The first thing you learn about The Bobby Lees upon playing their new album, Bellevue, is that they don’t waste time. The title track, which opens the album, explodes like ambush machine gun fire. It’s hard to determine who is going fastest. Is it Sam Quartin with her frantic vocals, Macky Bowman with his raging drums, Nick Casa with his blazing guitar, or Kendall Wind with her bonkers bass?
They only stop to breathe for the beginning of “Hollywood Junkyard,” which soon grows into a savage beast of a track that has Quartin ripping apart fame and all the trappings and expectations that come with it. “Ma Likes to Drink” ups the punk (and the funk on Wind’s bass). “Death Train” brings in monster surf elements and Quartin tells us to “shut up and dance.”
“Strange Days” takes a strange left turn, reminding me of some early tracks by Yeah Yeah Yeahs with its haunted house piano, rock star swagger, and air of mystery. “Dig Your Hips” lights a new fuse under your feet with some of Bowman’s hardest snare slaps on the record. I love how the whole band sings on the chorus of “Have You Seen a Girl.” Casa’s guitar solo on “In Low” is jaw-dropping. It sounds like the rest of the band told him, “Just go nuts.”, and he took them up on the offer.
“Little Table” might be a song about human furniture fetish, or a song about the interdependency of relationships. It could be both. “Monkey Mind” has Quartin protesting her inability to stay present. We can all relate to this, and to Wind’s dance bass groove. “Greta Van Fake” is, as you’d expect and hope, a brutal takedown of Greta Van Fleet (“I watch you from the crowd as you fake it, now watch us from the ground as we make it.”). The album closes with “Be My Enemy,” which has Quartin telling her detractors that she’s biding her time as they push her down so she can grow in strength and then smash them to pieces.
Bellevue is named after the upstate New York mental hospital, and Quartin has mentioned that she wrote many of the album’s lyrics while undergoing great stress during the pandemic. The album is manic, for sure, but there’s a tightness to it like a straitjacket that’s tearing at the seams.
Partner‘s newest EP, Time Is a Car, is both a throwback to their love of fellow Canadians Rush and a drive into the future of their careers as rock icons of their own.
The title track, with its danceable bass from Lucy Niles, brings in post-punk guitars by Joseé Caron and existentialist vocals from both of them such as, “If you’re part of the fabric, do you know you’re a thread?” “Boundaries (No Offense)” has a country twang to it that accentuates the theme of leaving a relationship and putting up a metaphorical fence so you won’t return because you know it would be bad for both of you.
After the lovely, almost ambient “Rest Stop Interlude,” we floor it with “Fear That Closes the Heart” – a track in which Partner happily wear their Rush influence on their sleeves. On it, Caron and Niles sing that they’re “Scared to let go of the fear, scared of what might take its place.” The ego is a tough bastard, and it will go all it can to keep its hold on you.
Partner encourages us to finish the race on the closer, “Not Today,” with powerful lyrics like “Not today, but one day, the world won’t be the same…The things that we believe in will evolve and they will change…When illusions turn to dust and institutions rust, maybe that’ll be the day truth will light the way.” It’s a strong example of how Partner have grown as songwriters, and it has Caron’s fiercest solo on the record.
It’s more good stuff from Partner, who seem to get a hit every time they’re at the plate.
Brooklyn-based GIFT unveils “Share The Present,” the new single from their forthcoming album, Momentary Presence, out October 14th on Dedstrange. Following previous singles “Feather” and “Gumball Garden,” “Share the Present” stays grounded with solid motorik riffs and airy 80s-inspired synths making a comfortable bed for bandleader TJ Freda’s gentle affirmations. Freda explains, “Sharing the present is being in the present moment. Not looking towards the future or dwelling on the past. Being present is the most important thing you can do when you are feeling down. ‘Don’t look back, you’ll fall down’ don’t dwell on the past of who you were. Look to the present moment and appreciate who you are and where you’re going.” This ethos is central to Momentary Presence, a chronicle of the plight to stay present, and a celebration of the eternal now.
Composed of Freda and his bandmates Jessica Gurewitz, Kallan Campbell, Justin Hrabovsky, and Cooper Naess, GIFT have a knack for conjuring soundscapes that are simultaneously turbulent and gorgeous. GIFT’s debut album, Momentary Presence, is a natural match for Dedstrange, the new label co-founded by Oliver Ackermann of New York City noise-rock and psychedelic legends A Place to Bury Strangers and Death by Audio. Inspired by Be Here Now, the 1971 spiritual guide and counterculture landmark by guru Ram Dass, Momentary Presence is a meditation on working through the anxiety and self doubt that we all, at one point, carry.
Momentary Presence introduces TJ Freda as a sorcerous and versatile home-recording engineer. GIFT’s full-length debut contains recordings that seem to tease something seismic coming around the corner, as well as dense, layered productions that feel complete, definitive, and impermeable. Can you open yourself up and appreciate it in its fullness – the ugliness and confusion as well as the beauty and joy? The members of GIFT believe you can. Together, they share the quest for perfect sound, harmony during times of trouble, and radical openness.
The Stooges, who would become known for their fierce punk garage rock, could’ve been one of the greatest psychedelic rock bands of all time if they had chosen to go down that road.
Take the opening track (“1969”) of their debut album, for example. It’s loaded with psych-fuzz guitar from Ron Asheton that sounds like he just walked in from San Francisco instead of Detroit, and Iggy Pop‘s vocals are almost spoken word poetry rambled from a dingy coffee house. “I Wanna Be Your Dog” almost induces bad acid trip panic.
The third track, “We Will Fall,” is over ten minutes of floating down a lazy river while monks wearing saffron-colored robes chant and play hand percussion instruments along the banks. “No Fun” brings back the grungy fuzz with Dave Alexander‘s distorted bass leading the romp. “Real Cool Time” has Asheton jamming like a damn sawmill of sound tearing through your house.
Pop’s vocals on “Ann” blend right into Asheton’s guitar squalls while Alexander and Scott Asheton lay down a hypnotic rhythm to further trip you out of your headspace. “Not Right” has Pop feeling frisky, but his lady friend isn’t “feeling right,” so he’s stuck again frustrated, and then even more so when she’s finally in the mood and he isn’t. “It’s always this way,” he moans while the rest of the Stooges proceed to melt our faces. The album closes with “Little Doll” and its swirling, scratchy, savage guitars fading the album, and us, into oblivion.
Everyone knows how important The Stooges are to music, but their debut album is a forgotten psychedelic rock classic.
Forty years after its release Motörhead classic Iron Fist album is given a stunning reissue that includes enough bonus tracks for two full albums.
The album sounds harder than ever with the new remastering. The title track opens the record with furious drumming from Phil “Philthy Animal” Taylor, and the album rarely, if ever, lets up. “Heart of Stone” is just as angry as it’s always been, as is the raw “Go to Hell” – a song you’ll want to send to your boss at that job you hate as you walk out the door. “Speedfreak” sums up Motörhead’s lifestyle, really.
After the send-off of “Bang to Rights,” we’re treated to six demo tracks from 1981: “Remember Me, I’m Gone,” “The Doctor,” “Young & Crazy,” “Loser,” “Iron Fist,” and “Go to Hell.” Seven more bonus tracks follow on the CD and digital versions of the album: The wonderfully grungy “Lemmy Goes to the Pub,” “Same Old Song, I’m Gone,” a crushing alternate version of “(Don’t Let ’em) Grind Ya Down,” “Shut It Down,” and three instrumentals – “Sponge Cake,” “Ripsaw Teardown,” and a barely recognizable cover of the “Peter Gunn” theme.
As if all this wasn’t enough, there’s also a previously unreleased live album recorded at the Apollo in Glasgow, Scotland on March 18, 1982. It’s a stunning, fuzzy, eardrum-blasting recording that opens with a version of “Iron Fist” that sounds like they’re playing it while the Apollo is on fire. LemmyKilmister barely takes a breath until they get to “The Hammer” and he encourages the Glasgow crowd to shout throughout it.
The live version of “White Line Fever” sounds like getting punched in the face by an ogre – multiple times. Kilmister’s raspy growl on “Go to Hell” is the match and Fast Eddie Clarke‘s guitar is the gasoline on the track. Kilmister chastises Glasgow again before “(We Are) The Road Crew,” saying their cheering is so lame that they “sound like Leo Sayer,” which only gets the Scots to go crazier. Of course, this live version of “Ace of Spades” is liable to set fire to your face. They close the main set with venue-shattering versions of “Overkill,” “Bomber,” and “Motörhead.”
It’s a stunning reissue of an already stunning record. Don’t miss this if you’re a fan of Motörhead of NWOBHM.
The news regarding Doctor Explosion’s first release after an extensive recording break was made over the Summer with the announcement of their forthcoming album Superioridad Moral. Now, a new single off the album, along with the tour dates coinciding with the record’s release, is the latest update from the garage maniac sons of Asturias!
January 10th, 2016, was the passing date of David Bowie. For some people, it’s a day when they remember where they were upon learning the news. Superioridad Moral’sthird single, “El Día Que David Bowie Murió” has Jorge Explosion recalling that day seven years later with the below quote.
January 10, 2016 – Circo Perrotti Studios, Gijón (ES) “David Bowie died a few hours ago, and three musicians decided to express their surprise and admiration. Thus was born “The Day David Bowie Died,” an ode to artistic immortality. In an improvised session full of sound savagery and Pop spontaneity, Doctor Explosión reflect on their own daily insignificance in the face of death with their atypical and personal Garage de Autor. Fuzz’s raging guitars and delicious vocal harmonies combine in this energetic hit that is already playing across the Atlantic, at number three of Bill Kelly’s Top 10 for Little Steven’s Underground Garage.”. – (Jorge Explosion: 2022)
“
El Día Que David Bowie Murió” is the latest single premiering off Superioridad Moral with videos for “Insatisfacción” and “Vestir De Mujer” already available and charting on Spotify.
With a new album, the band sports a new look. Expanding from their traditional trio into a quartet, the band is anchored by Jorge Explosion (vocals/guitar), César Crespo (guitar), and ex-Cooper players Conrado Martin (drums) and Dani Montero (bass). Six years in the making, Superioridad Moralis the first offering by Doctor Explosion since 2010’s Hablaban Con Frases Hechas. Writing and recording began at Jorge’s Estudios Circo Perrotti in Gijón, where Jorge has produced groups such as The Jackets, The Fleshtones, Messer Chups, Holly Golightly, and many others. For mastering, Jorge enlists the assistance of notable Abbey Road mastering engineer Frank Arkwright whose production credits include New Order, The Smiths, Joy Division, Oasis, and Arcade Fire, among others.
Superioridad Moral will be available on vinyl, CD, and all digital platforms on November 4th via Slovenly Recordings. Pre-orders for each format can be found here.
Superioridad Moral Tracklisting
1. “Insatisfacción” 2. “Vestir De Mujer” 3. “El Día Que David Bowie Murió” 4. “La Gente No Sabe Gastar” 5. “Grises” 6. “Apego Evitativo” 7. “La Polilla” 8. “Acidez” 9. “Mi Lista De Cosas Que Hacer” 10.”Paleto (They Call Me Country)”
“I’m aware of only half the picture. It comes down upon me like a heavy rain. The psycho Deli is out of mustard and all the Porn Stars won’t leave their homes. I’m out only to get myself, but don’t get in the way. The bugs which throw themselves at windows rarely get their say.” – Caleb Landry Jones
Award-winning actor and visual artist Caleb Landry Jones is a bonafide musical maverick, and today, announces his new album Gadzooks Vol. 2, out November 4th on Sacred Bones, with lead single/video, “Touchdown Yolk.” Following 2021’s Gadzooks Vol. 1, the “engaging affair of warped, carnivalesque psychedelia” (The AV Club), Jones’ third album is his most soothing and sublime collection to date. And while most artists don’t save some of the best music of their career for an album with Vol. 2 in the title, Jones is an artist for whom chronology is a slippery substance.
Recorded with Nic Jodoin in the famed Valentine Recording Studios, Gadzooks Vol. 2 was made alongside Jones’ The Mother Stone, hailed by Billboard as “a remarkable beast of a debut album.” The team invited a slew of heavy hitting musicians, including producer Drew Erickson, to the studio to contribute to the magic, and the resulting album sounds a bit like pink elephants in cowboy hats making ASMR — at least for the first 20 seconds before it seamlessly changes entirely.
One of Jones’s greatest musical gifts is his ability to cover a vast energetic and sonic landscape in a way with a wide array of instrumentation and vocal stylings over a wholly unique song structure, in a way that feels cohesive and euphoric. A driving number, “Touchdown Yolk” is Jones, who plays nearly every instrument on the track, at his catchiest, while still maintaining his enthralling and distinct charm. The accompanying video, which was co-created by Jones, Patrick Jones, Katya Zvereva, Natalia Zvereva, Lera Moiseeva, Jean-Stephane Sauvaire, Jacqueline Castel and Mitch Horowitz, collages handheld camcorder footage recorded around New York City, an irresistibly unsettling foray into the ever-expanding Gadzooks universe.
For the last 9 years, Porto-based band Solar Corona have been carving their name in the psychedelic rock scene of Southern Europe. Now, they turn their minimal rock into an expansive, ever-churning psychedelic voyage with their newest offering, ‘PACE’, set for release on November 11th on Porto-based record label Lovers and Lollypops.
Along with the announcement today, the band share six-minute juggernaut ‘Parker SP’, where bouncing bass mingles with propelling drums and meandering spaced-out guitars. A relentlessly grooving trip of a track. The band comment: “A satellite lost grooving amidst light sparks and space debris. Parker S.P. is our take on a fly-by boogie and the first glimpse into the world of psychedelia that makes up PACE, our new album.”
The band’s fifth release, ‘PACE’, shifts gears with Lorr No (Nuno Loureiro) hitching a ride as a dubmechanic, pulling in the sound of Solar Corona’s core trio—Rodrigo Carvalho (Guitar/synths), Peter Carvalho (drums) and José Roberto Gomes (bass)—into an off-road expanse. The stripped-back songwriting reaches a new directness and power through its simplicity.
The raw ideas of each track were jammed out in Alpendurada, a town deep in the Douro Valley. After a two-year distillation process the riffs and sonic materials have reached a concentration not unlike the alchemical moonshine native to Solar Corona’s Portuguese North. Simple principles and steadfast mechanics become channeled into perennial journeys where speed & pace remain distinct.
Each track celebrates a specific element in its own way. The introductory ‘Heavy Metal Salts’ establishes the pulsing impulse of ‘PACE’, with sparkling electroacoustic details bringing a lysergic dose to the climactic structure. The title-track ‘Pace’ mellows out Solar Corona’s soundscape, and stands out as a space-mantra without riffs, solos, or the need to headbang. Guitar-led tracks such as ‘Thrust’ and ‘AU’ return to the in-the-red rock-n-roll that is a constant pulse in the veins of the band, before being injected by their new, more ethereal, sonic. ‘Alpendurada’ closes the album in epic proportions as the band weaves in and out of knob-twisting psychedelia and instantly earwormed guitar melodies anchored by a propulsive bass.
Solar Corona’s last two releases, ‘Lightning One’ & ‘Saint-Jean-De-Luz’ (released together in 2019), were as a four-piece with Julius Gabriel’s electroacoustic sax brought along for the journey. Gabriel’s departure from the band in 2020, left a seat open for Lorr No (Fugly, Favela Discos) to bring his own patterned twist to the band’s progressive stonerism. Solar Corona’s ‘PACE’ takes its listener on different and ambitious journey.
‘PACE’ track list: 1. HEAVY METAL SALTS 2. PACE 3. THRUST 4. AU 5. PARKER SP 6. ALPENDURADA
It was the end of the first leg of Earthless‘ U.S. tour, and it turned out to be guitarist Isaiah Mitchell‘s birthday. It also turned out to be another stunning performance by them.
My friend and I go to the venue too late to see the first opening band, Ancient Days, but we did catch The Heavy Company (otherwise known as THC) play a blues-infused rock set that impressed the enthusiastic crowd.
The Heavy Company
Earthless played for a little over an hour, and that set was three songs. If you’re new to Earthless, you need to know that two of those songs were over twenty minutes long, and the third was nearly fifteen minutes long. They don’t skimp anything during a show. They give all every time. I yelled, “I can’t feel my face.” after the end of the second track.
L-R: Isaiah Mitchell, Mario Rubalcaba, Mike Eginton
It’s difficult to describe how much heavy power they unleash. I was reminded during their performance of an analogy my wife heard once about a full jar. Take a large, earthenware jar and fill it with rocks. Is the jar full? No. It may seem like it is, but you could fill the space between the rocks with water. Full now? No, because you could slowly add sand to the jar to absorb the water and take up all the remaining space. Now the jar is so heavy you’d need Hulk-like strength to lift it.
Now change the venue to a music venue that holds about 200 people and change the rocks to Isaiah Mitchell’s bass riffs, the water to Mario Rubalcaba’s drum fills, and the sand to Mike Eginton’s heavy bass riffs and you’ll get the idea.
Imbued with that warm afterglow of reflection that arrives with the Autumn season, the newest single from the Paris-based artist delivers both a tender tribute to the late Jimi Hendrix (who died on September the 18th. 1970) on the one hand, and a sepia-tinted recollection of endless Summer’s past, on the other.
As Caesar elaborates of the song:
““Isn’t That What Jimi Said” is a reminiscence about Summer holidays, and in my case, the ones spent in the South of Sweden. It’s about the Summers you have when you’re 16 years old. You fall in love with a strange girl and then you break up. Was it true love or just a Grease-style Summer loving fling? You’re not really sure and you don’t really know how to handle it.”
“The Jimi in question is actually Jimi Hendrix. It refers to the apocryphal idea that he smashed up his guitars out of sheer frustration because they weren’t able to sufficiently express the sounds he had in his mind. It’s the idea
that the emotions you feel are sometimes so strong that you have no ability to express them in a reasonable way. You’re limited by the tools you’re given. That can be painful to experience but it’s also something that can drive great art. Consider the DIY punk ethos. The technical ability you have to play is less important than the glorious, anarchic energy and sound you’ve created. It’s an imperfect statement of intent which sometimes sounds more authentic and beguiling than something that has been perfectly crafted.”
Featuring the talents of critically acclaimed French star Jean Felzine (Mustang) and his partner Jo Wedin (who delivers the song’s affecting Swedish monologue in her native tongue), its musical arrangements are resplendent in their Procol Harum-hinting hammond organs, lackadaisical guitar strums, loping basslines and retro-soundbites seemingly plucked from seaside holidays gone-by. Think of Traffic’s Paper Sun revisited in 2022.
Directed by Gaétan Boudy, the single’s official music video utilises old 8 mm film of Caesar Spencer as a child in Sweden and intimately ties-in with the undercurrent of themes explored in the track.
As warmly nostalgic as it is winsomely reflective, “Isn’t That What Jimi Said” finds itself right at home on Caesar Spencer’s much-anticipated debut solo album: ‘Get Out Into Yourself’ (coming soon via New Radio Records); a record that shines a light on French musical artistry, while still finding place and purpose to pay homage to classic English pastoral-pop.
As an Englishman born in Peru, with Swedish roots, who now finds himself in France; the debut from Caesar Spencer continues in a long line of songwriters, from Scott Walker to Lee Hazlewood, Morrissey to Peter Doherty, who have long looked beyond their patch for a deeper sense of connection. Broadly echoing his own journey to date, Caesar’s debut ‘Get Out Into Yourself’, is a concept-album-of-sorts; inspired by those with nomadic origins and their search for identity. With a loose narrative that follows a protagonist journeying through different cultural landscapes, it unspools a tale laced with existential questions and the quest to find yourself in an ever-shifting world.
Whilst its a record that often switches from vintage British pop to gnarly West Coast surf-rock with a dextrous flick, above all else ‘Get Out Into Yourself’ is an homage to the musical heritage of his newfound home in France.
“It’s simply a love letter to France. I wanted to give something back to a country that has given me so much. And I really wanted to shine a light on this incredibly sophisticated French musical artistry.” says Caesar.
Recorded at the Studio La Fugitive (where acclaimed French band Les Rita Mitsouko recorded) with esteemed producer Gaétan Boudy (Zaz, Alex Renart, Emel Mathlouthi) and his formidable backing band of Fred Lafage (Tony Allen, Paris Dernière) and Frantxoa Erreçarret (Askehoug, Barcella); the album also sees Caesar joined by a raft of prominent special guest appearances. Alongside Jean Felzine (Mustang) and Jo Wedin (who both appear on “Isn’t That What Jimi Said”); a collaboration with 60’s ye-ye chanteuse Jacqueline Taïeb can be heard on previous single “Waiting for Sorrow”). Elsewhere, French punk icon Gilles Tandy (Les Olivensteins), the multi-talented Mareva Galanter, opera star Aurélie Ligerot and FAME’S PROJECT (Jarvis Cocker, Chilly Gonzales) all lend their talents to the album.
Deftly bridging the channel between British and French pop, ‘Get Out Into Yourself’ is a record with a timelessness of sound that dares to dream beyond typical boundaries in its quest for true identity. New Radio Records will shortly confirm the release date. All physical editions of the album will also be accompanied by an elegant conceptual storyboard illustrated by French artist Thierry Beaudenon.
Keep your mind open.
[I think Jimi also said that you should subscribe.]
