Rose Melberg has a delightful habit of showing up in new projects and thrilling us with fuzzy pop songs. Past projects include Tiger Trap, Go Sailor, The Softies, Gaze, PUPS and Imaginary Pants, as well as solo recordings. She has influenced many other bands, and while she isn't tall, her stature is large.
Rose has popped up again with Knife Pleats, a foursome which includes Kaity McWhinney and Tracey Vath from Love Cuts and drummer Gregor Phillips. Their debut album is Hat Bark Beach, which features twelve songs with heart tugging harmonies, fuzzy guitars and a robust rhythm section. The songs are short and pacey, but packed with goodness. While we can be sure that the songs weren't written for a contest to see who could pack the most hooks in the shortest song possible, if such a contest is established, don't bet against Knife Pleats. Days are getting shorter, and temperatures are dropping. I'm not a doctor, but I'll suggest that you may need the sugar rush of Hat Bark Beach to delay your hibernation. This is medicine you'll want to take every day.
Hat Bark Beach is released by WIAIWYA Records (UK/Europe)and Lost Sound Tapes (US) and Jigsaw Records (US). Choose whichever site gives you the best postage or most convenient format.
You, our beloved readers, deserve the best indie pop music. And that's why we are willing to scour every inhabited continent for music worth listening to. And today, our ears have ventured to Singapore for the debut LP from Lost Weekend. I first discovered some of their demos on line in February 2013, and was sufficiently impressed to feature them on the blog. They contacted me recently about their self-titled album and I was more than happy to give it a spin. Was it worth my time? Well, a spin turned into multiple listens and, now, a full endorsement.
The band claims they make music for small lives in a big city, which is a very nice turn of phrase. But it seriously understates the quality of the arrangements and the subtlety and sophistication of Rachel Tan's vocals. In fact, I suggest that in addition to giving you ten indie songs you'll want to play regularly to enrich your small life in your big city, Lost Weekend may give you your new favorite female indie vocalist. The songwriting is razor sharp and highly evocative. I'm betting you'll be hooked from the first single from the album, "Mornings", to the final note.
Lost Weekendis Rachel (guitar/vocals), Arif (guitar/violin), Mark (bass), and Zheng Jie (drums). The album is available at the Bandcamp link below.
Apparently, through the wonders of DNA manipulation, cats that glow in the dark are a real thing. But we aren't going to dive deeply into that, as I'm a dog kind of guy. However, we do want to discuss Denmark's The Glow Cats, which are a more human and more musical kind of glow cat. The current line-up for the Copenhagen-based quartet is Kasper Clemmensen (guitar/vocals), Klaus Reinholdt Petersen (guitar/vocals), Ditte Duus (drums/violin), and Elise Nimand Madsen (bass). Their sound is classic indie pop -- twee and jangling with a somewhat more lo-fi version of Scandinavian guitar pop. The emphasis is on fun, with song subjects such as a snow man, cartoons, food, and playing air guitar. On Cat Bits, Jigsaw Records has compiled 28 songs, four recent ones with the band's current line up and 24 from previous tracks. It is a generous record packed with concise pop nuggets and priced to practically jump into your hands. If you listen to this album without smiling and nodding your head, it may be too late to call the doctor. We offer our sincere condolences to your survivors.
The sad fact is that there are real music fans who read the title to this post and ask themselves "who is Spooner Oldham". So we'll take a moment to tell you while the readers in the know just nod their heads. Spooner Oldham was the keyboard man for the soul sound of the Muscle Shoals recording studio, and co-founder of its legendary rhythm section. You heard him on Percy Sledge's "When A Man Loves A Woman" and Wilson Pickett's "Mustang Sally". He recorded and or performed with Dylan, Joplin, Etta James, Jimmy Hughes, Aretha Franklin, The Everly Brothers, Bobby Womack, Jim Croce, Gram Parsons, Jackson Brown, Gene Clark, Neil Young, Drive By Truckers and many others. Together with his songwriting partner Dan Penn, he has written over 400 songs, including "Cry Like A Baby" for The Box Tops, "I'm Your Puppet" for James and Bobby Purify, "It Tears Me Up" for Percy Sledge and "A Woman Left Lonely" for Janis Joplin.
Although his career wasn't built on being the man in front, he recorded his own album, Pot Luck, in 1972. I'd love to be able to report that it was a top seller, but the fact of the matter is that Spooner was a big name to industry insiders only, and the album didn't make a splash. Fortunately, Light In The Attic Records knows quality, and they have reissued the album in vinyl, CD, and digital formats. All 13 tracks have been remastered from the original tapes, and the label has given the release a deluxe package. The first six songs are Spooner rarities, including works created with Dan Penn and Freddy Weller. The remainder of the album is a seven-song medley of hits on which Oldham played keys. Of course, the medley includes "Cry Like A Baby" and "Respect".
If you are a fan of Spooner or Muscle Shoals. Or if you like southern soul (our research shows that 96.5 percent of people with a pulse do), then you should check out Pot Luck.
Christchurch's Salad Boys have just released a video for "First Eight", one of the excellent songs on their new LP (our review here) Metalmania. Of course, Metalmania is not metal, but rather the sort of intelligent, jangling New Zealand indie rock. For those of you who don't have the album yet, here is your reminder. And for everyone, the remaining US tour dates are listed at the bottom of the post.
REMAINING SALAD BOYS TOUR DATES 9/26/15 - Memphis, TN @ GONERFEST 12 - Murphy's 9/27/15 - Cincinnati, OH @ Midpoint Music Fest 9/28/15 - Columbus, OH @ Double Happiness (w/ Connections) 9/29/15 - Detroit, MI @ UFO Factory 9/30/15 - Pittsburgh, PA @ VIA Fest 10/1/15 - Brooklyn, NY @ Palisades 10/2/15 - New York, NY @ Elvis' Guesthouse 10/3/15 - Boston, MA @ Out of The Blue Too Gallery 10/4/15 - Philadelphia, PA @ Everybody Hits 10/6/15 - Asheville, NC @ Tiger Mountain 10/7/15 - Atlanta, GA @ 529 10/8/15 - Jacksonville, FL @ Rain Dogs 10/9/15 - New Orleans, LA @ Saturn Bar 10/10/15 - Austin, TX @ Beerland (w/ Neil Michael Hagerty) 10/12/15 - Tempe, AZ @ Time Out Lounge 10/13/15 - Los Angeles, CA @ All Star Lanes 10/14/15 - San Francisco, CA (w/ Radioactivity) @ Hemlock Tavern 10/16/15 - Seattle, WA @ Highline 10/17/15 - Portland, OR @ Bunk Bar 10/19/15 - Salt Lake City, UT @ Diabolical Records 10/20/15 - Denver, CO @ GLOB 10/22/15 - Minneapolis, MN @ Hexagon (w/ Real Numbers) 10/23/15 - Milwaukee, WI @ Lucky Cat (w/ Lazy)
I first discovered the music of Clearance a few years ago after founding members Mike Bellis and Arthur Velez had moved from Ann Arbor to Chicago and posted their bedroom recordings on Bandcamp. I was first attracted by the quality songwriting and jangling instrumentation. Mike (guitar/vocals) and Arthur (drums) have since been joined by Kevin Fairbairn (guitar) and Greg Obis (drums), and have continued to hone their sound. Owning in part to Mike's vocals, Pavement often is suggested as an influence, but to my ears their is a strong connection with Australian slacker pop and New Zealand jangle, as well as American standards Velvet Underground and Television. Clearance's first LP is available today and I recommend it to anyone for whom that list of potential influences strikes a chord. In fact, I'll broaden that: I recommend it to anyone who likes the sound of two guitars knocking out chunky riffs while the bass and drums drive along perfectly constructed pop rock songs -- which probably includes every one of our 3 million plus (unaudited estimate) regular readers. These guys love to make noise, and they do make noise. But they never forget that the goal is the delivery of a good tune. And as evidenced by songs such as "No Glance You Took" and "Flowers In Epoxy", the band can dial it back for a more relaxed approach as well.
If you like '90s alternative slacker rock and college rock with a Antipodean sheen, Rapid Rewards is just what you need for your fall soundtrack. I've been playing it several times a day all week and it is great stuff.
The Academic is Craig Fitzgerald, Matt Murtagh, Stephen Murtagh, and Dean Gavin. From Mullingar, Ireland, the band is earning a following via well-received live shows and a radio hit. Their latest is "Northern Boy". The young men have a good sound, and we will be following their progress.
Last year Copenhagen trio Lust For Youth released International, which shifted from their prior synth-based bedroom pop to a bid for a spot on the club soundtracks. They return again with the rousing anthem "Better Looking Brother", which is a digital only release on Sacred Bones Records. It seems to me that there is a bit of New Order and Pet Shop Boys in their DNA, and that's a good thing to have.
Lust For Youth is Hannes Norrvide, Malthe Fischer & Loke Rahbek. Their fall European tour dates are listed at the bottom of this post.
Sep 22, 2015: London, UK @ Birthdays
Sep 24, 2015: Rotterdam, NL @ V11
Sep 25, 2015: Amsterdam, NL @ Nieuwe Anita
Sep 26, 2015: Ghent, BE @ 019
Sep 28, 2015: Esslingen, DE @ Komma
Sep 29, 2015: Berlin, DE @ Berghain Kantine
Oct 1, 2015: Prague, CZ @ Meet Factory
Oct 2, 2015: Vienna, AT @ Arena
Oct 3, 2015: Budapest, HU @ A38 Art Gallery
Oct 5, 2015: Zagreb, HR @ Tvornica Kulture
Oct 6, 2015: Carpi, IT @ Mattatoio Social Club
Oct 7, 2015: Forli, IT @ Diagonal
Oct 8, 2015: Rorschach, CH @ Treppenhaus
Oct 9, 2015: Paris, FR @ Underclub
Oct 10, 2015: Brussels, BE @ Theatre de la Bourse
Dec 03, 2015: Helsinki, FI @ Kuudes Linja
Dec 04, 2015: St Petersburg, RU @ Brooklyn
Dec 05, 2015: Moscow, RU @ The Place
Dec 09, 2015: Malmo, SE @ Inkost
Dec 10, 2015: Oslo, NO @ Blaa
Dec 11, 2015: Trondheim, NO @ Folken
A little know piece of pop music history is that at one point Husker Du, Guided By Voices and early Teenage Fanclub met in an underground laboratory and created a three-piece band. They then put it in a time capsule pre-programed to disgorge the band in this decade. I can exclusively reveal that the band is St. Paul, Minnesota's The Persian Leaps. As you might expect given the circumstances of it's birth, TPL is guitar driven power pop and '90s alternative rock, with all the hooks and harmonies you could hope for and a rhythm section on steroids. High & Vibrate is the second EP from the band to be featured here, and based on its five song this is a band that just keeps getting sharper. The showcase track is "Dottie, Queen Of The West", and deservedly so. But "Frozen", "Anthem" and the others all carry their weight.
Now, let me tell you something about life. In ten years you and your friends will be having a few drinks in someone's back yard. And eventually everyone will be telling lies about how they were fans of bands that are, at that point, recognized to have been the hidden treasures back in the day. One of those bands will assuredly be The Persian Leaps. And the cited evidence likely will include High & Vibrate. So, don't become a liar -- become a fan now, when it matters.
And because you kindly have read this far, here is a Soundcloud link for free download of "Dottie, Queen Of The West".
The Persian Leaps is Drew Forsberg (vocals/guitar), Adam Brunner (bass/vocals), and Michael McCloskey (drums/vocals). High & Vibrate is out Friday, September 25 on Land Ski Records.
Rose McDowall attended university in Glasgow and played with the punk band The Poems. In 1981 she formed Strawberry Switchblade with her friend Jill Bryson. They earned a following, opened for Orange Juice and released a few singles and a self-titled album. Their sound was characterized by bright new wave melodies, sweet vocals and melancholy lyrics. Commercial success didn't reflect the quality of the material, however, and by 1986 the band was finished. But Rose wasn't finished with music. In 1988 and 1989 she recorded Cut With the Cake Knife, consisting of new material and songs that she had penned earlier but were left homeless when Strawberry Switchblade ended. The songs are sad, full of loss, disappointment and regret. But the melodies are captivating, bouncing along with synths and drum machines, and Rose's sugary voice soothes you like a warm cup of tea on a chilly morning. The album title's incorporation of "knife", "cut" and "cake" could not be more apt.
Fortunately, the story doesn't end in '89. Night School Records has remastered the original tapes, added two bonus tracks, photos and extended liner notes by Rose, and reissued Cut With the Cake Knife. The release is by Sacred Bones in the United States. If you are a fan or Strawberry Switchblade or Rose's other projects, you likely will consider this a necessary purchase. For the rest of you I have one comment: If all new wave sounded as good as Cut With the Cake Knife, we'd all still be listening to new wave. Give your ears a piece of cake.
Four dudes from the England venture to Scotland to study and form a band. Their names are Conor Quill, Robert Palmer, Thom Querns, and Tobias Carmichael. We don't know much more than that, so perhaps we should start some rumors. Like two of The Bellybuttons recently left the seminary after a scandal over the rapidly diminishing sacramental wine stores, a third was kicked out of the Ocean Fishing Academy for advocating harvesting fish without causing any pain to the fish. The fourth may or may not be a secret agent. So far as we know, the cute doggie in the picture below is an innocent bystander.
Lack of details aside, The Bellybuttons deserve our attention. Their new EP, Play!, provides a generous seven tracks of really good guitar pop. With touchstones like Pavement, Lou Reed and Television, and then glazed with a Melbourne-esque slacker vibe, this little album goes down about as easily and pleasantly as your favorite summer beverage on a warm summer evening. Play! is out now via Fuzzkill Records as a digital download or cassette. To my knowledge, Fuzzkill has never had a weak release, but The Bellybuttons is a standout even among their impressive roster. I'd tell them but they probably know it.
Pssssst. Hey, over here! Do you want to get a rock and roll album. How about an unabashed, unapologetic southern rock and roll with a vein of soul? I've got one right here. It's called Marshes, by Tedo Stone. Tedo is a Georgia boy who grew up around music and was fronting a band in Covington motorcycle bars when he was 12. While Marshes isn't his first recording (we reviewed his Good Go Bad in 2013), it seems that it is a bit of a coming out party in terms of scope and swagger. The sound is big, with pounding percussion and layered guitars. The vocals are '70s-style arena vocals with sincere emotion, a southern accent and, on several tracks, a good bit of soul. And even though it is an album born to rock, a few tracks, such as "Home To It", display a deft touch when dialing it back for a soulful croon.
I have four great tracks streaming below, and you can check out the entire album at the Bandcamp link. Marshes is out now on This Is American Music in digital, CD and vinyl formats. Instant gratifications, folks. This is a great country, and Marshes is great American music. By the way, the band has ten shows scheduled for October and one for November. See the list at the bottom of the post.
A few weeks ago we featured (link) by a song by a young Australian band named The Goon Sax which is fronted by a tall high school student named Louis Forster. We think you should be reminded that young Louis is not the only musically inclined Forster. In fact, his father, Robert, is thatRobert Forster. Yes, Robert Forster of legendary Australian band The Go-Betweens. Although in the wake of the death of Go-Betweens partner Grant McLennan Forster no long records under that name, he still writes and performs under his own name (in addition to producing and writing about music). He latest effort is Songs To Play, which was released last week by German label Tapete Records. While I'm not one of the music journalists on Tapete's distribution list and thus haven't had a copy of the album to digest, I have heard a stream of the album. I'm pleased to report that Forster retains his deft touch in songwriting. The melodies are simple but memorable, the rhythms compelling and lively, and the lyrics incisive and expressive. Of course, any fan of The Go-Betweens will want to check out this release, but I submit that any indie music fan could find a good deal to like here. I don't normally link to other sites, but you can stream the album here.
Here is the album trailer --
Forster self-produced Songs to Play with Scott Bramley and Luke McDonald of The John Steel Singers, whose work Forster has produced in the past. Scott and Luke also play on the album, as does Matt Piele and Karin Baumler.
Sunday mornings demand something special, and we have a really good one. American psychedelic country from The Wanda Junes. TWJs hail from the Southwest desert town of Tucson, Arizona, and the location seems to have seeped into their psyches and emanates from their fingers and voices. On Hi-Fi Record Album, their new record for Emotional Response, the melodies tend to b relaxed and the instrumentation generally restrained, although album opener "Grand River Saloon" rocks with full effect. But the emotions are really and ably expressed. And as Allison warns a lover who treated her badly in "Two Birds", she can't wait to piss on his grave.
Of course, this music would best be experienced in a roadhouse with a strong beverage and your own memories for company, but I can't make that happen for you. But you can supply the beverage and the memories won't go away, so if you send a meager $6.50 to Emotional Response, label bosses Stew and Jen will send you a soundtrack to your tears. And that will make you happy.
The Wanda Junes are Jeff Henderson, Thom Plasse, Bobby Carlson, Adam Frumhoff, Karima Walker, Nathan Fenoglio, and Allison McGillivray.
I'm not unbiased here. I love the Salad Boys. Before you even get into their music there is knowing that David Kilgour once chose them as his backing band, and that their name comes from a misheard Feelies lyric. Then there is the south island of New Zealand location, evoking the indie music history from that fertile scene. That's a solid beginning. And then there is the music, performed by three men from Christchurch who are veterans of other projects. Frontman Joe Sampson (vocals/12-string guitar) also fronts T54, whose In Brush Park was reviewed here a couple years ago. Ben Odering plays bass and Jim Nothing is the drummer.
Salad Boys craft an exciting mix of jangling garage rock, folk rock, and spacier guitar jams for their official debut, the humorously titled Metalmania. Although lyrically intelligent, the vocals are underplayed and the instrumentation, especially the guitars, take center stage. Depending on the listener's background, one may detect hints of countrymen The Clean, The Bats, Surf City or Straightjacket Fits. For North Americans who currently are being graced with a Salad Boys tour, The Feelies and R.E.M. may come to mind. The pace varies, with hard charging songs like "Dream Date", "Daytime Television", "No Taste Bomber" and "I'm A Mountain" balanced by gentler tunes such as "Here's No Use", "Better Pickups", and "First Eight". And a song doesn't necessarily end in the way it begins. A case in point is the wonderful "No Taste Bomber", which spends over two minutes reminding you of early R.E.M. before charging into an extended psychedelic finish. For me, highlights include "Here's No Use" (I absolutely love this song), "No Taste Bomber", "Dream Date", "Daytime Television", "Better Pickups", and "First Eight". But this is an album that I play often, repeating some songs but never skipping any. Start to finish, it is a keeper.
Metalmania was released on September 18 via Chicago's Trouble In Mind Records. You can stream the entire album at the Bandcamp link below. Tour dates and locations are at the bottom of this post.
SALAD
BOYS TOUR DATES
9/23/15 - Chicago, IL @ The Owl (w/ Clearance)
9/24/15 - Nashville, TN @ Third Man Records (w/ Ultimate Painting &
Paperhead)
9/26/15 - Memphis, TN @ GONERFEST 12 - Murphy's
9/27/15 - Cincinnati, OH @ Midpoint Music Fest
9/28/15 - Columbus, OH @ Double Happiness (w/ Connections)
9/29/15 - Detroit, MI @ UFO Factory
9/30/15 - Pittsburgh, PA @ VIA Fest
10/1/15 - Brooklyn, NY @ Palisades
10/2/15 - New York, NY @ Elvis' Guesthouse
10/3/15 - Boston, MA @ Out of The Blue Too Gallery
10/4/15 - Philadelphia, PA @ Everybody Hits
10/6/15 - Asheville, NC @ Tiger Mountain
10/7/15 - Atlanta, GA @ 529
10/8/15 - Jacksonville, FL @ Rain Dogs
10/9/15 - New Orleans, LA @ Saturn Bar
10/10/15 - Austin, TX @ Beerland (w/ Neil Michael Hagerty)
10/12/15 - Tempe, AZ @ Time Out Lounge
10/13/15 - Los Angeles, CA @ All Star Lanes
10/14/15 - San Francisco, CA (w/ Radioactivity) @ Hemlock Tavern
10/16/15 - Seattle, WA @ Highline
10/17/15 - Portland, OR @ Bunk Bar
10/19/15 - Salt Lake City, UT @ Diabolical Records
10/20/15 - Denver, CO @ GLOB
10/22/15 - Minneapolis, MN @ Hexagon (w/ Real Numbers)
10/23/15 - Milwaukee, WI @ Lucky Cat (w/ Lazy)
Paris-based SNGPR is the French language project of Roman Oswald and Les Gordon, who also record in English as Mondrian. They posted "Effet Doppler" today, and I think it is a great song. No more fanfare, just enjoy. And if you like SNGPR's work, go to the Soundcloud link below and enjoy more of it.
We really don't want to let summer go around WYMA headquarters, so we are thrilled to have a copy of Never Grow Up, a great new set of summery indie pop from Brideshead. Nine vibrant songs with happy echoes of C86 and immaculate Swedish guitar pop. The album delivers jangling layers of guitars (and a trumpet), a box set worth of hooks, warm vocals and energy in a charming rush of sound. If you still have sunshine, this album is the perfect accompaniment for your day. If you don't have sunshine, this album -- on repeat -- is essential for your mental health. Everyone who lives with you will thank you for getting it.
Brideshead was formed in Germany in 1993, although they sing in English. Never Grow Up is their third album (along with some shorter releases), which suggests that they either are slackers or they have real lives. The band consists of Martin Nelte (vocals), Burkhard (drums), Zwen Keller (guitar), Hanns-Christian Mahler (guitar), and Paul Engling (bass).
Never Grow Up is available as of September 18 as a digital download, and in CD and limited vinyl formats via Shelflife Records and, in the UK, Dufflecoat Records.
If, when searching through the used record bins in your favorite record store, you found one of the long-lost singles or, if you are really lucky, a copy of the one album released by Amarillo, Texas' The Kitchen Cinq, you would count yourself a very lucky humanoid. Founded as The Illusions (and at one point known as The Y'alls) as a way to meet girls, the band had the playing chops, harmonies, looks, and knack for presenting the material that should have earned them a few hits, a few appearances on American Bandstand, and a longer career. They moved to Los Angeles in the mid-60s with dreams of making their way in the industry, and attracted the attention of Lee Hazelwood, who signed them to his LHI label. But the market was crowed with bands featuring a psychedelic sound and solid harmonies, and The Kitchen Cinq never caught the breaks needed. Of course, at this point there is no second chance for the band, some of whom are no longer living. But their music is getting another life in When The Rainbow Disappears: An Anthology 1965-68.
The collection consists of 28 songs, and is available on 2 LPs or CD via Seattle's Light In The Attic. The sound reflects the guitar pop of the time. But within that genre then covered the waterfront. You'll hear hints of The Yarbirds, The Association, The Beach Boys, The Beau Brummels and The Byrds. That variety, and their covers of songs by The Beatles and the Brummels, as well as renditions of "Solitary Man", "I Can't Let Go" and "Gloria", results in a album that not only chronicles the recorded output of the band, but also serves as a sort of mix tape of '60s pop.
By 1968 the band called it quits. The members split into other bands for a while, and some did studio work. But the quality of their music has remained a near secret until now. If you like the music of that era, as I do, you will find this a delightful album. Check out the link at the bottom of the post for clips of all the songs.
The Kitchen Cinq was Mark Creamer, Jim Parker, Johnny Stark, Dallas Smith, and Dale Gardner. J.D. Souther, another Amarillo boy, was a temporary member.
The uniquely-named 23:23 is the side project of Rami Vierula, frontman for the Finnish dream pop band Delay Trees. The songs he writes and performs for 23:23 are lo-fi, nocturnal musings, dreamy and intimate. A prior album was titled 23:23 Album Trilogy, and he now will follow it with an EP named To Die On A Faraway Island With You. The EP will be available via Helsinki's Soliti Music in October, but you can here the first song shared from the record below.
"Letters" is a poignant tale of unanswered letters, and unrequited love. Vierula is ably assisted by Ringer Manner (The Hearing) on the vocals. The combination of '60s pop duet and fuzz rock soundtrack is very affecting.
We cannot do much about the start of another work week, as there are limits to our power and influence. However, perhaps we can make it a bit better by bringing a great single to to your attention. The Flatmates, which were one of my favorite C86 era bands, have reformed with Lisa Bouvier and Brian Price joining original members Martin Whitehead and Rocker. In addition to shows and festivals, they have found time to hit the studio and dash off the new single consisting of covers of "When You Were Mine" / "Comedian (Comedienne)". I don't know how many versions of Prince's "When You Were Mine" have been recorded -- I'm most familiar with the original and Crooked Fingers' excellent Americana dirge -- but The Flatmates turn it into a fuzzy garage pop anthem that is worthy of inclusion with the best of the bunch. "Comedian" is a cover of the Cinerama song, and it an able partner to "When You Were Mine".
The single is available in as a digital download and in a limited run of vinyl.
We think you deserve something special for the weekend, so here is the Always 7" from Swedish pop band Red Sleeping Beauty. Consisting of the title track and B-side "Breaking Up Is Easy", it is the trio's first release in fifteen years. "Always" begins with a bouncing synth line and then slides into the pristine gentle pop that we associate with Nordic bands. Upbeat melodies, soaring choruses and delectable hooks abound. It probably will only take a few bars to earn it a spot on your playlist. Don't worry, you won't be alone.
Red Sleeping Beauty is Niklas Angergard, Mikael Matsson, and Carl-John Nasstrom. And more good news -- the band plans more music for release next year.
The Always 7" is available today in vinyl and digital formats via Shelflife Records.
There will be no blathering about the background of the band in this post, because I've got nothing. The label advises us that this is the entire catalog of Restless Hearts, save a few alternate takes. The label also tells us how wonderful this album is. There is no false pride in that statement; just the straight, unadorned truth. This is the sort of powerpop you hope for every time you play a song labeled as powerpop. And you keep playing those advertised powerpop songs despite often being disappointed, because you love powerpop and you want to be happy like all of God's children. Well, this is the day your disappointment ends, because Jigsaw Records has released Restless Hearts.
Power chords, harmonies, songs about girls and being young with your life ahead of you. And all played the way songs are played when the band (1) has talent, and (2) is playing to please themselves and you are merely invited along. You get twenty songs that you will play over and over until they are imprinted on your brain, and you'll recommend it to all your friends. and why not -- as is the case with all releases on the Jigsaw label, Restless Hearts is generously priced as a digital download or CD. The Bandcamp link below has the details, and the ability to stream the entire album. But you can check out the first two songs below and see just how right I am.
I Like Rain: The Story of The Jean-Paul Sartre Experience is one of the most welcome collections I have ever owned. It ticks all of the crucial boxes for such compilations: Very good but criminally underexposed band; hard to find material; comprehensive collection; and appealing package. Most importantly, the set demonstrates the incredible versatility and the sheer quality of the music of The Jean-Paul Sartre Experience. The New Zealand band, named in honor of a flatmate's struggles with his philosophy studies, was signed to the iconic local label Flying Nun. But their music didn't fit neatly in the jangling retrospective (and not entirely correct) image of Flying Nun bands. More likely to display a harder edge, a jazzy arrangement or a blues riff, the songwriting was adventurous and idiosyncratic. Over their short performing life of 1988 through 1993, the band added elements of US college rock and grunge, and a fair it of psychedelia (check out "Into You" below). That their evolution included increasingly more complex approaches and sonic experimentation may have presented a challenge to their existing fan base. But in the rear view mirror afforded by I Like Rain: The Story of The Jean-Paul Sartre Experience, one's appreciation only is enhanced by the band's positive growth.
Yes, this is a big package and it is priced accordingly. But music like this is rare. And given that this material was out of print and Fire Records spend six years, and I expect a sizable amount of resources, to license the over 50 songs from Flying Nun, remaster them, and create this box set, you may not get another chance. You could even buy it and wrap it for a Christmas present to yourself, but who the hell would want to wait that long to listen to this great music?
The Jean-Paul Sartre Experience was Dave Yetton (vocals/bass), Dave Mulcahy (guitar), Jim Laing (guitar), and Gary Sullivan (drums). This box set is available in CD and vinyl formats. The vinyl has original sequencing with bonus material available as a digital download.
"Studville" is a perfect introduction to Brisbane's Tempura Nights -- four musicians with a great feel for garage pop. If you like what you hear, click through to the Bandcamp page for their Whine EP or their Soundcloud page.
Today's recently discovered band is Young Scum. The Virginia quartet came to my attention via the delightful French music blog Piggledy Pop. The play a somewhat dreamy brand of guitar pop with plenty of jangle and a good dose of sincere charm. They contributed the third and fourth tracks for the Reporters / Young Scum split EP which was released recently by Cambridge's Dufflecoat Records. Young Scum's Autumn August was released in February 2015 and is available on their Bandcamp page for 'name your price'.
The band's songs from their release for Dufflecoat Records:
The Harpoons are a Melbourne quartet that has found an appealing sweet spot with R&B electro-pop, as evidenced by their new song "Ready For Your Love". Warm and inviting, but danceable, it is the perfect song to add to your entertainment mix. And since it is available for 'name your price' at the band's Bandcamp page (link provided below), you would have trouble coming up with a reason not to add it. Check out more music from The Harpoons at the Soundcloud link.
The Harpoons are Henry Mardin, Jack Mardin, Bec Rigby, and Martin King.
The opening track of It Seemed Like A Good Idea At The Time, "**** (Is A Dirty Word)", puts the agenda for the album out on the table. In it Simon Love delivers a wry pop song with hooks, melody, and a fair bit of blue language expressing dissatisfaction with the concept of love. The remaining eleven tracks vary between perfect pop tunes, such as the following "The New Adam & Eve", and less conventional songs such as "Motherfuckers" "My Dick". The latter may be related in certain respects to the old King Missile song about a detachable organ, but it is cleverer and plays a good bit better to the ear. Welshman Love, whose previous artistic incarnation was as the frontman of the Loves, has a masterful feel for '60s-'70s pop craftsmanship in the manner of Emit Rhodes, Harry Nilsson and Todd Rundgren, and he displays it well here. He also has a theme, and it is a somewhat jaded, even bitter, perspective on love and relationships. While all of us who have lived can relate to some unkind sentiments on love, do we want a whole album of it? My verdict is yes. The theme plays well because Love is witty, as well as a superb songwriter. I just can't ignore an album that sounds this good and in many places, is this much fun.
Another topic is why I playing an album of offbeat and tuneful songs with negative sentiments about love makes me feel so much better, but I'm not going to dwell on that now.
It Seemed Like A Good Idea At The Time is out now via Fortuna POP!
It takes a peculiar talent to write songs that simultaneously convey excitement, mystery and a hint of darkness, and to perform them with both sublime skill and a rambunctious "first take" level of near chaos. But if I could pick any band as capable of doing it, that band would be Brisbane's Blank Realm. And Illegals In Heaven is evidence that I would be right. Their brand of psychedelic garage rock is widely inclusive of influences, and the band shows no strain in blending them together into their own heady brew. They are confident lyrically and instrumentally. Their songs evince honesty and damaged romanticism. The iron-ribbed rhythms from Daniel and Luke Spencer are are solid as any in the business, while the higher register is filled to capacity by Sarah Spencer's keys and Luke Walsh's guitar. Daniel and Sarah handle the vocals with conviction and nuance.
What is different from their most recent past album, the excellent Grassed Inn? To my ears the music on Illegals In Heaven seems designed with a wide scope to fill bigger spaces and make grander statements, while retaining the vitality of the band's highly appreciated live performances. And perhaps the band has become more adept at adding tender touches to their garage rock sweet spot. As evidence of the latter point, check out "Gold" below, which is one of my highlights on the album.
In my view, with this album Blank Realm has emerged from the great-little-known-talent territory to one of the best garage bands playing today. It is great on the first listen, and your appreciation will grow with each of your many replays. Most likely it is one of my top ten albums for the year, and I highly recommend it.
Blank Realm are siblings Daniel (drums and vocals), Sarah (synths and vocals) and Luke Spencer (bass), and Luke Walsh (guitar). Illegals In Heaven is out now via Fire Records and, in Australia, Bedroom Suck Records.
Hungry? Here is a new favorable morsel of Babganouj. Called "Hit Song", it is a fantastic rush of sound, melody and energy. The Brisbane quartet will release an album later this year, and "Hit Song" reminds us why we care about that.
Helsinki's Love Sport creates guitar pop that tends to attract the "slacker pop" label, but upon closer examination manages to be satisfyingly detailed and purposeful and decidedly wider in scope. I believe all the members of the band are in other projects, but Almost Does Not Mean You Made It, their second EP, shows continued growth in cohesion and confidence from their promising debut, the Go!!! EP.
The EP begins with the bubbling garage pop of "Song For The Merries". The following "Deadbeat Time" favorably recalls The Shins on caffeine. Lead single "Genius" most aptly draws comparisons to Avi Buffalo and Pavement. With its bratty vocals, "Calling All Stupid" ably walks the link between garage punk and post punk. "Mrs. Brisby" has a jaunty Britpop vibe. The closer is the racing post-punk tune "Yes #2".
Soliti Music has a number of fine artists on its roster, but it seems to me that Love Sport has the potential to be one of the most successful outside of their home country. And Almost Does Not Mean You Made It is a fine introduction to their music.
Almost Does Not Mean You Made It EP is out Friday, September 4, via Helsinki label Soliti Music. The supply of digital downloads is unlimited, but there are only a small number of cassettes.
At the risk of being overly bossy, I think that everyone needs a bit of Redspencer in their lives. I think that David, Aiden and Andre would agree, but they have a clear bias as they are the members of the band. The trio resides in Melbourne, and plays melodic guitar pop that to my ears is perfect for the transition from summer to fall. The recently released a four-song EP via home town label Deaf Ambitions, and I give it my firm endorsement. From the shimmering opener "Everyday" to the garage pop of "Happy Slow Riverbends" to the dreamy showcase tune "Ride It Out" to the county-inflected closer "Someday's Gone", there isn't a bad note in the set. The only complaint I could muster is that there weren't enough of them. But because I'm a self-help kind of guy, I found an older track that is available to download and linked in below. But don't let that stop you from getting this EP. You'll have it on repeat.
And here is a video for Respencer's song "Tell", which can be downloaded for free here.
We featured a song by Melbourne's Crepes last year, but somehow managed to miss their release of the Cold Summers EP in the spring. I'm quite sure we have an excuse. In fact, we keep an entire file of excuses in the office. I just can't remember which one I'm supposed to use this time. Since the interns have all headed back to school, we'll just blame it on the interns.
But excuses aside, Cold Summers is a record you don't want to miss. In fact, the shimmering, jangling title track would be worth the price even if the following four songs were filled with tuneless humming which, of course, they aren't. Slacker guitar lines jangle away, but the rhythm section adds genuine muscle and the keys glue it together. The vocals are excellent and the songwriting is too adept to be termed slacker pop. This band has a bright future, so this is your chance to get in on the ground floor.
Sorry, noiseniks, it is a rainy Tuesday morning and the day demands to be jump started with some indie pop. Fortunately, The School has things covered with their new album Wasting Away And Wondering. The sweet spot for this assembly of musicians from Cardiff, Wales is retro-tinged pop music that will recall your favorites from '60s artists such as Dusty Springfield, The Shirelles and The Ronettes as well as contemporary bands such as Scotland's Camera Obscura, England/Australian outfit Allo Darlin' and the US' Saturday Looks Good To Me. And that tells me that I will hear sweet female vocals, rich instrumentation, and classic but bouncy melodies. But knowing what I am getting does nothing to lessen the familiar and welcome rush I feel when this music hits my brain. The School is a savvy band, knowing when to punch things up with horns or smooth them out with strings. But nothing is done to be showy or announce 'aren't we clever'. It all is in the service of delivering the pop goods to your ears. Give yourself a treat; not everything good is spanking new.
The School are Liz, Steph, Harri, Ryan, Fran, Kay, Andy, and Kit. Wasting Away And Wondering is their third album, and it is out September 4 via Elefant Records.
