The Fun Years are getting ready to release their latest full-length. “Heroes of the Second Story Walk-Up,” which is currently up for pre-order on Spring Break Tapes. “Ask for the Omega Man” is the latest track off that forthcoming album.
Ben Recht and Isaac Sparks are The Fun Years, and after poking around Soundcloud for a while to get a feel for the duo’s trajectory “Ask for the Omega Man” sounds not so much like a departure from past endeavors as it is more of an expansion. Whereas a previous release on Spring Break Tapes, “Janice Was Into Recovery” from two years ago, is much more of a drone affair, “Ask for the Omega Man” is focused on more somewhat orthodox song forms.
I know that I already brought this band up the other day, so you’ll have to forgive me, but it would be hard to dismiss the Explosions in the Sky vibe throughout this one. But, at the 2:40 mark, as the lead guitar shifts into into its own haunting pattern, the mood of the entire track shifts from gloomy to nostalgic, even hopeful.
Guitar sounds are downplayed throughout “Janice Was Into Recovery,” while they are the main driving force behind “Ask for the Omega Man.” “Janice…” is made from smaller snippets placed up front in the mix, with melodic material cast more to the background, in an ambient texture. Where “Janice…” draws attention to its nature as a loop, “Ask for the Omega Man” shifts your focus elsewhere with melodic counterpoint keeping the scratchy sounds of the introduction at bay, and buried.
Other releases, including a 10″ out through Three:Four Records in 2009 find The Fun Years working in much the same territory as “Janice…” with somewhat more lo-fi production.
I like the direction that The Fun Years seem to have taken with this latest release. If we can judge an entire album by this one track, that is to say if every track on “Heroes of the Second Story Walk-Up” takes a similar approach, then it is going to be a pretty good album for sure. The Fun Years might be worth keeping an eye on.
Pre-order The Fun Years “Heroes of the Second Story Walk-Up”
Available on Spring Break Tapes! You can also get that 10″ from three:four records from 2009 here if you want to check out earlier material. That 10″ was a limited edition of 489 (?), which apparently hasn’t really been flying off the shelves. So if you have €10 lying around, there you go.
Today we’ve got here a mellow, shoegazey two parter from Nicholas Nicholas’ upcoming sophomore album, “Wrong,” which is set for an August 19th release.
At the very opening of the track we hear a bellowing low note from which the music will soon blossom. We’re given all the instruments at once after only about a second, but the way that they grow out of that initial low note is so organic that it feels more like a warmth washing over you than it does anything drastic or jarring. A guitar enters, its echoes bouncing off every available surface and ringing across the the track. Backed by a wash of synth patches that leave trails in the distance and a steady drumbeat, the song isn’t treading on unknown territory. “Cave” traces a path through shoe gaze and chillwave, something that makes complete sense, but I don’t think has been much explored before. It’s as if the wall of sound was stripped away from a My Bloody Valentine song, leaving only the vocal technique and the idea of creating a sound that encourages some sort of contemplation.
The vocals are maybe the most interesting element of the song. Drawled out from a register well below any of the other instruments it sounds to be slowed down significantly, in essence really drawing out that effect of stretching time and laying so far back in the beat that the rest of the track seems almost resistant to the pulse. The music seems to pull the voice through the track, despite its desire to stay behind.
The piece more or less does away with a traditional verse/chorus/verse structure, instead choosing to sidestep via an extended coda. In some ways it sounds as though we have two different songs going on back to back here, the way the first dies out completely before the coda comes in. There is just enough contrast between the first and last half of the track to consider them as contrasts, but not so much contrast that they don’t go together.
“Wrong” is available as a cassette for pre-order right now through the Miscreant Records bandcamp for $5.
Punk rock jams out of Iowa City? Who knew? Well, now you do. Xerox recently released their debut on Hard Art Records, and “Revision” is the first track that has been made available and it’s a good one. They may be from the midwest, but they are definitely bringing their best sneering English attitude for this one.
The arrangement and verse/chorus/verse structure straddles the line between straight up punk rock and something a little more pop oriented. The crystal clear production and tight ensemble work really takes this out of the realm of the usual ultra-gritty, quick and dirty live sound and into the realm of the polished. Not too polished, let’s not get crazy here.
Clear cut guitar, no feedback squealing throughout every silence like we’re so used to hearing by this point. But the track is no less powerful in spite of it’s more clean and clear nature. This is still firmly rooted in the tenets of punk, but why can’t you find a good balance between greater accessibility within the greater aesthetic. Especially interesting is the way the song builds up right to the end with 16th note snare hits over top of muted guitar strings that seems to point to the development of a new section, but only serves to drive the track to its end.
Check out the track above and head over to Hard Art Records to grab a copy and hear all six tracks of the band’s debut EP.
Le Rug has got pretty good timing, coming at us with a track like “Jailbait,” just in time for the Summer. This track is sure to end up on more than a few playlists designed to accompany roadtrips down a sunny highway to nowhere in particular in the coming months. It’s just one of those carefree and energetic rockers that’s catchy as hell from start to finish.
Of course, being that it is only one track from a 32 track compilation that spans several years, it is by no means representative. “Harold Camping” is a bit more varied in its approach, with the same wild vocal but a guitar sound that is more restrained. Each song throughout the compilation sounds new and familiar at the same time, and though I usually prohibit myself from saying such meaningless-sounding wordfiller type things, it’s really true. Though “Godstar” reminds me of maybe The Burdocks, in the sound of the vocals, and some of the melodies. The rhythms here are less angular, that is for sure, but the melodic sensibility is pretty similar.
Other tracks, like “Get it Over With” and “Dead in a Hole” explore a synthier side that isn’t necessarily any colder timbrally than the other guitar driven tracks, but certainly explore a whole other sound in general. The guitar is ever present, at varying levels of grit. The songs always have the ability to soar and find a way to pull the listener in.
The good news is that there is a whole lot more where this came from. These songs are coming off a 32 track compilation that is set for release June 17th, and can be pre-ordered right now on cassette (recommended) or as a download from Austin’s Fleeting Youth records. According to the press release:
Press Start: The Collection features 5 magnetic and pulsing post-punk releases from Brooklyn’s Le Rug (32 tracks overall)– 3 albums from when Le Rug was more active years ago and 2 new recent EPs released earlier this year.
For now though you can download the tracks above for free. Take some time to ruminate with them. No doubt you will find yourself wanting to listen more and more.
For the past week or two I kept seeing this band, and this song, pop up and I kept passing it over because I could have sworn that I already posted about this track. But then I finally got un-lazy and actually checked (it took all of 5 seconds, but only because I tried “east link” AND “eastlink”), and realized that I haven’t written about this track yet. I really wish that I had, because this is a rocker that should not go overlooked. Just think of how ahead of the curve I could have been.
Australia’s Eastlink just released their first full-length on In The Red. This band is going strong with four guitars, Diarrhea Planet style. Completely overdriven, out of control and thrashing through this blistering four-minute track. The track is about half-buildup, promptly focusing its attention toward one unrelenting riff and intense vocals. I’m actually having a hard time trying to figure out if I am comfortable going with the “kraut-rock” label. I think that just because of the sheer volume and intensity, that doesn’t even try to hold back or express restraint in any way, that this is certainly not kraut-rock. It’s a whole lot of sound coming out of your speakers, trying its best to completely obliterate them.
The album comes out today, and can be ordered directly from In The Red. While you’re over there, check out the rest that the label has to offer. There are a couple of other new releases that are definitely worth checking out, and you can also hear more at In The Red’s soundcloud page.
Polyvinyl is one of my favorite labels out there today. They just have such a diverse roster, one that happens to include one of my favorites – of Montreal. But White Reaper, Polyvinyl’s newest addition, is really nothing like of Montreal. This band is punchy, energetic, and just on top of it. The rambunctious track “Half Bad” starts off with just about the best drum sound you could possibly hope for, and check that fill. How could a song that starts this way possibly be bad? The answer: it can’t.
This is going to be a perfect Summer-time, road trip jam. I’m sure you’re listening to it right now, but to my ears theirs is a sound that takes the grittiness of garage rock, the catchiness of some guitar driven pop, and the energy of punk, and they manage to mix it all together to great results. The catchiest thing is the little synth motive that substitutes for a chorus. I’d be remiss if I didn’t mention the scratchy vocal track, shouted and doubled to only add to the almost overwhelming amount of energy already present on the track. There is a bridge that takes things back a little tiny bit, though the catchy hooks stay dialed up throughout, and it’s only a matter of seconds before they can’t hold back any longer, tearing into one last chorus.
“Conspirator” helps bring the picture into focus as to what we should expect for White Reaper’s debut: more powerfully energetic rockers with pop hooks to spare.
Like I said, they are the newest members of the Polyvinyl family and that means that they have a release coming out. Their self-titled EP is available for pre-order right now on 180g clear pink 12″ vinyl, CD and tape. Pre-orders ship June 13th and the EP hits stores on June 24th.
The band is also touring right now with Young Widows. Check the dates below:
06/19 – Kansas City, MO @ Czar Bar
06/20 – Denver, CO @ Moon Room
06/21 – Salt Lake City, UT @ Kilby Court
06/22 – Boise, ID @ The Shredder
06/24 – Seattle, WA @ Chop Suey
06/25 – Portland, OR @ Bunk Bar
06/26 – Sacramento, CA @ Witch Room
06/27 – San Francisco, CA @ Thee Parkside
06/28 – Los Angeles, CA @ The Church On York
06/29 – Phoenix, AZ @ Rhythm Room
06/30 – Tucson, AZ @ Plush
07/02 – Austin, TX @ Holy Mountain
07/03 – Dallas, TX @ Dada
07/04 – Oklahoma City, OK @ Conservatory
07/05 – St. Louis, MN @ Firebird
First up is a track off the new 2×7″ from Sacred Product. “Ride Back,” with its demented minor-mode descending guitar line and a background of noise that sharply cuts in and out resembles in a lot of ways the sound of Sebadoh. The lackadaisical vocals, tossed of nonchalantly and similar in style to Thurston Moore in some of the earlier Sonic Youth releases. The one-part structure upon which it is built makes use of extensive repeated motives, but spaces them out to create shifting layers of musical material throughout. Basically, the track manages to sound slightly evil due to the disjunct motion of the harmonies, while holding to reliable repeated gestures that smooth over the entire track.
You can stream another track below that comes from an earlier EP, released through Albert’s Basement as a cassette release limited to 100 copies. This track is “Iron Coffin” and comes from a similar approach with a thicker layer of sludge laid over top. A significantly Lowered tuning adds to the distortion and sludge as the song plods through 7+ minutes of single-part structure.
And finally “Tram and Train” can be heard below, also displaying an affinity for the krautrock/garage-rock aesthetic.
“Wastex” is available as a double 7″ and the EP is probably not available anymore, but you can head to Albert’s Basement facebook page to find some other cool stuff.
You learn something new every day. Today I learned that John Dwyer likes to keep busy at all times. Well, I guess we all knew that before, as it was pretty obvious from Thee Oh Sees’ catalog that he wasn’t satisfied to ever sit still. But now since his band has begun their sabbatical (as we’ll call it. The word “hiatus” never ends well) his restlessness and relentlessness has only grown.
Dwyer’s new solo album under the name Damaged Bug is out now through his Castle Face imprint, and he’s been releasing (and re-releasing, or otherwise unearthing) some other great stuff too on a weekly basis. That’s the thing that I learned today, that John Dwyer is just feeding us a steady stream of great music.
Trin Tran
The one that I decided to pull today comes from Trin Tran. Apparently a one-man show, the music is gritty, static-y and maybe even a little dark. It’s hard to tell if the guitar is a little out of tune from the synth, or if the tubes of said synth were allowed to get too hot and it is the thing that is out of tune. Either way, it sounds pretty great. A trashy guitar plucks delicately at un-tuned strings while the synth buzzes along, eventually adding a syncopated high attack that adds a tinge of sarcasm, a sideways glance to those looking for something to dance to. Those people are going to have to look elsewhere.
Check out the track “Fashion Has Happened to Fashion” on Soundcloud above and then head over to Castle Face to grab what I’m sure is an extremely limited number of copies of the “Far Reaches” EP. There are still some copies available on Galaxian Mist colored vinyl.
Here comes another dose of aggressive, detuned raw post-punk energy. Stumbled across this one while bumming around Soundcloud and it really grabbed my attention.
My knee-jerk reaction whenever I hear a band that extends what it means to use the guitar as an instrument, where they realize that it is so much more than just the notes, that it’s about everything else, is “Sonic Youth.” The tone, the slack-stringed jangle with harmonics that ring out alternately with a wall of inescapable noise. But really after about two seconds my thoughts quickly turned away from my beloved Sonic Youth and towards something more like Wire.
“I Need a Bag” starts us off with incessant guitar abuse; bashing the daylights out of the strings so much that the pitch bends. But, in addition to the overall “Wire-ness” there is something about the abrupt vocal delivery that calls to mind The Blind Shake. Definitely a good thing.
Then we come to the even noisier “Bring Dumpster Back” and “Trollin the Lake.” The latter of these starts with some calm–relatively calm–though somewhat unsettling ambience. A few stray notes here and there, a few open strings before suddenly everything explodes in a fiery ball of aggression in the form of dissonance in every aspect imaginable. This is pretty much the stuff that I live for. Polvo-like guitar tunings, early Sonic Youth’s energy, up front and bordering upon hostile vocals. Really great stuff.
Of course, check out the tracks above, or head over to the soundcloud page to hear them and other fantastic stuff from S.S. Records. This is the band’s 2nd full-length, and if you want one you had better act fast because it seems that S.S. can’t keep these things on the shelf very long. Their first LP has already burned through a couple of pressings. “Rodeo Songs” is available on vinyl right now.
And below you can check out the official video for “Yawn Factory” from the band’s first album. There’s also some really greatfootage of them live online as well.
On some levels it might seem like the easy way out, to record an album fully of acoustic guitar-based songs. It’s simpler, faster, maybe cheaper, at least that is what I think most people think. But, in actuality, it’s exactly the opposite. Recording such an album is pretty much the ballsiest thing that you can do. There is nothing to hide behind. Any mistakes made are going to shine through and be there forever. The stripped-down-ness of the entire affair, in actuality, complicates everything. Every aspect of a song needs to be given the same amount of thoughtful attention, because if anything is let to slip not only is that going to be noticeable but it’s going to drag down everything else in the mix.
By this point you can probably see what I’m getting at, and that thing is that Dim Peaks’ “Time of Joy” is, yes, a stripped down acoustic centric album that places all that it has to offer into a bright light, center stage. Before we even get to the lyrics we should talk in detail about just the sound of the album. The lone acoustic guitar is pushed way up front in the mix. No reverb, and no punching in (from what I can tell). The way that it’s recorded it’s possible to hear fingers against strings, strings against fretboard, sometimes a faint snapping of the lower strings as the thumb plucks out a bassline. And in the opening track “Rest Well” a piano adds a little lightness against the plucked strings and vocals.
“Rest Well” works perfectly as an album opener with its short and simple structure, terse lyric and gradual building up of the texture. Leading into “Control” and “Let the Bidding War Begin” introduces a few more instruments that periodically lay down some atmosphere to the background, again, shading the overall mood every so subtly.
Listening to the album I can’t help but be reminded of a few albums that I’ve spent some time with. The intimacy of the songs and the style of the guitar playing makes me think of Luke Roberts’ “The Iron Gates at Throop and Newport,” while sometimes the somber mood (for example on “Control” or “Slumberland”) reminds me of The Burning Hell’s “Happy Birthday” album. The occasional use of slide guitar, always a great addition when used properly, makes me think of Joel Plaskett’s solo debut “In Need of Medical Attention.” And I’m not saying that this album is derivative of those, not at all. What I am saying is that this album makes a great addition to those and I will forever link all of these releases in my mind.
The immediacy of recording an album that focuses primarily on intimate sounds is, I think, a huge advantage that this music has over so many others. What could get closer to harnessing the full affective powers of music? That is what all music is trying to accomplish after all. The rawness and realness of “Time of Joy” rings through in the title track. While the opening guitar line repeatedly traverses its infinitely descending melodic line one can hear guitarist/vocalist Niilo Smeds altering the dynamic of the lowest voice, with the tempo ever so slightly wavering before the entire band enters. It’s these tiny elements that make the songs sound so much more human, and again so much more affecting.
Each song is treated to its own individual arrangement. Instruments come in for one song never to be heard from again, which I think adds a personal touch to each track. Dim Peaks’ masterful uses of a fully fleshed out band in the title track contrasts with the equally thoughtful and efficient use of smaller forces in “Yellow Mountain.” This is not to mention the genre straddling that is going on throughout “Time of Joy.” Some songs lean a little bit heavier onto the folk elements, while others, like “New Orleans,” hint at a blues/country tradition, though they never stoop to using stock melodies and tricks. “New Orleans,” adding to the element of immediacy, sounds as though it’s being sung amongst a circle of friends and at any minute the entire crowd will bust out singing the chorus “I wish I was in New Orleans…” Meanwhile Niilo’s vocals are laid just as bare as the guitar across the album, and doesn’t falter one bit.
Take a listen to the songs that are up on soundcloud and bandcamp, as they are all very much worth it. “Time of Joy” was released earlier this year, in September through Gold Robot Records. Follow the links below for all the good stuff. The vinyl, by the way, is limited to only 500 copies, though the album is also available digitally.
