Archive for the ‘Pop’ Category

Nickel In The Jukebox

After a too long hiatus, we’re back with another collection of tunes (some newer than others, but hey we didn’t want them to slip through the net entirely) that we’ve rounded up from our in-box from the past few weeks. Something for everyone as the saying goes.

Queen Moo – Come Through  [RIYL: Raucous indie, Pixies, Wolf Parade]

 

Frankie & The Witch Fingers – Learnings Of The Light  [RIYL: Trippy psych, Roky Erikson, The Kinks]

 

Nelson Can – Break Down Your Walls  [RIYL: Stripped back garage, White Stripes, Yeah Yeah Yeahs]

 

The Max Tribe – Yellow Pages  [RIYL: Psych-blues, The Doors, King Gizzard & The Lizard Wizard]

 

Lunar Hand – Smoke And Chandeliers  [RIYL: Vintage garage pop, Roy Orbison, Arctic Monkeys]

 

Tombstones In Their Eyes – I Want To Fly  [RIYL: Space psych, Spacemen 3, Elephant Stone]

 

The Novel Ideas – I’ll Try  [RIYL: Country-folk, The Avett Brothers, The Head & The Heart]

 

Chernobyl Sunshine Club – When Death Was A Boy  [RIYL: Spaghetti Indie, Ennio Morricone, Two Wounded Birds]

 

Birds– See It All  [RIYL: Fuzzy psych, Allah Las, Mercury Rev]

 

Lenore. – Ether’s Arms  [RIYL: Witch-folk, Fleetwood Mac, Simon & Garfunkel]

 

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New EP From Dream Wife

Posted: August 16, 2017 in Alternative, Indie, Music, Pop, Post Punk, Rock
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Dream Wife played one of our favourite sets at the swampy Truck Festival last month and have now announced a new limited EP Fire.

You can stream the title track below, a typically infectious, needling slab of post-punk that further cements their reputation as ones to watch.

Play it loud… Pre-order the vinyl from Bandcamp here.

 

 

 

The beguiling I’m A Man marks the return of Morgan Nagler’s Whispertown – it is the title track from her upcoming record out at the start of September, and the follow-up to 2012’s Parallel. It is a stripped back acoustic album, set in a naturally psychedelic world.

Whispertown is the latest iteration of the unique vision of Nagler. What was once The Whispertown 2000 has morphed into a less structured version of itself, with Nagler’s unmistakable vocals leading a revolving cast of musicians and artists. After being diagnosed with a polyp on her vocal cord, and faced with the possibility of never singing again, Nagler discovered she is without a doubt a “lifer”, and married to song writing, for better and for worse.

Listen below.

 

  1. The War On Drugs Pain
  2. Dream Syndicate Glide
  3. Flat Worms – Motorbike
  4. Weaves – #53
  5. Elijah Ocean – Bad Dreams
  6. Billy Bragg – King Tide And The Sunny Day Flood
  7. Hamilton Leithauser – Road To Nowhere  (Talking Heads cover)
  8. Hand Habits – Yr Heart

 

 

 

 

 

 

 

 

 

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More From Widowspeak

Posted: August 5, 2017 in Gothic, Indie, Music, Pop, Rock
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Widowspeak will release their new long player Expect The Best later this month, on August 25 via Captured Tracks.

Dabbling in heavier territory than previously, they have shared a second track from it, the balefully distorted When I Tried.

 

MM Shorts 963: Small Souls

Posted: August 1, 2017 in Folk, Indie, Music, Pop, Rock
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On their first single, Existential Midlife Crimes, Portland post-folk duo Small Souls have penned a personal dispatch that examines the existential worldview that feeds a potential midlife crisis. Beneath the honest songwriting and sullen tones of plucked guitar are rich strings and a densely layered outro that bears repeated listens.

For fans of Neutral Milk Hotel, Wilco and David Bazan.

 

Technical issues have meant we’ve been quieter than usual this week, but hopefully with all those resolved we can get back to normal service. It is a shame as we spent the weekend with middle sprat wallowing ankle, and sometimes knee, deep in swampy mud at Truck Festival.

Truck has been a bit of a Mackerel family institution for a few years now, a small(ish) friendly and well run festival with an eclectic musical line-up and tea and cakes served by the local WI. This year’s musical line-up was a bit bigger and more mainstream and it was clear that, on arrival, the atmosphere was quite different.

I’m told Truck has been bought out by a much larger, much more “business focused” company and it certainly felt that way. Gone were the days of sauntering up to the entrance, a friendly chat and in you go – now we had sniffer dogs, unsmiling ticket checkers and most unforgivable of all, a two hour plus queue to get in (others queued for twice as long). It set the tone for a weekend that could be viewed in two distinct parts – music that was brilliant and organisation that was not.

As the rains came, and came again, and again and again over the first two days the entire site including the camping fields turned into a horrific mud bath. Given the forecast was known for a few days (at least) I was anticipating some kind of contingency plan from the organisers especially as tents quite literally began to submerge in thick, syrupy mud. I expected wooden or metal walkways to be put down on the main paths, maybe open a second entrance to the main arena to spread the footfall a bit, and as we were on a farm, lots and lots of straw to go down to try and soak up the worst of the mud.

Literally nothing was done and a “who cares and fuck you” attitude prevailed. A few token and totally inadequate bales of straw at the entrance and that was it. Otherwise it was sink or slip or swim, and for lots of people that meant sink (and slip for pretty much everyone else).

It was such a shame as musically the festival was brilliant. Friday set us up with contagious indie pop from Big Moon and Hinds on the main stage, British Sea Power’s soaring, cinematic rock in the Market Tent (complete with giant dancing bears) and a fabulous set of infectious punk rock from Dream Wife (who were unrecognisable from the band we saw at the Great Escape a year or so ago). Headliners Slaves and Franz Ferdinand were both excellent in the driving rain that failed to dampen the spirits of the audience and created possibly the slippiest, sloppiest mosh pit ever.

Saturday was spent almost entirely in the Nest whilst the rain hammered down outside and vendors’ stands began to resemble a mud wrestling carnival. The visceral drive of Dead Pretties was an unexpected discovery whose set began brilliantly but tailed off a bit towards the end – almost as if the set would have worked better in reverse, before LIFE took the stage and created mayhem with a brilliant set of angry punk that somehow melded the Dead Kennedys, Sleaford Mods and the Fall into a perfect combination. Abattoir Blues’ crunchy, grungy rock maintained the tempo if not quite the intensity before the Crows racheted things up again with an excellent set of energetic post-punk. A brief excursion to somewhere near the main stage where Sundara Karma’s psych-inflected rock went down extremely well before a return to the dry of the Nest for a fabulous set from Yak complete with crowd surfing guitarists and a perfectly judged set of brutally infectious, needling guitars and pummelling percussion. Suitably impressed, middle sprat slogged off to watch the Wombats whilst I stayed for headliners, and once fictional band, Moonlandingz who were a revelation – fronted by the Fat White Family’s Lias Saoudi and backed by Sheffield experimental outfit Eccentronic Research Council together with Fat Whites’ Saul Adamczewski. Their spaced out, motorik rhythms and funky indie-disco melded perfectly with a nightmarish, sinister edge that created a cosmic wig-out of epic proportions. We slowly waded back to our damp tent to the strains of a Libertines greatest hits set.

Sunday saw us back in the Nest with middle sprat for the screaming guitars of Weirds’ industrially tinged grunge led by a frontman who could teach Paddington a thing or two about hard stares. On the main stage Cabbage showed just why they are causing such a stir as the next big indie thing, a brilliant set of sardonic, krautrock tinged indie and a fine line in insouciant showmanship being greeted rapturously by the big crowd. Back in the Nest our first experience of singer-songwriter Kevin Devine was a joy – much more in line with previous Truck discoveries, his was a wonderful collection of songs and a fabulous voice and made for a welcome change of pace – a little oasis of Americana amid the loud guitars and crashing drums. It was back to the guitars and drums for All Them Witches who were slightly one-paced and predictable compared with previous fare. Back outside to watch a surprisingly (for me) engaging and uptempo set from indie stalwarts Maximo Park (middle sprat’s set of the weekend), and then, joining the huge crowd, for the Vaccines – closing the Festival and pleasing the masses with a collection of mostly energising mainstream indie anthems. The contrast was great at times, one truly terrible new song that sounded like something Fleetwood Mac would have knocked out and rejected in five minutes juxtaposed with sing-alongs to Wreckin’ Bar (Ra Ra Ra), Post Break-Up Sex and If You Wanna.

They left the stage early, fireworks went off and we exited en-masse through the claggy mire flanked by unsmiling security and a question mark about the future of the heart and soul of Truck…

Ten of the best songs we heard at Truck

10 Vaccines – Wreckin’ Bar (Ra Ra Ra)
9 Dead Pretties – Social Experiment
8 Maximo Park – Apply Some Pressure
7 British Sea Power – Waving Flags
6 Dream Wife – FUU
5 Kevin Devine – Another Bag Of Bones
4 Yak – Hungry Heart
3 LIFE – Popular Music
2 Cabbage – Uber Capitalist Death Trade
1 The Moonlandingz – Black Hanz

 

 

 

 

 

 

 

 

 

 

 

Mermaidens are a three-piece outfit from Wellington, New Zealand, who are defined by intricate and unique songwriting, and a hypnotic live synergy.

Drawing inspiration from bands like Warpaint, Fugazi, Exploded View and Sleater-Kinney, Mermaidens’ sound offers a mesmerising dip into the realms of post-punk and psych where warm harmonies and dreamy, hypnotic lyrics, entwine with dark and moody riff-based melodies.

Taken from the forthcoming album Perfect Body, which is due out on 4 August via Flying Nun, have a listen to the single Sunstone below.

With Dream Dream Secret Colours continues to craft a sound that reaches far beyond the city limits of their hometown of Chicago, taking its musical cues from indie, pop, psychedelia, and garage rock, and offering listeners a myriad of melodies that make up the band’s signature sound.

Check out Feed the Machine, which delivers a pounding vibe of bass with an attitude of 70s London and the equally good Pins and Needles.

Buy from Bandcamp here.

 

 

Time for some more musical films…

Hull Goth Punk outfit Lumer have released the video for their unhinged new single Gruel on Warren Records.  Reminiscent of Bauhaus, Killing Joke and YAK it is a brutally thrilling cut.

 

Spirit Valley’s expansive, primal psych-rock falls somewhere between the fuzzed out rock’n’roll of The Black Angels and the warped synths of Moon Duo check out new single Waiting For Real.

 

Fuzz Club Records’ live session series – the Fuzz Club Sessions – has already seen cracking releases from the likes of Night Beats, Heaters, The Entrance Band and 10,000 Russos and it’s still showing no sign of slowing down. The latest to join the club is Austin’s finest garage/surf heavyweights, Holy Wave.

During a UK tour in support of their 2016 LP Freaks Of Nurture, Fuzz Club invited the band to an analogue recording studio in South London to lay down a live album. As with all the sessions, it’s to be released as a series of videos from the day and pressed to vinyl (released July 20th). Here is the video for the sublime, washed-out croons of California Took My Bobby Away.

 

Grunge-pop four-piece Otherkin have shared the video for their new single React. They describe it as “a trivial, little joke-man ends up massive, and acts like a total plum with his new-found size. He is still, at core though, a fat, old human, and his reign of terror doesn’t last long. It’s a pretty simple analogy.”

 

The video for Muertos’ excellent  single Spin takes their vintage garage sleaze and dials it right up – a full sonic assault of feedback collides with a motoric beat and the band’s signature duel vocals. Drawing influences from the likes of Jesus and Mary Chain, The Kills, and The Black Angels, this single marks the announcement of the band’s first long player which will be released later in the year.

 

Weasels may well be our favourite (land) animal so any song with it in the title automatically gets a thumbs up from us. Crumbs’ sound comprises a bumper post-punk/pop party bag mix of sprightly basslines, super-danceable cowbell-tinged rhythms, fizzing guitars and effervescent interchanging vocal lines. Weasels Can Wait is a two minute jangly romp – a party song about being the one crying at the party. The video also features an inexplicably long worm!

 

Saint Leonard’s Horses bewitching gothic video for latest single Little Girl Scientist features Sophie Kennedy Clark (Nymphomaniac, The Danish Girl) as a tortured soul who uses witchcraft to conjure up her lover. It is book-ended with a voice over by acclaimed author and journalist Jonathan Meades. 

 

Brighton three-piece LOM combine their love of folk, soul and pop to create songs centred around the rich vocal harmonies of two sisters Leila and Millie Watts, and the finger picking style of Owen Davey’s acoustic guitar. There is some nice animation in their video for recent single There Is A Place. It follows the journey of a woman who sets out to regain her youthful joy in simple things.