Tag Archives: burger records

Spike Vincent’s Self-Titled EP is Well Worth Settling Down With

Spike Vincent, S-T EP (Burger; Dinosaur City)

Spike Vincent – pictured above with a glorious coiffure exuding an Italia ’90 Rudi Voller or Hard Target-era Van Damme vibe – hails from Hurlstone Park, Sydney, Australia. After releasing a couple of 7” singles on local label Dinosaur City Records, Vincent recently exhaled a self-titled EP chock full of shimmering, emotive indie guitar pop.

Where previous singles were self-produced, the EP sees Vincent backed by a full band as part of a live, in studio recording. The intimate, unpolished “live to tape” process serves as the perfect setting for the bruised romance of the EP’s six tracks. Highlights abound: “Lie in the Dust” swoops and darts – but never quite alights – like a long-lost The Church single (Vincent’s tone, particularly in the lower register, calls to mind that band’s Steve Kilbey); “Get Over It” is a luxurious internal monologue debating the merits of a relationship’s ‘next step’; closer, “I Like You” a somewhat tortured love note with a sing-along chorus and lines like “if I like you/will my soul turn into gravel/…will my life start to unravel”.

Vincent’s self-titled EP is available now, via Dinosaur City and Burger Records in the US. You can grab a copy on his bandcamp while having your data pilfered on fbook (too soon?) and instagram.

Review: Juniore, Marabout

Juniore, “Marabout” ep (Le Phonographe)

Juniore is an all-female trio based in Paris, and “Marabout” their latest fantastic collection of psych-pop.  It’s got a really great beat, and we’re totally freaking out to it.

“Marabout” finds the band mining fluid, in the pocket rhythms and bass lines that cast a more modern light on a worthy addition to the imperious French, 60s yé-yé and beat pop lineage, of a mind with artists such as Melody’s Echo Chamber and Julien Gasc.  Like the best psych-pop, there’s a hint of malice just underneath the surface – opening track, “Mon autre” starts with a screech worthy of Psycho, while the title track features a malevolent, Screamin’ Jay Hawkins-ish cackle – and there’s more than a glimmer of M. Gainsbourg’s discomfiting atmospherics on show.  There’s also elements of more American sounding 50s-60s pop and surf (perhaps not surprisingly) on closer and personal fave, “A la plage”, as well as the leftfield garage and pop of that era that would later inspire groups like The Cramps and The B-52s.

My french isn’t good enough to decipher much of the lyrics, so I was left to be swept away by the effortless charm and skill in the arrangements and the playing.  Anna Jean’s vocals are beguilingly insouciant throughout, a calm amidst the groovy Shindig! party around her, which might inspire you to act like l’homme sur la gauche in this video.  Effortless cool; hide your gauloises.

After releasing a few 7” singles and eps in Europe on Le Phonographe – all of which are available to purchase via their Bandcamp page – Juniore’s collected works are, happily, being given a U.S. release thanks to the formidable Burger Records.  Be sure to also check out Juniore on fbook and twitter.

Album Review: Froth, Bleak

Froth, Bleak (Burger Records (CD, vinyl); Lolipop Records (cassette), 5/19/05)

New record from L.A., by way of El Segundo band, Froth.  While I missed the boat on their debut release, I stumbled across this one and, well, I really like it.  There’s some cool history of the band – which only formed in 2012 – out there.  Since it’s pretty easy to find on the interwebs (like, here), I won’t repeat it in detail here:  suffice to say, the band (by their own admission) started off as a bit of a “joke”, then remixed a song from their first record for Yves Saint Laurent’s fall 2014 men’s fashion show (which is likely why they are discussed in (en?) Vogue).  Oh, la la!

Froth cranks up the psychedelic edge of dream pop and shoegaze, calling to mind similar efforts by bands such as the Brian Jonestown Massacre (think songs like “Evergreen” or “Swallowtail”).  Lead singer Joo Joo Ashworth sings in a kind of dazed croon, sounding a bit like Donovan or, more obscurely, Al Stewart.

Bleak‘s nine tracks glide, swerve and swoon by in around thirty minutes or so, during which time the band blends elements of ‘60s psychedelic pop, garage rock, shoegaze and dream pop.  Familiar elements are collected and mixed to great effect:  the jangle-tinted psych pop of the title track; the BJM meets My Bloody Valentine of “Postcard Radio”; the “Be My Baby” beat in ballad, “Nothing Baby”; the psych stomp of “Saccharine Sunshine”.  Album highlight “Turn It Off” combines all of these into a swirling, glorious, tilt-a-whirl head rush of a track.

Bleak is out now and available for download on the band’s Bandcamp page.  Check them out, as well, on Facebook.  In August, Froth will be on tour supporting The Drums on a jog through the wide open spaces of the Western United States – tune in and drop out with them if you’re in the area.

Highlights include:  “Turn It Off”, “Bleak”, “Postcard Radio”.