Category: Reviews

Review: King Hannah – Tell Me Your Mind and I’ll Tell You Mine

Tell Me Your Mind and I’ll Tell You Mine is an EP by King Hannah that I wasn’t sure about at first. It didn’t immediately grab me, but I could feel something there I couldn’t quite describe. Was it a batch of dream pop hooks? Vocal craft from a synthwave torch singer lounge? I’m still not sure after listening to the EP multiple times, but I’m sure that it gets into your body and settles there like a warm cat on your chest that now and then likes to nibble on your fingers.

The EP opens with the lush, somewhat dark “And Then Out of Nowhere, It Rained.” Hannah Merrick‘s voice is like a ghost drifting toward you across an English moor and the synths and acoustic guitar riffs are like a fog that’s gone just as you notice it, blending into “Meal Deal” – which has a bit of an Americana / western sound to it with its mix of steel guitar and electro-drone.

I don’t know who “Bill Tench” is, but Merrick says, “I think you’re cooler than most,” at the beginning of the track, so he must be at least an interesting fellow. The song has a great bass groove and shoegaze guitars throughout it. “I need you so bad,” Merrick sings on “Crème Brûlée” – a haunting, sexy track in which she also admits, “I think I like you too much.” David Lynch could drop this into the soundtrack of his next film and no one would bat an eye.

“The Sea Has Stretch Marks” is easily one of the most intriguing titles I’ve heard all year, and the song rolls along like slow waves on a pebble stone beach. The album ends with “Reprise (Moving Day).” It’s an intriguing track full of shoegaze bliss, heavy bass, strange samples about (I think) Greek gods, and stuff you’d hear strolling the streets of San Futuro, California before it metamorphoses into quiet dream pop.

King Hannah tells us their mind throughout this EP, but we’re left wondering many things. It provides more questions than answers, which makes us eager to hear more from them – as any good EP should.

Keep your mind open.

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[Thanks to Kate at Stereo Sanctity.]

Review: Holy Wave – Interloper

Austin dream-psych rockers Holy Wave‘s new album, Interloper, is a great blend of surf drones, shoegaze touches, and mind-trip riffs. The weird album cover art sums up the sound of the album fairly well – abstract to a degree, expanding and shrinking at the same time, and full of riddles.

Opening with a song called “Schmetterling” (German for “Butterfly”) is a good choice for the record, as the song spreads its silky wings and flutters out of your speakers with a happy, warm, Zen groove (“The sound of destruction sounds just like creation.”). “R&B” sings R&B lyrics (“I knew I wanted to be with you when you kissed me, and now these lips are just for you. I only have eyes for you.”) over psychedelic guitar chords and synthwave keyboards.

The Beatles-influenced title track is an ode (or possibly a lament) to the different worlds of touring the world and hanging out at home. The prominent synth work on it is quite good. “Maybe Then I Can Cry” is great psychedelia and a song about lost loves and holding onto memories. “Escapism” has the band hushing us as the psychedelic butterfly wings warm in the Texas sun and then take flight across an herb garden in some lovely hippie woman’s backyard.

However, on the next track they declare “I’m Not Living in the Past Anymore.” It’s a hot synth-rock track and a highlight of the record with the band pleading for us (and themselves) to stay in the present and embrace all there is, was, and will be. “No Love” is a dreamy track, not unlike a Slowdive tune (who are known influences on the band) with its vocals and instruments sounding like that butterfly now gliding along a lazy river that flows near a club playing a mix of acid jazz and psych-rock.

The title of “Hell Bastards” sounds like it’s going to be the theme song to an obscure European WWII movie from the 1960’s, but it’s actually a cool krautrock song. The beats of “Buddhist Pete” (the longest track on the record) get into your shoulders and make you move. The closing track, “Redhead,” drifts into your ears, settles in your brain, and stays there like a butterfly perched on your arm.

An interloper is someone who becomes involved in a place or situation where they’re not wanted or don’t belong. It’s easy to feel like that, especially in 2020, and even in a “normal” year if you’re in a touring band. Holy Wave probably felt like interlopers scores of times while touring, and Interloper is a great narrative of them being out of place at home and abroad.

Keep your mind open.

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Rewind Review: Oh Sees – Mutilator Defeated at Last (2015)

I have no idea if that weird, prickly pear-headed humanoid holding what appears to be either a cruller or a tower of onion rings is the “Mutilator” mentioned in the title of Thee Oh Sees‘ 2015 album Mutilator Defeated at Last or the created that is about to defeated Mutilator on some sort of rope bridge or walkway with a slime-covered railing. I do know, however, that it rocks beginning to end and has some of their biggest hits.

The loopy bass of Tim Hellman (his first album with the band) gets things off to a great start on “Web” – the sticky, funky opener that includes wild drumming from Nick Murray (also his first foray with the band) and John Dwyer‘s usual guitar work that shifts from frenetic to psychedelic as fast as Barry Allen turning a corner. “Withered Hand” starts out with the sounds of wind rattling through a haunted house and Murray’s snare drum sounding like a hissing adder before Dwyer unloads his guitar riffs like a cauldron of hot oil shot from a trebuchet.

“Poor Queen” is one of Oh Sees‘ / O Sees‘ / OCS‘ tunes that’s almost a shoegaze track. Dwyer’s vocals have just enough reverb and the guitar and synths blend together like incense and tea. “Turned Out Light” has a great garage rock swing to it that is pure fun to hear and probably to play for Dwyer and his crew.

“Lupine Ossuary” is a wild ride that comes at you from so many angles that it’s like being in the middle of a mosh pit that has a live hornet’s nest being kicked around on the floor, but the hornets are as drunk, high, or geared up as everyone else. “Sticky Hulks” is almost seven minutes of psychedelia with Dwyer’s guitar sometimes sounding like sonar pings and his electric organ work sounding like church music. “Holy Smoke” is (Dare I say it?) a pretty song. Dwyer’s acoustic guitar picking and strumming mixes well with Murray’s simple beats, Hellman’s bass line walk, and Dwyer’s complimentary synths.

“Rogue Planet” rolls and tumbles like its namesake charging through space toward its destructive meeting with another celestial body. The closer, “Palace Doctor,” sends us out on a psychedelic note with Murray’s drums slinking in the background with Dwyer’s vocals as the guitar and bass come forward like inquisitive ghosts.

Perhaps Mutilator was defeated by this album and we all need to thank Thee Oh Sees for saving us from an extra-dimensional threat by the power of their rock. I wouldn’t be surprised if that were the case. Their stuff can shake walls and reality, and this album certainly proves this true.

Keep your mind open.

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Rewind Review: King Gizzard and the Lizard Wizard – Float Along – Fill Your Lungs (2013)

It’s a bit difficult to believe that King Gizzard and the Lizard Wizard‘s Float Along – Fill Your Lungs is seven years old as I write this because it sounds like they could’ve released it yesterday. It mixes psychedelia with bluesy grooves and does so without effort.

They’re also one of the few bands out there who would dare to make the opening track on an album almost sixteen minutes long, and one of the few who can pull off such a feat. That song is “Head On / Pill.” Lead singer Stuart Mackenzie‘s vocals are trippier than a lava lamp and the addition of panning sitar is outstanding. The song builds into a wild jam with vocal chants and guitar chords that swirl like a dust devil working its way up to becoming a full-blown dust storm.

“I Am Not a Man Unless I Have a Woman” is layered with a lot of cool reverb and echoed vocal effects to keep the mind melt going. “God Is Calling Me Back Home” puts acoustic guitars in the front and makes the vocals sound like they’re coming out of an old radio before it turns into a wild freakout.

“30 Past 7” brings back the sitar and it blends well with guitar riffs that sound like eagle calls echoing over an Australian desert. “Let Me Mend the Past” is a favorite at their live shows as Ambrose Kenny Smith takes over lead vocals with a passioned plea for an angry lover to forgive him. The sweaty, gritty guitars and beats and somewhat goth lyrics (i.e., “I hope I don’t wake up.”) of “Mystery Jack” are the kinds of things Anton Newcombe dreams about while strolling to a German coffee house and taking a drag on a clove cigarette. Smith sings lead on “Pop in My Step,” which is a poppy and snappy as you hope it will be. The title track ends the record on a meditative, trippy note.

It’s one of their best records, really. It blends psychedelic rock, blues, microtonal bits, and Eastern Indian music into a heady brew that leaves you feeling pretty cool after you’ve consumed it.

Keep your mind open.

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Rewind Review: Com Truise – Silicon Tare (2016)

Com Truise‘s 2016 EP Silicon Tare packs more synthwave goodness into its five tracks than most full-length synthwave albums from other artists.

“Sunspot” starts with a horror movie synth-stab and then the wicked beat drops in and you’re strolling down the 16-bit video game road much like the person depicted on the EP’s cover. “Forgive,” with its snappy beats, dance floor synths, and fuzzed bass, is Harold Faltermeyer‘s “Axel F” if “Axel F” was a champion kickboxer / ninja / international spy instead of a street-smart Detroit cop transplanted to Beverly Hills.

“Diffraction” bounces and blips and bumps like something in a futuristic disco. It’s a delight. Truise layers beats upon beats and also knows when to pull out some of those layers at the right times to keep your mind and hips moving without getting overloaded. The title track is music to bump from your Blade Runner Spinner as it cruises down a Chinatown street or over high-rise buildings full of people who might be more human than human. “du Zirconia” closes the album with electronic chops that could double as video game rifle fire sounds, synths that chirp like robotic birds, and bass that softly hums like a well-tuned speeder bike engine.

Silicon Tare is one of those EP’s that is over far too soon. You will want this to be a full album, even a double album, but Com Truise has plenty of material out there from before and after this (including a new record, In Decay, Too, coming out in December). Don’t hesitate to check out his catalogue.

Keep your mind open.

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Review: Lindstrøm & Prins Thomas – III

The third album from Norwegian electro-music duo Lindstrøm & Prins Thomas, appropriately titled III, is a beautiful album of lush sonic landscapes and uplifting grooves just in time (here in the northern hemisphere, at least) for dark and cold weather to come…and to give you a break from any self-isolation doldrums you might be having.

There’s a sense of fun right out of the gate by naming the album’s opening track “Grand Finale.” It leaps out of your speakers with bright, 1980s synths like UFO lights through dark clouds. “Martin 5000” was the lead track from III and I like the way it builds, seemingly in the background of everything around you, until it strolls alongside you like a super cool panther along a jungle path.

The bass line in “Small Stream” seems to have a bit of an Afrobeat sound to it, and the jazz piano mixes quite well throughout it. “Oranges” is spacey acid-lounge suitable for chillin’ or making out. “Harmonia” might be the lushest track on the album. It’s like something you’d hear in the coffee house on the mothership from close Encounters of the Third Kind, and the DJ there was Mowgli from The Jungle Book. “Birdstrik” closes the record with a thudding, sexy heartbeat rhythm and even sexier synth-bass to send us off with a relaxed afterglow.

III is one of those cool mood-altering electronic albums that is suitable for so many places, times, and situations that you’ll find yourself floating back to it again and again.

Keep your mind open.

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.]

Review: Affect Display – Animal Drift Animal

Animal Drift Animal, the first album from Affect Display (AKA Damien Smith), is a lush sonic soundscape that sounds not unlike what you’d hear while dreaming of electric sheep.

Lead single “Until the Light Hits the Door” starts off sounding like something you might hear in the score of a modern psychological thriller but then transforms into slightly goth, slightly ambient trance music. “Flight or Fury” pulses like an alien menace on a haunted moon, blending Ennio Morricone and Vangelis influences.

The subtle sonics of”Transference” are suitable for meditation, your morning tea, making out, or taxiing down the runway on your flight to wherever you’re going to quarantine for two weeks. “Dauen” is full of bright synths, strange samples, and beats that sound like they were recorded in an empty Olympic pool (and I mean that in the best way).

“Flock” builds around a drone that could be some kind of machine Smith recorded in the field for ambient sound. Stuttering drum beats stumble around a swelling guitar line and Smith’s robot overlord vocals. “Red Blue In-Between” starts off with psychedelic guitar (!) and then becomes something like an instrumental Sisters of Mercy song with its fierce drumming and slithering synths. The closing track, “Floating Pictures,” has touches of synthwave, city pop, and ambience for a nice finish.

It’s a lovely record and one that is suitable for so many different situations that it’s impossible to list them all. Let’s hope Smith keeps up these sonic explorations and unearths more treasures for us.

Keep your mind open.

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[Thanks to Pirates Blend Press.]

Review: Khruangbin – Mordechai

Named after a friend of the band, Khruangbin‘s newest album, Mordechai, continues their string of excellent funk / jazz / dub / world music records.

They waste no time in getting to the funk on the first track, “First Class,” with Laura Lee‘s superb bass line backed by Donald Johnson‘s Chex Mix-crisp drums and Mark Speer‘s guitar that sounds like a chattery ghost. “That’s life. If we had more time, we could live together,” Lee sings on “Time (You and I)” – a groovy track that deals with impermanence – a subject many find frightening, but Khruangbin remind us is a beautiful thing. Lee’s vocals on it, and throughout Mordechai, are some of the clearest Khruangbin have ever released. It’s a nice change. I also must mention Johnson’s disco high-hat work throughout the track. It will make you turn your head and say, “Daaaamn!”

“Connaissais de Face” has Lee and a gentleman (Speer?) chatting about old friends and lovers while a happy, sexy jazz tune plays behind them. “Father Bird, Mother Bird” brings in Spanish flavor to Speer’s guitar, providing him with a great instrumental showcase for his talent and those pure tones that he makes sound effortless.

Lee’s vocals on “If There Is No Question” come at you like soft breezes across a veranda across from a New Delhi disco. “You’re wild, but you’re not crazy,” she repeats like a mantra. “Pelota” has Lee singing in Spanish and having a blast doing it and playing a sweet bass groove. “One to Remember” is another mostly instrumental track that is downright hypnotizing.

“Dearest Alfred” has some of Johnson’s snappiest drumming and Lee’s sexiest vocals. “So We Won’t Forget” has a groove that makes you want to dance down the street and not care who’s watching or what might be going on around you. The album ends with the snappy instrumental “Shida,” sending us out on a fun note.

Khruangbin are batting .1000 right now, and I don’t see them missing any pitches soon. If you need something to pick you up during self-isolation, this album’s for you. It’s for all of us.

Keep your mind open.

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[Thanks to Pitch Perfect PR.]

Review: Caroline Rose – Superstar

On the cover of Caroline Rose‘s new album, Superstar, Rose is bathed in red neon light, her makeup and the cellophane around her neck making her look like a mannequin that was mostly unwrapped but then forgotten in a store room or perhaps left there when the place went out of business. She is glamorous, sexy, beautiful, and yet artificial in appearance. I might be reaching a bit here, but it’s as if Rose’s message is that images of beauty are often illusions. True beauty lies in true expression of the self, which she superbly does on Superstar.

She opens with the electro-poppy “Nothing’s Impossible,” which combines hip hop beats with bright synths that carry along her lovely voice like a ballon on a warm breeze and ending with space opera keys that melt into lounge jazz. The groovy, fun “Got to Go My Own Way” has Rose talking about her big dreams and moving on from lost love to finding new opportunities. “I was born to be a star,” she claims. It turns out she was right.

Rose embraces her sexuality (again, self-expression is true beauty) on “Do You Think We’ll Last Forever?” as, over a slick bass groove accentuated by handclaps, she sings about lusty sex (“I want to climb inside you every single day.”) and wondering how long it will last (“Do you think we’ll last forever? No pressure, though, just tell me yes or no.”). She gets Zen on the short and psychedelic “Feelings Are a Thing of the Past.” She’s right. They are. The only moment is now.

“Feel the Way I Want” has Rose strutting across the room like Ric Flair on his way to the ring (“I’m lookin’ good, I don’t think it’s a crime.”) before she gives us a lesson on self-expression and not kowtowing to the pressure of pleasing others, as living a life as others expect you to live it (in terms of expression, at least) is a trap. “Everybody’s so quick to sit you down and say, ‘Try to be cool about it,'” she sings, but she’s going to embrace her feelings and who she is instead. Again, the image of beauty is one often put upon us by others.

Need some make-out music? Rose has you covered with the sultry “Freak Like Me.” “My love is a real bad scene,” she warns, but you want to walk into it despite the warning because you know it will be a good time. Rose moves onto “Someone New,” which is a great showcase of her vocals. It’s easy to overlook how good of a singer Rose while you’re paying attention to the dance floor synths and electronic drums.

“Pipe Dreams” opens with what sounds like a train rolling along the tracks, and the opening guitar certainly goes along with that theme before it drifts into a softer space and Rose’s vocals seem to saunter out of the Black Lodge in Twin Peaks. The opening synths on “Command Z” sound like something out of an early 1990’s video game, which means they sound great, and the rest of the track has a neat dark wave feel to it as Rose sings about wishing she could go back to a better past, much like the thick bass-heavy “Back at the Beginning.” “If it takes a lifetime, I will find my true love again,” Rose sings on the “I Took a Ride” – a pure synthwave cut about heartbreak. You leave the album without any doubt she’ll do it.

Why? Because she’s a superstar. She’s someone who has embraced herself as she is and is leaving illusions behind her on the road. She has cast off the masks that others want her to wear. She has forged her own path. We should all be so lucky.

Keep your mind open.

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[Thanks to Pitch Perfect PR.]