Last year British alternative band Doves teased that they would be releasing a new album in 2020. The current economic/coronavirus environment likely delayed it a bit but they’ve finally released the first track, Carousels.
There is also a video on Youtube but it may be blocked in your country.
Tame Impala has released their (really his) 4th full length, The Slow Rush. Out on 2/14.
The closest something gets to average it offends fewer and fewer people. Budweiser is a good example of this. It appeals to the most while offending the fewest.
While this may come across as nonsense it’s what I think of after giving this album a week.
I can’t help but listen to this album and think how safe it sounds. Musically I find it a bit too bland and it doesn’t have any real interesting music hooks. Most of it is quite forgettable really. Danceable, electronic-like drums washed over with vocals and mostly repetitive filler keyboards.
Lyrically nothing really stands out as that special, though Tame Impala has never really been known for ground breaking lyrics.
In its defense though I don’t find it as cheesy and poppy as much of Currents, which I also didn’t care for except for Let It Happen which is a banger of a tune.
It’s like a completely different band from Innerspeaker and Lonerism even though it’s the same singular guy, as odd as that is. It’s not like they lost the main song writer, or a key guitarist. Tame Impala went from hypnotic, psychedelic rock with warmth and personality to bland and safe, even boring, pop. It’s missing the eccentricity that Innerspeaker and Lonerism had.
It’s not all lost as there are some good moments. Tomorrow’s Dust is not far from something you might hear from Radiohead. (Weird Fishes or Reckoner)
We’re in a world where Post Malone and The Chainsmokers sell out large venues so I’m not surprised that this will be popular. Budweiser sells a lot of beer too.
Time to put to bed the idea that Tame Impala will release any new music that appeals to me like Innerspeaker and Lonerism did.
Recommended if you like: The Fall, Arctic Monkeys, Ought
“Pop culture is cyclical, and every now and then a generation of bands coagulates around a particular strain of influences, whether it was Blur and Oasis channeling The Kinks, Wire and The Beatles to create Britpop, or The Strokes and co dusting down Television, Modern Lovers and Velvet Underground” [NME]
Do Nothing is playing SXSW 2020.
They have released 4 tracks and, so far, only a single 7″. Here is their latest, ‘Lebron James’.
As many of you who followed the 90s British alternative rock scene know, many of the great bands from that era have reunited and released fantastic new music. (Ride, Slowdive, My Bloody Valentine) Some have simply reunited for a weekend in order to, “rewrite their ending.” (Adorable)
There is one band, The Catherine Wheel, that many have been waiting for and a reunion has seemed less and less likely. They were unofficially ‘parked’ back in 2000.
Well, it seems like something might be fermenting.
I attended 4 of the 5 Adorable reunion shows last week, only missing the first one on Wednesday night in Hebden Bridge. I instead spent that Wednesday night in Manchester and saw the Leeds’ band Mush, which are quite good. (Recommended if you like Television, Velvet Underground, Pavement)
I arrived into Hebden Bridge early afternoon on Thursday and was fortunate to be able to watch the soundcheck which lasted over an hour.
Music On Vinyl is reissuing The Catherine Wheel’s 4th album, Adam & Eve, on vinyl. English alternative rock band Catherine Wheel was evolving quite fast to a band which made an impression in both the shoegaze as Britpop scene. Their fourth album Adam & Eve didn’t sound like any of the band’s previous albums. It was a new beginning, both musically as artistically. This unique record strikes a balance between the alternative rock, guitar pop and the dreamy world they created. They’re constantly shifting in volume, keys, and guitars, but every song is connected with the next. It is one of the most underrated albums of all time, as this can compete with ’90s records by Radiohead and Spiritualized. Just take your first spin and you won’t be disappointed.
Australian shoegazers Flyying Colours played a few songs live on Australian radio this week on PBS 106.7 FM. They played a few new tracks which can be heard here. (Hit ‘play’ and skip to 10:22:15)
Unfortunately, the radio station’s studio audio quality isn’t as professional sounding as some you’re likely used to (KEXP, etc) but it’s a good listen if you’re anxious for new tunes.
They’ve finished recording their 2nd album and are in the last stage of mixing. No date was given for when we can expect the release though.
They’ve been playing live in Australia, with major acts like The Jesus & Mary Chain and The Black Angels, with new tunes in their sets. So if you’re in Australia then you’ve been fortunate enough to have the opportunity to see them and hear new tunes.
Hopefully they will make their way to the west coast of the US after the new album is released.
From the longing of synthetic fulfillment comes the self-titled debut album from American synth duo -- out today, June 7th, 2019 on Idol Records. Find warmth in sweet bouncy melodies, as they frame a revolt from the digital dots that connect modern society. Stacked layers of brilliant vocals descend into a gritty bed of rock sentiment, leaving you wanting more. Their sound has drawn comparisons to St Etienne, Sylvan Esso, Purity Ring, STRFKR, Glass Candy, Ladytron, Beach House, XX and even Blondie’s more disco-leaning material.
“Like many important bands, Seattle quartet Versing got their start in college radio—Tacoma’s KUPS. The group’s main songwriter/guitarist/vocalist Daniel Salas served as alternative music director there, where he met guitarist Graham Baker, drummer Max Keyes, and bassist Kirby Lochner. Now Versing are poised to spread their coolly combustible brand of rock on those said airwaves…and beyond if the world knows what’s good for it.
Baker, Keyes, Lochner, and Salas have risen through Seattle’s competitive rock ecosphere with nonchalant élan. They cheekily titled a previous album Nirvana, but never mind the bleach: Versing isn’t emulating Sub Pop’s most famous artist. Rather, these four twentysomething aesthetes are forging an exciting sound that finds a golden mean between lustrous noise and ebullient melody.
Emerging from a stint as a drummer in a stoner-metal band, Salas formed Versing as a vehicle to vent obliquely about his political and social views with irony and humor. Populated with strange characters, his songs often double as “critiques of centrism and conservatism, from a leftist perspective. That’s a theme: committing to something or doing something that may be hard but is the better option. However, when I write politically, it’s more allegorical and can be interpreted beyond the political realm. I find that more interesting to write about than my personal life.”
That being said, the pell-mell, ostinato-laced “Renew,” which Salas says is his most hopeful song, has a personal message. “It’s about taking time to care for yourself—even when things are all weird and fucked up.” Meanwhile, the immersive, pummeling “Offering” evokes those twin pillars of 1988 rock: My Bloody Valentine’s Isn’t Anythingand Pixies’ Surfer Rosa. “I just really enjoy that droning line of guitar feedback,” Salas says. “We use a lot of feedback on our songs, but I think that’s one of the more deliberately musical uses we’ve found for it. It’s sort of a fantastical song about traveling through a mystical portal to stop an encroaching force of evil, and the feedback is like the whirring sound the portal makes.”
A limited edition 40th anniversary version of Unknown Pleasures will be released on June 14th, almost forty years to the day after it was originally released. The LP will be pressed on 180g ruby red vinyl with an alternative white sleeve resembling the original design idea.
To celebrate the 25th anniversary of our last ever show in Brussels in November 1994 we are reforming this autumn in our original line up, and then promptly splitting up again 3 days later.
Piotr: “When we originally split up in 1994 it was because of dwindling sales, press indifference and a label that didn’t want us anymore. 25 years on, we’re planning on going out on a high – to play some shows that are a celebration of our time together, and exit this time on our own terms!”
Radiant Dawn‘s nine tracks meld raw analog hardware with frontman Dan Boeckner‘s distinctive voice to create an immersive cinematic sound. Interspersed between the tracks are instrumental inter-titles that amplify the album’s 1970s sci-fi dystopian feel.
For fans of Boeckner’s catalogue (Wolf Parade, Handsome Furs, Divine Fits) Radiant Dawn feels like the next logical step in the artist’s two decade career, while maintaining a completely fresh energy.
Ride return with the 6th studio album of their career and their second since reforming in 2014 and signing to Wichita.
As with their previous album, Weather Diaries, Erol Alkan was in the producer’s chair, and Alan Moulder (with Caesar Edmunds) took care of the mixing (making this the fourth Ride album he has worked on).
Gathering influences from sources such as the Jean Michel Basquiat exhibition at the Barbican, and the post punk sound of The Fall and Sonic Youth, Ride have made an album which contains echoes of their earliest days as a band, while bringing these elements into 2019.
Both musically and lyrically, this is clearly an album made by a band who love being back together and who are at the very top of their game.
Double LP on limited edition green/blue vinyl (1000 copies) or black, includes a download code for album MP3s. This 2LP is released on Friday 16th August.
Since the 2015 release of Drab Majesty’s debut “Careless”, and the release of the acclaimed sophomore album “The Demonstration”the following year, artist Deb Demure and collaborator Mona D. have firmly established themselves amongst the pantheon of dark synth-pop greats, establishing a devoted fan base worldwide with their singular hypnotic sound and mysterious, constantly-evolving presence.
Following intense and extensive touring in support of the first two albums, Drab Majesty escaped to the inspirational landscapes of Athens, Greece to channel the songs for their most ambitious album creation yet: Modern Mirror.
Blowing the dust off the antiquarian myth of Ovid’s “Narcissus”, Drab Majesty uses its premise as groundwork for a modern reinterpretation. Each song tells a piece of the story, in which the listener’s own self-identity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities. Setting the stage as a romantic saga of antiquity, “A Dialogue” asks the listener if they are truly in love amid a building wash of guitars and reverb. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like “The Other Side”, possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment.
The first single, “Ellipsis”, romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on “Long Division”, Deb’s resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in “Oxytocin”, a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence.
Modern Mirror is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems – a seemingly classic tale delivered unblinkingly through the frame of the modern world.
Produced by Josh Eustis (Telefon Tel Aviv) and mastered by Dave Cooley, with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air). Packaging and design by Juan Mendez of Jealous God/Silent Servant. Photography by Nedda Afsari (Muted Fawn).
First edition pressing on 45 RPM hi-fi double LP, packaged in 24pt sturdy wide spine reverse board jacket with two reverse board euro sleeve lyric inserts. CD comes packaged in classic clear jewelcase inside a spined reverse board slip-case with lyric booklet.