Posts Tagged ‘indie rock’

THE THERMALS interview

June 4, 2013

“This record’s about killing,” announces Hutch Harris emphatically.

A bold statement, perhaps, but The Thermals frontman isn’t entirely averse to heavy themes. In 2006, the Portland popsters’ third album ‘The Body, The Blood, The Machine’ – widely regarded as their magnum opus – depicted two young lovers attempting to flee a fascistic parody of America’s fundamentalist Christian right. They followed it up two years later with ‘Now We Can See’, a record told entirely from the perspective of the dead. Yeesh! And yet Hutch tuts at the very notion that thrilling latest effort ‘Desperate Ground’ might be anything so vulgar as a concept album.

“We try not to say ‘concept’. It makes me think of Yes or Styx – all that bloated 70s stuff. I don’t want people to think, ‘I really gotta know what the story is’,” he explains. “It’s too much of a burden on the record.”

There’s no plot to follow?

“No, no. We keep it intentionally vague, so it’s not about something specific. It’s just about humans and violence in general. Really we wanted the record to be like a film, y’know? Like Die Hard – an action movie.”

See, that’s where the new Thermals album differs from their most famous work. The Superchunk-y noise-pop of yore remains gratefully intact, but this time the lyrical thrills are far more visceral.

“We wanted to write something timeless. Something about how humans are always killing each other, and probably always will,” he continues. “I love 80s punk but there’s a lot about Reagan or Thatcher – go back to those songs now and it’s hard to relate, especially if you’re really young and you never knew those people. We wanted to write something that still could be relevant 20 years from now.”

Some have suggested that this makes for a somewhat simplistic political statement, an argument which leaves Hutch exasperated.

“There aren’t supposed to be any politics on this record at all. It’s irresponsible! There’s no morals!”

And this from the band responsible for one of post-millennial indie rock’s most explosive pieces of polemic in ‘The Body, The Blood, The Machine’.

“Man, I’ve been trying to get away from that for so long. After that record people started thinking, ‘Oh, The Thermals are a political band’. I don’t want that to be our thing. It’s fucking boring, you know?”

You don’t agree that songwriters are obligated to uphold any moral code to the listener?

“It should be exactly in between – not moral, not amoral. To me, one of the worst clichés in music is the anti-war song. It’s been done. We should be able to sing about war without having to say ‘war is wrong’, because we know that already.”

By this stage, dear reader, you might be forgiven for wondering whether there’s any room for optimism amidst the unforgiving frontiers of ‘Desperate Ground’. Fortunately, a chink of light appears at the death, in the form of ‘Our Love Survives’ – the album’s sole moment of romantic defiance.

“That was the last song we wrote for the record,” Hutch notes. “I think it works perfectly. I guess it’s optimistic because it’s about hope, and yet the record ends the way ‘The Body, The Blood…’ did – the world is pretty much destroyed, but love can survive. It might sound like a cliché, but it was a good note to end on.”

At the time of our chat, the band has just finished the video for forthcoming single ‘The Sunset’, with a rousing performance from bassist Kathy Foster as a Rocky-esque boxer. Hutch is audibly enthused:

“It’s a tribute to a bunch of different movies at once. I dunno if you remember [Spike Lee movie] Do The Right Thing – the end credits with Public Enemy, and Rosie Perez dancing with boxing gloves on… we decided to have Kathy doing that. And if you’re gonna do a video about boxing, you should probably have a lot of Rocky in there.”

Are you a fan of boxing in general?

“Y’know, I don’t love boxing, but… we decided Kathy should look like she knows what she’s doing, so we actually got her boxing lessons. It looks awesome. Kathy loved it, so I think I might actually take some!”

It’s a slight variation on the album theme…

“This one’s not as violent as the ‘Born To Kill’ video, which was a ton of blood and shit, where I get the shit kicked out of me. But this video is violent and the next one should be, too.”

For all this talk of violence, it’s easy to forget that The Thermals were distinctly less brash last time out. 2009’s ‘Personal Life’ LP was noticeably more morose than previous collections, relying considerably less on velocity and volume. It’s a path that Hutch was keen to get away from.

“That record [‘Personal Life’] was kind of like a breather,” he says. “It maybe ended up being softer and quieter than we’d intended, but it was different.

“Whenever you’re making something, you’re reacting to the thing you did previously. We didn’t want that to be the path that the band was on – like, we’re just gonna get slower and quieter… that would be terrible. So ‘Desperate Ground’ was a conscious decision to get loud and crazy again.”

Do you prefer listening to louder, faster music?

“I almost only listen to 80s punk! I listen to The Addicts a lot, and Agent Orange – ‘Living In Darkness’. I listen to that record more than anything, so that’s definitely a huge influence.”

The Thermals seem to have quite a lot in common with power-pop from that era.

Yeah, I feel like we sound so much like The Undertones. I never got so into hardcore because I need a really strong melody.”

It’s interesting that you prefer to align The Thermals with indie rock rather than punk…

“I just don’t want people to think of us and picture leather jackets and Mohawks. punk is such a weird word, it doesn’t describe us as people.”

Either way, this is certainly a louder, faster album.

“I feel revitalised by this record. Really excited by the band again. Some records I’m like, ‘well, I’m spent.’ I feel like this record is great and I could do it again.”

Looks like ‘Desperate Ground’ has plenty of cause for optimism after all.

(Originally published by The Fly, 03/05/2013)

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MINUS THE BEAR / VASCO DA GAMA – Liverpool, Kazimier, 28/04/2013

June 4, 2013

Ah, Vasco Da Gama. You have the prescription for the daily blues. Liverpool’s latest progenitors of cerebrally addictive math-pop have something pretty special on their hands: specifically, great songs. ‘Brigadiers’ sees iridescent guitars shooting beams of rippling light across cavernous, rumbling rhythms, while John Crawford’s plaintive keening keeps the glorious mess on an even keel. Meanwhile, the tension-and-release tactics of ‘Them Teeth’ show what lessons can be learned from Faraquet and Tera Melos whilst creating wholly nifty singalongs. It’s all interspersed with charmingly self-effacing banter about watching Top 100 Nu-Metal Anthems countdowns on telly, and is utterly, wonderfully ace. More of this sort of thing, please.

It’s fitting that Vasco De Gama are playing as support to Minus The Bear – anyone remember the Seattle quintet dazzling their way to a certain level of indie prominence ten years ago? Theirs was a veritable ménage à trois between fret-tapping frenetics, glistening electronics and solemnly earnest college rock; manna from heaven for studious indie rock types everywhere. Not that we hear too much of that stuff tonight – ‘Absinthe Party At The Fly Honey Warehouse’ and a stirring ‘Spritz!!! Spritz!!!’ are the only cuts from 2002 debut ‘Highly Refined Pirates’. Understandably, the majority of the set is culled from latest opus ‘Infinity Overhead’, with the likes of ‘Steel And Blood’ feeling rather more muscular under the lights of the Kazimier than on record.

Jake Snider is genial enough, if not overtly communicative, and his understated wail (think Finch from ‘American Pie’ attempting to channel Evan Dando) sure feels impassioned. But he’s largely secondary to the roar of the band, particularly on grandiose slow dances like ‘Diamond Lightning’ and the cut-loose coda of ‘Drilling’. They may no longer be the math-rockin’ scene leaders of yore, but Minus The Bear still add up to a darn good night out.

(Originally published by The Fly, 03/05/2013)

THE BREEDERS’ FAMILY TREE

June 4, 2013

Supergroups, eh? Who’d have ’em? 1989 may seem like a long time ago now, but back then it turned out that a collaboration between two established indie rockers needn’t necessarily be filed under ‘tedious vanity project’. The Breeders were a revelation, conjuring fractious noise and sugar-sweet melody at every available opportunity, and writing some of indie rock’s best-loved classics along the way. A band this free-spirited was bound to be home to restless muses, of course, and with the most celebrated line-up reforming to coincide with the Record Store Day re-release of classic album ‘Last Splash’, this seems like a good time to take a look at The Breeders’ family tree…

THROWING MUSES

It begins here. When half-sisters Kristin Hersh and Tanya Donnelly first began playing together in 1981, they couldn’t have imagined the imminent impact of their fascinatingly fractured post-punk on the nascent indie rock landscape. A blend of unconventional song structures, David Narcizo’s wonky rhythms and hallucinatory lyrics doesn’t look like much on paper, but where their contemporaries sparked fires, Muses songs positively burst into brilliant blue flames. Their early demos eventually caught the attention of 4AD label boss Ivo Watts-Russell, and before long the bemused band found themselves adored by critics and underground obsessives alike. The idiosyncratically talented Hersh wrote the bulk of the band’s material, dazzling and delighting on the bewitchingly batshit albums ‘Hunkpapa’ and ‘The Real Ramona’, but the feline yowl of Donnelly contributions such as ‘Not Too Soon’ suggested there was another significant voice amongst their ranks – one that would soon depart for pastures new.

PIXIES

There’s little to be said that hasn’t already been written about the influential screech of this Boston quartet, although it’s worth noting that their big break arrived when Fort Apache’s studio manager saw them supporting Throwing Muses. Before long they too had signed to 4AD, going on to record landmark debut LP ‘Surfer Rosa’ with the legendarily acerbic Steve Albini in 1987. Unimpressed by the Pixies’ screamily masochistic surf, the Big Black frontman famously dismissed them as “blandly entertaining college rock”, but regardless, the album was swiftly acclaimed as a classic. One particular highlight came in the relative anomaly ‘Gigantic’, sung by bassist Mrs John Murphy (aka Kim Deal) and soaring on a chorus so big you could stick a flag in it and legitimately claim to have discovered a new country. Tensions built between Deal and chief songwriter Black Francis, but the band soldiered on through another majestic album (1988’s sublime ‘Doolittle’) before eventually seeing their collective arse and temporarily disbanding.

THE BREEDERS

Kim Deal and Tanya Donnelly first discussed the idea of forming a new band when Throwing Muses toured Europe with the Pixies, eventually performing together under the clunky but refreshingly straightforward moniker ‘Boston Girl Super-Group’. One shit-hot demo later, they settled on The Breeders and signed to 4AD, recruiting English bassist Josephine Wiggs to accommodate Deal’s switch to guitar. Slint sticksman Britt Walford agreed to become a recording member under the pseudonym ‘Shannon Doughton’, and with Steve Albini at the helm, the fledgling band decamped to an Edinburgh studio. The resultant collection ‘Pod’ proved breathtaking: songs crawled out from under the horizon uttering otherworldly howls, punctuated by guitar lines that you could quite reasonably call ‘angular’ without having to look too shame-faced about it. The two songwriters meshed perfectly, and the album was simply stunning.

With Deal returning to the Pixies later that year, The Breeders became inactive until 1992 when they recorded the ‘Safari’ EP. Shortly thereafter, Donnelly left the band to pursue her own vision, and Deal asked her twin sister Kelley to fill the void – undaunted by trivial matters such as ‘not actually being able to play the guitar’, Kelley duly accepted. Following the addition of full-time drummer Jim Macpherson, this new line-up set out on the road with Nirvana before commencing work on their biggest commercial success: 1993’s ‘Last Splash’. Chiefly famous for the bouncing buzzsaw pop of lead single ‘Cannonball’ (and its attendant video, co-directed by Spike Jonze and Sonic Youth’s Kim Gordon), the record added irresistible hooks to the addictive wonders of their debut, and cemented claims that The Breeders were a serious force to be reckoned with.

BELLY

Following the first Breeders album, Tanya Donnelly officially and amicably left Throwing Muses, taking bassist Fred Abong with her to form a new outfit. Fleshing out the lineup with ex-members of hardcore punks Verbal Assault, Donnelly chose the name ‘Belly’, since the word itself was “both pretty and ugly” – the perfect encapsulation of their ethereal, folk-tinged alt-pop. The MTV-slaying single ‘Feed The Tree’, a sumptuous piece of off-kilter jangle, led 1993’s debut ‘Star’ to be nominated for two Grammys – a success which could not be replicated by the more rock-orientated rumble of follow-up ‘King’. In retrospect, the album rules as hard as anything else surfacing from the American underground in the mid-90s, but sterling anthems like ‘Now They’ll Sleep’ somehow failed to capture their audience’s imaginations as intensely as ‘Star’ had managed two years earlier. Donnelly’s first solo effort appeared in 1997, picking up where Belly left off, before her increasingly sporadic output softened steadily, as family life became her main priority.

THE AMPS

Kelley Deal’s heroin addiction was far from secret, and she entered rehab following an arrest for possession in 1994, thereby forcing The Breeders into a period of hiatus. Kim reacted with a solo project entitled Tammy Ampersand & The Amps, before shortening the name in time to record their sole LP, ‘Pacer’. Originally intending to play every instrument on the album herself, she moved to retain Jim Macpherson’s drumming talents before enlisting future Guided By Voices guitarist Nate Farley and Luis Lerma to complete the lineup. ‘Pacer’ built on the pop hooks of ‘Last Splash’ to create deliciously garagey bubblegum pop – ‘Empty Glasses’, in particular, sounds like its spent hours siphoning petrol from parked cars to spit on bonfires – but positive critical reaction didn’t translate into sales. In mid-96, the hard-touring band folded when Kim decided to gather a new lineup of The Breeders – which, inevitably, was short-lived.

THE KELLEY DEAL 6000

Upon leaving rehab in 1995, Kelley Deal elected to form a new band, pulling in favours from friends such as Jimmy Flemion from notoriously controversial slopsters The Frogs. First opus ‘Go To The Sugar Altar’ proved to be an unexpected treat, rich in gleefully shambolic experimentation and soaked in the sort of effortless melodicism that made ‘Last Splash’ such a universally instant favourite. Two years later, the band attempted to repeat the trick with ragged follow-up ‘Boom! Boom! Boom!’, but their moment appeared to have passed. Commerical and critical indifference consigned the album to the bargain bins, and The Kelley Deal 6000 slowly evaporated.

THE JOSEPHINE WIGGS EXPERIENCE

Hertfordshire-born Josephine Wiggs didn’t exactly rest on her laurels following the dissolution of The Breeders. She embarked on a series of projects over the next few years, attempting to make her own mark with the ‘Bon Bon Lifestyle’ LP, released through the Beastie Boys’ Grand Royal stable in 1996. Featuring former Spacemen 3/Spiritualized percussionist Jon Mattock – who also counted amongst Breeders alumni thanks to his contribution to the ‘Safari’ EP – the album drew from similar dreampop sources to Donnelly and the Deal sisters’ various outlets, and attracted reasonable reviews. But if ever a musical endeavour seems doomed from the get-go, it’s a bass player’s solo effort (notice how the heart sinks upon reading that phrase), and this was sadly no exception. Wiggs’ name simply wasn’t as recognisable as Kim or Kelley’s, and album sales reflected that anonymity. Shame.

AND THE REST…

At the turn of the millennium, the Deals formed a new line-up of The Breeders with Face To Face drummer Jose Mendeles and bassist Mando Lopez, resulting in the strange, sparse magic of ‘Title TK’ in 2002 and the poppier ‘Mountain Battles’ six years later. Factor in the reunion of the ‘Last Splash’ lineup and we’re just about up to speed, but there’s a handful of other acts worth mentioning since they form smaller branches of The Breeders’ family tree…

THE PERFECT DISASTER

Mining a similar source of Lou Reed-inspired pop to 80s acts like The Go-Betweens, The Perfect Disaster had been kicking around London in various forms before Josephine Wiggs joined in 1987. She stuck around long enough to play on the ‘Asylum Road’ LP and support the Pixies, which led to Kim Deal inviting her to join The Breeders in 1989.

GUIDED BY VOICES

Longtime friends with the Deal sisters as fellow natives of Dayton, Ohio, the terrifyingly prolific Guided By Voices appeared in the video to The Breeders’ cover of their own ‘Shocker In Gloomtown’. After the split of the (recently-reformed) ‘classic’ lineup, singer Robert Pollard made one album with the backing of Cleveland rockers Cobra Verde, before snatching up former Amps Jim Macpherson and Nate Farley for a lesser-regarded but still shit-kickin’ GBV in the late 90s.

DUSTY TRAILS

Another of Josephine Wiggs’ various outfits, Dusty Trails was a collaboration with Luscious Jackson keyboard player Vivian Trimble. Self-described as ‘mood music’, the band’s self-titled debut drew comparisons to French and Brazilian pop of the 1960s, and featured the vocal talents of country titan Emmylou Harris. Not quite ‘Cannonball’, then, but rather lovely nonetheless.

THE LAST HARD MEN

With the 6000 finished, Kelley Deal once again hooked up with Jimmy Flemion to form this hard rock supergroup, alongside Skid Row vocalist Sebastian Bach and The Smashing Pumpkins’ Jimmy Chamberlin. An album was recorded for Atlantic in 1996, but the label rejected the finished article, leaving Deal to release a limited pressing on her own Nice Records in 1998.

R. RING

Kelley’s latest project, a collaboration with Ampline’s Mike Montgomery. Debut 7” ‘Fallout And Fire’ was a scratchily lo-fi lullaby composed of sparse acoustic guitars and tinny electronic hums; as gorgeous and moreish as The Breeders’ more subtle moments and utterly charming with it. More please.

(Originally published by The Fly, 19/04/2013. At the time of writing, I was mistakenly under the impression that the reissue was related to Record Store Day 2013 – seemed pointless to correct the mistake here though, given that it had already been published)

YO LA TENGO – Manchester, Ritz, 21/03/2013

June 4, 2013

SHHHHHHHH. We’re not planning to drop any pins – famously the most inaudible of all falling objects – but the near-spectral quietude of Yo La Tengo’s first set has certainly made us cautious of doing so. A solemn, respectful Ritz shuts its mouth and listens intently as the Hoboken trio strum acoustic guitars and murmur so softly that their voices crack with every shifting note. And holy fuck, is it ever sublime, lending tenderness and fragility to some numbers while amplifying those qualities in softer ones. ‘Ohm’ sees the whole band singing together, earnestly advising us not to worry so much. “Sometimes the bad guys come out on top / Sometimes the good guys lose,” they shrug resignedly, exercising their gift of making the simple sentiments sound sweetly profound. Georgia Hubley steps up to the mic for an entrancing ‘Cornelia And Jane’, but it’s Ira Kaplan’s keening sincerity on ‘The Point Of It’ that truly steals the show. A reassuring paean to the inevitability of getting older, it reduces the room’s dry-eyed quotient to a cold minimum. A heartbreaker for sure.

“Wait, back up, did you say ‘first set’?” Yes, dear reader, we sure did. Tonight YLT operate without support act, dividing their performances with a brief interval. It’s a Proper Show, in other words, and an infinitely louder second half delivers further thrills and fan favourites. In particular, ‘Moby Octopad’ and ‘Autumn Sweater’ showcase the band at their poppiest and most experimental, as drone-flavoured grooves mix with delightfully moreish ear-worms. The furious bursts and squalls of ‘I Heard You Looking’ bring the set to a thrillingly cacophonic close, but Yo La Tengo’s greatest skill lies in their ability to make even the biggest noise seem intimately warm. And if that’s not worthy of reverential silence, then what the hell is?

(Originally published by The Fly, 25/03/2013)

IL SOGNO DEL MARINAIO – Liverpool, Eric’s, 05/03/2013

June 4, 2013

Things were different last time Mike Watt came to Liverpool, in support of his fourth solo album Hyphenated-Man. A collection of herky-jerky spasms in the vein of the Minutemen, his legendary 80s outfit that expanded the horizons of hardcore, the record was a simultaneous rediscovery and affirmation of the idiomatic singularity that defined his early career. With new ‘uns captivatingly despatched, we were then treated to an encore of fan favourites from his former band’s catalogue – a punk-funk dance party with nostalgia as the icing, not the cake.

This time, Watt may be the draw, but whatever it says on the poster, he ain’t the whole of the act. Il Sogno del Marinaio’s Stefano Pilia originally approached San Pedro’s favourite son about the prospect of recording and touring Italy together way back in 2009, and it’s only now that we’re seeing the fruits of their endeavours. But that’s enough context – what does it do? Well, quite simply, as much as it possibly can. This is incredible music, lurching from dissonant post-punk racket to funked-out groove to free jazz-inspired dexterity and more. ‘Zoom’ rolls by on a gently loping bassline, while Pilia uses a bow to tease freakish atonality from his guitar, and Andrea Belfi skips subtly across the kit with elastic-limbed rapidity. ‘Partisan Song’ just plain rocks, sounding like a riff Tim Kinsella and Sam Zurick might have dreamed up for one of their mathletic Joan of Arc spin-offs. Every song gives voice to a collective imagination set free and doing what the hell it wants.

The effect is wonderful. Il Sogno del Marinaio project movies onto the canvas of my mind: one minute I’m in a scuzzy backstreet bar straight out of dystopian cyberpunk anime. Next I’m wandering the desert of a western as directed by Jim Jarmusch; poignant in its monochrome starkness. Suddenly I’m lying in a field, gazing at dark clouds overhanging the cold earth, feeling the rain tapping softy against my face. I’m Roberto Benigni singing sweet inanities behind bars. I’m Robert de Niro driving the diseased streets of New York. I’m everyone and everywhere, lost to the illustrative flow of the sound. See, this music is cinematic and visual, not just noise but allegorical narrative, as emotive and viscerally beautiful as any words or physical action. I am so fucking in love with this band.

They round things off with a blistering cover of The Stooges’ ‘Fun House’, which closes with the frontman holding his bass aloft to yell, “Start your own band!” You can practically hear hearts being crossed as everyone present mentally promises to do so, whilst also suspecting that it couldn’t possibly be as wonderful as what we’ve witnessed tonight. If Mike Watt wants to play songs from his formidable back catalogue, I’ll be there. But man, if he and his equally-impressive bandmates want to make new music as richly powerful as this, I’d almost be happy to never hear a note off Double Nickels On The Dime again. Il Sogno del Marinaio rule.

(Originally published by Get Into This, 10/03/2013)

An Introduction To Sonic Youth

June 4, 2013

This week marks the 30th anniversary of Sonic Youth’s fearsome debut ‘Confusion Is Sex’. But where to begin for those looking to get started with this most user-unfriendly of bands? Picking through their immense back catalogue can be a treacherous business, so we thought we’d help you get started with a guide to ten of the American punk legends’ most earth-shatteringly great tracks.

‘100%’

A burst of feedback introduces a thunderous riff, with Thurston Moore snarling his sarcastic blues through clenched teeth. As close to pop as Sonic Youth ever got, not to mention as instant an album opener as you could wish for, this originally appeared on 1992’s ‘Dirty’. Butch Vig’s muscular production oversaw the band attempting to mesh their art-rock sensibilities with a genuine attempt to become major pop culture superstars. In that regard they failed, but boy, what glorious failure.

‘Bull In The Heather’

Mystery, dissonance and the unnerving sound of Kim Gordon monotonously intoning “tell me that you wanna bore me”. One of Sonic Youth’s most popular songs, the title came from the name of a racehorse, imprinted on a bumper sticker given to Thurston and Kim by Pavement’s Bob Nastanovich.

‘Eric’s Trip’

Possibly Lee Ranaldo’s finest moment. The pounding heartbeat of the drums drive their point home amidst an other-worldly haziness, virtually blocking out anything approaching melodic sense and mirroring the hallucinogenic hyper-awareness of the song’s bewildered narrator. The squalling splendour of 1998’s ‘Daydream Nation’ represents the band’s masterpiece, and this is just one of its many highlights.

‘Shadow Of A Doubt’

Heavily referencing Alfred Hitchcock’s ‘Strangers On A Train’, this 1986 track uses sparse harmonics and foreboding percussive thwacks to weave a tapestry as starkly suggestive as anything conjured up by the master of suspense himself. Above the ominously restrained beauty, Kim breathlessly whispers a plea of “kiss me”, somehow managing to sound both compellingly sensual and completely psychotic at the same time.

‘Dirty Boots’

1990 saw Sonic Youth freshly signed to Geffen, following lengthy relationships with notable indies SST and Blast First. ‘Goo’, their major label debut, showed what happened when they lowered their eyes from the sprawling magnificence of the open horizon and concentrated on what was right in front of them – specifically, grunge. In the event, we get a solitary, explosive leap through the best chorus they ever wrote followed by heroic bursts of noise and a heart-bursting instrumental sequence that seems determined to escape the confines of mere sonics, ascending straight to the heavens in the process. Not quite the hit single they envisioned, then, but still: incredible rock’n’roll.

‘I Dreamed I Dream’

Originally appearing on their self-titled debut 12” in 1982, ‘I Dreamed I Dream’ was the by-product of a band immersed in the compositional guitar experiments of Glenn Branca and Rhys Chatham, whilst still half in love with the dissonant headfuck of New York’s briefly-sparkling no wave scene. Distinctly unmelodic, the song’s powerful rush comes from a hypnotic, minimalist bassline, with Kim’s flat murmurs melting softly into Lee’s howling mantras. Post-rock before post-rock; the first significant footsteps in a thirty-year adventure.

‘Death Valley ’69’

True horror committed to tape: guitars that sound like howling winds pitted against the tumultuous storm of the rhythm section, while Thurston duets with no wave icon Lydia Lunch on an account of the Manson family murders. Lifted from second full-length ‘Bad Moon Rising’, the song was a metaphorical depiction of the moral decay of 80s society: the idealism of the hippie dream torn to shreds by the cynicism of the following generation. With or without the horrific slaughter scenes of its accompanying video, it’s simply the sound of pure, unadulterated terror.

‘Expressway To Yr Skull’

Guitars that sound like doomed cathedral bells, melodies that hang heavily and moodily amidst a funereal trudge… the band pulled out all the stops with this astounding number. “We’re gonna kill the California girls,” Thurston wails, implicitly decreeing an end to pop’s mindless feelgood factor as the chaos escalates around him. Not for nothing did Neil Young describe this as “the greatest guitar song of all time” – where other bands expect to fly, this track effortlessly soars.

‘Teen Age Riot’

The definitive song from the band’s definitive statement, ‘Teen Age Riot opens with ethereal chords that crash against each other like waves in a chemical sea, before the pure noisepop thrill of the main riff throws everything into delirious relief. Supposedly envisioning a world with Dinosaur Jr’s J Mascis as president, the track represented Sonic Youth’s greatest success by that point, both artistically and commercially. There were many great records to follow ‘Daydream Nation’, but crucially, they never bettered it. Flawless.

‘NYC Ghosts & Flowers’

Something of a curveball when it appeared at the turn of the millennium, the album ‘NYC Ghost & Flowers’ was composed following the theft of the band’s equipment. Forced to work in unfamiliar circumstances, SY teamed up with Chicago experimentalist Jim O’Rourke (who would briefly become an official member of the band) to create their least immediate record since the early 80s. With Lee’s image-soaked poetry standing before a post-rock backdrop that shames the relatively-traditionalist likes of Mogwai or Explosions In The Sky, this title track is something of a curio, but thoroughly rewarding nonetheless.

STILL CURIOUS?

Wondering where to start? For the greatest works, look no further than the mighty triumvirate of ‘EVOL’, ‘Goo’ and the majestic ‘Daydream Nation’ – albums that define both the end of the independent era and punk rock’s major label experiment of the ‘90s. If it’s the serious stuff that intrigues you, then ‘A Thousand Leaves’ and ‘NYC Ghosts & Flowers’ contain their most ambitiously complex work, but genuine novices might want to head for the hits’n’faves compilations ‘Screaming Fields Of Sonic Love’ and ‘Hits Are For Squares’. Dive in!

(Originally published by The Fly, 01/03/2013 – opening paragraph by Alex Denney)

Teenage angst has paid off well

April 24, 2012

Good lord. Has it been that long?

I am immensely lazy.

Well, more to the point, I’m not. I’ve been very busy. But I’ve neglected you, dear old WHTB, and that’s got to change. Last year I decided I was going to use this page to review every single record I’ve been sent, which was a shit idea – blogs should be personal, so I’m gonna get back to the stuff I love.

So no more sifting through the review pile and gritting my teeth at the latest in a seemingly never-fucking-ending stack of godawful electronic shizzle and singer-songwriter dullness – or not on my own time, at least. Instead, here’s a couple of 7″s that have rarely strayed too far from my turntable over the past few months. Diggit:

 

MAZES/EAGULLS split

(Italian Beach Babes)

Two UK indie rock bands covering songs by fuzz legends The Wipers – pretty risky, no? Luckily, this is a doozy. Mazes do that whole Pavement thing with a minimum of fuss, all lacksadaisical jangles and privileged apathy. You can bet they write their own press releases and fill ‘em with words like ‘laconic’ and ‘arch’, but at least they get the simple things right. Eagulls, meanwhile, are utterly fucking awesome. Slop-gaze noise-punks with their eyes on nothing more than the beer they spilled all over their pedal racks, their own Possessed trumps the cover, bedecked in woozy guitars and nonchalant sneers. This record makes me wanna stand on street corners and throw fruit cocktails at yuppies. Seriously great.

 

BAM!BAM!  – Let It Go

(self-released)

Realistically, I’m not sure if I’d have found this band, had HHBTM‘s Mike Turner not pointed me in their direction. I’m so fucking glad he did, however – the above track Hi Fi Widows blew me away like nothing since Tunabunny’s (Song For My) Solar Sister last year. They remind me of Bratmobile, K Records and the years I idled away in shitty pubs’n’clubs, drinking shitty beer and hoping desperately that one of the bands on the bill would do more than merely not suck. If only BAM!BAM! had been around then, back when I really needed them. Now I’m teetering dangerously on the precipice of 30, almost too aware of my own mortality to commit to the moment and dance myself to delirium. Actually, scratch what I said earlier – I need them now. It takes something pretty fucking special to make me want to surrender it all and just feel aliveThis record does exactly that, and then some. Man, I really hope they come over to the UK.

I only wanna stare you down

September 9, 2011

It’s been ages, so let’s have another round of ‘songs i fucking love at the moment’, eh?

1. Tunabunny – (Song For My) Solar Sister

(From their forthcoming album Minima Moralia on Happy Happy Birthday To Me Records)

2. Cheap Girls – Pure Hate

(From their split 7″ with Lemuria on No Idea Records)

3. Sometimes Always – Be True

(From their free download EP on EardrumsPop)

4. OFF! – Upside Down

(From their First Four EPs compilation on Vice Records)

5. Sourpatch – Cynthia Ann

(From their forthcoming second album on Happy Happy Birthday To Me Records)

 

 

More baby kittens and sucker punches

October 13, 2010

For ages i’d disregarded Pennsylvanian 4-piece Algernon Cadwallader as little more than Tim Kinsella-wannabes. All I could hear was the awkwardly-screeching vocals and glittering guitar styles of Joan of Arc or Owls. I was unfair to sell them short in this way. To be fair, there’s a lot of Mike Kinsella‘s band American Football in there too.

The main thing I missed amongst all those pointless accusations of rip-offery was that Algernon Cadwallader write really, really great songs. Even if they do play them in a style that’s more than merely reminiscent of their presumable heroes. It’s good stuff, and the album Some Kind Of Cadwallader comes highly recommended. Here’s a prime cut, set to a video of someone drawing.

Lovely.

“Don’t Call It A Comeback…”

September 27, 2010

Boy, it’s been a while since I last posted. But now all those barriers between me and the keyboard have been knocked down. Once again, I’m ready to pour boiling hot liquid inanity onto the calloused dead skin of the blogosphere. Let us continue.

It may come as a surprise to some of you to learn that WHTB is no mere receiver of signals from the great pop satellite (Laboured Metaphor Watch: 2 contenders thus far). No, your humble correspondent also likes to crank out the ol’ six-string and attempt to shred the eardrums of disinterested gig-goers up and down the length of this island. I’ll not sully the band’s reputation (cough) by having their carefully-crafted rock behemoths associated with the wibblings of some gobshite on the internet – they don’t deserve that. So we’ll avoid mentioning the sounds of my beat combo, unless I change my mind or someone asks. In the meantime, I’m going to witter on about my favourite bands that we played with on our recent UK tour. So in other words, that’s ‘some new (to me) bands that I like, linked by a theme that’ll mean nowt to you’. Ah well.

1. Brothers

…or ‘Brothers of Exeter’, if you like. And I certainly do. On the surface, this boy-girl-boy trio deal in good ol’-fashioned seething garage rock, but they sabotage your feeble ideas of straightforwardism by throwing in bubblegum pop harmonies and complex rhythmic breakdowns. After watching them once, I was pleasantly surprised. After a week of seeing them every night, I was a convert. It’s dirty and brutal, even when they’re cooing sweet nothings over the top of it. As our American friends would have it, they kick ‘ass’. And they kick it HARD.

2. Porches

Right now, there are hundreds of bands across the UK trying to rip off the gruff stylings of Gainsville, Florida’s punk scene. Some of them are even really good at it, but the sound becomes tiresome after a while. Cheers, then, to Dorking’s Porches, who manage to do this shit without boring the fuck out of all present… and indeed are actually pretty darn good. Sure, you can hear the omnipresent influence of the No Idea Records sound, but they cover it in pop slop and take it to the bar for vile-coloured shots, before going outside for some sick and then coming back in to party on. Garage gruff, or something, and thoroughly good fun to boot.

3. Bedford Falls

OK. They’re not particularly new. Not if you’re going for an authentic definition of the word, like you’d find in a dictionary. But I’ve just discovered them, and great mother of crap, they’re ace. Early 90s indie/college rock seems to be rather in vogue at present, which is a little disarming for the enthusiasts amongst us who’d grown accustomed to it being ‘the sort of thing that no-one likes any more’. In any case, Newport’s Bedford Falls have been doing this shit for a while, and they’re bloody brilliant at it. Would it be unnecessary to label them ‘the Welsh Buffalo Tom’? Possibly, and it would also sell them short. Just click on the link above and listen to Paperbacks. Then order their split 7″ with Failures’ Union and realise that Wilmington is possibly one of the best songs ever written by anyone ever. FACT. Hyperbole schmyperbole.

Anyway. That’ll do for now. More mumblings about indie rock to follow, probably. And mix tapes. And I’d like to have a ramble about Alan Moore’s sterling Dodgem Logic mag at some point too. Don’t let me forget, y’all.

Peace.

WHTB x