New Candys - Sun is Gone

 #New Candys #psychedelic rock #alternative rock #neo-psychedelia #post-punk #Italian #music video

I find this record simply enthralling. Stars Reach The Abyss. New Candys. Doped, sedated, highly pop-psychedelic and buzzing in keeping a low profile. Foot and root into The Jesus and Mary Chain, The Black Angels, The Velvet Underground, The Warlocks. And in whateverelse these bands I cited keep their feet and roots in. A long walk through the desert under the burning Sun.
A lysergic record, actually: You fall in a trap while chasing unicorns in Half-Heart and get high eating the sand with Dry Air Everywhere; then you can only stay down on the ground, moving your hand in the air trying to catch the little fairies flying up your nose with Sun Is Gone ('Till Day Returns): highly lyrical, with sitar sounds and percussions. Give a look to their stage set up, I love it. Then it is again time for more black magic and visions chanted by the slow pace and saturation of Meltdown Corp. There are two singles here, Black Beat and Blue Magic Hat. Then you can count the endless black and white rounds of a rotating hypnosis spiral with Welcome To The Void Temple. Again: lay down on bed and listen to Nibiru. Then it's a romance with Butterfly Net. From Treviso (northern Italy), an excellence for a debut record such it goes mesmeric along every track: it is like  Foolica records had stolen this band from ATP's roster.  From: https://www.inkoma.com/k/4012/

Spectres - Mirror

 #Spectres #noise rock #shoegaze #post-punk #alternative/indie rock #experimental #music video 

Hailing from Devon and based in Bristol, U.K., Spectres are a noise rock quartet combining elements of shoegaze, drone, indie rock, and, to some extent, post-punk. Made up of vocalist/guitarist Joe Hatt, guitarist Adrian Dutt, bassist Darren Frost, and drummer Andy Came, the group's ascent to widespread critical acclaim both on record and on the stage began after they had started to dominate the U.K. gig circuit. The outfit's first foray into the public eye was with the 2011 EP Family. The release cemented their penchant for harsh noise and uncomfortable swathes of distortion, enveloping somewhat straightforward, albeit dark, melancholy pop songs. It was this sound that began to earn the band comparisons to pioneering noise acts such as My Bloody Valentine and the Jesus & Mary Chain.
This led to Artrocker magazine crowning them "Unsigned Band of the Year," a title that spurred on more activity for Spectres as they took up residence in a makeshift bedroom recording studio to record their next EP, the highly visceral Hunger, which was put out by the group's own label, Howling Owl Records. Following this, the band went on scheduling more performances around the country, eventually deciding to relocate from Devon to Bristol. It proved to be a bold move, as the ensemble increased activities with Howling Owl, promoting the likes of Wilde, Towns, and the Naturals. A significant change came for the group when esteemed independent label Sonic Cathedral asked them to support Lorelle Meets the Obsolete on a nationwide tour, eventually landing Spectres a spot on the label roster.
Further success followed when they released their debut album, Dying, in 2015, an effort that gained further comparisons to acts such as Sonic Youth and A Place to Bury Strangers. They were hailed by NME and The Guardian, which stated the band was among those heralding a "new wave of new noise." It was around this time that Spectres had started to fully earn their reputation as a visceral and dangerously loud and raw live act.
The band unexpectedly courted controversy when it recorded and released an unofficial theme song for the 2015 James Bond movie Spectre, a move that started out as an elaborate joke due to the issue of the group's name and the film's title. However, the track ended up drawing in positive attention due to continuous airplay from BBC Radio 6. Spectres then shared a series of angry e-mails purported to be from the management of Sam Smith, singer of the movie's official theme song, castigating Radio 6 for favoring Spectres' song over his. However, the e-mails later turned out to be fake, and Spectres were forced to apologize.  From: https://www.allmusic.com/artist/spectres-mn0000741839/biography

Mark Stoermer - Blood and Guts (The Anatomy Lesson)

 #Mark Stoermer #ex-The Killers #alternative rock #indie rock #post-punk revival #psychedelic rock #pop rock #heavy metal #music video

Mark Stoermer, bassist of The Killers, has released a surreal, bloody new video for “Blood & Guts”. The video is a mini psychedelic rock opera based on the Rembrandt painting “The Anatomy Lesson” featuring Adan Jodorowsky and directed by Ghost of a Saber Tooth Tiger’s Charlotte Kemp Muhl, which sees Stoermer portraying a crazed conductor hell bent on destruction. “It is a theatrical journey that juxtaposes sex and death, the material and the spiritual, the sacred and the profane, the grotesque and the beautiful, the somber and the silly. It is a celebration of life in the face of our mortality, while paying tribute to the forces of creation, preservation, destruction and resurrection,” Stoermer said of the video.  
Dark Arts, Stoermer’s second solo album, comprises a mosaic of sixties-induced psychedelia, bluesy desert rock swagger, plaintive lyrical poetry, and lithe and lush cinematic orchestration. Co-produced by David Hopkins of Bombay Heavy and recorded at The Killers‘ Las Vegas headquarters Battle Born Studios and Studio at The Palms, Dark Arts weaves together a twisting and turning trip through a myriad of styles.  From: https://ventsmagazine.com/2016/10/25/mark-stoermer-releases-nsfw-blood-guts-video/

Mark Stoermer is an American musician and songwriter. He is best known as the bassist for the rock band the Killers, with whom he has recorded six studio albums. In addition to his work with the Killers, Stoermer has released three solo albums, Another Life in 2011, Dark Arts in 2016, and Filthy Apes and Lions in 2017. Stoermer also joined the Smashing Pumpkins to tour in support of the band's ninth studio album, Monuments to an Elegy (2014), and produced Howling Bells' third studio album The Loudest Engine (2011).
Stoermer mainly plays with a pick. He says "I love the punch and grit of a pick. I do a lot of unconscious palm muting. I love how you can instantly get that clunky tone with shorter notes. It's a great sound." He tries to play the bass as a "half percussive, half melodic instrument". Stoermer feels that "You can add to a song's melodic side without taking away from the vocals. That's my favorite kind of bass playing." His signature bass playing is featured prominently in the Killers' debut and sophomore albums. While his aggressive playing was a focal point in the Killers' first two albums, Stoermer's playing became more funk-driven in Day & Age, and much more reserved and subtle in Battle Born. His style of playing has influenced many other bands and even a genre of music in bass-driven New Wave-synth rock.  From: https://en.wikipedia.org/wiki/Mark_Stoermer

Candelilla - 17

 #Candelilla #indie rock #post-punk #noise rock #experimental rock #dark cabaret #German 

Candelilla - "little light" - somehow doesn't want to go with the loud, angry and urgent songs of the band from Munich. However, Mira Mann (vocals, bass) and Lina Seybold (vocals, guitar) bring the name with them from their school days, where they met through music in 2001. Things really got going in 2007, when the two found their perfect partners in crime in Rita Argauer (vocals, keyboards) and Sandra Hilpold (drums). Mann, Seybold and Argauer had already recorded three EPs with changing members and distributed them themselves, rehearsed in the Munich area and as the opening act for Slut.
"Don't Rely On What Others Say" is the name of the first 6-track EP after the rebirth; message and self-admonition in one. Punk rock meets sweet pop moments, quite playful at times, almost a little well-behaved. But Candelilla are already "addicted to hoarseness", as they cry out in the song "4". The songs have to do without names from now on, numbering is king.
In an all-girl band that doesn't play folky fairy songs, but rocks properly, of course everyone comes with the feminist club and the riot grrrl drawer, with Bikini Kill and Hole. But you shouldn't come to Candelilla with the "woman thing" (Argauer). Of course they are feminists, but they want to be seen as a band and not as a "women's band". "You also have to know that Candelilla's all-female cast was more of a coincidence, the girls used to play with boys before I joined, and I've also been in other bands," Hilpold reveals to the blog Mapambulo.
In 2009 the first official studio album was released on the local label Red Can Records. The quartet is still testing how much can be packed into a song without it completely falling apart. The sweet pop melodies have to make way for more noise, grunge and hardcore. The microphone wanders wildly around the band, they sing in English and in German, preferably in the same sentence.
Candelilla records the follow-up album with producer legend Steve Albini (including Pixies, PJ Harvey, Nirvana and his own band Shellac). And that appears after the band made a name for themselves in Germany, France, Spain and the UK on Zick Zack. After all, the original Hamburg independent label has always been a haven for the more interesting and smarter German pop music.
"Heart Mutter" will be released in 2013 and comes at a time when a few more German-speaking bands with anger in their stomachs and brains in their heads are making a name for themselves: Ecke Schönhauser, Messer, 1000 Robota, 206, Better Times and a few more. But Candelilla don't really want to fit into this 2010 new edition of the Hamburger Schule. They are a bit too noisy and grungy, too erratic and too multi-layered for that. Because the band's first motto is still to take it apart and put it back together again. So the numbering continues to make sense, as Candelilla tell Zündfunk: "Because the three of us write texts and like to chop things up, put them back together, rearrange them and let them run against each other, it is of course very important again in terms of content or meaning fitting to let number stand as a total abstraction."  Poorly translated from: https://www.laut.de/Candelilla 

Nina Hagen - Ziggy Stardust

 #Nina Hagen #new wave #Deutschrock #post-punk #synthpop #David Bowie cover #music video

Also known as the Godmother of Punk, Nina Hagen is a German singer and actress famous for her eccentric singing style and appearance. She has experimented with a vast number of different styles and genres throughout her career including reggae, punk, gospel, big band, swing and even Hindu devotional music.  From: https://www.sputnikmusic.com/bands/Nina-Hagen/44592/

‘I never said I am doing punk music. I never said I am a punk. They said that. I wanted to do rock music since I was 12 years old. It touched my heart to hear Tina Turner, the Beatles. And they were all my singing teachers because I made cassettes. And I sang along. And I wanted to make music like that.’ Born and raised in Berlin, East Germany, CBS Records signed Hagen in 1976 when she was 21. They knew she could sing ‘like a walking volcano,’ as she says, but they wanted her to learn live performance. So they gave her a lot of time and some money to go to London. ‘I saw all the punk bands and when I came back to Berlin I cut my hair short and made black lipstick’, Hagen says. ‘And then they said I’m a punk. I am an entertainer. I sing political cabaret and spiritual cabaret and I write songs about anything concerning life. So it’s just maybe one aspect of my art, punk art.’  From: https://www.maramarietta.com/the-arts/music/neo-classical-and-contemporary/nina-hagen/

The Birthday Massacre - Blue

 #The Birthday Massacre #gothic rock #darkwave #industrial rock #electronic rock #synth-rock #post-punk revival #Canadian #music video

The Birthday Massacre is a synth-rock band, based in Toronto, Ontario, Canada. The band was officially formed in 1999, known at that time as Imagica. The band consists of Chibi (vocals), Rainbow (guitars and programming), Michael Falcore (guitars), Owen (keyboards), O.E. (previously drums, now bass), and Rhim (drums). Their sound is mostly a fusion of retro electronica and dynamic contemporary songwriting. Elements of children's fiction and adult fantasy are combined with twisting distortion and euphoric melody to create a unique and original sound dubbed "post-retro". This sound is also affiliated with "synth rock" a rising genre influenced by elements of 80's synthpop, industrial, and gothic rock.  From: https://www.bandsintown.com/a/890-the-birthday-massacre

This song is most definitely about duality of light and dark, ying and yang, and good and evil. Also, I notice how each person has a doll, and that only one person is on the floor while the others are floating. This is a parable about the true self and the ego. The ego is the false part of one's self that is quick to judge, selfish and will do something regardless of the consequences of their actions. The fact that these dolls have masks confirms that they are hiding their faces which the ego is very good at. The last place we would find our true enemy is within ourselves. Chibi who is on the floor is trying to fish out her doll (ego) but is unsuccessful in the attempt, when one thinks that their ego is the true self, which the ego wants, will find that they will destroy themselves and their loved ones. The ones floating are not making any attempt to catch their doll, because they see that they are not their ego and are free to rise to enlightenment as their dolls are also rising to the light. True self: Love, acceptance, nonjudgmental, the ability to let go and the urge to gain more knowledge to illuminate themselves and others. Ego (false self): Quick to judge, must hold on to what they have (most often material items or a person), lies, cheats and hides themselves from the light of the truth and would rather cover themselves in darkness to avoid being revealed because they themselves commit evil actions. I hope my comment can shed light on both this creative song and video and upon life as we know it.  From: https://songmeanings.com/songs/view/3530822107858517179

XTC - Respectable Street

 #XTC #new wave #post-punk #progressive pop #art rock #pop rock #baroque pop #art punk #power pop #psychedelic pop #orchestral pop #1980s #1990s

The 1980 release Black Sea represents the last stand of the punchy, angular new wave that had won XTC strong critical and college radio support. Still arranging with an ear toward the stage they'd soon retire from, they continued working in the Drums and Wires style that had christened their previous release. Black Sea brims with XTC trademarks: engaging guitar hooks, cleverly rendered lyrics, and frenetic, creative melodicism. The material represents the pinnacle of XTC's early incarnation - a counterpoint to contemporary punk imbued with style, rhythmic punch, and melodic charm.  From: https://www.roughtrade.com/us/product/xtc/black-sea-1/vinyl-lp

Respectable Street

Andy Partridge: “Actually inspired by my neighbour who spends half her life banging on the wall should I so much as sneeze. Not knocking people who have ‘respectable’ ideals (I know I must have a few), more of a song of people with double or hypocritical values. You know the sort, blind drunk one night, church the next. Or the mother who urges her daughter to go out and have fun dear, isn't abortion wonderful. If their daughter got pregnant they would beat her senseless.”

Andy: “The BBC felt the lyrics on the song on Black Sea would upset people. They asked if I could rewrite it and, being a good boy, I did. Contraception became ‘child prevention’ and abortion became ‘absorption’. Still they wouldn't play it. Here's that old peoples, pre-chewed version.”

Andy: “The A&R man decided the BBC wouldn't play this with words like ‘abortion’ and ‘contraception’, so he took out all the words he didn't like. It wasn't a big hit, though, because the BBC still didn't play it. A couple of bands have covered it, and they always get the chords wrong. The second one's a seventh, formed from the E-string up. They always miss it.”
Dave Gregory: “It's not really a guitarist's chord, that one.”
Andy: “Nope, but it's a Partsy one.”

From: http://chalkhills.org/reelbyreal/s_RespectableStreet.html

Grace Jones - Corporate Cannibal

 #Grace Jones #R&B #new wave #art rock #electronic #industrial #post-punk #post-disco #actress #performance artist #Jamaican #music video

The Corporate Cannibal video is in black and white, and the only images that appear on the screen are those of Grace Jones’ face and upper body, black against a white background. But Jones’ figure is subject to all sorts of electronic distortions. The most common effect is one of elongation: her face is stretched upwards, as if she had an impossibly long forehead, as if her notorious late-80s flattop haircut had somehow expanded beyond all dimensions. Or else, her entire body in silhouette is thinned out, gracile (if that isn’t too much of a pun), and almost insectoid. The image also bends and fractures: her mouth stretches alarmingly, her eyes bulge out and expand across the screen like some sort of toxic stain. And sometimes Jones’ figure multiplies into two or three distorted, and imperfectly separated, clones. Nothing remains steady for more than a few seconds; the screen is continually morphing, and everything is so stylized and disrupted that we don’t get a very good sense of what Jones actually looks like today. Her facial features remain somewhat recognizable — Grace Jones has never looked like anyone else - and at a few moments, we get a brief almost undistorted close-up of her eyes, nose, and mouth - but there is something monstrous as well about this individuated “faciality”; and in any case it is gone almost before we have had the time to take it in.  From: http://www.shaviro.com/Blog/?p=653

Psychic TV - 8Transmissions8

 #Psychic TV #Genesis P-Orridge #industrial #experimental #acid house #post-punk #ambient house #neo-psychedelia #electronica #industrial dance #ex-Throbbing Gristle #performance art #video art #experimental video #Temple ov Psychick Youth #VHS rip 

A watershed time for Brion Gysin and William Burroughs was in Paris, in the decade of the
1960s. It was the only time Gysin ever earnestly garnered recognition for his creative efforts. While Gysin might be considered a jack-of-all-trades and master of none, his eminent energy paved the way through numerous monumental projects and seminal discoveries. In the decades prior to his relationship with Burroughs, he’d exhibited his works alongside the likes of Duchamp and Picasso; invited to be a Surrealist participant by Dalí - later booted from the group by Breton. But it was his association with Burroughs, always his biggest cultural advocate, which helped usher his artistic ventures into popular culture. So what’s this have to do with contemporary dance subculture? If the interconnectedness isn’t already obvious, move along to Act II. Enter Genesis P-Orridge. During the Paris years, P-Orridge had become a correspondent with Burroughs, and eventually a friend. And, of course, friends with Gysin. P-Orridge was a performance artist who’d exchange art mail with other interesting correspondance acquaintances like Burroughs and Monte Cazzazza. He also became pals with draggish film-maker Derek Jarman, for whom he scored a few short film projects himself, and later with his band, the “original” Industrial outfit, Throbbing Gristle. P-Orridge had ideas of his own, even if they were enmeshed with those of Gysin and Burroughs. His ideas included the dynamics inherent within ritual magick (not unlike the practices of Aleister Crowley), the necessity of trance-induced creative expression (such as in the art of Austin Osman Spare), and the immediatism of organized performance and media as weapons against social control. Shocking the hell out of crowds with the self-mutilation, enema-farting, lighted-candle-vaginal-masturbation performances of art troupe Coum Transmissions only paved the way for the all-out sensory onslaught of Throbbing Gristle’s live sets. And when that act diminished in 1981, P-Orridge and ex-Throbbing Gristle cohort Peter Christopherson (founder of Coil) not only joined forces with Alternative TV members to form musick group Psychick Television, but they also established a “non-dogmatic” ritualistic religious order: The Temple Ov Psychick Youth (TOPY). And to finalize the concrete front of anti-establishment propaganda, they created their own television network - Psychic TV, which is the working title of all of P-Orridge’s collaborative projects up through the present. “TG don’t get involved with the causes and cliches of The Great White Liberal consciousness, the dogmas and demonstrations of emotional hang-ups and guilt complexes (sexism, racism, no nukism, thisism, thatism) thinking them red herrings introduced to divert people from The Horrible Truth - into useless, fruitless ‘activism’.” Psychic TV didn’t conform to predictable conventions any more than TG had. Musically, the group explored the continuing usage of drum machines, tape loops, and electronics in combination with live instrumentation—a tactic which had become a standard in the music of TG. However, stylistically, PTV delved into numerous genres - Hyperdelic Rock, Muzack, Noise, and yes, Acid House and Techno - remixing and reinventing themselves sonically onstage and off. P-Orridge began to dabble in more contemporary video production for the day, creating sprawling, wild psychedelic imagery which moved in time to the music and while adopting some very MTV-ish trends, consistently moving beyond them. On a U.S. tour during 1986, P-Orridge & Co. visited a Chicago record shop, asking shop clerk (the now world famous deejay) Derrick Carter what the weirdest most underground sounds were in the shop. “Oh, that’d be the Acid,” Carter told them. Thinking the moniker referred to the drug and expecting psychedelic rock music, P-Orridge bought the entire stock. Upon returning to England and listening to the records, he was pleasantly surprised to discover that the music was instead tweaky, heavily-filtered electronic washes of sound with repetitive beats. As a result, Psychic TV began to dabble with the style and by 1987 released a now-legendary Acid House classic: “Tune In, Turn On Thee Acid House”. The single gained immediate popularity both in Europe and abroad, and foreshadowed the approach of the most important elements still lacking from the ecstatic dance culture in which Brion Gysin had once immersed himself.  From: https://www.deadlybuda.com/DeadlyType/deadlytype.pdf

Lola Colt - Vacant Hearts

 #Lola Colt #hard rock #art rock #alternative rock #post-punk #indie rock #garage rock

Lola Colt are a London-based six-piece spinning hypnotic heartache and art-rocking film noir. Comprised of Gun Overbye, Matt Loft, Margin Scott, James Hurst, Kitty Austen and Sinah Blohberger, they’ve been throwing psych-tinged shapes for the last five years, picking up their fair share of plaudits along the way. Frontwoman Gun adds a spiritual dimension to proceedings, with fierce vocals sitting halfway between The Kills’ Alison Mosshart and Wildbirds and Peacedrums’ Mariam Wallentin.

We first started making music because:
Its creation is somehow therapeutic, and we were young and had issues to deal with.

Our music is:
A way for us to understand the world, take it in, filter it down through our past experiences, dreams, feelings and regurgitate it back out into the world as some new beast, better understood.

From: https://www.prsformusic.com/m-magazine/new-music/30-seconds-interview-lola-colt

The diversification and therefore the evolution of modern music can almost be described as fractal in nature. These are created by repeating a simple process over and over in an ongoing feedback loop, driven by recursion, fractals are images of dynamic systems – the pictures of chaos, and just like the best music which itself is built on repetition and structure. The exponential growth magnifies each change or nuance without breaking totally from the original blueprint. This has resulted in a plethora of musical genres that all allow fresh ideas to blossom without the heavy shadow of plagiarism coming into play. Lola Colt are a six piece ensemble from London who seem to be an amalgam of many sub-genre’s and appeared at the Bodega club in Nottingham on Friday, the 27th of February, touring to promote their debut album, Away From the Water. Cinematic is the all-encompassing description that seems to suit them best, which is enforced by them taking their name from a 1967 Spaghetti Western film directed by Siro Marcellini.
The versatility which this music allows was highlighted by the stage dynamic of Lola Colt, which included frequent instrument interchanges between members almost akin to a gothic version of Arcade Fire, which resulted in a vibrant and aesthetically diverse performance. Lyrically, though the cinematic tends to veer towards the elements (sky, science, elements), but Lola Colt, similarly with probably the best band to come out of Nottingham, the Tindersticks, dealt in the darker side of love and human relationships. During the track “Vacant Heart”, the vision that the blood was already dripping from the walls akin to the scene in the film Angel Heart, formed as Gun Overbye the Danish female vocalist pierced the night with “You tore it all / Thoughts still seeping in my head dripping in my bed,” which was as sexual as it was overtly mysterious. The beauty and originality that Lola Colt possess created a vivid visual canvas, but left enough space for one’s own imagination to take flight. The possibilities for them are endless and just the same as the fractal: very exciting.

From: https://www.qromag.com/lola-colt/  

Kuunatic - Tītián

 #Kuunatic #psychedelic rock #experimental rock #progressive rock #folk rock #noise rock #post-punk #avant-garde #Japanese #animated music video

Kuunatic is a thrilling Tokyo based tribal-psych trio bolstered by diverse global sonics and powerful female vocals. Drawing on the members’ different musical and cultural perspectives, their music explores ritual drumming, pulsing bass lines, atmospheric keyboard sounds and Japanese traditional instruments. Having previously released an EP (“Kuurandia” 2017) as well as a split 7” (with Taiwanese fuzz psych garage band Crocodelia), “Gate of Klüna” is Kuunatic’s much awaited debut album. Produced by Tim DeWit (Gang Gang Dance) the record reveals a mesmerizing sound world that transcends genres and hemispheres and succeeds in being both boldly experimental and wildly catchy. Kuunatic are Fumie Kikuchi on keys and vocals, Yuko Araki on drums and vocals and Shoko Yoshida on bass and vocals. The possibilities to project onto Kuunatic’s music are endless. This is because the band has created that rare thing: catchy music that is impossible to pigeonhole. The track ‘Lava Naksh’ is a form of renaissance dance; a pavane, maybe, albeit with Kraftwerk’s early organ sound. ‘Full Moon Spree’ could be a ritual version of The Fall’s ‘What You Need’. ‘Raven’s War’ is a dry-as-dust progressive soundtrack, it could be a lost cut from the Valley of the Dolls record. The transportative elements in all are key: certain beats and near-melismatic melody lines hark back to archaic processional and ritual music. In ‘Desert Empress Part II’ for example, a glowering bass line walks ponderously alongside the toms, framing and guiding the mood. Finishing matters off with what sounds like a backwards organ is also discombobulating. Such sonic sleights of hand are part of the Kuunatic playbook.  From: https://swampbooking.com/kuunatic/

The Smile - Thin Thing

 #The Smile #Thom Yorke #Johnny Greenwood #alternative rock #art rock #post-punk #experimental #progressive rock Radiohead spinoff #animated music video

When Thom Yorke introduced his new band at their first gig a year ago, he took a moment to explain their name. “Not the Smile as in ha ha ha,” he said, his faux laugh echoing eerily, “more the Smile of the guy who lies to you every day.” Of course, no one figured that the most uncannily accurate doomsayer of the modern age was taking a sharp left to clown town with his latest project, but the Smile are not just aimed at shifty politicians, either. Their pearly grins are myriad, taking inspiration from smiles of love and deceit, bloody smiles and blissful ones, smiles that mend and smiles that destroy. At 53, Yorke has seen them all. And once again, he’s battling the absurdity of existence the only way he knows how: by offering a salve for his anxieties without letting anyone off the hook for turning everything we hold dear into one big joke.
This bid for transcendence amid chaos isn’t the only thing that’s familiar about the Smile. The trio also includes Yorke’s main songwriting partner in Radiohead, Jonny Greenwood, along with drummer Tom Skinner, whose eclectic resume includes work with jazz-funk explorers Sons of Kemet, electronic fusionist Floating Points, and UK rapper Kano. It’s the first time Yorke and Greenwood have collaborated on a major project outside of their main gig, and, not coincidentally, A Light for Attracting Attention sounds more like a proper Radiohead album than any of the numerous side projects the band’s members have done on their own.
We’ve got Greenwood’s lattice-like fingerpicking and saintly electric guitar tone. There’s Yorke’s voice, still in pristine form, wailing like an angel in limbo and gnashing like a punk who woke up on the wrong side of the gutter. There are synths and Greenwood’s sidelong orchestral flourishes signaling end times. Longtime producer Nigel Godrich is in the control room, giving each sound an immense and terrifying and beautiful glow. How about some wonky rhythms that keep your mind from slipping into passive mode? Yep, lots of those too. All due respect to the guys from Radiohead who are not in the Smile, but if A Light for Attracting Attention were presented as the triumphant follow-up to the group’s last album, 2016’s A Moon Shaped Pool, I’d bet that most people would have happily been fooled.
From: https://pitchfork.com/reviews/albums/the-smile-a-light-for-attracting-attention/

The Smile are an English rock band comprising the Radiohead members Thom Yorke (vocals, guitar, bass, keys) and Jonny Greenwood (guitar, bass, keys) with the drummer Tom Skinner. They are produced by Nigel Godrich, Radiohead's longtime producer. They incorporate elements of post-punk, progressive rock, Afrobeat and electronic music. The Smile worked during the COVID-19 lockdowns and made their surprise debut in a performance streamed by Glastonbury Festival in May 2021. In early 2022, they released six singles and performed to an audience for the first time at three shows in London, which were livestreamed. In May, the Smile released their debut album, A Light for Attracting Attention, and began an international tour.  From: https://en.wikipedia.org/wiki/The_Smile_(band)

Morphine - Buena

 #Morphine #Mark Sandman #alternative rock #blues rock #jazz rock #bass-driven #no guitars #post-punk #indie rock #1990s

“Low-rock” and “Fuck-rock” are two descriptors enigmatic Morphine front man Mark Sandman used to describe his band’s beat-inspired blues-jazz-rock holy racket. Along with Sandman’s baritone vocal delivery and laconic two-string bass styling, co-founder Dana Colley played a saxophone as his lead instrument of choice instead of the expected guitar, creating a quirky and burning sensibility. Original drummer Jerome Deupree, who was replaced by percussionist Billy Conway during the recording of 1993’s Cure For Pain, flushed out the unorthodox trio. Tragically, Morphine’s Sandman passed away on-stage at an Italian gig with the group in 1999, leaving behind five engaging albums. Today, the group is hailed as one of the great bands of the last 25 years and was recently profiled in the feature-length documentary Cure For Pain: The Mark Sandman Story (2011).  From: https://lightintheattic.net/releases/624-cure-for-pain

Morphine was an American rock band formed by Mark Sandman, Dana Colley, and Jerome Deupree in Cambridge, Massachusetts in 1989. Drummer Billy Conway also played in the band, frequently during Deupree's absence, though at times both played together. After five successful albums and extensive touring, they disbanded after lead vocalist Sandman died of a heart attack onstage in Palestrina, Italy, on July 3, 1999. Founding members have reformed into the band Vapors of Morphine, maintaining much of the original style and sound. Morphine combined blues and jazz elements with more traditional rock arrangements, giving the band an unusual sound. Sandman sang distinctively in a "deep, laid-back croon", and his songwriting featured a prominent beat influence. The band themselves coined the label "low rock" to describe their music, which involved "a minimalist, low-end sound that could have easily become a gimmick: a 'power trio' not built around the sound of an electric guitar. Instead, Morphine expanded its offbeat vocabulary on each album."  From: https://en.wikipedia.org/wiki/Morphine_(band)

Talking Heads - Once in a Lifetime

 #Talking Heads #David Byrne #new wave #alternative rock #post-punk #art rock #avant-funk #experimental #funk rock #worldbeat #1980s #music video

As the 80s began, the future of Talking Heads was uncertain; that they would soon record their defining song, 1981’s Once In A Lifetime, would have seemed impossible to a group then on the verge of burning out. In Remain In Love, Chris Frantz’s 2020 memoir, the drummer remembers talking to a journalist on 19 December 1979, following the final gig of their tour in support of their third album, that year’s remarkable Fear Of Music. “He opened with the question, ‘What are you going to do now that David [Byrne, singer] is leaving the band?’ David had already spoken to him privately and told him this. Tina [Weymouth, bassist] and Jerry [Harrison, guitars and keyboards] and I explained to the journalist that we knew nothing about it and left it at that. Everyone was exhausted.” The group took some time to take stock and explore individual solo projects and interests. David Byrne used his downtime to work with Brian Eno (who’d produced the previous two Talking Heads records) on the groundbreaking album My Life In The Bush Of Ghosts, eventually released in February 1981. Meanwhile, Weymouth and Frantz took a long holiday in the Caribbean, where they pondered the group’s future and soaked up musical influences that would set them in good stead. Feeling Byrne had become too controlling, they looked to redress the balance; rather than rely on their frontman bringing material to the group, Weymouth and Franz suggested they emulate the music that was exciting them – early hip-hop, Fela Kuti’s Afrobeat grooves, West African highlife pop – and embark upon jam sessions, with the intention of “sampling” themselves and working the results up into new material. Frantz and Weymouth invited Harrison to their New York loft for informal jams, recorded on Frantz’s boombox. When it became apparent they had the beginnings of some promising tracks, they reached out to Byrne and Eno, both of whom had previously told Frantz they were not interested in making another Talking Heads record. Once the reluctant pair had been separately coaxed over and joined in, things began to get interesting. “By nighttime we took a break to listen back. You could hear all kinds of interesting parts germinating, mutating and evolving,” Frantz recalled. “There was no denying that Talking Heads still had a great chemistry going on and the beats were good. You could dance to it!” Excited by the loft jams, recording sessions were booked at Compass Point, the studio where Talking Heads recorded their second album, 1978’s More Songs About Buildings And Food, in Nassau, The Bahamas. One of those jams, a hypnotic and relentless instrumental called Right Start, might very well have been abandoned. Instead, it was worked up to become one of the best Talking Heads songs of all, the transcendent Once In A Lifetime. Talking to NPR for a 2000 edition of All Things Considered, Brian Eno revealed that he “immediately misheard it and I still mishear it to this day, I always think the one of the bar is in a different place from them. This might seem like a rather irrelevant technical point but actually it means that the song has a funny balance within it, it has two centers of gravity – their one and my one.” This unusual quality, along with the insistent bass line – played by Weymouth after she thought she heard Frantz shouting the riff at her during a session – made Byrne think it had potential for lyrics. The song was saved from the discard pile. And what lyrics they were. Byrne had become increasingly interested in the end-of-days rhetoric of evangelists and looked to channel that energy, as he told NPR: “So much of it was taken from the style of radio evangelists. So I would improvise lines as if I was giving a sermon in that kind of metre. In that kind of hyperventilating style. And then go back and distill that.” While many have interpreted the lyric as an extended jab at the materialistic 80s, Byrne himself has suggested the song implores the listener to take stock of their lives. “We’re largely unconscious. You know, we operate half-awake or on autopilot and end up, whatever, with a house and family and job and everything else. We haven’t really stopped to ask ourselves, ‘How did I get here?’”  From: https://www.thisisdig.com/feature/once-in-a-lifetime-talking-heads-song-story/

Sonic Youth - 100%

 #Sonic Youth #noise rock #alternative rock #experimental rock #indie rock #post-punk #avant-garde #no-wave #1980s #1990s

Sonic Youth emerged from the experimental no-wave art and music scene in New York before evolving into a more conventional rock band and becoming a prominent member of the American noise rock scene. Sonic Youth have been praised for having "redefined what rock guitar could do,” using a wide variety of unorthodox guitar tunings while preparing guitars with objects like drum sticks and screwdrivers to alter the instruments' timbre. The band was a pivotal influence on the alternative and indie rock movements. After gaining a large underground following and critical praise through releases with SST Records in the late 1980s, the band experienced mainstream success throughout the 1990s and 2000s after signing to major label DGC in 1990 and headlining the 1995 Lollapalooza festival. In 2011, following the separation and subsequent divorce of vocalist bassist Kim Gordon and vocalist guitarist Thurston Moore, the band played its final shows in Brazil.  From: https://en.wikipedia.org/wiki/Sonic_Youth

100%: This is a mournful song with a creepy undercurrent, made sadder and more tender by the way the lyrics address a dead friend in the present tense. This present tense isn’t in denial — maybe there is the tiniest glimmer of denial in “I been waiting for you just to say the zaftig girl is mine” but beyond that the lyrics more consistently acknowledge that this charming friend who “[rocked] the girls” was “shot dead,” that they’re “blasting the underworld,” that they are undeniably and irrefutably dead. Instead, to me (a person very much prone to projecting) that present tense feels like a natural progression for a friendship that’s been suddenly impacted by tragedy. That tragedy is violent — a shooting — but there’s also a dark little predatory feeling throughout the song. Musically, it’s both driving and alluring. The song is the musical incarnation of a violent eighties horror in which some cool zombies pursue their victims. A stark contrast to the lyrics! But fitting when you consider how the song mourns these friends’ pursuit of girls, which isn’t necessarily predatory, but does feel decisively prowling. The most mournful lyrics are still aggressive. The lyrics consider revenge, and sure that is violent, but capturing pain by saying “I stick a knife in my head thinking about your eyes” is such a very specific, physical, disturbing manifestation of grief. Not dishonest at all! But rarely articulated.  From: https://medium.com/@pkeene27/capsule-reviewed-dirty-by-sonic-youth-a1986ef54850