Sub Pop and Mudhoney celebrate the barnstorming self-titled debut album by Seattle punk/rock/fuzz/g****e legends Mudhoney, originally released in 1989, with a fresh colored-vinyl pressing. This classic album contains 12 tracks of roaring rock music, including the megahits “This Gift” and “Here Comes Sickness.” Mudhoney frontman Mark Arm says “Turn up the tape hiss!!” Band are about to start a European tour…

This special 35th anniversary edition is on Petrol coloured vinyl! YES PETROL! It looks mighty fine.

TRACK LISTING

This Gift
Flat Out Fucked
Get Into Yours
You Got It
Magnolia Caboose Babyshit
Come To Mind
Here Comes Sickness
Running Loaded
The Farther I Go
By Her Own Hand
When Tomorrow Its
Dead Love

Most of the writing of Naima Bock’s second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it – it’s made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there’s power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. “After me and Joel stopped working together”, she remembers, “it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible”. Finding that she could go it alone was incredibly powerful for Naima: “I think I needed it, to be able to feel proud of something”. Beyond the writing process, however, the record is not a stark, stripped back affair. Below… still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping.This can be heard on the album’s lead singles: “Kaley” feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying “Further Away” takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of “Feed My Release” draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm.

Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below… were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.

TRACK LISTING

Gentle
Kaley
Feed My Release
My Sweet Body
Lines
Further Away
Takes One
Age
Moving
Star

Alan Sparhawk of Low’s solo debut for Sub Pop is at once a bold new, electro-pop-infused adventure, and an extension of the innovation and experimentation that drove his work as a member of Low. It is his first album since the tragic 2022 loss of his wife and partner in Low, Mimi Parker.

Alan Sparhawk has always been a prolific, protean musician. A restless soul eager to explore unfamiliar sonic and psychic terrain. Though he’s obviously (and justifiably) best-known for his thirty years as frontman of the legendary band Low, a look at Sparhawk’s many side projects across that same span of time shows him experimenting with everything from punk and funk to production work and improvisation. Low itself never settled for a set sound or approach. The band was always a collaboration—a conversation, a romance—between Sparhawk and his wife, Mimi Parker, who was the band’s co-founder, drummer, co-lead vocalist, and its blazing irreplaceable heart. To take the journey from Low’s hushed early work, through the tremendous melodies of their middle period, all the way to the late lush chaos of their final albums, is to witness heads, hearts, and spirits in an act of perpetual becoming. Parker passed away in 2022 after a long battle with cancer, and there is no question that WHITE ROSES, MY GOD is a record borne of grief. You can hear it in the title, as well as tracks such as “Heaven”, in which Sparhawk describes the afterlife, wrenchingly, as “a lonely place if you’re alone.” You can sense it too in Sparhawk’s decision to create this thing entirely on his own: every note, every lyric, every programmed beat. It would be reductive, even foolish, to see grief as the sole source or the final limit of this taut, brilliant, provocative, thrilling album, whose bold experimentation is powered by profound lyrics and propulsive beats.

“Can you feel something here?” Sparhawk asks on “Feel Something.” The line repeats over and over, evolving first into “I want to feel something here” and then “Can you help me feel something here?” Meanwhile the musical means he’s chosen to convey this message—especially the pitch-shifter—might seem at first like they’re making it harder to access that very something he wants us (and himself) to feel. Isn’t the vocoder a barrier between us and the deep emotionality we’ve long associated with an Alan Sparhawk vocal? Maybe, maybe not. Probably not. But even if it is, then it’s a barrier worth breaking and the music itself is the hammer. Sparhawk conjures forth the ghosts trapped inside these machines. WHITE ROSES, MY GOD is an exorcism whose purpose is not to banish the spirit but to set it free. In many ways WHITE ROSES, MY GOD feels like a hard break with the past, almost a debut. And yet there’s incredible continuity with Sparhawk’s past work and his traditional ways of working. He’s pathbreaking, yet again, invested as ever in the endless process of becoming himself. As he puts it on “Station”: “I can please myself with the things I seek out.” Us, too. We are lucky to be here to hear it as it happens.

TRACK LISTING

Get Still
I Made This Beat
Not The 1
Can U Hear
Heaven
Brother
Black Water
Feel Something
Station
Somebody Else's Room
Project 4 Ever

Suki Waterhouse’s music sounds like a collage of her inspirations, experiences, and emotions stitched together by honeyed vocal delivery, bright-eyed melodies, and evocative storytelling. It doubles as a mirror image of her life as a consummate creative, artist, actress, model, and mother, yet it also breaks the glass to unveil raw truth. She leans on an ever-evolving sonic palette to convey what she’s feeling—whether it be folky Americana, nineties alternative, turn-of-the-century indie, or handcrafted otherworldly pop. You’ll hear Suki’s longing in a swooning chorus, fearlessness in a crunchy chord, elation in a danceable waltz, and wonder in a soft coo befitting of a lullaby.

She faithfully followed a lifelong passion for music to her 2022 full-length debut, I Can’t Let Go. Adorned by “Moves” and “Melrose Meltdown,” it incited widespread critical applause from Variety, Nylon, NME, The Line of Best Fit, and more. Between headlining shows and touring with Father John Misty, “Good Looking” surged online, generating nearly a billion streams, going RIAA platinum, and paving the way for the Milk Teeth EP. Simultaneously, she absorbed inspiration from a season of change earmarked by unforgettable moments a la gracing the stage of Lollapalooza 2023, performing on multiple continents, becoming a mom, and closing out the Gobi Tent at Coachella in 2024. Everything just set the stage for the gold-certified songstress to assert herself as a versatile, vibrant, and vital presence on her 2024 double-LP, Memoir of a Sparklemuffin.

TRACK LISTING

Gateway Drug
Supersad
Blackout Drunk
Faded
Nonchalant
My Fun
Model, Actress, Whatever
To Get You
Lullaby
Big Love
Lawsuit
OMG
Think Twice
Could've Been A Star
Legendary
Everybody Breaks Up Anyway
Helpless
To Love

The way you’re saying it, “prolific” isn’t the right word for The Bug Club. You’ve got to say it with the trademark Welsh lilt and pay due homage to this inimitable band’s origins in the renowned hit factory of Caldicot, South Wales. Do that, and you’re about right with how to summarize a group who’ve released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band’s name, all since 2021, and while playing 200+ gigs a year.

Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music’s Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work.

Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There’s B-52’s call-and-response fun mixed with AC/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo “War Movies” and “Quality Pints” sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. “Quality Pints” deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R’s as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. If it’s that important, which it is, it’s worth saying again. “War Movies” dresses distorted chugging with a comprehensive ‘best of’ list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions. And “A Bit Like James Bond” tackles the UK’s sleaziest undercover export at the same time as the embarrassing ego problem that besets much of its population - but it’s only heavy(ish) in the fun, loads-of-riffs sense. 

STAFF COMMENTS

Barry says: It's hard not to love a track called 'Quality Pints', and this slab of well-humoured garage rock, punky drive and snarling vocal hooks more than lives up to the brilliant title. It's fun all round, and brilliantly done. Brings to mind the Lovely Eggs or CTMF, a top outing from one of the hardest working bands in the business.

TRACK LISTING

1. War Movies
2. Quality Pints
3. Pop Single
4. Best Looking Strangers In The Cemetery
5. A Bit Like James Bond
6. We Don't Care About That
7. Lonsdale Slipons
8. Better Than Good
9. Actual Pain
10. Cold. Hard. Love.
11. The Intricate Inner Workings Of The System

Long out-of-print 1993 debut album by beloved indie-rock band Velocity Girl back in print with a new, band-approved mix, and a full album of bonus tracks compiling singles, outtakes, and the band’s 1993 Peel Session.

Formed in 1989, Velocity Girl were one of the leading lights of 1990s indie-pop, fusing the hooks of Britpop with the fuzzy guitars of shoegaze. They released three albums on Sub Pop between 1993 and 1996, and reached the mainstream with a song on the platinum-selling soundtrack to the classic teen film Clueless.

In 1992 the band began work on their debut album, Copacetic, at Easley Studios - once home base to the Bar-Kays and other classic soul bands - in Memphis with Bob Weston (Volcano Suns, Shellac) at the helm, and then mixed the album with Weston in Chicago. While the album had strong songs - pop tunes like “Audrey’s Eyes,” “Pop Loser,” and “Living Well” alongside ambitious explorations like “Pretty Sister” and “Here Comes” - the band had little experience with production and lacked the skills to “drive the boat” in the studio. As a result, the album turned out to be a rather stripped-down affair, lacking the lushness of their prior recordings. To the band’s ear it was jarring, and they soon realized this wasn’t the record they hoped to make. Bob Weston had done exactly what was asked of him and captured the sounds, but the band didn’t do its part to articulate a clear vision. But the band’s slot in the studio was over, and Polvo had just showed up to work on their album, so off Velocity Girl went to shoot the video for “Audrey’s Eyes.”

Copacetic came out in 1993 and people seemed to like it just fine, but within the band there was a sense of disappointment to the point where most members couldn’t stand to hear the record. Between then and now, the band learned a lot about recording, and Archie Moore developed a career in audio work, and the band finally decided to revisit Copacetic. After extensive digging, the 2” tape reels appeared in Jim’s ex-wife’s mother’s house, and in the spring of 2023 Archie began working on a remix. Song by song the new mixes emerged just as the band envisioned them. Soaring vocals from Sarah (who studied opera in college), chiming lead guitar, juicy fuzzed out rhythm guitars and clear pounding drums. The pop songs are much poppier. The sonic blasts are more powerful, and the record hangs together as a cohesive document that flows from song to song. The approach was not to make a 2024 sounding record but rather to go back to the 1992 mindset and create the record the band should have made then.

The result, UltraCopacetic (Copacetic Remixed and Expanded), is an exciting alternate history of Copacetic. And, while they were at it, the band dug up and refreshed the rest of their studio material from the era: Ultracopacetic includes “Warm/Crawl” from the Velocity Girl/Tsunami split 7”, “Creepy” from the Crazy Town 7”, “Stupid Thing” from the Audrey’s Eyes 7”, and the unreleased album outtake “Even Die.” Topping it all off is the band’s complete five-song 1993 John Peel session, including two tracks that haven’t been heard since the original broadcast. UltraCopacetic is truly the definitive version of Velocity Girl’s first record. 

TRACK LISTING

Pretty Sister
Crazy Town
Copacetic
Here Comes
Pop Loser
Living Well
A Chang
Audrey’s Eyes
Lisa Librarian
57 Waltz
Candy Apples
Catching Squirrels
Warm/Crawl
Creepy
Stupid Thing
Even Die
Here Comes (Peel Session Version)
Always (Peel Session Version)
Crazy Town (Peel Session Version)
57 Waltz (Peel Session Version)
Copacetic (Peel Session Version)

To experience Justin R. Cruz Gallego’s pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic...(Sadistic Mantra), the Tacoma-based artist’s second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego’s powerful drumming in a way that feels visceral and new.

It’s his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest.

He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community. “I see this record as first and foremost a musical statement,” Gallego says. “I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting.”

Lead single “Dogear” is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. “I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously,” Gallego says. “Cholla Beat” is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. Gallego’s influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it’s Gallego’s assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego’s home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester’s penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego.

Together, they retained the intimacy of Gallego’s home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, “World i,” offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.’s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification).

Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It’s a sweaty, thrilling aural adventure and, like a great basement show, it’ll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.

TRACK LISTING

1.Grim Iconic
2.34
3.Dogear
4.Drummy
5.Liv
6.Party People (Heaven)
7.Junk Corrido
8.Cholla Beat
9.World I 

With 'Death Jokes', for the first time since the project's incarnation in 2006, the spiritual reflections and meditations of Amen Dunes are turned away from himself, and out sharply towards the world. The album is also a drastic turn musically and thematically, rooted in the electronic music of raves and of rap music he grew up with but never imagined himself able to make, playing like a scathing electronic essay on America’s culture of violence, dominance, and destructive individualism.

The work on 'Death Jokes' began just weeks before the first word of the pandemic came in the winter of 2019; it was completed three years later as we began to emerge from the worst. The album's meaning morphed as the pandemic went on, first a reflection on our attachment to form, and to ourselves, and then shifting into a solemn indictment of our culture’s blind spots as we misjudge and attack, veiled self-centeredness and self-importance masquerading as morality.

STAFF COMMENTS

Barry says: Amen Dunes is without a doubt entering his purple patch here, with the brilliant 'Death Jokes' taking all of the woozy songwriting and soaring melodicism of his early work but rendering it in bold brushes of echoic 80's electronica and jagged, blended electronic fragments.

TRACK LISTING

1. Death Jokes
2. Ian
3. Joyrider
4. What I Want
5. Rugby Child
6. Boys
7. Exodus
8. Predator
9. Solo Tape
10. Purple Land
11. I Don’t Mind
12. Mary Anne
13. Round The World
14. Poor Cops 

You get older, you have a family, and you start to slow down—that’s how things are supposed to go, right? Not for Montreal band Corridor, who have returned on their fourth album, Mimi, with a sound and style that’s more widescreen and expansive than anything that’s preceded it. The follow-up to 2019’s Junior is a huge step forward for the band, as the members themselves have undergone the type of personal changes that accompany the passage of time; even as these eight songs reflect a newfound and contemplative maturity, however, Corridor are branching out more than ever with richly detailed music, resulting in a record that feels like a fresh break for a band that’s already established themselves as forward-thinkers.

Mimi immediately recalls the best of the best when it comes to indie rock—Deerhunter’s silvery atmospherics immediately come to mind, as well as the spiky effervescence of classic post-punk—but despite these easy comparisons, Corridor remain impossible to pin down from song to song, which makes Mimi all the more thrilling as a listen.

“The goal was to work differently, which is the goal we have every time we work on a new album—to build something in a new way,” Robert explains. “This time, we took our time.” And so in the summer of 2020, Corridor’s members—Robert, vocalist/bassist Dominic Berthiaume, drummer Julien Bakvis, and multi-instrumentalist Samuel Gougoux—holed away in a cottage to engage in the sort of creative experimentation that would lead to Mimi’s ultimate creation.

Corridor tinkered with the songs’ raw parts digitally and remotely over the next few years, with co-producer Joojoo Ashworth (Dummy, Automatic) lending their own specific talents in the theoretical booth. The process was a byproduct of not having access to their rehearsal space due to the COVID-19 pandemic, but also a result of the four-piece leaning harder into incorporating electronic textures than on previous records.

“For a long time, we identified as a guitar-oriented band, and the goal of making this whole record was trying to get away from that,” Berthiaume states. Berthiaume also describes Mimi as a record about “getting older” and “figuring out new parts of life”—but despite any claims of transitional growing pains from the band, Mimi is a record bursting with new energy and life, a vibrance that’s owed in no small part to Gougoux joining the band full-time after pitching in on live performances in the past.

“I come more from a background of electronic music, so it was nice to involve that with the band more,” he explains, and Mimi contains a distinct rhythmic pulse reminiscent of classic era-post-punk’s own melding of dance and rock textures. Over bright, chiming guitars and ascending synths, Robert addresses his looming mortality on “Mourir Demain”: “I wrote it when my girlfriend and I were shopping for life insurance,” he laughs. With our little daughter growing up, we also considered making our will. I said to myself, ‘Oh shit, from now on I’m slowly starting to plan my death.”

Don’t mistake this as music about dead ends, though, as Mimi embraces and champions unfettered creativity while paving a way for Corridor’s own bright future. “We just focused on making a record that sounded the way we wanted,” Gougoux exclaims while discussing the band’s aims. “There were no limitations when it came to what was possible.”

TRACK LISTING

Phase IV
Mon Argent
Jump Cut
Caméra
Chenil
Porte Ouverte
Mourir Demain
Pellicule

This new split single by Clipping and Cooling Prongs features Clipping’s noise-infused remake of J-Kwon’s 2004 hit “Tipsy” on the A side, and a harrowing ambient noise track by Cooling Prongs on the B side.

TRACK LISTING

1. Clipping - Tipsy
2. Cooling Prongs - Midnight

Pissed Jeans has never been a band that goes halfway—they’re known for their feral vocals, biting lyrics, buzzsaw guitars, and unhinged live shows, and their sixth album, Half-Divorced is no exception. These songs skewer the tension between youthful optimism and the sobering realities of adulthood, and when viewed through frontman Matt Korvette’s scowl, everything takes on a level of violent absurdity.

Pissed Jeans’ notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer, from helicopter parents to stolen catalytic converters to being $62,000 in debt. On “Seatbelt Alarm Silencer,” Korvette growls, “Call it a death drive but that ain’t fair / Drive implies I’m headed somewhere.”

Korvette, Brad Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) weren’t in any rush to finish Half-Divorced, which was recorded by Don Godwin at Tonal Park in Takoma Park, Maryland. “We’re not the kind of band that bangs out a new record every two years,” Korvette said. “Pissed Jeans is truly like an art project for us, which is what makes it so fun.” This lack of restraint rages within the songs that unexpectedly veer into classic hardcore punk territory—often coming in at under two minutes long and erupting like the “butane tank explosion” Korvette sings about in “Junktime.”

In the last song, “Moving On,” Korvette sneers, “Cheesing into my camera phone / Pretending that I’m not alone / Life’s the first thing that we all postpone.” One gets the sense that Pissed Jeans refuses to “postpone” life in quite the same way—life, like art, is something that happens now, not later.
-Chelsea Hodson.

TRACK LISTING

Killing All The Wrong People
Anti-Sapio
Helicopter Parent
Cling To A Poisoned Dream
Sixty-Two Thousand Dollars In Debt
Everywhere Is Bad
Junktime
Alive With Hate
Seatbelt Alarm Silencer
(Stolen) Catalytic Converter
Monsters
Moving On

This 2023 edition of The Shins’s beloved second album, Chutes Too Narrow, celebrates the album’s 20th anniversary with a fresh remaster by Adam Ayan, supervised by band leader James Mercer, and lovely new packaging for the vinyl. Following The Shins’s breakout 2001 debut, Oh, Inverted World, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, “New Slang.” Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James’ basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, Chutes Too Narrow is a brief yet entirely scintillating glimpse at chiming, reflective and perfectly skewed pop innovation. It was released to widespread acclaim in 2003, garnering Pitchfork’s Best New Music, four stars from Rolling Stone, and raves from the New York Times, MOJO, the Village Voice, SPIN, and tons more. It subsequently made best-of-the-decade lists from The AV Club, NME, Paste, Pitchfork, and Uncut.

TRACK LISTING

Kissing The Lipless
Mine's Not A High Horse
So Says I
Young Pilgrims
Saint Simon
Fighting In A Sack
Pink Bullets
Turn A Square
Gone For Good
Those To Come 

The Japanese band CHAI cast a spell on the world in 2017 with their debut album, PINK, a collection of songs that introduced their singular brand of playful pop. The enthusiastically feminist follow-up, PUNK, raked in accolades from the music press and fellow artists. That led to WINK, which CHAI made via remote Zoom sessions, a limitation that became a strength by allowing MANA (lead vocals and keys), KANA (guitar), YUNA (drums), and YUUKI (bassist-lyricist) to collaborate with artists abroad to create a work that found catharsis in their international community.

Unlike WINK, the band’s new self-titled album finds CHAI returning to their roots, drawing inspiration from their Japanese heritage and the music that raised them. “Everything reflected in the lyrics expresses our experience as Japanese women,” MANA says. CHAI’s ethos is one of inclusion, and lead single “We The Female!” – recorded live to honor the band’s riotous performances – beckons listeners into the mission. “We are human and were born as female, but we have both female and male aspects in each of our souls, each with our own sense of balance,” CHAI said in an accompanying statement. “We can’t just label ourselves into clear-cut, simple categories anymore! I’m not anyone else but just ‘me,’ and you are no one else but just ‘you.’ This song celebrates that with a roar!”

During their post-pandemic touring, performing for enormous crowds in cities like Santiago, Buenos Aires, and São Paulo made CHAI realize they had unlocked a global audience. CHAI wrote the new record on the road, finding time to record in the days between shows at Stones Throw Studio in LA, Ometusco Sound Machine in Mexico City, and Grand Street in New York. As they realized their liberatory, empowering message applied to people outside of Japan, CHAI considered what facets of their upbringing might resonate with audiences outside of their home country.

On CHAI, the band draws directly from city pop, a Tokyo-born sound popularized in the ‘70s and ‘80s. City pop was a Japanese take on Western lounge music, borrowing from jazz, boogie, funk, and yacht rock to create a sound that straddled two cultures. While city pop has recently found a US audience via TikTok and YouTube, CHAI grew up on the genre. For production, they tapped previous collaborator Ryu Takahashi, who shared their love of city pop, eurobeat, and the melodies of J-pop artists like Maria Takeuchi. “They wanted to dig into their Japanese identity, not in a traditional sense, but in this filtered Western way,” Takahashi says. Working well-equipped studios allowed them to experiment with aesthetics as-yet-unheard on a CHAI album. For example, at Stones Throw Studio, CHAI recorded “GAME” with the sole intention of writing something listeners will recognize as new wave, riding on a house synth line and minimalist production that recalls the eurobeat influences most recently associated with Robyn’s Honey. “GAME” might be the perfect distillation of CHAI’s ethic, as it urges listeners to keep moving through this life with joy and passion. Per MANA: “It’s not about winning or losing as competition, but about what you need to do, personally, to feel you’ve won.”

TRACK LISTING

MATCHA
From 1992
PARA PARA
GAME
We The Female!
NEO KAWAII, K?
I Can't Organizeeee
Driving22
LIKE, I NEED
KARAOKE

Lucky For You is Bully’s most close-to-the-bone album yet. It’s an album that’s searing and unmistakably marked by its creator’s experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on—and it’s all soundtracked by Bognanno’s rock-solid melodic sensibilities and a widescreen sound that’s impossible to pin down when it comes to the textures explored.

These ten songs are simply the most irresistible Bognanno’s put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. “Authenticity is always on my mind, without even knowing it,” she explains while discussing their recording process together. “It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what’s actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me.” The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways.

The result is a kaleidoscopic rock record spanning punk’s grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You’s thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno’s dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single “Days Move Slow” was written shortly after Mezzi’s passing, reflecting the persistence of Bognanno’s incisive wit in the face of adversity. “There was nothing I could do except sit down and write it, and it felt so good.” And then there’s the passionate opening track “All I Do,” which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety.

"Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it’s still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I’ve moved on from?” In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. “I’m so overly emotional and sensitive, it’s a blessing and a curse” she says with a laugh, but there’s no downside to her expressions of vulnerability on this record; it’s the latest bit of evidence that nothing can hold Bognanno back.

TRACK LISTING

1. All I Do
2. Days Move Slow
3. A Wonderful Life
4. Hard To Love
5. Change Your Mind
6. How Will I Know
7. A Love Profound
8. Lose You (feat. Soccer Mommy)
9. Ms. America
10. All This Noise

The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could’ve predicted.

Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on 11th studio album, Plastic Eternity, which was recorded over nine days at Crackle & Pop! in Seattle with longtime producer Johnny Sangster.

From taking on climate change from the perspective of the climate if the climate tried to play guitar like Jimi Hendrix (“Cry Me An Atmospheric River”) to a driving rock and roll song about taking drugs meant for livestock (“Here Comes the Flood”) to a classic punk attack on treating humans like livestock (“Human Stock Capital”), Plastic Eternity is a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020’s. It also contains a genuine love song in closing track “Little Dogs,” an ode to the simple joys of hanging out with tiny canines.

Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm’s sharply funny lyrics as potent a combination as they’ve been since the band’s formation in the late 1980s. When asked why they continue making records nearly four decades after forming, Arm’s answer is simple.

“We like each other, and we like being in a band together,” says Arm. “Some people have poker night or whatever the fuck, and they have the excuse to get together with their friends. For us, this [band] is that. This is what we do.”

STAFF COMMENTS

Barry says: You know you're in safe hands with Mudhoney, and on their 11th LP in 35 storied years, they've not lost any of the grungy grit and political drive that made them so popular in the first place. Aiming their sights at all manner of recent events has meant there's little shortage of material, and Mudhoney manage to tackle it all with wit and aplomb. Brilliant.

TRACK LISTING

Souvenir Of My Trip
Almost Everything
Cascades Of Crap
Flush The Fascists
Move Under
Severed Dreams In The Sleeper Cell
Here Comes The Flood
Human Stock Capital
Tom Herman's Hermits
One Or Two
Cry Me An Atmospheric River
Plasticity
Little Dogs

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It’s a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020.

But knowing he couldn’t simply recreate this time in his life at will, Thomas—who hails from Brattleboro, Vermont—set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls “an album about love and nature and youth.”

The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist’s back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas’s desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. “I consider nature to be my religion,” he explains, and Smalltown Stardust is nothing if not a spiritual exploration.

While so much of Smalltown Stardust invokes idealized traces and places of Thomas’s past, the album’s recording process made his communal vision a reality. Thomas’s Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021’s Fun House and 2022’s Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth’s contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song.

In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

STAFF COMMENTS

Barry says: Smalltown Stardust is at it's heart an exploration of psychedelia but it's so joyously presented, effortlessly lurching from 60s psych to folky minimalism, via clashing garage rock. There are snippets of uplifting synths and pristine production but it never sounds less that thoroughly organic and wholly absorbing.

TRACK LISTING

Love Letters To Plants
How I Love
A Meditation
Portrait Of God
Smalltown Stardust
Pebbles In A Stream
Tell Me
Rock River
The Bandits Of Blue Sky
Always Find Me
The Wheel

Long-awaited follow-up to Weyes Blood’s 2019 breakthrough album Titanic Rising.  And In The Darkness, Hearts Aglow was co-produced by Weyes Blood and Jonathan Rado, with engineering by Andrew Sarlo (Big Thief), and additional instrumentation by Meg Duffy (Hand Habits) and Mary Lattimore. 

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow.  The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019’s best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. “We’re in a fully functional shit show,” Mering says. “My heart is a glow stick that’s been cracked, lighting up my chest in an explosion of earnestness.” And in the Darkness, Hearts Aglow opens with the wistful, winsome “It's Not Just Me, It's Everybody,” a song about the interconnectivity of all beings, despite the fraying of society around us. “I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up,” Mering says. “Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal.” Other tracks follow in kind. The lullaby-like “Grapevine” chronicles the splintering of a human connection. The otherworldly dirge “God Turn Me into a Flower” serves as allegory about our collective hubris. “The Worst Is Done” is an ominous warning, set against a deceivingly breezy pop melody. “Chaos is natural. But so is negentropy, or the tendency for things to fall into order,” she says. “These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment.” 

STAFF COMMENTS

Barry says: The wonderful Weyes Blood returns for her most expansive and musically accomplished outing yet. Hazy, mid-century Americana meets smoky lounge bars and wistful folk music in a stunningly evocative and quintessentially Weyes Blood work. From strength to strength (including a stint as JOMF's bass player no less!), Mering pulls out all the stops for 'And In The Darkness', and it's come out a treat.

TRACK LISTING

It's Not Just Me, It's Everybody
Children Of The Empire
Grapevine
God Turn Me Into A Flower
Hearts Aglow
And In The Darkness
Twin Flame    
In Holy Flux
The Worst Is Done
A Given Thing

Solo debut by Bret McKenzie, one half of New Zealand’s most popular comedy folk duo, Flight of the Conchords.

‘Songs Without Jokes’ harkens back to the greats of the 1970s singer- songwriter era, with songs reminiscent of the finest work of Harry Nilsson, Randy Newman, and even a touch of Elvis Costello.

The Conchords landed McKenzie and Jemaine Clement a hit HBO TV show, a BBC Radio series, chart-topping records, world tours, a Best Comedy Album Grammy, and a 2018 ‘reunion’ special. McKenzie transitioned to Hollywood, writing songs for 2011’s ‘The Muppets’ (winning a Best Original Song Oscar for ‘Man or Muppet’), 2014’s ‘Muppets Most Wanted’, and films in the ‘Pirates!’ and ‘Dora’ canons.

While he enjoyed and excelled at the work, he wondered where his songs might go if set free of all that plot-bound specificity. And so, while in Los Angeles a few years back, recording movie music with a crack assemblage of legendary session musicians, McKenzie started playing around with a tune or two he had written simply as songs - songs without any external direction, songs without plot-pushing concerns, songs without jokes.

The results reveal McKenzie’s talents on multiple instruments (he’s a veteran of several non-comedy bands in New Zealand back in the day, most notably the reggae-based fusion group The Black Seeds), and his affinity for wry, literate artists like Harry Nilsson, Steely Dan, Randy Newman and Dire Straits.

While the album may be free of traditional punch lines, it doesn’t lack a sense of humour. It showcases a new stage of McKenzie’s career, to be sure, but one that isn’t so far removed from his past work and true artistic self. Like Jim Henson before him, who made a career of blending the silly with the sincere and the playful with the profound, McKenzie also aims to connect rainbows to the ridiculous.

TRACK LISTING

This World
If You Wanna Go
Dave’s Place
Here For You
That’s L.A
Up In Smoke
Carry On
A Little Tune
America Goodbye
Tomorrow Today
Crazy Times

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most senior member of the legendary Preservation Hall Band, “I never did anything in my life but play music. I’ve been blessed with that gift that God gave me, and I’ve tried to nurse it the best way I knew how.” While he’s faced plenty of challenges nursing that gift for more than 78 years, none likely rank with last winter’s passing of his brother and last living sibling, Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn despondency broken now and then by regular chess matches in the studio kitchen of Hall leader Ben Jaffe, working overtime to bring his friend some light. One such afternoon also included Joshua Starkman, sitting off in a corner playing his guitar and half-watching the chess from a distance. When Charlie returned the next day, he brought his saxophone. “I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”

That day was to be the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt Aguiluz. Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played with Lionel Hampton, whose band then included a young Charles Mingus, later spending nine years with a group led by Cab Calloway drummer J.C. Heard. While he’s also fronted a bebop quintet, played and/or toured with Ella Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his name appears on the front of a record, as a bandleader.

Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band, featuring prominently on That’s It, So It Is, and Tuba to Cuba. 89 was different, and not simply due to a smaller ensemble. “We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation,” Charlie says, further musing, “Musical conversations cancel out complications.” 89 includes six standards and three newer pieces on which Gabriel is a writer: “Yellow Moon,” “The Darker It Gets” and “I Get Jealous.” The record also marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The clarinet is the mother of the saxophone,” he says. “I started playing clarinet early in life, and this [taught me] the saxophone.”

Finally, 89 includes three tracks of Charlie singing. “I always sung, but it wasn’t my forte to become a singer,” he says. “The truth is, people often develop a real relationship with a song once they hear the words. Sometimes I enjoy singing them.”

TRACK LISTING

Memories Of You
Chelsea Bridge
I'm Confessin'
The Darker It Gets
Stardust
Three Little Words
Yellow Moon
I Get Jealous

Σtella makes her Sub Pop debut with the mesmerizing Up and Away, an old-school pop paean to the pangs and raptures of love. From the Greek folk-inflected get-go, we’re swept up in Σtella’s world – and it’s quite the captivating place to be.

The singer-songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Σtella’s gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it’s clear, from what we hear, they had it in spades. The meld is seamless. Σtella’s songs have always riffed on American and Greek mid-century pop but Up and Away doubles down on the vintage aesthetic. Tom says he styled the record “as if it was a rare gem from the ’60s found in a box of records in Athens,” and Σtella notes she was ready for a more “deeply Greek touch – it felt comfortable and right, smoothly fusing with the pop.” The bouzouki appears on a full five tracks played by Christos Skondras who, she says, “was brilliant at improvising,” while Sofia Labropoulou on the kanun “brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for Up and Away – I couldn’t be more grateful.”

While not exclusively a confessional artist, Σtella is always intimate – when she sings, it’s personal. She writes “about things I feel passion for. Stories about me, about others, about all that’s there in love and war.” Σtella was “in a very emotional state at the time, which came through in the lyrics and vocals.” And it’s true, her honeyed voice – layered in those unmistakable harmonies of hers – thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it’s the lyrics that feel key. Across her output, Σtella has proven herself a strong storyteller, and Up and Away is no exception (the guise of the medieval bard she assumes on the cover is telling).

Past releases have been studded with gem-like vignettes – a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record’s erotic arc. By the end of the album, Up and Away’s core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can’t always understand or control. Love is like this record: when it’s over, you still feel it for time to come.

TRACK LISTING

Up And Away
Nomad
Manéros
Charmed
Another Nation
Black And White
Titanic
The Truth Is
Who Cares
Is It Over

Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band – comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo – as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF.

While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s.

There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind.

"It's almost an anti-concept album," say the band. "The ‘endless rooms’ of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."

STAFF COMMENTS

Barry says: Aaah, there's nothing quite as satisfying as a new RCBF album. Their latest definitely sounds like them, with the roaring angular guitar lines and post-punk vocal sneer but is somehow softened into a more crepuscular, thoughtful selection of pieces. It's by no means a mellow record, but their usual drive is tempered a little, and all the better for it. A lovely record.

TRACK LISTING

Pearl Like You
Tidal River
The Way It Shatters
Caught Low
My Echo
Dive Deep
Open Up Your Window
Blue Eye Lake
Saw You At The Eastern Beach
Vanishing Dots
Endless Rooms
Bounce Off The Bottom

If you’re looking for a raw, sugary blast of distorted pop, look no further than Weird Nightmare. The debut album from METZ guitarist and vocalist Alex Edkins contains all of his main band’s bite with an unexpected, yet totally satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously hissy miniature epics of classic-era Guided by Voices combined with the bombast of Copper Blue- era Sugar—just tons of red-line distortion cut with the type of tunecraft that thrills the moment it hits your ears. 

These ten songs showcase a new side of Edkins’ already-established songwriting, but even though the bulk of Weird Nightmare was recorded during the COVID-19 pandemic some of its tunes date back to 2013 in demo form. “Hooks and melody have always been a big part of my writing, but they really became the main focus this time” he explains. “It was about doing what felt natural.” 

To be clear: Weird Nightmare is not a “pandemic album,” but an album—some of which had been gestating for quite a while—that just so happened to be recorded during the pandemic. “I had always planned on finishing these songs, but being unable to tour with METZ, and forced to lock down, really gave me a push.” After days spent homeschooling his son, Edkins would drive to the METZ rehearsal room and tinker deep into the night on these songs’ deceptively simple structures and rich, static-laden textures. “It was a godsend for me,” he states about the creative process. “The hours would disappear and I would get lost in the music and record. It was a beautiful escape.”

Weird Nightmare is, in its own way, a study in extremes: Edkins’ melodic instincts and penchant for dissonance are both turned up to the max throughout, the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the edge.” He also cites other artists who are masterful at mixing the sublime and the punishing—Kim Deal and Scout Niblett among them—as influences on his own songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never been attracted to virtuosity or technicality. Certain songs have the power to lift your spirits like nothing else can. I wanted to create that type of song.” 

A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad VanGaalen adds his unmistakable touch to the ever-escalating “Oh No,” while Alicia Bognanno of Bully lends her distinctive pipes to the thrashing “Wrecked,” a collaboration that effectively saved the song. “I almost didn’t put it on the album because I thought it was missing something,” Edkins explains. “I sent it to Alicia and she lifted it way up.” 

And taking risks and reaching out of Edkins’ comfort zone was the name of the game when it came to making Weird Nightmare. “I found myself doing new things I didn’t have the guts to do before, recording everything by myself and trusting all of my musical instincts,” he states. “I think when music manifests quickly, a certain amount of honesty automatically comes along with it. When it is a purely instinctual creation, there is no opportunity to obscure the truth.”

TRACK LISTING

Searching For You
Nibs
Lusitania
Wrecked (feat. Bully)
Sunday Driver
Darkroom
Dream
Zebra Dance
Oh No (feat. Chad VanGaalen)
Holding Out

Dig deep enough inside yourself -- start treating your body as your sanctuary rather than your enemy -- and eventually you'll find yourself blooming right back out into the sun. That's the transformation Guerilla Toss trace on their newest album Famously Alive, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent -- awake, alive, and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote Famously Alive at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. "You have to be with yourself all the time during the pandemic," she says. "I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people."

The album's title derives from a poem written by a close friend of the band, Jonny Tatelman, who supported Carlson through the early stages of her recovery from opiate addiction. The poem comprises the entirety of the lyrics to the title track, an exuberant ode to loving your own survival and charting a course into unconditional self-acceptance. "The song 'Famously Alive' is about living with purpose and excitement whether you’re famous or not, accepting your strangeness and thriving even if your successes look different than other people’s," notes Carlson. Negroponte adds. "I also like to think of it as a way to describe living through something traumatic and coming out of it a stronger, wiser person."

Throughout the record, Guerilla Toss meet themselves with curiosity, generosity, and acceptance even for the harder parts of being alive. Together with guitarist Arian Shafiee, Carlson and Negroponte cultivated a sound that spliced together psychedelic texturing and Krautrock syncopation with the gloss and glow of contemporary pop music. Carlson’s voice, its range now broadened by a recent venture into formal training, puts playful, searching vocal melodies and lyrics about reaching for yourself and holding fast in your own love atop ripples of Auto-Tune.

Famously Alive finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible, and fun.

TRACK LISTING

1. Cannibal Capital
2. Famously Alive
3. Live Exponential
4. Mermaid Airplane
5. Wild Fantasy
6. Pyramid Humm
7. Excitable Girls
8. I Got Spirit
9. Happy Me
10. Heathen In Me

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The result is a pointillistic knockout of an EP that weaves a landscape both luscious and a little rogue; showing us exactly what good songs can do.

Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal setting for the long-time friends to compile a record of handpicked country covers. They went searching for songs that could speak to our everyday loneliness; outside and in. Cuntry Covers Vol. 1 houses it all: well-worn favourites and lesser-known gems. The record opens with “Green Rocky Road,” as performed by Greenwich Village legend Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured vocals, complete with dreamy overlay. “Dreaming My Dreams With You,” a rendition of the Waylon Jennings hit, is followed by John Cale’s “Buffalo Ballet,” a lyrical journey through Abilene, Texas, the endpoint of the Chisholm Trail. Engineered and mixed by Jennings, each song brings desire and sexuality front and centre, with all the swagger you’d expect  – and more.

Bria hopes the record will be understood as a small contribution to the subversion of a genre with deep patriarchal roots. Mistress Mary’s “I Don’t Wanna Love Ya Now,” from the 1969 album Housewife, served as the original inspiration. “It was the first song Duncan and I worked on,” Bria notes. “It definitely set the tone for the other tracks we picked.” Bria’s voice – described as wavering between “sultry and howitzer” – shines on “Fruits Of My Labour,” written and performed by country great, Lucinda Williams. The Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore” is a harmonic (and hypnotic) standout. A musical explorer who moves fluidly between styles, Bria doesn’t consider herself a country artist: “I feel as though I’m a visitor here, paying respect to a style that has informed a part of my musical identity. Country music, as much as any other art form, should be an arena for representation, expression and provocation. I have a ton of reverence for artists who came before me and challenged the primarily white-heterosexual status quo.”

Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS, whose 2018 debut Basic Behaviour was long-listed for the Polaris Music Prize. Making a mark in diverse genres from country to punk, both play as permanent members of Orville Peck’s band. Cuntry Covers was recorded on the territories of the Anishnaabe, the Haudenosaunee, the Wendat and the Mississaugas of the Credit. The release also features contributions from FRIGS drummer Kris Bowering and vocals by Ali Jennings. Bria's first release is a gorgeous debut, a homage to the songs that brought solace and relief in the stillness of last year. - Zoe Imani Sharpe

TRACK LISTING

Green Rocky Road
Dreaming My Dreams With You
Buffalo Ballet
Fruits Of My Labour
The Sun Ain't Gonna Shine Anymore
I Don't Wanna Love Ya Now

Band founder, Nicholas Galanin is one of the most vital voices in contemporary art. His work spans sculpture, video, installation, photography, jewelry and music; advocating for Indigenous sovereignty, racial, social and environmental justice, for present, and future generations. Indian Yard is a compelling document of humanity centered in an Indigenous perspective. Created by one of the world’s foremost Indigenous artists, the irrepressible Indian Yard is an intense illumination of feeling and interconnectedness. On the groups’ debut offering, "Close the Distance”, Galanin “reflects on the universal need for connection and the expression of desire across distances. The official video, directed by Stephan Gray (Shabazz Palaces “Dawn In Luxor,” “Deesse Du Sang”), extends beyond human experience to consider physical expressions of desire in biological, mechanical, and celestial forms."

TRACK LISTING

Knives (feat. Portugal. The Man)
Light The Torch
Born Into Rain (feat. Rum.gold & Tunia)
At Tugáni
Get Yourself Together
Close The Distance
We Just Sit And Smile Here In Silence
A Feeling Undefined (feat. Nick Hakim & Iska Dhaaf)
Synthetic Gods (feat. Shabazz Palaces & Stas THEE Boss)
Gently To The Sun (feat. Tay Sean)
Back In That Time (feat. Qacung)

On her second full-length record, Head of Roses, Jenn Wasner follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner’s ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator.  Simply put, Head of Roses is a record about heartbreak, but from a dualistic perspective. It’s about the experience of having one’s heart broken and breaking someone else’s heart at the same time. But beyond that, it’s about having to reconcile the experience of one’s own pain with the understanding that it’s impossible to go through life without being the source of great pain for someone else.

“Part of the journey for me has been learning to take responsibility for the parts of things that are mine, even when I’m in a lot of pain through some behavior or action of someone else. If I’m expecting to be forgiven for the things I’ve done and the choices I’ve made and the mistakes that I’ve made, it would be incredibly cowardly and hypocritical to not also do the work that’s required to forgive others the pain they caused me.” Showcasing the depth of Wasner’s songwriting capabilities and the complexity of her vision, Head of Roses calls upon her singular ability to create a fully-formed sonic universe via genre-bending amalgamation of songs and her poetic and gut punch lyrics. It’s the soundtrack of Wasner letting go – of control, of heartbreak, and of hiding who she is: “I think I’ve finally reached a point in my career where I feel comfortable enough with myself and what I do, that I’m able to relax into a certain simplicity or straight forwardness that I wasn’t comfortable with before.” Head of Roses puts Wasner’s seismically powerful voice front and center. Those vocals help thread it all together -- it’s a textured musicality, quilted together by intentionality and intuition. Wasner and producer Nick Sanborn (Sylvan Esso, Made of Oak) assembled Head of Roses in the same way you’d put together a mixtape, painstakingly and carefully melding disparate parts into a whole, transcending genre to weave a story of heartache and healing together.

And in the same way a homemade, painstakingly-crafted mixtape plays out, with the maker’s fingerprints left all over its songs – so goes Head of Roses. Carefully curated and culled from the depths of Wasner’s heartbreak and healing, it’s deeply, intensely personal. But just as we change ourselves by embracing the pain of loss and uncertainty, so too are the purpose of these songs changed through the act of creating them. Having succeeded in healing the person who made them, they now exist for those who find them in their own moments of need. Always in motion, the original spirit of creation has already flown from this place—but it’s left behind a blueprint, a tool for you, to lean on, too.

STAFF COMMENTS

Barry says: Wasner's wonderfully evocative style of songwriting encompasses all of the melodicism and movement in her partnership with Any Stack for Wye Oak, but with a superb audible palette of influence seeping into the sound. Echoes of 80's synth and classic rock mix with soaring guitars and funky rolling bass. A wonderful triumph, and most importantly a great listen.

TRACK LISTING

1. 2 Heads
2. Price Of Blue
3. Two
4. Hard Way
5. Walking
6. Lightning
7. One More Hour
8. No Question
9. Awake For The Sunrise
10. Head Of Roses

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date.

Life of Leisure, Washed Out’s 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013’s Paracosm was Greene’s take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone’s Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision.

For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there’s a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region’s distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon’s title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in “Too Late”; a passionate love affair in “Paralyzed”; disintegration of a relationship in “Time to Walk Away”; a reunion with a lost love in “Game of Chance.” Purple Noon adds a layer of emotional intensity to the escapism of Washed Out’s oeuvre, taking the music to dazzling new heights.

TRACK LISTING

Too Late
Face Up
Time To Walk Away
Paralyzed
Reckless Desires
Game Of Chance
Leave You Behind
Don't Go
Hide
Haunt

After years spent looking out at landscapes and loved ones and an increasingly unstable world, Rolling Blackouts Coastal Fever have turned their gaze inward, to their individual pasts and the places that inform them, on their second full-length, Sideways to New Italy.

Led by singer-songwriter-guitarists Tom Russo, Joe White and Fran Keaney, the guitar-pop five-piece returned home to Australia after the relentless touring schedule that came following their critically regarded 2018 debut Hope Downs. Feeling the literal and metaphorical ground under their feet had shifted, the band began grasping for something reliable. For Keaney, that translated into writing "pure romantic fiction" and consciously avoiding the temptation of angsty break-up songs, while Russo looked north to a "bizarre place" that captured the feeling of manufacturing a sense of home when his own had disappeared.

The New Italy of the new album’s title is a village near New South Wales’ Northern Rivers – the area drummer Marcel Tussie is from. A blink-and-you'll-miss-it pit-stop of a place with fewer than 200 residents, it was founded by Venetian immigrants in the late-1800s and now serves as something of a living monument to Italians' contribution to Australia, with replica Roman statues dotted like alien souvenirs on the otherwise rural landscape. The parallels to the way the band attempted to maintain connections and create familiarity during their disorienting time on the road was apparent to Russo. "These are the expressions of people trying to find a home somewhere alien: trying to create a utopia in a turbulent and imperfect world."

The record's geographic identity emerged from the band losing their grip on their own, whether that was through the pressure of touring, the dissolution of relationships, a frustrating distance from their daily lives – or some combination of all three – that came from being slingshotted all over the world, playing sold-out headline tours and festivals including Coachella, Governors Ball, Primavera Sound, All Points East, and Pitchfork Music Festival.

The notion of crafting, in Russo’s words, “a utopia of where your heart’s from,” permeates Sideways to New Italy, in which early attempts at writing big, high-concept songs about The State of the World were abandoned in favor of love songs, and familiar voices and characters filter in and out, grounding the band's stories in their personal histories. There’s something comforting, too, in knowing the next time they’re buffeted from stage to stage around the world, they’ll be taking the voices of their loved ones with them, building a new totem of home no matter where they end up.

STAFF COMMENTS

Darryl says: It’s been well documented that we love the sunshine rich sound of The Rolling Blackouts Coastal Fever here at Piccadilly; two EOY Top 10 entries with 2018’s ‘Hope Downs’ and 2017’s mini-album ‘The French Press’ speaks for itself. And now the Australian quintet have returned with ‘Sideways To New Italy’, a superbly crafted and exceptionally well produced album that’s easily on par with their previous releases.

Kicking off the album with the timeless “The Second Of The First” it’s clear that they’ve lost none of their songwriting wizardry, all the key RBCF elements are here; interlocking jangling guitars, pristine melodies, a driving rhythm section and hooks that’ll earworm their way around your head for months on end.

Track after track of effortless sunkissed indie-pop follow including the standout “Cars In Space” where the intertwining triple guitars really hit their peak, layers upon layers of blissful golden soundz over an infectious motorik beat. This is RBCF at their best, where all five members click into a groove that you’ll never want to end.

‘Sideways To New Italy’ is the sound of a band that’s happy to be back in the confines of their studio again having spent around 18 months touring the world; finding warmth in the familiarity of their setting, but wiser for the adventures and tribulations that they’ve encountered so far. Here’s hoping the next album is just as good!

TRACK LISTING

The Second Of The First
Falling Thunder
She's There
Beautiful Steven
The Only One
Cars In Space
Cameo
Not Tonight
Sunglasses At The Wedding
The Cool Change

What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop release from Los Angeles-based Moaning.

Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A. DIY scene for more than a decade. They are also immersed in other creative pursuits — Solomon is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they’ve tackled challenges both personal and universal the only way they know how: by talking about how they’re feeling and channeling those emotions directly into their music.

“We’ve known each other forever and we’re really comfortable trying to express where we’re at. A lot of bands aren’t so close,” says MacKelvie. Adds Solomon, who celebrated a year of sobriety during the Uneasy Laughter sessions, “Men are conditioned not to be vulnerable or admit they’re wrong. But I wanted to talk openly about my feelings and mistakes I’ve made.”

Moaning’s 2018’s self-titled Sub Pop debut featured songs mostly written in practice or brought in already complete by individual band members. It garnered acclaim from Pitchfork, Stereogum and Los Angeles Times, who observed, “Moaning craft anxious music for an increasingly nervous local scene.” But Uneasy Laughter is a collaborative breakthrough which significantly brightens Moaning’s once claustrophobic sound, again abetted by producer/engineer Alex Newport (At The Drive-In, Bloc Party, Melvins). The trio points to first single “Ego,” which features a costume-heavy video directed by Ambar Navarro, as an embodiment of this evolution.

Solomon admits Uneasy Laughter could have gone in quite another direction had he not gotten sober and educated himself on such core subjects as gender and mental health. “I did a lot of reading in the tour van — authors like bell hooks, Mark Fisher, and Alain de Botton, all really inspired me. I don’t want to be the person who influences young people to go get high and become cliche tragic artists,” he says. “What I’d rather convey to people is that they’re not alone in what they think and how they feel. ‘Ego’ specifically and the album overall is about those themes — letting go of your bullshit so you can help other people and be present.”

“We want to be part of a community,” he adds. “I wrote online about being sober for a year, and I had kids from all over writing and asking for advice. One of them said, ‘For the first time I can remember, I didn’t drink last night.’ I thought, for once, maybe we did something besides sell a record. That’s a win. That’s incredibly exciting.”

TRACK LISTING

1. Ego
2. Make It Stop
3. ///
4. Stranger
5. Running
6. Connect The Dots
7. Fall In Love
8. Coincidence Or Fate
9. What Separates Us
10. //////////
11. Keep Out
12. Saving Face
13. Say Something

Corridor are a group from Montreal and their Sub Pop debut, ‘Junior’, was made just yesterday. The rock & roll band had barely inked their record deal when they surfed into studio, racing against time to make the most dazzling, immediate and inventive album of their young career: 39 minutes of darting and dodging guitars, spiralling vocal harmonies and the complicated, goldenrod nostalgia of a Sunday mid-afternoon.

‘Junior’ is the band’s third full-length and their third recorded with their friend, producer (and occasional roommate) Emmanuel Ethier. However 2015’s ‘Le Voyage Éternel’ and 2017’s ‘Supermercado’ were made languorously, their songs taking shape across whole seasons. This time Dominic Berthiaume (vocals/bass), Julian Perreault (guitar), Jonathan Robert (vocals/guitar/synths) and Julien Bakvis (drums) permitted themselves no such indulgence.

Singers, two guitars, bass, drums: the timelessness of the setup underpins the timelessness of the sound, a rock & roll borrowing from each of the past six decades - punk and pop, psych and jangle, daydream and swoon. This is music that’s muscular, exciting and full of love, its riffs a kind of medicine.

Whereas Corridor’s past work could sometimes seem overstuffed, twenty ideas to the same song, the new work is hypnotic, distilled. “Part of the beauty of the thing is that we didn’t have time to think about it,” says Berthiaume. Six of ‘Junior’s 10 tracks were conceived during a single weekend. The words to ‘Bang’ were written on the eve of the sessions, as Robert began to panic: “Je payerai tôt ou tard,” he sings: I’ll pay, sooner or later. Fewer jams, fewer overdubs - no fortnight in the countryside secluding themselves in a chalet. Even the artwork came in the nick of time: in spite of other, meticulous, masterpieces, Robert’s “shitty last-minute collage” (of an egg saying hello) was the one his bandmates went for.

Sub Pop have never before, in their 33-year history, signed a Francophone act. Maybe the band’s magic springs from their ingenious hooks, their topaztinted vision. Maybe it’s the panache of Québec’s insurgent underground scene, or the camaraderie of Robert and Berthiaume, who have played together since they were 14. Maybe it’s their name - a hallway crossed with a toreador. Probably it’s all of these and none of them: ‘Junior’ is a joy, a hasty miracle, because it’s so much damn fun to listen to.

TRACK LISTING

Topographe
Junior
Domino
Goldie
Agent Double
Microscopie
Grand Cheval
Milan
Pow
Bang

Close It Quietly is a continual reframing of the known. It’s like giving yourself a haircut or rearranging your room. You know your hair. You know your room. Here’s the same hair, the same room, seen again as something new. Close It Quietly takes the trademark Frankie Cosmos micro-universe and upends it, spilling outwards into a swirl of referentiality that’s a marked departure from earlier releases, imagining and reimagining motifs and sounds throughout the album. The band’s fourth studio release is a manifestation of their collaborative spirit: Greta Kline and longtime bandmates Lauren Martin (synth), Luke Pyenson (drums), and Alex Bailey (bass) luxuriated in studio time with Gabe Wax, who engineered and co-produced the record with the band. Recording close to home— at Brooklyn’s Figure 8 Studios— grounded the band, and their process was enriched by working closely with Wax, whose intuition and attention to detail made the familiar unfamiliar and allowed the band to reshape their own contexts. On opener “Moonsea,” an unaccompanied Greta begins, “The world is crumbling and I don’t have much to say.” Take that as a wink and a metonym for the whole album, as her signature vocals are joined by Alex’s ascending bassline and Lauren’s eddying synths, invoking a loungey take on Broadcast or Stereolab’s space-disco experimental pop. There’s much more than “not much” to say here, and it's augmented and expanded by experimentation with synth patches, textures, and other recording nuances courtesy of Wax. As the lineup has solidified into the most permanent expression of full-band Frankie Cosmos, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward.

The band’s closeness and aesthetic consistency freed its members to take more risks, notes Luke: "Everything will sound like Frankie Cosmos because Greta has such a distinct voice (literally and figuratively). We have so much latitude to experiment with the instrumental music, and this time around we really took advantage of that." Without losing any intimacy of prior albums, Close it Quietly is different, is outer. The album functions as a benign doppelganger, a shadow self of past releases; where other Frankie Cosmos records shine brightest looking inward, Close it Quietly refracts the self into the world, and vice versa, miraculously echoing Thoreau’s assertion that “when I reflect, I find that there is other than me.” Reflection--and refraction--isn’t tidy. “Flowers don’t grow/in an organized way/why should I?” Greta sings on “A Joke.” Growth isn’t linear. Change happens in circles. While recording the album, Alex says, “I closed my eyes a lot.” Stand in the sun, listen to Close it Quietly, and do the same.

STAFF COMMENTS

Barry says: Frankie Cosmos deliver a whimsical but meaningful journey through indie-pop, jangling and melodic but with a beating heart of seriously solid songwriting and a stunning musicality. Encompassing aspects of late-90's grunge and shimmering pop-punk, 'Close It Quietly' will be on the player for some time to come. Lovely stuff.

TRACK LISTING

Moonsea
Cosmic Shop
41st
So Blue
A Joke
Rings (On A Tree)
Actin' Weird
Windows
Never Would
Self-destruct
Wannago
I'm It
Trunk Of A Tree
Last Season's Textures
Even Though I Knew
UFO
Marbles
Did You Find
A Hit
With Great Purpose
This Swirling

Give me a minute or three to extol the virtues of The Gotobeds, the modern rock and roll sensation that has always sounded like they love to play. Never maligned by having the world’s weight on their backs, The Gotobeds - Cary, TFP, Eli and Gavin - return to the fray with their third full lengther, ‘Debt Begins at 30’. The esprit de corps and anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds - as Pittsburgh as it gets, the folk music of the Steel City - have more tar for us to swallow.

‘Debt Begins At 30’ is an old-fashioned blast furnace and the liquid iron flows. ‘Debt Begins At 30’ is not ‘pub sop’ in any way or shape. Though I never considered The Gotobeds a band that needed assistance from their peers, ‘Debt Begins At 30’ features outside contributors on every track. The album’s first single, ‘Calquer The Hound’, includes local buddy Evan Richards, and Rob Henry of Kim Phuc. ‘Calquer The Hound’ has euphony, a sly bridge, plenty of trademark bash, and a spacey outro. It’s a sanguine album opener, more Al Oliver than Starling Marte. On ‘Twin Cities’, the lads tap Tracy Wilson, formerly of Dahlia Seed and currently of Positive NO!, to share the vox, and the result is an exuberant pop song proving The Gotobeds benefit from women ruling the scene.

"Twin Cities" is more Dakota Staton than Don Caballero. ‘Debt Begins At 30’, the title trackular, includes the wizardry of Mike Seamans and legend Bob Weston. It’s a brooding romp with tribal beats and slash-and-burn guitar, more Rocky Bleier than Le’Veon Bell. Unsurprisingly, The Gotobeds called partners-in-rock-crime Protomartyr a coupla times, with Joe Casey bolstering ‘Slang Words’ and hook-fiend Greg Ahee shredding on ‘On Loan’. ‘Slang Words’ is a savory wrecking ball with a crunching bite, more of a soft shell crab sandwich from Wholey’s Market than a 4am slop feast at Primanti Brothers. ‘On Loan’ is an anthemic janglefest with high-arcing fret work, more Karl Hendricks (rest his soul) than ‘Weird Paul’ Petroskey. Silkworm guitarist Tim Midyett is tapped on ‘Parallel’, a grand song that enters a world of whimsy, melodic and uncomplicated, more Jaromir Jagr than Sidney Crosby.

The likes of 12XU label boss Gerard Cosloy, Tre Orsi’s Matt Barnhart, the wonderful Victoria Ruiz of Downtown Boys, Pittsburgh wordsmiths Jason Baldinger and Scott MacIntyre, and yours truly strut stuff on other tracks. In my case, I just scream “dross” on ‘Dross’ several times. Good judgment on the part of The Gotobeds to know that’s the best I can do, more Max Moroff than Andrew McCutchen. Anyways, The Gotobeds have quickly reached the veteran stage, but, based upon ‘Debt Begins At 30’, their best days are ahead of them. It’s a pleasure to be associated with such an excellent band.”

TRACK LISTING

1. Calquer The Hound
2. Twin Cities
3. Slang Words
4. 2:15
5. Poor People Are
6. Revolting
7. Debt Begins At 30
8. On Loan
9. Dross
10. Parallel
11. Bleached Midnight
12. Debt Begins At 30 (Alt)

METZ, the widely-adored and delightfully noisy 3-piece punk band from Toronto (ON, Canada), have been laying waste to stages around the globe for over 10 years. During that tumultuous chunk of time METZ, comprised of Alex Edkins, Hayden Menzies, and Chris Slorach, have cemented their reputation as one of the planet's most exhilarating live acts and trusted providers of bombastic outsider rock. Along the way, they’ve earned enthusiastic support from The New Yorker, Mojo, NPR, The New York Times, KEXP, Pitchfork, Stereogum, The AV Club, Q, Uncut, Exclaim, and a bunch of others. Referring to the trio's tireless tour regime and unquenchable thirst to bring their music to the people, John Reis (Hot Snakes, RFTC, Drive Like Jehu) once said, “your ambition is really unflattering, chill out.”

They did not listen. Instead, their love of the road and passion to create uncompromising and challenging music remains unwavering and has only grown over time. Their recorded output to date, a cornucopia of pop-inflected noise punk and damaged fuzz anthems, includes 3 critically-acclaimed LPs with Sub Pop, as well as a plethora of limited-edition releases, collaborations, covers, and rarities. Which brings us to Automat, a collection of non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band's long out-of-print early (pre-Sub Pop) recordings.

Included here are the band’s first three 7” singles, recorded 2009-2010 and originally released by We Are Busy Bodies Records; a demo version of “Wet Blanket,” the explosive single from 2012’s METZ; two tracks from the limited-edition bonus single that accompanied preorders of METZ; “Can’t Understand,” originally released in 2013 by [adult swim]; and both tracks from the band’s 2015 single on Three One G.

STAFF COMMENTS

Barry says: Clashing, rawkous punk-rock guitars and huge percussion meet noise-rock production and hardcore screaming in a clattering maelstrom of fiery chord changes and snarling vitriol. Absolutely insane, and unfathomably packed with huge swathes of razor-sharp distortion and heft.

TRACK LISTING

Soft Whiteout
Lump Sums
Dry Up
Ripped On The Fence
Negative Space (7 Inch Version)
Automat
Wet Blanket (Demo)
Dirty Shirt
Leave Me Out
Can’t Understand
Pure Auto
Eraser
Pig*
I’m A Bug*
M.E.*

*vinyl-only Bonus 7” Track

Kyle Craft and his now solidified backing band, dubbed Showboat Honey, reflect the sturm und drang of life with their self-titled album, the contemplative yet restless ‘Showboat Honey’. “This is basically an album centered around bad luck and good fortune hitting at the same time,” Craft explains “Then, out of nowhere, I find love. Everything went to shit except that. I guess that’s how life works.”

The sticky-sweet title of the album is lifted from the brightly choral ‘Buzzkill Caterwaul’: “I wanted to make something that sounded like a raucous collision of Leon Russell and Patti Smith,” he says, “But ‘Buzzkill Caterwaul’ was the only tune that ended up showcasing that vision.” Though aesthetics veer from song to song, ‘Showboat Honey’s steadfast formula remains the same. Drummer Haven Mutlz holds down the machine with a 60s/70s fast-molasses groove that locks in with the slinky rolling bass of Billy Slater. When Kevin Clark isn’t bouncing across the piano, his mellotron strings swell in and out of frame. Jack of all trades Ben Steinmetz’s organ parts well up from the deep of the songs, while lead guitarist Jeremy Kale’s solos rip through them like electricity. On top of it all, sits the tongue-in-cheek phantasmagoria created by Craft’s lyrics, in which perspectives shift to imbue life into a cast of intriguing, mysterious characters, à la Bob Dylan. (“There is not a single thing in my life that has affected me more than the first time I heard Dylan,” says Craft. “It immediately changed my life.”)

Craft started writing about as soon as he could play the guitar at the age of 15. He grew up in the isolated Mississippi River town of Vidalia, Louisiana where his chops weren’t honed in a woodshed but rather an old, dingy meat freezer that was out of commission. After years of touring, two albums with Sub Pop Records and solidifying the band, he’s grown into a prodigious songwriter, to say the least. The band recorded ‘Showboat Honey’ - co- produced by Craft, Clark and Slater - at their own Moonbase Studios in Portland over 2018. “We approached this record differently for sure,” Craft says. “I’d make a demo, and after putting the songs together, shoot it to the band for ideas.” Kyle and the members of Showboat Honey worked at such a feverish wine-fuelled pace that they actually ended up with two completely different albums. At the end of the day, they decided to combine the two into what is now ‘Showboat Honey'.

TRACK LISTING

Broken Mirror Pose
O! Lucky Hand
2 Ugly 4 NY
Blackhole/Joyride
Bed Of Needles #2
Deathwish Blue
Blood In The Water
Buzzkill Caterwaul
Sunday Driver
Johnny (Free & Easy)
She’s Lily Riptide

The phantom zone, the parallax, the upside down—there is a rich cultural history of exploring in-between places. Through her latest, Titanic Rising, Weyes Blood, a.k.a. Natalie Mering, has designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she plays the role of melodic, sometimes melancholic, anthropologist. Tellingly, Mering classifies Titanic Rising – which was written and recorded during the first half of 2018, after three albums and years of touring - as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.” The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.” As a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that The Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans. But Weyes Blood isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. I’m just making a bigger space for myself.”

STAFF COMMENTS

Andy says: A classy drift from psych-tinged folk to warm, honeyed West Coast soft rock; gorgeous early-70's singer-songwriter territory with the occasional whiff of Karen Carpenter, and all the melancholic sweep and drama you might expect. A surprising and beautiful return.

TRACK LISTING

A Lot's Gonna Change
Andromeda
Everyday
Something To Believe
Titanic Rising
Movies
Mirror Forever
Wild Time
Picture Me Better
Nearer To Thee

In October of 2018, ten years after the launch of their hit HBO series, musical comedians Bret McKenzie and Jemaine Clement returned to HBO for the all-new comedy special. Live in London was taped before a live audience at the Eventim Apollo and featured the Conchords performing songs from the sold-out UK and Ireland edition of “Flight of the Conchords Sing Flight of the Conchords Tour.” 

TRACK LISTING

Father And Son
Band Reunion
Iain And Deanna
Inner City Pressure
New Zealand Symphony Orchestra
Summer Of 1353
Complimentary Muffin
Stana
Stuck In A Lift
Foux Du Fafa
Seagull
Mutha'uckas - Hurt Feelings
One More Anecdote
Back On The Road
Thank You London
Bowie
Bus Driver
Tuning
Robots
Shady Rachel
Carol Brown*
The Most Beautiful Girl (In The Room)*

*Bonus Tracks (not Included In The TV Special)

Sometime in 2016, just as the Polish singer and producer Tobiasz Biliński began to find success through the dim and fractured electropop of Coldair, he knew it was time for a radical change. The songs on The Provider, Coldair’s much-lauded second album, had been an exorcism of sorts. Laced with songs about early death, chronic disappointment, and clouded minds, the record was, as he puts it now, his earnest attempt to “get all this old shit out.” That mission accomplished, he needed something new, a restart—the unabashedly radiant and unapologetically complex pop of Perfect Son, delivered in 10 perfect shots on Biliński’s Sub Pop debut, Cast.  In the past, Biliński’s music has flirted with and explored the darkness, first in a sort of Transatlantic freak-folk and then with the gothic refractions of Coldair.

But on Cast, Perfect Son steps boldly into the light without sloughing off emotional weight or depth. With powerful, sweeping production that recalls the best pop beats of Matthew Dear and arcing melodies that conjure the majesty of Shearwater, Perfect Son animates sensations of lust, belonging, and newfound trust with tumescent electronic arrangements that threaten the safety of any sound system. Biliński sings about falls throughout Cast, but also about picking yourself back up, about pressing on despite or perhaps because of the bruises. In the process, he is lifted by music that feels unabashedly motivational, built to remind us that the best times are hopefully to come.   Perfect Son, it should be said, is Sub Pop’s first Polish artist, the result of an extended interest in Biliński’s work and the country itself from label co-founder Jonathan Poneman.

Several years ago, Biliński applied to play at South by Southwest as Coldair.  Poneman saw his performance, and was impressed. The two stayed in touch, with Poneman eventually signing Coldair to a publishing deal. “I bugged him about releasing my stuff constantly,” Biliński admits with a laugh. “And I guess he admired my persistence.” When Cast was finally finished, Poneman didn’t need more convincing. These songs, after all, are magnetic, with the searching harmonies and deep drums of “Promises” and the rhythmic intricacy and serial synths of “Wax” pulling you close on first listen and holding you there for the foreseeable future. These songs and this story are about the power of human perseverance and deliberate reinvention, of knowing that you can confront and come to terms with the darkest angels of your being. Cast is a testament to the possibilities of the future, brilliantly disguised as 10 grandiose and undeniable pop anthems.

TRACK LISTING

Reel Me
Lust
It's For Life
Old Desires
So Divine
Promises
High Hopes
My Body Wants
Wax
Almost Mine

Near the end of Reagan's first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis.

A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J's songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J's own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc)  among others. But the show is mostly J's and J's alone. He laughs when I tell him I'm surprised by how melodic his vocals seem to have gotten. Asked if that was intentional, he says, “No. I took some singing lessons and do vocal warm-ups now, but that was mostly just to keep from blowing out my vocal cords when Dino started touring again. The biggest difference with this record might have to do with the drums. I'd just got a new drum set I was really excited about. I don't have too many drum outlets at the moment, so I played a lot more drums than I'd originally planned. I just kept playing. [laughs] I'd play the acoustic guitar parts then head right to the drums.”

There is plenty of drumming on the dozen songs on Elastic Days. But for those expecting the hallucinatory overload of Dinosaur Jr's live attack, the gentleness of the approach here will draw easy comparisons to Neil Young's binary approach to working solo versus working with Crazy Horse. This is a lazy man's shorthand, but it still rings true. Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (“Web So Dense”) to jazzily-canted West Coasty post-psych (“Give It Off”) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (“Drop Me”). The album plays out with a combination of holism and variety that is certain to set many brains ablaze. J says he'll be taking this album on the road later in the year. He'll be playing by himself, but unlike other solo tours he says he'll be standing up this time. “I used to just sit down and build a little fort around myself -- amps, music stands, drinks stands, all that stuff. But I just realized it sounds better if the amps are higher up because I'm so used to playing with stacks. So I'll stand this time.” I ask if it's not pretty weird to stand alone on a big stage. “Yeah,” he says. “But it's weird sitting down too.” Ha. Good point. One needs to be elastic. In all things. - Byron Coley

STAFF COMMENTS

Barry says: One of the more tender outings from J Mascis of Dinosaur Jr fame, 'Elastic Days' beautifully encompasses a wide variety of J Mascis' leanings including folk, Americana and classic rock to brilliant effect. Heart-wrenching in places but ultimately optimistic, this is yet another display of how versatile and talented this man is. Superb.

TRACK LISTING

See You At The Movies
Web So Dense
I Went Dust
Sky Is All We Had
Picking Out The Seeds
Give If Off
Drop Me
Cut Stranger
Elastic Days
Sometimes
Wanted You Around
Everything She Said

Since the late '80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid. Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm's raw yawp and his bandmates' long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker. "My sense of humor is dark, and these are dark times," says Arm. "I suppose it’s only getting darker."
Digital Garbage opens with the swaggering "Nerve Attack," which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album's title comes from the outro of "Kill Yourself Live," which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Arm says: "people really seem to find validation in the likes—and then there's Facebook Live, where people have streamed torture and murder, or, in the case of Philando Castile, getting murdered by a cop. In the course of writing that song, I thought about how, once you put something out there online, you can’t wipe it away. It’s always going to be there—even if no one digs it up, it’s still out there floating somewhere.“ Appropriately enough, bits of recent news events float through the record: “Please Mr. Gunman," on which Arm bellows "We'd rather die in church!" over his bandmates' careening charge, was inspired by a TV-news bubblehead's response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of "Next Mass Extinction" calls back to last summer's clashes in Charlottesville. Mudhoney's core sound—steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm's hazardous-chemical voice—remains on Digital Garbage, which the band recorded with longtime collaborator (and Digital Garbage pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy "21st Century Pharisees" builds its case with Maddison's woozy synths, which Arm says “add a really nice touch to the proceedings.” Digital Garbage closes with "Oh Yeah," a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. "I would’ve really just loved to write songs about just hanging out on the beach, and going on a nice vacation," says Arm. "But, you know, that probably doesn’t make for great rock.“ Mudhoney, however, know what does make great rock—and the riffs and fury of Digital Garbage will stand the test of time, even if the particulars fade away. "I've tried to keep things somewhat universal, so that this album doesn’t just seem like of this time—hopefully some of this stuff will go away," Arm laughs. "You don’t want to say in the future, 'Hey, those lyrics are still relevant. Great!'”

STAFF COMMENTS

Barry says: Mudhoney, one of the pivotal grunge forces of the late 90's return with their most propulsive outing yet. Tackling heavy political issues and societal ills with their unmistakable thrashing drive and distinctly melodic swagger. It's a punky blast rarely seen nowadays and perfectly brings the loose grungy sound into the modern day. Awesome.

TRACK LISTING

Nerve Attack
Paranoid Core
Please Mr. Gunman
Kill Yourself Live
Night And Fog
21st Century Pharisees
Hey Neanderfuck
Prosperity Gospel
Messiah's Lament
Next Mass Extinction
Oh Yeah

Iron & Wine follow up their 2018 Grammy-nominated full-length Beast Epic with Weed Garden, a collection of material that began about three years ago. The six-song EP features songs that were part of the writing phase for Beast Epic, but went unfinished. They were part of a larger narrative for principal songwriter Sam Beam, who ran out of time to get them where they needed to be for inclusion on Beast Epic. Weed Garden also includes the fan favorite “Waves of Galveston.”

While on tour last fall, the final pieces of material took shape and a sense of urgency prevailed in bringing these characters full circle. To resolution. To completion. In January, Beam and company hunkered down in Chicago at The Loft recording studio to capture these six songs.  No more, no less.
Weed Garden joins the good company of previous Iron & Wine EP’s – The Sea and Rhythm, Woman King, In the Reins – and in 2018’s attention-span challenged world that's not a bad thing.

STAFF COMMENTS

Barry says: If you've heard Iron & Wine before, you'll be well aware of Mr. Beam's capability for weaving a rich acousticana tapestry, and 'Weed Garden' is exactly that, beautifully played organic instrumentation with a strong melodic sensibility, relaxing and transportative. (Iron &) Wine-not give it a go.

I've Tortured You Long Enough is the tongue-in-cheek title of Mass Gothic's second album. Husband/wife duo Noel Heroux and Jessica Zambri have always dipped in and out of each other's creative spaces, advising on their respective outputs and supporting one another. But, until this record, they had never completely committed to doing an entire album as a duo, sharing an equal load. The result is a record packed with the tension, chaos and beauty of a fluid and cathartic two-way conversation. In a universe that increasingly threatens our abilities to communicate and coexist, their creative union isn't just inspired but important.

When Heroux put out Mass Gothic’s 2016 debut, following the end of his prior band, Hooray for Earth, he did so as a solo entity. Plagued by insecurities and anxieties, Heroux wasn't ready to deal with putting his trust and confidence into another shared project. So what changed? He can't exactly pinpoint when the phrase “I've tortured you long enough” came to him, but it became a mantra, almost a premonition. He had tortured his own psyche long enough, and was particularly in need of forcing himself out of his comfort zone and letting go of that prior stubbornness. And the phrase has a broader application, too. “It covers so many bases but it's taken on extra meaning in the past couple of years when everybody is at each other's throats, frustrated and confused all the time,” Heroux explains.

Heroux and Zambri wrote I’ve Tortured You Long Enough while bouncing around the country without a place to call home. From working in a rented cabin in upstate New York, to living out of a car with a duffel bag of clothes, to crashing with their co-producer Josh Ascalon in LA, to ditching a mixed version of the album and rerecording the whole thing, the band worked tirelessly while their lives were totally in flux. “Maybe we wouldn't have been able to do it if we were anchored at home. We were forced into it. Jess was trying to open me up and if we could have just sat on a couch and thrown on the TV it probably wouldn't have worked.” The album was ultimately recorded in Brooklyn with Rick Kwan, and Chris Coady mixed the record and Heba Kadry mastered it.

The final product recalls the frantic energy of Animal Collective and the celestial torch-bearing of Bat for Lashes, and reveals a remarkable arc. It begins from a place of uncertainty, disquiet, and self-doubt, and concludes with the comfort in knowing that you can be both independent and successful in a relationship.

TRACK LISTING

1. Dark Window
2. Call Me
3. J.Z.O.K.
4. Keep On Dying
5. How I Love You
6. I've Tortured You Long Enough
7. New Work
8. The Goad
9. Big Window

Cullen Omori’s path to his second album ‘The Diet’ wasn’t an easy one. After the release of his first album, ‘New Misery’, he had to deal with busted vans, crashed cars, mangled relationships and other trials that can leave one feeling like the world is playing a cosmic joke. From the guitar that drops out of the sky on the opening track ‘Four Years’ all the way through the fade-out of kaleidoscopic closer ‘A Real You’, ‘The Diet’ is a powerful modern indie rock album that is buoyed by warped, analogue pedals / transistors and tailor-made guitar tones. Omori’s winsome vocals crisscross 70’s art rock and classic songwriting all within the span of 40 minutes.

Omori crafted ‘The Diet’ as a series of what can loosely be defined as love songs that metaphorically channel the frustrations and ruptures of his turbulent 2016-2017 into unforgettable compositions with abstract yet sharply rendered lyrics. Omori’s version of the love song medium goes far beyond the la-la-love-you template: “Only a few deal with loving or falling out of love with an actual, physical person,” says Omori. “Then there are, like, love songs to my antidepressants or whatever I thought my life would be like at 27.”

After relocating from Chicago to Los Angeles in 2016, Omori re-examined his whole artistic process. “Whereas on ‘New Misery’ I was locked in a room with a producer for a month tinkering away, this time around I wanted the sessions to be a revolving door of musicians: different people, different aesthetics. I pushed against my inner nature by actively pursuing collaborators.”

‘The Diet’ was recorded at Velveteen Laboratory with Taylor Locke, whose talents wound up being well-suited to the intricacies of the songs that would become ‘The Diet’. “He can sing, he is a multi-instrumentalist. On top of that, he is also a producer. Working with him really lent itself to my process of songwriting,” says Omori.

‘The Diet’ represents a new chapter for the former Smith Westerns member, one in which he stretches out his songwriting chops and uses his life experience to craft loose-limbed, hook-filled songs that combine pop appeal with finely sutured lyrics. “I spent my early 20’s saddled with the ill-conceived, romantic notion that the best songs are written through suffering. The process of trying out a completely different persona and approach in ‘New Misery’, and then facing my negative experiences and the shortcomings of that persona, clarified where I wanted my music to go. While making ‘The Diet’, my songs were constantly presenting themselves to me, and when I got a chance to listen back and read my song journals I saw what a truly beneficial and cathartic event had taken place.” ‘The Diet’s collection of 12 songs has Omori well on his way.

TRACK LISTING

Four Years
Borderline Friends
All By Yourself
Happiness Reigns
Master Eyes
Quiet Girl
Black Rainbow
Natural Woman
Millennial Geishas
Last Line
Queen
A Real You

There’s an inherent flaw in the perennially alternating “rock is back” and “rock is dead” arguments: they are based on the idea that rock music is a logic-based choice a person consciously chooses to make. Contrary to the critics who are looking to suss out cultural trends and movements, the decision to play loud, distorted, unabashed guitar-rock isn’t a strategic move but a higher calling (or curse, depending on one’s point of view). Some might say the pursuit of rocking out via deafening amplifiers, crusty drums and a beer-battered PA is a spiritual one, an affliction that either strikes or doesn’t. Few groups today embody this sentiment like Melbourne’s aptly-named Deaf Wish.

They’re more likely to ask a fellow musician what they do for their “real” job (for one, guitarist Jensen Tjhung works as a builder) than talk shop about publicists, ticket counts and online promotions. They’re a grisly rock group and they’ve already signed to Sub Pop, which is to say they’ve already succeeded beyond their wildest dreams, so anything that comes after (performing in strange new cities, meeting like-minded souls, maybe even selling a t-shirt or two) is a bonus. And if they come to your town, you would be wise to clear your calendar.

Lithium Zion is their fifth full-length album (and second for Sub Pop following 2015’s Pain), and, while it’s a rare case that a group’s fifth album is their best, it may in fact be Deaf Wish’s finest. Their previous albums were recorded in makeshift studios - a wise choice for capturing the hazardous riffing, chemically-stained vocals and fiery rhythms conjured by a group such as this - but this step toward a slightly more professional sound only enhances their power. The record opens with “Easy”, a languid rocker in the rich Australian tradition of groups like X and The Scientists. From there it’s onto “FFS”, a moody downhill rocker sung by guitarist Sarah Hardiman that confirms Deaf Wish’s relation to fellow Sub Pop employees like feedtime and Hot Snakes. “The Rat Is Back” is tense and epic; “Hitachi Jackhammer” pays a brief and noisy tribute to Hitachi’s second most notable device (you’d be forgiven for assuming this song is about vibrators). Lithium Zion is a veritable buffet of garage-punk energy, post-punk pathos, sardonic wit and the fearlessness that comes with Aussie rock, a natural consequence for anyone living on a continent teeming with grapefruit-sized spiders and man-eating mosquito swarms.

As has always been the case, the whole group shares vocal duties, even drummer Daniel Twomey (you know the band is slightly unhinged if they’re letting the drummer sing). Hardiman and Tjhung are as ragged and hairy as ever, chugging along as though krautrock was trying to speed past the late ‘70s but got caught in the sticky grasp of punk. Such is the way of Deaf Wish, a group destined to write songs that are simultaneously stupid and sublime, vulnerable and ferocious, and play them with the unbridled intensity they demand. Anyone serving a life sentence to rock will surely concur.

TRACK LISTING

Easy
FFS
Metal Carnage
The Rat Is Back
Ox
Hitachi Jackhammer
Lithium Zion
Deep Blue Cheated
Birthday
Afraid For You
Through Smoke

It's rare that a band's debut album sounds as confident and self-assured as Rolling Blackouts Coastal Fever's Hope Downs. To say that the first full-length from the Melbourne quintet improves on their buzz-building EPs from the last few years would be an understatement: the promise those early releases hinted at is fully realized here, with ten songs of urgent, passionate guitar pop that elicit warm memories of bands past, from the Go-Betweens' jangle to the charmingly lo-fi trappings of New Zealand's Flying Nun label. But don't mistake Rolling Blackouts Coastal Fever for nostalgists: Hope Downs is the sound of a band finding its own collective voice.

The hard-hitting debut album is a testament to Rolling Blackouts C.F.’s tight-knit and hard-working bonafides. Prior to forming the band in 2013, singers/guitarists Fran Keaney, Tom Russo, and Joe White had played together in various garage bands, dating back to high school. When Rolling Blackouts C.F. started, with Joe Russo [Tom’s brother] on bass, Marcel [Tussie, Joe White's then-housemate] on drums, the chemistry was immediate. After a split EP with You Yangs (another Russo brother's band), released in the form of a frisbee, they self-released Talk Tight in 2015, which Sydney-based record label Ivy League gave a wider release the following year. Talk Tight garnered plaudits from critics, including legendary rock scribe Robert Christgau. In 2017, Sub Pop released The French Press EP, bringing the band's chugging and tuneful non-linear indie rock to the rest of the world as they settled into their sound with remarkable ease.

Hope Downs was largely written over the past year in the band's Melbourne rehearsal room where their previous releases were also written and recorded. The band's core trio of songwriters hunkered down and wrote as the chaos of the world outside unavoidably seeped into the songwriting process. "We were feeling like we were in a moment where the sands were shifting and the world was getting a lot weirder. There was a general sense that things were coming apart at the seams and people around us were too,” Russo explains. The album title, taken from the name of a vast open cut mine in the middle of Australia, refers to the feeling of “standing at the edge of the void of the big unknown, and finding something to hold on to.”

With the help of engineer/producer Liam Judson and his portable setup, the band recorded Hope Downs live, and co-produced ten guitar pop gems over the course of two weeks in Northern New South Wales during the winter of 2017. Hope Downs possesses a robust full-band sound that's all the more impressive considering the band's avoidance of traditional recording studios. If you loved Talk Tight and The French Press, you certainly won't be disappointed here—but you might also be surprised at how the band’s sound has grown. There's a richness and weight to these songs that was previously only hinted at, from the skyscraping chorus of “Sister's Jeans” to the thrilling climax of album closer “The Hammer.”

Hope Downs is as much about the people that populate the world around us—their stories, perspectives, and hopes in the face of disillusionment—as it is about the state of things at large. It's a record that focuses on finding the bright spots at a time when cynicism all too often feels like the natural state. Rolling Blackouts C.F. are here to remind us to keep our feet on the ground—and Hope Downs is as delicious a taste of terra firma as you're going to get from a rock band right now.

TRACK LISTING

An Air Conditioned Man
Talking Straight
Mainland
Time In Common
Sister's Jeans
Bellarine
Cappuccino City
Exclusive Grave
How Long?
The Hammer

Jeremy Enigk performed with legendary indie rock band Sunny Day Real Estate from 1993 to 2000. He was their singer, songwriter, and one of their guitarists. In 1996, following Sunny Day Real Estate’s first breakup (which lasted from 1995 to 1997), Enigk released his first solo album, Return of the Frog Queen.

Return of the Frog Queen represents a major shift from the sound of Sunny Day Real Estate. The album features a 21-piece orchestra backing Enigk as he performs striking, dramatic, chamber-pop compositions that demonstrate the full breadth of Enigk’s talents as a singer, musician, and songwriter. The album was produced by Greg Williamson, who also produced Sunny Day Real Estate’s 1998 comeback album, How it Feels to Be Something On.

Return of the Frog Queen has been out of print since its original 1996 pressing. This reissue includes the original album, remastered in 2018, plus digital bonus tracks from Enigk’s 1996 live session on Seattle radio station The End.

TRACK LISTING

Abegail Anne
Return Of The Frog Queen
Lewis Hollow
Lizard
Carnival
Call Me Steam
Explain
Shade And The Black Hat
Fallen Heart
Abegal Anne (The End Sessions) *digital-only Bonus Track
Return Of The Frog Queen (The End Sessions) *digital-only Bonus Track
Lizard (The End Sessions) *digital-only Bonus Track
Carnival (The End Sessions) *digital-only Bonus Track
Explain (The End Sessions) *digital-only Bonus Track

When asked to describe the title track from his new record, Kyle Thomas—aka King Tuff—takes a deep breath. “It’s a song about hitting rock bottom,” he says. “I didn't even know what I wanted to do anymore, but I still had this urge, like there was this possibility of something else I could be doing… and then I just followed that possibility. To me, that’s what songwriting, and art in general, is about. You’re chasing something. ‘The Other’ is basically where songs come from. It’s the hidden world. It’s the invisible hand that guides you whenever you make something. It’s the thing I had to rediscover to bring me back to making music again in a way that felt true and good.” After years of non-stop touring, culminating in a particularly arduous stint in support of 2014’s Black Moon Spell, Thomas found himself back in Los Angeles experiencing the flipside of the ultimate rock and roll cliche. “I had literally been on tour for years,” recalls Thomas. “It was exhausting, physically and mentally. I’m essentially playing this character of King Tuff, this crazy party monster, and I don’t even drink or do drugs. It had become a weird persona, which people seemed to want from me, but it was no longer me. I just felt like it had gotten away from me.” The ten tracks that make up The Other represent a kind of psychic evolution for King Tuff. No less hooky than previous records, the new songs ditch the goofy rock-and-roll bacchanalia narratives of earlier records in favor of expansive arrangements, a diversity of instrumentation, and lyrics that straddle the fence between painful ruminations and a childlike, creative energy untarnished by cynicism. The soulful and cosmic new direction is apparent from the album’s first moments: introduced by the gentle ringing of a chime, acoustic guitar, and warm organ tones, “The Other” is a narrative of redemption born of creativity. As Thomas sings about being stuck in traffic, directionless, with no particular reason to be alive, he hears the call of “the other,” a kind of siren song that, instead of leading towards destruction, draws the narrator towards a creative rebirth. Elsewhere, tracks like “Thru the Cracks” and “Psycho Star” balance psychedelia with day-glo pop hooks. “The universe is probably an illusion, but isn’t it so beautifully bizarre?” he asks on “Psycho Star,” providing one of the record’s central tenets. At a time when everything in the world feels so deeply spoiled and the concept of making meaning out of the void seems both pointless and impossible, why not try? Thomas self-produced the record, as he did his 2007 debut, Was Dead, but on a far grander scale. He recorded it at The Pine Room, the home studio Thomas built to work on the record, and playing every instrument aside from drums and saxophone. He pulled Shawn Everett (War On Drugs, Alabama Shakes) in to assist with the mixing process. While it would be easy to think of The Other as a kind of reinvention for King Tuff, Thomas views the entire experience of the record as a kind of reset that’s not totally removed from what he’s done in the past. “I can’t help but sound like me,” he says. “It’s just that this time I let the songs lead me where they wanted to go, instead of trying to push them into a certain zone. King Tuff was always just supposed to be me. When I started doing this as a teenager, it was whatever I wanted it to be. King Tuff was never supposed to be just one thing. It was supposed to be everything.”

STAFF COMMENTS

Barry says: A bleak but unbelievably addictive journey into the mind of King Tuff, through the euphoric highs and crushing lows, acoustic balladry and stoned musings. Simmering, heartfelt and absolutely worth every minute. Think the honest acoustic innocence of Daniel Johnston with Jeff Tweedy's perfectly emotive production, and you're somewhere close.

TRACK LISTING

The Other
Raindrop Blue
Thru The Cracks
Psycho Star
Infinite Mile
Birds Of Paradise
Circuits In The Sand
Ultraviolet
Neverending Sunshine
No Man's Land

New York-native songwriter Greta Kline has shared a bounty of her innermost thoughts and experiences via the massive number of songs she has released since 2011. Like many of her peers, Kline’s prolific output was initially born from the ease of bedroom recording and self-releasing offered by digital technology and the internet. But, as she’s grown as a writer and performer, devising more complex albums and playing to larger audiences, Kline has begun to make her mark on modern independent music. Her newest record, Vessel, is the 52nd release from Kline and the third studio album by her indie pop outfit Frankie Cosmos. On it, Kline explores all of the changes that have come in her life as a result of the music she has shared with the world, as well as the parts of her life that have remained irrevocable.

 Frankie Cosmos has taken several different shapes since their first full-band album, 2014’s Zentropy, erupted in New York’s DIY music scene. For Vessel the band’s lineup comprises multi-instrumentalists David Maine, Lauren Martin, Luke Pyenson, and Kline. The album’s 18 tracks employ a range of instrumentations and recording methods not found on the band’s prior albums, while maintaining the succinctly sincere nature of Kline’s songwriting. The album’s opening track, “Caramelize,” serves as the thematic overture for Vessel, alluding to topics like dependency, growth, and love, which reemerge throughout the record. Although many of the scenarios and personalities written about on Vessel are familiar territory for Frankie Cosmos, Kline brings a freshly nuanced point of view, and a desire to constantly question the latent meaning of her experiences. Kline’s dissonant lyrics pair with the band’s driving, jangly grooves to create striking moments of musical chemistry.
Vessel’s 34-minute run time is exactly double the length of Frankie Cosmos’ breakout record, Zentropy, and it is an enormous leap forward. Typically, albums by artists at a similar stage in their careers are written with the weight of knowing that someone is on the other end listening. Yet, despite being fully aware of their ever-growing audience, Kline and band have written Vessel with a clarity not muddled by the fear of anyone’s expectations. Vessel’s unique sensibility, esoteric narratives, and reveling energy lace it comfortably in Kline’s ongoing musical auto-biography.

 Vessel was recorded in Binghamton, New York with Hunter Davidsohn, the producer and engineer who helped craft Zentropy and Next Thing, and at Gravesend Recordings in Brooklyn with Carlos Hernandez and Julian Fader. It features contributions from Alex Bailey (formerly of Warehouse, and now part of the live configuration of Frankie Cosmos), Vishal Narang (of Airhead DC), and singer/songwriter Anna McClellan, all of whom have played on bills with Frankie Cosmos and collaborated on-stage with the band. The final mixes were done by Davidsohn, and the album was mastered by Josh Bonati. 

STAFF COMMENTS

Barry says: Inventive chord progressions, hummable choruses and an innate understanding of melody, Kline is amongst the most bafflingly capable and intensely talented songwriters out there. Highly recommended.

TRACK LISTING

1. Caramelize
2. Apathy
3. As Often As I Can
4. This Stuff
5. Jesse
6. Duet
7. Accommodate
8. I'm Fried
9. Hereby
10. Ballad Of R & J
11. Ur Up
12. Being Alive
13. Bus Bus Train Train
14. My Phone
15. Cafeteria
16. The End
17. Same Thing
18. Vessel

After a 14-year hiatus from the studio, Hot Snakes have triumphantly kicked down the door back into our lives with their new album, Jericho Sirens. And amid the mania of non-stop political rhetoric, doom-and-gloom prognostications and omnipresent technology, it’s not a moment too soon.

 Hot Snakes formed in 2000, after the release of their first record, Automatic Midnight. They were John Reis, Jason Kourkounis, Rick Froberg and Gar Wood. The band’s sound represented a return to the unrealized past of its members. This time, their musics would be direct, undraped and rock ‘n’ roll while still maintaining the dense and turbulent character of the members’ previous work. That year, Hot Snakes found their live sound and established themselves as primo, down-stroke warlords. They followed with a pair of great albums – 2002’s Suicide Invoice, with drummer Jason Kourkounis, and 2004’s Audit in Progress, with Mario Rubalcaba on drums – that broadened the band’s sound while pleasing many a fan. However, the band eventually spiraled downward into a mid-life punk crisis, and by 2005 they had stopped performing.

BUT! 2011 saw the return of Hot Snakes, with a string of festival shows. Both drummers performed with the band on the songs which they recorded, and the group discussed writing new material. After an additional 6 years of discussions, Hot Snakes returned to the studio in 2017 to commence recording, and the results are, finally, revealed in Jericho Sirens.

Musically, Jericho Sirens incorporates the most extreme fringes of the Hot Snakes sound (the vein-bulging, 78-second “Why Don’t It Sink In?” the pounding downstrokes of “Having Another?”), while staying true to longstanding influences such as the Wipers, Dead Moon and Suicide on propulsive tracks such as “Six Wave Hold-Down,” one of the first written for the project during a New Year’s Eve 2017 session in Philadelphia. Other moments like the choruses of “Jericho Sirens” and “Psychoactive” nod to classic-rock titans such as AC/DC and Ozzy Osbourne, with Froberg admitting, “I’m as much a hesher as I am anything else, that’s for sure.” For Reis, reactivating his creative partnership with Froberg was one of the most rewarding aspects of the process: “Our perspectives are similar. Our tastes are similar. We work really well together. And what more is there to say? Rick totally outdid himself on this record, vocally and lyrically.”

Jericho Sirens was recorded in short bursts over the past year in Philadelphia and San Diego, with assistance from longtime bassist Gar Wood. Kourkounis and Rubalcaba, both of whom drummed on prior Hot Snakes releases but never on the same one, contributed throughout.

TRACK LISTING

I Need A Doctor
Candid Cameras
Why Don't It Sink In?
Six Wave Hold-Down
Jericho Sirens
Death Camp Fantasy
Having Another?
Death Doula
Psychoactive
Death Of A Sportsman

Suicide Invoice is Hot Snakes' second album, and was originally released in 2002. It was recorded at San Diego’s Drag Racist Studios in 2002 with engineer Ben Moore. The album exhibits Hot Snakes’ slightly larger palate in mood and dissonance. People enjoyed the shows and listening to the recorded music. But, strain from controversy and fame would reveal cracks in the seemingly impenetrable hide of Hot Snakes. A year after the album’s release, drummer Jason Kourkounis left to focus on other music.

TRACK LISTING

1. I Hate The Kids
2. Gar Forgets His Insulin
3. XOX
4. Who Died
5. Suicide Invoice
6. Paid In Cigarettes
7. LAX
8. Bye Nancy Boy
9. Paperwork
10. Why Does It Hurt
11. Unlisted
12. Ben Gurion

The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are on proud display over the course of Cry Cry Cry, the band’s thunderous first album in seven years.

That unique combination of sounds and influences, spearheaded by electric co-frontmen Spencer Krug and Dan Boeckner—a complex yet relatable, energetic brew of glam, prog, synth-rock, and satisfying discomfort—helped define 2000s indie rock with three critically celebrated albums, and propelled a growing Wolf Parade fandom even after the band went on a then-indefinite hiatus in 2010.

The album is their first to be produced by Pacific Northwest legend John Goodmanson (Bikini Kill, Sleater-Kinney, Unwound) at Robert Lang Studios outside of Seattle, and is accompanied by a renewed focus and the creativity of a band that took their time getting exactly where they needed to be. It’s also a homecoming to Sub Pop, which released all three of the band’s previous albums.

“The band itself is almost a fifth member of the band, something more or at least different than the sum of its parts,” says Krug. “We don't know who or what is responsible for our sound, it's just something that naturally and consistently comes from this particular combo of musicians.”

“Once we got back together, I was playing guitar, writing and singing in a way that I only do while I'm in Wolf Parade,” says Dan Boeckner, who shares primary lyrical and singing duties with Spencer. “It’s just something that I can't access without the other three people in the room.”

In the time apart, the band scattered geographically and focused on family and other work--Spencer on his solo project Moonface, Dan on his bands Handsome Furs, Operators, and Divine Fits (with Spoon’s Britt Daniel), and Dante De Caro on records with Carey Mercer’s Frog Eyes and Blackout Beach. And that time allowed for an even stronger, tighter band to emerge.

Eventually, Spencer, Dante, and Arlen found themselves all back living on remote Vancouver Island, accompanied by a population density less than that of Alaska, and the tranquility that leads to creative emanations like a government-sponsored bathtub race. With Dan on the same coast in Northern California, discussions began about picking things up where they left off.

“All of our albums are always a reaction to our last one,” says Arlen. “Expo 86 (2010) was about as sparse as we get, which is usually still pretty dense, and this time we wanted to make the palette a little larger.” Adds Dante, “Expo was a real rock record. We just sort of banged it out, which was kind of the point.” Cry Cry Cry, on the other hand, is more deliberate in its arrangements and embrace of the studio process. “If a part was going on for too long it would get lopped, you know?” says Dan. “That being said, there are two very long songs on the record and I don't think it would be a Wolf Parade record if it didn't have some kind of prog epic.”

“I think we're actually a better band than we were when we stopped playing music together,” says Arlen. “A little bit more life experience for everybody, and people having made a bunch of records on their own.”

The result of this new consciousness is songs like “Valley Boy,” a Bowie-inflected anthem for which Spencer wrote lyrics after Leonard Cohen died the day before the 2016 election (“The radio’s been playing all your songs, talking about the way you slipped away up the stairs, did you know that it was all gonna go wrong?”). “You’re Dreaming,” also influenced by the election and the spinning shock that followed, is driving, urgent power pop that draws from artists like Tom Petty and what Dan calls one of his “default languages” for writing music. The swirly, synth-heavy crescendo of “Artificial Life” takes on the struggle of artists and at-risk communities (“If the flood should ever come, we’ll be last in the lifeboat”).

The album carries a sense of uprising that is not unrelated to Wolf Parade’s renewed determination to drive the band forward in uncertain times. Welcome to Cry Cry Cry.

All right
Let’s fight
Let’s rage against the night

- “Lazarus Online” (Spencer Krug)

STAFF COMMENTS

Barry says: Poppy, snarling odes to love and life, filtered through Wolf Parade's unmistakable style. In parts minimalistic before launching into roaring rock anthems. Undoubtedly brilliant, and finally out!

TRACK LISTING

1. Lazarus Online
2. You’re Dreaming
3. Valley Boy
4. Incantation
5. Files On The Sun
6. Baby Blue
7. Weaponized
8. Who Are Ya
9. Am I An Alien Here
10. Artificial Life
11. King Of Piss And Paper

Nobody cared about their old heads, because the new ones work just fine now, don't they?.... they have the same size mouth and eyes.

The song “Old Heads” is a sci-fi space anthem to technology that constantly replaces itself, proving both necessary and unnecessary at the same time. It’s also a jangly pop gem, a trip through the fantastical that is ultimately warm and relatable. 

For an album that’s about “not feeling comfortable with really anything,” as VanGaalen says, Light Information is nonetheless a vivid, welcoming journey through future worlds and relentless memories. The rich soundscapes and sometimes jarring imagery could only come from the mind of a creative polymath--an accomplished visual artist, animator, director, and producer, VanGaalen has scored television shows, designed puppet characters for Adult Swim, directed videos for Shabazz Palaces, Strand of Oaks, METZ, Dan Deacon, and The Head and the Heart, and produced records for Women, Alvvays, and others.

While alienation has always been a theme of VanGaalen’s music, Light Information draws on a new kind of wisdom--and anxiety--gained as he watches his kids growing up. “Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that's happening through the internet,” he says. Throughout the dark-wave reverb of Light Information are stories of paranoia, disembodiment, and isolation--but there’s also playfulness, empathy, and intimacy.

The product of six years’ work, going back even before 2014’s Shrink Dust, Light Information emerged from the experimental instruments that fill VanGaalen’s Calgary garage studio. As always, VanGaalen wrote, played, and produced all of the music on Light Information (save Ryan Bourne’s bass part on “Mystery Elementals” and vocals on “Static Shape” from his young daughters Ezzy and Pip), and designed the cover art.

TRACK LISTING

Mind Hijacker’s Curse
Locked In The Phase
Prep Piano And 770
Host Body
Mystery Elementals
Old Heads
Golden Oceans
Faces Lit
Pine And Clover
You Fool
Broken Bell
Static Shape

Talk Tight is Rolling Blackouts Coastal Fever’s first release, and it was originally released on CD in March of 2016 on Ivy League Records in the band’s home country of Australia. Talk Tight – a mini-album, or extended EP, if you will – garnered the band critical acclaim in their home country and in the US, where Pitchfork gave the record an 8.0 and described it like so:
Seven rip-roaring tracks that move by their own logic, any one of which could be a single and all of which leave you wanting more in the best way possible... Listening to these seven tunes, you can easily trace a national lineage: the relentlessness of Radio Birdman, the pop literacy of the Go-Betweens, the rambunctious energy of the Easybeats, and the belief—shared with Courtney Barnett—that guitars are not just crucial to the message but might very well be the message themselves.

This release is the first time Talk Tight has been available worldwide, and the first time it is available on vinyl anywhere. The band released their Sub Pop debut, The French Press EP, in March of 2017, and they are currently working on their first full-length album.

TRACK LISTING

1. Wither With You
2. Wide Eyes
3. Heard You’re Moving
4. Clean Slate
5. Tender Is The Neck
6. Write Back
7. Career

In early 2016, the release of ‘Talk Tight’ put Rolling Blackouts Coastal Fever on the map with glowing reviews from SPIN, Stereogum and Pitchfork, praising them as stand outs even among the fertile landscape of Melbourne music. Chock full of snappy riffs, spritely drumming and quick-witted wordplay, ‘Talk Tight’ was praised by Pitchfork “for the precision of their melodies, the streamlined sophistication of their arrangements, and the undercurrent of melancholy that motivates every note.”

The band was born from late night jam sessions in singer / guitarist Fran Keaney’s bedroom and honed in the thrumming confines of Melbourne’s live music venues. Sharing tastes and songwriting duties, cousins Joe White and Fran Keaney, brothers Tom and Joe Russo and drummer Marcel Tussie started out with softer, melody-focused songs. The more shows they played, the more those driving rhythms that now trademark their songs emerged. Since then, Rolling Blackouts Coastal Fever rode that wave from strength to strength. Touring around the country on headline bills and festival slots all the way to BIGSOUND, the entrenched themselves with their thrilling live shows while prepping their next release.

‘The French Press’ levels up on everything that made ‘Talk Tight’ such an immediate draw. Multi-tracked melodies which curl around one another, charging drums and addictive basslines converge to give each track its driving momentum. Honed through their live shows, this relentless energy carries the record through new chapters in the band’s Australian storybook. Rolling Blackouts Coastal Fever’s songs have always had all the page-turning qualities of a good yarn and ‘The French Press’ is no different. Somewhere between impressionists and fabulists, lyricists Fran Keaney, Tom Russo and Joe White often start with something rooted in real life - the melancholy of travel on ‘French Press’, having a hopeless crush on ‘Julie’s Place’ - before building them into clever, quick vignettes. The result is lines blurred between fiction and reality - vibrant stories which get closer at a particular truth than either could alone.

Blending critical insight and literate love songs, ‘The French Press’ cements Rolling Blackouts Coastal Fever as one of Australia’s smartest working bands.

TRACK LISTING

French Press
Julie’s Place
Sick Bug
Colours Run
Dig Up
Fountain Of Good Fortune

Seattle MC Porter Ray comes correct on his Sub Pop debut with a mesemeric and multi-layered set of spectral, sub-driven hip hop. "Watercolor" is a snapshot of Porter’s life and the lives of his friends growing up in Seattle. The album captures a specific time period, before things began rapidly changing around their neighborhoods, and it delves into the experiences that shaped Porter, the situations he and his friends survived, and how they overcame the adversity they faced. Porter’s influences – including hip-hop classics like Nas’s Illmatic, Common’s Be, and Mos Def & Talib Kweli’s ...Are Black Star – shine through in both the beats and production, and his deeply personal lyrics. Porter was born and raised in and around Seattle’s Central District/Capitol Hill/Columbia City/Beacon Hill neighborhoods. He wrote short stories and poetry before he began writing rhymes in middle school and early high school, and started recording music towards the end of high school. "Watercolor" follows a string of acclaimed, self-released mixtapes -- Electric Rain, Nightfall, Fundamentals, BLK GLD, WHT GLD, RSE GLD -- all of which have been available as free downloads via Bandcamp. Featuring world beating singles “Sacred Geometry”, “Lightro [Looking for the Light]”, “Arithmetic” and "Bulletproof Windows", the album also includes performances from Jus Moni, Debra Sullivan, and Chimurenga Renaissance. "Watercolor" was recorded in various studios in Seattle, mostly mixed by Erik Blood (Shabazz Palaces, THEESatisfaction, Tacocat), with a few songs co-mixed by Vitamin D (Macklemore, Abstract Rude, Black Sheep). Watercolor was produced by B Roc, with additional songs produced by DJ El Grande, KMTK, and Tele Fresco.

TRACK LISTING

1. Waves
2. East Seattle
3. Bulletproof Windows Ft. Nate Jack
4. Past Life Ft. Cashtro + Black
5. Everybody [Interlude] Ft. Fly Guy Dai [Shabazz Palaces] 
6. The Mirror Between Us Ft. JD + JusMoni 
7. Sacred Geometry Ft. Cashtro + The Palaceer
8. Arithmetic Ft. Infinite + Stas Thee Boss
9. Navi Truck
10. Lightro [Looking For The Light]
11. Dissolving In A Daydream
12. My Mother’s Words Ft. Debra Sullivan
13. Beautiful Ft. Aslan T. Rife + The Palaceer
14. Sacred Geometry [CONSTELLTION MIX] Ft. Cashtro + The Palaceer *LP Bonus Track
15. Vanilla Coke *LP Only Bonus Track
16. Sacred Geometry [Instrumental] *LP Only Bonus Track
17. Brothers [Instrumental] *LP Only Bonus Track
18. Arithmetic [Instrumental] *LP Only Bonus Track

‘Hidden Driver’, the opening track of LVL UP’s third album and Sub Pop debut ‘Return To Love’, never stops moving. What starts with unassuming guitars and vocals adds new lines, depths and intensity, until its unrestrained, triumphant finish. “God is peeking, softly speaking,” repeats the chorus, working through the relationship between spirituality and creative inspiration and introducing a band that is always pushing further.

LVL UP - guitarists Mike Caridi and Dave Benton, bassist Nick Corbo and drummer Greg Rutkin - are a true collaboration, a band that takes the stylistically distinct ideas of four members and brings them together into something new. Caridi, Benton and Corbo write and sing equally, bringing their work to the group to be fully realized, resulting in an album built on different perspectives but a common drive. “We have very different inspirations across the board,” says Benton, noting his own admiration for the writer and documentarian Astra Taylor, Corbo’s interest in the mystical and the occult and Caridi’s attention to personal storytelling. The music itself grows from a shared melodic and experimental sensibility, as well as a nod to iconic influences like Neutral Milk Hotel and Mount Eerie.

LVL UP were formed in 2011 at SUNY Purchase as a recording project between Caridi, Benton and their friend Ben Smith, with the original intention of releasing a split cassette with Corbo’s then-solo material. They instead released that album, ‘Space Brothers’, as one band and Rutkin joined shortly afterwards for the group’s first show. Smith left the band for personal reasons just before the release of second album, ‘Hoodwink’d’, a joint release on Caridi and Benton’s labels Double Double Whammy and Exploding In Sound. Double Double Whammy also put out records from other artists in the tight-knit community that launched the band.

Also part of that university community was ‘Return To Love’s producer Mike Ditrio, who mixed LVL UP’s previous records and “was basically a fifth member of the band,” says Corbo. “He played a huge role in developing the sound, without butting in too much. He also navigated our personal dynamic really nicely.”

TRACK LISTING

Hidden Driver
Blur
She Sustains Us
Spirit Was
Pain
The Closing Door
Five Men On The Ridge
Cut From The Vine
I
Naked In The River With The Creator

Originally recorded over three sessions with producer Jack Endino at Seattle’s Reciprocal Recording Studios in December 1988 and January 1989, ‘Bleach’ was released in June 1989 and remains unequivocally / unsurprisingly Sub Pop’s very favourite Nirvana full length. The album initially sold 40,000 copies but was brought into the international spotlight following the release and worldwide success of their 1991 sophomore effort, ‘Nevermind’. Subsequently ‘Bleach’ went on to sell 1.7 million copies in the US alone.

Sometimes you have to rip it up and start again. It was a tough call for Dee Dee. Dum Dum Girls was her guise for most of a decade, an outlet through which she’s crafted a resonant, instantly identifiable body of work. Over the course of three albums, four EPs and an array of singles, Dum Dum Girls morphed from the girl-group-gone-bad moves of their 2010 debut, ‘I Will Be’, to the plush noir-pop of 2014’s ‘Too True’, a dark heart burning bright but as her music evolve she found that for many she would be forever refracted through the prism of Dum Dum Girls’ early work: retro-leaning female harmonies, a backdrop of lo-fi, fuzzed up guitars.

In 2015 she decided to shed her skin, ditching Dee Dee for Kristin, her real name and adding Kontrol. It was a spontaneous idea that resonated. The challenge was to start fresh, go further back into her relationship to music. Sweep all her loves together into one genreless experience. “The first music I felt was mine was classic 80s pop and 90s R&B, from Tiffany, Janet Jackson and Madonna to TLC, SWV, and Aaliyah,” she says. “But for years I was hellbent on the rock ‘n’ roll thing, revering Joan Jett, Patti Smith, Chrissie Hynde,” - a rebellion against her classical vocal training - “but I was like, fuck it, I’m just going to try it all. I’m going to pretend I’m Kate Bush covering Mariah.”

Refocused and inspired, Kristin wrote 62 songs, whittled the list to ten for ‘XCommunicate’ and finished the album with the help of new producers Kurt Feldman (who had produced her ‘On Christmas’ single a few years back) and Andrew Miller (who played guitar on the first Dum Dum Girls album and had joined the band in its last incarnation).

Arguably the biggest shift, beyond the music itself, is that as Kristin Kontrol she tells her stories using a sonic palette splashed with bold pop melodies, her vocals showcasing a range hitherto unexplored on record. The songs that emerge from Kristin’s universe - a menagerie of new wave and R&B, European synth pop and experimental disco - are both familiar and unique, using genre rather than adhering to it, with a distinct nod to the present. It may be a leap into the unknown, but “little risk means little reward,” as Karen O once counselled her. “I feel free. I kind of excommunicated myself. Even if I have to rebuild my whole career, I’d rather work hard than feel stagnant. I feel excited again, and that's priceless.”

STAFF COMMENTS

Barry says: I was born in the early 80's, It was a time (allegedly) when cheesy synth washes and digital synthesis was at it's peak. I was unfamiliar with the musical trends of the time, I was unemployed and partially useless. I was heavily reliant on others. What I should have been doing instead of lolling about at my parents gaff was getting a head-start on what would, 30 years later become my go-to cheer-up genre of choice. Gated synths and reverse-reverbed drums are in abundance, they use a LOT of chorus. They're not afraid of chorus' (chorii?) and verses. Feel-good retro synth-pop with a modern twist. Thoroughly surprised me this one, but i'm glad it did.

TRACK LISTING

Show Me
White Street
(Don’t) Wannabe
X-Communicate
Skin Shed
Drive The Night
What Is Love
Face 2 Face
Going Thru The Motions
Smoke Rings

‘Three Men And A Baby’ is the new album by Mike (Kunka, bassist / vocalist of godheadSilo) and The Melvins.

In 1998, Mike and his friends The Melvins - who at that time were King Buzzo (guitar / bass / vocals), Dale Crover (drums / vocals) and Kevin Rutmanis (bass / vocals) - started making a record at Tim (The Champs) Green’s Louder Studios. Complications occurred and the incomplete recording sat until 2015, when everyone reconvened and finished the damn thing at Sound Of Sirens in LA with Toshi Kasai.

The results are worth the wait. Mike’s signature bass crunch and vocals are all over it and The Melvins are in fine form. The album has everything from hefty noise rock churn to a Public Image Ltd. song to cough syrup blues to deconstructed black metal.

TRACK LISTING

Chicken ‘n’ Dump
Limited Teeth
Bummer Conversation
Annalisa
A Dead Pile Of Worthless Junk
Read The Label (It’s Chili)
Dead Canaries
Pound The Giants
A Friend In Need Is A Friend You Don’t Need
Lifestyle Hammer
Gravel
Art School Fight Song

Former Smith Western frontman Cullen Omori releases his debut long player, ‘New Misery’, through Sub Pop Records.

The album, which features the highlights ‘Cinnamon’ and ‘Sour Silk’, was recorded by Shane Stoneback (Sleigh Bells, Fucked Up, Vampire Weekend) at the now defunct Treefort Studios and was mastered by Emily Lazar (Sia, HAIM, Vampire Weekend, Arcade Fire, Bjork) at The Lodge.

In early 2014 Omori began working on the solo material that has now fully materialized as ‘New Misery’, a collection of 11 songs building upon his own musical past while reaching towards the future of what guitar rock could be. His songs marry dark yet blissful pop with vocal melodies and hooks that are at once immediate yet demand to be heard again and again.

Along with Omori, ‘New Misery’ features additional bass and keyboards from Ryan Mattos, drums from Loren Humphrey and James Richardson on guitar. Unlike the more distributed roles within the Smith Westerns, Omori wrote, played and oversaw nearly every part of the new album, beginning a true new chapter of his long-term creative growth.

Cullen Omori knows it’s a false cliché to say there are no second acts in American lives but after the 2014 breakup of his acclaimed band the Smith Westerns living that cliché was his greatest fear. His solo debut is a direct challenge to that anxiety: an album that goes beyond the glam punch of the Smith Westerns to new sounds, new sources of inspiration and greater self-awareness.

TRACK LISTING

No Big Deal
Two Kinds
Hey Girl
And Yet The World Still Turns
Cinnamon
Poison Dart
Sour Silk
Synthetic Romance
Be A Man
LOM
New Misery

After nearly ten years as the creative force behind much-loved New York rock outfit Hooray For Earth, Noel Heroux had lost his way. “I was constantly cutting corners and phoning everything in,” he says. “I was super depressed. I was creatively frustrated. I was emotionally unavailable to the people I really, really wanted to be there for - and no matter how much I cared, I just couldn’t change. But when I realized that I needed to the end the band and just try again, my head cleared and the clouds parted. I’d been derailed somehow,” he adds

“So I allowed myself to return to the beginning.”

This year marks the release of ‘Mass Gothic’, the Massachusetts-bred, New Yorkbased singer / songwriter’s self-titled Sub Pop debut. Written and recorded at home over four months during the winter of 2013 - 2014, it’s a stunning reminder of not just Heroux’s own remarkable talents as singer and songwriter but how unbridled creativity can sound and feel: before Hooray For Earth had quickly become a fullyfunctioning band it began as a solo project. Not pressure or compromises, just Heroux, a four-track and an irrepressible urge to “jot down all of the noise and music floating around in my head” and make it available to other people. “All I wanted to do was whatever I do when I’m alone and I’m unconcerned with what anyone else wants or expects,” he says. “I did my best to let go, and what came out was pure, uncut. It reminded me of the first few times I made music, when I was a young kid. I didn’t set any rules and I had zero expectations.”

The result is an expansive, often exhilarating set of guitar-driven pop that required very little editing when it was done. Additional mixing was provided by Chris Coady (Beach House, TV On The Radio) with mastering done by Greg Calbi (Father John Misty, Tame Impala) at Sterling Sound. The album was engineered by Wall at Tastefully Loud and mastered by Eric Boulanger at The Bakery in Los Angeles.

From the iridescent doo-wop of ‘Every Night You’ve Got to Save Me’ to the skyward crescendo of ‘Mind Is Probably’ to the falsetto-streaked clatter of ‘Want To, Bad’, it’s a radiant retelling of Heroux’s starting over, with ‘Nice Night’ as its cathartic, electrifying centrepiece.

“A lot of these songs are more or less a really dramatic, loud apology / thank you note,” he says, referencing his partner, collaborator and future tour mate, Jessica. “It didn’t matter where any of the sounds came from. I just cared that it sounded big and heavy, and that it was moving when it was done. It’s a clean slate entirely - and I’m so relieved.”

TRACK LISTING

Mind Is Probably
Own The Road
Want To, Bad
Pier Pressure
Nice Night
Every Night You’ve Got
To Save Me
Money Counter
Territory
Soul
Subway Phone

Seattle duo Stasia Irons and Catherine Harris-White return as THEESatisfaction with ‘EarthEE’, the follow up to their acclaimed 2012 debut ‘awE naturalE’.

The album, led by highlights ‘Recognition’, ‘Nature’s Candy’ and the title track, was recorded in Seattle and Brooklyn and features guest appearances from Shabazz Palaces' Ishmael Butler, Meshell Ndegeocello, Porter Ray and Taylor Brown. The set features Stas and Cat rapping and singing over sublime soul-jazz, SA-RA style wonkiness and spacious psych-funk textures, creating a seductive album that draws you in.

‘EarthEE’ was produced by THEESatisfaction and Erik Blood, mixed by Blood at Protect And Exalt Studios: A Black Space and mastered by Adam Straney at BreakPoint Mastering in Seattle.

TRACK LISTING

Prophetic Perfection
No GMO
Planet For Sale
Blandland
Fetch / Catch
Nature’s Candy
EarthEE
Post Black Anyway
Universal Perspective
WerQ
Sir Come Navigate
Recognition
I Read You

“Sanity, a visage of my wealth
Lost but always found before the idols that I’ve knelt
Strategy, the only way to cry
Keep it do or die and always think in terms of I
Reverie, some legend futures past
Revelry, instead for it renders hella fast
Capitol, a sound that’s on the rise
It’s slaking unrealized until essence has been razed
Sepulcher, a stage enlived by ghosts
Floating off with bags of the blood encrusted dough.”

- “They Come In Gold” (from “The Phasing Shift” suite)

Herein bumps and soars 'Lese Majesty', the new sonic action of Shabazz Palaces. Honed and primal, chromed and primo. A unique and glorified offering into our ever-uniforming musical soundscape. 'Lese Majesty' is a beatific war cry, born of a spell, acknowledging that sophistication and the instinctual are not at odds; Indeed an undoing of the lie of their disparate natures.

'Lese Majesty' is not a launching pad for the group’s fan base increasing propaganda. It is a series of astral suites, recorded happenings, shared. A dare to dive deep into Shabazz Palaces sounds, vibrations unfettered. A dope-hex thrown from the compartments that have artificially contained us all and hindered our sublime collusion.

These reveries were sent to Palaceer Lazaro and Fly Guy ‘Dai in the year of gun beat battles in excess; In a succession of days, whilst walking in dreams and in varied transcendental states….(every minute of every day is filled with observation and composition. In action). Songs are committed and gathered by robots at Protect and Exalt Labs, a Black Space in Seattle, Washington.

TRACK LISTING

Dawn In Luxor
Forerunner Foray
They Come In Gold
Solemn Swears
Harem Aria
Noetic Noiromantics
The Ballad Of Lt. Maj. Winnings
Soundview
Ishmael...
Down 155th In The MCM Snorkel
Divine Of Form
#CAKE
Colluding Oligarchs
Suspicion Of A Shape
Mindglitch Keytar TM Theme
Motion Sickness
New Black Wave
Sonic Mythmap For The Trip Back

Obits are a four-piece band who currently live in Brooklyn, NY, and whose music is probably considered an occupant of the rock music genre, specifically in the areas of garage, punk, surf, surf-punk, and garage-punk.

On this new album, ‘Bed & Bugs’, they’ve also covered a song (‘Besetchet’) from Volume 23 of the excellent ‘Ethiopiques’ series. So much for tidy categorization. · This is the third full length album by Obits, following their 2011 album ‘Moody, Standard And Poor’, which itself followed their 2009 album ‘I Blame You’.

‘Bed & Bugs’ was recorded by Nikhil Ranade, Eli Janney and Geoff Sanoff.

The discerning listener may well note more than a passing similarity to such bands as Hot Snakes, Edsel, Drive Like Jehu, Girls Against Boys, Pitchfork, and possibly Television or the Wipers. This is un-coincidental - with the exception of those last two, Obits share members with all of those bands.

TRACK LISTING

Taste The Diff
Spun Out
It’s Sick
This Must Be Done
Pet Trust
Besetchet
Operation Bikini
Malpractice
This Girl’s Opinion
Receptor
I’m Closing In
Machines
Double Jeopardy (For The Third Time)

Ruthless Sperm. What’s in a name? A whole hell of a lot, actually. Sperm can ruin everything. Persistent little shits that fight their way to the prize. If just one soldier gets ahold of its egg of choice, things will break apart, bubble and mutate. A microscopic violence that leads to thirty plus pounds of sludge and flesh. Still, beauty tends to be the outcome after all this splashy mess and most parties find a happy, rewarding ending. Most parties. To the unfortunate others, the outcome can be more terrifying than anything dreamed up in a Polanski flick.

Italy’s His Electro Blue Voice follows a similar path to creation. Once the choice is made, it’s guaranteed the trip will be violent and unrelenting. Only the band doesn’t tell you up front which crooked path is gonna lead you to the finish line (at first, they may not even know). But whether it’s slathered in a thick glaze of neo-gothic guitar, an unexpected electronic pulse or leveled under a death trip full of panic inducing terror shrieks, His Electro Blue Voice have become masters at building soundscapes that leave brave listeners spent, soiled and with nothing positive on their mind.

On Ruthless Sperm – His Electro Blue Voice’s debut full-length, after a string of collectible singles/EPs and an appearance on the Sub Pop 1000 compilation – they set their trajectories on a Kraut-driven rhythm; a haunting, cinematic wash or a mechanically-sound industrial thump. Thirty-plus minutes of shock-horror blasts, blaring cyber-synth attacks and that gloriously-repetitive Stoogeoid-meets-Killing Joke throb. The end result is a platter that’s as direct as it is deadly. Yet for all the bombast and bummer, His Electro Blue Voice still bring forth euphoric hooks and shards of shoegaze, if only to leave them strewn about within the mechanical wreckage. You can almost hear the sounds of the early 4AD roster in the grooves, left teetering between warped indie sensibility and creepy-crawl madness. Crazy sounding, but damned if it doesn’t stick in your head.

Ruthless Sperm by His Electro Blue Voice: subtle as a construction site and precise like a leather gloved killer. This is the apocalypse. This is end times. Thankfully we get a decent soundtrack to go with it.

TRACK LISTING

Death Climb
Spit Dirt
Sea Bug
Tumor
The Path
Born Tired
Red Earth

The name is Daughn Gibson - rhymes with Jaughn, or Raughn.

He first entered the daydreams of the general public in 2012 with his acclaimed debut, All Hell. Armed with modern technology and a pile of thrift-store records, Daughn shook the ghosts out of scratchy Christian folk records and baptized them as fierce Americana with his booming baritone voice.

It's on Daughn's second album and Sub Pop debut, Me Moan, that he truly reveals himself to the world. If All Hell was a gritty black-and-white movie, Me Moan is a widescreen IMAX 3D extravaganza. While the roots of All Hell’s sample-based music remain, these songs are performed live, lushly detailed and richly orchestrated. Live drums, guitars (by John Baizley of Baroness and Jim Elkington of Brokeback), pedal steel, horns, house strings, bagpipes and organs appear on this record,

Like Cormac McCarthy or Robert Altman, Daughn Gibson is a uniquely American artist who throws his soul into his work, free of compromise, possessed by unique vision and so damn intense that he constantly teeters on spontaneous combustion. It's not out of line to consider Me Moan as his Blood Meridian; his Nashville. All that's left is for you to let Daughn in.

TRACK LISTING

The Sound Of Law
Phantom Rider
Mad Ocean
The Pisgee Nest
You Don't Fade
Franco
Won't You Climb
The Right Signs
Kissin On The Blacktop
All My Days Off
Into The Sea

When Jaill nonchalantly stepped into the room with 2010’s ‘That’s How We Burn’, the group had already turned out a small catalogue of selfrecorded and self-released albums and EPs.

SPIN said of ‘That’s How We Burn’, “What elevates their [Sub Pop] debut beyond your average tweepunk rager is the gentle psych dabblings: extra delay on a guitar solo, an errant ‘ooh-ahh-ooh,’ a dubby Panda Bear flourish, and the swirling noise that murmurs through the background.”

Recorded throughout 2011 in Kircher’s crummy, poorly lit basement, with minimal gear and a control room of thrift store afghans, and mixed at NY’s Rare Book Room by Nicolas Vernhes.

Milwaukee-based psych-pop three-piece confronting a malfunctioning universe with an inventive, lean 11-song album.

STAFF COMMENTS

Ryan says: Jaill have stuck with their jangly 90's anti-anthems since their last release but this time round, it all feels more confident and honed. Each track is a winner in it's own right!

TRACK LISTING

1. Waste A Lot Of Things
2. Everyone's A Bitch
3. Perfect Ten
4. Horrible Things (Make Pretty Songs)
5. I'm Home
6. House With Haunting
7. Madness
8. Million Times
9. Ten Teardrops
10. While You Reload
11. Stone Froze Mascot

The fifth album from Greg (Afghan Whigs / Gutter Twins) Dulli’s Twilight Singers collective, and the group’s first in five years.

The Twilight Singers’ previous release, the acclaimed confessional opus "Powder Burns", came out in 2006.

"Dynamite Steps" is clearly the next chapter, a whole new level of catharsis and progress, evocatively cramming all the highs and lows of the maverick singer-songwriter’s past half-decade into unexpected sonic trapdoors.

'Shot on location' at various locales significant to Dulli’s life, you can hear the sense of place emanating up from the grooves of "Dynamite Steps". Here, the weary nighttime decadence of New Orleans rubs up against the oppressive sunshine of Los Angeles and the desolation of Joshua Tree’s desert vistas.

"Dynamite Steps" explores the thin line between life and death, mortality and immortality, resignation and celebration—that mythical moment when your life flashes before your eyes, drawn out here over the course of eleven songs.

The album’s forty-three minutes prove an unflinching odyssey through the dark side, but one that’s ultimately redemptive in its scope and power.

Various guests contribute to the new album, including: Ani DiFranco, Joseph Arthur, Petra Haden, Carina Round, Nick McCabe (The Verve) and Mark Lanegan.

'Though the Afghan Whigs were still about a year away from hitting the peak of their powers in the studio, their second album, 1990's "Up in It", was a major improvement over their self-released debut, and it was their first recording to suggest that they would mature into one of the best American rock bands of the 1990s. As a songwriter, Greg Dulli was starting to really get in touch with his self-loathing, and "Retarded," "White Trash Party," and "I Know Your Little Secret" offer a powerful and sometimes disturbing look into one man's obsessions. Just as importantly, the band had finally learned to make the most of their musical muscle; Greg Dulli's nicotine-laced growl merged 'heavy-alternative' bellow with a soul man's sense of phrasing, while the guitars of Dulli and Rick McCollum and the rhythm section of John Curley and Steve Earle managed to combine bruising power with a remarkable sense of drama and dynamics.'

Ace angular, new wave / punk, taken from their "Make Up The Breakdown" album.

The Catheters bring real energy back to a genre all too often plagued by bands simply going through the motions. For fans of The Dwarves, Dead Boys, Murder City Devils & The Germs...

Currently creating a bit of a fuss Stateside, this Seattle band merge Mudhoney, The Stooges and Sabbath with good old punk rock!

A long overdue retrospective from the kings of Antipodean Punk Rock & Roll.

‘Field Songs’ is the fifth solo album by Mark Lanegan, released in 2001.

TRACK LISTING

One Way Street
No Easy Action
Miracle
Pill Hill Serenade
Don’t Forget Me
Kimiko’s Dream House
Resurrection Song
Field Song
Low
Blues For D
She Done Too Much
Fix

Compilation of hardcore, thrash, grind and metal from the North West of the USA.