A decade on from their first record,Iceagecontinue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion.Seek Shelter–Iceage'sfifth LP and first for Mexican Summer – is proof that their lives are still happening through their music, and that they remain determined to harness it. EnrollingSonic Boom(Pete Kember of Spacemen 3) to produce,Seek ShelterseesIceage'spropulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound,Seek Shelterradiates warmth and a profound desire for salvation in a world that's spinning further and further out of control.
Seek Shelter, the band's first record made with an outside producer, was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn't reach the mics.Sonic Boomarranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, theLisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to singer/primary songwriterElias Bender Rønnenfelt'sincantations.
Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. "We wanted a partner that had some noise that we didn't have, more a wizard than a producer. We thought he'd be that kind of wizard for us, and we were right – he came in with a truckload of strange equipment that we'd never seen before." With Seek Shelter, they've managed to hold onto a core of total presence and constant risk while writing their most ambitious songs to date.
In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their first record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound.
With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. The first single off of Holy Hive, "I Don't Envy Yesterdays," picks up right where Homer and Paul left off. The song weighs the question of time and the human condition-a deeply thoughtful and typically tricky subject-but in a light, almost easy-breezy way. Homer's drumming provides the song a space, a kind of breathing room. Written in the Yucca Valley desert before the world broke in 2020, it's no wonder Paul's voice drifts and darts on top of it all like a heat shimmer. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives. "We put the utmost importance on having lyrics that mean something to us," Homer explains. "A lot of the songs on the first record were fun, but could be kind of surface. On this record, we wanted to be more personal-we wanted to write more about life."
Nash Kato and Eddie "King" Roeser met at Northwestern University, formed Urge Overkill(named after a George Clinton/Parliament lyric), and soon released a Steve Albini produced EP on Restless Records. After a string of acclaimed releases on Touch & Go Records (including the Stull EP, containing their cover of Neil Diamond's "Girl, You'll Be A Woman Soon," which became a hit after being featured in Quentin Tarantino's Pulp Fiction), the band moved to Geffen Records and issued a pair of albums which took over alternative radio. It was a whirlwind decade for the band. It wasn't until 2011 that the world would hear new Urge Overkillmusic, when the band released Rock & Roll Submarine (which earned a four-star review in Mojo.) Now, a decade later, is the world ready for more? There is only one answer: Oui. It features twelve new tracks from Kato and Roeser – eleven are Urge originals, with the opener (and first single) being a cover of Wham!'s "Freedom!" Add in tracks like "How Sweet The Light" and "Forgiven" and it all adds up to an Urge Overkillrelease the world not only wants, but needs.
Reissue to celebrate the 10th Anniversary of GRAMMY-winning artist Thundercat's debut album from 2011: the record that introduced Thundercat to the world as a truly mercurial talent. Executive produced by his longtime musical partner Flying Lotus and featuring musical contributions from Erykah Badu, Taylor Graves, Austin Peralta, Miguel Atwood-Ferguson, Kamasi Washington, Brandon Coleman, Chris 'Daddy' Dave, Shafiq Husayn, Om'Mas Keith and more. Universally acclaimed for its enthusiastic fusion and adventurous spirit, the record embraces 'electronic music's futuristic sound-sculpting and reconnects it with the history of African-American pop' resulting in a 'densely layered, expertly played, genre-crossing marvel' (Pitchfork).
Translucent red LP housed in a beautiful gold sleeve with a large hologram sticker and gold holofoil detail. Includes two bonus tracks: '$200 TB' and 'Daylight (Reprise)'.
American Head is the best and most consistent studio album from The Flaming Lipssince the release of their most successful brace of albums The Soft Bulletin and Yoshimi Battles The Pink Robots. Similar to those records, the 13 cinematic songs onAmerican Head are classically structured and feature the same sonic and production qualities.Kacey Musgraves (a fan who covers "Do You Realize" in her live set) is a guest on three tracks – "Watching the Lightbugs Glow" as well as the focus tracks "Flowers Of Neptune 6" and "God and the Policeman." "Flowers of Neptune 6" serves as the first new music from The Lips since 2019's internationally acclaimed King's Mouth Music And Songs. Produced by Dave Fridmann and The Flaming Lips, it reflects the gentler side of the band's paisley oeuvre and melodically flows downstream into a welcoming wormhole of wistful summer pop.
Hand Habits, the project of Los Angeles-based musician Meg Duffy is back with their ambitious new album Fun House. Produced by Sasami Ashworth (SASAMI) and engineered by Kyle Thomas (King Tuff), the record was not intended as a reaction to the pandemic, but it was very much the result of taking a difficult, if much-needed, moment of pause. Emboldened by going into therapy and coaxed by Ashworth to push the songs into unexpected new shapes, the resulting music is more acutely personal and stylistically adventurous than anything you've heard from Hand Habits before. The push/pull of styles, paired with songs that move deftly between the present and past, give the record a wildly diverse, hall of mirrors quality that befits its name. Where previous Hand Habits records could be fairly insular affairs, Fun House feels ebullient, lush, a fully-realized conversation.
1. More Than Love 2. Aquamarine 3. Just to Hear You (feat. Perfume Genius) 4. No Difference 5. Graves 6. False Start 7. Clean Air 8. Concrete & Flowers 9. The Answer 10. Gold/Rust 11. Control
With a name like Death Valley, one would assume early cartographers were actively deterring people from its boundaries. It's now recognized as an ecosystem with its own unique beauty and wonder, though it's not without its element of danger. That landscape is a fitting reference for LA's blazing rock troupeDeath Valley Girls, whose particular blend of garage punk, proto-metal, and communal music drapes an air of occult mystery and white-hot energy over an underlying celebration of life and vitality.
Their 2020 albumUnder the Spell of Joywas the clearest distillation of the band's ongoing mission – creating a sound that was both riotous and transcendental, brimming with positivity even as it navigated dark melodies and rowdy riffs. That said,Death Valley Girlsfelt fully realized the moment they appeared on the scene and never lost track of their initial daredevil energy. Their debut album, 2014'sStreet Venom, was given only a modest roll-out consisting of a small run of cassettes, but the songs were so infectious that they continue to be staples in the band's live set. For the first time,Street Venomis receiving its proper due with aDeluxe Editioncourtesy of Suicide Squeeze Records.
Death Valley Girlsbegan when vocalist/guitarist/organist Bonnie Bloomgarden moved to Los Angeles to get clean from drugs. Figuring that playing music would be a positive distraction, she put her feelers out for potential bandmates and was eventually introduced to Hole drummer Patty Schemel and her guitarist brother Larry. Bassist Rachel Orosco was brought into the fold soon after. "We spent a year messing around and jamming ‘cause we all needed to play and have something safe to do that wasn't AA," Bloomgarden says of the band's infancy stage. Not wanting to land shows only off the merits of their drummer's credentials,Death Valley Girlsopted to make a record before playing out live. They spent two days at Station House Studios in Echo Park with producerMark Rainsand cranked out the nine-track albumStreet Venom.
The deliciously scuzzy guitars and righteous chorus of album opener "No Reason" immediately set the tone for the album. There's an undeniable swagger to tracks like "Arrow" and "Shadow," a sultry allure to songs like "Get Home" and "Paradise Blues," and a life-affirming electric spirit to "Girlfriend" that sound more like the output of a seasoned, road-tested band than the debut offering of a bunch of misfits. Combined with the follow-up long-out-of-print seven inch single "Electric High" b/w "Gettin' Hard," thisDeluxe EditionofStreet Venomcaptures the fiery beginnings of one of LA's most exciting and inspirational underground rock bands while bolstering the sound with anew mix and a remaster. Suicide Squeeze is proud to offer upStreet Venom (Deluxe Edition)oncolored vinyl LP.
In the wake of Bitch Magnet and current of Superchunk,Sooyoung Park and Mac McCaughan formed a raw version of Seamin the summer of '91. With bassist Lexi Mitchell, the trio banged out an album and two singles worth of shambolic dream pop in the sweltering Chapel Hill heat. Headsparks - featuring ten songs of talk-whispered vocals, sloshing guitar solos, scattered snare rolls, Velocity Girl's Sarah Shannon, and the original version of Codeine's slowcore classic "New Year's," - is back on vinyl LPfor the first time in 30 years.
"I wanna try harder / To love myself like I would another,"Molly Burchsings on her captivating new album,Romantic Images. It's a notion that lies at the very heart of the record, a guiding light to which Burch returns throughout the collection as she sheds the anxiety and insecurity of her twenties and embarks upon a bold new chapter marked by a radical embrace of herself and her womanhood. "I wrote most of these songs in the months leading up to my 30th birthday," Burch explains, "so I was doing a lot of reflecting on growth and change. Sometimes it's only in hindsight that you can realize how far you've actually come."
Indeed,Romantic Imagesmarks a distinct evolution for Burch, both emotionally and sonically. Recorded in Denver with Tennis'Alaina MooreandPat Rileyproducing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery. Burch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, reveling in the passion and the power of the divine feminine.
Written with the live show in mind, the collection prioritizes ecstasy and escape, and it's easy to hear Burch's commitment to collective catharsis in her lifted, airy delivery, which manages to exude both thoughtful introspection and carefree abandon all at once. The shadow still lurks on the album, to be sure, but the light ultimately wins, as it always does when we're brave enough let it in, and the result is an intoxicating collection all about coming into our truest selves, an honest, uplifting testament to the comfort and strength that comes with learning to look in the mirror and love the face staring back.
To celebrate the 10th anniversary of the now legendary album 'Public Strain', Women are releasing a special limited edition clear vinyl pressing of the album and a new five-song collection of material titled 'Rarities 2007-2010' featuring material that was either hard-to-find or never released, now properly mastered and available to order on vinyl for the first time.
The product of an intense and difficult year-long recording process, 'Public Strain' seems without any clear sonic lineage - equal parts Velvet Underground, Deerhoof, and Television, but distinctly unique and unprecedented. Just over a month after the album's release, the short-lived band was finished; however, the reverberations of 'Public Strain' were widespread and it became regarded as a modern-day masterpiece, a vital document of an inimitable moment in time, and a clear touchstone for countless albums since it's release.
Ska-punk pioneersThe Mighty Mighty BossToneS deliver their eleventh studio recordWhen God Was Great. Co-produced by longtime collaborator Ted Hutt (The Gaslight Anthem, Dropkick Murphys) and Rancid frontman Tim Armstrong (Transplants, Jimmy Cliff), When God Was Greatis the culmination of their extensive and all-embracing career and sees the band bringing back friends, tourmates, and bandmates from the past for a sonic celebration that stresses the power of perseverance and human connection during tumultuous times. The album features 15-tracks that initially arose out of a collective sense of loss.
"We were lightly writing songs before the insanity without any sort of timeline in mind. All of a sudden, the world changed and benchmark events in a very long career that we were looking forward to, such as playing with the Madness at the Greek Theatre, were taken away from us," explains frontman Dicky Barrett. "With all of this time on our hands, we started writing at a quickened pace and we were really inspired. As grim as everything around us was in the outside world, this was the most fun we ever had making a record."
Latest Elvis Costello and Sebastian Krys Production following Collaboration on Elvis Costello and The Imposters' Grammy-Winning Look Now!
Recorded in Helsinki, Paris and New York,Hey Clockfaceis the latestElvis Costello andSebastian Krysproduction, following their collaboration on Elvis Costello and The Imposters' Grammy-winning albumLook Now.Hey Clockfacealso features contributions fromBill Frisell, Nels ClineandSteve Nieve. "I wanted the record to be vivid, whether the songs demanded playing that was loud and jagged or intimate and beautiful," Costello said of the project's emotional and dynamic range.
Following the solo recording of "No Flag," "Hetty O'Hara Confidential" and "We Are All Cowards Now" at Suomenlinnan Studio, Helsinkiby Eetü Seppälä in February 2020, Costello immediately traveled to Paris for a weekend session at Les Studios Saint Germain. The ensemble, dubbed, "Le Quintette Saint Germain," was recruited for these dates by Nieve (who plays grand piano, upright piano, organ, mellotron & melodica) featuresMickaél Gascheon trumpet, flugel horn and serpent,Pierre-François ‘Titi' Dufouron cello and the drums, percussion and high harmonies ofAjuq. Reed player, Renaud-Gabriel Pion brought many tones and colors to the performances, playing, contrabass clarinet, bass clarinet, Bb clarinet, tenor saxophone, bass flute and cor anglais. The Paris sessions were recorded by François Delabrière.
The New York sessions were produced by composer, arranger and trumpet player, Michael Leonhart in collaboration with Frisell and Cline and completed, lyrically and vocally by Costello, "via Electrical Wire." "Michael sent this music to me from New York at the perfect time," Costello adds. "It connected to elements in both of the previous sessions and completed the picture."