Fizzy, alt-rock distortion, cooing, girlish vocals and surf-pop melodies make up this duo’s incredibly likable debut record. With Frankie Rose (of solo, Vivian Girls and Crystal Stilts fame) on board, Drew Citron’s delicate songs get just the right amount of rhythmic punch and fuzzy bite. The songs range from sweet and easy (“Honey Do”) to kind of creepy and menacing (“Planet Birthday”) in a quiet girl in the back of the class kind of way. It’s not the most original thing you’ve ever heard—you can easily pick out the Pixies/Breeders references on songs like “Madora”—but that shouldn’t curb your enjoyment, as these two are far from the first to pull from that well. They’re even better on songs like “All the Things,” which build from that mold but stretch into strange ways, blending melodies and chords into the grays in between the bright color bands. And the production is pure ’80s college rock heaven, sounding like remastered C86 tracks or early Rough Trade songs that hadn’t seen the light of day before. So, you may know what you’re getting with Beverly, but in the capable hands of these two, that proves to be a very good thing.
Legendary New York underground photographer Leee Black Childers, whose iconic 1970's photos were captured in his 2012 published book Drag Queens, Rent Boys, Pick Pockets, Junkies, Rock Stars, and Punks, has died in LA. The folks from Lethal Amounts in Downtown LA had recently flown Childers out to Los Angeles for a showing of the photo exhibition of the book photos, that opened on March 22nd and is scheduled to run through April 19th, which Amoeba Music was one of the sponsors of. In conjunction with that photo exhibit Amoeba Hollywood obtained two of signed Childers’ prints (one of David Bowie and another of Patti Smith) to have for sale in the LA store.
The Kentucky born Childers, who worked for Andy Warhol in both NY and London was among the earliest photographers to capture the burgeoning glam scene and the early NYC underground punk scene, was also at one time involved in the business management of both Johnny Thunders (New York Dolls) and David Bowie (he was the tour manager for the Ziggy Stardust tour). Childers' photography was featured in the cover art of Bowie's Diamond Dogs album and Thunders' Born Too Loose - among others. Childers' Factory era photos of Warhol, his countless pics of the Hotel Chelsea denizens including lots of drag queens, and his photos from the Stonewall era NYC had made made him a milestone historic chronicler of both gay and rock cultures.
Danny Tamberelli is one of the few child actors to successfully make the transition from pre-teen stardom to adjusted adult. In the '90s, Tamberelli starred on Nickelodeon's hit TV series, The Adventures of Pete & Pete, which dipicted two brothers, both named Pete, who found themselves in unpredictable situations. Tamberelli played "Little Pete," the rebellious younger brother who often insulted people and made brash decisions. The show and character were a hit, turning Tamberelli into a child celebrity who rubbed elbows with future A-listers in the making.
Tamberelli recently visited Amoeba Hollywood for some record digging. These days, in addition to hosting The Adventures of Danny & Mike podcast Tamberelli is also the bass player and singer in the band Jounce. In our latest "What's In My Bag?" episode, Tamberelli finds some great albums, including classic So Cal punk, soul and rock albums. First off, he digs up a copy of the Angry Samoans' The Unboxed Set. He follows that up with What Makes A Man Start Fires? by the Minutemen. Tamberelli was happy to find a rare vinyl pressing of Brian Eno & David Byrne's My Life In The Bush Of Ghosts to which he says, "I go into a lot of record stores and I ask them if they have this copy and I should have just come here all along."
Dido "Girl Who Got Away" (acoustic version of the title track of the UK singer/
songwriter's new album Girl Who Got Away available from Amoeba March 26th)
Dido returns to the shelves of Amoeba Music tomorrow (March 26th) with her brand new album Girl Who Got Away on RCA Records. Available in both regular and Deluxe CD versions, Girl Who Got Away is the UK artist's fourth album to date and her first since 2008's Safe Trip Home. With production courtesy of her brother/frequent collaborator Rollo Armstrong - in addition to Brian Eno, Jeff Bhasker, Rick Nowels, and Greg Kurstin - the 11 track (17 on the DeLuxe version) new album of self-penned songs spans folk, ambient, dance, electro infused pop, and hip hop. In addition to such tracks as the lead single "No Freedom" (see video below) critics have been lauding praise upon the new album track "Let Us Move On" that features an engaging guest feature from hip-hopper of the moment Kendrick Lamar.
Crystal Castles – III
Early interviews about Crystal Castles' stunning third album have seen frontwoman Alice Glass discussing oppression at length with Bono-ish fervor — not something typically associated with an image-conscious electronic duo known more for its antagonistic records and brawling live shows than its politics. But Glass and synth stud Ethan Kath can have it both ways, as III is another visceral attack of a record from Crystal Castles that ups the meaning behind their furor, both explicitly and implied, without losing any of their hedonistic attitude. In fact, III, while lacking some of the shock value of the first two records, is Crystal Castles’ most consistent statement to date. Tracks like “Plague” and “Wrath of God” still pack walloping beats, but they are more of mood pieces than, say, something like II’s “Baptism,” full of moody, heaving passages that draw you in and keep you rapt across the record. III is also smartly paced, keeping some of its more crowd-pleasing moments for later in the record, whereas previous albums were front-loaded. The fourth song in, “Affection,” shares a chord-scheme with MGMT’s “Kids,” though its warped vocals sound like they’re echoing from an abyss — not exactly radio-friendly material. Glass quits whispering and unleashes her trademark echoed yelps on the spare “Pale Flesh,” sure to be a live favorite, while “Sad Eyes” charges forth with unabashed club glee and hard-hitting beatwork. The album’s final quarter features some of its most remarkable moments, full of seedy club bangers, while its last song, “Child I Will Hurt You,” is a typically gorgeous closer from the band, layering Goblin-style keyboards over Glass’ haunting vocals, which often sing of pain inflicted upon the vulnerable, echoing the statement of that album cover, calling to mind suffering and comfort in equal doses. That concept isn’t as overt as it could have been, but when it does come through, as when Glass sings “I’ll protect you from all the things I’ve seen” on “Kerosene,” Crystal Castles create the aural equivalent of gunfire and a helping hand.