“I hang my coat on any old hook, but I prefer the second from the left,” Liam Kazar sings on the opening track of his fun, funky, and solid debut album Due North. The album mixes a lot of influences, sometimes sounding like a Warren Zevon album, other times like a Lindsey Buckingham or Joe Jackson record, but most of the time like Kazar’s groovy self. It’s the kind of album that makes you want to hang out with him for a night just to hear his stories.
That opener, “So Long Tomorrow,” blends Kazar’s rock guitar with a groovy bass line and his witty lyrics as he tells himself, and the rest of us, to stay in the present. “Old Enough for You” bumps and bubbles like a witch’s brew created in a disco, with Kazar singing about trying to be hip and refined in order to impress a potential lover. The sassy, swinging “Shoes Too Tight” was one of my favorite singles of 2020. The whole thing grooves in a way that is hard to describe and impossible to ignore.
“Nothing to You” mixes some alt-country twang into the record while Kazar sings about pining from afar for someone who barely knows he exists. “On a Spanish Dune” starts off like a sad synthwave track and then transforms into a meditation on the self. “Everybody’s asking me what I’m going to be. I couldn’t tell you if I tried. I’m just a poem with an open line,” Kazar sings – and sums up presence and ennui in two sentences.
“The clouds are coming over, but I shouldn’t be surprised,” Kazar sings on “Frank Bacon” – a snappy, slick track with some smooth guitar work from him and plenty of lyrics about realizing you have to play the hand you’re dealt and make the best of it. “I’ve Been Where You Are” has synthwave touches while Kazar let’s us know that he’s been in the same boat of the blues as we’ve all journey on from time to time.
The slightly countrified “No Time for Eternity” has some of Kazar’s best vocal work (with help from Andrew Sa). He keeps it simple, which gives it more impact. “Give My World” takes on a bluesy feel with its lyrics and guitar work, but then becomes something dreamy with the use of bird calls and psychedelic synths. “It seems I haven’t changed, half as much as I’ve let you down,” Kazar sings in a brutally honest self-appraisal. The synths turn into church organs on the closer, “Something Tender” – a song about realizing that enabling and embracing illusions, especially those in relationships, ultimately leads to misery.
Due North is a stunning debut, and easily one of the best debuts I’ve heard in a while and one of the best albums of the year. There’s nothing here you won’t like.
Savage Young Dü from Hüsker Dü is a four-LP / three-CD compilation by Numero Group of early tracks from the band, spanning 1979-1983. It’s jam-packed (69 tracks, 47 of which have never before been released, and there are scores more they could still put on another compilation – let’s hope so) with demos, live cuts, B-sides, and remastered cuts of their first singles and EPs. It’s essential for any fan of the band, or early 1980s punk rock, and completely bonkers. The booklet inside the set is a wealth of information, too, with interviews and stories from the band members (Grant Hart – drumsand vocals, Greg Norton – bass, Bob Mould – guitar and vocals) and many of their friends and early engineers / producers.
The first track is a demo version of “Do You Remember?” and it’s an instant classic with Norton’s chugging bass and snotty, bratty vocals from Mould while Hart tries to knock down the walls of the record store basement where they recorded it. “Sore Eyes” could’ve been a Buzzcocks track, and it’s neat to hear the band trying different musical styles and exploring multiple influences in these early tracks before settling into their “go like hell and blow out the speakers” sound. “Can’t See You Anymore” has Hart telling a girl he can’t date her anymore because she’s wants to much sex.
By the time we get to “Do the Bee” a couple tracks later, the band is already going nuts and screaming from the basement floor (while writhing around on it, according to the story listed in the booklet). Their cover of The Heartbreakers‘ “Chinese Rocks” is delightfully sludgy. A “rehearsal” version of “Data Control” has Norton’s bass tuned so heavy it could sideline for a doom metal band.
The live version of the fun “Insects Rule the World” ends with Mould proclaiming, “We’re not the most professional band in the Twin Cities,” but Hüsker Dü would go on to become one of the big three powerhouses of that area (along with Prince and The Replacements). The live cut of “Sexual Economics” has a cool post-punk edge to the rusty knife sound of it, and Mould’s solo is great.
“Statues” and “Amusement” are two early classics. The venue where the live version of “Walk within the Wounded” was recorded can barely contain the song. “I’m Tired of Doing Things Your Way” sounds like a fist fight is going to break out at any second. It probably did during “All Tensed Up” – a blistering cut. “Don’t Try to Call” goes by so fast that you barely have time to breathe before “I’m Not Interested” starts. Mould screams, “Fuck you!” to the small crowd at the end of a live version of the furious “Let’s Go Die.”
Grant’s drumming on a live recording of “Private Hell” is somewhat Devo-like, and his drum work on the following track, “Diane,” sounds like it inspired Dave Grohl. “In a Free Land” is one of many politically charged Hüsker Dü tracks. “What Do I Want” has so much angst that it makes you want to smash a wall with a hammer. “M.I.C.”, on the other hand, makes you want to smash the whole damn house. “Afraid of Being Wrong” is like being at the wrong end of a dodge ball game and the message is still resonant today.
Their cover of Donovan‘s “Sunshine Superman” is a fun inclusion, with Hart’s vocals and drum work both a hoot. By the time we get to “Everything Falls Apart,” we can hear hints of the future sound of the band. The collection ends with six loud, raucous live tracks, including a somehow even faster version of “Do You Remember?”, a Norton-heavy version of “It’s Not Funny Anymore,” and a version of “It’s Not Fair” that sounds like a 747 taking off in a hailstorm and closes with a minute of bass and guitar feedback before someone at the club shuts off their amps and calls them “one of the greatest hardcore bands in the country.”
This thing is a treasure trove, and not for the timid. It might flatten the unwary. In other words, it’s amazing.
My wife and I took a long weekend trip to Nashville, Tennessee a couple weeks ago. We got into town on September 10th and were looking for something to do that night. Lo and behold, I discovered a psychedelic rock show at a dive bar called The 5 Spot, and the lineup was irresistible: local act Mouth Reader, California psych-shoegazers Levitation Room, and, fresh from Psycho Music Festival, Frankie and the Witch Fingers.
Mouth Reader were up first, putting on a good and loud show to their hometown crowd that impressed some other local musicians who were seated near us.
Mouth Reader making our minds drip.
Levitation Room sound like Elephant Stonemixed with Beatles and Pink Floyd. They have a song about a polydactyl cat (“Mr. Polydactyl Cat”) that delighted my wife to no end.
Levitation Room lifting us off the floor.
I need to mention that the psychedelic light and projection effects were done by the Flooded Sun Liquid Light Show, who also have their own doom / stoner metal band called Red Feather. They did a great job, although they didn’t do projections for Frankie and the Witch Fingers for reasons unknown to us.
Frankie and the Witch Fingers played much of the same set that they threw down at the Psycho Music Festival, but hearing it in a smaller venue than the Mandalay Bay House of Blues was a treat. They were just as tight as when we saw them a month earlier and were delighted to be hitting the road after such a long hiatus.
You can tell it’s early in the set because the drummer, Shaughnessy Starr, is still wearing a shirt.
It was a good start to a fun weekend, and The 5 Spot is a cool venue far away from the downtown Nashville honky tonk tourist traps full of annoying drunks and bachelor / bachelorette parties.
Recorded over the course of four nights at The Court in New Brunswick, New Jersey, Live in Concert! Greatest Hits and More by The Smithereens was a great return to the band’s home state and a familiar venue to a raucous crowd.
The album captures the band’s raw, rock sound well. Consider yourself lucky if you got to see them live in their heyday. They were one of the best touring bands in the United States (and a new iteration of them still tours with Marshall Crenshaw on lead vocals, no less).
Opening track “Behind the Wall of Sleep” still punches hard, and “Drown in My Tears” somehow hits even harder. Jim Babjak and Pat Dinizio‘s guitars are a tremendous one-two punch throughout it (and the whole album, really). “Miles from Nowhere” builds like a strong, chugging engine in a hot rod warming up before a drag race down a long stretch of highway. Dennis Diken‘s drumming propels the track, and he sneaks some jazz swing into the mix.
“Room without a View” slows things down just enough for you to catch a breath, but not by much. “Only a Memory” keeps your toes tapping, and Severo Jornacion‘s bass work on it is a solid groove that keeps the band locked in tight. “House We Used to Live In” rocks as well as you remember. It’s always better live, and this captured version doesn’t disappoint. It drifts into a bit of psychedelic territory about halfway through the track (which is almost an eleven-minute version) and gives everyone ample opportunity to stretch their muscles and show off their chops (especially Diken).
The slow, lovely “Spellbound” is almost shocking after the previous track, but it soon wraps you in its warm blanket and has you swaying like a reed in the wind. The album contains two new (for the time) tracks, and the first is the haunting, strong “Since You Went Away” – a great example of Smithereens songs about lost love. “She’s Got a Way” is a great example of another type of Smitheerens song – power pop.
“Yesterday Girl” is another power pop gem, with Diken and Jornacion combining their rhythmic powers for all of your benefit. “Well Alright” is nearly a Dinizio solo effort with his acoustic guitar and strong vocals, until the drum fill kicks the song up a couple notches. The version of “Especially for You” on the album has a bit of a bluesy swagger to it that I like. “Any Other Way” is the second new track on the album, and it’s a hip tune about (you guessed it) Dinizio finding and losing love.
“Top of the Pops,” one of their biggest hits, sounds a little extra grungy here, which I don’t mind at all. Their cover of “Time and Time Again” is a blast and always a wonderful salute to one of their biggest influences – Paul McCartney. The album ends with three classics: “Blood and Roses” (with a downright furious solo from Babjak), an eight-minute version of “A Girl Like You,” and – a welcome addition and a salute to their old school fans – the theme to the Batman TV show from the 1960s (which was a staple of their early live sets).
It’s a fun album and a great reminder of why The Smithereens are one of the best American rock bands of their era (or any other, really).
Stone from the Sky is a instrumental stoner trio from France. Formed in 2012, the band is going to release its third album, Songs from the Deepwater, on November 5th, 2021.
They managed to build themselves a strong reputation on the heavy psych & stoner french and European scene thanks to gigs in Germany, Belgium, Netherlands, UK or Czech Republic.
Among their influences, we can mention All Them Witches, The Ocean or the french screamo band Mort Mort Mort. Those different references makes the band’s strength, who is able to offer us an evolution with each new album.
On Friday, September 10th, Stone from the Sky release a first single, “City I Angst,” alongside a music video. With this song, the band gives us a tour of their home town of Le Mans, France.
‘‘Songs From the Deepwater’’, November 5th
The band is pursuing its transformation and keeps breaking the rules of traditional stoner rock. This new album is still loyal to the band’s artistic identity but drags us into a darkest and more aggressive atmosphere. No more solar songs “Colour Haze” style to make room to new playing fields inspired by post rock, scream or post hardcore, without denying their fuzz essence.
Creating buzz in the music scene since their inception, Manchester’s Witch Fever are not long away from their debut EP Reincarnate which will be released digitally on 29th October and physical 12” on 3rd December, via Sony’s Music For Nations. Pre-order HERE.
Following title track ‘Reincarnate’ (here), and the lyrical mash up ‘In The Resurrect’ (here), today they share new single ‘In Birth’. It’s lyrics are semi-autobiographical from singer Amy and deal with the consequences of being born into a Charismatic Christian church where patriarchal structures and predatory behaviour were rife.
“‘In Birth’ has been kicking around for a little while now, so it’s nice to finally exorcise it into the world.”, says Amy. “Whilst the theme of a lot of our songs is reclamation, empowerment and catharsis, it’s definitely far more vulnerable. It felt right to juxtapose this with big chuggy riffs and noisy, cymbal heavy drums. The power that Alisha, Alex and Annabelle create on this track accompanies the anger in my lyrics perfectly.”
She continues, “We created and directed the video with Sam O’Leary and it’s a tongue in cheek way of presenting the narrative. We wanted something camp and fun, but still powerful and angry. Plus, everything’s better with a bucket of fake blood!”
Witch Fever also announce an in-store performance and signing at the legendary Rough Trade East for 4th December 2021. Free with vinyl purchase at Rough Trade, or tickets on sale.
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Portland, OR band Blackwater Holylightannounce their forthcoming third album Silence/Motion on RidingEasy Records today, sharing the lead single “Around You.” Hear & share “Around You” via YouTube, Spotify and Bandcamp.)
The band also announce tour dates with former RidingEasy labelmates Monolord in Europe in November-December, followed by North American shows with All Them Witches. Please see all dates below.
Empty surrounds all of me. It’s a poignant line from the third album by Blackwater Holylight that encapsulates the search for self when suddenly everything has changed. There’s a theme of processing vast personal trauma throughout Silence/Motion that eloquently — both lyrically and musically — and simultaneously embodies the crushing emptiness, sorrow, strength and rebuilding of recovering from personal devastation.
“There was so much grief both in the world and interpersonally during the process of creating Silence/Motion,” says vocalist/bassist Allison “Sunny” Faris. “The four of us gave one another more space to be ourselves, to experiment with each other’s ideas and to be gentle with one another more than we ever have before.So, we knew this tenderness would manifest in extremely honest arrangements, and I think that you can hear that throughout the record.”
Curiously, considering the dark times in which it was created, this is the band’s most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once. And, Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There’s a new confidence to the band in how seamlessly they wield their stylistic amalgam.
“Writing this album was extraordinarily difficult emotionally, however it did come to fruition fairly quickly,” Faris says. “In the past, the theme of vulnerability has always been a big player and it definitely showed up full force while writing this album.” Blackwater Holylight recorded the album as a four piece: Faris on vocals and guitar (on “Silence/Motion”, “MDIII”, “Around You” and “Every Corner”) and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. New second guitarist Erika Osterhout will perform the songs with them live. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White — who also helmed their previous album Veils of Winter (2019) — at Odessa Recording Studio in Portland, OR. Guest vocals on album opener “Delusional” are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer “Every Corner.”
Silence/Motion opens softly with interwoven folky single note guitars over an ominous sounding drone for the first minute, akin to moments from Pink Floyd’s Echoes. Suddenly an irresistibly head-nodding, groovy droptuned riff kicks in with the drums and it’s a full on blackened rocker with soaring synths and Funck’s witchy whispers over the top. “Who The Hell,” the track quoted above, takes proceedings into a Krautrock direction, centered around McKenna’s arpeggiated synth loop and Dorsay’s tom-tom triplets, while 16-note guitar strums add tension as Faris wearily sings, “So tell me who the hell would want to live this way — so afraid/ To feel this void, to dwell in it… I can’t describe this pain I wear/ It suffocates and you left it here.” It’s an incredibly powerful 6 minutes. The title track delivers the 1-2-3 punch of the album’s brilliant opening trilogy. It starts with lightly plucked acoustic guitar, plaintive piano chords and Faris’ voice gliding so softly it sounds more like a Mellotron. The song builds slowly toward crescendo, led by a swinging tom pattern, that abruptly switches back to a heavier version of the opening melody.“Silence/Motion” is about digesting and healing from sexual assault. As Faris explains, “It is an ode to the juxtaposition of feeling paralyzingly blank and and like your entire life is moving through you simultaneously.” Elsewhere, Black Metal guitars collide with dreamlike melodies. “Around You” brandishes a hopeful, hummable synth melody and shimmering shoegaze guitars like throwing down a gauntlet. In the end, it becomes undeniably clear just how completely into their own Blackwater Holylight has come.
“The analogy is that with our first record (Blackwater Holylight, 2018) we were getting into to the car and buckling up,” Faris says. “The second (Veils of Winter, 2019) we were turning the car on, and with this third we have kicked into drive toward our destination. Our destination is a bit mysterious and has the ability to change from day to day, but we’re on our way.”
Silence/Motion will be available on LP, CD and download on October 22nd, 2021 via RidingEasy Records.
BLACKWATER HOLYLIGHT LIVE 2021 – 2022: 11.18 – Oberhausen (DE) – Kulttempel / *11.19 – Utrecht (NL) – DB’s / *11.20 – Nijmegen (NL) – Doornroosje / *11.21 – Antwerp (BE) – Zappa / *11.22 – Bristol (UK) – Exchange / *11.23 – Glasgow (UK) – Stereo / *11.24 – London (UK) – Underworld / *11.25 – Manchester (UK) – The Bread Shed / *11.26 – Dunkerque (FR) – 4 Ecluses / *11.27 – Paris (FR) – Petit Bain / *11.28 – Toulouse (FR) – Rex/ *11.30 – Madrid (SP) – Caracol / *12.01 – Barcelona (SP) – Boveda / *12.02 – Annecy (FR) – Brise Glace / *12.03 – Aarau (CH) – Kiff / *12.04 – Vienna (AT) – Arena / *12.05 – Dresden (DE) – Chemiefabrik / *12.06 – Berlin (DE) – Zukunft am Ostkreuz / *12.07 – Hamburg (DE) – Bahnhof St. Pauli / *12.08 – Copenhagen (DK) – Stengade / *12.09 – Gothenburg (SE) – Pustervik / *12.10 – Stockholm (SE) – Debaser Strand / *12.11 – Malmö (SE) – Babel / *12.12 – Oslo (NO) – Youngs * * w/ Monolord 01.21 – Dallas, TX – Trees # / 01.22 – Austin, TX – Mohawk # / 01.23 – San Antonio, TX – Paper Tiger # / 01.24 – Phoenix, NV – Crescent Ballroom # / 01.27 – San Diego, CA – Belly Up Tavern # / 01.28 – Los Angeles, CA – The Regent Theater # / 01.29 – San Francisco, CA – The Fillmore # / 01.31 – Portland, OR – Wonder Ballroom # / 02.01 – Vancouver, BC – Commodore Ballroom # / 02.02 – Seattle, WA – The Showbox # / 02.04 – Salt Lake City, UT – Kilby Court / 02.05 – Denver, CO – Gothic Theater # / 02.06 – Fort Collins, CO – Aggie Theater # # w/ All Them Witches
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A Place To Bury Strangers announce a 2022 North American headline tour, and share the new video for single “In My Hive,” from their new EP, Hologram, out now on Dedstrange. The new dates follow a headline show at Bowery Ballroom in New York City on September 15th, a run with Future Islands, and a stop at Levitation Festival in Austin, TX. Tickets for 2022 are on-sale here.
The “In My Hive” video, directed by and starring Manon Aulon Elphick, Niicolé and Dedstrange labelmates Data Animal, is a ghoulish grindhouse tale of revenge served raw. Filmed in gritty wide-angle closeups, this claustrophobic tale of murder, magic, and mayhem is a gothic five-finger-filet deathmatch for the senses. Preparing for a fight, pondering the potential in the sharpness of a knife, glazed over eyes, molten metal poured into the mouths of to-be zombie bandmates, overwhelming flashing lights, all seen through a close-up psychedelic lense.
“‘In My Hive’ is about how I’ve let myself get taken advantage of by other people because I just didn’t care at the time, but it definitely has come back to haunt me,” says A Place To Bury Strangers’ Oliver Ackermann. “It can be tiring to deal with these emotions but it’s best to think about what is going on and work through it.” Watch: “In My Hive” video “I Might Have” video “End Of The Night” video
Tour Dates: Wed. September 15 – New York, NY @ Bowery Ballroom $ Mon. October 11 – New Orleans, LA @ Civic Theatre * Tue. October 12 – Atlanta, GA @ Buckhead Theatre * Wed. October 13 – Raleigh, NC @ Ritz * Thur. October 14 – Washington, DC @ Anthem * Fri. October 29 – Austin, TX @ Levitation Festival Tue. February 1 – Philadelphia, PA @ Johnny Brenda’s # Wed. February 2 – Montreal, QC @ Bar Le Ritz #Fri. February 4 – Toronto, ON @ Lee’s Palace # Sat. February 5 – Detroit, MI @ El Club # Sun. February 6 – Chicago, IL @ Empty Bottle Mon. February 7 – Milwaukee, WI @ Cactus Club # Tue. February 8 – Minneapolis, MN @ First Ave. 7th Street Entry # Fri. February 11 – Seattle, WA @ Neumos % Sat. February 12 – Portland, OR @ Mississippi Studios %Sun. February 13 – Vancouver, BC @ Rickshaw Theatre % Tue. February 15 – San Francisco, CA @ The Chapel % Wed. February 16 – Los Angeles, CA @ Teragram Ballroom % Fri. February 18 – San Diego, CA @ Soda Bar % Sat. February 19 – Tucson, AZ @ Hotel Congress % Tue. February 22 – Denver, CO @ Larimer Lounge % Wed. February 23 – Lawrence, KS @ The Bottleneck % Fri. February 25 – Nashville, TN @ The High Watt % Wed. March 9 – Hamburg, DE @ HafenklangThu. March 10 – Dresden, DE @ Beatpol Fri. March 11 – Warsaw, PL @ Klub Poglos Sat. March 12 – Prague, CZ @ Futurum Sun. March 13 – Bratislava, SK @ Randal Club Mon. March 14 – Budapest, HU @ Durer Kert Wed. March 16 – Bucharest, RO @ Control Club Thu. March 17 – Sofia, BG @ Mixtape5 Fri. March 18 – Thessaloniki, GR @ Eightball Sat. March 19 – Athens, GR @ Temple Mon. March 21 – Skopje, MK @ 25th of May Hall Tue. March 22 – Belgrade, RS @ Club Drugstore Thu. March 24 – Zagreb, HR @ Mochvara Fri. March 25 – Bologna, IT @ Freakout Club Sat. March 26 – Rome, IT @ Largo Sun. March 27 – Milan, IT @ Legend Club Tue. March 29 – Zurich, CH @ Bogen F Wed. March 30 – Munich, DE @ Backstage Thu. March 31 – Martigny, CH @ Caves Du MemoirFri. April 1 – Paris, FR @ La Trabendo Sat. April 2 – London, UK @ Lafayette Mon. April 4 – Antwerp, BE @ Kavka Tue. April 5 – Munster, DE @ Gleis 22 Wed. April 6 – Amsterdam, NL @ Melkweg Thu. April 7 – Groningen, NL @ Vera Sat. April 9 – Stockholm, SE @ Hus 7Sun. April 10 – Oslo, NO @ John Dee Mon. April 11 – Copenhagen, DK @ Pumpehuset Tue. April 12 – Berlin, DE @ Hole 44 Wed. April 13 – Cologne, DE @ MTC
* with Future Islands $ with Maxband & Wah Together # with Glove % with TV Priest
In classic punk-fashion, but also in normal-human, I-have-no-idea-what-the-future-holds-because-it’s-a-pandemic fashion, Weak Signal, led by one of New York’s most sought-after guitarists Mike Bones, dropped their new album Bianca on Bandcamp out of nowhere in May of 2020 (it’s since been taken down). Although it was unmastered and flew mostly under the radar, it was reviewed by a fewspots, and Iggy Pop graciously featured the track “Drugs In My System” on his BBC radio show.
Now, thanks to Colonel Records, Bianca is seeing a proper digital and vinyl release on October 15th, and the band is celebrating today’s announcement with the single “Barely A Trace,” which comes paired with a new music video directed and edited by the band’s drummer Tran. Additional exciting news includes a release show at Brooklyn venue Union Pool on October 8th, followed by a two-week run opening for beloved psych-rockers Garcia Peoples.
“Barely A Trace is about feeling lingering presences around you, swirling confusion from sudden disappearances, like when you discover someone found your stash spot,” says Mike Bones. “Our drummer Tran made the video during the early days of the COVID lockdown in Vietnam, Spring 2020. The song and video are our attempts to affect an approximation of the perfect loneliness and separation present in the work of writers like Marguerite Duras or David Markson.”
Mike Bones has made deep and deeply loved solo albums as a singer and guitarist, and with ad hoc supergroup Soldiers of Fortune. The versatile instrumentalist has also played on albums by Cass McCombs, Endless Boogie and Run the Jewels. Weak Signal, the band he’s put together with Sasha Vine and Tran, is his hardest and leanest group to date, the quality of the songs and music on this album is matched by the supreme style of the band members.
Weak Signal represent a constant on the NYC underground… the trio’s dark cinematic pop evokes late summer nights, apathy and urgency, buzz guitars over garbage trucks. The range of Mike Bones’ guitar suggests he’s been lured by the sweet tone of Peter Green, as well as the metallic attack of Paul Reynolds. The rhythm section of Sasha and Tran – bass and drums – is the sound of summer thunder.
On their sophomore LP – Bianca– Weak Signal have amplified every aspect of their magnetism. The pop is lusher, the drums more bludgeoning and the guitar tone is nastier than ever. They’ve created a thick sonic morass that’s simultaneously tranquil and exhilarating. Weak Signal have truly found their stride with Bianca, and it’s a full-blown gallop
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In June, Hubert Lenoir returned to announce his second album, with a track called “SECRET” that featured drums from Mac DeMarco and contributions from Kirin J Callinan, and arrived alongside a feature on the exciting Quebecois artist in The FADER. Today, Lenoir is sharing a second preview from the album in the form of the single “DIMANCHE SOIR,” which involves Future producer High Klassified, and coincides with the formal announce of the album’s September 15th release date and a new change to its title, which is now PICTURA DE IPSE : Musique directe.
WATCH: the video for Hubert Lenoir’s “DIMANCHE SOIR” video on YouTube
“Coming from a conservative background and going to school in the countryside of Quebec, a lot of my parents’ friends or partners thought I was this weirdo queer artsy no good loser and once I achieved success with my art in the last 2-3 years the whole vibe started to change,” says Lenoir of the track. “I remember being so confused by it. The song talks about social pressure coming from your family circle and materialism. How weirdly your social status and wealth can switch the opinion people have on you.”
