NEWS: Golden Fang release the first single from their new album

Sydney band Golden Fang announce the release of ‘Don’t Take Your God To Town’, the first single from their fourth studio album, Here. Now Here. (produced by Jay Whalley of Frenzal Rhomb), due out on August 7th, 2020.

Golden Fang, a melodic guitar band that captures the joys and contradictions of life in Sydney’s Inner West, are an indie rock group in the truest sense – independently releasing their own unique blend of rock music since 2014.

Cast an ear back across the last three decades and you’ll hear the influence of the Pixies, The Drones and Straitjacket Fits mixing sonically with the dirty grooves of the Bad Seeds and The Cruel Sea. Like local Sydney acts such as Peabody, Bluebottle Kiss and Crow, Golden Fang are a band that know how to harness poetry and visceral rock ’n’ roll.

Receiving its world premiere on UK indie website Backseat Mafia, ‘Don’t Take Your God To Town’ announces its arrival with clanging guitar chords and a primitive rhythm before it blossoms into sweet and reticent vocal and guitar melodies. Musically there’s both a tumbling swagger and a haunting shoegaze quality, courtesy of the guest vocals of artist Donna Amini, that gives it a beguiling, contradictory sound.

‘Don’t Take Your God To Town’ is in tune with bands such as the Pixies, Nick Cave and even a touch of the Tindersticks – you get the picture: intelligent, driving music with a touch of gothic grit and a hint of late night smoky bars, a squinting eye and clenched teeth. Melodic malevolence at its finest. Golden Fangs indeed.”
– 
Arun Kendall (Backseat Mafia)

Of the song, singer/guitarist Carl Redfern says, “‘Don’t Take Your God To Town’ was a song that took me a while to write. It started out specifically being about a dysfunctional personal relationship but eventually ended up being less specifically a dark groove and meditation on the feeling of dread and hopelessness I, and I’m sure many people, feel when looking at the seemingly endless parade of grifters and corrupt fanatics that infest social media and public life. The abandonment of reason in the denial of climate change, the horror-show of border policing and the sobering realisation that “we’ve” lost all these battles.”

From the melancholic, melodic classicism of opener ‘Clouds Go Round’ to the gritty power-pop of ‘Bad Actors’, the cowbell suburban hoedown of ‘Cowboy For Love’ (a love song dedication to good friend and confidant of the band – Jo Meares) to the punk rockabilly rave of ‘Jonny Your Money’s No Good’ and on through the dark gothic dissonance of ‘Tonight We’re Gonna Party Like It’s Dunedin 1989’ and the wandering autumnal psychedelia of ‘Gold Chains And Card Games’ – the range and depth on display across Here. Now Here. marks it as a cohesive statement of modern Australian guitar rock.

In recording sessions at his Pet Food Factory studio in Marrickville, NSW, during Australia’s black summer of 2020, producer Jay Whalley (of Frenzal Rhomb)has captured the sound of a band that doesn’t hide its rough edges. It celebrates the energy and swagger of their live shows and the artful belligerence of Redfern’s lyrics and delivery. The earthy quality of his voice and questioning lyrics add a layer of irreverence and intimacy to the music as it weaves and crashes around him.

“It’s the first album we’ve done where the line up has had a sense of stability about it and where we were writing and working on the songs with an eventual album being the main focus while putting the songs together,” explains Redfern. “For Here. Now Here. we allowed ourselves a bit more time so that we could get things as we wanted them rather than how they ended up on the day! In that regard I think we can say it’s our most considered album.”

“Musically the album has a harder or darker edge than our previous work but draws water from some of the same wells as we have on previous albums with songs about anxiety, personal reflection and nostalgia with a healthy dash of humour thrown in. We cycle through lots of songs pull them to pieces, chop them up and mould them till we’re left with a collection of tunes that everyone is happy with. We’re kind of like a rock n roll Rotary Club,” grins Redfern.

NEW MUSIC: The Earnest Spears – Liar

Straight outta the gates come The Earnest Spears with four-to-the-floor drums, wired, frantic, distorted and heavily reverbed guitar that flails and hammers in equal amounts. The vocals are pretty much indeciperable but hey, it’s all about the energy and the post-hardcore, psych-punk riff and pummel on ‘Liar‘, the first of a run of singles the Worcester, UK group have got coming in 2020.

Last year the quartet released their debut EP Sincere and Intense Conviction.

If you dig IDLES, Refused, METZ, Shame etc then these guys might be up your alley too.

NEW MUSIC: Abracadabra – Dirty Pan

There’s a wonderfully deadpan, stylised quality to this new single from Oakland CA duo Abracadabra (duo Hannah Skelton and Chris Niles). It’s pure 80s synth pop – the good kind where robots and fashion were the future, Kraftwerk were kings and neon was a colour.

There’s also a playfulness to the music of ‘Dirty Pan’, a day-glo utopian sound built on lush washes of keyboards such as The Fairlight CMI and pulsing, robotic drums. It’s like Stereolab and Cabaret Voltaire jamming on the international space station.

Many of the songs reflect upon our fragility as humans, our inability to predict or control the future, and the struggle to remain stable despite the chaos of urban life on a deteriorating planet.”

Abracadabra’s self-titled debut album will be out on July 24 via Anniversary.

NEW MUSIC: IDLES – A Hymn

IDLES have released ‘A Hymn’, a new single and accompanying video clip from their forthcoming new album Ultra Mono, set for release on 25 September 2020 on Partisan Records.

The music video features the band driving with their parents through their hometown streets to the shops, providing a grey window into suburban English life that matches the song’s heavyhearted churn.

Frontman Joe Talbot says of the song: “‘A Hymn’ is a hymn that rejoices in the sinister flesh-eating virus of the pedestrian. It sings the tune of normal’s teeth sinking into your neck as you sleep stood up with your eyes open. Amen.”

Pre Order / Pre Save

I want to be loved Everybody does I find shame in the crack-like corpse un-cadaver reign I want to be loved Everybody does I find shame gripped tight like your withering fame We made it Shame.

Hot Zumba classes at the new church I lost ten pounds for the wedding I played happy til my teeth hurt Sofa surfer extraordinaire Lambert’s ash in my falling hair, yeh.

I want to be loved Everybody does I find shame cuts rips real nice as we change lanes We made it I want to be loved Everybody does We made it We made it

Shame.

Teletext has a place in my heart Ten percent discount, I’ll show you how Gregory’s birthday in a placid town, wow Janine held the flag with white knuckles I’m burning the Astra til the wheels buckle, yeh.

I want to be loved Everybody does

Shame Shame.

NEW MUSIC: Buddy Glass – Wasted Habit

Sydney songwriter Buddy Glass (Bruno from Peabody) is back with a brand new single and video, his first since he released his self-titled solo album in 2014. ‘Wasted Habit’ comes from his forthcoming new album Wow & Flutter, due out September 4th on Glass Half Empty Records.

‘Wasted Habit’ is a hard-strummed acoustic and densely fuzzed out electric shakedown. There’s desperation and anxiety in the frantic twitch and thrash of its sound, like clinging on for dear life as you hurtle towards the inevitable.

“I recorded the vast majority of the album on 4-track cassette in the back room of my house in Marrickville, in between dogs barking and babies crying – but this track was done on a digital 8-track machine I’ve had for over 20 years.”

Buddy Glass on ‘Wasted Habit’:

“It’s a song about knowing the outcome of a situation before it happens, but nothing you try to say or do stops you from taking the steps necessary to fulfill that outcome, even when that means a raw deal for everyone involved. It’s like being in a car crash but also witnessing it from the outside. It’s essentially about determinism over free will. The video clip features me flailing and dancing around in a cat mask in a David Lynch-style room. My friend said it was like Ian Curtis trying to dance like Peter Garrett. I hope that’s accurate.”

NEW MUSIC: Montecore – Ott Sauce

Straight out of the gates into a krautrock, psych sprint from Chicago group Montecore. The song comes from their One Night album that came out in May and they’ve already followed it up with a new album, House Fire Themes, which hits the same frantic, hyper-melodic hypnotic sweet-spot, Those kinds of songs that could (and should) go on endlessly as guitar solos fire off into the stratosphere, drums hit like a metronome and bass-lines tie it all together like Peter Hook on a bender.

ALBUM REVIEW: RVG – Feral

RVG

Feral

Our Golden Friend/Fire Records

RVG’s new album finds them presenting a fuller sound with even greater depth and clarity in the guitars and the spotlight still firmly on Romy Vager’s declamatory yelp and melancholic musings.

Quality Of Mercy already had the defining ingredients of the RVG sound – The Smiths-like insistency and nimbleness of the rhythm section, those sparkling, chiming and shimmering guitars and Vager’s voice a commanding strident force out in front. What Feral does do is highlight some sharper songwriting with more space and dynamics, in a wider, more sonically detailed sound courtesy of producer Victor Van Vugt. 

You can particularly hear the sound of The Go-Betweens and Echo & The Bunnymen amid the jangly post-punk and garage rock. It’s simple, melodic indie guitar pop but those guitars sound perfect in the way the notes tumble and cascade from the speakers, all frantically free-falling and forlorn. 

I Used To Love You is a heartbreaking ballad par excellence with its ache and swoon perfectly conveyed, while Photograph sends the listener out on a high. Tentative at first, it builds into a glorious rallying cry. On Feral, Vager’s dissection of how it feels to be sidelined and disenfranchised is treated poetically and ultimately there’s a sense of hope and resilience that rises from the near perfect musical backdrop.

Chris Familton

NEWS: IDLES announce new LP Ultra Mono

IDLES are back with a new album called Ultra Mono that will be released on September 25th, 2020.

Accompanying today’s announcement, the band have shared album highlight and thunderous call-to-action Grounds’ alongside a music video (dir. by Rob French). 

Recorded in Paris and produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and Adam ‘Atom’ Greenspan (Anna Calvi, Cut Copy), with Kenny Beats (FKA Twigs, DaBaby, Vince Staples) providing additional programming, Ultra Mono was sonically constructed to capture the feeling of a hip-hop record. Across all twelve brutally relevant tracks, the band double down on the vitriolic sneer and blunt social commentary of their past work, with themes of active presence, inclusivity, class, gender inequality, nationalism, community, and toxic masculinity remaining ever-present. Ultra Mono also features guest vocals from Jehnny Beth (Savages), and additional guest contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow, and Jamie Cullum.

Ultra Mono tracklisting:
1. War
2. Grounds
3. Mr. Motivator
4. Anxiety
5. Kill Them With Kindness
6. Model Village
7. Ne Touche Pas Moi (feat. Jehnny Beth)
8. Carcinogenic 
9. Reigns 
10. The Lover
11. A Hymn
12. Danke

Frontman Joe Talbot says of ‘Grounds’: “We wanted to write a song that embodied self-belief, and gave us self-belief – a counter-punch to all the doubt we build up from all the noise we so easily let in. We wanted to make the sound of our own hearts’ marching band, armed with a jack hammer and a smile. We wanted to make the sound of our engine starting. So we did. Thank you.”