Tag: Ty Segall

New Video: Pink Mountaintops Cover Black Flag

Founded by British Columbia-born singer/songwriter, multi-instrumentalist and Black Mountain frontman Stephen McBean in 2004, Pink Mountaintops has always supplied him an outlet for his more arcane fascinations and obsessions.

The 12-song Peacock Pools, the first batch of new material from Pink Mountaintops in over eight years, is sparked from his self-described magpie-like curiosity for a diverse and wild array of pop culture: the sci-fi boy horror of David Cronenberg, Disney Read-Along Records from the 1970s, early Pink Floyd, mid-career Gary Numan, John Carpenter movies, Ornette Coleman live videos, a 1991 essay on the cult of bodybuilding by postmodern feminist writer and thinker Camille Paglia, and more.

Featuring contributions from Redd Kross‘ Steven McDonald, Melvins‘ Dale Crover recorded live in the studio, the Peacock Pools‘ material took shape from a bath of songs McBean first pieced together during the pandemic’s early days: “I’d moved into this cool little ’50s rancher house outside L.A. and was just mucking about in my bedroom studio, and pretty soon I started reaching out to some friends who were also shacked up and craving broadband sonic collaboration,” Black Mountain and Pink Mountaintops’ Stephen McBean recalls.

Over the next few months, McBean began working remotely with an All-Star lineup of indie rock, psych rock and garage rock players that included Destroyer and Black Mountains’ Joshua Wells (drums, piano); Feels and Death Valley Girls‘ Leana Myers-Ionita (violin, vocals); Ryley Walker and Steve Gunn‘s Ryan Jewell (drums); Ty Segall‘s and Emily Rose & The Rounders’ Emily Rose Epstein (vocals); and Black Mountain’s and Sinoia Caves‘ Jeremey Schmidt (keys).

Produced by McBean and mixed in Vancouver by Dave “Rave” Oglivie, Pink Mountaintops‘ fifth album may arguably be the most eclectic, strangest and unpredictable batch of songs to date.

Peacock Pools‘ second and latest single sees McBean and company crafting a piano-laced and bluesy, garage psych take on Black Flag‘s pent-up and wiry “Nervous Breakdown” that unspools with a cool, surfer dude on shrooms-like insouciance.

“Steven McDonald used to always play a disco version of that bassline to annoy [Black Flag co-founder] Keith Morris when they were sound-checking for OFF!, and it ended up fitting perfectly with the demo I’d made,” McBean reveals, referring to McDonald and Morris’s hardcore supergroup. Speaking of Morris, he emphatically approves of the Pink Mountaintops cover, sharing the following: “Great job taking a song that’s been beaten to death by numerous punker dunkers and turning it into your own song! BRAVO!!!!”

McBean created a mischievous accompanying visual for “Nervous Breakdown” that features found footage and appearances from McBean, Red Kross’ Steven McDonald, Feels and Death Valley Girls’ Leana Myers-Ionita, Destroyer and Black Mountain’s Joshua Wells and Ryley Walker’s and Steve Gunn’s Ryan Jewell rocking out in their respective homes.

Peacock Pools is slated for a May 6, 2022 release through ATO Records and Cadence Music Group.

New Audio: Possum Returns with a Trippy and Expansive Jam

Toronto-based psych rock act Possum — Brandon Bak, Tobin Hopwood, Christopher Shannon, Patrick Lefler and Bradley Thibodeau — can trace their origins to their involvement and eventual meeting through their hometown’s psych rock and garage rock scenes, bonding over a mutual love and appreciate of acts like CAN, Grateful Dead, Fela Kuti and Ty Segall. Possum’s full-length debut Space Grade Assembly and the Toronto-based quintet crafting a hypnotic sound that drew from and meshed elements of garage rock, kraurock, psych rock and Ethio-jazz, centered around expansive arrangements full of shifting time signature changes.

Possum’s self-produced, sophomore album Lunar Gardens is slated for a July 2, 2021 release through Ideé Fixe Records, and the album reportedly finds the band further cementing their sound while pushing their songwriting into new, unchartered territory for them. Thematically, the album touches upon telepathy, ESP, thought transference, Ley line riding and the like; it’s a a psychic exploration of the collective cortex, the capture of cosmic energy and the alignment of astral flux. Trippy shit, indeed. 

“While Space Grade Assembly dealt more with space in a cold literal sense, Lunar Gardens’ approach is more ‘space as metaphor for consciousness in all of its infinite expanding fractal forms’, a surrealist escapist space fantasy of impossible spaces — the type of place you might go when the things are too heavy here in 3D,” the Toronto-based quintet says of the differences between their debut and forthcoming sophomore album. “If we were talking movies, one might say Space Grade Assembly is 2001: A Space Odyssey and Lunar Gardens is The Holy Mountain.”

In the buildup for the album’s release next month, I’ve written about two of the album’s single:

“Gala at the Universe City,” a languorous song centered around a slithering and musty funkiness that to my ears brought  Zappa and The Mothers of Invention and CAN to mind.
“Clarified Budder,” a song that acts as a bridge between their debut and sophomore album that begins with a languorous intro before quickly exploding out the gate, featuring rapid-fire drumming, a hypnotic motorist groove, wah-wah pedaled guitars and punchily delivered vocals. And the end result is a song that actively evokes the sensation of being weightless and floating away from your surroundings.

New Video: The Murlocs Release a Surreal Visual for Melancholy “Bittersweet Demons”

With the release of their first four albums, The Murlocs  — King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith and Cook Craig with Cal Shortal, Matt Mlach and Tim Karmouche — have released four albums of fuzzy and distorted psychedelic blues. which they’ve supported as an opener for the likes of Gary Clark, Jr., Mac DeMarco, Ty Segall, Thee Oh Sees, Pixies, Stephen Malkmus and The Jicks, Wavves and of course, Kenny-Smith’s and Craig’s primary gig, King Gizzard and the Lizard Wizard — and as a headlining act, as well.

The Aussie psych blues outfit’s fifth album. the Tim Dunn-produced Bittersweet Demons is slated for a June 25, 2021 release through their longtime label home ATO Records. Recorded at Button Pushers Studio, the 11-song album finds the band lovingly reflecting on the people, who have left a profound imprint on their lives, the saviors, the hell raisers and other assorted mystifying and complex characters. Arguably, the most personal and complex batch of material they’ve written to date, the album reportedly finds the band bouncing around and between sunny pop, blues punk and wide-eyed psychedelia informed by John Lennon‘s Plastic Ono Band and Harry Nilsson‘s Lennon-produced Pussy Cats. 

In the buildup to the album’s release, I’ve managed to write about two of Bittersweet Demons’ singles:

The Tim Karmouche penned “Francesca,” a rousingly upbeat, hook-driven ripper with a subtle New Wave polish written for Kenny-Smith’s mother, who found a new lease on life through newfound love. 
“Eating At You,” a slow-burning and melancholic sing-a-long that subtly recalls “I Got Friends in Low Places,” with the song being an ode to those deeply troubled friends and erstwhile n’er-do-wells of life that you can’t help but love.

Bittersweet Demons’ third and latest single is the mid-tempo, piano-driven, jangling blues and album title track “Bittersweet Demons.” And unlike its immediate predecessor, the song is one of those melancholy, pour some of your booze out for the dead homies jam that becomes sadly all too common when you get older.

“I was messing around with the tune on the piano for a while but never knew where to take it lyrically,” The Murlocs’ Kenny-Smith recalls in press notes. “Over time the bones of the song sat away in the back of my mind waiting for the right time to come back out and be pieced together properly. Whilst we were on tour in America in 2019 one of my sweetest and dearest friends Keegan Walker passed away. His presence was unlike any other I have ever experienced. That kind of person that’s forever filling you up with joyous excitement. Someone that always took the time and effort to be in your life and support you through the thick and thin no matter what. Every time I came home from tour he was always the first to contact me and come by with some croissants and a handful of lavender that he’d pick from my front garden. Keegan was always there for his friends. A few days after the funeral I sat back down to play at the piano and the words started to come out and feel right. I reckon Keegan would’ve loved this song, he loved this kind of soppy stuff cause he’s a softie just like me.”

Directed and edited by Guy Tyzack, the recently released video for “Bittersweet Demons” was shot on grainy Super 8 Film and follows the adventures and memories of a lonely house that misses his human friends — and at one point is looking for a human to inhabit it.

New Audio: Possum Releases a Hypnotic Cosmic Jam

Toronto-based psych rock act Possum — Brandon Bak, Tobin Hopwood, Christopher Shannon, Patrick Lefler and Bradley Thibodeau — can trace their origins to their involvement and eventually meeting through their hometown’s psych rock and garage rock scenes. Bonding over a mutual love and appreciation of acts like CAN, Grateful Dead, Fela Kuti and Ty Segall, the act’s full-length debut Space Grade Assembly found the act crafting a hypnotic sound that fused elements of garage rock, krautrock, psych rock and ethio-jazz centered around expansive arrangements full of shifting time signature changes.

The Toronto-based psych quartet’s self-produced sophomore album Lunar Gardens is slated for a July 2, 2021 release through Ideé Fixe Records, and the album reportedly finds the band crafting material that meshes elements of jazz, komische/krautrock, funk and psych rock while pushing their songwriting into new, unchartered territory for them. Thematically, the album touches upon telepathy, ESP, thought transference, Ley line riding and the like; it’s a a psychic exploration of the collective cortex, the capture of cosmic energy and the alignment of astral flux. Trippy shit, indeed.

“While Space Grade Assembly dealt more with space in a cold literal sense, Lunar Gardens’ approach is more ‘space as metaphor for consciousness in all of its infinite expanding fractal forms’, a surrealist escapist space fantasy of impossible spaces — the type of place you might go when the things are too heavy here in 3D,” the Toronto-based quintet says of the differences between their debut and forthcoming sophomore album. “If we were talking movies, one might say Space Grade Assembly is 2001: A Space Odyssey and Lunar Gardens is The Holy Mountain.”

Last month, I wrote about album single “Gala at the Universe City,” a languorous and slow-burning song that brought  Zappa and The Mothers of Invention and CAN to mind but centered a slithering and musty funkiness. Interestingly, the album’s second single, album opening “Clarified Budder” acts as a bridge between their debut and sophomore albums’ beginning with a languorous intro, the song explodes out of the gate, featuring rapid-fire drumming, a hypnotic motorik groove, wah-wah pedaled guitars and punchily delivered vocals. The end result is a song that evokes the feeling of floating away from your surroundings.

New Video: The Murlocs Release a Feel-Good 80s Inspired Ode to Ambrose Kenny-Smith’s Mom

The Murlocs  — King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith and Cook Craig with Cal Shortal, Matt Mlach and Tim Karmouche — have released four albums of fuzzy and distorted psychedelic blues that the band has supported both as an opener for the likes of Gary Clark, Jr., Mac DeMarco, Ty Segall, Thee Oh Sees, Pixies, Stephen Malkmus and The Jicks, Wavves and of course, Kenny-Smith’s and Craig’s primary gig,. King Gizzard and the Lizard Wizard and as a headliner.

The Aussie psych blues outfit’s fifth album. the Tim Dunn-produced Bittersweet Demons is slated for a June 25, 2021 release through their longtime label home ATO Records. Recorded at Button Pushers Studio, the 11-song album finds the band lovingly reflecting on the people, who have left a profound imprint on their lives, the saviors, the hell racists and other assorted mystifying characters. Arguably, the most personal and complex batch of material they’ve written to date, the album reportedly finds the band bouncing around and between sunny pop, blues punk and wide-eyed psychedelia informed by John Lennon’s Plastic Ono Band and Harry Nilsson’s Lennon-produced Pussy Cats.

Bittersweet Demons first single “Francesca” was written by the band’s Tim Karmouche — and sonically, finds the band crafting a rousingly upbeat, hook-driven ripper that subtly adds a New Wave polish to the fuzzy psych rock barnburners that have won them national and international attention. To my ears, the members of The Murlocs have managed to write a road trip anthem that’s arena rock friendly. “The song is about my mother, and show she had been lost for love since the separation from my father, when I was, 10,” Kenny-Smith explains in press notes. “In the last year and a half or so, she’s found love again, with a very close family friend of ours, someone, who has always been a godfather and mentor to me in many ways. This has changed her spirit immensely for the better. You can really see the pop in her step as this enormous weight has been lifted off her shoulders.”

Kenny-Smith mentions that some of his favorite songs are odes to impressive women — i.e. Van Morrison’s “Gloria” — and says, “Francesca is my mother’s middle name and I’ve always loved it so much.” The Murlocs frontman adds “It’s probably the most positive, feel-good song we’ve ever done. It’s also the closest we’ve ever come to having an 80’s phase.”

Directed by Alex Mclaren, the recently released video for “Francesca” was shot last April. Melbourne was coming out of its first pandemic-related lockdown and restrictions were eased for a short period of time. The band and director quickly jumped on the opportunity to shoot while they had the chance, presumably recognizing that they may not get another chance. And for such an 80’s-like anthem, the video features the titular Francesca, Kenny-Smith and the band driving around in a convertible and rocking out, as well as 80’s computerized graphics and fade outs. The car footage was shot on Melbourne’s Ivanhoe Blvd., near where Kenny-Smith’s mom grew up. That part of the footage was informed by the video for Randy Newman’s “I Love LA.”

Live Footage: MAGON Performs “Shackles of the Wretched” at Basement

With the release of Out in the Dark, the Israeli-born, Paris-based singer/songwriter and guitarist  MAGON established a sound that he described as “urban rock on psychedelics,” which to my ears seemed indebted to David Bowie and T. Rex. 

The Israeli-born, Paris-based JOVM mainstay released his critically applauded sophomore album Hour After Hour through December Square/Differ-Ant Records late last year. Featuring tracks like  Change,” a dreamy meditation on the passing of time, “Aerodynamic,” a decidedly glam rock-inspired take on psych rock and the No Wave meets post-punk like album title track “Hour After Hour,” MAGON’s sophomore album is a decided change in sonic direction: sonically, the album as the rising singer/songwriter and guitarist says is “somewhere between Ty Segall, Allah-Las and The Velvet Underground.”

Earlier this year, the rising JOVM mainstay played a live set for Groover Obsessions‘ Les Capsules sessions at La Marbrerie. Building upon the attention that live session received, MAGON filmed another live session at The Basement, featuring material from Hour After Hour. The first video sees the Israeli-born, Paris-based JOVM mainstay and his backing band playing the Jim Carroll Band-like “Shackles of the Wretched” with an insouciant and swaggering co

Live Footage: JOVM Mainstay MAGON on Groover Obsessions’ Les Capsules

With the release of Out in the Dark, the Israeli-born, Paris-based singer/songwriter and guitarist MAGON established a sound that he described as “urban rock on psychedelics,” which to my ears seemed indebted to David Bowie and T. Rex.

The Israeli-born, Paris-based singer/songwriter and guitarist released his critically applauded sophomore album, Hour After Hour through December Square/Differ-Ant Records last December. The album, which features Change,” a dreamy meditation on the passing of time, “Aerodynamic,” a decidedly glam rock-inspired take on psych rock and the No Wave meets post-punk like album title track “Hour After Hour,” is a decided change in approach and sonic direction for the Paris-based JOVM mainstay: sonically, the album as MAGON says is “somewhere between Ty Segall, Allah-Las and The Velvet Underground.”

MAGON with his live band recently played a live set for Groover Obsessions’ Les Capsules sessions at La Marbrerie that featured a jammy and trippy version of the aforementioned “Hour After Hour,” one of my favorite songs off his sophomore album and the slow-burning burning and brooding psych rocker “Coucou My Friend.” Both songs in the live session are delivered with an insouciant yet swaggering cool.

New Video: Israeli-French JOVM Mainstay MAGON Releases a Trippy Animated Visual for No Wave-like “Hour After Hour”

With the release of Out in the Dark, the Israeli-born, Paris-based singer/songwriter MAGON established a sound that seemed indebted to David Bowie and T. Rex, which he once described as “urban rock on psychedelics.” Quickly after Out in the Dark, MAGON released a couple of singles including “Change,” a dreamy meditation on the passing of time and “Aerodynamic,” a decidedly glam rock-inspired take on psych rock.

While becoming a JOVM mainstay artist, the Israeli-French artist has developed a reputation for being rather prolific. His sophomore album Hour After Hour was released through December Square/Differ-Ant Records. Hour After Hour is a decided change in sonic direction and approach for the Israeli-French singer/songwriter: the album ia mix of psychedelic ballads and garage rock bangers that MAGON describes as being “somewhere between Ty Segall, Allah-Las and The Velvet Underground” that finds the JOVM mainstay writing the most introspective and personal lyrics of his growing catalog.

Interestingly enough, the album’s latest single, album title track “Hour After Hour” is a No Wave/post-punk like song, featuring quiggling guitar lines, a sinuous and propulsive bass line and the Israeli-French singer/songwriter’s sing-songy/Lou Reed-inspired delivery. But interestingly, the song is centered by neurotic self-deprecation, novelistic details and observations as the song’s narrator describes a meet cute turn hookup gone horribly wrong.

Directed and animated by Mihaela Mîndru, the recently released video for “Hour After Hour” features trippy line animation that follows the events and situations described in the song with a dreamy and surreal quality.

New Video: Madison WI’s The Hussy Release a Satirical Take on Commercials

Over the past couple of years, I’ve written quite about the Madison, WI-based punk act The Hussy, an act that formed back in 2008 as a duo featuring its founding members Bobby Hussy (guitar, vocals) and Heather Hussy (drums, vocals). The Hussy quickly developed a reputation for a trashy and scuzzy take on punk and for a chaotic live show that had the duo playing shows alongside a who’s who list of indie rock and punk — including Mudhoney, Ty Segall, Thee Oh Sees, Twin Peaks, Reigning Sound,Spectrum, Black Bananas, Black Lips, King Khan & BBQ, White Fence, The Faint, Tenement and countless others. All of that helped the band gain a cult-like following across the Midwestern underground scene.

Between 2009 and 2015, the band went through one of their most prolific periods of their history, in which they released material through 20 different labels and in countless different formats. During that same period, the duo also went through a relentless touring schedule across US and the European Union, including an appearance at Gonerfest after the release of their beloved sophomore album 2012’s Weed Seizure. Additionally, they also pulled double duty as the opening and backing band for NOBUNNY through tours of the US, Australia, and New Zealand.

Since touring with NOBUNNY, the band’s founding duo have split time between The Hussy and a series of other creative pursuits. Bobby Hussy has continued to tour off and on with NOBUNNY as a touring bassist. His other projects include playing in Fire Heads with Tyler Fassnacht, who recently joined The Hussy to help further flesh out their live and recorded sound — and synth wave post-punk act Cave Curse, who released a full-length in 2017. Heather Hussy is also a member of Proud Parents, an act that released their full-length debut through  Dirtnap Records last year.

Now, as you may recall, towards the end of last year, the members of the newly constituted trio began tracking their soon-to-be released full-length album Looming, the follow-up to 2015’s Galore. Galore saw the band moving into a more focused direction with their songwriting, and it included material with more complex arrangements paired with a mid-fi production. And while the album reflected an evolution in their sound and approach, they managed to retain the infectious pop-leaning hooks that won them cult-favorite status. Interestingly, Looming, which is slated for a Friday release finds the band going in a much darker thematic direction with the material touching upon death, sudden loss, divorce, addition and our current horrifying, infuriating, and depressing sociopolitical moment.

Over the past couple of months, I wrote about two previously released album singles: “Coast,” a scuzzy power-chord ripper with an infectious and rousingly anthemic hook and “Sorry,” a decidedly 90s alt-rock-inspired, fuzz pop anthem featuring ironic lyrics that sonically brought to mind a series of 120 Minutes-era MTV titans, like Hole, Veruca Salt, The Breeders and others with a similar gritty and bilious quality. The album’s latest single “Cornflakes” is a mischievous and scuzzy garage pop track that recalls Weezer’s “Buddy Holly,” The Go-Gos and others as its centered around an infectious, shout along worthy hook. 

Directed and edited by Austin Duerst, the recently released video stars the band’s Heather Hussy, Bobby Hussy and Tyler Fassnacht. in a wild satirical take on cereal commercials and other commercials. 

Interestingly, over the past couple of years, I’ve written about Madison, WI-based punk act The Hussy here and there, and as you may recall the band formed back in 2008 as a duo featuring by Bobby Hussy (guitar, vocals) and Heather Hussy (drums, vocals) — with both members contributing vocals. The duo quickly developed a reputation for a trashy and scuzzy take on punk and for a chaotic live show that wound up with the duo playing shows alongside a who’s who list of indie rock and punk — including Mudhoney, Ty Segall, Thee Oh Sees, Twin Peaks, Reigning Sound,Spectrum, Black Bananas, Black Lips, King Khan & BBQ, White Fence, The Faint, Tenement and countless others. All of that helped the band gain a cult-like following across the Midwestern underground scene.

Between 2009 and 2015, the band went through one of their most prolific periods of their history, in which they released material through 20 different labels and in countless different formats. During that same period, the duo also went through a relentless touring schedule across US and the European Union, including an appearance at Gonerfest after the release of their beloved sophomore album 2012’s Weed Seizure. Additionally, they also pulled double duty as the opening and backing band for NOBUNNY through tours of the US, Australia, and New Zealand.

Since touring with NOBUNNY, the band’s founding duo have split time between The Hussy and a series of other creative pursuits. Bobby Hussy has continued to tour off and on with NOBUNNY as a touring bassist. His other projects include playing in Fire Heads with Tyler Fassnacht, who recently joined The Hussy to help further flesh out their live sound — and synth wave post-punk act Cave Curse, who released a full-length in 2017. Heather Hussy is also a member of Proud Parents, an act that released their full-length debut through  Dirtnap Records last year.

At the end of last year, the members of the newly constituted trio began tracking their forthcoming full-length album Looming, the follow-up to 2015’s Galore. Galore saw the band moving into a more focused direction with their songwriting, and it included material with more complex arrangements paired with a mid-fi production. And while the album reflected an evolution in their sound and approach, they managed to retain the infectious pop-leaning hooks that won them cult-favorite status. Interestingly, the album which is slated for a September 27, 2019 release, finds the band going in a much darker thematic direction, as the material touches upon death and sudden loss, divorce, addiction and our  current horrifying, infuriating, and depressing sociopolitical moment.

Last month, I wrote about album single “Coast.” Beginning with a deceptive and upbeat intro featuring plinking and chiming guitars, the song quickly turned into a scuzzy power-chord ripper with an infectiously anthemic hook. “Sorry,” Looming‘s latest single is a decidedly 90s alt rock-inspired fuzz pop anthem featuring ironic lyrics, fluttering blasts of flute, layers of distortion pedaled guitars and thunderous drumming. Sonically speaking, “Sorry” will likely bring to mind a series of 120 Minutes-era MTV titans, like Hole, Veruca Salt, The Breeders and others with a similar gritty and bilious quality.

The members of The Hussy will be embarking on a lengthy tour during the fall. Check out the tour dates below.

 

Tour Dates
09/13 – Minneapolis, MN @ 7th Street Entry
09/14 – Madison, WI @ Mickey’s Tavern
09/19 – Chicago, IL @ Reed’s
09/20 – Springfield, IL @ Dumb Records
09/21 – Fayetteville, AR @ Backspace w/ The Wirms
09/22 – Dalls, TX @ Ruins in Deep Ellum
09/23 – Austin, TX @ Hotel Vegas w/ Xetas
09/24 – New Orleans, LA @ Circle Bar w/ Thelma and the Sleaze
09/25- Hattiesburg, MS @ The Looney Bin
09/26 – Memphis, TN @ Hi-Tone – Gonerfest 16!
10/11 – Madison, WI @ Crystal Corner Bar – Turkeyfest 10 w/ Vacation
10/12 – Chicago, IL @ Thalia Hall w/ Oh Sees & Prettiest Eyes
10/13 – Detroit, MI @ Outer Limits
10/14 – Cleveland, OH @ Little Rose Tavern
10/15 – Pittsburgh, PA @ Rock Room
10/16 – Washington, D.C. @ Slash/Run w/ Natural Velvet
10/17 – Philadelphia, PA @ Century
10/18 – New York City
10/19 – Stamford, CT @ Boy’s Club w/ Jacques Le Coque
10/20 – New Haven, CT @ Three Sheets w/ Jacques Le Coque
10/21 – Boston, MA @ The Greek w/ G Gordon Gritty
10/22 – Providence, NJ @ News Cafe
10/23 – Salem, MA @ Front Street Coffee House
10/24 – Montreal, Quebec – Canada @ Quai des brumes
10/25 – Buffalo, NY
10/26 – Cincinnati, OH @ MOTR