Featuring The Eccentronic Research Council‘s Adrian Flanagan and Dean Honer and Fat White Family‘s Lias Saoudi and Saul Adamczweski, The Moonlandingz are both a side project and a semi-fictional guitar pop act, whose latest single “Black Hanz,” is as the band refers to in press notes “a song for our times, born out of abuse; abuse in the workplace, abuse in the street, abuse by the sniveling toe rags we call a government, abuse for daring to dream and to be different,” and “a celebration of the Outsider, the socially inept . . ” Sonically speaking their sound manages to mesh a facsimile of the Manchester sound — twinkling synths, guitars fed through delay and effects pedals and a driving motorik groove — paired with a sneering and ironic punk sentiment, and a mischievous and menacing spoken word section towards the song’s bridge.
The project’s full-length debut effort was co-produced by Sean Lennon and the band and was mixed by Dave Fridmann, best known for his work producing Flaming Lips and Tame Impala, and is slated for a 2017 release through Chimera Music across North America and Transgressive Records in the UK and elsewhere.
East Sussex, UK-born, London, UK-based singer/songwriter Natalie Bouloudis can trace the origins of her music career to her childhood. She learned jazz clarinet and guitar as a child, began (secretly) writing her own songs when she was 7, and played in number of jazz bands. Having lived in London for the better part of the past decade, Bouloudis decided to release some of her music publicly three years ago under the moniker Aurora Harbinger. And with her first publicly released material, the East Essex-born, London, UK-based singer/songwriter began playing in a number of local venues and it allowed her to build up a fanbase that enabled her to successful crowd fund her debut EP, which was produced by Robert Strauss.
Initially derived from a short story that Bouloudis wrote while shirking her duties as an arts and culture guide copywriter, her latest single “Burning Pier” set in a fictionalized amalgamation of the burnt-out piers of Brighton, Hastings and Eastbourne and is essentially a meditation on how disasters can evoke nostalgia and make us question our post-disaster future in a new light in a way that will remind some listeners of Kate Bush, PJ Harvey, Nick Cave, Melanie Di Biasio and others — but with a slightly jazzy, folk-leaning take on pop as the East Essex, UK-born, London, UK-based effortlessly soulful and gorgeous vocals with a sinuous bass line, a twisting and turning melody based around shimmering and twinkling guitar and piano. Recorded in a live take with minimal overdubs — the only overdubs being drummer Hannah Stacey’s Rhodes piano playing — the song manages to feel both thoughtfully composed and improvised, capturing the simpatico of a bunch of musicians playing and creating a moody and pensive song.
Comprised of long-time friends and Melbourne, Australia-based music scene veterans Adam Madrid, Wya Knowles and Alex Lashlie, all of whom have spent stints in a number of locally renowned bands including Bad Family and Closet Straights before the formation of their current band, Pure Moods. And with “Elisa Lam,” the latest single off the band’s recently released self-titled full-length, the Australian trio further establish themselves for specializing in a shimmering, moody and jangling guitar pop that sounds heavily indebted to 4AD Records and shoegaze.
Best known as a co-founding member and co-primary songwriter of renowned indie dance pop/indie funk act Rubblebucket, Alex Toth’s new side project, Alexander F, which features Steve Marion, Dandy McDowell. Christian Peslak and Noah Rubin as part of the project’s touring band, along with contributions from Kimbra is a decided change in sonic direction for him. Reeling emotionally after the suicides of a couple of musician friends and struggling with living as recovering alcoholic, Toth went to a Buddhist, eleven-day silent meditation retreat in Quebec. And during the silent retreat, a handful of Buddhist-themed experimental punk songs exploded in Toth’s head, which at the time was unexpected and surprising for him, as he’s a jazz trained musician.
While the songs manage to be aggressive, they also manage to be profoundly joyous, boisterous and frenetic as thematically they focus on the Buddhist concepts of freedom from the self, freedom from ego and freedom from the illusion that we’re separate entities. And as you’ll hear on “Swimmers,” the first single off the band’s forthcoming self-titled, full-length album, the band specializes in an infectiously anthemic, frenetic and stompingly boisterous, pop-leaning take on punk rock — that also manages to be a playful and mischievous take on the concept of prenatal memory that imagines how it must have been to be sperm swimming towards an egg, just before fertilization.
And unsurprisingly, the project has quietly started to build up a local and national profile as they’ve shared bills with Speedy Ortiz, Perfect Pussy, Downtown Boys, Colin Stetson, Margaret Glaspy, Mac McCaughan, Delicate Steve and Reptar. So be on the lookout for them; in fact, they’ll be opening for Toth’s primary project Rubblebucket for the final show at Brooklyn’s Manhattan Inn, as well as a date at Gowanus’ Threes Brewing. Check out show dates below.
Nov 11 – Brooklyn, NY @ Manhattan Inn (w/ Rubblebucket)
Nov 13 – Brooklyn, NY @ Threes Brewing
Featuring members of JEFF The Brotherhood and Diarrhea Planet, Breast Massage is a Nashville, TN-based All-Star side project that specializes in a bruising, sludgy, power chord-based rock that has had the act headlining Third Man Records‘ Devil’s Night and playing with the likes of A Place to Bury Strangers, Colleen Green and others. “Bathing The Dog,” the first single off their soon-to-be released Cruisin’ For Filth, part of Infinity Cat Records‘ limited release cassette series, is a slow-burning, dirge-like power chord heavy song with thundering, heavy metal-liked drumming that sounds indebted to the Melvins and 90s alt rock.
Olivera’s latest single “La Chusa” is a collaboration featuring Camilo Lara and Toy Selectah, which as Olivera explained to Univision in a recent interview, derives its title “from a South Texas Chicano folk story about this owl [in some Spanish speaking countries lechuza means owl] with the with the face of an old lady that stands on top of your house and scares kids into acting good. When I was a kid I was petrified of it!” Sonically though the song is comprised of a classic and beloved Columbian cumbia track, Los Hermanos Tuirán’s “La cumbia de la cordillera,” a track that’s not only about a bird on a mountain, and note even remotely related to El Dusty’s title, but it has also been used by sound systems and global bass DJs in Columbia and elsewhere. Interestingly, the track is a buoyant and swaggering track, full of tweeter and woofer rocking beats and bass paired with a joyous and mischievously anthemic hook that will make you get off your ass and move.
With the release of 1969’s Hot Buttered Soul, the legendary Isaac Hayes quickly developed a reputation as being one of Stax Records‘ boundary pushing, bleeding edge funk and soul stars. At a time when most soul, R&B, pop, and rock songs were an extremely radio-friendly three minutes or less, Hayes crafted expansive, mind-altering and epic compositions that bridged psych rock, funk, soul, early disco, rock and jazz — and routinely captures him and his backing band catching and holding onto a groove and taking it as far the groove would take them. Just as a few examples for those not familiar, the aforementioned Hot Buttered Soul consists of only four tracks with album closer “By The Time I Get To Phoenix” clocking it at 18:42; “I Stand Accused” and “Something” off 1970’s The Isaac Hayes Movement clock in at just under 12 minutes; and “The Look Of Love” off 1970’s . . . To Be Continued clocks in at a little over 11 minutes. And this was before Hayes accepted the unique assignment of writing the beloved soundtrack for the seminal and canonical Blaxploitation film, 1971’s Shaft.
However, “Do You Thing” off the two LP Shaft soundtrack may have arguably been the longest song he ever wrote, as it actually took up most of the second LP’s B side, as the expansive groove before ending with the overdubbed sound of a record player needle violently scratching across a vinyl; however, interestingly enough, Hayes and his backing band The Bar-Kays had recorded an additional improvisational 13 minutes that sonically possessed elements of free jazz, jazz fusion and psych rock that had been consigned to the vaults . . . that is until the folks at Now-Aagin Records stumbled upon it and decided that they needed to release the full 33 minute version of the song, from the 2-inch tape masters on the greatest day of all for audiophiles — Record Store Day.
Including with the vinyl release is a booklet detailing the history of the never-heard-before version of one of Hayes’ most famous and beloved songs. To celebrate the upcoming release of the 33 minute vinyl check out a 22 minute version of “Do Your Thing” that ends with wild peals of discordant noise featuring feedback, strummed guitar chords eventually played through wah wah pedal, shimmering and soaring organ chords with musician studio chatter before a quick fade out.
Comprised of Bay Area music scene veterans Ethan Miller, a member of Heron Oblivion, Howlin Rain and Comets on Fire; Chris Johnson, a member of Drunk Horse, Andy Human and the Reptoids; and Josh Hynes, a member of Nudity, the Oakland, CA-based psych trio Feral Ohms have developed a reputation for crating some of the Bay Area’s heaviest and hardest rock since their formation in 2011.
John Dwyer’s Castle Face Records will be releasing the band’s highly anticipated debut (and) live album Live in San Francisco on Friday, and as you’ll hear on “The Glow,” one of the barn-burning singles off Live in San Francisco, the band’s sound consists of loud, fuzzy, power chord-based psych rock that’s fittingly feral, explosive and mosh-pit friendly.
Now, if you’ve been frequenting this site over the past couple of years, the Brooklyn-based electro pop duo denitia and sene have become won the attention of this site and the rest of the blogosphere for Brian “sene” Marc’s hyper-modern and slick production work, which effortlessly meshes elements of electro pop, hip-hop, funk, minimalist electronica, underground and advant garde pop paired with Denitia Odigie’s ethereal yet soulful vocals.
The duo’s full-length debut was both critically and commercially successful as the album landed on the Top 10 of iTunes R&B charts and the duo was profiled the New York Times, for their participation in a Brooklyn-based multidisciplinary artist collective. However, since the release of their debut, the duo have been busy with individual creative pursuits as Marc is part of the cast of Netflix‘s Luke Cage, has starred alongside Emma Roberts in Nerve and a lead role in White Girl while Odigie’s solo recording project ADESUWA received attention after the release of the Air Light EP earlier this year.
Interestingly the duo found time to write and record the material that would comprise their forthcoming sophomore effort, love and noir, which is slated for a November 18, 2016 release. Last month, I wrote about the album’s second single “open wide.” That single featured a chilly, subtly industrial production paired with a sultry sensuality as that song’s narrator swoons over her object of attention and love. The album’s third and latest single “favorite.” features a sleek, contemporary production consisting shimmering synths, stuttering drum programming, wobbling low end, a distorted vocal sample as the song’s melody and finger snaps paired with Odigie’s easy going and soulful crooning in an airy song that gently dips and swoons, and evokes waking up next to a lover, after you’ve made love and sighing happily.