NEW MUSIC: Fox Grin – Black Tree

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New music in the sense that it’s new to us… Fox Grin (Atlanta, Georgia) actually released their LP King Of Spades back in January of this year but we’ve only just come across this great track, ‘Black Tree’, in the last couple of weeks. It’s a upbeat shimmer and dance through art-rock and avant-pop. Downbeat by nature but thoroughly on the up musically, it cuts a fine sartorial figure as the infectious rhythm section pulses below all manner of guitars and keys. It sounds like Beck buried in a kaleidoscopic studio with Field Music.

Check out ‘Black Tree’ and find your way through to the full record on Bandcamp or hit up the usual streaming services.

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NEW MUSIC: Joe McKee – I’ll Be Your Host

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Joe McKee used to be the main guy in Snowman but now he’s based in Los Angeles and has recorded a new album, An Australian Alien, under his own name, alongside members of Ariel Pink, Drugdealer and The Pixies.

‘I’ll Be Your Host’ is a beautiful hazy, dream-like drift of avant-pop, complete with a heavenly sax solo. Check out the video and then hit the Bandcamp link to stream and buy the album in digital and vinyl formats.

INTERVIEW: The Goon Sax

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TALKING WE’RE NOT TALKING

Brisbane trio The Goon Sax return with their second album and as Louis Forster and Riley Jones explain to Chris Familton, the desire to document their thoughts and experiences through an open musical relationship remains the driving ethos of the band. 

They were still teenagers negotiating the twin worlds of school life and being in a band when they released their debut album Up To Anything and now, facing the challenge of adulthood and the new responsibilities that come with it, The Goon Sax have found some different angles from which to write about familiar themes on its followup We’re Not Talking.

“I think growing up was definitely a big theme,” says singer/guitarist Forster. “We were writing more about love than we’d written about before. On the first record we were writing about that from an outside perspective, as a foreign concept. This time it was closer in that sense,” he reveals. “It was also about finishing school and worrying about what we were doing everyday, which we hadn’t had to do for 18 years.”

The group recorded the album down in Melbourne at Super Melody World and though they have mixed feelings about the experience, both Jones and Forster agree that it yielded positive results. “The recording process was really different because we worked with producers who had an idea of what we should sound like and we had a different idea, so the album is like both sides pulling and fighting for some middle ground which definitely makes it interesting,” reflects Jones. Forster agrees, adding, “we started writing as soon as we finished recording the first album, from 2015. It’s coming from the same place as the first record. I think there’s tension in every aspect of the record. It feels like it has so much tension and energy, that feels like it’s on the verge of falling apart or exploding which is a good thing. It didn’t seem like a good thing at the time but maybe it is now,” he says, with the benefit of hindsight.

One feature of the album is the increased democratisation of the musical relationship between the three of them. Alongside James Harrison, all members contribute lead vocals to the new album. “We definitely sing the songs that we write and then the others chime in. We recently made a rule that anyone can chime in whenever they like and so far that has worked well,” explains Jones.

That willingness to try new things on We’re Not Talking extended to the use of new instrumentation  such as strings, piano and more across its 30 minute playing time. “We wanted to experiment with drum machines a bit and have some horns and things.” says Forster. “We all wanted to sing more on each other songs. There are more group vocals and we were all having more influence on each others songs, both with the singing and the ideas we were putting forward. There are bits of Riley and James on all my songs and vice versa which wasn’t maybe there before that. It wasn’t necessarily a conscious thing but we did it at the time and it felt good.”

One common element that the newer songs share with the first album is the streak of melancholy and self-doubt that permeates their music. Is that a representative of their personalities or just the mood and tone of how their creativity is naturally expressed?

“I think to some degree it is part of our personalities but we definitely wrote about things that were difficult and that bummed us out at the time and writing about them made us feel good again. Sad music is made for a reason and maybe it’s to repurpose something you’ve gone through, “ ponders Forster. “It’s important for us to make music that feels necessary, not just for the sake of it. You need to feel like you have to do it. I like the absurdity of putting sad lyrics to happier sounding music, it just makes me laugh.” Jones has a similar take that also reflects the way she enjoys listening to music. “I like it when you can be nostalgic about those kinds of feelings and remember through the music how strongly you felt about something.”

NEW MUSIC: The Rebels of Tijuana – Erotique

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Psychedelia out of France from The Rebels of Tijuana. This track, ‘Erotique’, comes from their new double album Asile recorded on analog tape at the Back To Mono Studio with Christian Hierro and due out on October 5th.

Gallic pop drips all over this track as it digs a psych garage rock groove and follows it with swing and verve. Great video clip too. The band have released a bunch of albums and EPs over the last decade and toured with some high profile names like Jon Spencer Blues Explosion. You can check out their earlier albums and another recent single over on SPOTIFY and APPLE MUSIC.

NEW MUSIC: Grand Sun – Go Home

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Here’s the debut single from the Lisbon, Portugal quartet Grand Sun. ‘Go Home’ is a sunny psych pop trip built on bouncing rhythms, quirky diversions in chants and handclaps and, aesthetically speaking, one foot in 90s England and the other in 60s California. A wonderfully infectious track.

Hit up their Bandcamp page below to buy the track at a ‘name your price’ and find links to more info.

 

ALBUM REVIEW: Gorillaz – The Now Now

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Over the last 30 years you’d be hard pressed to find an artist who has equally embraced music that appeals equally to the commercial pop world and the more discerning and eclectic listener. Damon Albarn really is a man for all seasons, a polymorphic, post-modern songwriter with an insatiable creative streak that has seen him find success, primarily in Blur and Gorillaz, but also with a myriad of side projects. Album number six finds Albarn, producer and musician James Ford and assorted collaborators finding a decidedly reflective and melancholic electronic pop streak.

The guest stars are still a key facet of the Gorillaz template but there are only a few in attendance this time around. Snoop Dogg, George Benson and Jamie Principle all make strong contributions but Albarn is clearly the musical eye of the storm. His voice colours every song, draping them in that weary, wistful croon, perfectly suited to the album’s themes of finding solace in a mixed up world, the importance of living in the now in the physical world and the value of the inner soul vs the attraction of the shallow glamour of Hollywood and Instagram. Much of the album was recorded while on the Humanz tour – lyrics and beats composed on time-sapping bus journeys and in indistinguishable hotel rooms, giving The Now Now it’s personal, observational and ruminative quality.

The maudlin sound of much of the album still retains the futuristic gleam that defines the technological and graphic quality of Gorillaz. Synth washes and lush arpeggios, stuttering funk and hip hop beats blend seamlessly with piano and the iconic guitar sound of George Benson as well as subtle appearance from Graham Coxon on Magic City. With a more cohesive and consistent sound, the rewards come from the details – the synthetic folk wash of closer Souk Eye, knowing 80s Depeche Mode synth pop excursions such as Tranz, Idaho’s art pop akin to the latter-day experimentations of Radiohead and  the 21st century, low-riding electro-funk grooves that permeate the album.

The Now Now is a deeper than normal listen and a welcome balancing addition to the Gorillaz discography. It’s also, tantalisingly, the closest we’ve come to a new solo record from Albarn.

Chris Familton

DOUBTFUL SOUNDS – Spotify Mix Series

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We’ve got a new series of mixes happening over on Spotify. As is our want, these are all over the show. One minute you’re in downtown LA in the 80s, next you’re off to New Orleans in the 20s before a quick jaunt to Auckland in the 1990s. Dub, post-punk, glam metal, ambient, pop, country and jazz. Anything goes.

Catch up with the first three mixes below….

INTERVIEW: Django Django (2018)

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TIC TAC TOE TAPPING

On the eve of the release of their third album, Marble Skies, and an hour before they take the stage in London to launch it, drummer/producer David Maclean chats with Chris Familton about where the inspiration comes from in the creation of their multifaceted sound.

Django Django are now three albums deep into a career that started with a bang when they released their debut self-titled album, garnered a Mercury Prize nomination and set off on a two year world tour. That segued straight into the follow-up album Born Under Saturn which nearly derailed the band entirely when they hit breaking point. Now they’ve regrouped, built a studio and rediscovered the essence of their music – that dizzying blend of electronic pop, surf guitar and postmodern psychedelia. “Now we’re back into it and excited again!” says Maclean.

With the stage beckoning, he admits that the band are always a bit edgier when taking out new songs for the first time and that they need to be worn in. “It’s always a bit nervy playing them the first few times so they’ll have to settle in a bit and they’ll keep changing and morphing and getting better and better until you kind of go on autopilot a bit and then you can kind sort of enjoy it and just relax and get in the groove a lot more.”

Marble Skies finds the band sounding more settled and focused than ever before and Maclean pinpoints a greater confidence in how they work together. “We’re definitely getting a bit more confident, but you don’t want to get carried away just because you can do something. We don’t want to get obsessed with the techniques. On the first record we didn’t now what we were doing and that was all we needed at the time. Our songwriting is getting better and we strive to keep working because we want our records to be played on the radio in 20 years time like Gerry Rafferty or Blondie or Cat Stevens,” Maclean enthuses.

In hindsight Maclean sees some mistakes with the recording of their previous album Born Under Saturn. “With the last album we went to Angelic which was the keyboardist from Jamiroquai, Toby Smith’s studio. It was a huge studio in the countryside and I guess we felt a little out of our depth as we hadn’t written any songs before we went there,” he laughs. “We ended up being in the communal living room all the time writing songs, even though we were paying thousands a day for the whole place. It’s not really in the spirit of where we came from or how I grew up with a four-track making music. We were more comfortable this time,” says Maclean, referring to their own new studio.

One of the key characteristics of their sound is the fusion of different genres and organic and digital instrumentation. “I think I’ve always been quite good at finding threads in different music. I remember listening to Public Enemy when I was younger and having that eureka moment realising they were sampling Jimi Hendrix licks and mixing in beats. Even looking at their production style and the similarities to what The Beatles were doing. These were all people just experimenting creatively. All music is a lot more connected than people think.”