Wild Nothing’s third album is a glorious thing. It’s an album that transcends any genre tags like dream pop or indie pop that dogged Jack Tatum’s work in the past — it’s simply a first-class pop album in the vein of Roxy Music’s sophisticated artpop classic, Avalon. Life of Pause is Tatum’s most varied release thus far. “Reichpop” opens regally with a wall of vibraphones, slick new wave beat and Tatum’s cool breath of a vocal. “A Woman’s Wisdom’s” ethereal soul moves into sugary, MBV-inspired shoegazer “Japanese Alice” and through the lush, synth-heavy title track, the languidly sexy “Alien” and “To Know You’s” motorik beat and cinematic guitar shimmer. Neil Young-inspired folk songcraft inform “Adore,” and things return to slinky grooves for “TV Queen” and “Wherever I,” touches of sax and strings adding an air of cheek and class. In the past, you could have pinned Tatum down as someone who admirably filtered influences like C86-style college rock and dream-pop but ultimately wore them on his sleeve. Life of Pause sheds any such limitations and is easily one of the best indie rock releases of the early new year.
Photo by JJ Stratford
Seth Bogart made a name for himself calling out lame boys who don’t like rock ‘n’ roll with bubblegum garage-pop gems in Hunx & His Punx. Since taking a break from releasing music (his last was Street Punk in 2013), Bogart has kept plenty busy. He moved to Los Angeles from the Bay Area in 2012 to focus on his visual art and open a store based on his own clothing line — if you’ve driven down Sunset Blvd. in Echo Park, you’ve probably seen Wacky Wacko, an explosion of bright pinks with a Pegasus head that looks like it’s screaming adorning the top.
But at the same time, he’s also still been recording music. For this outing, Bogart hooked up with longtime friend and producer Cole MGN, who’s also worked with such fine folk as Julia Holter, Ariel Pink and Dam-Funk. Bogart’s first solo release under his own name, out this Friday on Burger, mostly ditches the guitars for deliberately chintzy synths and drum machines on a weird, wild glitterbomb of an album, with help from friends like Chela, Cherry Glazerr’s Clementine Creevy and Tavi Gevinson. Check out the video for the song “Forgotten Fantazy” that was released today, which features Bogart dominating himself (!) in a hot clip that puts that “50 Shades” bullshit to shame.
Though he's previously released an album under the Hunx moniker (Hairdresser Blues) this is his first solo album under his own name, and accordingly, the style is much different than the classic-garage-pop stylings of his previous work. The new song "Forgotten Fantazy" actually is more like the introverted cousin to Gravy Train!!!!, a woozy electro-pop song built on a chintzy beat and weary lyrics about the magic wearing off in a relationship ("surrounded by your thoughts/but I'm not listening"). Though we've loved Bogart's previous work, this is the most sincere thing we've heard from him yet.
L.A. Takedown – L.A. Takedown Stream
Composer/musician Aaron M. Olson’s L.A. Takedown is doing an L.A. takeover, performing at different area record stores as he releasse his self-titled debut on Ribbon Music. The cinematically minded artist performs as a full-fledged band live and will perform Nov. 15 at 4 p.m. at Amoeba Music, and we’ll have the album in-store that day prior to its Nov. 20 wide release. Stream the album’s throbbing analog synthesizers and dramatic turns here.
Seth Bogart has delivered sweaty garage-pop goods for years under the Hunx moniker, solo and with His Punx. Now he’s setting out under his own name with a more lo-fi electro-pop tunes called “Eating Makeup” that recalls his time in Gravy Train!!!!, getting silly with Kathleen Hanna over a chintzy beat with post-punky, out-of-tune guitars. Cole MGN produces, who’s worked with Ariel Pink and Julia Holter, among others. Bogart’s solo album is due early next year on Burger and will also feature collaborations with Tavi Gevinson, Cherry Glazerr and Chela.
I can't think of the last time a seven-inch split lead me to a TV show, let alone a scrummy back-bridge of DIY television programming like Hollywood Nailz. All I thought I was getting into when I slid the 45rpm slice of block-rockin' Bay Area vibrations onto the ol' hi-fi was some good time 90's cover tunes redressed and turned-out by Grass Widow (who tackled EMF's "Unbelievable") and Shannon and the Clams (who snagged "The Power" by Snap!). And, for a fact, much enjoyment ensued. But, as luck would have it, I wanted more.