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Weekly Roundup: Them Are Us Too, Dunes, Birth Defects, Nic Hessler, Gateway Drugs, Jack Name

Posted by Billy Gil, February 6, 2015 09:17am | Post a Comment

Them Are Us Too – “Us Now”

them are us tooCali duo Them Are Us Too call to mind early Cocteau Twins with a more electronic bent, or School of Seven Bells precursor On!Air!Library!, if anyone remembers that cool band. Kennedy Ashlyn’s vocals dance up and down a ladder scale while Cash Askew’s guitar wails around her and little keyboard notes sparkle overheard. The band’s album, Remain, is due March 24 on Dais.

 

Dunes – “Circles”

dunesAnother wonderful dream-pop track comes to us from L.A.’s Dunes. True to its name, “Circles” is somewhat elliptical, starting with cascading, layered vocals and reverbed guitars before moving into silky disco beat and prickly post-punk guitar lines. Dunes’ last album was Noctiluca back in 2012. They’re working on new material now and will play with Roses and Moaning Feb. 16 at Harvard & Stone.

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Swervedriver Release New Song 'Autodidact,' New Album Due March 3

Posted by Billy Gil, February 4, 2015 04:13pm | Post a Comment

swervedriver i wasn't born to lose you lp

Original shoegazers Swervedriver have been back around for a while now, playing various festivals and releasing a new song, "Deep Wound," in 2013. But now they've announced a new album, I Wasn't Born To Lose You, due March 3 on Cobraside. You can preorder the album now on LP and CD.

Here's the tracklist:

1. Autodidact
2. Last Rites
3. For A Day Like Tomorrow
4. Setting Sun
5. Everso
6. English Subtitles
7. Red Queen Arms Race
8. Deep Wound
9. Lone Star
10. I Wonder?

You can hear the traditional aspects of Swervedriver's sound in the first song, "Autodidact," which they also unveiled today: beautiful, cascading guitarwork, loud, distorted power chords, thundering beats and Adam Franklin's throaty, chilled out tenor, fusing shoegazer aesthetics with the sound of the then-burgeoning alternative-rock scene. I'd say it was a return to form, if Swervedriver ever lost their form to begin with.

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Reissue Report: Bjork, Broadcast, Led Zeppelin, Nick Cave & The Bad Seeds

Posted by Billy Gil, February 3, 2015 03:42pm | Post a Comment

bjorkLots of exciting vinyl reissues have been announced for early 2015, starting off with Bjork, whose major studio albums all will be reissued by One Little Indian March 9.

The first 5,000 copies of the reissue will each come in “the hue that personifies that album character,” One Little Indian says. After that, the imprint will issue the LPs on black vinyl.

So just which hue is Debut? What cula’ is Medulla? Check out the descriptions below for each album, which you can preorder now (I didn’t write these, assuming Bjork did):

 

bjork post lp reissue

Debut (1993) [Beige]

shy beginner humility virgin beige silver mohair the messenger

Post (1995) [Pink]

greedy euphoric absorb promiscuity urban pink

Homogenic (1997) [Green]

Album Picks: Nite Fields, Title Fight, Ty Segall Band

Posted by Billy Gil, February 3, 2015 09:14am | Post a Comment

Nite Fields – Depersonalisation

nite fields depersonalisationThese nocturnally minded Australians set themselves apart from post-punk pack with creeping, atmospheric songs that seem to exist in a netherworld between sleep, dreaming and waking life. Songs like “You I Never Knew” lurch forward with jangling guitars and pounding beats before resting back into woozy, cloudy textures, on tracks like “Pay for Strangers.” Definitely a band to watch for 2015.

 

Title Fight - Hyperview

title fight hyperview lpI had never checked out Title Fight before, but they go lighter on the emo and heavier on the shoegaze on their new album, coming up with a surprisingly winning combination. Tracks like “Chlorine” find sweet melodies doing battle with Sonic Youth-style mangled chords, while moody basslines on songs like “Hypernight” and power-pop arrangements on tracks like “Mhrac” call to mind elements of The Pixies. The band’s watery, textured guitar playing makes for pleasant listening on the plaintive “Your Pain Is Mine Now,” but the band can still deliver a dose of the good ol’ screamo-style singing on “Rose of Sharon,” placing them in the same boat as bands who’ve similarly paired picturesque guitarwork with corrosive singing and driving beats, like Fucked Up and Deafheaven. Fans may have to get used to the more impressionistic style they use here, employing Chapterhouse and Swervedriver as influences as much as Jawbreaker or Rites of Spring. But those who are willing to evolve with the band will be rewarded with a perfect marriage of pulse and shimmer, on songs like standout “Liar’s Love.” And those of us new to Title Fight have a much-needed dose of gorgeously loud music on our hands with Hyperview.

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Essential Records: The Jesus & Mary Chain 'Psychocandy'

Posted by Billy Gil, January 30, 2015 05:00pm | Post a Comment

essential albums jesus and mary chain psychocandy

Like many records whose reputations precede them, Psychocandy, the debut album by Scottish troublemakers The Jesus & Mary Chain, should be approached with caution and when you’re ready, not because someone told you to listen to it.

I picked up Psychocandy sometime in 2002 from Amoeba Hollywood, shortly after the store opened. I was going to school in San Diego at the time, and my friends and I would make trips up to Lou’s Records in Encinitas and Amoeba to binge buy used CDs. No one told me to get Psychocandy like Barry from High Fidelity, but I knew I probably should, judging by my growing obsessions with Sonic Youth, The Velvet Underground and My Bloody Valentine.

The first time I put it on, on my shitty car stereo, I couldn’t really hear what was going on. A car full of people talking didn’t help. It just sounded like static to me, but I was intrigued. I listened later on and, of course, became full-on obsessed.

“Just Like Honey” is the obvious entry point and still a hauntingly beautiful song that is universal in a Nirvana sorta way. But the album’s next few tracks are its best. “The Living End” isn’t just a song title that Gregg Araki would nick for his great movie of the same name; its overall vibe is so underground and elusive that listening always makes you feel a lot cooler than you really are. It doesn’t matter that I’m way too chicken shit to ever ride a motorcycle. Both “The Living End” and “Taste the Floor” introduce a sonic trick that other great bands would mimic, like the aforementioned Nirvana, their inspirations in The Pixies (who themselves would cover J&MC’s “Head On”) and shoegaze followers like Lush and Swervedriver, piling added distortion on what already felt like too much to begin with, like pouring chocolate syrup all over a chocolate cake. It’s overwhelming and awesome.

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