The Catherine Wheel’s Happy Days to be re-released for Record Store Day

Happy Days, The Catherine Wheel’s 3rd album, is being re-released for Record Store Day on April 21st. (Can we get Adam & Eve, please? If anyone wants to sell me their copy then please message me.)

Limited, one-time pressing of 2000 copies.

Here is the official Record Store Day text on the re-release:

‘Happy Days is the third full-length album by English alternative rock band Catherine Wheel, released in 1995. Like its predecessor, Chrome, it was produced by Gil Norton, and the influences of heavy metal and hard rock are prevalent on this album; however, the band does retain some elements of the shoegazing style that dominated their previous albums, particularly on the songs “Heal” and “Eat My Dust You Insensitive Fuck”.’

1. God Inside My Head – 3:52
2. Waydown – 3:14
3. Little Muscle – 3:04
4. Heal – 6:13
5. Empty Head – 3:12
6. Receive – 3:35
7. My Exhibition – 2:27
8. Eat My Dust You Insensitive Fuck – 8:06
9. Shocking – 3:58
10. Love Tips Up – 3:55
11. Judy Staring at the Sun – 3:56
12. Hole – 3:49
13. Fizzy Love – 3:34
14. Glitter – 4:10
15. Kill My Soul – 5:10

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Moaning

Moaning is a band defined by its duality. The abrasive, post punk trio comprised of Sean Solomon, Pascal Stevenson, and Andrew MacKelvie, began nearly a decade after the three met in L.A.’s DIY music scene. Their impassioned debut album comes born out of the member’s experiences with love and distress, creating a sound uniquely dark and sincere. Although the band is just breaking out of their infancy, Moaning’s sleek and cavernous tone emphasizes the turmoil of the era they were born into. One where the endless possibility for art and creation is met with the fear and doubt of an uncertain future.

The three began regularly frequenting DIY institutions like The Smell and Pehrspace, eventually selling out dozens of their own shows at both venues with their first few bands. Solomon recalls, after a brief hiatus from playing together, Moaning’s conception came when he sent Stevenson and MacKelvie the first demo for “Don’t Go,” setting the tone for the impulsive songwriting that would follow. The three fleshed out Solomon’s primitive recordings, adding in MacKelvie’s heavy syncopated drumming, and Stevenson’s melodic driving bass and synth parts, capturing each member’s personality in their sparse and fuzzed out tracks. Like many of their previous collaborative projects, Moaning forces pain up against pleasure, using the complexity of personal heart break to inform the band’s conflicted sound. The band eventually landed on the apt moniker Moaning, admiring the ambiguity the name held, and hoping to reference both an intimate wail and an anguished scream.

After laying the groundwork for the new project, Moaning quickly began showing off their first songs to audiences around their local scene, and eventually booked their first few tours on their own. Months after the band’s running start, the three went into their home studio to record an early version of “The Same” and decided to shoot a music video for the track. The band was tipped off about a house that was being demolished nearby, so they assembled a group of friends and filmed them taking turns destroying the estate while Solomon, Stevenson, and MacKelvie tried their best to perform the song amongst the chaos. The video’s budget was limited to the sledgehammers, spray paint, and case of beer they provided for the friends who were invited to cause havoc, emphasizing Moaning’s desire to make as much impact with as few resources as possible. The track’s skidding percussion and toned back vocals gave merely a glimmer of the target Moaning aimed to hit with their sound, and would be revisited with further experimentation on a later recording.

Upon its release, the homemade video for “The Same” caught the attention of Alex Newport, a seasoned engineer and producer who had previously worked with At The Drive-In, Bloc Party, and the Melvins. Newport was first to approach the band, eagerly extending the offer to help record whatever they planned to work on next. The young band was flattered by the gesture and were won over by Newport’s sincere enthusiasm during their first visit to his home studio. The three began working on the tracks that would make up their self titled release, employing a lush, open ended production quality that had never been at the band’s disposal. Tracks like “Artificial” stand out among the recordings, where Moaning used the studio’s recourses to take their frantic live arrangement and give it the intensity merited by Solomon’s lyrics. Once recording concluded Moaning started shopping around the album, and eventually it made its way to the Sub Pop office, where buzz began amongst the label’s staff. Sub Pop’s representatives and Moaning finally crossed paths at SXSW, and one month after the band’s explosive set, the three were hastily offered a record deal.

As a whole, Moaning drifts from sentimental to catastrophic, hiding meek and introspective lyrics within powerful droning dance songs, giving sonic nods to some of the band’s musical heroes like New Order, Broadcast, and Slowdive. The band’s youthful attitude is met with the weight of topics like loss, routine, and mental health, reflecting the anxiety towards the status quo that much of their generation faces today. Where many young bands take years to find their footing as writers and performers, Moaning has built up a confidence in sound and vision from the ten years of playing basements, bars, and ballrooms together in their previous projects. Yet, even with their polished exterior, Moaning continues to make the sacrifice of deeply personal anecdotes and emotions to their audience for the benefit of their craft.

You can order the new Moaning release here.

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CCFX, new EP from Olympia, Washington Indie Rock Outfit

Olympia, Washington outfit CCFX has already garnered some nice media coverage from Pitchfork (7.5 rating) and NPR Music.

CCFX is a new group resulting from a merger between two Olympia pop music outfits; CC Dust and Trans FX. On their debut self-titled EP, artists Chris McDonnell, Mirče Popovic, Mary Jane Dunphe and David Jaques offer a record that is at once a showcase and an aberration of what is currently coming out of the Pacific Northwest.

The opening track, The One To Wait, sounds like an early version of The Cure doing their own take on Suzanne Vega’s Tom’s Diner.  Maybe it’s only the drum beat but still.

Recommended if you like: The Cure, The Chameleons UK

Listen to more and buy the album/download here. (bandcamp)

 

Recorded and (re)mixed with local OG Captain Tripps, the EP’s sound partially recalls late 90’s/early 00’s indie pop as chiming, melodic guitar parts counter and complement Mary Jane’s brilliant voice. In the same vein of the past few decades’ most beloved and coveted hitmakers (both in the clubs as well as on the radio), the music feeds on a sense of nostalgia not necessarily specific to any one time or place – sun-kissed riffs seem to go on forever, supported by a steady breakbeat.

The timbre of the music is warm and just slightly fuzzed out, and the expressive quality of Mary Jane’s voice is pushed to the front. The b-side’s “Ode,” a late CC Dust piece, and “2Tru,” written by Popovic, were put together around the time of Trans FX’s The Clearing, whereas “The One to Wait” and “Venetian Screens” found Dunphe, Jaques and McDonnell picking up where they left off a year later, swept up in the productive frenzy leading to TFX’s latest effort, Gaslit.

CCFX, over the course of this palpable evolution, have struck that rare yet essential balance between heartfelt sincerity and calculated disillusionment, bearing the mark of a project which is as fearless as it is humble, out there living as big as it wants to be. These four tracks grant listeners access to suppressed and superseded feelings from youth, paired with a backwards glint of whatever strange luxury this epoch’s future might still hold. FFO St Etienne, Q Lazarus, Yeah Yeah Yeahs, dancing, celebrations, success stories, TFX, CCの, etc.

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New Zealand’s Salad Boys to release new album ‘This Is Glue’

Christchurch, New Zealand’s Salad Boys are back with “This Is Glue”, the follow up to their critically acclaimed 2015 debut album “Metalmania”. Recorded once again by bandleader/guitarist Joe Sampson at his home studio, This Is Glue’s twelve songs dig deeper, with sharper hooks embedded deep within a more mature musicality.

This Is Glue, released by Trouble In Mind Records, hones Sampson’s songwriting chops to a razor edge, with many of the album’s songs sounding utterly timeless. The riffs and melodies seem all too familiar, perhaps recalling greats that came before them (The Chills, R.E.M., The Bats), but Sampson has a voice all his own (though sonically it reminds me of Eels’ Mark Oliver Everett) and This Is Glue’s tunes tread upon a singular path of measured melancholy. The themes are darker, the lyrics more claustrophobic and yearning with Sampson confronting anxiety, mortality, and fear through the his abstract lyrical lens; a cracked world view, to be sure. Songs like “Exaltation”, “Dogged Out” and “Divided” convey a world-weariness of a man twice his age. That’s not to say that This Is Glue is all doom and gloom; album opener “Blown Up” kickstarts with motorik drumming that crescendos into a thrilling guitar riff that could crack mountains. “Psych Slasher” crashes forward frenetically awash in phaser before easing into a melodic denouement buoyed by a bubbling synthesizer before a tidal wave of guitar crashes down again. Existential angst has never felt so exhilarating.

This is Glue follows their debut, Metalmania, which was quite good. As previously mentioned vocally it reminds me of Eels at times and musically reminds me of Deerhunter, though Deerhunter-like grooves are’t the overall flavor of the album. Check out this Deerhunter-like jam here from their debut:

You can buy the new album via Bandcamp here.

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Holy to release new album, ‘All these worlds are yours’

Holy is a Stockholm based project of Hannes Ferm from Umeå, Sweden. The new album, All These Worlds Are Yours, is out January 26, 2018 via PNKSLM Recordings.

It reminds one of modern psychedelic influenced bands like Tame Impala, Foxygen, and Deerhunter.

Some songs can run a bit long but I think it’s a solid release all the way through. It’s easy to just leave on and get lost in the music, and then before you know it you’ve listened to the entire thing.

Order via Bandcamp

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Juliana Hatfield “Hey Babe” 25th Anniversary Vinyl Reissue Pre-Order

American Laundromat Records has announced the 25th anniversary reissue of Juliana Hatfield’s “Hey Babe”. It’s available for pre-order now.

 

“We cannot be more excited to reissue Juliana Hatfield’s debut album “Hey Babe” on vinyl to celebrate its 25th Anniversary. We took great care to have our friend and long-time collaborator, Sean Glonek at SRG Studios newly master from the original 1/4″ analog tapes. The artwork has been recreated from the original LP art but with a little twist thanks to the skill and creativity of award-winning designer, Aaron Tanner of Melodic Virtue. This exclusive limited-edition pressing, in a single-pocket gatefold jacket, was pressed by hand at Burlington Record Plant in Burlington, VT.”

Pressing Information:

  • Mystery Wild Card Color Vinyl (50 pressed) Label Exclusive (Sold Out) [They usually do two or three different variations though sometimes just 1 color]
  • Clear Vinyl (100 pressed) Label Exclusive
  • Translucent Green Vinyl (175 pressed) Label Exclusive
  • Virgin Black Vinyl (325 pressed)
  • Translucent “Amethyst” Purple Vinyl (350 pressed)

*Please know due to licensing restrictions, we are unable to include digital downloads.

All “Bundle” pre-orders will be signed by Juliana
Test Pressings will be signed & personalized by Juliana
All pre-orders ship in early March 2018, unless your order included “Juliana Hatfield Sings Olivia Newton-John.” In this case, everything will ship in early April.

“Hey Babe” was produced by Gary Smith (Pixies, Throwing Muses, Blake Babies), and was originally released on Mammoth Records back in 1992. The album featured a bevy of guest players, including Mike Watt, Evan Dando, John Wesley Harding, Clay Tarver, Chick Graning, and Todd Philips.

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Abbey Road Studios engineer Sean Magee talks about working on The Beatles vinyl releases

 

Mixonline has a great interview with Sean Magee, Abbey Road Studios engineer, about The Beatles recent vinyl releases.

It’s an interesting and informative read for those interested in vinyl. He explains the challenges involved that’s worth the read even if you’re not a fan of The Beatles. He explains how they used test pressing after test pressing and even different types of pressings, traditional lacquer versus Direct Metal Mastering (DMM), to get the best possible quality.

You can buy the highly recommended 2014 The Beatles mono box set and will have the best sounding copy money can buy and for a reasonable price.

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Fazerdaze

Fazerdaze is the shoegaze/dream pop project of Amelia Murray, of Wellington, New Zealand. She released her debut self-titled EP in October 2014, recording it entirely in her bedroom studio in Auckland. With the help of multi-instrumentalist, Jonathan Pearce, who mastered the release, she created a dream-pop sound, using electric guitars and effect pedals.

Morningside, the debut album, was released on May 5, 2017.

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