Having been a band for over two decades, Evansville, IN’s Mock Orange have seen and done quite a bit throughout the years. Despite releasing a handful of ever-evolving albums and EPs, touring the world over, and slowly amassing a devoted fanbase, there was bound to be a hiccup at some point. It arrived upon the culmination of the band’s most recent recording sessions when a hard drive failure meant all of their recordings were in jeopardy. Fast forward a couple years — and several hard drive specialists later — and the recordings were finally recovered safely.
Saturday, May 28, 2016
Conceived by TBTCI Records with the contribution of all bands present in this project.
We are dedicated this tribute to Peter Hook, Bernard Sumner, Gillian Gilbert and Stephen Morris.
The House of Love are one of the greatest, most underrated British guitar bands. Hailing from London in the late 80’s, their detailed psychedelic guitar work marked a new era in guitar renaissance. The House of Love’s music is filled with melancholic splendor. Clear, shimmering electric guitars, warm sonic acoustics, along with Guy Chadwick’s tormented, joyful and florid tone and lyrics remind us of their songwriting brilliance. The House of Love stand on their own. From their unparalleled produced studio albums to their powerful live performances, their music transcends the test of time.
- Victor MA Nash (Appeal to Heaven)
Tuesday, May 24, 2016
Australia’s Gallery of Modern Art commissioned Xiu Xiu to reinterpret the music from Twin Peaks for their David Lynch: Between Two Worlds exhibition. Since then, the band has performed select concerts all over the globe culminating in a proper studio album of the compositions.
"It’s difficult to overstate the cultural impact of Twin Peaks 25 years ago. Transferring his art-house cinema ethic to the small screen, David Lynch’s cerebral, surrealist murder mystery series towered like a desert skyscraper over the wastelands of mainstream US TV drama.
A large part of the series’ appeal lay in the hypnotic, spectral soundtrack that won a Grammy for its composer, Angelo Badalamenti. Invited earlier this year to reinterpret that music for a Lynch retrospective at the Gallery of Modern Art in Brisbane, Californian avant-noise trio Xiu Xiu have now taking their work on a world tour." - The Guardian
Monday, May 23, 2016
Saturday, May 21, 2016
Courtney Barnett can tell you a story like she's your best friend — provided your best friend is a funny poet with an Australian accent. Listen to "Avant Gardener," an autobiographical account of trying to turn a life around through gardening, only to be foiled by a severe allergic reaction. The tale that follows at this Tiny Desk Concert, "History Eraser," is a ramble in an alcohol-fueled dream state; it features some of the best lyric-writing in music today. Here's a sample from that song:
"I found an Ezra Pound and made a bet that if I found a cigarette I'd drop it all and marry you. Just then a song comes on: "You can't always get what you want" — The Rolling Stones, oh, woe is we, the irony! The Stones became the moss and once all inhibitions lost, the hipsters made a mission to the farm. We drove by tractor there, the yellow straw replaced our hair, we laced the dairy river with the cream of sweet vermouth."
The only downside for a fan like me is that these songs have been kicking around my head for more than a year. As she played them, I found myself hoping for something new, too. And so it was that Barnett graced the Tiny Desk with a brand-new tune, not yet on a record, about a suburb near Melbourne known as Preston; it's a song about house-hunting that she appropriately calls "Depreston." The song is thoughtful, acerbic and funny, just like the woman who sings it. --BOB BOILEN
On Crystal Shipsss' 4th album Holly bubblegum pop & lo-fi weirdness collides with noisy outbursts. The dreamy shoegazy sound is related to acts like Galaxie 500 and Slowdive, but you'll also find catchy M83ish synth pop on this pink mini album.
There’s a theme running through the beauteous new EP by The fin. that permeates more than just the song titles. Oceanic imagery features heavily in Yuto Uchino’s lyrics, as references to ship, shore and submersion loom large. The singer articulates these tales of impermanence and transition to a shimmering, sophisticated indie art-pop backing that will be familiar to fin. fans, even though there’s a greater electronic influence to this EP, as synths carry more of the weight, melodically and rhythmically.
Opener ‘White Breath’ builds on its vehement piano/vocal intro to envelop a cropped hypnotic groove with springy keyboard stabs, dubby fx and, of course, Uchino’s soaring harmonies. “I saw you jumped into the sea/What could you see from there?” the singer then questions to the symphonic arpeggios of ‘Divers’, set to a characteristically minimalist beat and crunchy bassline that segues into a second act of controlled yet quietly euphoric trance-pop.
Having shared taster track ‘The End Of The Party’ – a searing glam-rock groove underpinning an infectious lyrical riff on revolution – to much acclaim, radical Hackney rockers Darla And The Blonde reveal the details of their first full EP, ‘Eugenia’, released on 20 May.
The first of five eclectic but equally invigorating alt.rock nuggets, ‘In Admiration Of The Female Spy’ is a melodic musing on the escapades of feminine espionage set to a forceful three minutes thirty of edgy new wave. The dexterity of the band is to the fore as an intricate bassline shadows the catchy vocal harmonies through the verses before the chorus is announced by a crescendo of crunching overdriven guitar.
Follow-up ballad ‘Vampyr’ has an air of fragile beauty that belies its themes of age, decay and mortality, its celestial vocal pattern meandering across a metronomic tick-tock rhythm that lends the song a further touch of the fantastical.
’The Article’ tells the story of Eugenia Falleni (after whom the EP is named), a female-to-male transgender man who was falsely tried for murder in the early 20th century. Atop the song’s heavyweight folk-grunge score, Jen Demaris and Nina Lovelace’s voices ring out a powerful shanty-like tale to resound long in the mind.
Part prog-rock, part widescreen gothic-pop, ‘Hexenhammer’ was originally released as a single on Halloween 2014 and its unorthodox melody lines are a fitting fabulist homage to the novel ‘Dark Aemilia’ by Sally O’Reilly, in which the protagonist dabbles in the dark arts. “If you say his name I’ll lay a Hexenhammer at your door” runs Demaris and Lovelace’s anthemic chorus.
Not Her Own is all about empowerment; about having the ability to positively stand up to life’s daily struggles, delivered through the effervescent beauty of Yvonne’s emotive vocals. Yvonne is not only inspired by musical influences such as Nick Cave and Joanna Newsom, but also by poets such as Alfred Lord Tennyson andEdgar Allen Poe, helping to inspire her to write the opening tracks I’m Not This Layer Of Skin and The Savages.
Wednesday, May 18, 2016
If you like the Mountain Goats you'll like this!
Originally released on Crafty Records on LP (thanks). This was the first album released under the name Chris Clavin, but should really be a Captain Chaos album, since it's the same thing.
By that I mean, all songs are written and recorded as quickly as possible. The intent being to have fun writing and not take it too serious, of course this ends you up with some pretty simple songs. I hope you like them.
Sunday, May 15, 2016
Im on the run
On the feet of you all
And catchin the stone
with a side of my head
hold me back
walkin it home
im takin the tracks
so leave me alone
you can see me fall
you can run
take it away
if you're feelin its wrong
kickin it back
watch it dissolve
tug on the line
Chained to the wall
I heard you call
We're not gonna make it at all
im gonna fall
well catch me
you never could
I planned out the distance
from where you stood
When I hit the ground
gonna laugh out loud
gonna lay there a while and stare at the clouds
baby it looks bad
or maybe from the angle im at
well i tear off my shirt
and wrap it around
The first album recorded by someone other than the band themselves, Modern Baseball enlisted Joe Reinhart (Hop Along, Joyce Manor) at Headroom Studios in Philadelphia to help refine their sound on Holy Ghost. In a tight 28 minutes, Holy Ghost covers an impressive emotional range, with co-songwriters Jacob Ewald and Brendan Lukens literally splitting the record in half. The record kicks off with six songs from Ewald and ends with five from Lukens. What they ended up with was a complete record of the past two years– the highs alongside the lows, tales from the road and glorious days at home alongside songs of heartbreak and personal struggle.
Friday, May 13, 2016
'This often-brilliant record feels like the summer’s ultimate calling-card' – Gold Flake Paint
'Evocative of a past era but casting a new spell each time you play it' – Under the Radar Magazine
'I like this, my Mum would like this, you probably like this. What's not to like?' – The 405
The music is and must necessarily be magical, otherwise loses its strength, its essence. And that magic is in every song of every album of Galaxie 500, and that is never erased. That's the feeling that I still have from the first time I heard Tugboat.
Thank you, Dean, Naomi, and Damon
Monday, May 9, 2016
Saturday, May 7, 2016
chrisgendo very relaxing. any album i constantly pop in before going to bed gets my wholehearted recommendation and this is one of them
Jabod Atmospheric shoegaze with shimmering guitars, ethereal vocals and well-timed crescendos that takes me back to the early 90s (and particularly Pale Saints, masters of the stirring shoegaze soundscape).
We are Roselit Bone. We play knife-fight music. We play psychotic cowboy music. We will suck the smile off your drunk face.
Thursday, May 5, 2016
Here is a compilation of songs with no clear theme other than that they're all really good. All profits from the cassettes as well as all donations for the downloads will go to the amazing Manchester based charity Action for Trans Health to help them continue the great job that they do. Read more about the charity here: actionfortranshealth.org.uk
“You definitely want to keep your eyes on this band,” Bruce Warren at WXPN wrote in 2013 when Fort Frances released Harbour,, a self-recorded EP that landed the band on stage with a who’s who list of emerging indie rock names including The Lone Bellow, Bahamas, PHOX, Kopecky and We Are Augustines.
Now, with the band’s release of Alio, that prediction appears to be true. With Sam Kassirer (Josh Ritter, Lake Street Dive, Langhorne Slim) at the production helm, the band’s new EP stretches well beyond their Americana roots to unlock the potential that’s been building for the past two years with louder guitars, jubilant horns and dueling rhythm sections.