This four-piece from the Los Angeles/San Diego area have released their new eight-song album of a mixture of psychedelic rock, alternative and a touch of late ’80s British indie. The band consists of Ben Ross (vocals/guitar), Brian Han (bass/vocals), Drew Stutz (drums) and Theo Eckhardt (guitar/vocals).
The album starts off with a spoken word intro and kicks off with first real song “In Tune,” which shows off the mix of sounds perfectly. The playing is a bit gritty in places, but then becomes soft and gentle and the soaring vocals are amazing. “Empty” is a fast-paced song with wobbling bass guitar and energy to spare. This thrilling song is one that would get the audience up off of their seats and jumping up and down in a live setting, hell, it pretty much did that to me in my house. Love this song! “Same Old Story” has that great bass in it again, and really sounds like British indie with the effects added and the punkish sound. “Lady In Blue” continues in the same vein and just makes this album even better. “Savior” is a post punk song that has blistering guitar work, that incredible bass, pounding drums and edgy lead vocals mixed with some gang vocals. ending with “Again Again,” a soft and melancholy song makes sense, you need to chill out after the highs of the previous songs and the sing-song feel of this track makes you sort of smile because of the beauty of it.
All that I can really say is WOW! I mean seriously, this had the makings of a perfect album for me, except for the intro, mostly because I’m not an intro kind of guy, I like getting to the meat of the album right away. The production was flawless and the band sure can play, plus the vocals were perfect on every track, nothing over the top, just pure excellence all the way through. This will be on the replay pile for a long time.
The Naveblues are a band from Bergen in Norway that play a mix of indie rock and blues . The band features singer/songwriter Nave Pundik, who takes influences from rock, indie, alternative, funk and blues to create their own style and have been reaching an ever-growing audience.
This time out, they have recorded their take on Led Zeppelin’s “Thank You,” and given the song their own spin. The major difference is the harmonica being used in place of Jimmy Page’s guitar playing. That may be a bit of a shock since everyone is used to that being a major part of the song, but the harmonica is soulful, and gives the song a new texture and feel to it. Don’t think that there isn’t guitar in the song, there is and it’s sinewy and sounds great. The blues sound actually suits this song and gives you a chance to close your eyes and let the sound wash over you. The video is based upon the idea of what going to Mars would be like and staying there by yourself. It goes through the excitement and beauty of being there, to sadness and a realization that she is all alone on Mars.
The playing, the production, and the video are all excellent and show not only terrific chops, but that the idea of being a settler alone on Mars is portrayed perfectly. A great total concept, and one that I will be enjoying again and again.
Pattern Is Movement have returned with their self-titled fourth album six years since 2008’s All Together. The band is now a duo featuring Andrew Thiboldeaux (everything that is not drums, but specifically, vocals, keys, and bass), and Chris Ward (drums).
The band has mixed things up on this release with a bit of hip-hop beats driving the songs which makes for a very interesting sound. Musically the album is very diverse and has a nice groove to it, not getting too crazy, but not too relaxed either, a nice mix that really works well, sadly the vocals are not that interesting. The sameness of the vocals starts to get monotonous very quickly with the laid back and unexciting delivery, you start to wish that someone would just wail on one of the songs, but that never happens. The album really never grabs a hold of me like I wanted it to, the musicianship is great, so many interesting sounds and effects, giving you the feeling of floating away, like on “Gone My Love,” probably my favorite song on here, but the vocals just lack anything dynamic.
I can’t give this a complete thumbs up or down, kind of halfway between both, but if you are interested in cool music, this is great, just don’t expect much from the vocals. Hopefully they can take some of the great parts of this release and make a stronger release in the future.
This is the Inspiral Carpets‘ legendary 1989 mail-order only cassette DUNG 4 on CD for the very first time ever. Originally issued on the band’s own Cow label, this tape was never issued on vinyl or CD and it contained unique songs as well as versions of tracks which were later re-recorded. It sold 8,000 cassettes and has the contents of their earlier demo EP Cow as bonus tracks.
Their debut single “Garage Full Of Flowers” is here in a totally different version, that’s fast and peppy. Their breakthrough single “Joe” is present with a spoken word intro from drummer Craig Gill that’s missing from the better known later version. There’s a version of ? And The Mysterians’ “96 Tears,” that was recorded before The Stranglers had a hit with it on their album 10. “Inside My Head” and “Seeds Of Doubt” are fast and hard-hitting songs, “Sun Don’t Shine” is a beautiful organ-led ballad that was later re-recorded for the band’s debut album Life. “Theme From Cow” is a short stab of organ-led pop that shows their garage roots. “Butterfly” is taken off the band’s second EP, Trainsurfing. as well as “Causeway.” “26” is a slower song that was written before vocalist Stephen Holt left the band. The four bonus tracks from the band’s previous Cow demo cassette capture a slightly harder Inspiral sound than you’re used to hearing. “Head For The Sun” is fast, and driven by Graham Lambert’s wild guitar playing. “Now You’re Gone” has the feel of ’60s psychedelia. “Whisky” is a fast organ based ode to drinking. The final “Love Can Never Lose Its Own” is another shot of ’60s psychedelia. The booklet has great pictures of posters and other bits of memorabilia from the era, plus comments from each band member. The sound has been improved on and sounds nice and clear, giving you the full experience of their earliest recordings.
Yes, the band became a big thing not long after this and for fans, it shows the roots of a band that just kept getting better. It stands as not a relic, but an insight to a band on the cusp of greatness.
The Boston, MA five-piece band’s debut album has ten songs that will get in your head and grow until there is room for nothing except this album. The shared male and female vocals are such a treat on give the album nuances that are a pleasure to listen to.
This mix of pop punk and indie is a pleasure to hear from when the needle hits the vinyl right up until the last note has faded. The band plays their hearts out, and the vocals just grab you and sweep you off of your feet and take you on an exciting trip away from your troubles. This is the kind of album that when you’re listening to it, you can’t help break into a smile and feel good. This would fit perfectly into the scene of the mid ’90s, but don’t think of this as a retro album, no, it’s an album of energy and power that hits your soul and brings happiness into your day, kind of like a reminder of when things were easier or not so hectic before. The songs shimmer and they just make you want to listen to them over and over again.
This is the kind of band that I would drag everyone that I know to see live, and make them buy merch from them. This band deserves your attention and you need to do what you can to show them love.
This is the debut album from this quartet out of Atlanta, GA that has touches of ’90s indie, but not the bad, pretentious crap that made you want to throw up, instead they conjure up some grooves that SUPERCHUNK would have killed for. The band is made up of Kyle Swick on guitar and vocals,
Deborah Hudson on guitar and vocals, Gavin Caffrey on drums. and Steve Valero on bass and the dual vocals make this a standout.
The male and female vocals give this a very cool sound, especially since they aren’t perfect and it gives it a feeling of being in a live situation listening to them instead of a sterile recording. The songs are all about youth, sex, drugs, and drinking, but not cheesy or contrived, just their experiences and thoughts that are catchy and a lot of fun to listen to. The band is creating a great noise behind the vocals with everything a little sloppy, disjointed and probably one of the better albums that I’ve heard in a long time by a new band. The band scores points for really making me want to go see them live and buy a t-shirt from them, not a lot of bands can pull that one off.
Possibly one of those albums that will get dragged out to all of my friend’s houses to make them hear what a great debut album this is. Their E.P. from last year is good, but this shows them getting even better and growing as a band.
Formed in the British city of Coventry in 1985, THE PRIMITIVES garnered a following through several singles on their own Lazy Records imprint before signing to RCA for their first studio LP, Lovely. THE PRIMITIVES combined the guitar-based sensibilities of other indie acts like The Jesus & Mary Chain while adding a distinct audio / visual flair thanks to Tracy Cattell’s distinctive vocals and bottle-blonde hairstyle. They are credited with kick starting the niche indie subgenre of “blonde pop.”
The album is basically a re-recording of tracks from their earlier singles, but still manages to be a cohesive whole that retains the excitement and energy of not only the original recordings, but still sounds amazing today. This is a great clear and crisp sounding remaster that gives the band the clarity and power that stands out from the twee and boring female fronted indie bands out there nowadays. You get the entire first album, leading off with their most well-known song “Crash”, plus a second CD of bonus tracks that are a treat for fans. Compiled with the help of guitarist PJ Court, this 2-CD compilation also has an annotated booklet boasting rare photos and personal memories from the band.
A great first album that has been beautifully remastered, great bonus tracks and still stands up as one of the better albums from its time period…how could you go wrong? I’m glad that Cherry Red got this album back out to the public so that people can get a chance to hear a band at their peak having a great time.