NEW SONG: Boardwalk - "I'm To Blame" from forthcoming S/T debut

LA-based label Stones Throw keeps mixing it up - long known for their hip-hop (Peanut Butter Wolf, Madlib), soul (Aloe Blacc, Mayer Hawthorne and the recently-covered Myron & E) and other assorted mixmaster stuff (James Pants, Vex Ruffin), they've been supplying some pretty sweet sounds lately. In addition to the wonderful reggae and dub items we've heard from them recently (The Lions, Dub Club), they have recently signed an LA-based guitar dream pop duo called Broadway. There's only one song to listen to, but it sure is a good one - sweet as can be, languid and easygoing, with a meandering guitar line. Check it out, and then, like us, stay tuned for more:



Boardwalk on Stones Throw
Boardwalk Facebook

Teardrop Factory - Topshop EP

Teardrop Factory is a promising young trio from Brighton, who express themselves via reverbed, fuzzy and distorted guitar and a driving rhythm section wrapped around some catchy melodies.  You'll hear touches of The Jesus and Mary Chain and Sonic Youth here, but there is a psychedelic sheen as well.  On May 27 they are releasing the four-track Topshop EP via Faux Discx.  Two of the tracks are can be streamed below, and "Vanity Unfair" is available to download.  Good stuff, people.





I understand that the vinyl 7" is limited to 300 copies, but the EP is available for digital download as well.

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REVIEW: Mark Lanegan & Duke Garwood - Black Pudding

Mark Lanegan has teamed up with multi-instrumentalist Duke Garwood to release Black Pudding via Ipecac Recordings on May 14. Lanegan has long been one of my favorite vocalists - his distinctive voice reached me (via a Screaming Trees video on Beavis + Butt-head back in the day) - and has kept me listening throughout his impressive solo career. I enjoyed last year's Blues Funeral, but I think this album is on another level. As strong a rock frontman as Lanegan is, stripping away the accompaniment highlights his vocal instrument even more.

Like Lanegan's voice, Garwood's guitar playing is unique, distinctive and more than a little haunting. There is other instrumentation on the album - drum machines set the pace on some cuts ("Cold Molly", "Mescalito") and there is some well-placed piano, sitar and horns on a few of the songs - but the guitars are a perfect accompaniment for an album full of dark, understated country blues.

Here's "War Memorial" - behind Lanegan's voice and Garwood's guitars on this one is a single mournful horn - perfect for a song that consists of a soldier asking for his medals and describing the horrors he has seen, concluding: "Don't tell me the ending of the play, don't make me look in the mirror":



This is an amazing record. It's sort of a folk album, but folk blues in the tradition of artists like Skip James and John Fahey. But it's also a jazz record - a very spare, evocative kind of jazz, along the lines of McCoy Tyner or some of Coltrane's work. It gives me chills, every time I listen to it. Lanegan says his favorite two songs are the instrumentals that bookend the album. Given that this is probably just modesty, still, he fails to give himself the proper amount of credit - both his voice and Garwood's guitar are indispensable instruments here. The album would be less than it is without either part.

There are places where Garwood is apparently meandering, only to snap right into something that will take your breath away - but the meandering has its own appeal, honestly. I'm reminded of Tom Waits' observation that his favorite part of the symphony is when all the musicians are warming up, before any order is imposed from outside.

Here's "Pentecostal" - just love the way it seamlessly morphs into a spiritual a la Fahey even before Lanegan's voice comes in, and then it's pure blues:



down so long now jesus
you know i been down so long
far turned out and freezing
won’t you carry my body home

this is why i came
to live a life in a day
with a fire in my head

who’s got the keys to the workhouse?
satan has locked the door
got no wings to take us
up off of that killing floor






Most of the album is obsessed with death, and of course that's heavy theme that, in the wrong hands, can become pretty hackneyed. Sure, there are a lot of timeworn lyrical snippets from the blues canon, history and literature (including the Bible: "If death rides a white horse/Then I ain't seen him yet" from "Death Ride"). But putting those musical ideas together, like arranging notes and instruments into an inspired form, is a real skill. Otherwise, all bluesmen would be Howlin' Wolf. The skillful interplay and, most of all, the execution make this a very special record.

Here's a great interview with the two of them from Uprooted Music Revue - it gives you some insight into the  mutual respect and dedication to craft that allowed these two to reach across the Atlantic to make such an intimate, nearly perfect album.


Mark Lanegan Website

Duke Garwood Facebook

Ipecac Records

NEW SONG: Golden Suits - 'Didn't I Warn You" from upcoming album Golden Suits, due in August

Golden Suits, which is the new solo project of Department Of Eagles' Fred Nicolaus, will release its debut self-titled album on August 20th, 2013 via Yep Roc. 

For now, they've made one song available to stream (and download via their website - link below), the majestic pop number "Didn't I Warn You":

On this album, Nicolaus played most of the instruments, but had help from Chris Bear and Chris Taylor from Grizzly Bear; Fraser McCulloch from Milagres; Becca Kauffman and Felicia Douglass from Ava Luna; Kris Nolte and Ian Davis from Mason Jar Music; and Daniel Rossen.

Golden Suits Website (free download available)

Golden Suits Facebook

Yep Roc Records

REVIEW: Club 8 - Above the City

Sweden's Club 8 is Johan Angergard and Karolina Komstedt.  They've been making music together for nearly two decades, and they owe that longevity to remaining consistent in quality while exploring ways to vary their sound to delight their audience.  Their latest effort is Above the City, a fourteen track album presented in three stylistically distinct acts.  The first act consists of four tracks of the clean electro-pop often associated with Swedish pop music.  The first and fourth tracks are more dream pop, while tracks two and three,  "Stop Taking My Time" and "You Could Be Anybody", respectively, are made for the late night dance floor.



The second set is playful and summery, even tropical in feel.



The third act shifts a bit into pop and rock anthems.  It may be the least consistent stylistically of the three sections, but it has undeniable charm.  Here is the album closer --


Above the City is out now on Labrador Records.

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Reverberation Radio #63

If it's Wednesday then it's time for another edition of Reverberation Radio.  This week's curated list includes classic 60's cuts from the International Submarine Band, The Ventures, Glen Campbell, The West Coast Consortium, The Pretty Things, Wimple Winch, Afro-Soultet, and The Soft Machine.  Let these tunes open the door to more music the folks at Reverberation Radio.  Click on the artist's name and find out more from Allmusic.com.

1.  The International Submarine Band - Luxury Liner

2.  The Ventures - California Dreamin'

3.  Glen Campbell - Guess I'm Dumb

4.  West Coast Consortium - Come on into the Warm

5. The Pretty Things - You're Running You and Me.

6. Wimple Winch - Colored Glass

7.  Tame Impala - Mind Mischief

8. Afro-Soultet - Mozamba

9.  The Soft Machine - Love Makes Sweet Music

10,  Marine Girls - A Place in the Sun

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REVIEW: Just Handshakes - Say It

My first introduction to Leeds' Just Handshakes was their engaging jangle pop song "London Bound". The sound was wonderful and with the excellent vocals from Clara Patrick I was reminded of one of my favorite C86 bands, The Popguns.  I'm pleased to report that the band's new full length, Say It, does nothing to diminish my early enthusiasm.  The twelve tracks are uniformly high quality, with an up-front sweetness and hints of melancholy.  While there is plenty of C86 jangle, the contributions of the synths and the delicate vocals keep a foot planted in the dream pop world as well.  And the collection ranges between gentle tunes and tracks that show a more than a bit of muscle and fuzz.  The band appears to have a sense of humor as well -- their original name was Just Handshakes (We're British), playing on the reputation of British reserve.

Say It deserves attention for its own qualities, to be sure.  But when one considers some of the qualities that make it so appealing -- he tight interplay of the musicians, the vocals, the carefully structured songwriting -- it looks likely to be a launching pad for exciting future efforts from Just Handshakes.








And here is the video for "London Bound" --



Say It was released on May 20 by California label Bleeding Gold Records.

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REVIEW: French Films - White Orchid

Finland's French Films have the big college rock sound - up-tempo, big hooks, guitars set on reverb and high in the mix, a carpet of synths and choruses that soar to the rafters.  There are a lot of similarities with Paisley Scotland's Close Lobsters, and any band that favorably compares to Close Lobsters is A-OK with me.  It is a sound I love, and I usually have a band that delivers it in my music rotation.  Right now, I'm getting my dose from White Orchid.  I think you'll understand my affection for the music when you listen to "Latter Days".  Turn up the sound, that's what anthems like this are for.



White Orchid seems made for wide open spaces, outdoors in the back yard, road trips with the wind down, sitting under the stars at night.  If you demand an album with multiple styles and changes of pace, this is not the one for you.  I recall only one slow number and overall the song structures and sound are similar.  But if, like me, you love this sound, there may be no better representation of it this year.


French Films are Johannes Leppänen (guitar/vocals), Joni Kähkönen (guitar/vocals), Santtu Vainio (keyboards), Antti Inkiläinen (drums), and Tuomas Asanti (bass).  The album is out now on GAEA Booking & Records.



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REVIEW: Purson - The Circle And The Blue Door

Purson are Rosalie Cunningham - Vocals, Lead Guitar, George Hudson - Guitars, Samuel Shove - Organ, Mellotron, Wurlitzer, Barnaby Maddick - Bass, BVs, BJs, and Jack Hobbs - Drums. Cunningham is a former member of Ipso Facto, a band of British teenagers that she formed at 16, then broke up when she decided that the acclaim they received for their appearance was actually getting in the way of the music she wanted to make. And she is an excellent vocalist and guitarist with very clear ideas about how she wants her music to sound. Citing influences as varied as Bowie, The Beatles, Slade, The Faces and Led Zeppelin, she nonetheless adds her own style, and with that, this album rises far above the level of pastiche or imitation.

The Circle And The Blue Door is a terrific record. Much like the Wolf People record reviewed here recently, it does a wonderful job of molding together some very original (though sort of timeless) lyrical ideas - from literature, music and the supernatural - with some well-executed musical ideas, from the folk music of "The Sailor's Wife's Lament" to the all-out heavy rock of "Leaning On A Bear", my favorite song on the record:  



And here's a live video "The Contract":



Other highlights include the melodic "Spiderwood Farm", which has an almost lullaby feel, albeit with a heavy prog rock base: "Spiderwood Farm is about ghosts," says Rosie. "I was looking through a copy of Sounds from 1972 when I saw a band mentioned called Spiderwood Farm. From there I thought of a song about ex-dwellers, who are, of course, dead. The council are trying to evict them, but they're not doing anything wrong. They're just hanging about."



"Tragic Catastrophe" describes her dreams of being a rock star and feeling like a girl out of time. "It starts with me as a kid, going through my dad's 70s music magazines in the attic and being fascinated with these people, and wondering how on earth I could ever do guitar music today." At its best, rock music transports you. That is the goal of The Circle And The Blue Door, and Cunningham has succeeded.

The Circle And The Blue Door was released Apr. 30 on Metal Blade/Rise Above Records.

Shannon & the Clams - Dreams of the Rat House

Taking doo wop and late '50s - early '60s rock and roll through a garage/surf/punk filter, Oakland's Shannon & the Clams have crafted one of my go-to party soundtracks for the summer.  Perfect for the beach, driving in the sun,  playing loud enough to annoy the neighbors when the keg is tapped in the back yard, Dreams in the Rat House should be on your list, too.

Shannon & the Clams are Shannon Shaw (vocals/bass), Cody Blanchard (guitar/vocals), and Ian Amberson (drums/vocals).  The contributions of Blanchard and Amberson are significant as they add the musical flourishes that ground the music in the retro garage/doo-wop groove (and the male vocals star on some of my favorite songs on the album).  But the flexible and powerful instrument that it Shannon's voice likely will command the most attention.  It ranges from innocent girl-group croon to garage growl with conviction.

You can take the album for a test spin with three tracks below.  I wish I could share the vampy rhythms and surf guitar accents of "The Rabbit's Nose" with you on this page, but you'll have to stream it here.







Dreams in the Rat House is out today, May 21, on Seattle's Hardly Art label.

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REISSUES: Townes Van Zandt - High, Low And In Between and The Late, Great Townes Van Zandt

Great news for fans of country rock and great songwriting, Omnivore is releasing impeccably remastered versions of Townes Van Zandt's early 70's masterpieces. These albums are full of songs that are shining examples of Van Zandt's mastery of phrasing and timing, including "Pancho and Lefty" - surely one of the most-covered songs in history:



Here, from the Omnivore press release:

"High, Low and In Between, Townes Van Zandt’s fifth album, originally released by Poppy Records in the fall of 1971, was an album that saw Townes becoming the songwriter revered today. Full of original material, including “You Are Not Needed Now,” “Blue Ridge Mountains,” and “To Live Is To Fly,” it opened eyes and ears to his abilities. His backing band included folks like Larry Carlton, who would play on Joni Mitchell’s Court & Spark, who accompanied Steely Dan on The Royal Scam... [it] is, in the end, a classic Townes Van Zandt album...
The Late Great Townes Van Zandt, his sixth effort, hit the shelves in 1972. The album built on High, Low and In Between, adding texture in both song and production. It’s probably best known for “Pancho & Lefty” — the song Emmylou Harris covered for 1977’s Luxury Liner and which Willie Nelson & Waylon Jennings would take to the top of the charts in 1983. Full of originals, as well as covers like Hank Williams’ “Honky Tonkin’,” the release was Van Zandt’s perfect storm, with every element in place."

I don't have much to add, except my agreement. These records are absolutely breathtaking and, although a lot of their beauty is in the space between words and notes, they are rich and full, and absolutely reward repeated listening... even after all these years.These remasters will be available on CD, in a digipak with liner notes from award-winning scribe Colin Escott, as well as on 180-gram vinyl, with the first 1000 pressed on orange and clear colored vinyl respectively. (Future pressings will be on standard weight, black vinyl.)

High, Low and In Between
1. Two Hands
2. You Are Not Needed Now
3. Greensboro Woman
4. Highway Kind
5. Standin’
6. No Deal
7. To Live Is To Fly
8. When He Offers His Hand
9. Mr. Mudd and Mr. Gold
10. Blue Ridge Mountains
11. High, Low and In Between

The Late Great Townes Van Zandt
1. No Lonesome Tune
2. Sad Cinderella
3. German Mustard (A Clapalong)
4. Don’t Let The Sunshine Fool You
5. Honky Tonkin’
6. Snow Don’t Fall
7. Fraulein
8. Pancho & Lefty
9. If I Needed You
10. Silver Ships of Andilar
11. Heavenly Houseboat Blues

Omnivore Records Website

Cherri Fosphate - Burning Youth EP

On their new Burning Youth EP, Glasgow's Cherri Fosphate demonstrates that they are worth marking down as a band to which attention should be paid.  Not that I'm first to this party, as a little investigation shows that they have already attracted the attention of influential DJs in their home country.  Why the buzz?  Dual guitars, up-tempo songs and a willingness to let a crack rhythm section standout make these four tracks a winning package.  Below we have the video for the lead track, a stream and free download for "Wool", and a stream of the final track, "Kerry Rogers".






Cherrie Fosphate is Jonathan Sharpe, Alan Robinson, Jordan Lannigan and Sonny Kainth.
Burning Youth EP is out now on CTN Records.

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REVIEW: Del-Lords, Elvis Club

I am a sucker for the great American bar band. Guitars turned up loud, rock solid drummer, hints of R&B and '60's garage bands, maybe a country or folk-rock song or two, no frills, a little swagger but not taking themselves too seriously. By definition these bands are generally unheralded, unless they happen to be Bruce Springsteen or Tom Petty's band.

And one of the all-time great bar bands, the Del-Lords, from New York City, has released its first new LP since 1990. Elvis Club does the Del-Lords legacy proud and comes out just in time for your backyard summer BBQ parties. Just add beer.

You wait 23 years to release a record, stands to reason you won't want to fool around ouf of the box, and the first track here "When the Drugs Kicked In" is a sure fire winner, with its big pop hooks and good time feel.

Other standout tracks here are tough Americana of "Flying", the jangly "Everyday" (co-written with the legendary Dion, yes that Dion!), the blistering record closing cover of (speaking of great bar bands) Neil Young and Crazy Horse's "Southern Pacific", a beautiful ballad "Letter" (with this great line: "The devil says true love's a lie, but the devil's a liar"), and the rolling down the highway blues-rocking "Chicks, Man":

Appreciate the fiery and tasty guitar playing on "Chicks, Man"? Well, you'll find plenty to like here as Eric "Roscoe" Ambel, who started his career as a member of Joan Jett's Blackhearts, has spent the last 20 years honing his considerable guitar skills as a hired gun for the likes of Steve Earle. Ambel is also a top producer and gets just the right sound for his own outfit here on Elvis Club.

The original lineup of the Del-Lords is nearly intact. Scott Kempner is the lead singer and main songwriter and is in fine form throughout. Drummer Frank Funero you may know from Cracker and Camper van Beethoven, and is so solid, a great rock drummer. The band's original bassist is now a practicing attorney (hey it happens, even to bar bands) but is capably replaced by Michael DuClos ("the only man to have played with both Pete Townshend and Buddy Hackett" dryly notes the band's bio).  

If you like real rock'n'roll, and value the heart and craft of it, Elvis Club is the record for you.

http://del-lords.com/
http://del-lords.bandcamp.com/
Del-Lords Group at Facebook

REVIEW: Bleached - Ride Your Heart

Had enough of the lo-fi punk-influenced sunny California reverb-drenched guitar pop? No, me neither. The latest entrants are Jennifer and Jessie Clavin -- a sister pair known as Bleached, and their album is Ride Your Heart.

Growing up they taught themselves to play -  "Me and Jen were punk kids who weren't taught how to play instruments," says Jessie. We taught ourselves how to play, out in the garage." And after a period of time sneaking into LA punk clubs, they formed an all-girl band, Mika Miko, which eventually broke up. Jen and Jessie went their separate ways for a while, but eventually were drawn back together. The rapport they have, and the joy they feel in playing together, are evident in the music - twelve tracks of some of the best pop/punk you will hear all year.

Here's "Next Stop" - don't stop, don't think, just bop along:





I really like the vocal harmonies - they have a way of rushing into and out of them that keeps the momentum of the song going, but still adds some depth to it.

I also like the guitars and the punk drumming - sometimes you want to listen to Blondie, sometimes The Ramones - but sometimes you think it would be nice to listen to both at the same time, right?

Ride Your Heart is out on Dead Oceans, released earlier in April.

And they're touring in Europe - dates below:

05/20/13 - Leeds , UK - Brudenell Social Club
05/21/13 - Glasgow, UK - Art School
05/22/13 - London, UK - Corsica Studios
05/23/13 -  Paris, FR - La Fleche d'Or
05/25/13 - Brussels, BE - Magasin 4
05/26/13 - Hamburg, DE - Molotow
05/28/13 - Stockholm, SE - Debaser Slussen

New French Punk Discovery - Owen Temple Quartet - Rot In The Sun

Owen Temple Quartet is a sort of mysterious entity - a French punk/rockabilly band ostensibly named after a Texas singer/songwriter (although maybe that's just a coincidence), they come across like Nick Cave imitating Jello Biafra, fronting The Blasters and The Gun Club. Or something like that. They have recently released Rot in the Sun, and you are encouraged to pay attention, because this urgent, insistent music will make it worth your while. 

Great stinging guitar work behind the wild vocal abandon on this one, "My Wild Spanish Love":

And here, on "The Remains" they pick up the pace to all-out punk:

It's out on Casbah Records, released earlier this spring and available in electronic and vinyl format. They make 'em in France, but they'll convert it to US$ and ship 'em to the US if you want. Your friends certainly won't have this sucker, but they will want to listen to yours.

 

Chelsea Light Moving - video for "Lip" from Chelsea Light Moving, short UK tour

Chelsea Light Moving is Thurston Moore's latest project - we reviewed the self-titled album recently (WYMA review here) and loved it.

"Lip" is a good example of the album's combination of rock urgency - guitar tension, punk drumming - and a beat poetry vocal approach (with a protest theme, both to the song and the video):



Also, some UK tour dates:

June 14th – London, Village Underground
June 16th – Dublin, Whelans
June 17th – Bristol, The Fleece
June 18th – Leeds, Brudenell Social Club
June 19th – London, Meltdown Festival (Purcell Room - NO CLM, Thurston improv)

Chelsea Light Moving at Matador Records

"Palmreader" and "Dark Corners", from upcoming Sonny & The Sunsets album

Sonny & The Sunsets have released "Palmreader" and "Dark Corners", which are from Antenna to the Afterworld, their LP set for release on Polyvinyl Records in June.  I love the sound of the guitars on these tracks.  I'm looking forward to this album.




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REVIEW: The Heligoats - Back to the Ache

The Heligoats is Chris Otepka's band, but until now has been pretty much a solo project with Otepka doing most of the work and a variety of guests filling supporting roles. On his latest record Back to the Ache, he's settled in with a band. The result is a strong album with a lot of variety in sound and tempo - an album that, in a good way, is all over the place.

Otepka describes the lyrical theme (which also informs the tone of the album, I think): “The word ache appears throughout the album, it was a theme that emerged only after the record was done.  The recording process actually happened in spurts over 5 (Feb - July 2012) months and in-between I was touring around the country, North and South America.  This record was fun to write at home, on the road and in the studio.  I was never anywhere for more than a few days at a time. So, the ache became the familiar place."

Otepka spent time in Clem Snide with Eef Barzelay - and they are sort of kindred spirits. Just for fun, here's a clip of the two of them covering Bryan Adams:


Eef Barzelay & Chris Otepka cover Bryan Adams

If you enjoyed Clem Snide's literate, carefully-phrased folk rock, you will enjoy The Heligoats for sure. But this album also veers into rock territory, displaying in several places a real punk energy. After all, Otepka says the reason he's settled the Heligoats into a quartet is because of his re-connecting with drummer Nate Lanthrum, with whom he played in Midwest pop/punk band Troubled Hubble, which dissolved in 2005.  Otepka says “when we got together for the first time in over seven years, we picked up right where we left off.”  Also on board was Steve Mitchell (guitars/keys), Dave James (bass), Nick Lombardo (keys) and even some added percussion from Erik Rassmussen (who recorded and mixed part of the album).

Here's a strong rock track, "Sulfur, Baby":

And here's "Tofutti"... this track and the opener, "Good Morning" remind me the most of Clem Snide:

The album was released in March on Greyday Records - and I am happy to add to the chorus of praise that's emerged since the release. You can learn more, and buy it at Greyday's website:

Greyday Records Website

The Heligoats Website (worth checking out if only for the show posters)

New Video from The Tablets - "Flowers"

We recently featured music from Liz Godoy's Tablets (WYMA post here)... and are happy to have another chance to share their trance-inducing mix of dance-rock and shoegaze in this live video for "Flowers":



There are a lot of postpunk female-fronted bands playing a take on garage or beach rock. There aren't many playing stuff this dark and jagged - it's well worth checking out. The album will be out June 4.

REVIEW: Luxury Mane - Natural Beauty

Billy Summer is one of my favorite musicians - a Tampa/St. Pete-based singer/songwriter, he came to my attention as the leader of The Semis and I've basically never stopped raving about their music (WYMA reviews here and here). It's almost as though it was made for me - a place where Keith Richards, Johnny Thunders, Teenage Fanclub and The Records (don't know 'em? look 'em up) all had equal input into some raucous, lo-fi rock n roll dream come true.

Bad news and good news. It appears the Semis are no more, but the good news is, Summer is back with a new band, Luxury Mane, and a new album, Natural Beauty. It may or may not be the same lineup that performed as The Stone Eagles, which was also a Summer band and had some of the same songs.



"University Dropout Blues" is the opening track, a raunchy lo-fi guitar workout with the vocals down in the mix:


"Youth Envy" is, for want of a better term, an "old school New Wave" track, but again, it features a generous helping of jangly, Stones-inspired guitars, some killer riffs and hushed harmony vocals:

At 5:02, it would seem to be the centerpiece of the album... but to me, the best track is the penultimate one: "Cougar", with its catchy, sort of twangy guitar riffs, some timely piano and a lo-fi fadeout at the end. 

It's just fun music. Whenever I posted reviews of Semis, I would hear from people in the area who just rave about their live performances. If they're a great bar band, that would not surprise me, and "great bar band" is one of the best compliments you can give to someone who plays rock music for a living. For example, on Springsteen's last tour, that's how he proudly described The E Street Band - as "a Jersey Shore bar band here for your enjoyment". Lucky for us, Summer's being encouraged by the fine people of St. Petersburg, FL to keep making music and is putting some of it on record. It's good news, and you're encouraged to check it out... and to tell your rock music buddies. They'll thank you.

Luxury Mane on Facebook