Generationals have a new record, Alix, due out September 16th on Polyvinyl. “Gold Silver Diamond” is the first single from the record.
GENERATIONALS – 2014 TOUR DATES
OCTOBER 07 – Houston, TX – Fitzgerald’s Downstairs *
OCTOBER 08 – Dallas, TX – Prophet *
OCTOBER 09 – Baton Rouge, LA – Spanish Moon *
OCTOBER 10 – Atlanta, GA – Drunken Unicorn *
OCTOBER 11 – Washington, DC – U Street Music Hall *
OCTOBER 12 – Brooklyn, NY – Music Hall of Williamsburg *
OCTOBER 15 – Birmingham, AL – The Bottletree *
OCTOBER 16 – Hattiesburg, MS – Thirsty Hippo *
OCTOBER 17 – New Orleans, LA – One Eyed Jacks *
OCTOBER 28 – Kansas City, MO – Record Bar
OCTOBER 29 – Bloomington, IN – The Bishop
OCTOBER 30 – Chicago, IL – Thalia Hall
NOVEMBER 02 – Minneapolis, MN – 7th Street Entry
NOVEMBER 12 – Los Angeles, CA – Troubadour &
NOVEMBER 13 – San Francisco, CA – The Chapel &
NOVEMBER 15 – Seattle, WA – Crocodile &
NOVEMBER 16 – Portland, OR – Doug Fir Lounge (early show/all ages) &
NOVEMBER 16 – Portland, OR – Doug Fir Lounge (late show) &
NOVEMBER 17 – Vancouver, BC – Biltmore Cabaret &
* = Arum Rae supporting
& = Springtime Carnivore supporting
I guess it’s only natural that the reunited Afghan Whigs had been as overlooked as the 90s Afghan Whigs. Among all of the reunions that have happened over the past few years, this one seemed to get very little hype, but produced a record worth of the legend of the band. And maybe that was the problem. Where many reunions have led to huge letdowns, Do To The Beast is a logical continuation from where the band left off with 1998′s 1965. And “Matamoros” is one of the best examples of Greg Dulli and co’s continued brilliance.
Love this guy’s lo-fi soul. First new single from Willis Earl Beal’s upcoming album, Experiments In Time, available on August 8th 2014.
The Future’s Void
02. So Blonde
07. When She Comes
08. 100 Years
10. Dead Celebrity
Frayed wires send electrical charges through her spine.
“So Blonde” is a throwback to the great 90s female singers that combined sweet with a rough around the edges attitude that basically said “I’ve got a crush on this boy, but he better not think he can fuck me over.” And that’s pretty much the spirit of EMA’s latest release, The Future’s Void. For all the pop hooks, there’s plenty of raw nerves that give each and every track a sense of human vitality. it’s the kind of record that should please Yeah yeah Yeahs fans who think the band lost their edge over the years. Taking cues from the industrial music playbook, there’s a machine-like aesthetic to The Future’s Void, but EMA maintains enough human emotion to avoid falling into the realm of soulless robotic terror. Album highlight “Smoulder” utilizes vocal distortion and feedback effects to intensify the aching ballad into something special.
Originally written by Burt Bacharach and Hal David, and performed by Dionne Warwick, Julia Holter’s cover of “Don’t Make Me Over” is a colossal beauty!
A new double A side 7″ from Julia Holter set for release on August 19 (North America) / July 28th 2014 (Rest of the world).
A Don’t Make Me Over (Written by Burt Bacharach / Hal David; originally performed by Dionne Warwick) LISTEN: bit.ly/dontmakemeoversc
AA Hello Stranger (Barbara Lewis) LISTEN: bit.ly/hellostrangersc
Pre-order and receive an instant download of both tracks
In the clouds he freely floated above all that which once brought immense pain.
The further down the Talk Talk-influenced rabbit hole that The Antlers fall, the less exciting they’ll become to much of their original audience that stepped aboard when Hospice blew up. Burst Apart was clearly the transitional effort leading to Familiars. it’s hard not to miss the energy and vulnerability of their earlier releases, but The Antlers make up for it with the development of their musical sensibilities. Familiars is gorgeous, spacious, and filled with an atmosphere not dissimilar to Talk Talk’s final two albums. The mood remains peacefully adrift in the clouds with tensions hardly rising beyond a whispered cry. This lack of tension keeps Familiars from reaching Spirit of Eden‘s heights, but it’s a beautiful album regardless, and one that should age gracefully.
RIYL: Talk Talk, Slowdive
Label: Rough Trade
2. Keep It Healthy
3. Love Is to Die
8. Go In
9. Feeling Alright
Through the thick fog, a colorful display of lights seductively shined through, luring the convoy astray.
Released way back in January, Warpaint’s sophomore effort is already a distant memory in the age of the internet which cuts away at the shelf life of anything in its path. When people were raving about Warpaint’s debut The Fool, I felt like one of the few who didn’t find love at first listen. Naturally, Warpaint has been far more appealing to me and yet hasn’t gotten nearly as much love from the press. The band seems to be at their best when combining ethereal vocal with poppy rhythms. I cannot help but think of a certain classic female-fronted 4AD band covering the Slits most groove oriented material (or ESG for that matter). Like a hazy fog of color, the songs somewhat blend into each other, which keeps it flowing seamlessly, but may also take away from the ability of individual tracks to stand out.
Favorite songs: Love Is To Die, Disco//very, Son
RIYL: ESG, Cocteau Twins, Mazzy Star
From the city of Chicago, Walking Bicycles have returned with a claustrophobic beast of an album. Their latest single “Eyesore” a fast paced buzz saw cutting through a dense wall of sound.
To Him That Wills The Way Tracklisting:
1. Impending Doom
4. Vitamin Z
5. War Paint
6. Faster Than Light
8. The Messenger
Upcoming Tour Dates
6/20 – Chicago, IL – The Hideout Inn
8/11 – Chicago, IL – The Empty Bottle (Album Release Show)
Unicycle Loves You
The Dead Age
Label: Mecca Lecca
01. Falling Off
02. We Never Worry
03. Suicide Pizza
04. Silent Minus
05. Face Tattoo
07. Bad News Club
08. Endless Bummer
09. Any Daydreaming Morning
11. X-ray Glaze
12. The Dead Age
Everyone was having a great time until the chainsaw wielding maniac arrived at the school dance.
In 2008, Unicycle Loves You launched into the indie rock stratosphere with their self-titled debut. It was a slick indie pop album that always made me think of a cross between The Cars and New Pornographers. Since then, Jim Carroll has distanced himself from the record, but it’s undeniable that that album was loaded with great melodies and pop hooks, plus “Highway Robbery” could have been a hit single. Two years later, the much more atmospheric and cohesive Mirror, Mirror displayed an immense level of growth for the band. It was a synth pop rock record with colorful washes of sound. They still sounded like the same band, but with a more unique personality than their debut.
Leading up to 2012′s Failure, Unicycle Loves You joined the humble beginnings of Mecca Lecca‘s music collective. Demos revealed a much more raw, heavy sound coming from the now trio. What once was characterized by a shiny polish had rusted over into something far more dangerous. Carroll’s lyric had grown more clever and cynical and yet their grasp on the wonder of melody was as tight as ever.
If you played someone each album, they might have been able to distinguish that Unicycle Loves You and Mirror, Mirror were by the same band, but the sonic transformation on Failure would have been much harder to link to its predecessor.
Finally, here we are in 2014. Jim Carroll and Nicole Vitale have moved from Chicago to Brooklyn, and were joined by a new drummer Dennis Lehrer. One might predict that such changes may have led to another major shift in change on their new album The Dead Age. Instead, The Dead Age takes everything that worked on Failure and thrives to perfect it. Jim Carroll’s guitar buzzes, explodes and bends through space and time as though he were trained by guitar Yodas Thurston Moore and J Mascis. This is the first Unicycle Loves You record that really feels like a guitar record, and it’s quite a good one. And despite similarities to Failure, standout tracks such as the riffcentric “JAWS,” hazy shoegazing “Any Daydreaming Morning” and epic finale “The Dead Age” prove that this is an entirely new and well-rounded feat for a band unwilling to settle on repeating the same stale ideas.
Time Between is the first song to be released from the forthcoming Bear In Heaven record Time Is Over One Day Old.
Released on August 5th (4th in the UK) on Dead Oceans / Hometapes.
Pre-order the album at: bit.ly/BIHmerch
On tour (buy tickets at: bit.ly/BIHshows)
Mon. Aug. 4 – Brooklyn, NY @ Rough Trade (record release show)
Wed. Aug. 20 – Philadelphia, PA @ Johnny Brenda’s
Thu. Aug. 21 – Cambridge, MA @ The Sinclair
Fri. Aug. 22 – Washington, DC @ Rock and Roll Hotel
Sat. Aug. 23 – Carrboro, NC @ Cat’s Cradle (Back Room)
Sun. Aug. 24 – Atlanta, GA @ Terminal West
Tue. Aug. 26 – Baton Rouge, LA @ Spanish Moon
Wed. Aug. 27 – Houston, TX @ House of Blues (Bronze Peacock)
Thu. Aug. 28 – Austin, TX @ The Parish
Tue. Sept. 2 – Los Angeles, CA @ The Echoplex
Wed. Sept. 3 – San Francisco, CA @ The Independent
Fri. Sept. 5 – Portland, OR @ Mississippi Studios
Sat. Sept. 6 – Spokane, WA @ Bartfest
Sun. Sept. 7 – Seattle, WA @ Chop Suey
Wed. Sept. 10 – Minneapolis, MN @ 7th St. Entry
Thu. Sept. 11 – Chicago, IL @ Lincoln Hall
Fri. Sept. 12 – Columbus, OH @ A&R Music Bar
Sat. Sept. 13 – Toronto, ON @ Horseshoe Tavern
Sun. Sept. 14 – Montreal, QC @ La Sala Rossa
Tue. Sept. 16 – New York, NY @ Bowery Ballroom
Wed. Sept. 17 – Brooklyn, NY @ Music Hall of Williamsburg
Thu. Oct. 2 – London, UK @ XOYO
Fri. Oct. 3 – Brussels, BE @ Beursschouwburg
Sat. Oct. 4 – Paris, FR @ Espace B
Sun. Oct. 5 – Amsterdam, NL @ Bitterzoet
Mon. Oct. 6 – Cologne, DE @ Club 672
Tue. Oct. 7 – Berlin, DE @ Berghain
Thu. Oct. 9 – Copenhagen, DK @ Ideal Bar
Fri. Oct. 10 – Lund, SE @ Mejeriet
Sat. Oct. 11 – Stockholm, SE @ Kagelbanan
Sun. Oct. 12 – Goteborg, SE @ Pustervik
Mon. Oct. 13 – Oslo, NO @ John Dee
Tue. Oct. 14 – Bergen, NO @ Landmark
Thu. Oct. 16 – Aarhus, DK @ Atlas
Fri. Oct. 17 – Hamburg, DE @ Aalhaus
1. 5 AM
2. The Silent Orchestra
4. 11 O’Clock Friday Night
5. St Mary’s County
6. Self Pity
7. I Retired
8. I Don’t Need Anyone
9. Bless Your Heart
10. The Smallest Splinter
The soirée lasted late into the night.
Hamilton Leithauser’s vocal pipes were always a defining feature of The Walkmen, so it should be no surprise that his debut solo album doesn’t sound far removed from his former band. The Walkmen always found a way fit the influence of 60s pop crooners into their rock songs. On Black Hours, Leithauser’s love for that classic sound shines even brighter. Surrounded by lush arrangements, it’s an album that fits alongside the work of Harry Nilsson, Gene Pitney and Roy Orbison as much as it does anything contemporary.