Tag: singles

New Audio: Mudhoney Releases an Incisive and Furious Single from First Full-length Album in Over 5 Years

Currently comprised of founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums), who joined the band in 1999, the Seattle, WA-based alt rock/grunge rock band Mudhoney officially formed back in 1988 although the band can trace its origins to the breakup of Green River, a proto-grunge band that at one point featured Alex Vincent (drums), Jeff Ament (bass), Steve Turner, and Stone Gossard (guitar). After releasing two EPs, and several lineup changes, Green River eventually split up with Bruce Fairweather, Gossard and Ament eventually joining Mother Love Bone. Now, if you know your grunge history, you’d know that after Mother Love Bone’s Andrew Wood died from an overdose, Gossard and Ament went on to form Pearl Jam while Arm and Turner reunited to form Mudhoney.

Mudhoney’s earliest releases through Sub Pop Records — namely “Touch Me I’m Sick” and the Superfuzz Bigmuff EP wound up becoming massively influential with the band being credited as being the godfathers of Seattle’s grunge rock sound, a sound that we all know is generally centered around scuzzy, distortion pedal heavy power chords. But despite their towering influence on alt rock, the band has never really seen much commercial success — although Nirvana covered Mudhoney during their legendary Unplugged, filmed and recorded a few weeks before Kurt Cobain’s suicide.

Slated for a September 28, 2018 through their longtime label home, the beloved Pacific Northwest-based grunge legends tenth full-length album Digital Garbage is reportedly, one of the band’s most sociopolitically incisive and blistering albums they’ve recorded; in fact, Digital Garbage’s first single “Paranoid Core” captures the distrust of experts and facts, the rampant fear-mongering and emotional exploitation and the very primal, lizard brained instinctual response that rules our current zeitgeist. And its all centered around boozy, old school punk rock guitar chords, a propulsive back beat and bass line. Western civilization and American democracy are about to collapse before our very eyes but goddamn it, there’s at least rock ‘n’ roll.

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Currently comprised of founding member Austin North (vocals, guitar) with Cecilia Otero (bass) and Josh Mendoza (drums), the El Paso, TX-based indie rock/dream pop trio Sleepspent can trace their origins back to when it founding member returned from school in San Diego and started the band with friend and co-writer Aaron Quintalla. Although they’ve gone through a lineup change that has the band as a trio, since their formation, the members of Sleepspent have quickly become one of El Paso’s best, up-and-coming bands; in fact, locally they’ve become one of the area’s go-to bands, opening for a variety of nationally recognized touring bands. And from “Come Smile With Me,” off the El Paso-based band’s Chris Common-produced debut EP It’s Better If You Don’t Speak Or Think, released earlier this year through Slow Start Records, the young band specializes in a sound that draws from shoegaze, dream pop and indie rock. “That can be heard in the alternate tunings used throughout our music as well as the melodic chord progressions and melodies,” the band’s Austin North says in press notes.
Although sonically speaking some of my colleagues may describe the band’s sound as being reminiscent of The Cure and The Smiths, the band’s sound bit reminds me of Forever So and Ruckers Hill-era Husky as the young Texans walk a difficult tightrope between technical craft and earnest emotionality.
The band is currently in the middle of their first tour. Check out the remaining tour dates below.
Tour Dates 
07/09/2018:  Austin, TX @ Cheer Up Charlie’s
07/12/2018: Memphis, TN @ Sounds Good Memphis
07/13/2018: Nashville, TN @ Drifters BBQ
07/14/2018: Cincinnati, OH @ The Comet
07/16/2018: Minneapolis, MN @ Char Bar
07/17/2018: Omaha, NE @ B Bar
07/18/2018: Tulsa, OK @ Soundpony
07/19/2018: Wichita, KS @ Kirby’s Beer Store
07/21/2018: Norman, OK @ Red Brick Bar
07/22/2018: Albuquerque, NM @ Moonlight Lounge
Throughout the bulk of this site’s 8 year history, I’ve written quite a bit about JOVM mainstay David Alexander, an internationally renowned Swedish-born singer/songwriter, multi-instrumentalist and producer, and as you know with his solo electro pop/dream pop recording project Summer Heart has received attention across the blogosphere for a sound that at points has been compared to CaribouWashed OutIn Ghost Colours-era Cut CopyPainted Palms and others. Additionally, Alexander has been considered among the first wave of Sweden’s contemporary electro pop and dream pop movement along with the likes of MoonbabiesThe Land BelowHey ElbowBlind Lake and Emerald Park.
With his 12 Songs ofSummer, Alexander adds his name to an increasing number of artists, who have adopted a single of the month series over the past couple of years, and as you can imagine doing so manages to make a helluva lot of sense creatively, financially, and marketing-wise in the blogosphere age. Creatively speaking, the artist isn’t constrained by having the pressure of writing material with a  cohesive style or theme in mind, as they would if they were writing for an EP or a full-length album; however, in order for the concept to work, they are required to come up with material within relatively strict and regularly occurring deadlines. Financially, independent artists, who may be struggling to find ways to fund their efforts to record and tour, can put out material quickly — and in the blogosphere age, it can ensure that the artist can receive some sort of attention over the course of year, outside of the album cycle. As Alexander explained in press notes, “The idea behind this project is to show people what I am currently working on instead of what I was doing two years ago, which can be the case when you release an album. It’s definitely a way of challenging myself, thinking less and having more fun creating music!”
“Aftershock,” the latest single in the 12 Songs of Summer project is a swaggering and flirty single centered around Alexander’s falsetto which for this song takes on a smooth jazz-like quality paired with shuffling drum programming and twinkling synths to create a song that evokes silk sheets on naked skin, of making love on an early summer morning with the windows open to let in a soft breeze. Arguably, it’s one of Alexander’s sultriest songs to date.

Blood Blush is a rather mysterious New York-based post-punk act, and their latest single, the shimmering and moody “Demon Clout” as the band told me through email is “one on the lines of post-punk and goth but I think we are trying to blur some lines and call it ‘dreamgoth’ or something along those lines.” Interestingly enough, to my ears, Blood Blush’s latest single reminds me a bit of Chain of Flowers, Sisters of Mercy, Siouxsie and the Banshees and others.

The New York-based act will be touring throughout the summer and it includes two local dates — July 10, 2018 at Jersey City’s Pet Shop and July 13, 2018 at Bushwick Public House. Check out the rest of the tour dates below.

Tour Dates
J U L Y
07.10.18 JERSEY CITY, NJ at Pet Shop with Diap, Gherdty and Sailor Boyfriend.
07.13.18 BROOKLYN, NY at Bushwick Public House with Live Well, Leight Blumer and Keef Clan.
07.25.18 PHILADELPHIA, PA at Philamoca with NITE, The New Division and Korine.
07.26.18 PITTSBURGH, PA at Belvederes (Coven) with Death Instinct.
07.27.18 BALTIMORE, MD at The Baltimore Free Farm with Carl Gene and The Ward.
A U G U S T
08.16.18 KUTZTOWN, PA at Mind Palace with Reaches.
08.17.18 WILKES BARRE, PA at Karl Hall with Draining Youth, The Ordinals and Mr. Softee.
08.18.18 SYRACUSE, NY at The Spit Fam Haus with Siren’s Image and The Shuvits.
08.19.18 ROCHESTER, NY at Rosen Krown with Jan The Actress and Buffalo Sex Change.
08.20.18 SARATOGA SPRINGS, NY at Desperate Annie’s (Super Dark Collective Showcase).
O C T O B E R
10.19.18 COLUMBUS, OH at No Culture (Video Performance – 5pm).
10.19.18 COLUMBUS, OH at Tree Bar with Master Servos and Child of Night.
10.20.18 INDIANAPOLIS, IN at The Spruce Goose with Tombaugh Regio and Den Dwellers.
10.22.18 HAMMTRACK, MI at The New Dodge Lounge with TBA.
10.24.18 MONTREAL, QE at Mademoiselle with Spring Blades and TBA.
10.25.18 SARATOGA SPRINGS, NY at Desperate Annie’s (Super Dark Collective Showcase) with Spell Runner and Bare Mattress.

Comprised of Michael Young, Ryan Hayes, Ryan Cross, Glen Scheidt and Travis Girton, the Portland, OR-based indie rock quintet King Who will be releasing their Hutch Harris-produced sophomore full-length album Giant Eye through SELF Group on August 17, 2018 — and reportedly, the album finds the up-and-coming quintet expanding upon their sound as they increasingly incorporate elements of New Wave, post-punk and dream pop  while retaining the heavy bass of their full-length debut Us Lights. Interestingly, Giant Eye‘s first single, the slow-burning “Ice Cream” sonically finds the band drawing from shoegaze and dream pop as the song is centered around shimmering guitar chords, a propulsive rhythm section, a soaring hook and Micheal Young’s plaintive falsetto — and while the song draws from 120 Minutes-era all rock, it has a clean, modern production sheen that makes the song a bit anachronistic.

 

New Audio: Electric Citizen Returns with an Anthemic, Classic Rock-Inspired Single

With the release of 2014’s full-length debut Sateen, the Cincinnati, OH-based quartet Electric Citizen, currently comprised of husband and wife duo, Laura Dolan (vocals) and Ross Dolan (guitar), along with Nick Vogelpohl (bass) and Nate Wagner (drums), received attention across the blogosphere and elsewhere for a sound that owes a debt to Led Zeppelin, Black Sabbath, early 70s Rush and others. Building upon a growing profile, the band went on a busy schedule of touring both nationally and internationally with several renowned acts, including Fu Manchu, Wolfmother, The Budos Band, and Pentagram.

The Cincinnati heavy psych rock/heavy metal quartet’s sophomore effort, 2016’s sophomore effort Higher Time found the band expanding upon their sound, as they were crafting muscular and anthemic hooks around prog rock-like structures — within concise songs that typically clocked in at around 3 minutes or so. Additionally, the album found the band’s Lauran Dolan stepping up into more of a frontperson role, which was reflected in their live shows to support their sophomore effort, as she strutted, stomped and swaggered with a larger-than-life confidence. And unsurprisingly, the album was released to massive critical applause from the likes of Consequence of Sound, who placed it on their 20 Most Anticipated Albums of 2016.

Slated for a September 28, 2018 release through RidingEasy Records, Electric Citizen’s forthcoming, third full-length effort Helltown derives its name from the neighborhood in which the members of the band live, practices and where the album was written recorded and mixed. Although now more prosaically known as Northside, Helltown earned its name in the early 1800s. thanks to a reputation for the rowdy taverns frequented by the neighborhood’s factory workers and immigrants. And while being an ode to the band’s neighborhood and its buried past, the album reportedly is a sonic return to form with the band employing a grittier sound along the lines of their 2014 debut. Adding upon the overall homecoming theme, the band returns to their original lineup. As the band’s Laura Dolan says in press notes, “In many ways this album is a realignment to the first,” Laura says. “We experimented a lot on the second album, some of which we learned we didn’t like.”

“Hide It In The Night,” Helltown’s first single is centered around Black Sabbath and Led Zeppelin power chords, thundering drumming, arena rock friendly hooks and Laura Dolan’s rock star belter vocals — and while heavily indebted to its influences, the track will further cement the Cincinnati-based band’s reputation for tough, gritty, power chord rippers with an anthemic, larger-than-life feel.

With the release of 2016’s debut effort Language, the Brooklyn-based indie rock quartet Hypoluxo, comprised of Samuel Jacob Cogen (vocals, guitar), Cameron Riordan (guitar), Eric Jaso (bass) and Marco Hector Ocampo (drums), have  received attention for a sound and songwriting approach that possesses elements of shoegaze, indie rock and dream pop — but with rapidly changing time signatures.

Running on a Fence, the Brooklyn-based indie rock act’s sophomore album is slated for a September 21, 2018 release through Broken Circles Records, and the album reportedly reveals a band that has expanded upon their sound while retaining the infectious hooks and shimmering yet anachronistic quality that has won them attention; in fact, the album’s first single “Kentucky Smooth” sounds as though it were inspired by The Smiths, The Psychedelic Furs and others, as the track is centered around shimmering guitar chords, a propulsive rhythm section, Cogen’s baritone crooning and a wistful sense of regret at its core.

 

Over the course of this site’s eight year history, I’ve written quite a bit about the  Liverpool-based shoegaze quintet and JOVM mainstays The Vryll Society, and as you may recall, the band, which is comprised of Michael Ellis, Ryan Ellis, Lewis McGuinness, Lloyd Shearer, and Benjamin Robinson received attention from across the blogosphere with the release of an early collection of singles that drew from a diverse array of influences, including FunkadelicAphrodite’s Child, krautrock and classic shoegaze.

The Liverpool-based shoegazers’ long-awaited full-length debut Course Of The Satellite is slated for an August 10, 2018 and the album’s first single “Andrei Rublev,” which was inspired by  Andre Tarkovsky’s 1996  historical, arthouse film Andrei Rublev was a slow-burning and meditative song that found the band’s sound simultaneously nodding at shoegaze and 70s AM rock. Course of the Satellite‘s second and latest single “Light At The Edge Of The World” possesses a shimmering cosmic glow familiar to space rock and shoegaze with subtle prog rock leanings while centered around enormous hooks and some swirling and towering guitar work.

 

Comprised of core and founding members Charlie Hickey (guitar) and Andrew McCarty (drums), the New York-based alt rock act The Soft Underground formed back in 2010, and unsurprisingly the act’s core members quickly began to write, perform and record their own original music. Their creative process typically would have the duo writing and perfecting the instrumentation and arrangements, and then they would cast a guest vocalist, who would work perfectly for each song. Some of their collaborators have included Star & Micey’s Nick Redmond, The StoneCoats‘ Brannon Barnett, Lucero‘s, The Afghan Whigs‘ and Hank Williams, Jr.‘s Rick Steff, and the result was a highly accessible yet unique debut album Lost in Translation, which was released in 2015 to praise from The Big TakeoverMusic Street Journal and airplay from Alt Nation.

Slated for a July 27, 2018 release, the duo’s sophomore effort Morning World reportedly finds the duo writing what may arguably be their most personal album to date while continuing their penchant for eclectic variation. As the story goes, the duo spent the past two years laboriously working on the album, doing everything they could to ensure that they expanded their sound and songwriting in new directions; in fact, Morning World‘s latest single “Rachel,” is centered around scuzzy power chords, a propulsive rhythm section and a mosh pit friendly hook that will remind some listeners of mid 90s alt rock — in particular, Deftones, Stone Temple Pilots, Foo Fighters, and In Utero-era Nirvana but with a clean, hyper modern production sheen.

 

 

 

Comprised of Novak (vocals, guitar) and John Henry (drums, vocals), the Sydney, Australia-based rock duo Polish Club can trace their origins to when the occasional drinking buddies decided to book a room and see if they could play together. The result is a bruising, bluesy garage rock with elements of classic, Otis Redding, Jackie Wilson and others and as the band’s drummer John Henry explains, their sound was “just about playing to the strength[s] of the people involved. We play hard and fast and loud with kinda simple guitar lines and Novak has a voice that manages to push a lot of air. We probably sound so big because his voice is actually physically very loud. Like, if he sings without a mic in a room, you can’t talk to the person next to you.”

Opening for the likes of Courtney Barnett and Gang of Youths in their native Australia, the duo quickly received a reputation for sweat-soaked and bloodied, barn-burner sets, and as a result they’ve managed to sell out headlining shows, and play their country’s festival circuit. Building upon a rapidly growing profile, the duo’s forthcoming full-length debut Alright Already is slated for an August 10, 2018 release through Universal Australia, and the album’s second official single “Come Party” is a swaggering, face-melting, power chord-based bruiser that sounds indebted to AC/DC, The Black Keys, Grand Funk Railroad, Thin Lizzy and 38 Special, complete with an enormous, arena rock friendly hooks. Unsurprisingly, the new single reveals a band that’s ready to kick ass, take names — and then take over the world while they’re at it.