Protomartyr Announce Fall Co-Headline Tour With Preoccupations
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Protomartyr Announce Fall Co-Headline Tour With Preoccupations
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“The debut from Auckland indie rockers is just really impressive—hook-filled songs filled with energy and attitude, written with depth and played masterfully.” – Pitchfork
“A wonderful little record that never lets up, piling on unassumingly buzzy fun until you start realizing you might be in the presence of a true power-pop monument.” – Rolling Stone
“The New Zealand band has two gears: The first is a more classically pop-oriented retro sound, like a ’60s girl group doing the shimmy-shimmy-cocoa-pop but with guitars and a shoegaze influence. The second is a caffeinated ’90s alterna-rock head rush, with Superchunk-level riffs and Velocity Girl vocals courtesy of singer-guitarist Elizabeth Stokes.” – The A.V. Club
“Few bands make angst sound as joyous as the Beths do on their debut LP. As its title suggests, the album is full of songs of both regret and self-doubt, but the group deliver them with some of the strongest power-pop this side of Weezer’s Blue Album.” – Bandcamp Daily

[Future Me Hates Me artwork]
The winner of Most Intriguing Album Cover of the year might go to Clutch‘s new release – Book of Bad Decisions. The cover doesn’t feature a book at all, just a painting of a bald eagle on a branch either looking at something off to its right or looking back at us with perhaps apathy or vigilance. Then there’s the title. What bad decisions make up this book? Does it refer to a certain as-yet unnamed book? Let’s not forget the bald eagle is a symbol of the United States, and that symbol has turned its back on us. Has it done so because of our bad decisions in recent times? Is Clutch, who are lovers of history, warning us through a simple image that we are at risk of losing what makes this country great?
The album opens with a tale from the history of the band – “Gimme the Keys.” It’s the story of one of their earliest gigs when they played a small summer festival / large party in the middle of Corn Field Nowhere, USA, and were accused of stealing a microphone from another band and / or the party’s coordinators. It opens with fuzzy feedback and then turns into a blistering fire that only Clutch seems to know how to unleash. One of the best parts is hearing Neil Fallon re-enacting his words to the band’s accusers. Tim Sult‘s guitar moves back and forth between metal and psychedelia with ease.
“Spirit of ’76” is another history lesson from the band, possibly referring to 1776, the political landscape of 1976 (in which Fallon mentions a “farmer with peanuts in his hand” – Jimmy Carter?), or even the 1975 album of the same name by Spirit. Knowing Clutch’s catalogue like I do, I wouldn’t be surprised if it’s all three. Jean-Paul Gaster‘s beats on this will have you doing bass drum kicks under your desk before you realize it. The title track opens with almost drone-metal bass from Dan Maines and talks of dark clouds and leads to killer shredding by Sult.
“How to Shake Hands” has Gaster going bonkers while Fallon takes on elections and political campaigning. Fallon claims he’s going to release all information about UFO’s and “put Jimi Hendrix on the twenty-dollar bill and Bill Hicks on the five note” once he’s President. He could probably win on those three promises alone. “In Walks Barbarella” brings in a horn section as Fallon sings about his childhood love of science fiction, “weaponized funk,” and hot women. In other words, Clutch has written a tune about yours truly.
Jerry Lee Lewis-like piano runs through “Vision Quest.” The nearly backward opening drums on “Weird Times” are appropriate, and Gaster’s cowbell was probably begging for mercy by the time he was done laying down the drum tracks. I like the music box-like underlying sounds of “Emily Dickinson.” It has a great swagger to it as well that probably flattens crowds when played live. “Sonic Counselor” has a dirty fuzz to it that makes you feel a bit mean, and it probably should be on your newest workout playlist.
“A Good Fire” starts with bluesy drums as Fallon sings about the joys of bonfires in autumn and the whole band is soon burning up behind him. “Ghoul Wrangler,” apart from having a cool title, takes off like a dragstrip racer off the line and doesn’t look back. As much as it rocks, “H.B. Is in Control” rocks even harder (which almost seems impossible). Gaster sounds like he’s having the time of his life behind his kit and Maines’ groove is so solid that you could build a skyscraper atop it.
“Hot Bottom Feeder,” believe it or not is Neil Fallon’s recipe for crab cakes. Seriously. The only thing better than the fact that Clutch put a recipe song on their new album is how damn good the song is. It’s one of their best blues-laced rockers in a long while, full of Sult’s hot guitar licks and the band’s humor. “Paper & Strife” sizzles past you at the speed of an out-of-control train engine, and the closer, “Lorelei,” practically has Fallon yelling to the heavens about the murmuring rock of legend in Germany that has possibly lured many ships to a watery grave.
Book of Bad Decisions is another good rocker from Clutch, who never swing and miss. Historical themes are nothing new to Clutch records, but they’ve woven them into this album with more subtlety and cleverness than usual. They’ve warned us to always keep history in mind, because, well, you know what happens when you forget it.
Keep your mind open.
[In walks you to the subscription box…right?]
Thanks to everyone who listened to my final show of the 2018 summer. Here’s my set list from the night.
I should be back on air during the last half of December and first half of January. Stay tuned!
Keep your mind open.
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Produced in part with Kelly Deal of the Breeders and Pixies, Protomartyr‘s four-song EP, Consolation, packs more punch than many double albums in the punk, post-punk, neo-rock, or alt-rock genres.
The opening squall of “Wait” is like the sound of the gates opening at the Kentucky Derby, and the band are four horses running in peak form. Vocalist Joe Casey growls, yells, and snarls while drummer Alex Leonard seems to put down four different beats at once.
“Same Face in a Different Mirror” would be a great title for a giallo film from the 1970’s, and Greg Ahee‘s opening guitar riff is indeed creepy enough for a stylish Italian slasher film. It’s like Protomartyr put Joy Division, Editors, and Bauhaus in a juicer and extracted the micronutrients from all three for one track.
The last two tracks feature Ms. Deal on backing vocals. The first is “Wheel of Fortune,” and it’s easily one of the best tracks of the year. It comes out swinging, not giving you much time to breathe in the first minute before it breaks down into something that sounds like the soundtrack from a ghost film. Casey’s vocals slowly rise from the ground (lifted by Scott Davidson‘s fine bass work), unleashing some of his inner Nick Cave before the band kicks down the door. Davidson’s bass walk opens “You Always Win” and Casey sings about a troubled relationship he can’t bring himself to leave while Ahee’s guitar shoegaze riffs are subtle and stunning at the same time and Leonard unleashes a quick drum solo, which are sorely missing from rock nowadays.
Consolation is sharp as a knife and one of the better EP releases of 2018, so don’t skip it.
Keep your mind open.
[Spin the wheel, make the deal. Subscribe.]
Thom Yorke’s debut soundtrack Suspiria (Music for the Luca Guadagnino Film) will be released 26th October on XL Recordings.
Written by Thom for Luca Guadagnino’s reimagining of the 1977 Dario Argento horror classic, the soundtrack combines instrumental score with songs and interludes across a double album.
The album will be available across digital platforms, as well as 2-LP gatefold package pink vinyl and 2-CD physical versions. Pre-order now HERE.
Ahead of release, there will be a series of album playbacks in selected cities, and we would like to invite a number of fans to attend each event. If you wish to be considered for a place, please sign up here by 4pm BST on Thursday 6th September.
A1 –
A2 –
B1 –
B2 –
Keep your mind open.
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Weighing in at…I have no idea, actually, but she can’t be more than a featherweight, Miss Red has unloaded an album worthy of its title – K.O.
I described Miss Red’s music to a coworker as “Jamaican dancehall by way of Israel and Germany.” He claimed not to understand it, but his head was bobbing and his hips were moving before he realized what was happening.
Collaborating once more with beat master the Bug, Miss Red throws out “Shock Out” like a quick jab testing her opponent’s guard. When it lands at the 43-second mark, it about splits your nose open. Red’s rapping is fast, smooth, sexy, and dangerous. Bug’s beats are like a growling, prowling bear emerging from its den ready to devour anything in its path. “Give me the money and pass me the mic,” Red sings on “One Shot Killer.” “One move wrong and you’re gonna see me bite,” she warns / tempts before her vocals take on a smoky quality that is difficult to describe but wonderful to hear.
She bobs, weaves, and shuffle steps with amazing speed on “Money Machine.” I don’t think she’s keeping up with the Bug’s thumping beats so much as they’re keeping up with her. “Alarm” is a short banger, almost like a blitz of punches that disappears as quickly as it begins, like a set-up for a stronger blow. That stronger blow is “War” – a dub mind-trip that feels as punch-drunk as it sounds. “Come Again” has Red claiming her heavyweight (in terms of skill) title from people who can’t match her game. The synth-bass on it is some of the biggest on the record, too. “Big” has her letting everyone know she’s far bigger than her size would have you believe. She might be small, but Miss Red is a giant throwing lighting bolts from thunderclouds once she grabs the mic.
“Clouds” is another trippy dub track, and the electronic beats on “Dust” bubble into a wicked brew. “Dagga” is the first single off K.O., and it’s a good choice. It highlights Red’s vocal chops and the Bug’s wicked beats well. As good as that is, however, “Slay,” is downright jaw-dropping. It’s an instant floor-filler and one of the hottest club tracks of 2018. I can’t wait to hear this live. Red brings a kinky swagger to her lyrics (more than usual) and the Bug’s beats and breakdowns almost aren’t fair to practicing DJ’s like yours truly. The haunting “Memorial Day” belongs in a modern-day giallo film. Red opts for more singing than rhyming, and the Bug’s beats crackle like a bowl of your favorite cereal. The title track closes the album, and it’s a quick fadeout with Miss Red mostly chanting, “K.O.” throughout it. It’s like having your bell rung and seeing the lights go out as you fall to the mat in blissful stupor.
Miss Red is a fierce opponent. I wouldn’t want to face her in a rap battle, let alone in a street fight. She’d probably seduce you with her agile vocals and then break at least one limb while your guard was down. Still, you’d have a great story to tell afterwards.
Keep your mind open.
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Mexico’s Le Bucherettes manage to combine psychedelia, garage rock, snotty punk, and disco fever all into one band. Their third album, A Raw Youth, covers everything from pre-2016 election anxiety to serial killers.
“Shave the Pride” gets it off to a loud, wild start with lead singer Terri Gender Bender belting out lyrics about anger and arrogance (“The size of your rage drowns my urge for lovin’.”). “Mallely” has the disco synths of Jamie Aaron Aux and the powerful drumming of Chris Common throwing you into dance fits. “Reason to Die Young” has Gender Bender claiming there’s “no sign of life in this hell hole,” but her assured vocals feel reassuring. Her Iggy Pop influence can’t be denied in her vocals and stage presence, and it’s in full view on “La Uva” (“The Grape”) in which Pop sings guest vocals with her. It’s a wild, Pixies-like track with its ebb and flow of volume and controlled, distorted chaos. “Sold Less Than Gold” is a lyrically brutal song about child slavery that’s almost disguised as a pop song with its bright synths.
“Stab My Back” is a giant middle finger to a man who once tried to keep Bender down. It’s like a Yeah Yeah Yeahs song combined with a kick in the nuts. “They Fuck You Over” has Bender drawing a line in the sand against the 1% (“‘Winners’ never touch skins. They know how to eat like bulldogs. They fuck you over…I try to manage this game by doing the worst that I can.”).
“Witchles C Spot” is a bold, almost Metric-like tune about toxic love, fetish sex, and obsession. It’s sexy, scary, and sinister all at once. “The Hitch Hiker” is about a serial killer, and might be an ode to the 1986 film The Hitcher. “Lonely & Drunk” is a powerful build up of synths, drums, and weird bass as Bender’s vocals slither out of your speakers as she sings about bad decisions made during bad times. The bizarre title of “Oil the Shoe if the Critter Knew Any Better” is perfect for the weird lyrics about ghosts, eating your vegetables, and how screwed up a relationship can be if one doesn’t face fears. The closer, “My Half,” is a warped song about love and possibly Bender’s Electra complex with guest guitar and synth-bass work by John Frusciante.
It’s a wild, weird record. Le Bucherettes were on my list of bands to investigate for a while, and I’m glad I finally got around to it. You should, too.
Keep your mind open.
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