VIDEO: Rolling Blackouts Coastal Fever – Sick Bug

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Here’s another track off Rolling Blackouts Coastal Fever’s consistently excellent French Press EP, out now on Sub Pop. Tumbling, jangly guitars and that incessant drum beat are the backdrop for young lust…

“I want you, I want you, I want you, I want you, I wanna see you smiling on a blue afternoon dreaming of the ceiling and the smell of your room cuz I want you, I want you, I want you.”

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NEWS: Thurston Moore announces ‘Rock n Roll Consciousness’ LP

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Thurston Moore has been teasing his new album in interviews over the last few months and today we get the official announcement of Rock n Roll Conciousness, due for release on April 28th via Caroline Australia.

It’s a five track album (track listing below) which features Deb Googe (My Bloody Valentine, Snowpony) bass, James Sedwards (Nøught, Chrome Hoof) guitar and Steve Shelley (Sonic Youth, Crucifucks) drums and was produced by Paul Epworth (Adele, Paul McCartney, Glass Animals) at The Church studios in Crouch End, London and mixed by Randall Dunn (Marissa Nadler, Earth).

Here’s the video clip for the second track to appear from the LP, ‘Smoke Of Dreams’.

ALBUM TRACKLISTING:

  1. Exalted
  2. Cusp
  3. Turn On
  4. Smoke of Dreams
  5. Aphrodite

NEW MUSIC: Bad//Dreems – Feeling Remains

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Bad//Dreems have released the second single from their forthcoming new LP Gutful (out April 21st).

Feeling Remains is reliably and solidly straight from the BD songbook. It has those tension-filled verses they do so well, full of tumbling toms and rolling bass, with Alex Cameron’s guitar clipped and urgent downstrokes carving out a stacatto rhythm that contrasts with a Saints/Sex Pistols descending chord progression. It defines their status as one of the few bands in Australia that can sit comfortably at the nexus of punk, classic rock and indie rock.

When they hit the chorus, and Bad//Dreems are a band with seemingly endless cache of rousing choruses, the rush and the push lifts the song skyward. Interestingly the sense of euphoria that it instils is at odds with the song’s subject matter of mental health and the endless struggle to accept, manage and mitigate the effects of depression in one’s life. “The feeling still remains, and the question stays the same, then I put it into all the things I can do to make a heart strong, but the feeling still remains” sings Ben Marwe in his distinctive angst-ridden howl.

That blend of melancholy and euphoria at the core of the song is an astute representation of the mood swings and divisive extremes of both defiance and helplessness that so many battle on a daily basis. Dig deeper below the surface (and taken in tandem with their first single Mob Rule) of what at first may seem like a bristling 3 minute rock song and it’s clear that the band have taken a wider societal and critical view on the new album.

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NEW MUSIC: Spoon – Can I Sit Next To You

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Spoon (Britt Daniel, drummer Jim Eno, bassist Rob Pope and Alex Fischel on keyboards and guitar) are releasing their new LP Hot Thoughts on March 17th via Matador Records/Remote Control Records. They’ve already released the first single and now they’ve posted the warped and spooky clip for the keyboard-heavy clip for ‘Can I Sit Next To You’, reminiscent to our ears of The Cure and Prince in the clipped rhythm.

Spoon – Sydney & Melbourne Headline Shows

Thursday 23rd March – Metro Theatre, Sydney

Saturday 25th March – Croxton Bandroom, Melbourne

NEW MUSIC: Father John Misty Announces New LP ‘Pure Comedy’.

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Father John Misty (Josh Tillman) is back with the follow-up to his acclaimed album I Love You, Honeybear. Titled Pure Comedy, the album is due out on April 7th via Sub Pop and Inertia Music and features co-production with Jonathan Wilson, string arrangements by Gavin Bryars and other contributions from Nico Muhly and Thomas Bartlett. The mastering was done by the legendary Bob Ludwig.

Tracklisting:

1. Pure Comedy
2. Total Entertainment Forever
3. Things It Would Have Been Helpful to Know Before The Revolution
4. Ballad of the Dying Man
5. Birdie
6. Leaving LA
7. A Bigger Paper Bag
8. When The God of Love Returns There’ll Be Hell to Pay
9. Smoochie
10. Two Wildly Different Perspectives
11. The Memo
12. So I’m Growing old on Magic Mountain
13. In Twenty Years or So

Pure Comedy is available for pre-order now, in the following formats:

  • A Deluxe 2xLP version on aluminum & copper vinyl, a die-cut customisable jacket with 4 interactive “Background” sleeves (so you can have whatever sky you damn will feel like as the cover), all encased in a clear clipcase. Includes a fold-out poster and an exclusive holographic tarot card by Ed Steed.
  • A 2xLP gatefold version also available in 4 cover variations on black vinyl
  • A CD gatefold digipak with slipcase available in 4 cover variations
  • As digital album

Cover variations for the standard LP and CD will be randomly distributed. Collect them all!

Pre-orders through select retailers will receive a limited 7” single, featuring physical release of fan favourite ‘Real Love Baby’ on the A-side and the as yet unreleased track, ‘Rejected Generic Pop Song, March ‘15#3’ on the B-side (while supplies last).

Tillman and Grant James (‘Funtimes in Babylon’, ‘I Love You, Honeybear’) also co-directed Pure Comedy: The Film.  Pure Comedy is a gorgeously rendered black & white document of the live tracking, as well as a surreal look into Tillman’s writing process.  A six person crew, complete with cranes in the tracking rooms, captured every moment of the recording, giving the viewer intimate audience to actual album takes, including the one and only 2:00am performance of the 13-minute ‘Leaving LA’.  It also features the only known recording of Tillman’s love ballad to his sound engineer Trevor Spencer.

ALBUM REVIEW: Dinosaur Jr – Give A Glimpse Of What Yer Not

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When people drop the needle on the record, insert the CD or click play on their phone and hear the distinctive roar of dense and distorted guitar on the new Dinosaur Jr album a great number of them will think “this sounds like just another Dinosaur Jr album”. That was my gut reaction on first listen. All the components are there. The symbiotic fusion of The Stooges and Crazy Horse, Mascis’ spiralling classic rock guitar solos, the solid and dependant Murph locking it all together on drums, the thrum and pound of Lou Barlow’s low-slung bass and the usual 80/20 songwriting split between Mascis and Barlow.

Hit play again, return the stylus to the first groove and let the songs sink in for this is one of the strongest batch of songs the trio have collected since the trio shuffled back into the public eye in 2005. The speed of the songs and the brittle, heady rush of heavy, heavy melodic guitar rock is right in the pocket. It’s economical and sprawling at the same time. It feels grounded and earthy while launching in the stratosphere on the back of Mascis’ howling, fuzz-laden Fender Jaguar.

There isn’t a great depth to explore in the lyrical content of the songs, they still read like relationship snapshots, polaroids of an argument, a misunderstanding, a yearning. “I want to know, I want to go, I’m all alone” sings Mascis on ‘Tiny’, a typical loose treatise on love lost or temporarily misplaced.

The centrepiece of the album is ‘I Walk For Miles’ with its monolithic slabs of doom-laden riffage. It’s like a lumbering and melancholic lost Black Sabbath song that just keeps growing and growing to epic proportions over five minutes before it climaxes and then cleverly kicks off again like a regenerated monster from a b-grade movie. The album isn’t all gonzo rock moves though. ‘Knocked Around’ is a sweet document of the damage and aftermath of a bruising emotional relationship while Be A Part feels like a warm sonic hug, wistful and nostalgic.

Barlow’s contributions are as important and strong as ever with ‘Love Is’ sounding like R.E.M jamming with The Byrds while album closer ‘Left Right’ is as brilliant as anything else before it as Barlow mixes Cure-like grandeur with a super-hooky staggered rhythm and a beautiful vocal performance.

Yes it’s exactly what you’d expect, and most importantly, want from another Dinosaur Jr album in 2016. It’s a band still on a winning streak, still exploring the seemingly endless creative possibilities within their minimal musical framework, without a hint of boredom or simply trading on past glories.

Chris Familton