November 2021 – 7th Level Music

Chicago’s Horsegirl release “Billy” and announce a spring tour.

Chicago’s Horsegirl, the trio of 17-19 year olds Penelope Lowenstein (she/her), Nora Cheng (she/her), and Gigi Reece (they/them), present “Billy,” their debut single/video via their new label, Matador. In conjunction, they announce a North American tour, during which they’ll make their SXSW debut and play their first show ever in many of these cities. Having only formed in 2019, Horsegirl’s first three singles captured the ears and attention of fans and critics worldwide, garnering early acclaim from the likes of Pitchfork, NPR, Stereogum, Sirius XMU, NME, BBC Music, and more. Following their appearance at the Pitchfork Music Festival this fall, where the trio performed for their biggest crowd yet, NYLONremarked “Horsegirl were welcome reminders of how rock music is better and more fun than it’s been in years.” Their new single “Billy” continues the band’s exciting early run and expands their already swelling wall of sound with three-part harmonies, overdriven guitars and unexpected tempo changes. Recorded at Chicago’s Electrical Audio and co-produced by the band and legendary producer John Agnello (Dinosaur Jr., Sonic Youth, Kurt Vile), “Billy” marks a significant evolution for the young band. The “Billy” 7”, out March 25 and available for pre-order today, features a cover of the Minutemen’s “History Lesson Part 2” on the b-side (available only on the 7”). Horsegirl discuss creating the song and video:

“There was a period of last year where the three of us spent every day together writing and recording. It was during this time, when we practically lived in Penelope’s basement, that ‘Billy’ was written. Penelope had recently read about Nick Drake’s alternate tunings prompting her to detune her guitar, while Nora overlaid a rhythmic vocal line detailing the life of a fictional character, Billy. At the time, we had been listening to a lot of New Zealand underground bands (80’s/90’s Flying Nun). With that scrappiness in mind, we worked the rest of the song out through improvising together, and ‘Billy’ quickly fell into place.

“‘Billy’ is our first release with a label, and it feels particularly special that it is with Matador, whom we have admired since we were young. After a year of hard work, we are very happy to finally share music, especially with those who have uplifted Horsegirl in the last year. We feel so thankful to have been able to record this song with John Agnello, whose work we adore, at Electrical Audio, a Chicago institution. Recording this song was a dream experience for us, and John has become a very trusted mentor.

“We shot the ‘Billy’ music video with our friends on a rainy Chicago day and feel particularly thankful for everyone who danced the twist with us, and those who gave us their apartment, camera equipment, film expertise, and feedback. This video is a love letter to our city and friends. The song is a love letter to past music scenes we wish we could have witnessed. Please listen to ‘Billy’ in your kitchen with a group of good friends and dance along– we can’t wait to share it with you.”

2022 will see much more from Horsegirl. Their tour will take place in the midst of Cheng and Reece wrapping up their freshmen years in college in New York City and Lowenstein nearing high school graduation in Chicago.
Watch Horsegirl’s Video for “Billy”

Pre-order “Billy” 7”1. Billy2. History Lesson Pt. 2 (Minutemen cover, available only on 7”)
Horsegirl Tour Dates
Wed. March 16 – Austin, TX @ SXSW
Thu. March 17 – Austin, TX @ SXSW
Sat. March 19 – Philadelphia, PA @ PhilaMOCA
Sun. March 20 – Washington, DC @ DC9
Tue. March 22 – New York, NY @ Market Hotel

Keep your mind open.

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[Thanks to Jaycee at Pitch Perfect PR.]

Piel share “Custodian” from upcoming album due December 10th.

Los Angeles quintet Piel today released their single “Custodian,” the opening track from their upcoming debut release A.K.A. Ma out December 10 via Birs Recordings. The song was debuted live for NPR Music’s Tiny Desk Concert where hosts praised Piel as “a very talented band” (Bob Boilen), remarking that “the lead singer’s voice is great and there’s something about the guitar that I just loved right away” (Raina Douris) and was included in NPR Music’s “Best Tiny Desk Contest Entries We Saw” list.

A.K.A. Ma is a six-song album and is largely dedicated to Thelma Lewis, the mother of lead singer and Piel co-founder, Tiki Lewis. The elder Lewis passed away in 2019, hence “Ma.”

The making of what would become A.K.A. Ma was not a conventionally produced album, but resulted in a formidable final piece of work. Jonathan Burkes, who initially recorded the songs before Birs was in the picture, handed over the tracks to producer, Cisco DeLuna. DeLuna (who championed the group and sought the green light from label owner, Scott Anderson, to get the record made), took what Burkes had and added additional instruments to the recordings. DeLuna’s production gave the songs a commercial radio glow, but without drowning out the band’s sound in the mix. This resulted in an indie-style/modern rock record that can capture the imagination of mainstream listeners, yet appease those in indie rock circles.

Piel lists nature, turbulence, resilience, injustice, mantras, light and dark and beyond among its influences (alongside artists like Joy Division, Sade and Pink Floyd). Piel matches it with a danceable rock sound, grounded by singer Tiki Lewis’ smooth delivery. According to Lewis: “while the bulk of A.K.A. Ma was completed pre-pandemic, divine sources are what guided us through the process, as well as through the dark aftermath of 2020.”

Keep your mind open.

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[Thanks to Cody at Clandestine PR.]

Wrecka Stow: Third Man Records – Nashville, TN

I was in Nashville, Tennessee in early September and swung by Third Man Records – a record store (623 7th Avenue South) and production studio run by and owned by Jack White. The place is a small White Stripes and Raconteurs museum, not to mention all the special edition records and singles released by Third Man Records for other artists over the years.

It turned out that there was a record fair happening in the parking lot on the day I arrived. My wife, knowing I’d be a while, took a nap in our car while I plunged into bins of CDs.

Yep, all CDs were just five bucks each. That included box CD sets. I scored box sets from Scientists, Hüsker Dü, tropical lounge music, and a CD of Indian disco for dirt cheap.

Inside, of course, is a ton of stuff ranging from vinyl records to books, shirts, and postcards.

It’s a nifty place, and a must-stop location if you’re a fan of Jack White’s work or a serious record hound.

Keep your mind open.

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Review: Gustaf – Audio Drag for Ego Slobs

Formed somewhat on a whim, Gustaf (Lydia Gammill – lead vocals, Tine Hill – bass, Vram Kherlopian – guitar, Melissa Lucciola – drums, Tarra Thiessen – percussion and vocals) were playing packed gigs across the country in record stores, apartments, basements, pubs, and even SXSW festival stages before they even cut their debut album – Audio Drag for Ego Slobs. The result is an album created by a band who’d cut their teeth on the road and came into the studio with a power pack of post-punk poppers.

“You say that I’m much to old to be low-fi,” Gammill sings on the opening track, “Mine.” The groove of it is undeniable, rooted in Hill’s bass lick and the tippity-tap of Lucciola’s hi-hat. The song seems to about reclaiming dignity and an attitude of “I really don’t give a rat’s ass.”

“Book” has Gammill demanding proof of erroneous claims of her life being false. It keeps the dance grooves rolling and into “Best Behavior.” “I wanted you to know that I was good today,” Gammill sings, possibly letting her lover know that she wasn’t up to anything naughty…Well, perhaps a bit. “Dream” is a song about weird love, with Thiessen repeating “We love you.” while Gammill claims, “You’re doing great.” and then both of them stating, “It was only a dream.”

Kherlopian’s guitar takes on a bit of a yacht rock feel, which I love, on “Liquid Frown” – a song that seems to be about being under so much relationship stress that it makes you nauseous. Hill’s bass is in full funk mode on “The Motions,” and the backing vocals are warped (like they are on many tracks) to reflect Gammill’s perplexed state of mind at the world in general. “Common sense seems so pedestrian,” Gammill sings on “Cruel” – one of the wittiest tracks on the album with the band flipping off romance.

On the flipside, “Dog” is about someone Gammill didn’t really find attractive or think much about until she saw the guy’s dog. “It took a little effort to see. Hey, who’s that pulling the leash?” “Package” ups the anger a bit before the slightly psychedelic “Happy” comes in to close the album with Gammill saying, “I hope you’re happy getting what you want…I’m out here singing alone.”

As the kids would say, don’t sleep on this album. It’s one of the best post-punk records of the year.

Keep your mind open.

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[Thanks to Tom at Hive Mind PR.]

Review: TV Priest – Uppers

The four members of London’s post-punk rockers TV Priest (Nic Bueth – bass and keyboards, Charlie Drinkwater – vocals, Ed Kelland – drums, Alex Sprogis – guitar) started making music when they were young lads, but they put their musical aspirations aside to get “real jobs” and do various adulting things. Luckily for us, the four of them got back together, with a bunch of “real life” experience under their belts, to create and release their solid full-length album Uppers.

The album is solid from beginning to end, full of bangers, heavy riffs, and witty, scathing lyrics. Bueth’s opening bass on “The Big Curve” alone is enough to shake you out of your cubicle chair and make you want to smash that damn copier / fax / scanner that always smears your papers. Kelland’s drums on “Press Gang” are like an anxious heartbeat of a sprinter before the starting gun (which is the sound of Bueth’s bass and Sprogis’ guitar).

“Leg Room” has krautrock synths and Drinkwater singing above, under, and around, Bueth’s bass stabs – which hit like Michael Myers’ knife. “Hey, buddy, normalize this,” Drinkwater sings / chants on “Journal of a Plague Year” – a song about dealing with you-know-what and how it altered all of us, for good or bad (“And the new normal sets in…”).

After the brief, instrumental “History Week,” “Decoration” comes in with its clever lyrics about everyone seeking their fifteen minutes of fame (“I’m through to the next round. Yes, I’m through.”). “Well, all I can do is talk. My God, I’ve never had an original thought!” Drinkwater claims on “Slideshow” – a rocker that skewers the emptiness of online culture.

“How you feelin’?” Drinkwater keeps asking while Sprogis’ guitar drones and squeaks like a robotic animal of some sort and Bueth and Kelland’s rhythms match the anxiety everyone’s been feeling since 2019. “Powers of Ten” fades into what sounds like radio or communications satellite static – a fitting image of everyone looking for something in the ether during the pandemic.

“This Island” brings in brighter synths to dance alongside the bold guitars as Drinkwater sings about creating a new reality, albeit a possible guarded one, out of life-altering events. The album ends with “Saintless” – the longest track on the album – which swells and swirls like a whirlpool of guitars and cymbal crashes amid Drinkwater’s steady, yet slightly nervous vocals.

To sum it up, Uppers is one of the best post-punk records of 2021.

Keep your mind open.

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Review: Weak Signal – Bianca

Bubbling up from NYC’s underground music scene, Weak Signal‘s new album, Bianca, roars with dark post-punk energy mixed with early 1990s alt-rock riffs.

“I’m the enemy of the world. Nothing ever really dies,” they sing on the album’s opener, “I’m a Fire,” putting down loud guitar riffs alongside their lyrics. The chugging bass on “Voice Inside My Head” is infectious.

“I don’t wanna go to work. Me and my friends were out all night…” opens the heavy, sludgy “Drugs in My System” – a song about dealing with party aftermaths. “Barely a Trace” sounds like a somewhat dusty, slightly warped record you’d hear playing on a jukebox at the back of a diner in a David Lynch film. “Come Back” is a simple, yet haunting track about regret and loss accentuated by rising synths and mantra-like guitar riffs.

“Zones” has this same kind of mantra sound before the bolder, faster “Don’t Turn Around,” which wouldn’t be out of place on a record from A Place to Bury Strangers. “Borderzone” is probably the mellowest track on the album, drifting in and out like smoke. “Devotion” brings back sharp-edged riffs that come into the track, rattle you a bit, and then meld back into the shadows.

“I’ll go where I want to go, and I’ll love who I want to love,” Mike Bones sings on “I’ll Stay,” a beautiful track about finding freedom through self-realization. “Sorry” is a nice companion to it. It’s still mellow, but a bit upbeat, and it’s a nice warm-up before the loud, weird finish of “Too Strong.”

It’s cool record, and perfect for certain moods (gray days, late nights).

Keep your mind open.

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[Thanks to Jake at Ramp Global.]

Review: Brett Naucke – Mirror Ensemble

Chicago’s Brett Naucke teamed up with two other well-respected Chicago musicians, Natalie Chami and Whitney Johnson, to create Mirror Ensemble – an album that combines synthwave, ambient, and even a bit of indie rock to make a meditative gem.

“Vanity Well” gets things off to a mood-altering start, and then “The Glass Shifting” comes in sounding like something from the new Dune film score. The longest track on the album, “A Look That Tells Time,” takes its time to stretch out and let you relax into it with its temple-like bell sounds and lotus flower-drifting-on-a-lazy-river.

“Catch Your Breath,” at a quarter of the previous track’s length, is a short meditation, while “Parallax” is the sound of sunlight shining through a prism. Trust me, you’ll feel this when you hear it. “Rose Water” is equally delightful, while “Sleep with Your Windows Open” is going to become your new favorite song to put on your bedroom speakers this summer. The closer, “Late Century Reflection,” ends the album with slightly up-tempo beats and synths that rise like a flock of birds from the edge of a still lake.

It’s a lovely record, suitable for meditation, making out, or even just walking around the neighborhood.

Keep your mind open.

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[Thanks to Cody at Clandestine PR.]

Review: Cold Beat – War Garden

Named after the gardens people were encouraged to start and tend during World War Two, Cold Beat‘s new album, War Garden, is a lovely collection of synthwave, 1980s pop, and optimism created during the pandemic and written, in part at least, via Zoom.

Opening track, “Mandelbrot Fall,” begins with thick 16-bit video game bass and peppy blips while lead singer Hannah Lew sings “There’s nothing to explain, I’m trying anyway.” That’s basically been my motto for the last month. “SOS” starts off like a sad scene in an episode of Stranger Things, but soon blossoms into a happy skate around the roller rink. “Tumescent Decoy” has bright synths bouncing around lyrics about finding paradise within and within lonely times.

“Weeds” brings in shoegaze guitars that are as dreamy as the lyrics. “See You Again” sums up the band’s (and everyone else’s) feeling during the onset of the pandemic. It has a twinge of sadness to it, but an underlying hopeful vibe as Cold Beat knew they’d eventually reunite in person – or even beyond the void if (when) it came to it. “Arms Reach” is a soft caress while “Year Without a Shadow” is almost an industrial dance club floor-filler.

The synths on “Rubble Ren” are as soothing as a Jacuzzi. Lew’s vocals on “Part the Sea” flow like waves while the synths rise like crests and then splash onto the shore. “Leaves and Branches” is just as uplifting. The album ends with the optimistic “New World” – a track to give us hope as we emerge from our self-imposed exiles.

War Garden is one of the more hopeful albums of 2021. Give it a spin if you need a boost.

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Review: Jealous – Lover / What’s Your Damage?

What’s bold? Releasing your debut as not just an EP, but as a double EP. Berlin’s Jealous did exactly that with their Lover / What’s Your Damage? release for Oliver Ackermann‘s Dedstrange label. It’s a wild mix of shoegaze, synthwave, post-punk, art rock, and other things you can’t quite define.

Uri Rennert‘s heartbeat drums on “K-Hole II,” the opening track of the Lover EP, set up a dark tone for the entire record. Paz Bonfil‘s guitar is perfectly suitable for a spaghetti western villain’s theme music. Adi Kum‘s vocals spin around you like playful ghosts. Her bass on “Blackeye” is thick enough that it might give you one. “Debbie Downer” has, as you can imagine, a dark vibe, and the fast and furious “Fast Cars” isn’t a cover of the Buzzcocks rocker, but rather a fierce rocker of their own with Bonfil’s guitar sounding like he’s strangling it at some points. It builds to a wild pace, with Rennert almost dismantling his kit as he plays.

Kum’s somewhat grumpy bass starts off “Gravity,” the first song on the What’s Your Damage? EP. It builds to a heavy-hitting, pulsing track that grabs your attention and doesn’t let go for about four minutes. “Cowboy ‘Kelly’ Katastroph” is a straight-up post-punk bliss, as is “Sharp Bones / Broken Claws” – with Bonfil’s guitar riffs as sharp as its title. “Slaughterhouse 3000” ups the fuzz a bit and the playfully bratty vocals even more. The EP ends with “Thunder,” which highlights the dual vocals from Bonfil and Kum.

It’s good stuff, and many thanks for Dedstrange for bringing it to us.

Keep your mind open.

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Review: The Beths – Auckland, New Zealand, 2020

Matching with an accompanying concert film, The Beths‘ Auckland, New Zealand, 2020 captures the band’s performance at Auckland Town Hall during the middle of the COVID-19 pandemic in one of the few countries that took the pandemic seriously at the time and was still able to hold live music events. The band’s joy at performing in front of a home crowd, and after so long of not being able to do so, is heard in every note – as is the bliss of the crowd.

The cheers before the opener of “I’m Not Getting Excited” are infectious, as is the opening guitar riff from Jonathan Pearce as Elizabeth Stokes actually encourages the audience to get so excited that their heads might explode. “Great No One” rocks and rolls straight into “Whatever” – with the whole crowd yelling / singing the title (and pretty much everything else) along with the band. “It’s not just the dawn that breaks,” Stokes sings on the sizzling “Mars (The God of War)” – a song about wishing she could move beyond a bad break-up.

The live version of “Future Me Hates Me” is as bouncy and loud as you’d hope it would be. “Jump Rope Gazers” is just as lovely live as on the album of the same name, if not more so. “Uptown Girl” blasts by you with some of Tristan Deck‘s fiercest drumming. His beats on “Happy Unhappy” get you dancing.

“Out of Sight” makes the turn toward the final act of the show, with Stokes thanking everyone behind the scenes at the show afterwards. You can hear the emotion in Stokes’ voice as she thanks the crowd before the band launches into “Don’t Go Away.” Benjamin Sinclair‘s bass line on “Little Death” is like a hummingbird zipping around the room. “Dying to Believe” closes the show, with the entire crowd singing along, before the band comes back for an encore of “River Run” that fades into a blissful state.

Not only is this a joyful recording, it’s also a good-sounding one. Stokes points out at one point that the sound crew has to work in a large, echoing chamber – and they do it quite well.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]