NEW MUSIC: Tropical Fuck Storm – Chameleon Paint

TFS-cover-1024x1014

Gareth Liddiard and Fiona Kitschin (The Drones), Lauren Hammel (High Tension) on drums and Erica Dunn (Harmony, Palm Springs) have unveiled the sound of their new band Tropical Fuck Storm. It’s a jerky, catchy post-punk song that swaggers and slithers along, sounding like it could collapse at any moment. It’s a glorious collision of chaos and euphoric rock.

The debut TFS 7″ single, “Chameleon Paint” b/w “Mansion Family”, will be released on September 22 as a label collab between TFS Records and Mistletone Records. This limited edition 7” is the first of a series; each 7” featuring an original Liddiard A-side and a B-side cover of “songs we love and wish we had written”. The “Mansion Family” B-side is lifted from Melbourne band The Nation Blue, who released the original less than a year ago. Each 7” will feature phantasmagoric cover art by Montréal artist Joe Becker.

PREORDER

Advertisements

ALBUM REVIEW: Boris – Dear

Boris

Boris are now 25 years into a career that has stretched from the barren expanse of doom to hazy dream pop renderings and onto avant garde soundscapes and blistering, psychedelic punk rock. They hone in on a style and explore it to its logical extreme. On Dear they again hit the heavy button but this time they go deep into the detail, exploring both heaviosity and spaciousness.

There is usually a reactionary element to the way Boris approach a new album and given that their last release, Noise (2014), blended space rock, grunge and prog it was to be expected they’d retreat into the shadows again and dispense with traditional rock song structures. Dear is post-metal deconstructed and amplified. The drums sound like they were recorded in a cavernous tomb, the guitars are distorted to the point where they sound like sonic locusts and the bass rumbles with tectonic gravitas.

Boris haven’t abandoned their rockets tendencies altogether though. ‘Absolutego’ lumbers and crashes with both punk and metal ferocity, ‘Biotope’ is weighty shoegaze not dissimilar to Smashing Pumpkins, ‘Dystopia (Vanishing Point)’ sounds like J Mascis shredding over Pink Floyd and ‘Beyond’ pushes the limits of quiet/loud dynamics. Boris are at their best in these kinds of songs, where they find that sweet spot between noise and melody and where those contrasting elements blend and overlap, combining to produce emotional and physical music.

The rest of the album is much more introspective and indulgent, albeit in a fascinating way from the perspective of sonic architecture and sound design. Thunderous and screaming chords hang in the air, crashing drums enter and exit at seemingly random moments and Wata’s lead guitar is gloriously alien in the way it is played and processed. The ideal way to experience these songs would be standing directly in front of the band’s amplifiers, all on 11, feeling the sound as much as hearing it. ‘Karego’ threatens to melt speaker cones with the density and drone of the guitars while ‘The Power’ sounds like an attempt at inter-dimensional communication with everything in the red, bristling and pushing at its digital fabric.

The human voices in closer ‘Dear’ are guttural and exultant. A primitive greeting card and the most organic moment on the record. It sounds like Boris laid bare, a monumental encapsulation of their music and given that initially Dear was intended as a possible farewell record, it’s an open-ended way to finish the album and leaves both Boris and their fans asking where the trio will go next.

Chris Familton

 

ALBUM REVIEW: Jesca Hoop – Memories Are Now

a3974580995_10

Hot on the heels of her collaborative album with Iron & Wine’s Sam Beam, Jesca Hoop backs it up with a new solo album that dives deeper into her experimental songwriting, drawing on folk, indie and art pop.

The songs here are minimal, skeletal even. Simple percussive elements, at one point just the keys of a typewriter, form the basis for hypnotic melodies and lyrical concerns that often draw on themes of empowerment, seizing one’s destiny and the moment.

It’s Hoop’s sense of musical adventure and experimental lean, yet not at the expense of a strong song, that lends comparison to St Vincent and a more organic Bjork. Endlessly catchy and boldly creative, Memories Are Now is a thrilling escape from the doldrums.

Chris Familton

NEW MUSIC: The Bug Vs Earth – Snakes Vs Rats from their new LP Concrete Desert

leaddsc01828-7

Dylan Carlson (Earth) has once again teamed up with The Bug’s Kevin Martin (Techno Animal, Ice, God, Razor X, King Midas Sound), this time for a full-length LP called Concrete Desert. The album also features guest vocals from Justin Broadrick from Jesu/Godflesh etc on two tracks. Below you can hear the first taste of the album – ‘Snakes Vs Rats’.

Martin says that the album is in some ways a Los Angeles-set companion piece to London Zoo. The record’s beautiful, chiming melodies are like shards of sonic light, glowing in currents of heavy bass darkness. There are pulsing soundscapes, ambient pinks and whites, and irresistible grooves. This is music that grips you entirely, and catches you in its lava-flow – an astonishing, primal album of vast depth.

Inspired by J.G. Ballard’s urban dystopias, Concrete Desert could be understood as reflecting a “mistrust of “Hollywoodisms”, the shadow of Hollywood fantasy that looms large over life in LA, and the USA in general. “Dylan’s a master at amplifying the flavour of America,” Martin says, “but not the side we see in this Trump climate.” For Martin, the “American dream is like a nightmare under Trump” but Dylan captures the “best side of that dream, a utopian openess…I hear the writing of Cormac McCarthy in his music. His playing conjures deserts, and wide open spaces.”

Concrete Desert is out 24th March via Ninja Tune. Preorders available HERE

concrete-desert-2

NEW MUSIC: Ride Release Two New Songs

ride_presspic_andrewogilvy

Ride have been hard at work in the studio since they reunited for live shows back in 2014. The as yet untitled new album is due out soon and already this week they’ve released two new songs. The first, ‘Charm Assault’ finds them in full throttle glammed-up rock mode while the second, ‘Home Is A Feeling’ is authentic early Ride in its sound and a promising hint of the range of the new record.

The album, scheduled for release this summer, sees the band reunited with Wichita Recordings co-founders Mark Bowen and Dick Green, who worked with Ride during the band’s early years on Creation Records. It also brings the band back together with mixer Alan Moulder (Arctic Monkeys, Smashing Pumpkins, The Killers) who mixed their seminal 1990 album Nowhere and produced its follow up Going Blank Again.

 Mark Gardener says: “‘Home Is A Feeling’ to me is like a slow, wide-screen, sonically, layered, slowed motion warm wash. Like returning home as dawn rises totally exhausted and spangled after a long… long… big, great night out.

Andy Bell says: “Out of all the new songs ‘Home Is A Feeling’ comes closest to the early Ride sound. We felt comfortable going vintage on this tune because the album we are making has a pretty broad sonic scope. It’s a short and sweet, melodic tune, with stacked harmonies, reverbed-out guitars, slowed down drums, and a huge distorted bass sound. Erol put his sage-scented electronic wizards hat on to sample up some of our harmonies and make them into a synthesiser preset, which we ended up using on this and some of the other tunes too. We wanted this song to sound jet lagged, so everything on it was recorded with varispeed, either faster or slower than real time. It’s like 1966 Beatles meets 1988 MBV… in other words, Ride.

 

NEW MUSIC: Mac DeMarco Announces New LP ‘This Old Dog’

mac-demarco-this-old-dog-jpg

Mac DeMarco recently upped and relocated to LA from Queens, NY and the transition to a new city had a slowing effect on his writing and recording process this time around. He sat with the songs a while and then stripped them back to acoustic guitar, drum machine and synth, giving the new album much more of a laidback (is that possible) and skeletal sound.

This Old Dog is out on May 5th via Captured Tracks/Remote Control Records. Check out the first two singles below.

  1. Mac DeMarco – This Old Dog

    1. My Old Man
    2. This Old Dog
    3. Baby You’re Out
    4. For the First Time
    5. One Another
    6. Still Beating
    7. Sister
    8. Dreams From Yesterday
    9. A Wolf Who Wears Sheeps Clothes
    10. One More Love Song
    11. On the Level
    12. Moonlight on the River
    13. Watching Him Fade Away

NEW MUSIC: Kim Gordon Releases Debut Solo Single ‘Murdered Out’

unnamed-2

Kim Gordon has kept pretty busy in the last couple of post-Sonic Youth years. She’s continued to work on visual art, collaborated with in Body/Head, released her acclaimed Girl In A Band autobiography and now, with little buildup, she’s released her first single under her own name. Murdered Out was recorded with producer Justin Raisen and is built on a huge lurching drum beat courtesy of Warpaint’s Stella Mozgawa and plenty of distortion and general audio chaos in an industrial/trashy garage-rock/post-punk style.

The single is out now via Matador Records.

Kim Gordon:

“Black matte spray.

When I moved back to LA I noticed more and more cars painted with black matte spray, tinted windows, blackened logos, and black wheels. This was something I had occasionally seen in the past, part of low-rider car culture. A reclaiming of a corporate symbol of American success, The Car, from an outsider’s point of view. A statement-making rejection of the shiny brand new look, the idea of a new start, the promise of power, and the freedom on the open road. Like an option on a voting ballot, “none of the above.”

“Murdered Out,” as a look, is now creeping into mainstream culture as a design trend. A coffee brand. A clothing line. A nail polish color.

Black-on-black matte is the ultimate expression in digging out, getting rid of, purging the soul. Like a black hole, the supreme inward look, a culture collapsing in on itself, the outsider as an unwilling participant as the “It” look.”

unnamed-1-2

ALBUM REVIEW: Witch Hats – Deliverance

unspecified-5

Rating9Their third album and first in five years, Deliverance is a consistently impressive encapsulation of the evolution Melbourne’s Witch Hats have shown across their records. There’s plenty of dark, lurching rock ‘n’ roll with howling dirges and claustrophobic angst. The bass is deep and heavy, anchoring the songs as they stagger off into Stooges proto-punk, and nihilistic post-punk. The key is the melodies that still burn a hole in the gothic, swampy vibe. They’re firmly in the realm of The Clash, The Drones and The Gun Club yet they’ve dug their own hook-laden hole and decorated it with all manner of exceptional dark pop and bruised, gutter-punk blues.

Chris Familton