shame tap “Water in the Well” for new single.

Photo by Sam Gregg

Today, shame announce their long-anticipated new album, Drunk Tank Pink, out January 15th on Dead Oceans. In conjunction, they present a new single, “Water in the Well,” with an accompanying video directed by Pedro Takahashi. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018’s Songs Of Praise. Such is the jump shame have made from the riotous post-punk of their debut to the sprawling adventurism laid out in the bigger, bolder James Ford produced follow-up.

This creative leap, in part, was sparked by the band’s recent crash back down to earth, having spent their entire adult life on the road. It stems from their beginnings as wide-eyed teenagers, cutting their teeth in the pubs and small venues of South London, to becoming the most celebrated new band in Britain, catapulted by the success of their breakthrough debut album. Readjusting to a new normal back home with – for the first time since the band’s formation – no live shows on the horizon, frontman Charlie Steen attempted to party his way out of psychosis. An intense bout of waking fever-dreams convinced Steen that self medicating his demons wasn’t a very healthy plan of action and it was probably time to stop and take a look inward. “You become very aware of yourself and when all of the music stops, you’re left with the silence,” reflects Steen. “And that silence is a lot of what this record is about.”

In a small room painted in a shade of pink used to calm down drunk tank inmates, Steen cocooned himself away to reflect and write. In the room dubbed “the womb,” he addressed the psychological toll life in the band had taken on him. The disintegration of his relationship, the loss of a sense of self and the growing identity crisis both the band and an entire generation were feeling.“The common theme when I was catching up with my mates was this identity crisis everyone was having,” reflects Steen. “No one knows what the fuck is going on.” “It didn’t matter that we’d just come back off tour thinking, ‘How do we deal with reality!?’” agrees guitarist Sean Coyle-Smith. “I had mates that were working in a pub and they were also like, ‘How do I deal with reality!?’ Everyone was going through it.”

Coyle-Smith took a different tac to Steen and barricaded himself in his bedroom. Barely leaving the house and instead obsessively deconstructing his very approach to playing and making music, he picked apart the threads of the music he was devouring (Talking Heads, Nigerian High Life, the dry funk of ESG, Talk Talk…) and created work infused with panic and crackling intensity.  “For this album I was so bored of playing guitar,” he recalls, “the thought of even playing it was mind-numbing. So I started to write and experiment in all these alternative tunings and not write or play in a conventional ‘rock’ way.”

The genius of Drunk Tank Pink is how Steen’s lyrical themes dovetail with the music. Previously released opener “Alphabet” dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Nigel Hitter, meanwhile, turns the mundanity of routine into something spectacular via a disjointed jigsaw of syncopated rhythms and broken wristed punk funk. The result is an enormous expansion of shame’s sonic arsenal. 
WATCH SHAME’S VIDEO FOR “WATER IN THE WELL”

WATCH VIDEO FOR “BiL”

WATCH VIDEO FOR “ALPHABET”

PRE-ORDER DRUNK PINK TANK

DRUNK PINK TANK TRACKLIST
1. Alphabet
2. Nigel Hitter
3. Born in Luton
4. March Day
5. Water in the Well
6. Snow Day
7. Human, for a Minute
8. Great Dog
9. 6/1
10. Harsh Degrees
11. Station Wagon

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Liam Kazar is “On a Spanish Dune” with his new single.

Chicago-based multi-instrumentalist and songwriter Liam Kazar presents a new single, “On a Spanish Dune,” with an accompanying video. It’s the follow-up to his charming debut, “Shoes Too Tight,” which gave a first look into Kazar’s joyful and vulnerable world. “On a Spanish Dune” is mellow and tinged with melancholia, undulating with wurlitzer and subtle synths. Mixed by Sam Griffin Owens, it features childhood friend Spencer Tweedy (drums), Chicago musician James Elkington (pedal steel, percussion), David Curtin (synths), plus vocals from Ohmme. The track illustrates Kazar’s aptness for colorful narration: “On a spanish dune // We’ll turn to the moon // So if you wanna go // I won’t leave tonight // While the cicadas sigh // And the river’s mouth is wide.

The accompanying video, directed by Jesse Morgan Young, features Kazar and friends and is filled with oddities. Young explains the video: “After Kazar hurriedly leaves before dawn he’s thwarted by car trouble. Rescued by an unnervingly cheerful loner, the two make their way to an abandoned farm only to find out it’s not so abandoned. An eccentric survivalist has made the isolated locale his home and they spend the evening enjoying each other’s company and a bit of the stranger’s funky elixir.” 
Watch Liam Kazar’s Video for “On a Spanish Dune”
 

“On a Spanish Dune” continues to champion Kazar’s wide musical range. Throughout the last decade, he has been recognized for his adaptability and deftness in the studio and on stage, leading to tours and collaborations with Jeff Tweedy, Chance the Rapper, Steve Gunn, Daniel Johnston, Kids These Days, amongst others. 

Watch the “Shoes Too Tight” Video

Watch “Holding Plans” (Demo) Lyric Video

Keep your mind open.

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[Thanks to Jessica and Jaycee at Pitch Perfect PR.]

Clutch release new version of “Passive Restraints” with guest co-vocals from Lamb of God’s Randy Blythe.

Clutch has released its new single “Passive Restraints” today. “Passive Restraints” originally appeared as the title track to the bands 2nd EP released in 1992. This newly recorded version is part of the Weathermaker Vault Series and features guest vocals by Randy Blythe from Lamb of GodClutch and Blythe have collaborated on this track live for several years now, the last time at European festival appearances in the summer of 2019. The song can be streamed on Spotify at this location: https://orcd.co/passiverestraints and on the band’s official YouTube Channel: https://tinyurl.com/yy2575t7 

The official video for the song was directed by David Brodsky (The Black Dahlia Murder, Papa Roach). 

Passive Restraints’ was one of the first Clutch songs I wrote lyrics to,” states frontman Neil Fallon. “It was a staple of Clutch sets for years but fell by the wayside as we wrote more and more songs over the years. When we toured with Lamb of God a few years back, Randy would often ask us to bring it back into rotation. We dragged our feet, and finally, we caved. And we were glad we did. The last time Clutch played Copenhell, Randy joined us on stage to perform the song. We decided to re-record it for the WM Vault Series and thought it was only fitting to have Randy join us.” 

“When Clutch asked if I wanted to sing an older song with them during our 2016 tour together, I knew immediately which one I wanted to do- ‘Passive Restraints‘ adds Blythe. “We performed it in Milwaukee, then again a few years later at Copenhell Fest in Denmark, and I had a blast both times. I think they were a bit surprised I chose a song released in 1992, but I’ve been a fan for a long time. I’ve followed their development as a band since the early days and have enjoyed every album, but as a musician, I know sometimes it’s fun to dust off something you haven’t played in many years and see how it sounds. The song holds up to this day, and I was honored to sing on its re-release.”   

The single “Passive Restraints” comes from the upcoming album “WeatherMaker Vault Series Vol. I” out on Friday November 27th. 

CLUTCH:Neil Fallon – Vocals/Guitar / Tim Sult – Guitar / Dan Maines – Bass/ Jean-Paul Gaster – Drums/Percussion   

For more information, check out the band’s website:www.pro-rock.com

Facebookwww.facebook.com/clutchband

Instagramwww.instagram.com/clutchofficial

Twitterwww.twitter.com/clutchofficial

Officialwww.pro-rock.com

YouTubewww.youtube.com/user/officialclutch

Keep your mind open.

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[Thanks to Doug at New Ocean Media.]

Review: October and the Eyes – Dogs and Gods

New Zealand’s October and the Eyes is a one-woman show. Perhaps the Eyes mentioned in her “band’s” name are the eyes of the world, or the Creator, or Big Brother. I don’t know the answer, but that’s okay. Sometimes the mystery is more intriguing than the answer itself, and “intriguing” is a good way to describe October’s Dogs and Gods EP. She calls her music “collage rock,” meaning she blends influences ranging from krautrock to house music to dub and garage punk. It all works, and the fact that all this sound is produced by one person is damn impressive.

Opening track “Playing God,” for instance starts off with industrial beats and guitars and soon blows your speakers onto their backs with psychedelic reverb-laden vocals reminiscent of Siouxsie Sioux emerging from a dark cave. “All My Love,” a tale of love and lust, is a gothic shoegaze masterpiece with sexy robot beats and synth-bloops doing a striptease alongside October’s vocals that sound like she’s singing through an FM radio dug up in a post-apocalyptic junkyard that can somehow access broadcasts from the early 1980s.

“Wander Girl” continues the goth-synth vibe with Dum Dum Girls and, I’ll say it, Cyndi Lauper-like vocal stylings. “I’ve only been waiting my whole life for you,” October sings on the peppy “You Deserve It” – a song that seems aimed at herself and her potential lover at the same time. “The Unraveling” is a flat-out shoegaze rocker designed to rattle your home walls or the roof of your car. The closing track, “Dark Dog,” is dreamy synth-wave that has a slightly creepy feel to it as October sings about a man best left alone.

This is one of the coolest-sounding (and sexiest) EPs I’ve heard all year. I hope we hear more soon.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Review: Partner – Never Give Up

I don’t know if there’s an award for Most Fitting Album Title of 2020, but Partner‘s new album, Never Give Up, might win it if there is. It seems that everyone has shouting this for the entire year. Everyone is fighting a battle. This has been true throughout all time, of course, but internal and external battles seem, and often are, magnified in this year no one will be sad to see leave.

Thanks heavens we have bands like Partner (Josée Caron, Lucy Niles, Simone TB) to recharge our batteries with massive riffs and songs about sex, rock and roll, and being comfortable in your own skin.

I love that they open Never Give Up with an introduction song – “Hello and Welcome,” which has Caron and Niles sharing vocals about how happy they are to be rocking off our collective socks. The breakdown on it is like stomping the gas pedal on a 1970 Plymouth Road Runner. “We’re Partner…We’re not foolin’ around,” Caron sings. Those riffs certainly aren’t. “Rock Is My Rock” is full of power chords and hand percussion s Caron and Niles sing about how rock and roll not only keeps them afloat through hard times, but how it can shake us out of the funk this crazy year has dropped on the world like an oppressive net. “I wouldn’t want to imagine a world without rock,” Niles sings. Who can argue with that?

Caron’s vocals take on a bluesy swagger on “The Pit,” a song about letting go of anything holding you down. “Honey,” a song about Caron’s guitar is, appropriately, full of big guitar riffs. “This guitar sounds like honey going down,” they sing, and they’re right. It does. “Big Gay Hands,” a favorite in their live sets, is a strutting, sweaty, sexy track about hotties and the hotties who love them.

“Good Place to Hide (at the Time)” reminds me a bit of Rush, who are known influences on Partner, with its echoing vocals, switching time signatures, and space-rock riffs. “Roller Coasters (Life Is One)” is a piano-first rock opera ballad about navigating through the madness of 2020 and the world in general. “At the heart of each day lies a brand new, scary, sweet surprise,” Caron sings.

“I couldn’t remember my postal code if I tried,” Partner sing on “Couldn’t Forget” – a peppy song about memory and self-deception with some country twang for good measure. Simone TB’s drum lick on “Here I Am World” is slick, reminding me a bit of the opening beats on Blondie‘s “Rapture.” Caron sings about grabbing “each scrap of joy” and Niles reminds us that “each day is a precious gift.” It sums up the theme of the album, and the best way to get through this nutty year, quite well. The record closes with the chugging, powerful “Crocodiles,” in which Partner warn us that many beasts (often ones self-created) lie in wait around us to catch us up in their maws if we let them.

Never Give Up is the metaphorical shot in the arm we all need right now and easily one of the most uplifting albums of the year.

Keep your mind open.

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[Thanks to Mar Sellers.]

CHAI release cover of Mariya Takeuchi’s “Plastic Love.”

Photo by Kodai Ikemitsu

Today, Japanese quartet CHAI are excited to share the official video for “Plastic Love,” their cover of Mariya Takeuchi’s 1984 city pop standard, which recently saw a resurgence of its own in 2018. “Plastic Love” stars the group as “tour guides” of their beloved Tokyo, taking you through the city’s many districts in this exuberant visual. CHAI says: “THIS IS TOKYO! Everyone has their own perception of Tokyo, but many, at times, would say it can be sort of gloomy, sort of dark. With our version of ‘Plastic Love,’ we wanted to show you what Tokyo looks like from our point of view.  From Asakusa, to crepes in Harajuku, to the skyrise buildings and Tokyo Tower, to long night-time drives in Shibuya…we welcome you to our version of Tokyo! You also notice how we’re all wearing white?  That’s because we are going to disrupt the gloomy Tokyo! We are the brightness amongst the darkness and we’ve come to illuminate! Just like Mariya Takeuchi did with this song in the 80’s, we’ve come to do this again with our version today!”

WATCH CHAI’S VIDEO FOR “PLASTIC LOVE”

STREAM “PLASTIC LOVE”

CHAI’s interpretation of the international cult hit is from their double A-side single, “Donuts Mind If I Do”/”Plastic Love,” out now on Sub Pop. “Donuts Mind If I Do”/“Plastic Love” double A-side single is available as a limited edition 7,” which is available to purchase now from Bandcamp (on orange or turquoise colored vinyl), and Sub Pop Mega Mart (on lime green vinyl). All three options while supplies last. The “Donuts Mind If I Do”/“Plastic Love” 7” single will be available worldwide (excl. Japan and Asia) with an estimated ship date in late November.

CHAI is a revolutionary four-piece, made up of miracle twins Mana and Kana, and the impeccable rhythm section of Yuuki and Yuna. Combining their powerhouse musical prowess with “pinkish punk” sensibilities, CHAI has managed to create a huge splash in the music scene in their homeland, Japan, and abroad. Now ready to build on their infectious sound and musical accolades, CHAI is gearing up with their new label to release even more new music into the world. 
WATCH THE VIDEO FOR “DONUTS MIND IF I DO”

PURCHASE “DONUTS MIND IF I DO”/“PLASTIC LOVE” 7”

CHAI Online:
http://chai-band.com/
https://twitter.com/CHAIofficialJPN
https://www.instagram.com/chaiofficialjpn/
https://www.facebook.com/CHAIofficialJPN/ 

Keep your mind open.

[Don’t forget to subscribe before you split.]

[Thanks to Jacob at Pitch Perfect PR.]

Review: Fuzz – III

Just in time to shake you out of your COVID-19 self-isolation funk, Fuzz (Charles Moothart, Ty Segall, and Chad Ubovich) are back with III – an album to make you look inward and shake you out of the trappings of everything outward.

“There is no greater sum than one,” Segall sings on opener “Returning” amid wild drum fills and enough, yes, guitar and bass fuzz to fill up an arena. A running theme throughout III is how unity often produces things greater than the individual can produce. Not that individual effort is worthless. Far from it. Sometimes individuals joined in a common cause (rock, in Fuzz‘s case) combine their powers for the greater good.

The funky and skronky “Nothing People” calls out rich elitists (“Nothing People have enough to eat, but they ain’t worth a dollar.”) with garage-metal swing. “Spit” has a bit of a Queens of the Stone Age feel to it with its strip club rhythm and gritty guitar. “Time Collapse” rolls along at a smoky pace and then drops doom metal riffs and lyrics (“Claim your throne in the black.”/ “You are forgotten by the one. After the light is gone, you are always alone. Your blood the only sun.”) on you.

“Mirror” calls out squares (“Freaks are breeding love in the gutter with another, burn the ceiling of house you live in with your mother.”) and slaps them with hyper-speed guitars and heavy drum fills. “Close Your Eyes” encourages us to let go of our illusions of there always being something better just over the next hill when we often have paradise in front of us. Segall sings, “You might think I’m crazy, and I don’t blame you, living like I don’t care. I just want you to come with me and see there’s nothing out there.” as the song drops into a sweet groove near the end.

“Blind to the Vines” starts off with space-rock guitars and then switches gears to almost southern-fried rock with its riffs. “End Returning” takes us down a rabbit hole that bores through psych and doom rock for almost eight minutes. It’s a trippy way to end a heavy record, but good psych and doom makes you do that (and the song doesn’t skimp on some punk madness either).

III is another solid record from Fuzz that shows three men operating at the height of their powers for one cause – to shred your speakers and awaken us out of our funks.

Keep your mind open.

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[Thanks to Pitch Perfect PR.]

Rewind Review: Delta 5 – Singles & Sessions 1979 – 81 (2006)

Hailing from Leeds, United Kingdom, Delta 5 were, and still are, a highly influential post-punk band consisting of Ross Allen (bass and vocals), Kelvin Knight (drums), Bethan Peters (bass and vocals), Alan Riggs (guitar and vocals), and Julz Sale (vocals). They took the BBC airwaves a bit by storm after radio DJ legend John Peel was given a pre-release copy of their first single, “Mind Your Own Business,” and he asked them the next day to do a live session on air. You can’t ask for a much better start than that.

Singles & Sessions 1979-81 is a great collection of not only the band’s greatest hits, but also great live tracks and remixes. That first single is a post-punk masterpiece with groovy bass by Allen and Peters and Sale tag-teaming the vocals about people who can’t leave well enough alone (“Can I have a taste of your ice cream? Can I lick the crumbs from your table? Can I interfere in your crisis? No. Mind your own business.”). Knight’s drums have a slight disco touch to them, and Riggs’ guitar enters the song like a knife-wielding assassin. “Now That You’ve Gone” (the B-side to “Mind Your Own Business”) is a tale of longing (“Now that you’ve gone, I find it hard to go on.”) backed with guitars and bass that border on gothic surf.

Knight’s beats on “Anticipation” are top-notch, bringing early Devo and New Order tracks to mind. “You” was supposed to be the band’s first single, and it would not have been a bad choice. It’s peppy, fun, and snarky. “You don’t see what I see,” Sale sings on “Try” – a song that tries to get through the thick skulls of men to enlighten them as to what women go through every day in everything from work to just walking down the street. “Colour” is a short, sharp track, and the opening guitars of “Delta 5” are jagged yet cool.

“Make Up” is a damn fine track about superficiality with Riggs’ guitar wandering around the room like an angry cat and Allen’s bass keeping the song rooted. “There’s no need to worry, it’s not an affair,” Sale sings on “Triangle,” which seems to be a witty song about a threesome. Peters seems have a blast with the bass lick on it. Knight’s drum rolls fill up a lot of “Innocenti,” and there’s nothing wrong with that.

“Train Song” has rapid fire vocals and even faster drum fills and bass lines. “Why go out without protection?” Sale and Peters ask on “Final Scene.” They could be talking about firearms, condoms, or a good coat for all I know. I’m inclined to think they might refer to all three considering the dark edge of the track. “Singing the Praises” starts with more wicked riffs from Allan and Riggs and Sale’s vocals are a bit subdued to make them more mysterious.

Three live tracks follow – “Shadow,” “Circuit,” and “Journey.” All three are filled to the brim with a manic, sexy, dangerous energy. You can see the crowd shaking, jerking, pogoing, and shoving amid the darkness, cigarette smoke, and spilled pints. The collection ends with three remixes of “Mind Your Own Business” – a dub one by Man Ray, a reggae one featuring Monnei Lamar, and the third by Deerhoof that cranks up the fuzz and brings the vocals to the forefront. Of the three, Man Ray’s is the best.

All the tracks are good, really. It’s an essential collection for post-punk lovers.

Keep your mind open.

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Rewind Review: Warm Drag – self-titled (2018)

I couldn’t tell you where I first heard Warm Drag (Paul Quattrone and Vashti Windish), but I can tell you that I was immediately hooked by them when I did. Two people making so much powerful psychedelic stuff couldn’t be ignored, and their self-titled debut is a top-notch record.

Opening track “The Wanderer” (not a cover of the 1950s classic) starts the album off with a thudding beat you feel in your jugular veins and enough distortion to probably cause your houseplants to shrink back from the speakers for fear an earthquake is rumbling through your living room. “Cave Crawl” was the first track I heard from Warm Drag and the song that stopped me in my tracks. Windish’s vocals bounce off the wall behind you and creep up on you like a vampire while Quattrone’s beats sound like a spaghetti western soundtrack record that’s been left in the sun a bit too long.

Windish is looking for love on “Cruisin’ the Night,” which blends girl-group rock with David Lynch film beats. “End Times” pours out of your speakers like some kind of venom that saps your willpower and entices you to lie down and let it carry you away with its filtered reverb effects, industrial drumming, and psychological thriller film synths. “No Body” ripples with krautrock beats and Windish’s vocals are pure shoegaze beauty.

“Sleepover” could fit in a horror film, a romance film, a compelling drama, or a spaghetti western. Windish’s lullaby vocals are a perfect match for Quattrone’s haunted saloon synths. “Lost Time” continues the sensation of being in a dusty ghost town street while the long-dead residents shamble out of the shanties to stare at you with hollow eyes.

Quattrone’s synths and beats on “Hurricane Eyes” buzz like a beehive and Windish is the queen commanding all of us drones with her breathy delivery. “Someplace” is like honey dripping from a spoon into yerba mate spiked with peyote. Quattrone takes his time with the beats on it, not rushing anything so as to let the guitar and Windish’s sorceress-style vocals stretch out like a pair of leopards on a hot rock. The album ends with nearly eight minutes of “Parasite Wreckage Dub.” I love a good dub track, and this one doesn’t disappoint. It mixes dub with krautrock, industrial, and synthwave. That’s not an easy task, but Warm Drag makes it sound like they can do it in their sleep – and it’s a great soundtrack for dreams.

The entire album is, really. These are songs from dreams, hallucinations, illusions, hauntings, and seductions. It’s an album you’ll never tire of hearing because you’ll find something new in it every time, and the feel of the album will change as you listen to it in different locations. I hope it’s not the one and only Warm Drag record.

Keep your mind open.

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Rewind Review: Exploded View – Summer Came Early (2017)

Mexico City’s Exploded View put out a four-song EP three years ago that’s perfect for this time of year when half of the world is approaching summer and the other half is approaching winter. Summer Came Early is the hope of everyone on the planet every year.

The opening title track drips like a lazy candle on a porch railing overlooking a warm beach. It sounds like a record being played in a distant apartment you can’t find, or something from a dream you had once with its smoky guitars, rattlesnake drums, and hypnotizing vocals from Anika Henderson.

“Forever Free” is like a story of a haunted house or at least the female ghost who lives there seeking to have a nice chat with anyone, or perhaps even take a living lover to bed. “Mirror of the Madman” has this cool 1960s swing beat to it while Henderson half-sings, half-tells the story of a mysterious figure she saw during a walk one day.

“You don’t say nothing at all,” Henderson sings / snarls on “You Got a Problem Son” as psychedelic guitar and garage rock drums swirl around her like the snakes on a caduceus symbol.

This EP can be a great way to start your summer days or one to escape the winter blues. It will alter your perception of what lies ahead and what is coiled around you.

Keep your mind open.

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