Trip Villain is a Brooklyn-based power duo that fuses synth-laden psychedelia with the prehistoric stomp of doom metal. Trip Villain is Josh Musto (Tragedy, ex-ShitKill, ex-Netherlands) and Damien Moffitt (Leach, ex-ShitKill, ex-Netherlands). Today, Trip Villain released their new dance-punk single/title track “Won.” This is the third single off their upcoming debut LP, Won, which drops February 22nd. Accompanying the single is a live in-studio performance of the song shot at Rad Hazard Studios.
Guitarist Josh Musto and drummer Damien Moffitt share “The title track, ‘Won’ was the first jam we came up with as Trip Villain. The prompt we gave ourselves was ‘heavy, sexy, dancey,’ and once our friend, Trip-Pop artist, Leach recorded a guest vocal, it gelled beautifully. Lyrically, ‘Won’ is about breaking free from bad relationships and controlling your own destiny.
An instant digital download via Bandcamp of the three singles “Won”/ “The Villain”/”Is This Love?” comes with a preorder of either the digital album Won or the two-track 7″ flexi-disc of “The Villain” & “Ego Death.”
The 7” Flexi-Disc is two tracks (The Villain, Ego Death) and comes with a full album download via Bandcamp. 7” Flexi-Discs will not ship until late-March.
Trip Villain explains“Won is the culmination of the two of us playing together in various bands since we were thirteen. We wanted to make an album that punches as hard as the riffy metal bands we grew up with, but with the emotional depth and synthy sparkle of the psychedelic music we’re influenced by as adults. Since most of these songs were born out of improvised jams, our seventeen years of musical chemistry is front and center. The sound we ended up with lands somewhere between the metallic grooves of Helmet and the tripped out ecstasy of The Flaming Lips, all with a deep reverence for the almighty RIFF.”
Two previously released singles from the upcoming album, Won, “Is This Love?” and “The Villain”are also currently streaming HERE on Spotify
Partner are back with a new single and video “Time Is A Car“. It is a new single for a new era as we enter 2022 and the youngest member of Partner (Josée Caron) enters her 30s. This single follows Partner’s Never Give Up(You’ve Changed Records) and their break out debut album, In Search of Lost Time.
A Message from Partner: “This is a song that we wrote while reflecting on the years that have passed and the way that the passing of time offers fresh perspectives. Fittingly enough it’s ready just in time for us to present it to you on Josée’s 30th birthday. Time sure does fly!!
We had a distinct idea for the visual accompaniment to this track and we knew there was one person who could bring it to light; our beloved and frequent collaborator Lesley Marshall. However, when we were informed that the time to make a video was upon us, it seemed close to impossible that we would be able to make the trip to meet with her. While she is close to our hearts, we were separated by 4580km (2845 miles for our USA/UK friends). However, Lesley and the team at MAVN thankfully remained undaunted by such concerns. The result is one of our very favourite videos to date.”
“Time Is A Car is a meta music video. A music video in a music video. It’s what would have happened if Thelma and Louise escaped with all the money and drove happily ever after off into the sunset and had wonderful prosperous lives. Fueled by music video epics, pulp films, and ripe with sarcasm, Time Is A Car, has the parody quality of Beastie Boys’ Sabotage and the vibrancy of Megan Thee Stalion’s Thot Sh*t.” – Director Lesley Marshall
During a brief period in 2020 when it was safe to travel, the band headed to Gabriola Island on BC’s West Coast where they quarantined themselves for 14 days in a cabin writing and rehearsing, and then headed into the studio for 7 days at The Noise Floor Recording Studio. “Time Is A Car” is the first song from this session. More to come later in 2022.
Lucy and Josée formed Partner in the spring of 2014. They were looking to experiment with genre, discuss being gay, and share some jokes and ideas. Their objective has remained the same over the past seven years, although in that time their sound has shifted considerably.
Partner’s debut album In Search of Lost Time (2017) made an impact with its big guitars and polished sound. The record, mixed by Chris Shaw (Ween, Bob Dylan, Cheap Trick), landed a spot on NPR’s All Songs Considered, along with Stereogum, Noisey, Exclaim, CBC Music, Indie 88 and many more best of 2017 lists. The album was shortlisted for the Polaris Prize, and Partner were the recipients of the SOCAN songwriting prize for their song “Play the Field”.
Partner’s follow-up EP Saturday the 14th found the duo embarking on bolder and more playful compositional excursions. Throughout this highly experimental period, ideas for the next album began to coalesce. In the summer of 2019 Lucy and Josée joined all-star drummer Simone TB (US Girls, Highest Order, Darlene Shrugg) in the studio to create their second full-length album, titled Never Give Up. With Never Give Up, Partner returned to their classic rock roots and awakened their truest gifts to deliver their most exciting, riff-laden effort yet.
Today, CHAIpresent a new single, “WHOLE,” released via Sub Pop. In addition, “WHOLE” is confirmed as the theme song for Japan’s public broadcaster NHK’s new romantic-comedy-drama series, Koi-senu Futari. Tapping their San Diego-basedWink Together collaborator, Scoobert Doobert, to produce, “WHOLE” is a nostalgic and romantic J-POP track, charged with harmonies and melodies that draw influences from 90’s Japanese TV drama songs. The lyrics, inspired by Koi-senu Futari’s storyline featuring an aromantic/asexual couple, touch on the theme of universal and unconditional love. “WHOLE” speaks on the desire to accept one another’s differences, to love one another as a “whole,” and the wish to “turn this anger into something beautiful”—a message that reverts back to CHAI’s philosophy as artists.
Yuuki, who penned the lyrics, says the song: “Sometimes, no one empathizes with you. But is that really a bad thing? I don’t want to make my thing, or someone else’s thing, something to be ashamed of. Because our ‘differences’ may not be our enemies. I wish we could love each other’s little differences and little similarities entirely– that’s the hope behind this song.”
Next month, CHAIwill begin their WINK TOGETHER tour before embarking on a string of sold-out dates supporting Mitski. Full tour dates are below.
CHAI TOUR DATES Fri. Feb. 4 – Chicago, IL @ Lincoln Hall Sat. Feb. 5 – Milwaukee, WI @ Cactus Club Sun. Feb. 6 – Minneapolis, MN @ 7th Street Entry Wed. Feb. 9 – Toronto, ON @ Lee’s Palace Fri. Feb. 11 – Cambridge, MA @ The Sinclair Sat. Feb. 12 – Philadelphia, PA @ The Foundry Sun. Feb. 13 – Washington, DC @ Union Stage Tue. Feb. 15 – Brooklyn NY @ Elsewhere Thu. Feb. 17 – Asheville, NC @ The Orange Peel * – SOLD OUT Fri. Feb. 18 – Raleigh, NC @ The Ritz * – SOLD OUT Sat. Feb. 19 – Atlanta, GA @ The Eastern * – SOLD OUT Mon. Feb. 21 – Birmingham, AL @ Iron City * – SOLD OUT Tue. Feb. 22 – New Orleans, LA @ Civic Theatre * – SOLD OUT Thu. Feb. 24 – Houston, TX @ White Oak Music Hall (Outside Lawn) * – SOLD OUT Fri. Feb. 25 – Dallas, TX @ The Bomb Factory * – SOLD OUT Sat. Feb. 26 – Austin, TX @ Austin City Limits Live at the Moody Theater * – SOLD OUT Mon. Feb. 28 – Phoenix, AZ @ The Van Buren * – SOLD OUT Wed. March 2 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT Thu. March 3 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT Fri. March 4 – Oakland, CA @ Fox Theater * – SOLD OUT Sat. March 5 – Oakland, CA @ Fox Theater * – SOLD OUT Mon. March 7 – Portland, OR @ Arlene Schnitzer Concert Hall * – SOLD OUT Wed. March 9 – Seattle, WA @ Moore Theatre * – SOLD OUT Thu. March 10 – Seattle, WA @ Moore Theatre * – SOLD OUT Sat. March 12 – Seattle, WA @ The Crocodile Sun. March 13 – Portland, OR @ Doug Fir Lounge Tue. March 15 – San Francisco, CA @ Bimbo’s 365 Club Thu. March 17 – Los Angeles, CA @ Teragram Ballroom *= supporting Mitski
The songwriting on Due North is outstanding. That, and Kazar’s piano and guitar work, put him up there with Lindsey Buckingham and Joe Jackson in my opinion. This was one of the brightest spots of a gloomy year.
This double-album is one of the most beautiful records about death that you’ve ever heard. It’s grand, glorious, and resonant after a year when all of us lost someone – either within our own homes, across the street, or on the other side of the globe.
It’s no coincidence that Dry Cleaning’s first proper U.S. tour sold out at nearly every stop. They’re the queen and kings of British post-punk right now, and New Long Leg – their first full-length album – is a great follow-up to their multiple EPs (all of which were also excellent).
The second Levitation Sessions album from Osees was somehow wilder than the first. Livestreaming it in our home at loud volume during lockdown was a blissful escape for the entire time. The set included plenty of deep cuts, including multiple Chrome covers.
Recorded during their set night at The Chapel music venue in San Francisco, and just before the pandemic shut down touring for everyone everywhere, this live album is one of Osees’ best. It captures the chaos of their shows, highlights some of their prog-rock love, and served as a reminder to stay healthy and take care of each other so we could get back to seeing concerts again.
This delightful live album from The Beths is full of joy. The band was over the moon, the crowd was ecstatic, and daring to open with “I’m Not Getting Excited” was a gutsy move when everyone in the place was bursting with energy.
Acid Dad were a band I’d heard a lot about, yet didn’t know much about them. I caught them live about an hour from my house and was sold within two songs. Take It from the Dead is a fine psych-rock record with touches of surf that make it a standout.
Ty Segall added a bunch of synths and electronic beats to his already heavy fuzz rock, and the result, Harmonizer, was impressive. He showed his love for krautrock and even dance rock, and that he could pull off both genres as easily as psych jams.
Easily one of the loveliest and sexiest albums of 2022, Till I Start Speaking is a great mix of Morly’s vocals, electro-beats, and synths. I hadn’t heard of Morly until this record was sent to me, and it was a pleasant discovery.
Speaking of lovely records, here’s another one. Bossa nova, disco, ambient, and house all merge together for an album as pretty and trippy as its cover.
As always, I actually wait until the previous year has ended to put out my list of my top albums (and live performances, which will be listed in other posts), because albums are released all the time. Many excellent albums have been released in many Decembers and gone forgotten or ignored by music critics and bloggers.
So, without further ado, let’s get started. I reviewed sixty-five albums last year, so I cut the list in half to cover the top of the bunch.
This is a wild punk rock record from a band with a goofy name and serious chops. I mean, you have to be good with a name like “Shred Flintstone.” Unlimited Power is appropriately titled, because the whole thing is bursting with energy.
This is a wild double EP of post-punk and krautrock from Berlin. It ranges from dance beats to rock riffs and was one of the best releases fro Dedstrange all year.
This four-song EP is solid alternative rock with catchy hooks, great double vocals, and heavy riffs that bode well for a full-length album in the future.
The Reverb Appreciation Society has been issuing “Live at Levitation” albums for a little while now, so it was no surprise that The Black Angels, who started the RAS and also started and still help curate the annual Levitation Music Festivals in Austin, Texas and Angers, France, should get their own release in the series. It covers some of the bands’ earliest performances at the festival and is a treat for fans of the band, the festival, and psychedelic rock.
Who cracked the top 25? Come back tomorrow to find out!
Constructed from a lot of improvised jam sessions, Parquet Courts‘ new album, Sympathy for Life, continues to embrace the band’s love of dance music and club rock.
Starting out with the groovy, bad-ass “Walking at a Downtown Pace,” the band makes you want to dress up, throw on some sunglasses at night, and strut your stuff on the way, at, and back from the club. The bass line is killer, the guitars a bit frantic, and the drums downright wicked. The song, like all the others on the record, was written before the pandemic, but now takes on an altered meaning post-pandemic. The lyrics are brutal truths: “I’m making plans for the day all of this is through…Food that I’ll taste and all the drinks that I’ll consume, return the smile on an unmasked friend…” / “Walk at a downtown pace and treasure the crowds that once made me act so annoyed.” / “Planning the future as if time is yours to choose.”
“Black Widow Spider” is a rocker about intense grief and trying to move beyond it. Believe me, I get it. “Marathon of Anger” brings in more synthesizers and electronic beats to create a dub-like banger about all of us getting back to the work of supporting each other after being separated for so long. “Just Shadows” is a tale of becoming addicted to routine, and how that gives you the false impression that you’re happy and everything is go well.
The beats on “Plant Life” would fit right in on a Talking Heads record. “Application Apparatus” is a song about the benefits and creepiness of GPS mapping – told with post-punk electro dance beats and guitar. “Homo Sapien” cranks the distortion for a song about how we’ve evolved from ancestors who beat stones into tools to people who crave “the sensual touch of glass, so smooth on the fingertips, the erotic quality of not feeling meaningless.” The title track seems to have been recorded with the ghost of Curtis Mayfield in the studio – it’s that groovy.
“Zoom Out” encourages us to look at the bigger picture (“When you zoom out, tomorrow is now. When you zoom out, together is now.”) – and to dance. “Trullo” is a weird, funky, skronky tale about cabin fever. The closer, “Pulcinella,” is a tale about being hesitant to embrace love again, especially after a long time away from it (“…the mind wanders home like a cat does when it knows it’s time to feed again.”). Again, I can relate.
The album is a clever mix of excellent lyrics, funky beats, and the promise of more epic things to come. Two of the tracks, “Marathon of Anger” and “Plant Life” were edited down from forty-minute jam sessions. I hope they kept recordings of them, because I’d love to hear those. How about releasing them to start afresh in 2022, PQ?
In 2017 Midnight Oil returned from a long hiatus with a sweat drenched pub gig at the legendary Sydney venue, Selina’s. In the middle of that special set, frontman Peter Garrett borrowed some famous lines, exhorting “rage, rage, against the dying of the light”. And that’s exactly what they’ve done ever since. They sold out 77 shows in 16 countries on their epic “Great Circle” tour. They toured Europe again, did a memorable gig in the outback, then returned to the studio for the first time in over 18 years and recorded 20 new songs. The first batch of that material, The Makarrata Project, debuted at #1 on the same weekend that longtime bass player Bones Hillman sadly died. Despite that profound blow, and a global pandemic, the band and their First Nations Collaborators still mounted their acclaimed “Makarrata Live” shows early this year – championing the Uluru Statement and highlighting ongoing injustices suffered by First Nations people.
Today Midnight Oil announced that this chapter of their career will come to a memorable close next year with the release of the other 12 new songs they recorded with Bones and a series of big gigs. Both are aptly titled Resist.
The band also announced that this will be their final concert tour while making it clear that this does not mean the end of the Oils. Each of the members will continue their own projects over the years ahead. They remain very open to recording new music together in future and supporting causes in which they believe but this will be their last tour.
Meanwhile Resist will be a fitting, forward looking, statement for a band whose clarion call has always been “it’s better to die on your feet than live on your knees”. The tour will see them performing classic Midnight Oil songs from across their repertoire while also showcasing some urgent new works. As the title makes abundantly clear, Resist engages with the issues of today and tomorrow – like the lead single “Rising Seas” which tackles the climate crisis in typically uncompromising fashion.
The album pre-order and Australasian tickets will go on-sale from next Tuesday 30 November. Dates, venues and all other info is listed at midnightoil.com/tour. A handful of international concerts is also being considered (subject to Covid restrictions).
Rob Hirst says: “If I look back, I see a blur of familiar names and faces: Jim, Pete, Martin, Bear and me, slamming loud prog-pop in a Chatswood garage; Giffo, magnificent, rocking back and forth at his first Royal Antler gig; Bonesy, headphones on, singing, lounging on the deck learning our catalogue.
I see our managers in their offices – Gary, Zev and John; our tour managers in their cars and buses – Constance, Neil, and Willie Mac; our producers in their studios, Keith, Lez, Glyn, Nick and Warne; and our crew on countless stages, Michael, Oysters, Ozzy, Doc, Nick, Jock, Gerry – and so many more.
I see our folks-in-the-engine-room that the outside world has never seen: Stephanie, Wayne, Diana, Arlene, Jonesy, Craig, Geoff H, Chris P, Peter T, and Mel C.
I see our wives and trusted friends, and the tiny faces of the ‘Baby Oils’, watching us from side of stage, from Sydney to Sao Paulo to Saskatoon.
But mostly, blinded by stage lights, I see the first two rows of a thousand gigs: Midnight Oil fans, pumping, jumping, singing louder than the band.
But I don’t look back.”
Peter Garrett says: “We all know time refuses to stand still for anyone but after many years together the band’s spirit is deep, the music and words are strong, and our ideas and actions as bold as we can make them. We’ve reached people in ways we never could have imagined. Our desire to create and speak out is undimmed. We hope everyone who hears this album and gets to one of the shows will come away charged up about the planet’s future, saying ‘why stop now?’. Having always tackled every tour like it’s the last – this time it actually will be.”
Jim Moginie says “We’ve played intensely physical gigs since our humble beginnings back in 1977 and we never want to take even the slightest risk of compromising that. A lot has happened over the last five years. Much has been achieved and with the passing of Bones much has been lost, so it now feels like we’re at the end of a cycle.
These will be sad and beautiful gigs but luckily we’re still capable of blowing the roof off any stage and that’s what we intend to do. You could call this a farewell tour, but Midnight Oil will still continue in some form or other as we’re brothers, family. We stand as one, dependent on each other and grateful in all the important ways that make great bands great.”
Martin Rotsey says: “A huge thank you to all our fans around the world. We’ve shared so much together from the swelter of Sydney pubs to magical nights under starry skies. Your energy took us further than we could ever have dreamed.
To those down the front in the maelstrom, those at the back of the room singing their hearts out, and all of those onstage, backstage, and back home who helped make everything possible, we send our thanks.”
From the northern beaches of Sydney to the streets of Manhattan, they have stopped traffic, inflamed passions, inspired fans, challenged the concepts of “business as usual” and broken much new ground. Seeing Midnight Oil in full flight is to experience the kinetic power of live rock’n’roll. They leave you inspired to live life more passionately and to Resist.
Midnight Oil calls for governments to urgently take serious actions that reduce carbon pollution. This tour will embrace best practices for emission reductions and offsetting. A portion of proceeds will be set aside for organizations seeking to elevate the existential threat posed by the climate crisis.
Members of Midnight Oil’s mailing list will have exclusive first access to Australian tickets. Anyone who signs up by 5pm Monday November 29, will receive a dedicated email later that evening, containing the presale ticketing link and password which can be used to purchase up to 8 tickets per show. Presales are expected to sell out quickly so fans are strongly advised to make sure they are logged into the ticketing agency website prior to the onsale times. Members of the General Public, including anyone who missed out on the presale, will then have access to tickets from Wednesday December 1. See below for ticketing information, and visit midnightoil.com/tour for specific show dates and information.
In addition to these shows, the band has already announced special appearances in Tasmania for Mona Foma 2022 and at Byron Bay Bluesfest next Easter. Details about those festival events at monafoma.net.au and bluesfest.com.au
Chicago’s Horsegirl, the trio of 17-19 year olds Penelope Lowenstein (she/her), Nora Cheng (she/her), and Gigi Reece (they/them), present “Billy,” their debut single/video via their new label, Matador. In conjunction, they announce a North American tour, during which they’ll make their SXSW debut and play their first show ever in many of these cities. Having only formed in 2019, Horsegirl’s first three singles captured the ears and attention of fans and critics worldwide, garnering early acclaim from the likes of Pitchfork, NPR, Stereogum, Sirius XMU, NME, BBC Music, and more. Following their appearance at the Pitchfork Music Festival this fall, where the trio performed for their biggest crowd yet, NYLONremarked “Horsegirl were welcome reminders of how rock music is better and more fun than it’s been in years.” Their new single “Billy” continues the band’s exciting early run and expands their already swelling wall of sound with three-part harmonies, overdriven guitars and unexpected tempo changes. Recorded at Chicago’s Electrical Audio and co-produced by the band and legendary producer John Agnello (Dinosaur Jr., Sonic Youth, Kurt Vile), “Billy” marks a significant evolution for the young band. The “Billy” 7”, out March 25 and available for pre-order today, features a cover of the Minutemen’s “History Lesson Part 2” on the b-side (available only on the 7”). Horsegirl discuss creating the song and video:
“There was a period of last year where the three of us spent every day together writing and recording. It was during this time, when we practically lived in Penelope’s basement, that ‘Billy’ was written. Penelope had recently read about Nick Drake’s alternate tunings prompting her to detune her guitar, while Nora overlaid a rhythmic vocal line detailing the life of a fictional character, Billy. At the time, we had been listening to a lot of New Zealand underground bands (80’s/90’s Flying Nun). With that scrappiness in mind, we worked the rest of the song out through improvising together, and ‘Billy’ quickly fell into place.
“‘Billy’ is our first release with a label, and it feels particularly special that it is with Matador, whom we have admired since we were young. After a year of hard work, we are very happy to finally share music, especially with those who have uplifted Horsegirl in the last year. We feel so thankful to have been able to record this song with John Agnello, whose work we adore, at Electrical Audio, a Chicago institution. Recording this song was a dream experience for us, and John has become a very trusted mentor.
“We shot the ‘Billy’ music video with our friends on a rainy Chicago day and feel particularly thankful for everyone who danced the twist with us, and those who gave us their apartment, camera equipment, film expertise, and feedback. This video is a love letter to our city and friends. The song is a love letter to past music scenes we wish we could have witnessed. Please listen to ‘Billy’ in your kitchen with a group of good friends and dance along– we can’t wait to share it with you.”
2022 will see much more from Horsegirl. Their tour will take place in the midst of Cheng and Reece wrapping up their freshmen years in college in New York City and Lowenstein nearing high school graduation in Chicago. Watch Horsegirl’s Video for “Billy”
Pre-order “Billy” 7”1. Billy2. History Lesson Pt. 2 (Minutemen cover, available only on 7”) Horsegirl Tour Dates Wed. March 16 – Austin, TX @ SXSW Thu. March 17 – Austin, TX @ SXSW Sat. March 19 – Philadelphia, PA @ PhilaMOCA Sun. March 20 – Washington, DC @ DC9 Tue. March 22 – New York, NY @ Market Hotel
Keep your mind open.
[Head over to the subscription box before you leave.]
Los Angeles quintet Piel today released their single “Custodian,” the opening track from their upcoming debut release A.K.A. Ma out December 10 via Birs Recordings. The song was debuted live for NPR Music’s Tiny Desk Concert where hosts praised Piel as “a very talented band” (Bob Boilen), remarking that “the lead singer’s voice is great and there’s something about the guitar that I just loved right away” (Raina Douris) and was included in NPR Music’s “Best Tiny Desk Contest Entries We Saw” list.
A.K.A. Ma is a six-song album and is largely dedicated to Thelma Lewis, the mother of lead singer and Piel co-founder, Tiki Lewis. The elder Lewis passed away in 2019, hence “Ma.”
The making of what would become A.K.A. Ma was not a conventionally produced album, but resulted in a formidable final piece of work. Jonathan Burkes, who initially recorded the songs before Birs was in the picture, handed over the tracks to producer, Cisco DeLuna. DeLuna (who championed the group and sought the green light from label owner, Scott Anderson, to get the record made), took what Burkes had and added additional instruments to the recordings. DeLuna’s production gave the songs a commercial radio glow, but without drowning out the band’s sound in the mix. This resulted in an indie-style/modern rock record that can capture the imagination of mainstream listeners, yet appease those in indie rock circles.
Piel lists nature, turbulence, resilience, injustice, mantras, light and dark and beyond among its influences (alongside artists like Joy Division, Sade and Pink Floyd). Piel matches it with a danceable rock sound, grounded by singer Tiki Lewis’ smooth delivery. According to Lewis: “while the bulk of A.K.A. Ma was completed pre-pandemic, divine sources are what guided us through the process, as well as through the dark aftermath of 2020.”
