British producer / sound engineer / beat maker Alastair McNeill, also known as Yila, recently decided to stick it to The Man by going back to house music / rave music culture doing what it does best – energize people.
He linked up with French DJ (and sometimes Kasabian drummer) GIOM and drum and bass maestro Christian Croupa, also known as Alleged Witches, for Functional Collaborations and Combinations Vol. 1 – a double-sided single that accomplishes its mission. It will make you move.
“Scam Pan,” the team-up with GIOM, had such a wicked synth-bass beat that sneaks up on you and takes your groove to a different level. The Alleged Witches collaboration, “Murmurs,” has a great horror movie-like synth line running throughout it and that is highly suitable for futuristic disco dance floors.
It’s a sweet addition to any DJ’s set list or any playlist you have for house music.
Keep your mind open.
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I love that Helen Ballentine uses the name Skullcrusher for her musical moniker. You expect doom or death metal when you see “Skullcrusher” on a record, but Ballentine throws you a curve ball of a record to remind you that sometimes a skull can feel crushed from angst, stress, depression, or the overpowering natures of love and lust.
“Places / Plans” is a tale of wanting to just chill with a lover who always wants to go to the after-party. It’s a soft opening with subtle acoustic guitar, Ballentine’s crisp yet vulnerable voice, and even softer synths. “Trace” is a sad tale of love that’s not fully reciprocated as Ballentine sings about worrying about her looks, “sleeping in to get away” and how her lover had made plans to skip town but didn’t only because she found out about it. She tries hard, forcing her lover to hold her hand and feel the connection they used to have, but she (and we) seem to know it’s not going to work. What makes the song even lovelier is the bright piano chords and the way Ballentine’s voice floats along like a happy songbird – even as she’s singing lyrics like, “If I stay here, what is that worth?”
“Two Weeks in December” is so simple and honest that it has to be a true story of Ballentine meeting someone in winter, both of them fooling each other, her getting sick and then flying back to Los Angeles, but not to the person she fooled. “Day of Show” is a tale of Ballentine’s former lover moving on, and even singing about her during a performance, while Ballentine is “…still searching for an hour in my closet trying to figure out what to wear for a day I’ll spend alone in my room.” Damn. She’s keeping it 100, as the kids say.
It’s a heartfelt and honest debut EP, and one that deservedly will garner a lot of attention.
Keep your mind open.
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The first thing that strikes you about Jess Cornelius, of course, is her haunting voice. It’s right up there with the vocal chops of Erika Wennerstrom and the honesty of Patsy Cline.
Her new album, Distance, starts out with the powerful “Kitchen Floor” – a song about getting up and moving on after a one night stand (which, I suspect, is both a literal tale and a metaphor for moving forward when things are tough, even if that walk from the bedroom and out the front door feels like a marathon) and then finding a lover who isn’t so easy to leave. The groove on it is empowering. “No Difference” is a song summed up by the Zen proverb “Let go or be dragged.” Cornelius sings, “If it’s gone, it’s gone. You gotta keep on doing without it, and one day it’ll feel like none of this was real.” Tony Buchen‘s keyboard work on the track is excellent.
Cornelius gets real and raw on the electro-poppy “Body Memory” – a song about the loss of a child and how the loss left her unsure of everything. The country-tinged “Easy for No One” has Cornelius realizing that living in the past is a treacherous game (“I keep wasting my time on other things, like thinking of the past and all the other lives I could’ve lived instead.”). She gets real about lust and hot sex on “Here Goes Nothing” (and Buchen lays down a cool bass groove) with lyrics like “…nothing kills lust like real life.” and “…you know that we won’t want each other if we could actually be lovers.”
The subtle “Born Again” pulls the veil back on Cornelius’ feelings of isolation as a younger woman (“Have you ever wanted to be loved so bad, and not by a person who could love you back, and not by a person at all, but by the world?”). The addition of Mary Lattimore‘s harp is a beautiful touch. “Palm Tress” drifts from an alt-country sound to shimmering Southern California shoegaze thanks to Michael Rosen‘s keys and Cornelius’ guitar work.
“Banging My Head” would’ve been a massive hit were it released in the mid-90’s era of Liz Phair, as it’s full of self-anger (about returning back to old behaviors and bad relationships) and big, bold chords and softer verses, not unlike a Pixies track. “Street Haunting” has a neat, rolling groove that weaves throughout it without beating you over the head. The closer “Love and Low Self-Esteem” has Cornelius finding the strength to talk about being jilted, but also knowing that she still has some longing for her ex (“I just don’t care at all, that’s what I’m gonna say to you when it is true, when I no longer need a single thing from you.”).
The title of Distance covers a lot of ground. It’s easy in this time of COVID-19 to apply it to all of us distancing from each other, and even members of our own families. It can refer to the distance Cornelius feels in her heart toward ex-lovers, her current beau, and herself at different stages of her life. It can refer to the physical distance between her English homeland and California, to the passage of time, the healing of wounds, and probably a dozen other things. The album is a look into Cornelius’ heart, but at arm’s length. She’s not going to let just anybody in there, but she is willing to share her stories and encourage us to look into our own hearts. Bridging that gap in ourselves will eventually let us bridge the gaps we’ve built between others.
Keep your mind open.
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There’s a quote from Mick Jagger in the liner notes of the Rolling Stones‘ 2016 album Blue & Lonesome that sums up how good the record sounds pretty well: “We could have done this album in 1963 or ’64, but of course it would not have sounded like this…It’s the interesting thing about a record that is made really quickly, it reflects a moment in time – a time and a place.”
Yes, the Stones could’ve recorded this album decades ago when they were young and raw, and it would’ve sounded great, but Blue & Lonesome is an albumthat shows the Stones as masters of their craft. They have evolved and matured to the point where they can walk into a studio and record a stunning blues album in just three days. Also, as mentioned in the liner notes, legendary producer (and musician in his own right) Don Was says Blue and Lonesome wasn’t planned. It came about while the Stones weren’t in the groove while recording another song and Keith Richards suggested playing the title track to “cleanse the palate.” After they had played and recorded it (in one take), Don Was (according to the notes) “…said, ‘Let’s do another one.’ It was clear that we had embarked upon the much-talked-about, but never realized, blues album.”
The album turned into twelve great blues classics played by one of the greatest rock bands of all time. The album opens with Little Walter‘s “Just Your Fool,” with Mick blowing out dirty harmonica riffs that nearly run away from Richards’ and Ron Wood‘s guitar licks. Their take on Howlin’ Wolf‘s “Commit a Crime” is downright filthy and sounds like it was recorded in a juke joint in the middle of Mississippi on a humid summer evening. Charlie Watts beats the cymbals on his kit half to death throughout the whole track.
Hearing the title track and remembering it’s the only take they did of it makes it all the more impressive. Richards’ guitar on “All of Your Love” sounds effortless (which it probably is, for him), and Chuck Leavell‘s piano solo on it is sharp. Jagger’s harmonica is back in business on Little Walter’s “I Gotta Go,” and Watts’ groove on it is outstanding.
As if the album wasn’t power-packed enough, some guy named Eric Clapton plays the slide guitar on Little Johnny Taylor‘s “Everybody Knows about My Good Thing.” I’d be remiss if I didn’t mention Darryl Jones, who plays bass on the entire album. He puts down a lot of lockstep grooves, and the one he drops on Eddie Taylor‘s “Ride ’em on Down” is solid as a rock. Their cover of Little Walter’s “Hate to See You Go” is a definite toe-tapper, and I like how they bring Watts’ snare drum to the front.
Lightnin’ Slim‘s “Hoo Doo Blues” is as rough and raw as you’d hope it would be, and Jimmy Reed‘s “Little Rain” is the slowest, and still one of the most powerful, songs on the record. They get back into a fun swing on their cover of Howlin’ Wolf’s “Just Like I Treat You.” You can tell they had a blast on this one (and the whole album, really). That Clapton guy comes back with a so-good-it’s-not-fair guitar solo to help finish out the album with a cover of Otis Rush‘s massive hit “I Can’t Quit You Baby.” Jagger saves some of his best vocal chops for the final cut, too. You can’t help but imagine him strutting his stuff in the studio as he put down the vocal track.
It’s a stunner of a record and one that was long overdue from the Stones. You owe it to yourself to hear it if you’re a fan of the blues or the Stones.
I had heard Blanck Mass (AKA Benjamin John Power) before with his work in Fuck Buttons, but had unknowingly heard songs from Dumb Fleshfive years ago not knowing who had created them. So, hearing this album in its entirety for the first time was a real treat because it reunited me with songs I didn’t realize were my introduction to his solo work – which I have come to enjoy through multiple albums like World Eater and Animated Violence Mild.
Opener “Loam” is a weird backwards vocal track that lets you know you’re in for something out of the ordinary. No Blanck Mass album is necessarily “normal.” They’re all soundscapes that range from strange and sometimes creepy dreams (like “Loam,” which almost seems to be the sound of a possibly haunted lava lamp) to industrial dance tracks to ambient psychedelia.
“Dead Format” is the first Blanck Mass song I ever heard, and I was elated to be reunited with it on this album. I actually first heard it when I saw Blanck Mass perform at the much-missed Levitation Chicago in 2016. The thumping electronic beats and futuristic bounty hunter synths are a wicked combination that get you moving and absolutely kill live.
The title of “No Lite” is a bit misleading because it’s full of shimmering synths that fade in and out like sunlight breaking through rolling storm clouds as wickedly subtle beats pound underneath them. “Atrophies” mixes synth swirls with karate chop-like processed beats. “Cruel Sports” would be a perfect theme for some sort of cyborg octagonal cage fight. The bass hits hard, the beats sound like metal clashing with metal, and the synths gleam like stark overhead lights.
“Double Cross” is a great synth-wave dance track that’s dark-wave at the edges with break-beat subtleties. It belongs in the next video game you’re designing or playing. “Lung” pops and chirps like some sort of alien machine. It becomes somewhat hypnotizing after a short while.
The album ends with “Detritus,” which is a wild eight minutes and thirteen seconds of what at first sounds like some kind of excavation machinery running with almost no oil in the gears. The synths slowly build, like a creature rising from a junkyard to see the sun for the first time in a century.
It’s a powerful record, and just one of many such records Blanck Mass has put out there. Brace for impact before you hear it.
Keep your mind open.
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I love the title of Protomartyr‘s new album – Ultimate Success Today. It’s a great encapsulation of modern living. Everyone wants to be the ultimate success, which can be a worthy goal if one’s motives are good, but the key is in the last word of the album’s title. Everyone wants ultimate success today. We want everything now and, thanks to advertising and the internet, we fully expect to be able to have it now or before anyone else.
The album is about not only this consumerist desire and addiction, but also fear (of the path the world seems to be taking), how the world’s energy affects us, and how our actions, big or small, affect the world.
Opening track “Day Without End” builds over the course of three minutes and sixteen seconds with surging guitars from Greg Ahee, frantic cymbals by Alex Leonard, and sermon-like vocals from Joe Casey. Scott Davidson‘s bass leads the outstanding “Being Processed By the Boys” along a dark, menacing road while Casey sings about “a dagger punched from out of the shadows,” “a cosmic grief beyond all comprehension,” and “a giant beast turning mountains into black holes.” So, yeah, light fare.
“Though I have no face, country, or creed, I am better than you are,” Casey sings on “I Am You Now” – a song that claps back at the anger expressed by so many over so little. It also has some of Leonard’s best drumming on the album. He seems to play nothing but drum fills and cymbal rolls. He’s not. It’s far more complex, a sort of controlled chaos. “Narcissism is a killer,” Casey sings on “The Aphorist” – which might be the most “upbeat” track on Ultimate Success Today. He’s right. It is, and so is that wicked bridge around the two-and-a-half-minute mark.
Nandi Rose joins Casey on the vocals for “June 21,” which brings in post-punk guitar work from Ahee for a neat change in direction. “Michigan Hammers” moves along at a quick groove thanks to Leonard’s passionate drumming and Davidson’s bear trap-locked in bass line. His bass is pure fuzzed-out bliss on “Tranquilizer,” which also has a great saxophone line running through it by jazz legend Jameel Moondoc. The song explodes into a wild, head-spinning cacophony and then settles down before it makes you lose (or loose) your mind.
The fast, post-punk riffs of “Modern Business Hymns” are fantastic. “Bridge Crown” slows down to almost a goth-country sound before Casey starts crooning about, you guessed it, ultimate success (which is also referenced in the song before it by name). Casey opens the closing track, “Worm in Heaven,” with the lyrics, “So it’s time to say goodbye. I was never too keen on last words.” The song is the closest thing to a ballad on the album, and one can’t help but wonder if it’s a sign-off for not only the album but also the band. I hope not, because Protomartyr are firing on all cylinders right now.
The first thing you notice about Kestrels‘ new album, Dream or Don’t Dream, is the wall of guitar that smacks you in the face and then the soft vocals of guitarist / singer Chad Peck. It’s a powerful one-two combination, but in reverse – like a boxer whacking you with the cross and then fading out with the jab.
This is apparent in the opening track, “Vanishing Point,” which flows back and forth between roars and whispers. The equally heavy “Grey and Blue” includes some frantic drumming from Michael Catano and a guitar solo by none other than J. Mascis (who, of course, shreds it).
“I wanna be where you are. Could I find you there?” Peck asks on “It’s a Secret” – a rocking song about unrequited love that wouldn’t be out of place on a Matthew Sweet album. “Don’t Dream” crashes like surf waves and then bursts back into heavy guitar chords that remind me of Hum tracks. “A Way Out” has some of Catano’s snappiest drumming and I love how it’s on equal footing with Peck’s impressive guitar work throughout the track.
The raw fuzz of “Everything Is New” mimics the energy Peck probably felt while constructing the album after his original backing band split up in 2016. “Dalloway” has a cool, deep bass groove throughout it that mixes well with straight-up shoegaze guitars. “Keep it close from the start. Watch it all come apart,” Peck sings on “Keep It Close” – a song about how fast things can dissolve, and how to recover from such a thing. “Feels Like the End” has some neat chops from Catano that zig and zag around Peck’s shredding. “Lost in the thought again, feeling like it’s all going to end,” Peck sings on the closing track, “Say Less.” It builds to a crescendo and then pulls the rug out from under you to drop you into a psychedelic rabbit hole that leads to another tunnel of fuzzy distortion that takes you to Peck’s biggest and best solo on the record. It’s a hell of an ending.
Dream or Don’t Dream is a nice bit of shoegaze and dream pop that gets in your head with solid grooves and blistering guitar solos.
Most, if not all, of The Beths‘ new album, Jump Rope Gazers, was written while the New Zealand band (Tristan Deck – drums, Jonathan Pearce – guitar, Benjamin Sinclair – bass, Elizabeth Stokes – guitar and lead vocals) was touring North America and Europe. They were thrilled to be making a dream come true, but still missing everyone back home and across the world as they made new friends.
Opening track, “I’m Not Getting Excited,” has Stokes singing about the thrill of those dreams and the tenuous grasp she has on them (“I’m not getting excited, ’cause my fight and my flight are divided, and so I don’t enthuse, keep my grip on joy loose.”). Pearce’s guitar solo on it is a ripper, and the following track, “Dying to Believe,” has Stokes breathing easy after cutting the cord on a bad relationship (“There was a weight that you were weighing down on me. Six months ago I could hardly breathe, and now I’m lighter, finally.”). The beat on it is great. It will get you moving with a joy that sneaks up on you.
The title track has Stokes missing a love separated from her by time and distance (“I’ve never been the dramatic type, but if I don’t see your face tonight, I…well, I guess I’ll be fine.”). It’s a lovely track with bright guitar chords to keep it from being too melancholy. The power pop groove of “Acrid” is a great contrast to the song’s title. “Do You Want Me Now” has some of the boldest lyrics about missing someone while on tour – “Long distance is the wrong distance. There has never been a gulf quite as great as the one we wished into existence.” Damn. That is real.
Deck’s drum work on “Out of Sight” is excellent, knocking out wicked snare licks and rim taps so fast that he sounds like a typewriter (Remember those?) being operated by the Flash. “Don’t Go Away” is a song directed at a friend of the band who “flew north, left us in the south” and has the band unleashing heavy Weezer-like riffs made for blasting out of your dorm room windows.
“Mars, the God of War” is a great song of rage disguised in a power pop tune. Don’t believe me? Then you’ll probably believe Stokes’ lyrics of “I wish I could wish you well, instead I’m hitting my head and hitting backspace on ‘Can’t you just go to hell.’ Boom. “You Are a Beam of Light” is a beautiful acoustic track about seeking bright light and feelings in dark times. The closer, “Just Shy of Sure,” has Stokes tip-toeing back into the pool of love, but asking her lover to be patient. She’s been gone for a long while and has almost forgotten how to engage in the “real” world.
It’s another lovely record from The Beths. Stokes is a keen lyricist who gets better with each record.
The cover of King Gizzard and the Lizard Wizard‘s “first” live album (not counting the three live recordings they released earlier this year to benefit Australian wildlife charities), Chunky Shrapnel, features an image of a seven-headed hydra (the same number of guys in the band) surrounded by speakers hooked up to analog equipment to produce weird digital images signifying their already tremendous output of albums and songs, such as Infest the Rats’ Nest (bottom middle), “People Vultures” (bottom right), and even the cyborg Han-Tyumi from Murder of the Universe (second down from the top on the right).
It’s a neat image because it not only tells you what’s in store for you on this great live album, but also a nod to the blending of music and modern technology. The band released a Chunky Shrapnel concert film in a limited stream earlier this year. A full-blown theatrical / wide streaming release is in the works, but this album is a great taste of what to expect from it – and any live KGATLW show (which never disappoint).
The album is sprinkled with studio instrumentals (“Evil Star,” “Quarantine,” “Anamesis”) and the rest is stuffed with live tracks recorded in Luxembourg, Madrid, Manchester, Utrecht, London, Brussels, Milan, Berlin, and Barcelona) over the course of their 2019 world tour. The first live track is a wonderful, jazzy version of “The River.” It’s a neat choice to open your live album with a mellow track (that blooms into an epic jam around the three-minute mark) to get the listener grooving. “Wah Wah” gets the Madrid crowd chanting and jumping. “Road Train” is a nice, crazy follow-up, and the trippy “Murder of the Universe” lets them jam at will as Han-Tyumi’s vocals echo around them from some unseen machine.
The version of “Planet B” unleashed on the London crowd is downright dangerous, somehow sounding twice heavier and faster than the album version (which is already damn heavy and fast). “Parking” is a fuzzy two-minute drum solo that leads into the blazing “Venusian 2” and “Hell” that threaten to incinerate and / or flatten the Milan venue.
The bluesy, swaggering “Let Me Mend the Past” gets the Madrid crowd whooping and hollering. “Inner Cell” brings back a bit of menace. “Loyalty” and “Horology” both flow well together and ease us back down before nineteen minutes of “A Brief History of the Planet Earth” pieced together from four different shows. The song ebbs and flows, being manic one moment and euphoric the next. It’s full of noodling jams and more fuzz than a koala bear. There’s even a moment when they pass a beer through the crowd to their sound man accompanied by frenzied riffs.
It’s another great, stunning album from KGATLW – who by now are obviously unstoppable.
I stumbled upon Los Angeles trio Automatic while listening to a radio station from somewhere in southwestern France. I was immediately hooked by their goth / no wave sound and had to find more. Luckily, their new album Signal was already available. I knew after one listen that I had to own it.
Halle Saxon‘s fretless, fuzzy bass opens the album on “Too Much Money,” and Izzy Giuadini‘s synths add a buzzy air of menace throughout it while Lola Dompé‘s drums are as precise as an auto assembly line. “Calling It” was the track I heard on French radio that made me sit up and think, “Who is this?” Dompé’s drums take center stage on the track and the echoed vocals are cold and sexy at the same time. “Suicide in Texas” is a goth-wave / David Lynch movie dream track. Automatic have cited Mr. Lynch and Dario Argento as major influences, so that already makes them great in my book.
“I Love You, Fine” is one of the best song titles I’ve heard all year, and the lyrics might be the best ones about female empowerment in a relationship since The Waitresses‘ “I Know What Boys Like.” “Highway” is a danceable industrial gem suitable for your next late night drive to an after-party. Saxon’s bass groove on the title track is undeniable.
“I see you turn into humanoid,” they sing on “Humanoid,” which I can’t help but think is influenced by Gary Numan‘s work. Giaudini’s synths and Dompé’s percussion on it sound like some of Numan’s work with Tubeway Army – which is never a bad thing. “Damage” is another killer goth-wave track as Automatic sing about walking away from a relationship that they know isn’t going to end well.
“Electrocution” has Dompé and Saxon in perfect synch on an upbeat track about what can be a downbeat subject – emptiness (“The sound of laughter, and then it’s over. There’s nothing after.”). “Oh no! We’re goin’ nowhere!” they sing on “Champagne,” which I think is a song about superficiality. The closer, “Strange Conversations,” is like something out of a goth prom night with its romantic bass line, slightly bright synths, and almost-slow dance drumming. Lyrics like “I thought I told you, I can’t stand anyone at all.” and “I’ve lost my patience. All you do is let me down.” also help boost the goth feel of the track.
The album mixes goth, synth wave, and no wave so well it’s difficult to tell where one influence begins and another ends, but who cares? Automatic blend everything so well that Signal becomes a lovely, hypnotic record that will surely be among my top releases of 2020.
Keep your mind open.
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