because a bunch of people had worked together to set me up with one.”
Dacus started playing around Richmond while in college, opening for local acts and eventually meeting Jacob Blizard, a guitarist who invited her to make a record for a college project of his. No Burden, which originally came out in February on the Richmond label EggHunt Records, opens with the forthright, almost brutally honest "I Don't Wanna Be Funny Anymore," the last song Dacus wrote before the album's day-long recording session at Starstruck Studios in Nashville. Dacus delivers scalpel-sharp observations about resisting pigeonholing over chunky guitars, ticking off ideals of femininity and youth until the track's not-quite-resolution.
These themes extend to the lyrics of songs like "Strange Torpedo," a whirling portrait of a friend whose "bunch of bad habits" who, Dacus sings, has "been falling for so long… [and hasn't] hit anything solid yet." "I've been that friend watching a loved one do what they know is bad for them and not understanding why," says Dacus. The song offers a simple message: "I love you, why don't you love you? You're the one in your body so you get to choose what to do with it, but if I were you I'd treat me differently.”
The rest of No Burden, which was produced by Collin Pastore, puts Dacus's voice center stage, allowing the glinting poetry of her lyrics to shine even more brightly. "Trust," which Dacus wrote in late 2013, showcases her alone with her guitar, her faint vibrato floating over strummed chords as she sings of self-redemption. And the diptych "Dream State…" and "…Familiar Place," which revolve around Dacus repeating "Without you, I am surely the last of our kind/ Without you, I am surely the last of my kind," capture disappointment and loss in a jaw-dropping way; the music trembles around her while her voice stays steady, anticipating whatever might come next.
No Burden is a forthright, disarmingly catchy statement. And while it's a sterling debut, it only hints at the potential possessed by this passionate, thoughtful young woman.
Lucy Dacus's No Burden is full of surprises—sharp lyrical observations, playful turns of musical phrase, hooks that'll embed themselves in your frontal lobe for days. But the most surprising thing about this album might be the fact that it's a debut; it has a keen sense of self about it, and it nearly glows from the self-possession held by the woman at its core.
The 21-year-old Dacus grew up in Richmond; she was adopted at a young age, an experience that informed her curious, openhearted songwriting. "When my parents were explaining what adoption was—which was very early on in my childhood—they always said that my birthmother thought I was worthwhile even though she couldn't be my mom," she says. "And so from essentially infancy, I was taught that life was innately worthwhile because a bunch of people had worked together to set me up with one.”
Dacus started playing around Richmond while in college, opening for local acts and eventually meeting Jacob Blizard, a guitarist who invited her to make a record for a college project of his. No Burden, which originally came out in February on the Richmond label EggHunt Records, opens with the forthright, almost brutally honest "I Don't Wanna Be Funny Anymore," the last song Dacus wrote before the album's day-long recording session at Starstruck Studios in Nashville. Dacus delivers scalpel-sharp observations about resisting pigeonholing over chunky guitars, ticking off ideals of femininity and youth until the track's not-quite-resolution.
These themes extend to the lyrics of songs like "Strange Torpedo," a whirling portrait of a friend whose "bunch of bad habits" who, Dacus sings, has "been falling for so long… [and hasn't] hit anything solid yet." "I've been that friend watching a loved one do what they know is bad for them and not understanding why," says Dacus. The song offers a simple message: "I love you, why don't you love you? You're the one in your body so you get to choose what to do with it, but if I were you I'd treat me differently.”
The rest of No Burden, which was produced by Collin Pastore, puts Dacus's voice center stage, allowing the glinting poetry of her lyrics to shine even more brightly. "Trust," which Dacus wrote in late 2013, showcases her alone with her guitar, her faint vibrato floating over strummed chords as she sings of self-redemption. And the diptych "Dream State…" and "…Familiar Place," which revolve around Dacus repeating "Without you, I am surely the last of our kind/ Without you, I am surely the last of my kind," capture disappointment and loss in a jaw-dropping way; the music trembles around her while her voice stays steady, anticipating whatever might come next.
No Burden is a forthright, disarmingly catchy statement. And while it's a sterling debut, it only hints at the potential possessed by this passionate, thoughtful young woman.
Teens of Denial is the thirteenth album in Car Seat Headrest’s (aka 23-year-old Will Toledo) oeuvre, second on Matador, and first to be recorded in a proper studio with a full band and producer (Steve Fisk).
On Denial, Toledo moves from bedroom pop to something approaching classic-rock grandeur and huge (if detailed and personal) narrative ambitions, with nods to the Cars, Pavement, Jonathan Richman, Wire, and William Onyeabor. By turns tender and caustic, empathetic and solipsistic, literary and vernacular, profound and profane, self-loathing and self-aggrandizing, he conjures a specifically 21st century mindset, a product of information overload, the loneliness it can foster, and the escape music can provide.
On Denial, Toledo moves from bedroom pop to something approaching classic-rock grandeur and huge (if detailed and personal) narrative ambitions, with nods to the Cars, Pavement, Jonathan Richman, Wire, and William Onyeabor. By turns tender and caustic, empathetic and solipsistic, literary and vernacular, profound and profane, self-loathing and self-aggrandizing, he conjures a specifically 21st century mindset, a product of information overload, the loneliness it can foster, and the escape music can provide.
STAFF COMMENTS
says: Boisterous and catchy college-rock anthems with a nod to melancholic folk, skate-punk and everything in between. Teens of Denial is a further expansion of singer-songwriter Will Toledo's already extensive back catalogue. Exciting and heartfelt, and another fantastic outing for Car Seat Headrest.TRACK LISTING
1. Fill In The Blank
2. Vincent
3. Destroyed By Hippie Powers
4. (Joe Gets Kicked Out Of School For Using) Drugs With Friends (But Says This Isn't A Problem)
5. Just What I Needed/Not Just What I Needed
6. Drunk Drivers/Killer Whales
7. 1937 State Park
8. Unforgiving Girl (She's Not An)
9. Cosmic Hero
10. The Ballad Of The Costa Concordia
11. Connect The Dots (The Saga Of Frank Sinatra)
12. Joe Goes To School
“How does a questing psychedelic guitarist transform themselves into classic singer-songwriter? By compromising, in many cases. Brooklyn’s Steve Gunn, however, is managing the transition with uncanny elegance.” - Uncut
Steve Gunn’s music has always embraced expanse and movement, springing from the simple and profound relationship between humans and their environment. ‘Eyes On The Lines’, his Matador debut and follow-up to the pastoral and highly acclaimed ‘Way Out Weather’, is Gunn’s most explicit ode to the blissful uncertainty of adventure yet.
Accompanied by a full band - Nathan Bowles (drums, banjo, organ), Hans Chew (wurlitzer), James Elkington (guitar, lap steel, dobro), Mary Lattimore (harp), Jason Meagher (bass, guitar, flute), Paul Sukeena (guitar), Justin Tripp (bass, keyboards), John Truscinski (drums) - ‘Eyes On The Lines’ presents Gunn embracing his urban surroundings through a series of songs that showcase his extraordinary ability to match inventive hooks to deftly constructed melodies full of personality.
Gunn’s songwriting on ‘Eyes On The Lines’ tells vibrant and evocative tales through a series of both imagined and real life characters and moments but throughout he is more narrator than diarist.
says: Melodic country-tinged folk might not necessarily be something you would associate with former psych-rock great Steve Gunn, but that is exactly he has managed to write, and with great effect. This is absorbing and interesting, full of catchy melodies and imbued with a plethora of influence, from both sides of the pond. Intricate and comforting. Brilliant.
Steve Gunn’s music has always embraced expanse and movement, springing from the simple and profound relationship between humans and their environment. ‘Eyes On The Lines’, his Matador debut and follow-up to the pastoral and highly acclaimed ‘Way Out Weather’, is Gunn’s most explicit ode to the blissful uncertainty of adventure yet.
Accompanied by a full band - Nathan Bowles (drums, banjo, organ), Hans Chew (wurlitzer), James Elkington (guitar, lap steel, dobro), Mary Lattimore (harp), Jason Meagher (bass, guitar, flute), Paul Sukeena (guitar), Justin Tripp (bass, keyboards), John Truscinski (drums) - ‘Eyes On The Lines’ presents Gunn embracing his urban surroundings through a series of songs that showcase his extraordinary ability to match inventive hooks to deftly constructed melodies full of personality.
Gunn’s songwriting on ‘Eyes On The Lines’ tells vibrant and evocative tales through a series of both imagined and real life characters and moments but throughout he is more narrator than diarist.
STAFF COMMENTS
says: Beautiful rocking, interwoven guitar melodies make this Gunn's most direct record yet, even sounding like the more melodic side of Sonic Youth's Lee Ranaldo on a few numbers.says: Melodic country-tinged folk might not necessarily be something you would associate with former psych-rock great Steve Gunn, but that is exactly he has managed to write, and with great effect. This is absorbing and interesting, full of catchy melodies and imbued with a plethora of influence, from both sides of the pond. Intricate and comforting. Brilliant.
Spoon’s classic ‘Gimme Fiction’ celebrates its 10th anniversary with a deluxe version released on Matador Records.
The reissue contains the original album newlyremastered by Howie Weinberg from the original tapes, a second disc with 12 previously unreleased demos from the era, a digital download of nine additional bonus tracks and a full colour book containing photos and an extensive oral history of the making of the album by The AV Club’s Sean O’Neal. The deluxe LP package also includes tipped sleeves, a 24” x 36” poster and a digital download of all songs.
‘Gimme Fiction’ dragged the sonic pointillism of ‘Kill The Moonlight’ further into dub-influenced weirdness as the increasingly confident Spoon went crazy in the studio, experimenting with everything from warped hip hop samples to horse whinnies. Whatever digging or strange alchemy had to go into it, they only produced more gold.
‘Gimme Fiction’ deserves special recognition as the album where Spoon took creative and stylistic quantum leaps that resulted in classics ‘I Turn My Camera On’, ‘The Beast And Dragon Adored’, ‘My Mathematical Mind’, ‘I Summon You’ and so many more. 10 years later, ‘Gimme Fiction’ gets the deluxe release it so richly deserves.
The reissue contains the original album newlyremastered by Howie Weinberg from the original tapes, a second disc with 12 previously unreleased demos from the era, a digital download of nine additional bonus tracks and a full colour book containing photos and an extensive oral history of the making of the album by The AV Club’s Sean O’Neal. The deluxe LP package also includes tipped sleeves, a 24” x 36” poster and a digital download of all songs.
‘Gimme Fiction’ dragged the sonic pointillism of ‘Kill The Moonlight’ further into dub-influenced weirdness as the increasingly confident Spoon went crazy in the studio, experimenting with everything from warped hip hop samples to horse whinnies. Whatever digging or strange alchemy had to go into it, they only produced more gold.
‘Gimme Fiction’ deserves special recognition as the album where Spoon took creative and stylistic quantum leaps that resulted in classics ‘I Turn My Camera On’, ‘The Beast And Dragon Adored’, ‘My Mathematical Mind’, ‘I Summon You’ and so many more. 10 years later, ‘Gimme Fiction’ gets the deluxe release it so richly deserves.
TRACK LISTING
The Original Album
The Beast And Dragon, Adored
The Two Sides Of Monsieur Valentine
I Turn My Camera On
My Mathematical Mind
The Delicate Place
Sister Jack
I Summon You
The Infinite Pet
Was It You?
They Never Got You
Merchants Of Soul
Home Demos
I Summon You (First Demo)
Was It You?
I’ve Been Good Too Long
Sister Jack (Piano Demo)
The Beast And Dragon, Adored
My Mathematical Mind
They Never Got You
The Two Sides Of Monsieur Valentine
The Delicate Place
The Infinite Pet
Merchants Of Soul
Dear Mr. Landlord
Digital Bonus Tracks (With Vinyl Only)
The Beast And The Dragon, Adored (Rehearsal)
Sister Jack (Up Demo)
I Turn My Camera On (First Demo)
My Mathematical Mind (First Rehearsal)
The Delicate Place (Vanderslice & Solter Version)
I Wanna Go (Demo)
Tear Me Down (Demo)
I Summon You (Electric Demo)
My Mathematical Mind (Vanderslice & Solter Version)
Every generation has their own version of the blues, music that captures a sense of melancholia and provides a sonic reflecting pool for young lovers, old souls, and the eternally heartbroken. For their darkly shaded and radiant debut album Full Circle, HAELOS have found their blues where others go to find pure, uncut joy: the dancefloor.
The London trio's version of a night out is a million miles away from mirror balls and sweaty bodies, their rippling electronic pop conjuring the exhilarating privacy of a cavernous club's dark pockets and the introspective comedowns that accompany rainy 5 a.m. cab rides. "It's the music you put on after the club," Lotti Benardout, who shares vocal duties with her other bandmates, states. "You can still feel that energy and euphoria, but it might bring you back to reflect on certain moments or memories."
The three bandmates decided to collaborate having been working on separate projects. Arthur Delaney and Dom Goldsmith had been working on material under the working title of HÆLOS; Lotti had been writing with Dom who was producing an EP for her at the time. The nocturnal, throbbing "Dust" was the first finished work to come from the trio's newly formed union; over the course of the following year, the rest of Full Circle's shadowy sounds came together. "When you don't know people that well, you can look back at things and retell your story," Benardout speaks on HAELOS' ability to mature from relative strangers into a cohesive musical unit. "It's new again. There's something quite cathartic about it."
Catharsis is, indeed, the name of Full Circle's game, an embodiment of a sound that has been referred to as "dark euphoria". Throughout the album, HÆLOS reconstruct the firmament of dance sounds past and present to construct an exquisitely elegiac mood that retains a sense of presence as it conveys the pain of emotional distance. Every moment of uneasy reflection is matched by quiet explosions—Delaney's forceful shouts over yo-yo synths on Full Circle's title track, Benardout's layered pleas over Goldsmith's cascading drum breaks on "Pray," and the soaring "Separate Lives," which hollows out drum'n'bass' propulsive patter to form an atmosphere that's as gently disruptive as it is emotionally nourishing. Throughout the album's loudest and most peaceful moments alike, Full Circle retains a pristine intimacy thanks to Goldsmith's keen ear for behind-the-boards magic; his touch gives the album a hermetic feel that stays with you long after it ends.
We're living in a time where the struggle to make human connections is hampered by our inability to unplug, and so Full Circle is a glorious, gorgeous contradiction of sorts: emotional pop that perfectly captures ageless emotional conundrums, featuring music that could only be made in the present day. "We all have a shared human experience," opines Delaney, HAELOS' main lyrical contributor. "As much as we try to run away from feelings with all the distractions around us, they always follow us around. They're a constant thing that unites us all." And so Full Circle is the sound of three individuals finding common ground, for themselves and for anyone who's ever believed that it's impossible to move your body without listening to your own heart.
The London trio's version of a night out is a million miles away from mirror balls and sweaty bodies, their rippling electronic pop conjuring the exhilarating privacy of a cavernous club's dark pockets and the introspective comedowns that accompany rainy 5 a.m. cab rides. "It's the music you put on after the club," Lotti Benardout, who shares vocal duties with her other bandmates, states. "You can still feel that energy and euphoria, but it might bring you back to reflect on certain moments or memories."
The three bandmates decided to collaborate having been working on separate projects. Arthur Delaney and Dom Goldsmith had been working on material under the working title of HÆLOS; Lotti had been writing with Dom who was producing an EP for her at the time. The nocturnal, throbbing "Dust" was the first finished work to come from the trio's newly formed union; over the course of the following year, the rest of Full Circle's shadowy sounds came together. "When you don't know people that well, you can look back at things and retell your story," Benardout speaks on HAELOS' ability to mature from relative strangers into a cohesive musical unit. "It's new again. There's something quite cathartic about it."
Catharsis is, indeed, the name of Full Circle's game, an embodiment of a sound that has been referred to as "dark euphoria". Throughout the album, HÆLOS reconstruct the firmament of dance sounds past and present to construct an exquisitely elegiac mood that retains a sense of presence as it conveys the pain of emotional distance. Every moment of uneasy reflection is matched by quiet explosions—Delaney's forceful shouts over yo-yo synths on Full Circle's title track, Benardout's layered pleas over Goldsmith's cascading drum breaks on "Pray," and the soaring "Separate Lives," which hollows out drum'n'bass' propulsive patter to form an atmosphere that's as gently disruptive as it is emotionally nourishing. Throughout the album's loudest and most peaceful moments alike, Full Circle retains a pristine intimacy thanks to Goldsmith's keen ear for behind-the-boards magic; his touch gives the album a hermetic feel that stays with you long after it ends.
We're living in a time where the struggle to make human connections is hampered by our inability to unplug, and so Full Circle is a glorious, gorgeous contradiction of sorts: emotional pop that perfectly captures ageless emotional conundrums, featuring music that could only be made in the present day. "We all have a shared human experience," opines Delaney, HAELOS' main lyrical contributor. "As much as we try to run away from feelings with all the distractions around us, they always follow us around. They're a constant thing that unites us all." And so Full Circle is the sound of three individuals finding common ground, for themselves and for anyone who's ever believed that it's impossible to move your body without listening to your own heart.
Majical Cloudz return with their eagerly anticipated sophomore studio album ‘Are You Alone?’, released on Matador Records.
In 2013, the Canadian duo, comprised of principle songwriter and vocalist Devon Welsh and producer Matthew Otto, made a lasting impression with their debut full length ‘Impersonator’, which garnered praise from tastemaker and mainstream media alike as one of the year’s best and most notable albums. The band have since been fastidiously crafting their second studio album while simultaneously touring the world with their own shows as well as opening for Lorde on her North American tour.
‘Are You Alone?’ sees the expansion of Majical Cloudz’ sonic and narrative scope in adventurous new directions while retaining the unmistakable building blocks that have singled out the musical-performance art project as a unique proposition. Simple yet emotionally confounding lyrics showcasing a raw vulnerability which explore love and friendship, heartbreak and sadness, delivered in Welsh’s arresting baritone and filled out by minimalist yet evocative production and instrumentation, bringing the songs’ underlying emotional core to stirring realization. Throughout 12 poignant and resonant compositions Welsh and Otto have created a soulful and cinematic novella, continuing their artistic evolution at the forefront of brave and uncompromising musical performance.
Written and recorded between Montreal and Detroit, ‘Are You Alone?’ features drum, viola and piano support from Canadian composition auteur Owen Pallett, known for his work with Arcade Fire, Grizzly Bear, Death From Above 1979 and Alex Turner of the Arctic Monkeys.
Following early releases as well as collaborations with artistic kin Grimes, Majical Cloudz broke into recognition with their ‘Turns Turns Turns’ EP in 2012 and soon after signed to Matador. In addition to being nominated for the 2013 Polaris Music Prize, ‘Impersonator’ received critical praise from Rolling Stone, Pitchfork, Stereogum, VICE and NME among others. In 2014 the duo were personally selected by teenage pop phenomenon Lorde as the opening act for her North American tour, taking their intimate stage setup to theatres across the continent.
Their incredible conceptual live performance - stark and direct yet with moments of Pagliacci-esque silliness - gained plaudits from Billboard, Grantland, and Pitchfork and was described by Lorde as “one of the most simple and moving things I have seen, ever.” The 2014 tour with Lorde was captured in in the Majical Cloudz documentary ‘A Lot Of Humans’, directed by Neil Corcoran with an original soundtrack by the band. They were further highlighted with a summer cover story feature on Pitchfork.
In 2013, the Canadian duo, comprised of principle songwriter and vocalist Devon Welsh and producer Matthew Otto, made a lasting impression with their debut full length ‘Impersonator’, which garnered praise from tastemaker and mainstream media alike as one of the year’s best and most notable albums. The band have since been fastidiously crafting their second studio album while simultaneously touring the world with their own shows as well as opening for Lorde on her North American tour.
‘Are You Alone?’ sees the expansion of Majical Cloudz’ sonic and narrative scope in adventurous new directions while retaining the unmistakable building blocks that have singled out the musical-performance art project as a unique proposition. Simple yet emotionally confounding lyrics showcasing a raw vulnerability which explore love and friendship, heartbreak and sadness, delivered in Welsh’s arresting baritone and filled out by minimalist yet evocative production and instrumentation, bringing the songs’ underlying emotional core to stirring realization. Throughout 12 poignant and resonant compositions Welsh and Otto have created a soulful and cinematic novella, continuing their artistic evolution at the forefront of brave and uncompromising musical performance.
Written and recorded between Montreal and Detroit, ‘Are You Alone?’ features drum, viola and piano support from Canadian composition auteur Owen Pallett, known for his work with Arcade Fire, Grizzly Bear, Death From Above 1979 and Alex Turner of the Arctic Monkeys.
Following early releases as well as collaborations with artistic kin Grimes, Majical Cloudz broke into recognition with their ‘Turns Turns Turns’ EP in 2012 and soon after signed to Matador. In addition to being nominated for the 2013 Polaris Music Prize, ‘Impersonator’ received critical praise from Rolling Stone, Pitchfork, Stereogum, VICE and NME among others. In 2014 the duo were personally selected by teenage pop phenomenon Lorde as the opening act for her North American tour, taking their intimate stage setup to theatres across the continent.
Their incredible conceptual live performance - stark and direct yet with moments of Pagliacci-esque silliness - gained plaudits from Billboard, Grantland, and Pitchfork and was described by Lorde as “one of the most simple and moving things I have seen, ever.” The 2014 tour with Lorde was captured in in the Majical Cloudz documentary ‘A Lot Of Humans’, directed by Neil Corcoran with an original soundtrack by the band. They were further highlighted with a summer cover story feature on Pitchfork.
TRACK LISTING
Disappeared
Control
Are You Alone?
So Blue
Heavy
Silver Car Crash
Change
If You're Lonely
Downtown
Easier Said Than Done
Game Show
Call On Me
'b’lieve i'm goin down…' is Vile’s sixth album, and shows Kurt both deeply introspective and briskly self-assured. As longtime fan Kim Gordon wrote in her bio for the album: “Kurt does his own myth-making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why this focused, brilliantly clear and seemingly candid record is a breath of fresh air.
Recorded and mixed in a number of locations, including Los Angeles and Joshua tree, b’lieve i'm goin down… is a handshake across the country, east to west coast, thru the dustbowl history (“valley of ashes”) of woody honest strait forward talk Guthrie, and a cali canyon dead still nite floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of a singer songwriter upcycling.”
Recorded and mixed in a number of locations, including Los Angeles and Joshua tree, b’lieve i'm goin down… is a handshake across the country, east to west coast, thru the dustbowl history (“valley of ashes”) of woody honest strait forward talk Guthrie, and a cali canyon dead still nite floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of a singer songwriter upcycling.”
STAFF COMMENTS
says: With a late night/early hours ruminative glow, KV brings more songs from his couch, and his most mellow, considered collection so far.TRACK LISTING
1. Pretty Pimpin
2. I’m An Outlaw
3. Dust Bunnies
4. That’s Life, Tho (Almost Hate To Say)
5. Wheelhouse
6. Life Like This
7. All In A Daze Work
8. Lost My Head There
9. Stand Inside
10. Bad Omens
11. Kidding Around
12. Wild Imagination
B’lieve I’m Goin Down *
Less Talk (More Walkin Away) *
Nicotine Blues *
Bad Omens (No Faders) *
No Stranger To The Ball Bust *
Sax Omens (J Turbo) *
* = Bonus Tracks On Deluxe LP Only.
Fresh from celebrating their 30th anniversary as one of the most beloved and adventurous bands in rock history, Yo La Tengo announce the release of ‘Stuff Like That There’ via Matador Records as well as a world tour. They will head to Europe, starting in Spain at Tibidao Live Festival before playing in the UK.
The trio of Ira Kaplan, Georgia Hubley and James McNew now return as a quartet, reuniting with former member Dave Schramm on electric guitar as they revisit the original concept of their beloved ‘Fakebook’ (a mix of cover songs, ‘covers’ of Yo La Tengo songs and brand new originals) on its 25th anniversary.
This unprecedented live set-up - Ira on acoustic guitar, Georgia up-front on a small kit and James on upright bass - marks the first occasion of this particular Yo La Tengo incarnation touring together (and since it took them 31 years to get around to doing so, could very well also be the last).
“‘Stuff Like That There’ may well be a 25th anniversary sequel to the idea of ‘Fakebook’ but to my ears it makes a case for simply returning to what moved Yo La Tengo to make things in the first place: embracing the people who they still hold close and making a spirited noise about it.” - Kurt Wagner (Lambchop)
The trio of Ira Kaplan, Georgia Hubley and James McNew now return as a quartet, reuniting with former member Dave Schramm on electric guitar as they revisit the original concept of their beloved ‘Fakebook’ (a mix of cover songs, ‘covers’ of Yo La Tengo songs and brand new originals) on its 25th anniversary.
This unprecedented live set-up - Ira on acoustic guitar, Georgia up-front on a small kit and James on upright bass - marks the first occasion of this particular Yo La Tengo incarnation touring together (and since it took them 31 years to get around to doing so, could very well also be the last).
“‘Stuff Like That There’ may well be a 25th anniversary sequel to the idea of ‘Fakebook’ but to my ears it makes a case for simply returning to what moved Yo La Tengo to make things in the first place: embracing the people who they still hold close and making a spirited noise about it.” - Kurt Wagner (Lambchop)
TRACK LISTING
My Heart’s Not In It (Darlene McCrea)
Rickety
I’m So Lonesome I Could Cry (Hank Williams)
All Your Secrets (remake of Track From ‘Popular Songs’)
The Ballad Of Red Buckets (remake Of Track from ‘Electr-o-pura’)
Friday I’m In Love (The Cure)
Before We Stopped To Think (Great Plains)
Butchie’s Tune (The Lovin’ Spoonful)
Automatic Doom (Special Pillow)
Awhileaway
I Can Feel The Ice Melting (The Parliaments)
Naples (Antietam)
Deeper Into Movies (remake Of Track From ‘I Can Hear The Heart Beating As One’)
Somebody’s In Love (The Cosmic Rays With Le Sun Ra And Arkestra)
Algiers release their self-titled debut album on Matador Records. Steeped in radical politics and deeply indebted to postpunk’s sonic trailblazing and gospel’s spiritual bloodletting, the album imbues neo-modernist hymns with caustic social sentiment and explosive noise.
Algiers comprises singer / guitarist Franklin James Fisher (deemed “one of the most powerfully guttural vocalists in rock today” by SPIN), guitarist Lee Tesche, and bassist Ryan Mahan.
From the militant stomp of ‘Remains’ to Fisher’s commanding presence on the gospel no wave blowout ‘Black Eunuch’, Algiers channels righteous fury into an incisive, innovative assault that Vice Noisey calls “intense… right on the beat of the current cultural climate.”
A trio of émigrés of the American Deep South, now split between New York and London, Algiers synthesize their eclectic influences, from Nina Simone and PJ Harvey to Suicide and Public Enemy, into frightening new forms.
“Gospel spook… a double-edged sword of religion and politics to slice through the pasty, vapid mess of pop culture in America.” - Stereogum
“While Nick Cave channeled Old Testament fury in order to explore evil with uncomfortable intimacy, Algiers employ it politically, in an effort to name the sound of dispossession.” - Ad Hoc
“Mesmerizing… really sucks you in with its weird power.” - The Wire
“Dark stuff, but good grief they’ve got soul.” - The Guardian
“Insane... Rowland S Howard vs Nitzer Ebb vs politics vs Southern Gospel.” - The Quietus
“Sounds like the end of the world.” - Line Of Best Fit
Algiers comprises singer / guitarist Franklin James Fisher (deemed “one of the most powerfully guttural vocalists in rock today” by SPIN), guitarist Lee Tesche, and bassist Ryan Mahan.
From the militant stomp of ‘Remains’ to Fisher’s commanding presence on the gospel no wave blowout ‘Black Eunuch’, Algiers channels righteous fury into an incisive, innovative assault that Vice Noisey calls “intense… right on the beat of the current cultural climate.”
A trio of émigrés of the American Deep South, now split between New York and London, Algiers synthesize their eclectic influences, from Nina Simone and PJ Harvey to Suicide and Public Enemy, into frightening new forms.
“Gospel spook… a double-edged sword of religion and politics to slice through the pasty, vapid mess of pop culture in America.” - Stereogum
“While Nick Cave channeled Old Testament fury in order to explore evil with uncomfortable intimacy, Algiers employ it politically, in an effort to name the sound of dispossession.” - Ad Hoc
“Mesmerizing… really sucks you in with its weird power.” - The Wire
“Dark stuff, but good grief they’ve got soul.” - The Guardian
“Insane... Rowland S Howard vs Nitzer Ebb vs politics vs Southern Gospel.” - The Quietus
“Sounds like the end of the world.” - Line Of Best Fit
Breakup albums mark a turning point for a band: the moment when their sound completely changes and reaches a new level of emotional clarity. All that heartbreak and malaise condensed into any single record often makes for a defining piece of work, no matter the genre. The best records explore the nooks and crannies of sadness, learning it inside and out - celebrating it.
Ceremony's fifth studio album, The L-Shaped Man, uses singer Ross Farrar's recent breakup as a platform to explore loneliness and emotional weariness, but it is by no means a purely sad album. Rather than look inward, Farrar uses his experience to write about what it means to go through something heavy and come out the other side a different person.
In order to tell Farrar's story, Ceremony have almost completely stripped back the propulsive hardcore of their previous records, turning every angry outburst into simmering despair. "We've always tried to be minimalists in writing, even if it's loud or fast or abrasive," says lead guitarist Anthony Anzaldo. "It's really intense when I hear it. Not in a way where you turn everything up to ten. Things are so bare, you're holding this one note for so long and you don't now where it's going-to me, that's intensity." That intensity is apparent on "Exit Fears," the first full song on the record. It meticulously pairs Justin Davis' loping bassline, which pulls the track along, with Anzaldo's icy, minimal guitar work. It brings to mind some alternate version of Joy Division that hasn't quite lost all hope. It gets close to exploding, but instead plays the shadows, never quite rising above a nervous simmer.
"A lot of the content has to do with loss, and specifically the loss of someone who you care deeply about," Farrar says. "There is no way for you to go through something like this artistically and not have really strong emotions of loss and pain. There's not really any way to hide that." Farrar, for his part, is singing with a new kind of intensity, his baritone swooping and retreating from stressed angst to unsettling near-mutter as he sings, "You told your friends you were fine/ you thought you were fine too..." and later, "nothing is ever fine/ nothing ever feels right/ you have to tell yourself you tried." It's the first of many lyrically direct moments, and it should be hard to listen to, but Ceremony have so effortlessly nailed the sound of sadness that it feels great to live inside for awhile.
The sound is abetted by producer John Reis, who honed his sound in seminal bands like Rocket from the Crypt, Drive Like Jehu, and Hot Snakes. Much of the gravelly aggression he experimented with in those bands is present on The L-Shaped Man.
There's a story behind the title too. "I was speaking to our driver Stephen while on tour," Farrar says. "We were talking about men in general and what shape they are...their body type. I said, 'I guess men are in the shape of an L. The torso is straight. Vertical. And then you have the little feet at the end.' There's this painter named Leslie Lerner who was living in San Francisco in the '70s and '80s and made these beautiful paintings. He died on my 21st birthday. A lot of the record is about the similarities in our ideas. In what we're trying to make. Things that have to do with love and losing love."
Ceremony's fifth studio album, The L-Shaped Man, uses singer Ross Farrar's recent breakup as a platform to explore loneliness and emotional weariness, but it is by no means a purely sad album. Rather than look inward, Farrar uses his experience to write about what it means to go through something heavy and come out the other side a different person.
In order to tell Farrar's story, Ceremony have almost completely stripped back the propulsive hardcore of their previous records, turning every angry outburst into simmering despair. "We've always tried to be minimalists in writing, even if it's loud or fast or abrasive," says lead guitarist Anthony Anzaldo. "It's really intense when I hear it. Not in a way where you turn everything up to ten. Things are so bare, you're holding this one note for so long and you don't now where it's going-to me, that's intensity." That intensity is apparent on "Exit Fears," the first full song on the record. It meticulously pairs Justin Davis' loping bassline, which pulls the track along, with Anzaldo's icy, minimal guitar work. It brings to mind some alternate version of Joy Division that hasn't quite lost all hope. It gets close to exploding, but instead plays the shadows, never quite rising above a nervous simmer.
"A lot of the content has to do with loss, and specifically the loss of someone who you care deeply about," Farrar says. "There is no way for you to go through something like this artistically and not have really strong emotions of loss and pain. There's not really any way to hide that." Farrar, for his part, is singing with a new kind of intensity, his baritone swooping and retreating from stressed angst to unsettling near-mutter as he sings, "You told your friends you were fine/ you thought you were fine too..." and later, "nothing is ever fine/ nothing ever feels right/ you have to tell yourself you tried." It's the first of many lyrically direct moments, and it should be hard to listen to, but Ceremony have so effortlessly nailed the sound of sadness that it feels great to live inside for awhile.
The sound is abetted by producer John Reis, who honed his sound in seminal bands like Rocket from the Crypt, Drive Like Jehu, and Hot Snakes. Much of the gravelly aggression he experimented with in those bands is present on The L-Shaped Man.
There's a story behind the title too. "I was speaking to our driver Stephen while on tour," Farrar says. "We were talking about men in general and what shape they are...their body type. I said, 'I guess men are in the shape of an L. The torso is straight. Vertical. And then you have the little feet at the end.' There's this painter named Leslie Lerner who was living in San Francisco in the '70s and '80s and made these beautiful paintings. He died on my 21st birthday. A lot of the record is about the similarities in our ideas. In what we're trying to make. Things that have to do with love and losing love."
TRACK LISTING
1. Hibernation
2. Exit Fears
3. Bleeder
4. Your Life In France
5. Your Life In America
6. The Separation
7. The Pattern
8. Root Of The World
9. The Party
10. The Bridge
11. The Understanding
Recently, The Quietus published an interview with Stuart Murdoch and Richard Colburn which gives a hint of what to expect from "Girls In Peacetime Want To Dance". The album opens with “Nobody’s Empire,” which Stuart said “is absolutely the most personal [song] I’ve ever written.” About the beginnings of his lifelong struggle with Chronic Fatigue Syndrome which led to his first forays into songwriting, it is easily one of his most musically and emotionally epic songs.
What it doesn’t indicate is how fun the album is. Produced and mixed at Maze Studios in Atlanta by Ben H. Allen III, best known for his work with Gnarls Barkley, Animal Collective, and Raury, among others, the band – who have been listening to things like vintage Detroit techno and Giogio Moroder – have brought a dance-party element (and a disco song about Sylvia Plath) into their gorgeous tales of sensitive souls navigating a world gone awry. It is perhaps the most inspired and wide-reaching album Belle and Sebastian have ever made.
What it doesn’t indicate is how fun the album is. Produced and mixed at Maze Studios in Atlanta by Ben H. Allen III, best known for his work with Gnarls Barkley, Animal Collective, and Raury, among others, the band – who have been listening to things like vintage Detroit techno and Giogio Moroder – have brought a dance-party element (and a disco song about Sylvia Plath) into their gorgeous tales of sensitive souls navigating a world gone awry. It is perhaps the most inspired and wide-reaching album Belle and Sebastian have ever made.
TRACK LISTING
1. Nobody's Empire
2. Allie
3. The Party Line
4. The Power Of Three
5. The Cat With The Cream
6. Enter Sylvia Plath
7. The Everlasting Muse
8. Perfect Couples
9. Ever Had A Little Faith?
10. Play For Today
11. The Book Of You
12. Today (This Army's For Peace)
Brill Bruisers is the first new release in four years from the acclaimed supergroup, who have been called, “Virtually peerless in the world of power-pop and indie-rock” by NPR Music. Additionally, the New Yorker describes the band’s music as “Magnificent and clever” while Stereogum proclaims “In recent history, no group has featured so much formidable established talent, collaborating on a regular basis.”
Of the album, lead-singer and main songwriter AC Newman comments, “This is a celebration record. After periods of difficulty, I am at a place where nothing in my life is dragging me down and the music reflects that. I’m grateful.”
Produced by band-members John Collin (bass) with Newman, the 12-track album was recorded primarily at Little Blue in Woodstock, NY and at JC/DC Studios in Vancouver B.C. with additional recording in Austin, Brooklyn and Vermont.
Of the album, lead-singer and main songwriter AC Newman comments, “This is a celebration record. After periods of difficulty, I am at a place where nothing in my life is dragging me down and the music reflects that. I’m grateful.”
Produced by band-members John Collin (bass) with Newman, the 12-track album was recorded primarily at Little Blue in Woodstock, NY and at JC/DC Studios in Vancouver B.C. with additional recording in Austin, Brooklyn and Vermont.
Fucked Up are a punk band. They were a punk band when they started in Toronto more than a decade ago and they’ve remained a punk band even as they’ve ascended to career heights that their younger selves never could’ve imagined. But how do you remain a punk band when you’re on magazine covers, or sharing stadium stages with the Foo Fighters? How do you stay true to your 15-year-old self when you’ve got a career to maintain and families to support? Those are the questions that Fucked Up asks on ‘Glass Boys’ and they ask those questions in the form of a blazing, titanic, ultimately triumphant rock album.
The last two Fucked Up albums were sweeping, defining, monolithic gestures. On 2008’s ‘The Chemistry Of Common Life’ they tested hardcore’s capacity for stylistic innovation, for seven-minute songs and unconventional arrangements and they won Canada’s prestigious Polaris Music Prize in the process. With 2011’s ‘David Comes To Life’ they offered up a full-blown rock opera, coming with one larger-than-life hook after another and that made them even bigger and further away from the Toronto hardcore scene that nurtured them. ‘Glass Boys’ isn’t a retrenchment or a back-tobasics move - it’s too ambitious and complex for that - but after those last two albums it’s tight and concise and direct, an album of real and direct sentiment rather than artifice.
Musically, ‘Glass Boys’ carries echoes of some of the more ragged and adventurous bands from America’s punk past (Husker Du, Dinosaur Jr.) but it also has some of the anthemic charge of The Who and the guttural intensity of Negative Approach. Singer Damian Abraham still growls like a demon but he’s found more range and depth in his bark. Drummer Jonah Falco does something innovative on the album, adding two separate drum tracks, one of them in half-time, adding a psychedelic, disorienting feel.
The triple-guitar battalion of Mike Haliechuk, Ben Cook and Josh Zucker still builds symphonies out of feedback and powerchords but this time around there’s less emphasis on world-crushing riffs and more on world-creating textures. Bassist Sandy Miranda is now even more a part of that storm, her instrument blurring in with that overwhelming guitar roar.
If the album’s lyrics concern the quest to stay true to your younger self, the music pulls off the trick beautifully. ‘Echo Boomer’, like ‘Son The Father’ and ‘Let Her Rest’ before it, makes for a powerful album opener, a surge of catharsis that gives a strong idea of what's to come. ‘Sun Glass’ builds from acoustic strumming to bleary pummel and stays pretty the whole time. ‘DET’ has one of those world-annihilating choruses that demands a full-room singalong and the album-closing title track is a blast of epic catharsis as grand and forceful as anything this band has ever done. After two monumental concept-driven concept albums, Fucked Up have made another heartexpanding, life-affirming piece of work, and this time, they’ve done it by shooting straight from the heart.
The last two Fucked Up albums were sweeping, defining, monolithic gestures. On 2008’s ‘The Chemistry Of Common Life’ they tested hardcore’s capacity for stylistic innovation, for seven-minute songs and unconventional arrangements and they won Canada’s prestigious Polaris Music Prize in the process. With 2011’s ‘David Comes To Life’ they offered up a full-blown rock opera, coming with one larger-than-life hook after another and that made them even bigger and further away from the Toronto hardcore scene that nurtured them. ‘Glass Boys’ isn’t a retrenchment or a back-tobasics move - it’s too ambitious and complex for that - but after those last two albums it’s tight and concise and direct, an album of real and direct sentiment rather than artifice.
Musically, ‘Glass Boys’ carries echoes of some of the more ragged and adventurous bands from America’s punk past (Husker Du, Dinosaur Jr.) but it also has some of the anthemic charge of The Who and the guttural intensity of Negative Approach. Singer Damian Abraham still growls like a demon but he’s found more range and depth in his bark. Drummer Jonah Falco does something innovative on the album, adding two separate drum tracks, one of them in half-time, adding a psychedelic, disorienting feel.
The triple-guitar battalion of Mike Haliechuk, Ben Cook and Josh Zucker still builds symphonies out of feedback and powerchords but this time around there’s less emphasis on world-crushing riffs and more on world-creating textures. Bassist Sandy Miranda is now even more a part of that storm, her instrument blurring in with that overwhelming guitar roar.
If the album’s lyrics concern the quest to stay true to your younger self, the music pulls off the trick beautifully. ‘Echo Boomer’, like ‘Son The Father’ and ‘Let Her Rest’ before it, makes for a powerful album opener, a surge of catharsis that gives a strong idea of what's to come. ‘Sun Glass’ builds from acoustic strumming to bleary pummel and stays pretty the whole time. ‘DET’ has one of those world-annihilating choruses that demands a full-room singalong and the album-closing title track is a blast of epic catharsis as grand and forceful as anything this band has ever done. After two monumental concept-driven concept albums, Fucked Up have made another heartexpanding, life-affirming piece of work, and this time, they’ve done it by shooting straight from the heart.
TRACK LISTING
Echo Boomer
Touch Stone
Sun Glass
The Art Of Patrons
Warm Change
Paper The House
DET
Led By Hand
The Great Divide
Glass Boys
A lower-than-low priced compilation LP highlighting some of Matador’s most exciting 2013 moments, including (but not limited to) previously unreleased versions of songs from Queens Of The Stone Age, Yo La Tengo and Savages.
The perfect stocking stuffer, particularly if you own a 12” square stocking.
120g vinyl includes MP3 coupon.
Exclusively available to independent retailers.
The perfect stocking stuffer, particularly if you own a 12” square stocking.
120g vinyl includes MP3 coupon.
Exclusively available to independent retailers.
Darkside is the collaborative duo of guitarist Dave Harrington and electronic producer Nicolas Jaar. The two musicians have vastly different backgrounds, but over the course of several years of touring together they found common ground: Darkside. Dave and Nico use each other as mediums, working on primal instinct and summoning a hybrid of electronic music and psychedelic rock with the kind of artistic depth and breadth for which the term ‘progressive’ was coined.
Darkside unveil their debut full length, ‘Psychic’, to the world via Jaar’s own Other People label under license to Matador.
Nicolas Jaar came of age in New York City’s underground minimal techno scene, releasing a string of unearthly dance singles that brought the then-18-year-old producer quick renown. Lushly textured and almost subversively slow, 2010’s landmark ‘Time for Us’ EP (Wolf + Lamb) and 2011’s full length ‘Space Is Only Noise’ (Circus Company) dismantled and restructured dance music into heady new forms and garnered impressive reviews from both the electronic and rock press. He soon began weaving rock music into his own output, remixing acts like Grizzly Bear and Brian Eno, and performing with a live band.
Dave Harrington started out in New York City as a young bass player studying experimental jazz and sneaking into late night jam sessions as a teenager. He eventually moved into composition and performance art, creating commissioned works for theatre and film, directing a rendition of John Zorn’s ‘Cobra’, and integrating lap steel, guitar, keyboard, and effects into his arsenal. After joining the Nicolas Jaar live band in 2011 on guitar and electronics, Harrington began experimenting with dance music, remixing and DJing. Eventually, Harrington and Jaar started experimenting in their studio, and Darkside emerged.
Darkside’s ‘Psychic’ is a watershed moment for the duo, a quantum leap forward from their three song debut, 2011’s ‘Darkside’ EP (Clown & Sunset). ‘Psychic’ is a ritualistic song cycle, exploring rock’s cosmic outer edges through the immersive, body moving framework of 21st-century house and techno. Album opener ‘Golden Arrow’ is a microcosm of the album entire, charting an 11-minute journey from the desert to the stars: The song begins as a barren landscape where organs and static crackle on the horizon. But as ‘Golden Arrow’ builds toward its climax, guitars poke pointillistic patterns in the sky and the blackness rips open, revealing a lumbering sub-bass groove that rises out of the fissure. It’s mesmerizing and immediate, desperate and triumphant - and it sounds like nothing either has made before.
Darkside aren’t dancefloor producers taking a stab at rock music; nor are they a rock band paying homage to their new favourite techno 12”s. They’re deep listeners and creators of both who see little need for distinction between their favourite sounds. The result is ‘Psychic’, an album of uncompromising creative vision from two artists working at the peak of their powers.
Darkside unveil their debut full length, ‘Psychic’, to the world via Jaar’s own Other People label under license to Matador.
Nicolas Jaar came of age in New York City’s underground minimal techno scene, releasing a string of unearthly dance singles that brought the then-18-year-old producer quick renown. Lushly textured and almost subversively slow, 2010’s landmark ‘Time for Us’ EP (Wolf + Lamb) and 2011’s full length ‘Space Is Only Noise’ (Circus Company) dismantled and restructured dance music into heady new forms and garnered impressive reviews from both the electronic and rock press. He soon began weaving rock music into his own output, remixing acts like Grizzly Bear and Brian Eno, and performing with a live band.
Dave Harrington started out in New York City as a young bass player studying experimental jazz and sneaking into late night jam sessions as a teenager. He eventually moved into composition and performance art, creating commissioned works for theatre and film, directing a rendition of John Zorn’s ‘Cobra’, and integrating lap steel, guitar, keyboard, and effects into his arsenal. After joining the Nicolas Jaar live band in 2011 on guitar and electronics, Harrington began experimenting with dance music, remixing and DJing. Eventually, Harrington and Jaar started experimenting in their studio, and Darkside emerged.
Darkside’s ‘Psychic’ is a watershed moment for the duo, a quantum leap forward from their three song debut, 2011’s ‘Darkside’ EP (Clown & Sunset). ‘Psychic’ is a ritualistic song cycle, exploring rock’s cosmic outer edges through the immersive, body moving framework of 21st-century house and techno. Album opener ‘Golden Arrow’ is a microcosm of the album entire, charting an 11-minute journey from the desert to the stars: The song begins as a barren landscape where organs and static crackle on the horizon. But as ‘Golden Arrow’ builds toward its climax, guitars poke pointillistic patterns in the sky and the blackness rips open, revealing a lumbering sub-bass groove that rises out of the fissure. It’s mesmerizing and immediate, desperate and triumphant - and it sounds like nothing either has made before.
Darkside aren’t dancefloor producers taking a stab at rock music; nor are they a rock band paying homage to their new favourite techno 12”s. They’re deep listeners and creators of both who see little need for distinction between their favourite sounds. The result is ‘Psychic’, an album of uncompromising creative vision from two artists working at the peak of their powers.
3 12″ singles with a printed flat in a 4-box poly shower curtain display case. There’s metal grommets in the curtain if you’d prefer to display it on your wall (or, if you’re especially nuts, in your shower).
All versions are unreleased except the original version. Each 12″ pack comes with a download coupon with all the tracks plus the radio edit of “Ohm”.
There are only 20 copies of this for the UK so don't snooze if you want one!
All versions are unreleased except the original version. Each 12″ pack comes with a download coupon with all the tracks plus the radio edit of “Ohm”.
There are only 20 copies of this for the UK so don't snooze if you want one!
TRACK LISTING
ORANGE COVER —- Ohm (album Version) B/w Oriole (mix 12)
RED COVER —- Ohm (live Rock Version) B/w Oriole (mix 15)
BLUE COVER —- Ohm (live Quiet Version) B/w Oriole (mix 29)
Queens Of The Stone Age announce their sixth studio album, ‘...Like Clockwork’, on Matador Records. The band have also unveiled the new album’s stunning artwork by UK artist Boneface.
Described by Queens principal Joshua Homme as “an audio documentary of a manic year,” ‘...Like Clockwork’ is the band’s first full length collection of all new material since 2007’s ‘Era Vulgaris’, as well as the band’s debut release on new label partner Matador.
‘...Like Clockwork’ was produced by Joshua Homme and QOTSA, and recorded by Mark Rankin with additional engineering by Justin Smith, at Josh’s Pink Duck studio in Burbank, California.
Described by Queens principal Joshua Homme as “an audio documentary of a manic year,” ‘...Like Clockwork’ is the band’s first full length collection of all new material since 2007’s ‘Era Vulgaris’, as well as the band’s debut release on new label partner Matador.
‘...Like Clockwork’ was produced by Joshua Homme and QOTSA, and recorded by Mark Rankin with additional engineering by Justin Smith, at Josh’s Pink Duck studio in Burbank, California.
TRACK LISTING
1 Keep Your Eyes Peeled
2 I Sat By The Ocean
3 The Vampyre Of Time And Memory
4 If I Had A Tail
5 My God Is The Sun
6 Kalopsia
7 Fairweather Friends
8 Smooth Sailing
9 I Appear Missing
10 ...Like Clockwork
Majical Cloudz is the voice of Montreal songwriter Devon Welsh, exploring the negative space within electronic music, using his powerful vocals to say “no” to the infinite possibilities digital instruments provide and instead choosing to focus his attention inwardly.
Joined by Matthew Otto to collaboratively produce and perform his songs, the 2012 debut album ‘II’ and the ‘Turns Turns Turns’ EP released on Arbutus / Merok in December gained praise for their simplicity and honestly. Now, ‘Impersonator’ brings Welsh’s songs into even sharper focus as the expressive power and swagger belie the extremely minimal music. These are intensely lyrical songs about death, patience, family, friendship and desire, with Welsh’s rich vocals atop quiet looped waves of white noise, filtered synths and sparse thuds.
Welsh expounds on how he came to his personal, minimal brand of electronic music: “In the last few years there’s been a massive explosion of amazing music made with electronic equipment. I love that kind of music but it also started to overwhelm me, I wasn’t cut out for the maximalist expressions of that style. So I took a break from music, and when I started again it was to make music that barely existed and felt like stillness more than movement. Where the songs could be more about humanness. The easiest way for me to do that is try to make something without obvious movement; where the music isn’t overstuffed sonically or referentially, it’s emptied out as much as possible. So the vision for ‘Impersonator’ was to communicate a lot with as little as possible. It’s not meant to energize and turn you out to the world, it’s meant to do the opposite; it’s more like a cocoon.”
Most of ‘Impersonator’ was written at Welsh’s father’s house in rural Ontario, in the basement after he went to sleep. He says, “One day I realized I had fifteen to twenty songs, and they made me feel like I had overcome the dead end I thought I was in. I started realizing that I could say anything I want in a song.”
Welsh cites Elliott Smith and Arthur Russell as the two biggest influences on his song writing. While ‘Impersonator’ sounds like neither, Smith’s lyricism is evident, as is Russell’s ability to distil a number of seemingly contradictory stylistic ideas into a single focussed statement. Other records Welsh listened to while writing the album point to the diversity embedded in ‘Impersonator’s deceptively simple approach: Drake’s ‘Take Care’, Oneohtrix Point Never’s ‘Replica’, Kurt Vile’s ‘Smoke Ring For My Halo’, Grouper’s ‘AIA’, Kraftwerk’s ‘Trans-Europe Express’, Paul Simon’s ‘Paul Simon’, John Lennon’s ‘Plastic Ono Band’.
While Welsh and Otto work collaboratively in the studio, live Welsh is front and centre on the mic, as Otto creates the musical atmosphere. “I put forward songs and big ideas, and he pushes me to look at the little details,” says Welsh. “Live it’s a similar dynamic, he gives me the platform to stand on musically.” The songs are made with relatively low-tech means, allowing for spontaneity and experimentation, both live and in-studio. For Welsh, the track ‘This Is Magic’ works as a metaphor for the album as a whole: “That song functions with very minimal arrangements, very straightforward lyrics, it operates on a loop, and the message is that there is strength, rather than weakness, in being vulnerable.”
Though they stand stylistically apart from other artists in their Montreal scene - which includes Grimes, Doldrums, Blue Hawaii, Mac DeMarco, and others - Majical Cloudz are proud beneficiaries of its camaraderie. “The waves that are being made internationally by Montreal musicians really started in the fall of 2009, so the fact that it is finally happening is unbelievable and I’m euphoric about it,” says Welsh. “I don’t think I could find an art / music scene as rewarding to me anywhere else, because it takes a while to get comfortable being vulnerable in front of a whole community.”
Joined by Matthew Otto to collaboratively produce and perform his songs, the 2012 debut album ‘II’ and the ‘Turns Turns Turns’ EP released on Arbutus / Merok in December gained praise for their simplicity and honestly. Now, ‘Impersonator’ brings Welsh’s songs into even sharper focus as the expressive power and swagger belie the extremely minimal music. These are intensely lyrical songs about death, patience, family, friendship and desire, with Welsh’s rich vocals atop quiet looped waves of white noise, filtered synths and sparse thuds.
Welsh expounds on how he came to his personal, minimal brand of electronic music: “In the last few years there’s been a massive explosion of amazing music made with electronic equipment. I love that kind of music but it also started to overwhelm me, I wasn’t cut out for the maximalist expressions of that style. So I took a break from music, and when I started again it was to make music that barely existed and felt like stillness more than movement. Where the songs could be more about humanness. The easiest way for me to do that is try to make something without obvious movement; where the music isn’t overstuffed sonically or referentially, it’s emptied out as much as possible. So the vision for ‘Impersonator’ was to communicate a lot with as little as possible. It’s not meant to energize and turn you out to the world, it’s meant to do the opposite; it’s more like a cocoon.”
Most of ‘Impersonator’ was written at Welsh’s father’s house in rural Ontario, in the basement after he went to sleep. He says, “One day I realized I had fifteen to twenty songs, and they made me feel like I had overcome the dead end I thought I was in. I started realizing that I could say anything I want in a song.”
Welsh cites Elliott Smith and Arthur Russell as the two biggest influences on his song writing. While ‘Impersonator’ sounds like neither, Smith’s lyricism is evident, as is Russell’s ability to distil a number of seemingly contradictory stylistic ideas into a single focussed statement. Other records Welsh listened to while writing the album point to the diversity embedded in ‘Impersonator’s deceptively simple approach: Drake’s ‘Take Care’, Oneohtrix Point Never’s ‘Replica’, Kurt Vile’s ‘Smoke Ring For My Halo’, Grouper’s ‘AIA’, Kraftwerk’s ‘Trans-Europe Express’, Paul Simon’s ‘Paul Simon’, John Lennon’s ‘Plastic Ono Band’.
While Welsh and Otto work collaboratively in the studio, live Welsh is front and centre on the mic, as Otto creates the musical atmosphere. “I put forward songs and big ideas, and he pushes me to look at the little details,” says Welsh. “Live it’s a similar dynamic, he gives me the platform to stand on musically.” The songs are made with relatively low-tech means, allowing for spontaneity and experimentation, both live and in-studio. For Welsh, the track ‘This Is Magic’ works as a metaphor for the album as a whole: “That song functions with very minimal arrangements, very straightforward lyrics, it operates on a loop, and the message is that there is strength, rather than weakness, in being vulnerable.”
Though they stand stylistically apart from other artists in their Montreal scene - which includes Grimes, Doldrums, Blue Hawaii, Mac DeMarco, and others - Majical Cloudz are proud beneficiaries of its camaraderie. “The waves that are being made internationally by Montreal musicians really started in the fall of 2009, so the fact that it is finally happening is unbelievable and I’m euphoric about it,” says Welsh. “I don’t think I could find an art / music scene as rewarding to me anywhere else, because it takes a while to get comfortable being vulnerable in front of a whole community.”
The highly anticipated debut from London’s Savages, an all-female four-piece who play music with scything energy and brutal power.
Recorded with Rodaidh McDonald (The xx), the album is an 11-track, 38-minute masterpiece. Limned in black and white but containing a swell of different emotions within its self-imposed strictures, the songs cover topics from masochism (“Hit Me”), urban dread (“City’s Full”), materialism, possessivenes and the experience of being a woman (“Husbands,” “I Am Here”). Every one is delivered with fierce conviction and concision.
They have cited a huge range of influences, including J.G. Ballard, the Gun Club, Silver Apples, Siouxsie, Wire, Black Sabbath, Mary Shelley and Kurt Vonnegut.
In the words of the band: “Savages are a self-affirming voice to help experience our girlfriends differently, our husbands, our jobs, our erotic life, and the place music occupies into our lives. Savages’ songs aim to remind us that human beings havenʼt evolved so much, that music can still be straight to the point, efficient and exciting.”
Recorded with Rodaidh McDonald (The xx), the album is an 11-track, 38-minute masterpiece. Limned in black and white but containing a swell of different emotions within its self-imposed strictures, the songs cover topics from masochism (“Hit Me”), urban dread (“City’s Full”), materialism, possessivenes and the experience of being a woman (“Husbands,” “I Am Here”). Every one is delivered with fierce conviction and concision.
They have cited a huge range of influences, including J.G. Ballard, the Gun Club, Silver Apples, Siouxsie, Wire, Black Sabbath, Mary Shelley and Kurt Vonnegut.
In the words of the band: “Savages are a self-affirming voice to help experience our girlfriends differently, our husbands, our jobs, our erotic life, and the place music occupies into our lives. Savages’ songs aim to remind us that human beings havenʼt evolved so much, that music can still be straight to the point, efficient and exciting.”
TRACK LISTING
1. Shut Up
2. I Am Here
3. City's Full
4. Strife
5. Waiting For A Sign
6. Dead Nature
7. She Will
8. No Face
9. Hit Me
10. Husbands
11. Marshal Dear
Reduced
Five and a half minutes into ‘Was All Talk’, the third track off his new album Wakin On A Pretty Daze, Kurt Vile murmurs in his beatific, laconic burr, “Makin’ music is easy / Watch me”. If that sounds like an empty boast it’s likely you’ve just not listened to enough of Vile’s music yet, as the way Kurt’s songs fall into place suggests that his art is entirely and convincingly effortless. That these songs zero in on a hazy perfection with such laser-guided precision shows that behind this veneer of lackadaisical creativity, beavers a songwriter toiling hard to make music so beguilingly laid-back.
Kurt Vile (his real name) is one of ten children, born in 1980 and raised in the city of brotherly love, Philadelphia. As a teenager, his bluegrass-lovin’ father gifted him a banjo, when what Kurt truly craved was a guitar. So, with a ‘can do’ spirit that’s a boon to any independent musician, he simply played it as if it were a guitar. Along with his passion for the 4-track-toting titans of early 90’s indie-rock, Vile also harboured a love for classic rock of substance – Creedence, Tom Petty, Neil Young, artists with their roots in ‘Roots’, but with enough vision to carve out an Americana of their own. Within the footprints he was following, Vile began carving a path of his own, making an art of dipping from introspective mellow rambles, to sky-scraping anthems; eager to rock out, equally unafraid to sing low and sweet.
Fast-forward some years and with The Violators in tow (the Heartbreakers to his Tom Petty, if you will) barnstormers like ‘Freak Train’ from the full-length Childish Prodigy [2009] were contrasted with more reflective and sun-dappled tunes from his break-through album Smoke Ring For My Halo [2011], as Kurt quietly became one of the great American guitarists and songwriters of our time.
Wakin On A Pretty Daze, Vile’s fifth full-length, is an album that builds on all Kurt has done before, that makes sense of the supposedly contrary impulses of his previous work. Learning whilst ascending, he’s crafted an album that would have sounded great 30 years ago, sounds great today and will still sound great 30 years from now.
Realising he’s in no rush to prove anything to anyone, songs on Wakin On A Pretty Daze unfurl at their own extended and unhurried pace, but not a second of this loveliness is wasted or surplus. The likes of ‘Air Bud’, ‘Was All Talk’ and ‘Gold Tone’ could keep on ringing out, exploring every possible wrinkle in its chord sequences and expounding with wisdom on the simple pleasures of a beautiful day, for as long as Kurt could stand to play them. These aren’t jams; these are songs that glide as they unwind, with a natural charm that’s enough to convince you that, yes, for Kurt, Makin’ music is easy. So, seriously: Watch him.
Kurt Vile (his real name) is one of ten children, born in 1980 and raised in the city of brotherly love, Philadelphia. As a teenager, his bluegrass-lovin’ father gifted him a banjo, when what Kurt truly craved was a guitar. So, with a ‘can do’ spirit that’s a boon to any independent musician, he simply played it as if it were a guitar. Along with his passion for the 4-track-toting titans of early 90’s indie-rock, Vile also harboured a love for classic rock of substance – Creedence, Tom Petty, Neil Young, artists with their roots in ‘Roots’, but with enough vision to carve out an Americana of their own. Within the footprints he was following, Vile began carving a path of his own, making an art of dipping from introspective mellow rambles, to sky-scraping anthems; eager to rock out, equally unafraid to sing low and sweet.
Fast-forward some years and with The Violators in tow (the Heartbreakers to his Tom Petty, if you will) barnstormers like ‘Freak Train’ from the full-length Childish Prodigy [2009] were contrasted with more reflective and sun-dappled tunes from his break-through album Smoke Ring For My Halo [2011], as Kurt quietly became one of the great American guitarists and songwriters of our time.
Wakin On A Pretty Daze, Vile’s fifth full-length, is an album that builds on all Kurt has done before, that makes sense of the supposedly contrary impulses of his previous work. Learning whilst ascending, he’s crafted an album that would have sounded great 30 years ago, sounds great today and will still sound great 30 years from now.
Realising he’s in no rush to prove anything to anyone, songs on Wakin On A Pretty Daze unfurl at their own extended and unhurried pace, but not a second of this loveliness is wasted or surplus. The likes of ‘Air Bud’, ‘Was All Talk’ and ‘Gold Tone’ could keep on ringing out, exploring every possible wrinkle in its chord sequences and expounding with wisdom on the simple pleasures of a beautiful day, for as long as Kurt could stand to play them. These aren’t jams; these are songs that glide as they unwind, with a natural charm that’s enough to convince you that, yes, for Kurt, Makin’ music is easy. So, seriously: Watch him.
TRACK LISTING
1. Wakin On A Pretty Day
2. KV Crimes
3. Was All Talk
4. Girl Called Alex
5. Never Run Away
6. Pure Pain
7. Too Hard
8. Shame Chamber
9. Snowflakes Are Dancing
10. Air Bud
11. Gold Tone
Chelsea Light Moving is the current group led by Sonic Youth founder Thurston Moore. He is the songwriter and plays over-amped hyper electric guitar and sings with raw-glam-destructo vocals. The band is a four piece featuring Samara Lubelski, who has played violin with TM on his last two solo LPs (Demolished Thoughts and Trees Outside The Academy) and with Chelsea Light Moving plays deep psyche pop metal bass guitar. Keith Wood, who records under the aegis Hush Arbors, plays electric guitar with a pick forged from angel wing and John Moloney, aka “Pegasus”, approaches the drums like an asteroid hurtling toward Earth. The first self-titled album was recorded in two spurious sessions with engineer Justin Pizzoferrato in Sone Lab, a killer studio in Easthampton Massachusetts. The band is ready to detonate any birthday party, wedding or hullabaloo in any country, planet or stratosphere that doesn’t support right wing extremist NRA sucking bozo-ology.
STAFF COMMENTS
says: Thurston Moore of Sonic Youth fame presents his new group, Chelsea Light Moving. Taking cues from early Sonic Youth guitar overloads like 'Sister' and 'Evol' but adding grungey noise detonations this four piece destroys all before it!
Dispelling any burden of ‘the difficult second album’, Esben And The Witch have comprehensively transcended any such slump or curse with ‘Wash The Sins Not Only The Face’, a majestic, haunting and triumphant work that is not ‘difficult’ in the slightest.
Their second full-length brings to fruition concepts that glimmered on their first, 2011’s acclaimed ‘Violet Cries’, but there are no laurels being rested upon here. To make their second album, Esben And The Witch questioned, challenged and rewired their past to find the way to their future and have produced their first masterpiece.
To quote Daniel Copeman, “We had a clearer idea of what we wanted to achieve on this album, and how we could achieve it. We’re more focused, more confident.”
Their first album took them on the road, and the road took them all over the globe. It was on these journeys, during van-held conversations, that their second album began to take shape, the band happening upon an ancient Greek palindrome ‘Nipson anomēmata mē monan opsin’ which, when translated, gave ‘Wash The Sins Not Only The Face’ its title.
They wanted the album to unfurl like a journey, like a day, where opening songs are possessed of a brightness, an optimism that ebbs away over the record’s course. The radiant glide of opener ‘Iceland Spar’, gives way to the bleak lonesomeness of ‘Yellow Wood’, the moment where the sun sets, with closing track ‘Smashed To Pieces In The Still Of The Night’ ending proceedings at a peak of drama and intensity.
Previously, lyrics were written more collaboratively between the trio; this time Rachel assumed the sole responsibility herself, honing her words and stories. The lyrics are inspired by TS Eliot and Sylvia Plath, by the works of Vladimir Nabokov and Philip Pullman, Salvador Dali and the surrealist movement; that, and van conversations questioning what it would be like to meet your doppelganger thousands of miles from home.
The result is an album that finds new shades within the Esben palette, and when placed alongside ‘Violet Cries’, feels like a fuzzy image that’s pulled successfully into focus.
All of this makes you wonder where this road will take them next. More to the point, it makes you want to savour where Esben And The Witch are at now, because ‘Wash The Sins Not Only The Face’ is a sublime experience, an album whose mysteries and riddles will entrance.
Their second full-length brings to fruition concepts that glimmered on their first, 2011’s acclaimed ‘Violet Cries’, but there are no laurels being rested upon here. To make their second album, Esben And The Witch questioned, challenged and rewired their past to find the way to their future and have produced their first masterpiece.
To quote Daniel Copeman, “We had a clearer idea of what we wanted to achieve on this album, and how we could achieve it. We’re more focused, more confident.”
Their first album took them on the road, and the road took them all over the globe. It was on these journeys, during van-held conversations, that their second album began to take shape, the band happening upon an ancient Greek palindrome ‘Nipson anomēmata mē monan opsin’ which, when translated, gave ‘Wash The Sins Not Only The Face’ its title.
They wanted the album to unfurl like a journey, like a day, where opening songs are possessed of a brightness, an optimism that ebbs away over the record’s course. The radiant glide of opener ‘Iceland Spar’, gives way to the bleak lonesomeness of ‘Yellow Wood’, the moment where the sun sets, with closing track ‘Smashed To Pieces In The Still Of The Night’ ending proceedings at a peak of drama and intensity.
Previously, lyrics were written more collaboratively between the trio; this time Rachel assumed the sole responsibility herself, honing her words and stories. The lyrics are inspired by TS Eliot and Sylvia Plath, by the works of Vladimir Nabokov and Philip Pullman, Salvador Dali and the surrealist movement; that, and van conversations questioning what it would be like to meet your doppelganger thousands of miles from home.
The result is an album that finds new shades within the Esben palette, and when placed alongside ‘Violet Cries’, feels like a fuzzy image that’s pulled successfully into focus.
All of this makes you wonder where this road will take them next. More to the point, it makes you want to savour where Esben And The Witch are at now, because ‘Wash The Sins Not Only The Face’ is a sublime experience, an album whose mysteries and riddles will entrance.
TRACK LISTING
Iceland Spar
Slow Wave
When That Head Splits
Shimmering
Deathwaltz
Yellow Wood
Despair
Putting Down The Prey
The Fall Of Glorieta Mountain
Smashed To Pieces In The Still Of The Night
‘Fade’ is the most direct, personal and cohesive album of Yo La Tengo’s career. Recorded with John McEntire at Soma Studios in Chicago, it recalls the sonic innovation and lush cohesion of career high points like 1997’s ‘I Can Hear The Heart Beating As One’ and 2000’s ‘…And Then Nothing Turned Itself Inside Out’. ‘Fade’ is a tapestry of fine melody and elegant noise, rhythmic shadow play and shy-eyed orchestral beauty, songfulness and experimentation.
‘Fade’ attains a lyrical universality and hard-won sense of grandeur that’s rare even for this band. It weaves themes of aging, personal tragedy and emotional bonds into a fully-realized whole that recalls career-defining statements like ‘Blood On The Tracks’, ‘I Want To See The Bright Lights Tonight’ or Al Green’s ‘Call Me’.
“Nothing ever stays the same / Nothing’s explained”, the band sing in unison on the reflective opening track ‘Ohm’. “We try not to lose our hearts / Not to lose our minds” - a straightforward sentiment for a band that prefer private intimation to forceful expression, making the song’s resistance to resignation feel that much more earned.
This is the first time Yo La Tengo have collaborated with producer John McEntire, best known for his work in post-rock band Tortoise as well as his work with such artists as Bright Eyes, Stereolab and Teenage Fanclub. He has helped the band hone a set of songs as multifaceted as they are seamless, flowing from the low key shimmy of ‘Well You Better’ to the muted motorik kick of ‘Stupid Things’, to the cozy distortion of ‘Paddle Forward’ and right through to the cagey groove, horns and strings of the gorgeous album closer, ‘Before We Run’, in which the band’s Georgia Hubley and Ira Kaplan sing “Take me to your distant lonely place / Take me out beyond mistrust.”
‘Fade’s emotional core sits at its very centre with two songs, one sung by Kaplan and one by Hubley. The tender, raw, Kaplan-sung ballad ‘I’ll Be Around’ pivots around a circular guitar figure set against James McNew’s calm, pulsating bassline. The song’s simplicity and starkness stand like a beacon against the emptiness.
‘Cornelia And Jane’ features Hubley gently singing “I hear them whispering, they analyse, but nobody knows what’s lost in your eyes / Sending the message that doesn’t get to you, how can we care for you?”, supported by whispering cushions of horns and delicate vocal harmonies. The effect is both heartbreaking and reassuring.
“In the best possible sense, Yo La Tengocan feel less like a band and more like a beloved national trust” - Stereogum
‘Fade’ attains a lyrical universality and hard-won sense of grandeur that’s rare even for this band. It weaves themes of aging, personal tragedy and emotional bonds into a fully-realized whole that recalls career-defining statements like ‘Blood On The Tracks’, ‘I Want To See The Bright Lights Tonight’ or Al Green’s ‘Call Me’.
“Nothing ever stays the same / Nothing’s explained”, the band sing in unison on the reflective opening track ‘Ohm’. “We try not to lose our hearts / Not to lose our minds” - a straightforward sentiment for a band that prefer private intimation to forceful expression, making the song’s resistance to resignation feel that much more earned.
This is the first time Yo La Tengo have collaborated with producer John McEntire, best known for his work in post-rock band Tortoise as well as his work with such artists as Bright Eyes, Stereolab and Teenage Fanclub. He has helped the band hone a set of songs as multifaceted as they are seamless, flowing from the low key shimmy of ‘Well You Better’ to the muted motorik kick of ‘Stupid Things’, to the cozy distortion of ‘Paddle Forward’ and right through to the cagey groove, horns and strings of the gorgeous album closer, ‘Before We Run’, in which the band’s Georgia Hubley and Ira Kaplan sing “Take me to your distant lonely place / Take me out beyond mistrust.”
‘Fade’s emotional core sits at its very centre with two songs, one sung by Kaplan and one by Hubley. The tender, raw, Kaplan-sung ballad ‘I’ll Be Around’ pivots around a circular guitar figure set against James McNew’s calm, pulsating bassline. The song’s simplicity and starkness stand like a beacon against the emptiness.
‘Cornelia And Jane’ features Hubley gently singing “I hear them whispering, they analyse, but nobody knows what’s lost in your eyes / Sending the message that doesn’t get to you, how can we care for you?”, supported by whispering cushions of horns and delicate vocal harmonies. The effect is both heartbreaking and reassuring.
“In the best possible sense, Yo La Tengocan feel less like a band and more like a beloved national trust” - Stereogum
STAFF COMMENTS
says: Modern-day Velvets do it again.
As Interpol’s front man, Paul Banks has largely been a cipher; while certainly not lacking in charisma, his sardonic manner and dry sense of humour often polarised and confounded listeners and critics alike.
Banks’ first solo album found him assuming the alter ego of Julian Plenti, but he’s now jettisoned this for ‘Banks’, credited to Paul Banks (as was its preceding EP).
Whereas 2009’s Julian Plenti ‘Is…Skyscraper’ album was culled largely from songs pre-dating Interpol, ‘Banks’ is a vivid documentation of Banks in the here and now, and may be his most personal work to date. “Yeah, I suppose I wanted to simplify things this time around,” he explains. “Julian Plenti was something that I had to do, but once it was done, I didn't need to hold on to it. I'm just making music and hoping to let it speak for itself.”
Here Paul delivers some of his most disarming and heartfelt lyrics to date, far removed from his often detached anomie with Interpol.
Produced by Paul Banks and Peter Katis (Interpol, Jónsi, The National).
Banks’ first solo album found him assuming the alter ego of Julian Plenti, but he’s now jettisoned this for ‘Banks’, credited to Paul Banks (as was its preceding EP).
Whereas 2009’s Julian Plenti ‘Is…Skyscraper’ album was culled largely from songs pre-dating Interpol, ‘Banks’ is a vivid documentation of Banks in the here and now, and may be his most personal work to date. “Yeah, I suppose I wanted to simplify things this time around,” he explains. “Julian Plenti was something that I had to do, but once it was done, I didn't need to hold on to it. I'm just making music and hoping to let it speak for itself.”
Here Paul delivers some of his most disarming and heartfelt lyrics to date, far removed from his often detached anomie with Interpol.
Produced by Paul Banks and Peter Katis (Interpol, Jónsi, The National).
Sun is the new studio album from Cat Power. Six years after her last album of original material [The Greatest, 2006], Chan Marshall has moved on from her collaborative forays into Memphis soul and Delta blues. She wrote, played, recorded and produced the entirety of Sun by herself, a statement of complete control that is echoed in the songs’ themes.
Marshall calls Sun “a rebirth,” which is exactly what this confident, ambitious, charismatic record feels like. “Moon Pix [1998] was about extreme isolation and survival in the crazy struggle,” she says. "Sun is don't look back, pick up, and go confidently into your own future, to personal power and fulfilment."
The music on Sun employs a sweeping stylistic palette: There’s the classic Cat Power haunting guitar and provocative vocal hook in ‘Cherokee’ (“marry me to the sky… bury me upside down”); the irresistible Latin-sounding nine-piano loop of ‘Ruin’; upbeat, almost dancey electronic anthems like ‘Real Life’ and ‘3,6,9’; and the stirring, 8-minute epic ‘Nothin But Time,’ featuring a vocal cameo by Iggy Pop. The swagger of ‘Silent Machine’ brings to mind mid-70s Jagger, contrasted with the unusual, sparse production of ‘Always On My Own’. The narrative arc of the record is deeply optimistic; the music is defiantly modern and global.
Though devoid of grave bedroom confessionals, Sun is possibly Cat Power’s most personal album to date. For all its layered expansiveness, it is as handcrafted as her debut, and never has a Cat Power album so paralleled her personality and state of mind – channelling her humour, anger, deep empathy, musical inspirations, technical skill, and spiritual inquiry into an album that’s both surprising and comforting.
Those versed in the Cat Power discography will detect elements of 2003's landmark album You Are Free, which experimented with vocal forms and beats borrowed from urban music, and the spellbinding authority of songs like ‘American Flag’. Sonically, however, with credit to mixer Philippe Zdar (Phoenix, Chromeo, Beastie Boys), Sun is incredibly fresh, reflecting its forward-looking mindset.
Sun was recorded over the past three years in Malibu (in a studio she built herself), Silver Lake (in the Dust Brothers’ studio The Boat), Miami (South Beach Studios), and Paris (Motorbass), where she mixed with Zdar in Spring 2012.
Marshall calls Sun “a rebirth,” which is exactly what this confident, ambitious, charismatic record feels like. “Moon Pix [1998] was about extreme isolation and survival in the crazy struggle,” she says. "Sun is don't look back, pick up, and go confidently into your own future, to personal power and fulfilment."
The music on Sun employs a sweeping stylistic palette: There’s the classic Cat Power haunting guitar and provocative vocal hook in ‘Cherokee’ (“marry me to the sky… bury me upside down”); the irresistible Latin-sounding nine-piano loop of ‘Ruin’; upbeat, almost dancey electronic anthems like ‘Real Life’ and ‘3,6,9’; and the stirring, 8-minute epic ‘Nothin But Time,’ featuring a vocal cameo by Iggy Pop. The swagger of ‘Silent Machine’ brings to mind mid-70s Jagger, contrasted with the unusual, sparse production of ‘Always On My Own’. The narrative arc of the record is deeply optimistic; the music is defiantly modern and global.
Though devoid of grave bedroom confessionals, Sun is possibly Cat Power’s most personal album to date. For all its layered expansiveness, it is as handcrafted as her debut, and never has a Cat Power album so paralleled her personality and state of mind – channelling her humour, anger, deep empathy, musical inspirations, technical skill, and spiritual inquiry into an album that’s both surprising and comforting.
Those versed in the Cat Power discography will detect elements of 2003's landmark album You Are Free, which experimented with vocal forms and beats borrowed from urban music, and the spellbinding authority of songs like ‘American Flag’. Sonically, however, with credit to mixer Philippe Zdar (Phoenix, Chromeo, Beastie Boys), Sun is incredibly fresh, reflecting its forward-looking mindset.
Sun was recorded over the past three years in Malibu (in a studio she built herself), Silver Lake (in the Dust Brothers’ studio The Boat), Miami (South Beach Studios), and Paris (Motorbass), where she mixed with Zdar in Spring 2012.
STAFF COMMENTS
says: Chan Marshall aka Cat Power returns with her first album of original material in six years. 'Sun' strides confidently over a sonic palette of swaggering guitars, electronic beats, haunting melodies and vocal hooks aplenty all swept along with a fresh multi-layered production.TRACK LISTING
1. Cherokee
2. Sun
3. Ruin
4. 3,6,9
5. Always On My Own
6. Real Life
7. Human Being
8. Manhattan
9. Silent Machine
10. Nothin But Time
11. Peace And Love
‘I Am Not Afraid Of You And I Will Beat Your Ass’ is the eleventh full-length album by Hobokonbased alternative indie band Yo La Tengo, originally released on September 12, 2006. It is their sixth album released on Matador.
The title of the album is rumoured to be a (paraphrased) quote by NBA player Tim Thomas. Sitting on the bench together during a game, Thomas was caught on tape by the MSG Network in a profane exchange with another player: “Everyone in this organization is afraid of you, but I’m not, and I will beat your ass.”
The title of the album is rumoured to be a (paraphrased) quote by NBA player Tim Thomas. Sitting on the bench together during a game, Thomas was caught on tape by the MSG Network in a profane exchange with another player: “Everyone in this organization is afraid of you, but I’m not, and I will beat your ass.”
‘Moon Pix’ is the fourth album by American singer / songwriter Cat Power (a.k.a. Chan Marshall). It was originally released in September 1998 on Matador records.
The album features Mick Turner and Jim White from Dirty Three, on guitar and drums respectively.
According to Cat Power, several songs on the album - ‘No Sense’, ‘Say’, ‘Metal Heart’, ‘You May Know Him’ and ‘Cross Bones Style’ - were written “in one deranged night” following a hallucinatory nightmare Marshall had in 1997 while alone in the South Carolina farmhouse she shared with thenboyfriend Bill Callahan. “I got woken up by someone in the field behind my house in South Carolina,” she explained, “The earth started shaking, and dark spirits were smashing up against every window of my house. I woke up and I had my kitten next to me... and I started praying to God to help me... so I just ran and got my guitar because I was trying to distract myself. I had to turn on the lights and sing to God. I got a tape recorder and recorded the next sixty minutes. And I played these long changes, into six different songs. That's where I got the record.”
The album features Mick Turner and Jim White from Dirty Three, on guitar and drums respectively.
According to Cat Power, several songs on the album - ‘No Sense’, ‘Say’, ‘Metal Heart’, ‘You May Know Him’ and ‘Cross Bones Style’ - were written “in one deranged night” following a hallucinatory nightmare Marshall had in 1997 while alone in the South Carolina farmhouse she shared with thenboyfriend Bill Callahan. “I got woken up by someone in the field behind my house in South Carolina,” she explained, “The earth started shaking, and dark spirits were smashing up against every window of my house. I woke up and I had my kitten next to me... and I started praying to God to help me... so I just ran and got my guitar because I was trying to distract myself. I had to turn on the lights and sing to God. I got a tape recorder and recorded the next sixty minutes. And I played these long changes, into six different songs. That's where I got the record.”
The rock opera: the final word in decadent capitalist-pig rock. The kind of tediously long, navel-gazing fodder from which faded rock dictators cling onto power by their filthy fingernails. Breaking with rank unsurprisingly, then, come Fucked Up, one of the most vital punk bands around and people who aren’t scared of a challenge.
Following up their Polaris Prize winning breakthrough, ‘The Chemistry Of Common Life’, their third album ‘David Comes To Life’ is no less monumental. Split across four acts, it sees increased female vocals work in perfect contrast to Damian Abraham's wounded bull growl. The band, meanwhile, provide more space for the flourishes and imaginative song-writing that entwine their love of fey British indie pop with heavy riffing, amidst some genuinely twisted turns. Perhaps most grippingly, the triple-guitar interplay between Mike Haliechuk, Josh Zucker and Ben Cook has risen to symphonic levels. Together, they channel the energy of musicians ranging from Angus Young, Pete Townshend and Noel Gallagher, to Bob Stinson and Lyle Preslar, displaying a consummate ease and ferocity.
Then there comes the story that ties it together: ‘David Comes To Life’ appears to be a parable of lost love, global meltdown, depression, war, guilt and madness. Or is it? A modern day morality tale set to the dour backdrop of a British industrial town in the late 70s, the narrative follows the dark moods and inner psyche of its titular hero. At the same time, the reliability of the narrator is called into question, the tables are turned, responsibility shifts, and the story takes on a meta twist. It’s a fantastically complex concept that somehow works as a coherent narrative, while the mind-altering subject matter sits perfectly with the intense music.
Of course, you could always ignore the back-story and instead listen to a fiercely imaginative, powerful 78 minutes of blistering, melodic rock ‘n’ roll, crossed with all manners of psychic weirdness.
Following up their Polaris Prize winning breakthrough, ‘The Chemistry Of Common Life’, their third album ‘David Comes To Life’ is no less monumental. Split across four acts, it sees increased female vocals work in perfect contrast to Damian Abraham's wounded bull growl. The band, meanwhile, provide more space for the flourishes and imaginative song-writing that entwine their love of fey British indie pop with heavy riffing, amidst some genuinely twisted turns. Perhaps most grippingly, the triple-guitar interplay between Mike Haliechuk, Josh Zucker and Ben Cook has risen to symphonic levels. Together, they channel the energy of musicians ranging from Angus Young, Pete Townshend and Noel Gallagher, to Bob Stinson and Lyle Preslar, displaying a consummate ease and ferocity.
Then there comes the story that ties it together: ‘David Comes To Life’ appears to be a parable of lost love, global meltdown, depression, war, guilt and madness. Or is it? A modern day morality tale set to the dour backdrop of a British industrial town in the late 70s, the narrative follows the dark moods and inner psyche of its titular hero. At the same time, the reliability of the narrator is called into question, the tables are turned, responsibility shifts, and the story takes on a meta twist. It’s a fantastically complex concept that somehow works as a coherent narrative, while the mind-altering subject matter sits perfectly with the intense music.
Of course, you could always ignore the back-story and instead listen to a fiercely imaginative, powerful 78 minutes of blistering, melodic rock ‘n’ roll, crossed with all manners of psychic weirdness.
Kurt Vile has a way of tying time in knots. You can hear it on his new album "Smoke Ring For My Halo" from the get-go – the pinwheeling guitars and reaching atmospheres of "Baby’s Arms" are as strange as they are familiar: a demonstration of how Kurt can put worn methods and sounds through himself and end up with something that isn’t emotionally or sonically obvious. Instead we’re left with a record that contains traces of the past but doesn’t waste precious time in the now being reverent.
Once compared to Leonard Cohen, Tom Petty, Psychic TV and Animal Collective in the same review, Kurt can bring to mind anything from Suicide to Leo Kottke to My Bloody Valentine, Bob Seger, Nick Drake and Eastern ragas. Still, he pieces together these disparate elements so seamlessly and unpretentiously that such reference points are rendered pointless by the singularity of his sound. Kurt Vile might belong to a long lineage of classic American songwriters, but he’s the only one who’s alive and in his prime today.
This is the fourth time Kurt Vile has put an album’s worth of songs together and stuck a name on it, but in a sense "Smoke Ring For My Halo" is his first real album - every flinching guitar arpeggio and vocal wander was made to be here, made with this record in mind, to sit alongside another in situ and in sequence. It’s a record that is perfect for any given day during whatever season, to satisfy all moods in every possible scenario, be that first thing in the morning or last thing at night; today, tomorrow or five years from now.
Once compared to Leonard Cohen, Tom Petty, Psychic TV and Animal Collective in the same review, Kurt can bring to mind anything from Suicide to Leo Kottke to My Bloody Valentine, Bob Seger, Nick Drake and Eastern ragas. Still, he pieces together these disparate elements so seamlessly and unpretentiously that such reference points are rendered pointless by the singularity of his sound. Kurt Vile might belong to a long lineage of classic American songwriters, but he’s the only one who’s alive and in his prime today.
This is the fourth time Kurt Vile has put an album’s worth of songs together and stuck a name on it, but in a sense "Smoke Ring For My Halo" is his first real album - every flinching guitar arpeggio and vocal wander was made to be here, made with this record in mind, to sit alongside another in situ and in sequence. It’s a record that is perfect for any given day during whatever season, to satisfy all moods in every possible scenario, be that first thing in the morning or last thing at night; today, tomorrow or five years from now.
TRACK LISTING
1. Baby’s Arms
2. Jesus Fever
3. Puppet To The Man
4. On Tour
5. Society Is My Friend
6. Runner Ups
7. In My Time
8. Peeping Tomboy
9. Smoke Ring For My Halo
10. Ghost Town
"The Eternal" is a supercharged rocker, recalling aspects of the "Evol", "Sister" and "Daydream Nation" holy trinity but with cleaner, louder production and more straightforward momentum. With Pavement's Mark Ibold joining on bass, and producer John Agnello back at the controls, "The Eternal" takes the melodic songwriting of 2006's "Rather Ripped" and slams down the accelerator pedal. Produced by John Agnello and the band, "The Eternal" not only marks Sonic Youth's return to the independent label sphere (titles on their own SYR label excepted) after a long association with Geffen, but more importantly, ranks as one of their more inspired efforts in a 28 year career. Of "The Eternal", Matador's Gerard Cosloy says, 'We've not had a record in our recent history that's been the subject of nearly as much speculation and anticipation. Suffice to say we're pretty amazed at the way the band delivered something this neoteric while still sounding like, well, themselves. Less of a reinvention and perhaps more to do with a particularly awesome dozen songs.'
Here is Thurston Moore's take on the songs:
Sacred Trickster (2:10)
Out-of-the gate hardcore matinee track with Kim singing salutes to French painter Yves Klein and Western Massachusetts noise artist Noise Nomads.
Anti-Orgasm (6:08)
Inspired by the story of Berlin 60s model/activist Uschi Obermeier and the gang at Kommune 1. Free love, dominance and submission, and other political states-of-confusion.
Leaky Lifeboat (For Gregory Corso) (3:32)
The NYC beat poet Gregory Corso once referred life on Earth as a leaky lifeboat. This tune expounds on this rumination.
Antenna (6:13)
Melodious ode to fleeting fantasy and unresolved desire with the sound of two analogue radios communicating the emotional action.
What We Know (3:54)
Charging forth with a riff in reference to Sonics Rendezvous Band, Lee sings a triptych to identity and unity.
Calming The Snake (3:35)
One of the first tracks written, musical references to the Dead C, the MC5 and Neu. Kim musing on visions of Death in painting.
Poison Arrow (3:43)
Dedicated to the lust groove of Kevin Ayers where thoughts of love as pretty poison rejoice in surrealist deliverance.
Malibu Gas Station (5:39)
An ode to the flash moment of the camera as you knowingly step from your SUV sans panties.
Thunderclap For Bobby Pyn (2:38)
Flashing back to a wishful existence in the original Masque basement on N. Cherokee in Hollywood, crashing through lawns and garbage cans en route to the Canterbury/Disgraceland to jump up and down on beds with Helen Killer, Mary Rat and Trudi.
No Way (3:52)
First song written for the album, with a nod to The Wipers of Portland, Oregon. A confrontation with the devil in his guise of temptation and staking a distinct place amongst the black legions.
Walkin Blue (5:20)
Lee with his arm around yr shoulder, getting you through a seemingly impenetrable day of dread to a clear vision towards sweet foreverness.
Massage The History (9:41)
The long way home, where blood rules the universe and time becomes myth.
Here is Thurston Moore's take on the songs:
Sacred Trickster (2:10)
Out-of-the gate hardcore matinee track with Kim singing salutes to French painter Yves Klein and Western Massachusetts noise artist Noise Nomads.
Anti-Orgasm (6:08)
Inspired by the story of Berlin 60s model/activist Uschi Obermeier and the gang at Kommune 1. Free love, dominance and submission, and other political states-of-confusion.
Leaky Lifeboat (For Gregory Corso) (3:32)
The NYC beat poet Gregory Corso once referred life on Earth as a leaky lifeboat. This tune expounds on this rumination.
Antenna (6:13)
Melodious ode to fleeting fantasy and unresolved desire with the sound of two analogue radios communicating the emotional action.
What We Know (3:54)
Charging forth with a riff in reference to Sonics Rendezvous Band, Lee sings a triptych to identity and unity.
Calming The Snake (3:35)
One of the first tracks written, musical references to the Dead C, the MC5 and Neu. Kim musing on visions of Death in painting.
Poison Arrow (3:43)
Dedicated to the lust groove of Kevin Ayers where thoughts of love as pretty poison rejoice in surrealist deliverance.
Malibu Gas Station (5:39)
An ode to the flash moment of the camera as you knowingly step from your SUV sans panties.
Thunderclap For Bobby Pyn (2:38)
Flashing back to a wishful existence in the original Masque basement on N. Cherokee in Hollywood, crashing through lawns and garbage cans en route to the Canterbury/Disgraceland to jump up and down on beds with Helen Killer, Mary Rat and Trudi.
No Way (3:52)
First song written for the album, with a nod to The Wipers of Portland, Oregon. A confrontation with the devil in his guise of temptation and staking a distinct place amongst the black legions.
Walkin Blue (5:20)
Lee with his arm around yr shoulder, getting you through a seemingly impenetrable day of dread to a clear vision towards sweet foreverness.
Massage The History (9:41)
The long way home, where blood rules the universe and time becomes myth.
Cat Power returns with "Jukebox", her second album of cover songs and a tribute to the great vocalists who have influenced her over the years. Recorded in Dallas, Memphis and Miami with Stu Sikes (who also worked on Loretta Lynn's Grammy-winning "Van Lear Rose"), it contains twelve tracks, eleven of which are covers and one, "Song To Bobby", is brand new and a suitable inclusion as she wrote it about meeting Bob Dylan for the first time (it also precedes her version of "I Believe In You" on this record). This is the first record she has made with her band Dirty Delta Blues – the quartet of Dirty Three's Jim White, Delta 72's Gregg Foreman, Jon Spencer Blues Explosion's Judah Bauer and Lizard Music's Erik Paparozzi – and they make up a big part of this album. Also making guest appearances on the record are Spooner Oldham (Neil Young, Janis Joplin), Larry McDonald (Toots & The Maytails, Taj Mahal), Teenie Hodges (Al Green, Memphis Rhythm Band) and Matt Sweeney (Chavez). Time Out once wrote that Cat Power was 'a master of interpretation' and "Jukebox" highlights just that. Although her second album of covers, it's not really the sequel to "The Covers Record" (2000), instead a fascinating new chapter in Chan Marshall's artistic arc.
TRACK LISTING
New York (Frank Sinatra)
Ramblin (Wo)man (Hank Williams)
Metal Heart (2008 Version) (Cat Power)
Silver Stallion (Highwayman)
Aretha, Sing One For Me (George Jackson)
Lost Someone (James Brown)
Lord, Help The Poor & Needy (Jessie Mae Hemphill)
I Believe In You (Bob Dylan)
Song To Bobby (Cat Power)
Don't Explain (Billie Holiday)
Woman Left Lonely (Janis Joplin)
Blue (Joni Mitchell)
"Challengers" continues The New Pornographer's signature multi-layered sound with greater epic sweep and wider sonic diversity. Less frenetically jaunty than its predecessors but still encapsulating pure summer joy, this album will impress the existing fans and convert the uninitiated. Recorded for the first time largely outside bassist John Collins' Vancouver JC/DC Studio, "Challengers" is their most organic-sounding record, reflecting a conscious decision to use less 'beepy synth' and almost entirely 'real' instruments (in addition to those listed above, they recruited an entire string section – who have played with Sufjan Stevens - plus harp, flute, and more).
The new record by San Francisco duo Matmos. It is a series of 'sound portraits' of a pantheon of people that they admire; a musical attempt at biography. "The Rose Has Teeth In The Mouth Of A Beast" is loose in some places and very literal in others; taken as a suite of stylistically disparate songs, you get a kind of fractured family album, a historical pageant. It is at once Matmos' most melodic and most conceptual record. Matmos read the biographies and re-enacted events from their subjects' lives, making songs out of the sounds of the re-enactments. They gathered objects that were important to these people, made noises with them, and built melodies out of the noises, sometimes with just a tight focus on one detail and sometimes they revisit one event from their life. Sometimes they depict their subject abstractly. French horns, tuba, strings, harp, darbuka, voice, guitar, drums and synths are chopped into tricky rhythmic patterns and melodic motifs. It's a funkier, funnier affair than their last album, "The Civil War", but also a darker one.
Recorded with longtime associate Peter Katis, "Antics" is an optimistic exploration of the dark landscapes visited on Interpol's hugely successful debut "Turn On The Bright Lights". Some of Interpol's greatest songs are here: "Evil", "Take You On A Cruise", "Slow Hands" and "Not Even Jail" among them.
Specially priced thirty-two track "Best Of…" compiled by Guided By Voices mainman Bob Pollard. Pollard has recorded fourteen GBV albums, along with an idiosyncratic collection of solo records and side projects, to incredible critical acclaim. To help out the casual Guided By Voices fan, newbie, or even die-hard collector, GBV mainman Bob Pollard has lovingly compiled and sequenced the best songs from 1987 to 2003. Available at a price you can't refuse!
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