Amoeblog

10 Bands We'd Like to See Reunite

Posted by Billy Gil, January 29, 2014 11:11am | Post a Comment

Two of our favorite bands of all time — OutKast and Slowdiveare officially reuniting. OutKast announced it a couple weeks back, with news that the Southern rap legends will headline Coachella and play Governernor’s Ball in New York, though it seems likely we’ll see another Big Boi album before a new OutKast album (and we’re OK with that!). Meanwhile, shoegaze titans Slowdive yesterday confirmed rumors (that they themselves flamed) that they’d reunite, playing Primavera in Barcelona in May and “a couple of gigs,” including a show at Village Underground in London May 19 (better book your tickets now!), in order to raise funds for a new LP.

With those two reunions locked down, we thought we’d turn our attention from bands we liked that reunited to bands we’d like to see reunite.

Talking Heads

talking heads amoebaThis one seems a no-brainer. They exactly been quiet since they first broke up in 1991, from briefly “reuniting” onstage in 2002 to play three songs for their Rock and Roll Hall of Fame induction, to David Byrnes solo career (including a one-off album with St. Vincent), to the other members’ activity, including The Heads and Tom Tom Club. And the band seems more popular and prescient than ever. So, everyone’s still alive and working.

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Weekly Roundup: Crocodiles, Deerhoof, Bloody Death Skull, Kisses

Posted by Billy Gil, June 6, 2013 06:30pm | Post a Comment

Crocodiles Stream New Song ‘Teardrop Guitar’

crocodiles crimes of passionShoegaze guitar fans, rejoice — San Diego’s Crocodiles have a new album coming out. Following last year’s fine Endless Flowers comes Crimes of Passion, due Aug. 20 on Frenchkiss. They’re already premiered “Crimes of Passion,” and now comes the melodic rush of “Teardrop Guitar,” a perfectly named slab of classic shoegaze, vibing early Verve and Ride while maintaining their own sense of scrappy rock ‘n’ roll grandeur. It’s streaming now at NPR.

 

 

 

 

 

Deerhoof Releases ‘Breaking Songs’ Video

deerhoofS.F.’s Deerhoof has released a video for its track “Breakup Songs” from the album of the same name. It at first seems like a huge bummer — I worry that “Breakup Songs” is code for the band breaking up, though they’ve had an incredible run — and the video features a crow man seeming to bring death to plague-invested peasants. How this leads to a dance party? You’ll just have to watch.

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The 90s...the best albums of 1990...

Posted by Brad Schelden, October 6, 2012 10:29am | Post a Comment

best of the 90sI have been thinking about the early '90s a lot lately. I graduated from high school in 1992, and that was 20 years ago! So I have been all sorts of nostalgic this last year about my formative music years. I was born in the '70s. But I really grew up in the new wave '80s. 1984 - 1986 were really the years that I first remember getting obsessed with music. These are the early years of MTV and the years I fell in love with new wave and all things British. The B-52's and Berlin were probably the only bands that I loved that actually came from the United States. Most of my favorite bands and albums throughout the '80s and '90s came from England.nme the sundays 1990
 

My favorite bands in 1984 are pretty much my favorite bands today. I can't imagine my life without New Order, Depeche Mode, The Cure, Siouxsie & The Banshees, The Smiths, Human League, Pet Shop Boys, Ultravox, Talk TalkBauhaus. These bands have been a huge part of my life. My British obsession would only get bigger over the years. I got deep into shoegaze and dream pop in the early '90s. Which then led me into Britpop and British dance music in the mid '90s.

pixies melody maker 1990I have been obsessively making lists and CD compilations of each year of the '80s and '90s. I have made a playlist for each year and a list of my 10 favorite albums from each year. I will slowly be sharing these with you over the next couple of months. I am going to start with the early '90s since these are the years that have been on my mind the most lately.

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New Smashing Pumpkins Album ‘Oceania’ Up for Preorder at Amoeba

Posted by Billy Gil, May 29, 2012 05:36pm | Post a Comment
Smashing Pumpkins OceaniaOceania, the upcoming “album within an album” from The Smashing Pumpkins, is now up for preorder on Amoeba.com. The album is part of Billy Corgan’s ongoing Teargarden by Kaleidyscope project, which has included two physical releases thus far, Vol. 1 and 2.
 
It’s been a tricky thing to navigate Billy Corgan’s post-breakup of the original Smashing Pumpkins career. For every good to terrific release — from the unfairly maligned, Cocteau Twins-esque Machina and especially Machina II, to the too-short-lived Zwan and its sole release, Mary Star of the Sea, to his promising Depeche Mode as shoegaze solo debut, TheFutureEmbrace — there’ve been missteps — the largely underwhelming Zeitgeist (save a few choice crazy guitar tracks), the pretty bad American Gothic EP, tossed off digital singles. Of the newer songs, released after the departure of longtime drummer and sole other original Pumpkin Jimmy Chamberlain, I’ve only really liked a few. The psych-ballad “A Stitch in Time” knocks me on my ass when I hear it and leaves me hoping Corgan will continue pursuing more experimental territory, like he did to such success (at least in my mind, and that of a devoted cult) on Adore.
 
From what I’ve heard of Oceania so far, I’m cautiously optimistic. Though Pumpkins songs never sound the same on record as they do live, recent Pumpkins recordings have sounded increasingly stripped-down, which isn’t a problem, as long as the songs are strong. So just going by songs, then, the live tracks I’ve heard on YouTube from Oceania, as they’ve yet to release an official single from it, rock pretty hard, and do, as Corgan has alluded, sound like Siamese Dream, Gish and, actually, especially, Pisces Iscariot, their B-side album from the early era that’s at least as good as Gish. So far, opener “Quasar” reminds me a lot of “Geek USA,” one of my favorite songs from Siamese Dream —and ever, really — with its stop-start heavy riffage. The recording of “Panopticon” I heard has the kind of harmonic guitar playing that gives me goosebumps, kind of like Zeitgeist standouts “7 Shades of Black” and “Starz,” but with a better melody, like “Rocket.” “Pinwheels” aims for the heartstrings with its plinking keyboards and classic harmonic riff, sort of like a mellower “Today” or “Glynis,” one of my favorite Pumpkins B-sides.
 
So, we’ll see, fellow Pumpkins-heads. The album could end up being really awesome. Like most people for whom the Pumpkins are their all-time favorite band, or top 5 at least, I’ll definitely be getting it and there will be at least a few songs that renew my love for the band. But from what I’ve heard so far, this could be the return to form we’ve been hoping for.

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Album Picks: Veronica Falls, Björk, Zola Jesus

Posted by Billy Gil, October 12, 2011 12:29pm | Post a Comment
Veronica Falls – Veronica Falls
 
While listening to Irish Grimestep or whatever genre happens to be unfathomably cool at the moment is great and all, sometimes you need meat and potatoes. In my case, that would be C86, shoegaze, college rock and that sort of thing, and Slumberland Records keeps serving up bands like sloppy joes that fulfill this particular hunger. Their latest band is Veronica Falls, which, despite their late-‘90s CW Network show sounding name, are actually a great garage pop band in the vein of Slumberland alumn Crystal Stilts, Girls Names and Black Tambourine. “Right Side of My Brain’s” bouncy pop gets C86 so right that it could have been on the original tape that spawned that genre. “The Fountain” is delectable guitar goth pop that displays one of the band’s best and at first easily overlooked tricks — pristine harmonies. “Beachy Head” injects a welcome bit of surf-rock meanness to an otherwise well-mannered album. It’s pretty much candy all over.
 
Björk – Biophilia
 
With all the hubbub surrounding Björk’s latest album (corresponding iPad apps to songs, a street date delay and rejiggering of sound), it may be easy to dismiss the album beneath it all. That would be a shame, because Biophilia is as brilliant as anything in Björk’s catalog, but that brilliance is quieter and takes repeated listens to understand compared with some of her previous efforts. Whereas she tried to recreate the violently happy turns of Debut and Post in 2007’s Volta, here she’s back to forging new sonic territory, using newly invented instruments (such as the gameleste, which combines Indonesian gamelan instruments with the key-based celeste instrument) and employing iPad-made music and programmed beats. Of course, none of that matters if it doesn’t end up sounding great, and you probably don’t need to know any of that to enjoy the songs on Biophilia, but it helps to understand the otherworldly nature of a song like “Crystalline,” which relies on the strange gameleste to build atmosphere before breaking into a hyper-intense hardcore breakbeat section. That that song and “Cosmogony,” a musical cousin to Björk classics like “Isobel” and “Bachelorette” that builds beautifully before disintegrating into a sea of descending vocals, are the most accessible songs tells you more. At its core, Biophilia is a wildly strange, even disturbing album, from the dissonant and gibberish-laden “Dark Matter” to the blood-curdling electronic sounds and ghostly vocals of “Hollow.” Then there’s “Mutual Core,” in which Björk tosses her fans a bone (although one on which the meat is tough and sinewy) with more typically “Björk” musical movements and more overtly clubby beats. But there’s something new to uncover with each listen, despite a somewhat hollow-sounding veneer, such as unusual time signatures, haunting lyrics and hidden, loping melodies. Biophilia really sounds nothing like anything else Björk has done, or anything anyone else has done, for that matter, and will probably upset some fans and detractors alike. For its gutsiness alone, it’s great; and for its more inspired moments, it’s something no music fan should miss hearing.
 
Zola Jesus – Conatus
 
For those who were expecting Zola Jesus aka Nika Roza Danilova turn around from last year’s winning Stridulum II with an album of glossy pop, think again. Sure, Conatus is her most accessible statement yet, but the album is still teaming with the experimental electronic music and ethereal vocals on which she built her name, only with slightly more of an emphasis on the electro balladry she exhibited so well on Stridulum’s “Night” and “Lightstick.” “Hikikomori” begins with throbbing synths and Danilovato’s yearning vocals intoning “blisters on my hands,” underpinned by subtle strings. On this track and several others on Conatus, you can hear the effort Danilova has put into carefully considering the album’s every movement, building songs gradually and deliberately, pulling at the heartstrings but always from afar, sometimes coming through clearly, sometimes unintelligible in a vocal styling reminiscent of Cocteau Twins’ Elizabeth Fraser. Her best songs manage to do it all at once, such as in the soaring “Seekir,” in which she aims for the gut (“Is there nothing left of the mess we made?” she asks in a moment that clears the sonic din to cut through) as well as the dance floor, although the result, with intertwining, ghostly backup vocals, is too complex to simply label a dance song. You sometimes long for more moments like that on Conatus (the epic choral build of “Lick The Palm Of The Burning Handshake” being another), but its balancing act of restraint and putting it all out there makes for intriguing listening that will keep fans happy and pull in plenty of new ones.
 
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