Monthly Archives: August 2018

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. 

 

Melbourne’s Terry Returns, Declare “I’m Terry”

Terry, I’m Terry (Upset the Rhythm)

Terry is a name whose Nordic meaning is, apparently, ‘like Thor’. Terry is a soft material used to make luxurious towels and bathrobes. Terry is also (and most importantly) a Melbourne-based quartet comprised of musicians from a veritable smorgasbord of excellent Australian indie groups including UV Race, Total Control, Dick Diver and Primo! (and those are just the ones I already know and like – I’ve got to get busy listening to the rest). Following their early EPs and a duo of excellent albums (2016’s Terry HQ and last year’s Remember Terry), the band return with the fantastic, I’m Terry.

I’m Terry retains many hallmarks of the band’s sound – interchanged and/or tandem vocals (one of the men sounds an awful lot like Robyn Hitchcock to me, but forgive me, dear reader, for I know not whether tis Zephyr Pavey or Al Montfort); a Gun Club-esque perversion of country slide – further enhanced and dynamic than on prior releases. The languid cool veneer is also present, as is the band’s knack for wry, observational lyrics – I was reminded of early Go-Go’s tracks like “This Town” for the ability to match this type of language with a kind of gritty pop (see also bands like The Vaselines and The Fall).

This detachment works particularly well when cracks start to form and the band allows itself to indulge in the sneer underneath, as in the full scale rockouts of closer, “For the Field”, and the conclusions to “Bureau” and ‘needs a dance to go along with it’ “The Whip” (the former ultimately cascading into a blissful fade out). Highlights are many, and include the Ballboy-like stream of consciousness vocals on “Carpe Diem”, which sounds like a kind of warped lullaby, and the aforementioned pogofest that is “The Whip” (just try getting that ‘na-na’ chorus out of your head anytime soon). My personal favorite flits, usually alighting upon the hypnotic “Under Reign”, with its sly bassline amplifying the “reek of reason”; calm recitations emboldened by cinematic synthesizer, creaking under the weight of a crazed saxophone solo. Brilliant.

I’m Terry is released August 31, courtesy of the phenomenal Upset the Rhythm label (seriously, in what world does one roster include Terry, Primo!, The Green Child, Gen Pop, Vexx, Sauna Youth, Vital Idles, The World…crazy). Surveil (in a supportive way) Terry’s online movements on instagram and/or the twitt. The band’s upcoming tour dates in the UK and Ireland can be found here. 

Sweat Out the Jams with Our New Playlist!

Check out our new playlist, featuring current faves (per usual, only the ones we could find on soundcloud – others to be shared). Enjoy!