I am really starting to run out of excuses arent I? Still, no better way to cease my lack of posting via something new. I covered Tusks a while back in regards to their upcoming debut album, and the latest track has just dropped. Let me tell you, it’s an absolute peach.
Created alongside producer Brett Cox, Tusks (aka Emily Underhill) channels the guitar-driven attitude of bands such as Land of Talk and the Joy Formidable to deliver a feisty and unapologetic track that, in her own words was conceived as a response to someone who had frustrated Underhill. “It was a bit of a fuck you to a person at the time who I’d invested loads of energy and time into who’d messed me around.” We have all fantasised about being able to react to these people in public with righteous indignation, so let Tusks take the mantle for you and deliver the inspiration necessary to give them a well-deserved kick up the backside,
Look out for the debut album Dissolve, coming out October 13th.
Honestly, if you were to go through my posts, there would be an inordinate amount of excuses based around my lack of posting. This time, it’s pretty straight-forward. My girlfriend has been in visiting me in London and I’ve been far too busy being in love. I have no regrets. Sue me.
In that vein, I’m really not in the mood to listen to my usual brand of misery-laden indie rock. Instead, I’ll feature up some Australian power-pop for those optimistic summer vibes that have been infecting my life for the past two weeks. The immediate reaction to listening to this track is similar to the same reaction to records by Telekinesis. Wesley Fuller, who by the way has the best surname in the fucking business, channels the infectious indie pop that is perfect for fans of Chris Walla, Telekinesis and Cruisr.
Taken from the upcoming LP Inner City Dream, you can catch the rest of this album on September 22nd via 1965 records.
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.
Due to the nature of having a semi-casual work schedule, I can sometimes end up with accidental four day weekends. I’m sure for many, this sounds like a dream come true. Alas, I am not someone who easily transitions into a life of relaxation and leisure. Blame my highly strung nature and an inability to sleep, I end up existing in a bizarre liminal dream space.
So, TUSKS latest release Dissolve perfectly subsidises this bizarre existant state. Ahead of her debut album Dissolve, out October 13th, the title track simmers as a post-midnight track along the rails of the post night out moment of clarity. Whilst I’ve been struggling now for a considerable amount of time to stay on top of the musical curve, due to a general sense of ennui, Dissolve channels it into a post-rock inspired transcendent pop dream.
So I get sent a lot of tosh. I mean, it’s inevitable really. Everyone wants a platform and everyone wants to be heard. With any kind of cultural product, the best may not always be the ones that are seen. Predictably, the genre that seems to be most overflowing is that of the “singer-songwriter.” All it takes is one person with a few ideas and an instrument to start a body of work and it’s been successful. Dylan, Oberst, Simon, the pantheon of music is littered with the names of songwriting singers. Unfortunately, just cause you’ve had an idea doesn’t always make it good, but sometimes an artist will sneak through the door to remind you why we still gravitate to singular voices.
Henry Jamison’s new track The Wilds, taken off the upcoming debut album of the same name, is part of the same great tradition whilst borrowing the emotional honesty of Frightened Rabbit and the vocal delivery of Iron & Wine. Simple, acoustic-based, music is often maligned but Jamieson implements intelligent string compositions and mature song structure to avoid the prospect of being another special snowflake with a problem.
It’s always a little unnerving when you haven’t heard of an act and then they hit with a new track and everyone loses their mind about it. You suddenly think “do I even know what’s going on?” Fortunately, such an experience is usually mitigated by the delivery of something new, exciting and well polished into your continued library.
The Last Dinosaur, obviously, fits this description. Grow, the latest single from the upcoming album The Nothing is a melodic Americana inspired ballad to oneself. I legitimately hate the term “indie-folk.” Used to describe any popular acoustic act from Elliot Smith, to Mumford & Sons via Johnny Flynn, it is a cop out. Having said that, here it is perfectly utilised. Mixing shoegaze elements with the auto-biographical narrative that genuine folk brings Grow’s musical delivery is meant for headphones, not for car stereos, and meanders itself through intelligent vocal delivery, harmonies and measured orchestral elements to create a cinematic track. Grow is a walk beneath the boughs during a warm Sunday.
Grow will be coming out tomorrow on the latest full length The Nothing. So now couldn’t be a better time to discover The Last Dinosaur in much the same way I have this afternoon.
One of the best parts of running a music blog is that the access to new music I get is truly unbelievable. Emailed directly into my inbox like a rock and roll Christmas. I would try and be humble about it but shit, it’s fucking phenomenal.
The latest in my long line of goodies is the latest track by FAIRCHILD “So Long and Thank You.” The first thing that popped into my head is the genre a friend of mine came up with in which he wanted to start a band. FAIRCHILD are 100% pop noir. The track begins with drone like synths works it’s way up into a driven indie epic. Produced and mixed by Catherine Marks (Foals, Wolf Alice), “So Long and Thank You” focuses on the position of the Father. Kinda appropriately timed ahead of Father’s day weekend hey?
A good rock and roll track needs to be like a movie. It needs to introduce to the characters, themes and overall vibe of the song. It needs to then build itself into its groove that fills you in on the tracks universe. Finally, it needs to resolve itself via its climax (no sniggering in the back). “So Long and Thank You” delivers on all fronts. From it’s “pop noir” opening to its crescendo of guitar feedback, it’s a complete track and a must listen ahead of the album drop in August.
FAIRCHILD’s debut album So Long and Thank You will be released on August 4thvia their own label, Canvas Sounds.