Album Review: City Yelps, Half Hour

City Yelps, Half Hour (Odd Box Records, 4/22/2016)

After a few blistering singles and 2014’s Cheap Psych cassette, Leeds, UK-based City Yelps are back to delight us all with a brand new long-player, Half Hour.

City Yelps channel a whole host of bands in crafting their own take on skewed indie pop:  the woozy, lo fi psych-pop charm of Flying Nun and C86 bands; the wiry, spiky tones of Swell Maps, The Fall, even Half Man, Half Biscuit.  Singer/guitarist Shaun Alcock delivers wry lyrics with a withering sneer – amidst a maelstrom of detuned guitars, layers of reverb and snare shots that sound like a slap – sounding like the acerbic uncle who you not so secretly love to hang out with at the holidays.

What counts most, though, are the songs – and these are effing fantastic.  Tracks like “We Like the Hours”, and the raucous one-two punch of “Light and Classical” and “Making Noise”, twist, swing and sway like a punch drunk fighter who might be going down, but is taking folks with him.  Unwind the gauzy bandages of tape hiss and distortion and what you discover are strong, tightly arranged melodies, played with the righteous indignation of a group with courage in their convictions.  After spending a Half Hour with them (see what we did there?  Get on with it?  Ah, yes, ok…), you’ll be convinced, too; hell, you may even tell two friends, and so on.

Half Hour is out now, courtesy of Odd Box Records.  Order it now on the label’s bandcamp page, and check out the band’s newsletter page on fbook.  While you’re at it, hop on over to the band’s own bandcamp page and pick up a copy of Cheap Psych.  You know you want to.

Highlights include:  “We Like the Hours”, “Now”, “Light and Classical”, “Music for Adverts”.

Album Review: Higher Authorities, Neptune

Higher Authorities, Neptune (Domino, 4/20/2016)

Higher Authorities is a side project of Ade Blackburn and Jonathan Hartley, founders of Liverpool paranoid psych-rockers, Clinic.  Joined by ace dub producer Adrian Sherwood, the three have created a fantastic dub/psych meltdown in Neptune.

To put the paraphernalia on the table, then:  yes, the use of “higher” in the moniker is likely not a coincidence and, yes, the album was purposely released on 4/20.  Waiting to exhale, apparently, was rejected as an album title.

The link up with Sherwood as a production partner is inspired, with him raiding the Black Ark and adding his trademark foreboding atmospherics to every track, from skittery echo chaymbah vocal samples, squelchy keys, and burbling bong water (er, “found sounds”).  While dub and psych, while both constant reference points (see “Colours”, with it’s killer dub drum and bass rhythm), are not the only influences on show here.  Cheesy, lo-tech synth tones abound, with shuffling rhythms and typically mumbled vocalizations from Blackburn.  Tracks like “…and why not” are hazily dreamlike and pastoral, recalling not so much “Black Gun” as a tripped out take on gloriously cheesy 70s AM gold staple, “Loving You” – and it absolutely works.  “Monocle Man” strides along like some kind of demented cabaret number; “Abracadabra”, a lascivious, lost disco deep cut.  “Neptune” oozes, at around the 2:15 mark, into a middle tiptoe through the elysian fields; lovely stuff.

Overall, the album seems a bit less structured than the recent output of Blackburn’s and Harley’s main gig.  Highlights abound here, the overall sense being of musicians having a really freaking good time making music together.

Neptune is available now, on Domino.   While their internet presence is elusive, you can check out the band on fbook and their website.

Highlights include: “and why not”, “Colours”, “Neptune”, “Twilight (In the Luminous Lodge)”, “If”.

New Track(s) Review(s): Amber Arcades

Amber Arcades, “Fading Lines”, “Right Now”, “Turning Light” (Heavenly Recordings)

Amber Arcades is the nom de la musique (is that a thing?) of Dutch artist Annelotte de Graaf, who is set to release her new album, Fading Lines, in June.  Lucky for us, three of the album’s tracks – “Turning Light”, “Right Now” and, most recently, the title track – have been released into the ether for your listening pleasure, each showing a slightly different variation on psych-tinged dream pop.

There’s a languid, partly sunny/mostly cloudy (eye of the beholder), gossamer-wrapped melodic quality to both “Right Now” and “Fading Lines”, with hints of C-86 jangle, and bands like Lush, Melody’s Echo Chamber and Trespassers William.  de Graaf possesses a light, somnolent voice that fits the mood perfectly, sitting dead center of the mix, accompanied by a loosely strummed, reverb-heavy Rickenbacker (de Graaf penned the tracks, and the album was recorded with musicians from Real Estate and Quilt, as well as Kevin Morby of The Babies).  The soundtrack to a wordless car trip through the countryside, shot on over-exposed Super 8 film.

“Turning Light”, while still light on its feet, gains traction through the use of a chugging, kraut rock drum and bass rhythm.  The vocal melody reminds me of Broadcast (in particular, “America’s Boy”) and comes off less dream pop and more something from label mate, Gwenno (who we are, admittedly, slightly obsessed with).  Train trip this time, then?  It’s an interesting twist and bodes well for sound variety on the full length.

Fading Lines is due June 3, on the always Heavenly.  Check out Amber Arcades on her website, fbook and SoundCloud.

New Music: Trust Punks

Trust Punks, “Mother’s Veil”, “Leaving Room for the Lord”

Two new(ish) tracks from Auckland, New Zealand’s Trust Punks, each showcasing a different side of the band’s sound.

“Mother’s Veil”, released in November, shows a softer, wistful touch.  Narcotic, dreamy jangle psych-pop, reminiscent of the band’s Flying Nun countrymen, up through the quieter moments of Brian Jonestown Massacre and maybe even first album Shins.  Strummed guitars, an airy bassline and what sounds like tape hiss weave a lucid dream, sadly interrupted by the feedback alarm clock ending.  Heavenly.

Newer track, “Leaving Room for the Lord”, exudes a brasher, more dissonant and, er, “punker” sound.  Shades of early Killing Joke and PiL, plus some Jesus Lizard noise finds the band in a similar lane to Ireland’s Girl Band on this one.  Jagged, clamoring guitars, roiling drums and shouty vocals stagger and crash into each other drunkenly, setting a combative tone.  Satisfyingly brutish.

According to a post on the band’s fbook page, “Leaving Room” will feature on the band’s upcoming album, entitled “Double Blind”.  No further details at this time but, in the meantime, explore their earlier releases, including great 2014 release “Discipline”, on bandcamp.  Sadly, we missed that one first time ‘round, but are having fun playing catch up.

New Music: Andy Stott, Butterflies

Andy Stott, “Butterflies” (3/30/16, Modern Love)

Like fellow traveller Burial, much of Andy Stott’s earlier work is characterized by a palpable sense of decay and loss – paranoiac dub echoes, muted sounds, imploding beats, signs of brightness struggling to be heard from under dense layers.  Both artists, since, have taken their music out from behind these gauzy curtains, allowing more and more light to penetrate.  For Stott, this process began with 2014’s wonderful Faith In Strangers (check out our write up, here) and continues apace with his latest single, “Butterflies”.

Taken from forthcoming new album, Too Many Voices, “Butterflies” features bent, glassy synths over an insistent, almost playful beat – the whipsnap snare even threatens to go “full banger”, but holds its fire; breathy, hushed vocals in the Sampha mode more prominent in the mix.  Sounds a bit closer to the kind of outré r&b offerings of artists like Jessy Lanza, and sounds positively, er, luxurious compared to tracks from Stott’s 2012 opus, Luxury Problems…and it’s fantastic.  Another notch in the belt, then, for M. Stott; bring on the new album.

Upcoming tour dates:

April 13, @Patterns, Brighton, UK
April 15, @Church of St. John-at-Hackney, London, UK
April 29, @Echoplex, Los Angeles, CA, US
April 30-May 1, @Further Future Festival, Las Vegas, NV, US
May 7, @Pappy & Harriet’s, Pioneerstown, CA, US
May 8, @Music Box, San Diego, CA, US
June 11, @Funkhaus, Berlin, GER
July 15, @Ferropolis, Leipzig, GER
August 27, @FYFest, Los Angeles, CA

Too Many Voices is released April 22, on Modern Love.

New Music: Innerspace Orchestra, One Way Glass

Innerspace Orchestra, “One Way Glass” (Different Recordings, 3/4/2016)

Innerspace Orchestra is a group comprised of Rose Elinor Dougall (formerly of The Pipettes, as well as an established solo artist), Tom Furse of The Horrors, and Cathy Lucas of Fanfarlo.

“One Way Glass”, a Manfred Mann rework, is their debut single as a group, combining the cinemascopic, prog/wave lushness favored of late by Furse’s main group, with Dougall’s dreamy, psych-inflected, halcyon pop and Fanfarlo’s rhythmic sensibility.  The single swirls and sways through 3 minutes and change of pure bliss – from the shuffling, baggy drum intro, on through the raga sitar breakdown towards its completion.  A song with so many elements that it runs the risk of coming off bloated, instead feels effortless.

Dougall’s voice is as enchanting as ever, inhabiting the groove and melody from within – she’s an artist whose post-Pipettes body of work deserves a wider audience; here’s hoping she gets it.

“One Way Glass” is out now on [PIAS] electronic imprint, Different Recordings (under license from Smile Recordings).  Enjoy the trippy video, below, and follow the band’s musings on fbook and the twit.

New Music: Synthetic ID, Ciphers

Synthetic ID, “Ciphers” (Castle Face Records)

Synthetic ID are a band out of San Francisco, who have been releasing music since 2012, but are new to us.  Don’t know how we’ve missed them up ’til now.

“Ciphers” is a brilliant piece of spiky, funky post-punk, in the vein of Gang of Four and 154-era Wire, with a soupçon of Crass.  The track features a lurching, hypnotic bassline and angst-inducing guitar stabs; shouted vocals talk of searches and receipt of ciphers with “missing words”, incapable of translation and decoding – messages received but not trusted.  The peculiarly modern sensation of interconnectedness increasing isolation on our Big (Brother) Blue Marble – who’s real and what isn’t?  Fever dreams of electric sheep.

Synthetic ID’s debut, Impulses, is out April 22 on the consistently bodacious Castle Face Records. Check out the band’s earlier releases on their bandcamp page.

New Music: The December Sound, Real Reign

The December Sound, Real Reign (self-released, 3/11/2016)

Fantastic news that this long dormant Boston band has once again resurfaced.  Real Reign is a new, two-track release from The December Sound:  here’s hoping it’s a sign of more new things to come.

Lead track, “Speaking From Tomorrow” is a typically noisy cloudburst of a track.  Showcasing the band’s aural fission of shoegaze, industrial, drone and even a bit of britpop, the track thrums with a narcotic drumbeat, wall of noise guitars, and whispered vocals in the vein of Robert del Naja.  Second cut, “Just Let Go” shows a softer side, a psych drone and slow burning bassline reminiscent of Spacemen 3 or Loop slowly moprhing into a kaleidoscopic churn of, er, looped guitar effects and a mantra-like repetition of the titular refrain.

Real Reign is available now through on the band’s bandcamp.  In addition, you can – nay, should – now order The December Sound’s excellent 2007 debut, The Silver Album, directly from the band by messaging them via their Facebook page.

Album Review: Running, Wake Up Applauding

Running, Wake Up Applauding (Castle Face Records, 1/15/2016)

Blistering, relentless new long player from Chicago’s Running.

Building on 2013’s excellent Vaguely Ethnic and subsequent singles, Running return with another set of vertigo-inducing punk/psych/noise/drone/whateverit’sgoodsojustlisten.  Wake Up is a loud record that begs to be played loud:  layers upon layers of reverb and drone textures mix with the jagged shards of feedback; largely indecipherable, muzzled vocals at the center of the sonic maelstrom.  This is the soundtrack to a paranoid schizophrenic’s psychotic break,  careening blindly through dark alleys in search of respite from the voices, the shadowy figures emerging from formless shadows.  Tension, tension, tension.

The lightning ride manipulation of guitar feedback is even more up front than on past releases, like 2014’s Totally Fired.  The band’s sound still includes a fair bit of the scorched earth hardcore of early Black Flag and of more experimental bands like Flipper, as well as early doom metal (lots of circle pit bridges).  There’s also room for aggressive, PiL post-punk, spazzy noise a la bands like Scratch Acid, and even a bit of a ROIR tape Bad Brains vibe (particularly on “Fucktown Reality”).

The album art appears to be a cross-section of skin, with an arrow indicating “running” just beneath the surface of the derma.  Appropriate, somehow, for a record that burrows deep.

Wake Up Applauding is out now, on Castle Face Records.  Since it’s basically impossible to find much of anything about this band – they have a Soundcloud page, in addition to the bio page on the Castle Face website – here’s hoping for some advance notice when next they emerge from the lab and tour.

Highlights include:  “We Never Close”, “Fucktown Reality”, “Wake Up Applauding”, “Art Seen”, “No Wave Jose”.

Album Review: Choke Chains, S/T

Choke Chains, S/T (Slovenly Recordings/Black Gladiator, 1/29/16)

Full throttle, stridently miscreant rock and/or roll from Michigan’s Choke Chains.  Hints of proto-punk standard bearers The Stooges and Electric Eels, garage idols The Sonics and newer bands like Rocket From the Crypt can be heard throughout (perhaps unsurprising, given the band features alumni of bands like The Dirtbombs and Bantam Rooster), but the band makes room for their own, individual spin.

The groove-centered, r&b swagger on display is infectious, though the music feels more in the ‘punk’ vein than straight garage.  There are some cool production touches, too – the heavy, loose-stringed bass sound is great (particularly on “Let’s Try Suicide”), and the sax stylings on the understated “Rock, Paper, Rapist” are a welcome addition to the sound.  In case you hadn’t already surmised, the band like to play with tongues firmly implanted in cheek – other titles include “Cracked Dracula”, “Moisture Detective” and “Safe Word”.

Eruditely-monikered lead singer Thomas Jackson Potter’s vocals are heavily muffled on many tracks, painting an image of the band bashing away in a supposedly “abandoned”, makeshift practice space, while Potter screams for recognition (vengeance?) from an underground bunker – or maybe that’s just me…  Other tracks lift the veil a bit, with “Random Number Generator” even featuring a hint of – !!!- falsetto.  Throughout, Potter displays charisma to match the band’s assured playing.

The album is out now through the excellent Slovenly Recordings (via their Black Gladiator imprint).  Get to know the band on fbook and on their bandcamp page. While you’re at it, check out the meaty (sorry) vid for “Safe Word”, below, and catch them at their upcoming March 26 gig at the UFO Factory in Detroit, if you’re able – here’s hoping for a tour!

Highlights include: “She Collects Calendars”; “Safe Word”, “Rock Paper Rapist”.