NEW MUSIC: Japanese Television – Bloodworm

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Galloping ramalama psych rock hurtles straight out of the gates on this instrumental track from wild and eclectic London quartet Japanese Television. It’s like a manic sideshow ride with a streak of reverb-laden surf rock blasting out of battered amusement park speakers. The song careens along with patches of spiralling space rock sending bent organ notes exploding skyward. You think it’s over and it all kicks off again with a Krautrock urgency.

Head over to Spotify and you can also check out their 2016 self-titled EP.

‘Bloodworm’ was recorded in an old isolated village hall onto an 8 track tape by Kristian Bell of The Wytches who had set up the makeshift studio from scratch to manifest the live sound they were after. The band said; ‘’The track only had a working title when we started recording it, we’d played it out live for the first time the night before. The name comes from a book we found in a collection of second-hand novels in the corner of the village hall. The cover of the book has a giant worm wrapped around a ruined Big Ben, which seemed to fit pretty nicely with the mood we were trying to capture! Another weird fact is that a character in the book shares the name of our guitarist, Tim Jones. He is in the book for a single page, at which point he gets eaten by a Bloodworm.’’

 

NEW MUSIC: FortEver – Hwy 62

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Shoegaze guitars that recall Smashing Pumpkins’ Gish, dubbed out hypnotic drums, psych-folk acoustic guitar, MBV trippy effects. There’s a whole bunch of stuff going on in this instrumental track from a Californian act that we know very little about other than it is the project of Scott Fairbrother who has had music placed in a few TV shows and games such as Grand Theft Auto. It’s entrancing stuff – melodic and meditative at the same time.

NEW MUSIC: Earth – Cats On The Briar

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It’s hard to believe it’s been five years since Earth released their last LP, Primitive And Deadly. The great news this morning is that a brand new album, Full Upon Her Burning Lips is set for release on May 24th.

Earth are Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion,

Here’s the first taste of the album with the track ‘Cats On The Briar’. It’s typical Earth though there’s more body and swirling melody to this compared to some of their more desolate work.

“I wanted this to be a ‘sexy’ record, a record acknowledging the ‘witchy’ and ‘sensual’ aspects in the music… sort of a ‘witch’s garden’ kind of theme, with references to mind altering plants and animals that people have always held superstitious beliefs towards. A conjuror or root doctor’s herbarium of songs, as it were,” Dylan Carlson says of the record’s aspirations.

Preorder Album

1. Datura’s Crimson
2. Exhaltation of Larks
3. Cats on the Briar
4. The Color of Poison
5. Descending Belladonna
6. She Rides
7. Maidens Catafalque
8. An Unnatural Carousel
9. The Mandrake’s Hymn
10. A Wretched Country of Dusk

NEW MUSIC: Hark Madley – Empathy (single edit)

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Hark Madley is the immersive exploration of genre-blending soundscapes realized by Los Angeles based producer and composer Mark Hadley. This track comes from his new album Stream, released last week.

This single edit of ‘Empathy’ finds him using smeared, low pulsing sounds as the backdrop to some super minimalist piano playing. Those contrasts of beauty and sonic bruising make for a fascinating track that is as hypnotic and soothing as it is gently ominous.

BANDCAMP

ALBUM REVIEW: The Goon Sax – We’re Not Talking

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They were young when they formed, young when they recorded their first album and they’re still only just sloping out of their teens as they release their sophomore album. At its strongest, We’re Not Talking still reaches the same impossibly catchy jangle-pop heights that they impressed with on their debut, but across its 30 minutes some minor risk-taking doesn’t quite pay off. 

Their trademark innocence and honest dives into the realities of approaching and entering adulthood is still intact and if they were previously singing about those things from an observational POV, now they’re reporting from the inside, as they experience them. Other changes include the three band members take a greater share of lead vocals, with Riley Jones’ voice particularly impressing on the tender Strange Light. They’ve also experimented with different instrumentation such as strings, piano and a drum machine, widening their palette from the straight rock trio format.

When the album works it’s a thrilling dash through young love and self-doubt. Opener Make Time 4 Love is brisk, fun and infectious, She Knows is reminiscent of the rough and barely contained sugar rush of The Strokes while Sleep EZ and Get Out recall the golden heyday of Flying Nun’s skewed pop moments. In contrast, other songs such as Now You Pretend are only partly formed interludes. They add variety to the album but they feel like filler before the next primitive, melodic pop explosion occurs.

The many highlights on We’re Not Talking suggest that The Goon Sax are still evolving and successfully exploring the art and craft of confessional, catchy and quirky songwriting.

Chris Familton

NEW MUSIC: Heartthrob Chassis – Sister

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Here’s some blank-eyed, gutter-glam noise-rock from Heartthrob Chassis out of Detroit. The band is headed by Margaret Doll Rod, former songwriter and member of the stage-smashing Demolition Doll Rods.

The track lurches and staggers along with an almost Suicide-like drone quality. Babes in Toyland and early Hole are reference points too, with some added Sonic Youth squalls, dirge and dissonant causticity.

The track comes from Heartthrob Chassis’ recently released full length LP Arrhythmia, out on Milan Records and available to purchase HERE.

NEW MUSIC: Deep Sea Arcade – Close To Me

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Deep Sea Arcade have been hard at work on their new album Blacklight, their first since Outlands in 2012. We’ve heard the new album, we’ve got a review of it coming soon. The good news is that for the most part it’s been worth the wait.

This single, ‘Close To Me’, is one of the album highlights and an example of the seamless integration of indie, electronic and psych elements the duo of Nick Weaver and Nic McKenzie have put together on the new record.