7th Level Music

You should let Alex Lahey’s new single, “They Wouldn’t Let Me In,” in right now.

Photo Credit: Pooneh Ghana

Today, Alex Lahey presents her new single/video, “They Wouldn’t Let Me In,” from her forthcoming album, The Answer Is Always Yes, out May 19th on Liberation. Following the “big, bright” (Stereogum) lead single, “Good Time,” the previously-shared “Shit Talkin’,” plus the “volcanic and cathartic” (The New York Times) “Congratulations,” “They Wouldn’t Let Me In” is Lahey’s first song to mine the depths of her queer teenage years. Where Lahey’s beloved debut I Love You Like A Brother and its 2019 follow-up The Best of Luck Club took their focus through the lens of relationships, The Answer Is Always Yes sees Lahey analyzing her otherness through different lenses, from its isolating effect to the surrealism and humor it instills. The “They Wouldn’t Let Me In” video, co-directed by Lahey and Claire Giuffre, is a lighthearted accompaniment to the reflective track. Lahey draws out the absurdity, assuming the role of a furniture salesperson and leading a humorous countdown: “I couldn’t get into the threesome, the foursome, the fivesome, the sixsome.”

“After watching the brilliant tv series ‘Heartstopper,’ I spent a lot of time thinking about my own experiences growing up as a queer teenager,” Lahey says. “Although I was extremely lucky that the majority of my experience was filled with joy, acceptance and love, it wasn’t always smooth sailing. This song is inspired by those tougher moments – not being allowed to attend my high school girlfriend’s school formal, being excluded from conventional romantic rites of passage, moments of isolation and feeling like I couldn’t relate to anyone around me. ‘They Wouldn’t Let Me In’ is by far the most direct song I’ve ever written about this time.”

Watch Alex Lahey’s “They Wouldn’t Let Me In” Video

As a queer person, Alex Lahey learned how to adapt to a world that wasn’t made for her. For those who exist on the fringe, you learn to pave your own way, foster your own community, and create your own joy. With The Answer Is Always Yes, Lahey examines how she finds comfort in the discomfort, whether its reveling in absurdity or turning towards exploration. “Living in a world that wasn’t made for you makes you pretty strong and adaptive, and you find the fun in it,” says Lahey. “It also makes you realize how absurd everything is. With The Answer Is Always Yes, I wanted to get weird because the world is weird, and it’s even weirder when you realize you don’t fit into it all the time.”

Just as Lahey learned to reimagine the world around her, the music of The Answer Is Always Yes is also the product of reimagination. After making a name for herself with heartfelt, witty, and energizing indie rock songs, Lahey felt she had accrued tried and true songwriting tricks. Instead of resting on her laurels, Lahey took a risk by inviting other writers and producers into the early stages of her creative process for the first time. The resulting album is not only Lahey’s most collaborative yet, but also her most dynamic and surprising.

Beginning May 19th, Alex Lahey will embark on a North American tour in support of The Answer Is Always Yes, bringing her captivating full-band performance to a slew of cities across the continent. Full dates are listed below and tickets are on sale now.

Pre-order The Answer Is Always Yes

Watch“Good Time” Video
Watch “Congratulations” video
Watch “Shit Talkin’” lyric video

Alex Lahey Tour Dates:
Fri. May 19 – Santa Ana, CA @ Constellation Room
Sat. May 20 – Los Angeles, CA @ Zebulon
Sun. May 21 – San Francisco, CA @ Bottom of the Hill
Tue. May 23 – Portland, OR @ Polaris Hall
Wed. May 24 – Seattle, WA @ Madame Lous
Fri. May 26 – Salt Lake City, UT @ Kilby Court
Sat. May 27 – Denver, CO @ Lost Lake
Tue. May 30 – Minneapolis, MN @ 7th Street entry
Wed. May 31 – Chicago, IL @ Schubas
Fri. June 2 – Columbus, OH @ Ace of Cups
Sat. June 3 – Cleveland, OH @ Mahalls
Sun. June 4 – Toronto, ON @ Velvet Underground
Tue. June 6 – Boston, MA @ Crystal Ballroom
Wed. June 7 – New York, NY @ Baby’s All Right
Fri. June 9 – Philadelphia, PA @ Johnny Brendas
Sun. June 11 – Washington, DC @ Songbyrd
Mon. June 12 – Durham, NC @ Motorco Music Hall
Tue. June 13 – Atlanta, GA @ Masquerade Purgatory
Thu. June 15 – Houston, TX @ White Oak Music Hall Upstairs
Fri. June 16 – Austin, TX @ Parish
Sat. June 17 – Dallas, TX @ Club Dada
Tue. June 20 – Phoenix, AZ @ Rebel Lounge
Wed. June 21 – San Diego, CA @ Soda Bar

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

CHAI proclaim “We the Female” on their (of course) catchy new single.

CHAI — the beloved Japanese quartet composed of identical twins MANA (vocals/keys) and KANA (guitar), drummer YUNA, and bassist/lyricist YUUKI — are “professional purveyor[s] of whimsy” (The New York Times). Today, the four-piece unveils their first new single/video of 2023, “We The Female!” Following CHAI’s acclaimed 2021 album, WINK, which “exudes a newfound sense of serenity, even as they remain committed to exuberant self-love” (Pitchfork), “We The Female!” continues expanding CHAI’s canon of anthemic dance jams. The accompanying video, directed by Cezan Iseda, is a charming collage of 80s television homages.

Of “We The Female,” YUUKI adds: “We are human and were born as female, but we have both female and male aspects in each of our souls, each with our own sense of balance. We can’t just label ourselves into clear-cut, simple categories anymore! I’m not anyone else but just ‘me,’ and you are no one else but just ‘you.’ This song celebrates that with a roar! Yooooooooo!!”

WATCH CHAI’s “WE THE FEMALE!” VIDEO

WINK followed CHAI’s beloved 2017 debut PINK, and their superb 2019 sophomore effort, PUNK. Surrounding WINK’s release, CHAI was profiled in V Magazine, The New York Times, NPR and more; it was named one of the year’s best releases by Under The Radar and Paste, who hailed: “CHAI make every moment feel like a treat.”

“We The Female!” is a small taste of what CHAI has in store for the year.

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Review: Half Cut – Here in Full

Coming in hot from Sydney, Australia, Half Cut‘s first EP for the HOMAGE label, Here in Full, is a great spin – seven tracks of house and electro dialed in and ready to make you cut a rug.

“Player” kicks it off with, appropriately, an electric kick drum, hi-hat, and snare and a heavy dose of 1980s early house music. That thick synth-bass is killer, and then comes in the sample of “This ain’t no game!” to remind you that creating funky house music can be serious business. “Floor Five,” the first single off the EP, moves us from the late 1980s into mid-1990s house music with its joyful synth-piano chords and gospel sound vocals.

Remember that thick synth-bass in “Player?” Well, it’s even thicker in “Free,” which practically jiggles your hips for you. “Noise” thumps and bumps with a slightly dangerous edge that I’m sure gets asses out of seats. The Crosby remix of “Noise” almost completely changes the tune, making it a sexy banger great for dance floors and bedrooms.

“Energy” is the workout song you didn’t know you needed on your cardio playlist until you hear it, and the way Half Cut samples a cut from “Pass the Dutchie” by Musical Youth will make your jaw drop.

Don’t miss this one.

Keep your mind open.

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[Thanks to Peter at Harbor Music Society.]

Poison Ruin enter the “Torture Chamber” on their new single.

L-R: Nao Demand (guitar), Will McAndrew (bass), Mac Kennedy (vox, guitar), Allen Chapman (drums) Photo By Kevin Gray

Poison Ruin’s highly anticipated album Harvest follows the release of their S/T debut which spread like wildfire throughout the punk and DIY community throughout the past two years. The Philadelphian band quickly amassed a following for their lo-fi, catchy metaphoric revolts that stab at the pulsing heart of what it means to live under the permanent midnight of contemporary life.

Harvest gazes at the world with a sense of grave seriousness, its stare softened only by the alluring seduction of a dream world’s open-ended possibility. Its songs move with a type of uncanny confidence, assembling an array of references to past styles and sensibilities that collapse in on one another, congealing into a truly unique sonic landscape.

Just ahead of its release, Poison Ruin share their melodic thrasher, “Torture Chamber” which questions the limits and conviction of one’s own beliefs: “What is a truth for which you’d die? And what are the words that could set you free?”

Watch “Torture Chamber” (Official Music Video) via YouTube
Listen / Share / Playlist Here

With Harvest, Poison Ruin aligns their sonic palette to their godless, medieval-inflected aesthetic symbolism, creating a record which strikes with an assured sense of blackened harmony.

“I’ve always found fantasy tropes to be incredibly evocative,” vocalist/guitarist Mac Kennedy notes, “that said, even though they are a set of symbols that seem to speak to most people of our generation, they are often either apolitical or co-opted for incredibly backwards politics.”

Harvest’s lyrics and imagery, Kennedy reworks fantasy imagery as a series of totems for the downtrodden, stripping it of its escapist tendencies and retooling it as a rich metaphor for the collective struggle over our shared reality: “Instead of knights in shining armor and dragons, it’s a peasant revolt,” he explains, “I’m all for protest songs, but with this band I’ve found that sometimes your message can reach a greater audience if you imbue it with a certain interactive, almost magical realist element.”

These are not superficial or self-aggrandizing political statements. Rather, Poison Ruin stares into the abyss of present-day life with a sober and empathetic outlook, portraying our cracked reality as a complex and difficult to parse miasma of competing desires.

Poison Ruin’s Relapse debut, Harvest was mastered by Arthur Rizk. It sees its release on April 14 alongside the reissue of their eponymous 2021 LP which has established the band as one of punk and the underground’s newest beloved treasures. Poison Ruin will tour extensively this year. Next up are two record release shows in NYC and their hometown, Philadelphia just before heading overseas for a full EU / UK run including a performance at Roadburn. See below for a full list of dates.

Pre-Save / Playlist Harvest on Digital Platforms Here
Pre-Order Harvest on Vinyl / CD Here
Pre-Order S/T on Vinyl / CD Here

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[Thanks to Bailey at Another Side.]

Review: Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Land of Sleeper

What lies in the Land of Sleeper, the new album by Pigs Pigs Pigs Pigs Pigs Pigs Pigs? One, heavy riffs. Two, the battle against existential dread and anger, judging by the lyrics. Lead singer Matt Baty has made no secret of how, on the band’s new album, he decided to give in to his urge to sing / scream about deep, dark subjects such as death, sloth, wrath, and how time can easily feel like it’s slipping away with each breath.

The opening guitar riff on “Ultimate Hammer” alone will knock you to the floor and shake you out of any doldrums. They seem intent on awakening us from slumber, both self-induced and imposed upon us by unseen forces. “Life passes by in the blink of an eye,” Baty sings while his bandmates charge at you with guitars and drums that sound like hundreds of band saws. The title of “Terror’s Pillow” alone gives you an idea of the dread Baty feels as he drifts off into sleep, and drummer Ewan Mackenzie‘s cymbal crashes roll over you like an avalanche.

“Big Rig” is the aftershock of that avalanche with John-Michael Hedley‘s bass leading the charge. In it, Baty sings of the grit and grime (both literal and metaphorical) that covers their hometown of Newcastle Upon Tyne, but how an old tree inspires him to keep on keepin’ on (“At times it withers, but come spring, it soldiers on.”). “The Weatherman” is downright spooky with its chant-like opening vocals and creepy guitar work by Adam Ian Sykes. “There’s a storm coming!” Baty yells. If this is the sound of an impending storm, then that storm is going to wipe towns off the map once it arrives.

“Mr. Medicine” is a song of love and hope amid the pressures of the modern world, believe it or not (“That song you sang to me made me feel strong and completely fearless.”), and “Pipe Down!” is a great example of how Sykes and producer / fellow guitarist Sam Grant often trade shredding duties back and forth in the same song.

“Atlas Stone” is a song about carrying the weight of the world on your shoulders, and the band amplifies this message with crushing, heavy riffs. The closer, “Ball Lightning,” takes them, and us, into psychedelic doom landscapes as dark wizards plot alliances with unholy things that live in deep trenches and a band of five warriors from Newcastle Upon Tyne decide to take up their axes, swords, crossbows, shields, and mystical scrolls to, again, do battle for the sake of all of us.

I urge you to follow them into, through, and out of the Land of Sleeper. You’ll come out of the journey with a newfound power.

Keep your mind open.

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Hannah Georgas keeps it Zen on “This Too Shall Pass.”

In 2020 Hannah Georgas released her Aaron Dessner-produced LP All That Emotion. Though a longtime favorite in her native Canada with a devoted international audience, the album was the most critically-acclaimed release of her career to date, earning a wave of positive attention from outlets like The Guardian, Pitchfork, NPR, The New York Times, FADER, Stereogum, New York Magazine, Consequence of Sound and Paste among many others. In 2021 she released an EP of alternate versions of tracks from the album, featuring contributions from friends and collaborators like Bartees Strange, Owen Pallett, The National’s Matt Berninger and Kate Stables, but today Georgas is sharing her first new music in three years with new single, “This Too Shall Pass”. The single is being released to mark the announce of her signing to Lucy Rose’s Real Kind Records, and is being released alongside a Joe Connor directed video, shot in London.

WATCH
Hannah Georgas’s “This Too Shall Pass”
HERE

Where Hannah’s last record, 2020’s All That Emotion, was produced alongside Aaron Dessner, her next body of work finds Georgas behind the glass. Joining her are partner Sean Sroka (of Ten Kills The Pack) in a co-production capacity, keenly aided by James McAlister on drums (one of Sufjan Steven’s regular confidantes), Graham Walsh (whose synth and bass regularly peppers records by the likes of Holy Fuck and Metz), and Gabe Wax (Soccer Mommy’s go-to collaborator, but has also worked with War on Drugs, Kurt Vile, and Spoon) whose studio know-how and multi-instrumentalist acumen was a welcome addition to the process.

Ultimately though, Georgas sought to take the reins herself, taking back control of her own destiny, and cutting out too much outside influence. Recorded in Toronto with a treasure trove of analogue equipment and a work ethic that left no idea unturned, “This Too Shall Pass” signals a line in the sand, and the beginning of a new chapter.

Hannah Georgas on “This Too Shall Pass”: “I have a lot of internal pep talks, as a way to quiet my own doubts and insecurities. This song is a reflection of that, and a reminder to go a little bit easier on myself.”

“This Too Shall Pass” is the first introduction to a larger body of work by Hannah Georgas. Further details are to be announced later this Spring.

Keep your mind open.

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[Thanks to Tom at Hive Mind PR.]

The Beths release new single and expanded tour dates.

Today, The Beths present their new single, “Watching The Credits,” and unveil their incredible Tiny Desk Concert, proving once again that they are “one of the greatest indie-rock bands of their time” (Rolling Stone). “Watching The Credits” is a terrific power pop anthem recorded during the sessions of Expert In A Dying Field, the New Zealand quartet’s acclaimed 2022 album. Born out of songwriter Elizabeth Stokes’ habit of learning everything about movies without actually watching them, “Watching The Credits” is Stokes’ imaginary view from the director’s seat. Their accompanying NPR Tiny Desk performance downsizes their beloved live performance while maintaining their signature thrilling energy.

The Beths also announce more US dates around their Bonnaroo and Newport Folk Festival appearances, bringing their incredible set (and beloved inflatable fish) to many cities for the first time. The Beths’ summer and fall dates include two nights at Denver’s Mission Ballroom, three nights at Los Angeles’ Lodge Room (surrounding their sold out show at the Hollywood Bowl supporting Death Cab for Cutie and The Postal Service), plus three nights at New York’s Music Hall of Williamsburg. Full dates are listed below and general on-sale for new dates begins Friday, March 31st at 10am local time.

Watch The Beths’ Tiny Desk Concert

Listen to “Watching The Credits”

Expert In A Dying Field, the third studio album from The Beths, was released to a wealth of critical praise, and was named one of 2022’s best releases by the likes of Pitchfork, The Ringer, and Stereogum, who praised it as “another collection of tunes that cements their status as one of the great guitar-pop bands of this present moment.” Surrounding its release, The Beths were profiled by Rolling Stone, Document Journal, The Big Takeover and more, and made their US television debut on CBS Saturday Morning. With a full, almost entirely sold out North American tour already under their belt, and supporting slots for The National, Death Cab for Cutie and The Postal Service on the horizon, The Beths are undeniably one of the most exciting indie rock bands to emerge in recent memory.

The Beths Tour Dates (New Dates In Bold)
Wed. May 24 – Bristol, UK @ SWX
Thu. May 25 – London, UK @ Electric Brixton
Fri. May 26 – Walton-on-Trent, UK @ Bearded Theory Festival
Sat. May 27 – Leeds, UK @ Live at Leeds in the Park
Sun. May 28 – Manchester, UK @ New Century
Tue. May 30 – Glasgow, UK @ The Garage
Wed. May 31 – Dublin, IE @ Whelan’s
Fri. June 2 – Barcelona, ES @ Primavera Sound Festival
Sat. June 3 – Ellerdorf, DE @ Wilwarin Festival
Sun. June 4 – Berlin, DE @ Frannz Club
Mon. June 5 – Hamburg, DE @ Uebel & Gefählrich
Tue. June 6 – Cologne, DE @ Gebäude 9
Thu. June 8 – Porto, PT @ Primavera Sound Festival
Fri. June 9 – Madrid, ES @ Primavera Sound Festival
Sat. June 10 – Dijon, FR @ VYV Festival
Mon. June 12 – Nantes, FR @ Stereolux
Tue. June 13 – Paris, FR @ Petit Bain
Wed. June 14 – Lille, FR @ Aéronef
Fri. June 16 – Kansas City, MO @ Boulevardia Festival
Sat. June 17 – Manchester, TN @ Bonnaroo Music & Arts Festival
Sun. June 18 – Birmingham, AL @ Saturn
Tue. June 20 – Orlando, FL @ The Beacham
Wed. June 21 – Tampa, FL @ Crowbar
Thu. June 22 – Gainesville, FL @ High Dive
Fri. July 14 – Utrecht, NL @ Ekko
Sat. July 15 – Rotterdam, NL @ Rotown
Sun. July 16 – Nijmegen, NL @ Valkhof Festival
Tue. July 18 – Liverpool, UK @ Hangar 34
Wed. July 19 – Newcastle Upon Tyne, UK @ Boiler Shop
Fri. July 21 – Southwold, UK @ Latitude Festival
Sat. July 22 – Steventon, UK @ Truck Festival
Sun. July 23 – Sheffield, UK @ Tramlines Festival
Fri. July 28 – Newport, RI @ Newport Folk Festival
Sat. July 29 – Omaha, NE @ Maha Festival
Tue. Aug. 1 – Philadelphia, PA @ The Met Philadelphia * [SOLD OUT]
Wed. Aug. 2 – Philadelphia, PA @ The Met Philadelphia *
Thu. Aug. 3 – New Haven, CT @ Westville Music Bowl *
Fri. Aug. 4 – Pittsburgh, PA @ Mr Smalls Theatre
Sat. Aug. 5 – Cleveland, OH @ Beachland Ballroom & Tavern
Mon. Aug. 7 – Detroit, MI @ The Fillmore *
Tue. Aug. 8 – Madison, WI @ The Sylvee *
Wed. Aug. 9 – Minneapolis, MN @ The Armory *
Fri. Aug. 11 – Denver, CO @ Mission Ballroom * [SOLD OUT]
Sat. Aug. 12 – Denver, CO @ Mission Ballroom *
Tue. Aug. 15 – Nashville, TN @ Ascend Amphitheater *
Wed. Aug. 16 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park
Thu. Aug. 17 – Carrboro, NC @ Cat’s Cradle
Fri. Aug. 18 – Baltimore, MD @ Baltimore Soundstage
Sat. Aug. 19 – Quincy, MA @ In Between Days Festival
Mon. Aug. 21 – Cincinnati, OH @ Woodward Theater
Tue. Aug. 22 – Kalamazoo, MI @ Bell’s Eccentric Cafe
Sun. Aug. 27 – Seattle, WA @ THING
Sat. Sep. 30 – Austin, TX @ Germania Insurance Amphitheater ^
Sun. Oct. 1 – Grand Prairie, TX @ Texas Trust CU Theatre ^
Tue. Oct. 3 – Phoenix, AZ @ Arizona Financial Theatre ^ [SOLD OUT]
Wed. Oct. 4 – Las Vegas, NV @ The Theater at Virgin Hotels Las Vegas ^ [SOLD OUT]
Fri. Oct. 6 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT]
Sat. Oct. 7 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT]
Mon. Oct. 9 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Tue. Oct. 10 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Wed. Oct. 11 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Thu. Oct. 12 – Los Angeles, CA @ Lodge Room
Fri. Oct. 13 – Los Angeles, CA @ Hollywood Bowl ^ [SOLD OUT]
Sat. Oct. 13 – Los Angeles, CA @ Lodge Room
Sun. Oct. 15 – Los Angeles, CA @ Lodge Room
Tue. Oct. 17 – Brooklyn, NY @ Music Hall of Williamsburg
Wed. Oct. 18 – Brooklyn, NY @ Music Hall of Williamsburg
Thu. Oct. 19 – Brooklyn, NY @ Music Hall of Williamsburg

* w/ The National
^ w/ Death Cab For Cutie & The Postal Service

Purchase Expert In A Dying Field

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[Thanks to Patrick at Pitch Perfect PR.]

Rewind Review: The Last Four Digits – Don’t Move (2016)

You often hear of a lot of music collections being described as “essential.” The term gets used to the point of near-meaninglessness, but in the case of Don’t Move, the collection of three years’ worth of material from both incarnations of Indiana synth and new wave legends The Last Four Digits, it’s true. In another universe, The Last Four (4, or 5) Digits are as well known as The B-52s or The Ramones, but in this reality, their limited output only makes their legend better.

The first eight tracks of this compilation are songs from the first version of the band, The Last Four (4) Digits with Steve Grigdesby (rhythm guitar and vocals), John Koss drums and vocals), Mike Sheets (bass and vocals), and Richard Worth (lead guitar and vocals) – with synthesizers and mixing with Dave “A.Xax” Fulton. They’re all jittery, crunchy punk cuts that remind you of those scary kids you’d see hanging out of the mall in the early 1980s (I was one of them, by the way.). Heck, “Leave Me Alone” is practically a theme song for Generation X. The weird angles of Worth’s guitar and vocals on “Fast Friends” reminds you of Joy Division tracks.

Their version of Bo Diddley‘s / Captain Beefheart‘s “Diddy Wah Diddy” swaps out most of the raunchy guitars for weird synths…and it still works. “Another Sex Crime” has plenty of swagger, and “City Streets” is grungy synth-punk that would make early Devo proud. You’ll want “(I Want to Be an) Undertaker” on all of your Halloween playlists after hearing it, and you might as well add “Coughing Up Blood” while to your “birthday songs” playlists while you’re at it. “(I Sold My Soul to) Fotomat” is perhaps the beginning of what would become one of the main themes of the second version of the band.

The Last Four (5) Digits had Sheets switch from bass to guitar, kept Joss on drums, and brought Fulton out from behind the mixing board, and added Brad “Mr. Science” Garton on keyboards and vocals and Julie Huffaker on bass and vocals. As the liner notes of Don’t Move will tell you, they embraced “Abstract Commercialism” and began including TV themes, commercial jingles, and advertising concepts in their songs and live shows. “Don’t Move” takes on a darker tone that some of their other tracks, which I love.

“Liquids” is a great example of their love of commercial culture, sampling early 1980s ads and singing about drinking colored liquids, eating colored foodstuffs, and taking lots of drugs. “Act Like Nothing’s Wrong” is a fun song about trying to figure out what’s wrong with a lover while also trying not to piss off that same lover while doing it. “Babaloo No More” is a tale of Lucy Ricardo killing Ricky after he has an affair and Fred and Ethel threatening to boot her out of their apartment if she can’t make the rent. It’s funny, weird, and gives a hard kick in the junk to re-run TV. Their cover of “Mack the Knife” is equally strange, and “I Have Rental Car” is the sound of entitled people yelling about crap that doesn’t really matter.

The last eleven tracks on Don’t Move are a recording of their performance at CBGB‘s on Valentine’s Day 1982. They open with the simple announcement of “Hi. We’re The Last Four Digits,” and then go straight in to “Liquids.” Huffaker’s bass is so heavy on the live version of “Leave Me Alone” that it almost levels the room. They turn the grisly “Coughing Up Blood” into a pogo-inducing rocker, but change the lyric “Coughing up blood on your birthday!” to “Coughing up blood on your Valentine!” in honor of that night.

They cover of “Return to Sender” and then throw down a thudding version of “Act Like Nothing’s Wrong,” followed by a nearly panicked version of “Babaloo No More.” Up next come covers of “Mack the Knife” and the theme to the wild sci-fi film The Green Slime. The live version of “I Have Rental Car” is even more frenetic and unhinged than the studio version.

It’s a crucial collection if you’re into vintage no wave / new wave stuff, and the addition of the live tracks is a boon for collectors and enthusiasts. Don’t skip it if you can find it. I scored it for 99 cents at Reckless Records in Chicago earlier this year – a massive steal.

Keep your mind open.

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Rewind Review: Esquivel – Music from a Sparkling Planet (1995)

Music from a Sparkling Planet is a wonderfully titled compilation of Esquivel‘s space-age bachelor pad music consisting of Esquivel’s arrangements of other contemporaries’ music and his own compositions.

“Cachita” instantly plunges you into the groovy swimming pool of his music with his trademark blend of “latin-esque” sounds, beats, and grooves. “Cherokee” is idyllic to the point of mild hypnosis. “Third Man Theme” is more upbeat than anything you’d see in the Orson Welles movie. It belongs in a goofy European sex comedy from the 1960s about a guy who’s always bumped from hooking up with a lady because he’s the third wheel.

The electric piano on “La Bikina” is delightful. “La Paloma” and “Cachito” (the brother to “Cachita”) keep you in the lounging mood. The mellow accordion on “Cachito” is a neat touch. On “Granada,” he throws in those vocal “Zu zu zu” sounds that only he could make work in a tune, and combines them with Ennio Morricone-like trumpet.

“Question Mark (What Can You Do)” is one of his fully original compositions and arrangements, and it’s bold and bouncy and all-around fun (like the entire collection). “My Blue Heaven” is a quick, jumpy number that hops straight into his excellent version of “All of Me,” which practically throws you into a time machine and dumps you on the Las Vegas Strip circa 1965.

“Poinciana” is great example of Esquivel’s work. It has all the elements you want: Bold brass sections, jazzy piano, sultry vocal sounds, exotic percussion, and slightly psychedelic guitar work. “Flower Girl of Bordeaux” is perfect for rushing through the streets of a foreign land with someone beautiful in a quest of sexy adventure. “Boulevard of Broken Dreams” sends us out on a “cha-cha-cha.”

You can’t go wrong with stuff like this. It puts you in a better mood and transports you to faraway places that might be on Earth or in outer space.

Keep your mind open.

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Pierre Kwenders expresses our love-hate relationship with the internet on his new single – “SMT.”

Pierre Kwenders, the “arresting Congolese Canadian musician whose scramble of genres, languages, and worlds sounds like the future” (The New Yorker), last year released his deeply personal and innovative album José Louis And The Paradox Of Love on Arts & Crafts, going on to win the coveted 2022 Polaris Music Prize awarded to the Best Canadian Album. Fresh off two stints of touring North America in support of the album, including a stop at KEXP, Kwenders today announces a deluxe edition of José Louis And The Paradox of Love, out June 30th on Arts & Crafts, and presents its lead single, “SMT.” José Louis And The Paradox of Love Deluxe features three brand new songs—“SMT,” “Niata,” and “Good”— along with “Vibraçao,” a reworked version of original album standout, “Heartbeat,” this time featuring Sarah Kalume. In conjunction with today’s announcement, Kwenders also announces a run of festival dates in North America and Europe. A full list of dates are below.

Lifted from the recording sessions of José Louis, “SMT” is an infectious dancefloor track that is both a love letter to and an intervention with social media. An acronym for Social Media Therapy, “SMT” sees Kwenders calling out the magic and the pitfalls of total connectivity. Kenders sings in his signature blend of English, French, and Lingala over a minimal soca-inflected beat with melodious flourishes courtesy of the international production trio of PEDRO (Portugal), ESQO (Chile), and CarloMarco (Chile).

“‘SMT’ calls for a reflection on our use of social media networks and rather good or bad we must question its effects,” says Kwenders. “At this moment in time, social media has taken an important place in our day-to-day lives. As beneficial as it may be, we can find ourselves trapped – what happens online also affects us in real life. Nonetheless, it has become a problem solver, an outlet for joy, pain & communication. It makes us laugh, cry, support, look down upon, and apologize endlessly. After all that we do it all again. The online wailing wall or maybe the Goliath of our generation. Social media therapy is what we need. Social media therapy is a necessity.”

Listen to “SMT” by Pierre Kwenders

Born in Kinshasa, capital of the Democratic Republic of Congo, Kwenders borrows his stage name from his late grandfather, a widely respected businessman and community figure. Following his mother’s footsteps, in 2001 Kwenders immigrated from Congo to Montreal. José Louis and the Paradox of Love is a culmination of personal growth and the musical dexterity Kwenders has honed over the years, converging his strong songwriting capabilities with the bravado he possesses as a DJ. The album explores an ongoing search to grasp the universal complexities of romance, sometimes through the lens of Kwenders’ own intimate experiences. The songs were written and recorded over the span of four years, and the album is symbolically titled after his birth name, José Louis Modabi. Through different moments of tension and release, romantic narratives of beauty and disaster are packed into powerful poetic musical vignettes.

Pre-order/Pre-save José Louis and the Paradox of Love Deluxe

Keep your mind open.

[Get some music therapy by susbscribing.]

[Thanks to Sam at Pitch Perfect PR.]