I used to take myself really really seriously. When I was 19/20, I wrote about myself on my first artist website in the third person. I told girls I was an artist. I read Kerouac and thought it made me deep and I only used film cameras because it’s authentic darling. It got so bad at one point that when my first-year university lecturer (shout-out to the unstoppable Steph Cosgrove) asked us to define pretentious, the entire class of 70 agreed on her nomination of me as the perfect volunteer. My fault for drinking coffee black and reading Bukowski because I was haunted.
This extended to my listening habits. But, for every National album, there had to be some form of musical escapism. Motherhood inhabit that current space for me with their single Save Me. Think Sundara Karma releasing their summer club anthem. It’s unmistakably a song to dance to. Whether that’s with a beer at the beach, over breakfast in the kitchen or with that person you bought a drink for in your tragic home-town club. Eschewing complexity for simple pop hooks and syncopated guitar rhythms to imbue a carefree status, this Liverpudlian 4 piece transcend a listener’s pre-disposition towards self-congratulation.
Save Me is out August 10th (the same time my girlfriend visits from Florida so fucking about time for some joy right) and will be on their debut EP dropping this autumn.
Sorry sorry. I know I’ve been away for a bit. Alas, as this is not my primary money-maker, it’s far too easy for me to get lost in the day to day of all my other commitments and totally push back any sort of posting. So, first and foremost, I know I’m late with the July Mix and I’ll endeavour to get that done as quickly as possible. However, today I’m sharing the latest track from Brooklyn based duo, “Surf Rock Is Dead.”
I haven’t featured these guys in nearly 2 years, back in 2015 when I thought the best way to dress was skinny-fit hobo. However, whilst my ability to dress myself like an adult has improved, so has “Surf Rock Is Dead’s” output. Maintaining a guitar tone of wistful summer vibes, the minor chords though infrequent, run out like dischordant conflict against the subject matter of attempting to distance yourself from someone you love. Like the moment of weakness through weeks of strong stoicism.
As If is from the forthcoming EP We Have No Friends?, due to arrive on September 22.
When I lived in Edinburgh, I was in a punk band. I think I might have mentioned that once or twice here. If not, let me be clear, I was in a punk band. To be perfectly honest, we weren’t very good. In fact, my girlfriend saw some videos of us performing and the only word that came out of her mouth was “babe…” followed by an awkward pause as she searched for the best of way of telling me kindly that we were average at best.
But, the thrill of performing in dingy art school bars has never really left me. Prism Tats taps into the low-fi garage anthemic feeling of standing on stage with a guitar in hand and a microphone in hand. A garage aesthetic is mixed with well harmonized pop structures to create the feeling of a man recounting his glory days of being front and centre of attention in the art school bar
The new EP “11:11” is out July 28th on ANTI- Records.
The guitar is a wonderful instrument. It is the tool of entertainers, showmen, storytellers, healers and sinners. It is both a sex object and a confessional confidante. Portable in nature and individual in its playing style, it’s no surprise that it has become intrinsic to the confessional musician-poet.
Melbourne based singer, BATTS new single Little White Lies is the latest track to follow in this tradition. Carried along by a slow, simple, strummed chord pattern, the vocals tell the story of how our daily interactions are filled with duplicitous, secretive and selfish untruths. As the aforementioned “Little White Lies” escalate so does the music into a crescendo as the layers of our collective self-protection reach dangerous levels.
Having said that, the line that really hit me was the point in which the narrator tells her doctor “I don’t smoke.” The sheer amount of times I told my doctor I had stopped when I was younger, only to light up as soon as I was out of my sight was actually worrying. Guess I’m as bad as everybody else.
I’m better now though, honest.
BATTS debut EP is being prepared for the end of 2017 so look out for something potentially special.
I know I promised two track three days ago but fuck, life really catches up with you. I’ve been considering for a while to take this more seriously as a platform and an endeavour. Alas, with two jobs and a seemingly endless stream of commitments, it can get a little tricky. However, that’s no excuse and in the coming weeks I’m going to be attempting to professionalise my output including my inbox which is seemingly inundated daily. Not that I’m complaining, I just keep missing good shit.
Didn’t miss this though did I? Weird Milk have crashed a mature indie pop tune into the July listening stream. It seems that in the constant upstream of self-made electronic auteurs, the classic band setup is missing dearly. Weird Milk reminds me of when I discovered Fort Lean on “I Guess I’m Floating” years and years ago. The band has a slow R&B flavour to the classic indie track, eschewing the dream pop inspired material of their ilk. With a well-placed organ peering through the jagged guitar tone lends a 70s evening feel to the track whilst not allowing it to stray into retro chic.
All Night is out now and is the band’s second release with Camden based label Ra-Ra Rok.
I had a whole list of artists I was going to cover this week but, alas, I got distracted. It’s easy to let things slide when this isn’t your primary profession and is squeezed in with work, play, talking to my girlfriend and eating enough to not starve.
So, to make up for it, I’ll be covering two tracks today in two separate posts. Opening the batting is Lomelda‘s new single Interstate Visions taken from the upcoming album Thx which is due to be released September 8th on Double Double Whammy.
Interstate Visions as a track reminds me of some romantic former country kid, harnessing that hope and naivety after a moment of melancholy in their post-urban adventure. Lomelda channels bands like Speedy Ortiz along in their climbing, meandering structures in which guitars ebb and flow like the road beneath your car’s tyres and singer Hannah Read’s refrain opens up the rawness of an open road.
I was an angsty teenager, yet like all classic middle-class indie kids didn’t have a lot to actually be angsty about. I mainly spent my time driving around in my shit-soaked rollerskate car listening to Modest Mouse, Built to Spill and American Football on repeat whilst wondering why no-one wanted to be my girlfriend. The answer, ironically, is right there but 17-year-olds are a beast upon themselves.
People Like You are a band that jettison me straight back to those days of angst-filled regret. Mixing the best of American Football’s creeping vine-like guitar lines with early Modest Mouse vocal patterns alongside a jazz-infused percussion song structure, Thumbnail, the new single taken from their forthcoming album release, is an absolute masterpiece. Built for road trips, solitary listening periods and jam sessions, the Boston-based band shift seamlessly between the punk DIY scene and a jazz stage on a chariot of trumpets, guitars and mid 90s indie rock sensibilities.
I have listened to the whole album, Verve, and will be giving it a full review ahead of it’s release on July 28th as it is an absolute beauty and could easily be my album of the year alongside the like of Sundara Karma, Fleet Foxes and The National. That’s not an exaggeration, these guys are so accomplished that they could be part of the contemporary listening lexicon for years to come.
You can preorder the album here, and why wouldn’t you when you can get it on such a gorgeous Vinyl release. If I were cheekier I’d ask for a free copy but I’ll just have to save up because it is absolutely fucking gorgeous.