Tremendous first single from the Brummie trio what used to be Distophia's second album, heading their blazen power trio dynamics down quite a Cap'n Jazz/Hot Club de Paris route, which is very fine by us
Never would have thought when Sleater-Kinney split that Corin would beat Carrie to the next musical project, but here we are. The interplay of ver Kinney is swapped for bar band bludgeon guitar riffola, but the driving righteousness is purest Tucker.
We had a video for a track from Essex Arms the other week but this is the first proper single, sounding like classic Hayman acoustic songwriting - there's an oboe in there somewhere, apparently - with inventively homespun lyrics.
Maybe the hyperbolic "best Edwyn album ever" notices his new album are receiving this early on are overheated - hit aside he was ploughing this exact Northern Soul with regrets furrow through the mid-90s - but you can't argue it's not great, and hugely relieving, to have him around. Co-written by the Drums, FWIW.
From new EP Uv Been Robbed, (Joking, But Not) - no, that's actually what it's called, pay what you like on Bandcamp - an object lesson in taking influence from some of the same things properly popular and successful people are mining but doing it all wrong, deliberately, for a laugh. Turns out behind all this is Adam Crisp, former leader of noisy beggars of the mid-00s Elle Milano, not that it's immediately evident in this recreation of James Murphy being locked in a VHS hall of mirrors.
With Silvery back with a new album this week it seems we're about ready for an odd art-pop revival, and a proper un-daytime radio one this time. And now with added klezmer. And what's more, it's free!
Representing from the new acoustic reinterpretations EP All's Well That Ends. That'll be our first proper hearing on record of Kim on initial vocals, even though she seems not to share her brother's accent.
That's how they've spelt it, don't complain to us. Much as the lo-fi edge got them blogging attention to begin with, that they've got a song called Go-Betweens on their Myspace, if not entirely accurate, does let slip they'd rather be part of the Dunedin sound than Manchester's.
Next single (6th September) from the A&E-friendly Leodensians comes on intent on corroding every living electron of your flesh. Or something like that. They recently put out an appeal for "musical instruments to smash to tiny pieces" for the as yet unreleased video. It fits.
You may have come across the Australian trio when they traded as Pivot; what you may find intriguing is the circular varispeed electronic chant tribalism.
Usually part of the analogue and hauntology-friendly Birmingham retro-futurist scene, they welcome summer with something pretty Ray Davies-like. As reinterpreted by mid 70s Brian Eno or mid 80s Julian Cope, admittedly, but the Kinks influence is strong. Free download from that Soundcloud link, by the way.
They've played around with keyboards on occasion - Somersault, Keepsakes - but this is probably the best they've been able to feed them into a non-linear Sky Larkin sound. Songs about apocalyptic death never sounded so optimistic.
Given we seem to be into a summer of surf-rock, surely it's time these Brooklynites got a mention. Not enough weed braggage, maybe. Anyway, this is from their new album Curses! and chimes, sways, harmonises and reverbs in all the right places.
Better than Best Coast's album - official! Nathan Williams attempts to define himself in the first line, and then with a gloriously summer guitar pop cut disproves a lot of it.
The Chap's We Work In Bars came out while we were holding off from bringing this format back, but now it has a video...
The Chap - We work in bars from Harry Rambaut on Vimeo.
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