Tag Archives: tracks

Check Out Tracks from Peel Dream Magazine, Pigsx7 and Goatman

Peel Dream Magazine, “Shenandoah” (Slumberland Records)

Peel Dream Magazine is the nom de musique of NYC-based musician Joe Stevens, whose debut album, Modern Meta Psychic, will be released by the venerable Slumberland Records. “Shenandoah” is one of three trippy, psych-tinted dream pop confections – the driving “Qi Velocity” and spectral “Levitating Between 2 Chords” being the others – released to promote the album, and it’s our (current) fave. “Shenandoah” is the musical equivalent of a lazy drift down the titular river on a blazing summer’s day, staring at the sun until vision blurs and thoughts change shape with the clouds – Stevens’ cloaked vocals invoking the humid haze in the air; the persistent background drone the sound of cicadas thrumming along the banks. There’s much to be felt in this languid beauty of a track. Bring on the album.  

Modern Meta Psychic is due October 5, on Slumberland – pre-order a copy here. Follow along with Peel Dream Magazine on fbook and twitter.  

Pigs Pigs Pigs Pigs Pigs Pigs Pigs, “Cake of Light” (Rocket Recordings)

Pigs Pigs Pigs Pigs Pigs Pigs Pigs (mercifully shorthanded Pigsx7) is a Newcastle-Upon-Tyne, UK-based quintet. Stoner, psych, metal, doom – however you want to classify, the band’s chalice is full to the brim from the river Sabbath, and the resulting racket is glorious. Where previous efforts displayed a penchant for the long-form jam (2017’s Feed the Rats featured two tracks north of 15 minutes), the first offering from the recently released King of Cowards comes in at a tidy 3:45, and it’s all the better for it. It’s a masterclass in heavy – the drums fairly swing a la “Fairies Wear Boots”, the wailing vocals reminiscent as much of Ozzy or Lemmy as Jaz, feeling like an invocation (which would make sense, as the titular pastry is part of a eucharist associated with Alistair Crowley and possibly comprised of honey, red wine lees, oils and, um, bodily fluids of some sort – serve warm?). 

King of Cowards is available now, courtesy of Rocket Recordings. Follow Pigsx7 on fbook, where you can also find upcoming tour dates.

Goatman, “Jaam Ak Salaam” (Rocket Recordings)

The hooded Goatman is a member of the Swedish musical collective known as GOAT. “Jaam Ak Salam” was the first track released to promote his forthcoming long-player, Rhythms (since followed by the hippy gospel workout, “Carry the Load”). The track is an exhilarating, inspired fusion of African jazz, psych and middle eastern moods and textures. Lifting off on a furious wave of conga drums and sharply picked guitars, it quickly feels as though the players can barely contain themselves in the midst of the uplift (though, since Goatman himself plays most of the instruments, perhaps it is he whose control is suspect – and who can blame him?). Much is going on in the mix – declaratory horns, questioning keys and responsive palm wine (maybe?) guitar – all marshaled by guest vocalist Seydi Mandoza. Like the track itself, Mandoza’s heady voice flits from style to style, sounding a bit like a mix of Youssou Ndor and Charlie Chaplin (the toaster, not the actor) at points, before barreling through the last third of the tune with all of the fiery righteousness of a Richie Havens. It will leave you spent, and then have you hit ‘repeat’.

Rhythms is due October 12, also on Rocket – you may, and should, pre-order a copy here.

Check Out New Tracks from Mr. Twin Sister, Papercuts, Lithics, Molly Nilsson and Rat Columns

The past several weeks have seen the release of many great new tracks, from artists both known and loved, and new. Here are a few to get started on, with more to follow. 

Mr. Twin Sister, “Jaipur” (Self-Released)

Up first, New York’s Mr. Twin Sister, who return with, “Jaipur”, their first new music since 2016 and our favorite – if we must choose – of three (!) new tracks to emerge over this past summer (“Power of Two” and “Echo Arms” the others). “Jaipur” is a beguiling reentry, retaining the suave r&b/‘baby-making music’ sound of 2014’s self-titled effort, all swelling strings and lush vocals – but the storm here feels anything but quiet. All that smooth is jarred by a sped up Bollywood tempo and horn blasts, reflecting a more jittery, self-conscious take on love – anxiously looking for it, while simultaneously fearing that, once found, you’ll just fuck it up and run away, disappointing both the other and yourself.

It’s unclear whether any of these new tracks will be included as part of a forthcoming long-player, but take your chance to hear them live on the band’s upcoming tour, beginning October 18 in Allston, MA. 

Rat Columns, “Sometimes We’re Friends” (Slumberland)

Another welcome return, this one courtesy of Rat Columns, the recording project revolving around David West, who we’ve previously gushed over thanks to their sublime 2017 album, Candle Power. 

“Sometimes We’re Friends” is released as part of a year-long tribute in honor of Slumberland Records’ 30th anniversary. Riding in on a lovely jangle, the track captures the same effortless charm as found on the album, with the kind of road-weary romanticism of bands like The Go-Betweens, Prefab Sprout and the Blue Nile married to an early Cure style guitar chug, uncoiling into an extended and repeated chorus. It’s fantastic, and hopefully means there’s a new full-length coming soon. 

Papercuts, “Laughing Man” (Slumberland)

San Francisco’s Jason Quever returns with Papercuts, bringing the kind of vertiginous psych/dream pop that made us believers on 2009’s You Can Have What You Want. “Laughing Man” was the first of the new tracks we heard (followed closely by “Sing to Me Candy”), and it grabbed us immediately with it’s “Be My Baby”ish beat and woozy harmonies. Sweetly melancholy vocals describing someone “staring into space”, gripped by a memory they “can’t face”, before requesting we be upstanding not for the mayor of simpleton, but the laughing man.

The track will appear on Papercuts’ forthcoming new album, Parallel Universe Blues, due October 19 on Slumberland.

Molly Nilsson, “Slice of Lemon” (Dark Skies Association; Night School)

Another returning fave – this time, Molly Nilsson shares “Slice of Lemon” from her forthcoming full-length, 2020 (that’s the lyric video, above). It’s another world-beating slice (sorry) of new wave-flecked sophistipop. Riding a woozy synth and laconic beat, Nilsson’s lyrical focus feels placed on the beginning and end of a relationship, viewed through the eyes and ice of the narrator and the other – there’s a pang of wistfulness, but without regret. The track feels simultaneously new and like the song that could have soundtracked an alternate version of the denouement to “Sixteen Candles”, in which Sam eats the birthday cake alone, bummed it didn’t work out with Jake, but ultimately ok with it.

2020 is released November 2 on the ever-amazing Night School Records and Nilsson’s own Dark Skies Association imprint. Follow along on fbook, where you can find Nilsson’s upcoming tour dates in the EU and North America.

Lithics, “Photograph, You of” (Thrilling Living)


Back in May, Portland, OR’s Lithics put out one of our favorite records of the year in the form of Excuse Generator. Last month, the band released a one-off single on the Oakland-based Thrilling Living label, and it’s every bit as vitally abrasive. The a-side is a fantastic continuation of Excuse Generator’s tetchy and tuneful post-punk, sneeringly cool vocals playing off the rambling rhythm and jagged one-two guitar lines. B-side, “Lost Signal” brings a kind of Devo meets Television vibe sure to invoke full body shakealongs on the dance floor. One of the best band’s going right now, no doubt.

Grab a copy of the single here. Excuse Generator is out now, on Kill Rock Stars.

Here’s Some of Our Favorite Tracks of the Last Few Weeks

In the latest installment of thegrindinghalt.com‘s ongoing  series, “oh crap, we’re behind on a lot of writing”, please enjoy our musings on several of the tracks we’ve been loving these past few weeks (or so…stop judging!). F

Sink Ya Teeth, “Substitutes” (Hey Buffalo)

We love, love, love Sink Ya Teeth, the dynamic duo of Maria Uzor and Gemma Cullingford. “Substitutes”, their latest dancefloor megablast, is a cowbell- propulsed tour d’angleterre. Hypnotic vocals soar above Detroit techno ‘dugga dugga’ synths and a rough and rugged bass line that reminds a bit of Timezone. The 80s electrofunk influence paired with the insouciant cool of peak Ladytron. Taken from Sink Ya Teeth’s debut album on Hey Buffalo. Divine. De-lovely. Diva voce. 

Innocence Mission, “Green Bus” (Bella Union; Badman; P-Vine)

Taken from Sun on the Square, the most recent long-player from long-running dreamy folk-pop group the innocence mission, “Green Bus” is a beguiling new track. Karen Peris’ vocals play like dappled sunlight through an intricate canopy woven by heavily arpeggio’d guitars and lush strings; the overall effect spiritual. Absolutely lovely. Sun On the Square is out now on the veritable Bella Union, Badman Recording (US) and P-Vine Records (JP).

Free Love, “Synchronicity” (Full Ashram)

Free Love – the band formerly known as Happy Meals (we loved their 2014 debut, Apero, via 2016’s glorious Fruit Juice EP) – graced us with “Synchronicity”. Following a detour into trance-like meditiative music, the track – happily, not a The Police cover –  sees the duo of Rodden and Cook return to the wellspring of divine, club-friendly new wave/late disco/electric r&b. Rubber bass, squelched keys and breathy vox.  Out now on the band’s Full Ashram label.

Totally Mild, “Take Today” (Chapter Music)

“Take Today” features on Her, the latest release from Melbourne’s Totally Mild. Opening with the strummy charm of early Ocean Blue dreampop, vocalist Elizabeth Mitchell’s halcyon lilt incorporates a bit of a Gallic touch, bringing in hints of St. Etienne or the poppier side of Stereolab.  A warm embrace of a song, blooming into a veritable endorphin rush of a chorus. “Why wait for a slow decay/take today”. Her is out now on Chapter Music.

Oh Sees, “Overthrown” (Castle Face)

My youngest enjoys the components of a burrito, but not wrapped up together.  In a bougie/“we watch a lot of Cooking Channel so I can” reaction to this, we’ve come to refer to this dish as ‘deconstructed’. Queue hard segue to the latest track from John Dwyer’s mighty Oh Sees (f/k/a Thee Oh Sees), “Overthrown”. The track’s raucous, main portion slashes and burns like a deconstructed thrash opus – the parts are there (jigga-jigga guitar, intense vox pitched up to a scream), but freed from a traditional thrash metal tortilla, er, song structure by virtue of a swinging beat and shards of hazy psych. New album, Smote Reverser, was released last week, courtesy of Castle Face.

The Sueves, “Stare” (Goodbye Boozy)

The lastest from Chicago’s The Sueves, who never fail to disappoint. “Stare”, the a-side to new 7” on the Goodbye Boozy label, is another storming slice of razor-sharp, earworm-worthy garage/punk/rock ’n roll. Vocalist Joe Schorgl sounds a particularly incensed Bon Scott, strangled shouts over brutally downstrummed guitars and a watertight rhythm charge. It’s a fantastic follow on to the band’s spring ’18 full-length, R.I.P. Clearance Event.

Fröst, “Record Still Spinning” (Lost Room)

Fröst is the duo of vocalist Johanna Bramli (who also sang with Stereolab offshoot, Imitation Electric Piano) and Fujiya & Miyagi’s Steve Lewis. Taken from their debut long-player, Matters, “Record Still Spinning” is the first taste, and the influence of the principals’ other projects is evident. The heady mix of a steady, motorik beat augmented by urgent driving bass, minimal synths and breathy vocals call to mind the aforementioned bands, as well as Broadcast and Hooverphonic. Matters releases September 28, courtesy of Lost Room.

Exploded View, “Raven Raven” (Sacred Bones)

Exploded View is an intercontinental project comprising Annika Henderson, Hugo Quezada, and Martin Thulin. “Raven Raven”, taken from the group’s forthcoming sophomore release, Obey, is a vertiginous slab of shuddering, danceable (read: swaying) psych. The lyrical flow reminds a bit of Suicide’s “Cheree”, though here the watcher has become the watched, the titular bird sitting on Henderson’s shoulder, eyeing her ‘every move’. Obey is due for release September 28, courtesy of Sacred Bones. 

 

“Fast Silver” and “I’m Still Believing” – Two New, Early Christmas Presents from TOY

TOY, “Fast Silver”; “I’m Still Believing” (Heavenly)

Not one, but two, new tracks from the brilliant TOY released in the past few weeks – Christmas comes early!  “Fast Slilver” (released last month) and “I’m Still Believing” (released this week) will each feature on the band’s forthcoming long-player, Clear Shot, with “Believing” serving as the first official single.

TOY established themselves at the forefront of a group of bands fusing psych and shoegaze with their self-titled debut and 2013’s Join the Dots, creating alarmingly beautiful songs bathed in layers of reverb and propelled by a crisp rhythmic churn.  These new tracks suggest a bit of a blue-pencil job by the band on this sound – it’s cleaner; less pedal-driven.  Each feature brisk, sharp stabs of wistful, sonically vivid psych-pop, reminiscent of bands like Soft Boys, The Dream Syndicate, Split Enz and The Chills.  Both also even summon some 70s drivetime AM radio, with sweet three part harmonies and strummy guitar work (“Fast Silver”’s outro solo is Ventura highway worthy).  Singer Tom Dougall (brother of thegrindinghalt resident muse, Rose Elinor Dougall) channels Robyn Hitchcock, singing of feeling “unreal” and “perfectly out of time”.

Clear Shot is due October 28, via Heavenly.  On this evidence, it should be very good, indeed.  Check out TOY on fbook, the twitt, and their website.  The band also have some tour dates coming up in the UK and Europe – you can find those here.