Dolls - Scott Lavene - Pure Bathing Culture - Jeen O'Brien - Basement Revolver

Dolls - Sugar Free.

Background - Having spent the last year relentlessly gigging in and around the capital, packing out venues and being heavily championed by Radio X & BBC Introducing, Dolls have spent the summer working with Nick Cave And The Bad Seeds / Grinderman drummer Jim Sclavunos on their new “Pop The Bubble EP”.

The 2-piece, comprising Jade (guitar and vocals) and Bel (drums and vocals), can today reveal lead single “Sugar Free”.  A riotous example of their infectious grunge-punk, it’s a song on the bands views about “the use-and-throwaway society around us today, how superficial people's lives can be, and how rapidly people's values and what's on-trend can change” 

Drummer Bel goes on to further explain, “It was a spontaneous song that came out of Jade's improvised guitar riff. When we were writing lyrics I had a sugar free drink and started thinking how people can get so peed off when they ask for diet coke and get regular. So it represents those kind of first world problems & concerns about how our worst nightmare could be something so shallow that it's just ridiculous”.

The “Pop The Bubble EP”, set for release in September 2018, marked the first time the band have worked with producer Jim Sclavunos whose production credits include The Horrors, The Wytches and Du Blonde. The result is 4 garage-pop anthems with as much sass as they have bite. Duel vocals bounce off each other effortlessly, capturing some of the awesome chemistry these two bring to their raucous live performances. "Pop The Bubble EP" will be released by iconic soundtrack labels Mondo/Death Waltz on a beautiful limited edition multi-coloured and etched vinyl LP and digital. The band launch the EP at Rough Trade East with an instore show on Monday 24th September.

Dolls have all the feisty flair a rock duo should have, and with their garage and punk leaning the attitude and determination is also present. So 'Sugar Free' is a two minute blast of expectation, delivered to specification, and some!

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Scott Lavene - My Kinda Girl.

Background - Scott Lavene has released a new single, My Kinda Girl, along with a wonderfully psychedelic video featuring multiple Scott Lavene’s. The single will be out physically 27th September and supported with a 11 date UK tour including a date at The Slaughtered Lamb in London.

In Scott’s own words, “‘My Kinda Girl’ is a song about the early stages of romance when you’re noticing small quirks about each other’s personalities. You think “oh she loves pastries and jeans and so do I. We must be meant for each other.” Love is sick like that.  It’s the most honest love song I’ve ever written.”

Born in Essex, Scott Lavene was raised on power ballads, punk and swearing. In bands since his teens, Scott travelled about, scratching out a living with deadbeat jobs trying to find something to cling to. After couple of years in France and a brief stint in New York, including a playing at the infamous CBGB’s Scott returned to London and came close to a major label deal with his sordid songs.

Instead Scott disappeared on a rusty old boat, a floating shed, for five years. Hiding from the world. Broke and bemused. Solitude and lonely debauchery. After five years of this Scott went kaput, so spent some time in a house for the bewildered where he emerged full of life and songs. A self released album in a band called Big Top Heartbreak led to being signed to Funnel Music as a solo artist. WEBSITE.

For all that Scott Lavene might have been through, he comes across as gregarious and outgoing on 'My Kinda Girl' a lovable song, with just a touch of cheekiness, something the video builds on further.


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Pure Bathing Culture - Downtown Lights.

Background - Pure Bathing Culture have shared “Downtown Lights” (featuring Death Cab for Cutie’s Ben Gibbard on backup vocals), ahead of a highly anticipated run of West Coast dates. The song comes from their full album cover of The Blue Nile’s Hats, recorded for Turntable Kitchen’s Sounds Delicious vinyl subscription series. OPB praised the new release, calling Pure Bathing Culture “virtually synonymous with glowing and bittersweet romantic songs.” This weeks release follows “Saturday Night,” the only other Hats track available outside the subscription series.

Pure Bathing Culture’s decision to cover The Blue Nile was beyond natural, nearly inevitable. Sarah Versprille and Daniel Hindman attribute their initial infatuation with the Scottish synth-pop heroes to Richard Swift, who produced the Portland duo’s debut EP. Sarah elaborates, “One morning before starting the session he asked us if we had ever heard The Blue Nile and played us a few tracks. We became immediately obsessed with their world of nostalgia and longing and the way the songs were simultaneously extremely sad at times but also intensely romantic and modern. It made us feel like the music we wanted to make was validated in some way by the fact that their music had already existed in the universe.”

Pure Bathing Culture boast a longtime reputation for spellbinding live shows. Sarah and Daniel played in the beloved Pacific Northwest band Vetiver before forming PBC. Since, they've released two full-lengths and toured alongside The Shins, Death Cab for Cutie, Father John Misty, Lucius, CHVRCHES and more. Next week, they’ll bring the infectious performance to the cities listed below, with a live band including Zach Tillman on bass and keys, Chris Icasiano on drums, and Justin Chase on keys. The West Coast shows will feature both Hats highlights and fan favorites from the full PBC catalogue, and hint at brand new, unreleased material. WEBSITE. 

Gently flowing and melodic 'Downtown Lights' is a dreamy song that exudes intimacy and plenty of "late night vibes". The production is superb, this is one of those tracks that just draws you into the emotional feeling and refuses to let you go.

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Jeen O'Brien - Medicate Me.

Background - The track, Medicate Me' is from Jeen's upcoming album titled Gift Shop which is set for release this September.

The LP was produced by Jeen herself and is titled "Gift Shop" because she's coming to terms with the necessity to put herself on display as an artist.

"Medicate Me" was "inspired by medical marijuana and also the fact that I'm pretty antisocial. This can be a challenge in the music industry when the whole point is to put yourself out there, so i guess it’s a bit of an ode to introverts too." - Jeen. TWITTER.

We featured 'Any Moment' by Jeen exactly a month ago to the day. Describing the previous track as a "feisty indie rocker," 'Medicate Me' if anything ups the power even more as it packs in a driving rhythm with the vocals melodically flying above.

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Basement Revolver - Heavy Eyes.

Background - Canadian indie-rock trio Basement Revolver share the title track from their debut album, Heavy Eyes, which encapsulates the air of weariness pervading the band’s sound. The sleepy title “Heavy Eyes” sums up a general exhaustion right down to the bone, as well as hinting at a heavier direction as they deftly merge 90s infused indie rock with fuzzy dreamy pop and poignant, yearning lyrics. As songwriter and singer Chrisy Hurn explains; “Heavy eyes is about feeling really tired. And life is hard when you are really tired.” 

The trio of Chrisy Hurn (vocals, guitar), Nimal Agalawatte (bass, synth) and Brandon Munro (drums) embarked on their first tour of the UK earlier this year, with a tremendous set at The Great Escape Festival. Previous single "Baby" has been made Amazon UK’s Week One, added to Apple’s Nightcap playlist, and Spotify’s Indie Highlights. While "Knocking" was added to New Music Friday Canada, and “New Alternative” and “Melancholy Moods” on Deezer. 

Basement Revolver’s ascent to the spotlight has been a steady trajectory, capitalising on the success of their debut single “Johnny” in 2016. The track garnered endorsements from DIY Magazine and Exclaim! as well as respected tastemakers Gold Flake Paint, who hailed it a “‘favourite song of the year” contender.  They were signed by Memphis Industries’ UK sub-label Fear Of Missing Out, who released their debut self-titled EP in 2016 with “Johnny” and their second single “Words” reaching the higher echelon of the Hype Machine chart and the EP flagged up in several end of year lists. They followed this up with the Agatha EP in 2017 where the single “Bread & Wine” reached the B-list on Radio BBC 6 Music and also garnered support from John Kennedy at Radio X. The band have racked up over one million plays on Spotify across the two EPs.

To record their debut full-length, the band returned to local studio TAPE where they had recorded both their EPs. They had build up a solid relationship with producers Adam Bentley and Jordan Mitchell, as they continued to hone their signature sound. It’s really the songwriting that makes Basement Revolver stand out from the rest. Assured yet open, beguiling yet honest, heartfelt yet playful. Unable to disguise the emotion in her voice, songwriter Chrisy Hurn shares intimate stories and personal wounds from her past. TWITTER.

The title track from the forthcoming album 'Heavy Eyes' is a solid rocker, with an aural assault that is the most powerful I have heard from Basement Revolver. Even with all of that the vocals manage to convey emotion and feeling.

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Moderate Rebels - The Rad Trads

Moderate Rebels - I Love Today.

Background - London-based collective Moderate Rebels release ‘I Love Today’, streaming from 8th August, from their second album ‘Shared Values’, which will be out 30th November on Everyday Life Recordings.

Unlike previous single ‘Beyond Hidden Words’, which can be heard as a defiant, repetitive yet hopeful chant, ‘I Love Today’ is a shift in style. It has some verses, choruses and even a middle eight section… And Moderate Rebels say they "still don’t know if this song is optimistic or not”.

Moderate Rebels: “Both ‘I Love Today’ and ‘Beyond Hidden Words’ were made without us knowing what musically they exactly are… Or even letting that particular question really get involved in their making. We’re quite comfortable saying that we didn’t know what we were doing.”

“To our ears , ‘I Love Today’ is chaotic, falling apart, off at a tangent and nearly glam. Perhaps set in an old fashioned social club. A faint trace of The Equals, The Foundations, Edison Lighthouse etc… An attempt at a big singalong number, but heard through broken, smudged windows and with a sense of tension. But we’re mostly guessing to be honest – there was no conscious intention of any of that by us.”

“The lyrics could be about appreciating and living in the moment, about not being told what you personally should be worrying about by anybody else, and about how you can just about always find chaos and disaster in the world to look at – if that’s what you are looking for. Or not. We really don’t know whether it’s an optimistic song or not, and that’s interesting enough for us, and hopefully others”.

“Some London gigs and a UK tour in November are being planned. We may play ‘I Love Today’ and other new songs for the whole 45 minutes at some shows. We’ve done it before with [MR’s first single] ‘God Sent Us’ and enjoyed it very much… None of us knew what was going on or what would happen. Once you get a taste for that kind of chaotic night… It’s addictive.” TWITTER.

We featured ‘Beyond Hidden Words’ in early July and now we have our second taster for the bands November album release. With an imposing, marching beat 'I Love Today' arrives in a dramatic manner, the spoken vocals are irresistible (and this time around we get a lot more lyrics), this is hypnotic and contagious material. Ever the optimist I am looking forward (hopefully) to a further glimpse of what's on the album ahead of the release date.

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The Rad Trads - Wishing Well.

Background - New York City-based band, The Rad Trads, share the official music video for their new single "Wishing Well." The band just finished up the first leg of their extensive US run, which included select shows with Lake Street Dive, and they'll kick off the next run of national dates,  throughout September and early October, with their On Tap LP release show on Friday, September 14th at Mercury Lounge. In mid-October, the band heads to Spain, for a run of 10 dates throughout the country. See below for details on their tour. On Tap LP is due out September 14th (pre-order here).

On Tap serves as the world's introduction to the diverse possibilities The Rad Trads have to offer from the studio. Revered for their live shows, On Tap sees the five songwriters pull back the curtain on their passion for arrangement and orchestration, introducing a sea of horns, harmonies, gritty grooves, and psychedelic guitar textures.

Songs like "Thumbtack" and "The Little Pie Blues" share a nod towards their playful use of acoustic instruments while powerhouses "Good Luck Unto Ya" and "Wishing Well" make for unbridled bookends. "My Place" and "Key Club" highlight the diverse sonic pallet the band has grown to embrace. The band's contagious fun-loving nature shines throughout, a feeling that their fans will find familiar. WEBSITE.

Less than a fortnight since we shared 'Good Luck Unto Ya' from The Rad Trads, they are back with a new music video for 'Wishing Well'. Opening in a slow soulful manner accompanied with some classic blues feeling, the song veers towards southern rock at times, and the magnificent horns, do their stuff in style and even the drummer gets his moment in the spotlight. Two contrasting songs in, and I am very impressed by this band, make that very, very impressed.


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Paper Cameras - Louise Marshall

Paper Cameras - Speed of Wine.

Background - The Painted Light LP from Paper Cameras has been a long time coming and well worth the wait. The lo-fi polyphonic soundscape is full of ethereal harmonies reminiscent of the 90’s garage influenced rock scene that veteran Portland musician Michael Carothers helped form. The history of Paper Cameras began in 2005, when Carothers (Spectator Pump/All The Dead Horses/The Glib) conceived the project and began writing songs. Three years later, the E.P. Lost Weekend was born. The E.P. was recorded with longtime friend, Nashville’s Jerry Wayne Campbell (Spider Virus/Millionaire Magicians) and producer Sean Flora (Black Keys/Shins/Stephen Malkmus).

The following years Carothers took a brief hiatus from songwriting to open the successful Japanese restaurant, Miho Izakaya and spent the next half decade keeping sake flowing and quietly writing songs in his few spare hours. In 2014, with a renewed musical focus he sold his stake in Miho Izakaya and bought a Tascam 8 track cassette recorder and began new material with longtime friend, Portland musician Nathan Junior(Dandy Warhols, The Early Stuff, M. Ward, Duover, Sea Wolf) and artist and taxidermist Little Debbie Bartling sharing time behind the mic with Nathan Junior. The result was The Easy Wolves Sessions, a lo-fi mix of bubblegum psych pop. Later, in 2016 Nathan Junior and Carothers recorded the E.P. Mars Was Yesterday with producer Adam Selzer (Decemberists/Peter Buck/M. Ward/ Fleet Foxes) at Type Foundry Studios where Carothers’ vision began to take on an identity reflective of the kind of alchemy that comes from friendships and like minded musicians, highlighting the strength and creativity of each member.

Carothers, a native Tennessean, had known Tripp Lamkins (The Grifters/Dragoon) since the early days of famed the Memphis band The Grifters. Upon hearing about the Paper Cameras project, Tripp made his way to Portland, OR to record at Jackpot Studio with Tape Op founder Larry Crane (Elliott Smith/Sleater Kinney/ Go-Betweens/Thermals). They began tracking with no band rehearsal and recorded the record in just only two days. With rhythmic complexity and blended harmonies, the outcome is reminiscent of a lower-fi New Pornographers, Wedding Present, with hints of later Royal Trux. Larry Crane’s honest straight-ahead production style anchors the songs and would easily be in step with fans of Summer Cannibals.

This collaboration of veteran musicians came together more smoothly than they ever could have imagined. After the songs were instrumentally framed, Carothers brought painter Michelle Anne Muldrow to sing with Nathan Junior. The result became the EP Painted Light, due out in the fall of 2018 on No Night Travel. Painted Light floats within sonic range between 90’s garage influenced rock and inventive, harmony-laden 80’s power pop. BANDCAMP.

After a brief choral opening the band decide to crack on and 'Speed of Wine' explodes into life. The gorgeous harmonies are ever present on this first rate alt rocker, the music has it's own melodic twists, based on just this track the E.P. sounds very promising.

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Louise Marshall - Ocean.

Background - Louise Marshall is an alternative indie artist based in Adelaide, South Australia. Louise had begun her music journey at fifteen, song-writing obsessively. Not longer after she took up the guitar, further developing an appreciation for experimental rock, pop and alternative indie.

Juvenile is Louise's first studio EP, released in November 2017. Ocean is the featured single from the EP. Juvenile is an EP that explores experiences that had personal effects on Louise, while pondering the idea of ‘what if’. The EP was written during Louise's emotional dark age. Juvenile was was mixed, mastered and produced by Cezary Konarski of Datafire Audio.

Featured single Ocean was written during a time of experiencing a depression and self destruction, the song was about being in the trenches of helplessness. The use of body parts 'veins' and references to 'mad house and ' is it fine to be me' are nightmarish references linked to the reality Louise was experiencing at the time. The use of synth pads and strings combined, gives a calming and haunting mood. The chorus is anticlimactic and doesn't lift the songs tone. It relies on nothing, just the reminder of Louise’s experience.

The creation of the music vide for Ocean was made possible with the help of Made Adelaide film production. MadeAdelaide held the script of Ocean as a high priority, capturing it's meaning's and concept. The video for Ocean presents the dark, subconscious elements of Louise's mind. This is portrayed through the unsettling extras and powerful symbolism of vulnerability and power struggles. The video presents below the surface issues and how these issues can manifests themselves in life.

Each song has a unique sound but carries the same dark tone and signifies a transition to eventually accepting the current state. Blue is vocally dominate and contains a mourning feeling. The Beast holds a sense of anticipation from transitions to the chorus and verse. Dignity is a simple song, primarily a 'what if' song. Dignity is about feeling helpless and was inspired by an aged care facility. Ocean was is the most emotional track on the EP. Ocean is about seeing the dark and bare parts of the mind and releasing the fear of it. Chlorine is the last track of the EP and is the lightest. Chlorine is the completion song that gives birth to new ideas and removes the cold callous perspective of perceiving life. WEBSITE.

There is a sense of the dramatic with 'Ocean' along with some simmering tension and earnest passion. The video adds even more emotion and a layer of vulnerability, this is one of those songs to immerse yourself in, as it feeds your imagination and heart.


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Dear Willow - Klammer - Nicholas Krgovich

Dear Willow - I Was Young.

Background - Following on from the cautionary lament of Hold, Dear Willow is pleased to announce the arrival of new single I Was Young, taken from her forthcoming EP Hold Yourself Down (out September 14). Beckoning tales from the past, I Was Young explores feelings of being trapped within situations similar to that of a somewhat manic pixie dream girl character. It bares the raw truth of consequences when breaking down that bubble.

Dear Willow is the creative voice of Sunshine Coast based artist Em-J Dau. Since 2012 Dear Willow has transformed from poet to a solo acoustic act and embraced her sound through a full band. A testament to its creator's talent, Dear Willow is both Em-J's nom de plume and her persona artistica: a vessel that can change shape and direction, allowing her to truly explore her creativity.

Dear Willow's first single, Father's House (2015) introduced Em-J’s uniquely smoky voice to the big wide world, capturing a beautiful sense of yearning that is often present in her lyrics. As her song writing developed, flourishes of indie-rock and post-grunge began to infiltrate her earthy tones. Upbeat and optimistic, yet delicate and vulnerable, Dear Willow's next single When It Burns (2016) proved that Em-J's songs had translated well and realised new heights as a full-band sound. It was time to hit the studio...

Through the evolution of her band building to a four piece, the upcoming songs marry Em-J’s sophisticated lyrics and signature sound with punchy guitars and solid groove. Dear Willow introduces a further refined style, staying true to the frankness and honesty that is present throughout much of her music but emerges a confident and demanding front woman with tales to tell and is supported by her fellow creatives Callan Holstein (drums), Melinda Huurdman (lead guitar) and Dean Genge (bass). FACEBOOK.

'I Was Young' has a melodic and easy going indie rock vibe with just a hint of modern folk sensibilities along the way. It's sincere and catchy, with the refined production gives the song additional depth and feeling.

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Klammer - Spiral Girl.

Background - Post-punk quartet Klammer are releasing their new album ‘You Have Been Processed’ on vinyl, CD and digitally through Under Dogz Records. Formed by UK Producer Steve Whitfield (The Cure, The Mission, Terrorvision, Jane Weaver) in 2014, Klammer's sound does thrive in the same ballpark as these particular bands.

Not long ago, the band unveiled their video for 'Spiral Girl', the second single from the album. Earlier, the band introduced us to ‘Modern God’ - both accompanying videos were directed by Steve Dutton.

Hailing from Leeds, Klammer draws from the members' shared love for all things angular, dark, loud and melodic. Previously described as the love child of XTC and Gang Of Four, Klammer offer an enticing twist on the post-punk attitude, blending in elements of goth rock, punk rock and dark wave, all with dark pop sensibilities. Here you'll find plenty of hooks and a dark and edgy broodiness coursing through their sound.

‘You Have Been Processed’ will be the band's third album, following up 'Auslane' and 'Klammer',  both released two albums via Under Dogz Records, and their debut 7” single 'Everything Depends Upon The King'.

Championed by Steve Lamacq on BBC 6 Music, Klammer’s music continues to excite with their dark themes allied to catchy riffs and anthemic choruses. Klammer have been consolidating their position as one of the country’s finest live post-punk acts, consistently playing up and down the country, both as a headliner and supporting other notable artists, including The Skids, The Undertones, Richie Ramone, Penetration and The Membranes. They've also played Rebellion Festival several times, including this year, as well as The Great British Alternative festival. WEBSITE.

Whilst we are a little late in featuring the music video for 'Spiral Girl' it's still appropriate as the bands new album 'You Have Been Processed' was released just a couple of days ago. One of twelve tracks on the new album, this is a consistently solid collection of songs, the bands post punk centred music occasionally drifts into bordering areas, the energy levels are sustained throughout, without ever overpowering the listener. Klammer carve out their own distinct sound, the vocals and instruments finely tuned together, and the constant flow of musical hooks gives them plenty of edge.


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Nicholas Krgovich - Rosemary.

Background - Vancouver artist Nicholas Krgovich possesses an unswerving back catalogue of sleek ‘future-pop’ releases. His solo work has seen him collaborate with the likes of Mount Eerie, Nite Jewel, Amber Coffman (Dirty Projectors) and Dear Nora, and his wildly diverse discography shows an unmistakable and deep commitment to exploring the endless possibilities of pop. On Krgovich’s new record however, after experiencing heart-break for the first time at 35, all goes out the window. What is left is a vivid and candid account of love gone sideways and the songs that poured out, all written and recorded out of necessity before anything else. Announced last Friday, “OUCH” is released on 26th October via revered indie label Tin Angel Records.

The first single from the stunning new album, melancholy ballad Rosemary. The lyrics describe the scent of Rosemary in the air and the winter sun “beating down peversely” whilst Nicholas walks past his recent ex’s house, having a realisation of powerlessness in that moment. “Trying to handle new love with white gloves / Is as reckless and foolhardy as anything / Anything, anything new / It’s just gonna do what it’s gonna do / And decisions might be made that don’t include you.”

Talking about the new album, Krgovich explains; “I didn't mean to write songs, I just started hearing them, and I couldn't stop. I wasn't even thinking while I was doing it. The tap turned on. I'm sure that happens to a bunch of people, but that's never happened to me in this particular way before.”

He continues; “I got dumped in the spring of 2017, in a way that made the whole, brief but potent relationship all of a sudden seem like a bit of a joke.  But then some deep churning and real feelings started to happen, and life became hilariously heavy and impossible feeling.  The next morning, I remember waking myself up before my alarm sobbing and wailing.  I was in hell but was also somewhere rolling my eyes at the absurdity of how “on the nose” all this was.  I couldn’t help it.  It was also interesting having to grapple with these primal, teenager-y feelings as a person in their mid 30s!  A person that in many ways knows who they are!  A person that’s already had their Saturn Return!  All of it! 

“Thinking about it now the whole thing was a pretty damn heartening experience.  Having this recording project haphazardly happen out of necessity, constantly doing, not really thinking, spacing out, having friends pop over to sing and play and drink gin and bring their gentle wisdom while I whined about my feelings.  I felt very loved and supported during a time where I could not have been harder on myself or felt more grotesque or impossibly unlovable.  Making this album in a way was a vessel for everything, it gave shape to a life event that just felt like this big sad unanswerable blob." TWITTER.

With a simple and pleasing melody 'Rosemary' is one of those songs that quickly works it's way into your life. Whilst the subject matter might not put you in a party mood, this is no bout of "poor me" or self pity, rather a reflective and moving track that relaxes and moves the listener rather than descend into an abyss.

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Walter Lure & The Waldos - Habberdash - Haley Blais

Walter Lure & The Waldos - Damn Your Soul / Crazy Kids.

Background - Walter Lure & The Waldos present 'Damn Your Soul' aheads of releasing their new album 'Wacka Lacka Boom Bop A Loom Bam Boo'. This is the first new album in 2 1/2 decades from legendary guitarist-vocalist Walter Lure, an original member of The Heartbreakers, who spearheaded the first wave of punk rock, and also long-time collaborator with The Ramones. The Heartbreakers were also the band that supported the Sex Pistols on their 1976 Anarchy Tour just as the UK punk scene was building momentum.

"This is my first release of new songs in 25 years or so since the last Waldo’s album. That might seem like a long time but it really only feels like a few years-life seems to contract over long periods for some reason," says Walter Lure. Earlier, Walter Lure & The Waldos previewed the lead track 'Crazy Kids', which will be featured in the forthcoming full-length film 'Thunders: Room 37', dramatizing the final days of Lure’s former bandmate Johnny Thunders. Their new full-length also features other new tunes, as well as killer new versions of Heartbreakers classics 'London Boys' and 'Take A Chance On Me'.

Today Walter Lure & The Waldos is Walter Lure (guitar and vocals), along with Takanori Ichiuji (bass and vocals), Tak Nakai a.k.a. Takto (guitar and vocals), and Joe Rizzo (drums and vocals). In 1975, Walter Lure became an original member of The Heartbreakers as guitarist and vocalist, joining Johnny Thunders, Jerry Nolan (of the New York Dolls), and Richard Hell (of Television), who was later replaced by Billy Rath. Lure was playing with glam-punk band The Demons when he joined The Heartbreakers and earlier played with anarchic Bronx hard rock group Bloodbath in the late ‘60s and early ‘70s.

In 1977, The Heartbreakers released their only studio album ‘L.A.M.F.’ The band’s 1977 song ‘London Boys’ is a swipe at the Sex Pistols, in response to the Pistols' song ‘New York’, which put down the New York Dolls. After The Heartbreakers' "official" breakup in 1977, the band would often reform, continuing to play the occasional gig right up until Johnny Thunders' death in 1991. The Heartbreakers final show was for the Johnny Thunders Memorial Concert. In 1994, three Heartbreakers - Walter Lure, Tony Coiro and Joey Pinter – were joined by Jeff West in releasing ‘Rent Party’, The Waldos’ debut album.

Lure worked with The Ramones on their albums 'Subterranean Jungle' (1983), 'Too Tough To Die' (1984) and 'Animal Boy' (1986), released a single with The Blessed, and also started a number of bands, including The Hurricanes and The Heroes, before ultimately founding The Waldos.  In 1997, Walter Lure also played a set of shows for the 40th anniversary of The Heartbreakers 'L.A.M.F.' album, joined by Blondie's Clem Burke, Sex Pistols’ bassist Glen Matlock and Social Distortion’s Mike Ness.

'Wacka Lacka Boom Bop A Loom Bam Boo' will be released on August 17, but it is already available for pre-order via Bandcamp on both CD and red vinyl with reverse-board jackets. On September 6, Walter Lure & The Waldos will hold their record release party at Bowery Electric in New York. FACEBOOK.

'Damn Your Soul' and 'Crazy Kids' are the first two tracks on 'Wacka Lacka Boom Bop A Loom Bam Boo' the imminent new album from Walter Lure & The Waldos which includes a further ten songs. With all the urgency of classic punk rock and the maturity of a rock and roll stalwart this pair of full on rockers are both fresh and potent. This is clearly a class act, whose natural sense of what makes a great rock song is evident from the opening riffs and an attitude that appears to make age simply  immaterial.


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Habberdash - What Do We Know.

Background - Pushing forward with the 2nd release from their 'Morning After The Madness' EP, the South Yorkshire (UK) outfit unveil their 'What Do We Know' official video single.

With their previous track 'Like A Lover' parading their ability to conjure up accessible pop-soaked alt-rock ; 'What Do We Know' ramps up the intensity with the hard-hitting modern rock leanings akin to Don Broco, Twin Atlantic and Deaf Havana. 

Confirmed for release on 25th Oct 2018, the 'Morning After The Madness' EP is a record that builds upon the bands early promise and takes their melodic impulses into much more ambitious terrains. Bringing in Treehouse Studios producer Daniel Jeffery to facilitate the bands creative process, Habberdash are soon to unearth what they hope to be an enticing introduction to a band who still have a lot more to offer.

Habberdash members Kriss Stainton (Vocals), Hayden Marshall (Bass), Ashley Houlden (Guitar) and Andrew Holland (Drums) will be launching their EP with a headline show at Diamond in Doncaster (UK) on 25th October. TWITTER.

Buzzing with energy and emotion 'What Do We Know' is a fabulous alt rocker that takes no prisoners, as the aural assault cracks on from the very first moments. The band are infused with commitment and yet allow room for some vital hooks that give the song some notable edge.


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Haley Blais - Seventeen.

Background from Haley Blais - My sometimes self-deprecating, yet always self-loving relatability earned me a pretty massive online following where I racked in millions of views on my YouTube channel. Kicking off my musical career as a solo folk artist in 2016, I was pulled offline and into the real world with the release of my Late Bloomer EP, and a successful tour.

“Seventeen,” the new single off my Let Yourself Go EP, is an homage to my painfully average adolescence. Everyone goes through different phases growing up, trying to figure themselves out, and mine could easily be categorised as boring. 

I was lazy and dull with awful taste in music. Now, I’m in a band with my friends touring the country, playing the music that I love – as a job! That’s the opposite of boring to me. The video for “Seventeen” encapsulates how I’m exactly where I’ve always wanted to be. WEBSITE.

The video has that road trip imagery that never ceases to gain my attention and makes a perfect companion for 'Seventeen' a gently melodic indie rock meets pop type of song. There is a level of feel good vibes that are amplified by the film and yet an element of reflection makes it's way to the surface.


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Healyum - Shapes On Tape - John Mohead

Healyum - Cheap Alcohol.

Background - Newcomers Healyum have delivered on early promise with new single ‘Cheap Alcohol’.  Previous singles ‘Lies’, ‘Three Months’ and ‘Fools Eyes’ have been supported by Huw Stephens on BBC Radio 1, BBC Introducing, and Radio X (where all three have appeared on the evening playlist). 

‘Cheap Alcohol’ will join those earlier singles on the bands debut ‘Join The Party EP’ (released on July 27th).  Combining London Grammar-like minimalism with a shimmering, pop-tronica edge inspired by Lorde, they’ve received glowing reviews.  The music has also found it’s way onto various BBC Drama & Channel 4 TV shows, and they won the ‘Breakout Artist Award’ at the NMG Awards last year. The band’s BBC Introducing support led to them being filmed live in-session and they recently played alongside fellow Bedford-boy Tom Grennan as well as Fickle Friends and Circa Waves.

Singer-songwriter Jeaná Healy explains that if she threw a party, ‘Cheap Alcohol’ would be the soundtrack. Video director Sam Kinsella said he “wanted to capture the essence of a small London house party and some of the city's unique residential areas. 

Obviously we weren't reliant on any kind of big production or location budget but it was important for that realness to translate as well... which essentially led to the guys getting really drunk on a Tuesday night and we managed to capture the night as it unfolded!” ‘Cheap Alcohol’ and the ‘Join The Party EP’ was produced and mixed by band collaborator Kristofer Harris (Belle & Sebastian, Ghostpoet, Indoor Pets). FACEBOOK. 

The comparisons with Lorde and London Grammar make sense but don't let that take anything away from Healyum, 'Cheap Alcohol' is a first class song, that stands on it's own merit. Atmospheric and soulful modern indie pop, the lyrics cut to the chase, and the bands desire to capture a small London house party (it's been a good while since I have been to one of those) comes through very well with the video imagery.


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Shapes On Tape - So Much.

Background - Shapes on Tape returns with the rugged bubble gum of "So Much." With this vintage track, S on T brought it all back in house. For the first time since their classic, "Personal Enemy #1," Shapes has released a jam that was entirely written and produced by the band.

When it's Shapes on Tape, you know it's all about the hooks. Written in a evening at their rehearsal studio, the song opens with dueling hooks that combine to be more than the sum of their parts. Adam lays down an earworm of a synth line that intertwines Jason's instantly catchy guitar riff. Then Jason's unique vocals deliver an impassioned ode to his pup, Lucinda, until Adam brings all back home on the bridge.

Shapes on Tape is a Brooklyn-based Brew-Wave/Ultrapop group whose infectious hook-laden three-minute bangers represent a new era where loud guitars and synthesizers can coexist and even party together. A band that once made L Magazine implore U2 to "move over and let Shapes on Tape seize the thrown(sic)," Shapes on Tape asks the question, "What if Walter Mondale had won?"

Genre-hopping producer/multi-instrumentalist/90s groovebox enthusiast Adam Kruckenberg, formerly of Midwest glam legend Vibralux, and guitarist/poet Jason Matuskiewicz, a veteran of beloved Lexington, KY band Candidate, began collaborating in 2014, but they didn't complete their sound, best described as a sonic assault of feels, until they expanded S on T to include drum savant and overall swell guy Justin Heaverin of Noisebody and The Silver Tongues.

Matuskiewicz’s lyrics and straightforward style walk the line between high and low concept with an abrupt 3-chord frankness that never takes itself seriously, while Kruckenberg’s powerful vocals and synthetic re-imaginings take the songs to epic proportions. Combined with Heaverin's unstoppable groove, you could be forgiven for wondering when The Boss had time to do a secret collaboration with Erasure. With the help of Grammy-nominated producer and Hedwig alum Justin Craig, SoT's forthcoming album Legends in The Process is sure to be a supersonic, beer-fueled dreamscape littered with the carcasses of waves and cores. WEBSITE.

We featured Shapes On Tape a couple of times back in 2016 and then they disappeared off our radar until now. 'So Much' mixes gloriously unique vocals against a rich synth laden backdrop. Full of hooks (something this band seem to deliver consistently) this is a fabulous song with character, energy and style.

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John Mohead - Son Of The South.

Background - The name alone evokes soul. And the person behind the name does as well. John Mohead is a veteran of the music scene. A story teller that can jam. He has toured with Bob Dylan, the Allman Brothers and Little Feat.  On the folk side, he has worked with Billy Joe Shaver, Ray Wylie Hubbard and Shakey Graves just to name a few.

Starting his carreer  as a Nashville staff writer, landing a record deal distributed by Rounder Records, touring the world but never losing his Mississippi roots. His duck and punch vocal style is very reminiscent of Van Morrison or Lowel George. Country soul is what they call it in Muscle Shoals. He takes the William Faulkner approach and writes what he knows.  This sound comes from the Mississippi. Not the mud, but the water. The blues had another baby and called it Americana from Mohead.

When John Mohead released his debut album Lula City Limits on the Rounder Records subsidiary label Okra Tone, All Music wrote: John Mohead's debut record establishes the singer/songwriter as a contemporary heir to the Delta blues. Updating traditional Mississippi blues with Southern rock and country influences, Mohead makes some intriguing music and he's a promising songwriter, as demonstrated by the overall consistency of the record.

2018 sees the release of a new full grown album with a title that really says it all, Mohead is a true “Son Of The South”.  His rootsy, Delta blues-rock tunes go down like good bourbon on a summer night. His slide work dances like moths around a porch light and his original songs take the listener to a beloved, homey place.

Mohead’s music is deeply rooted in Mississippi where he makes his home. It is imbued with the inevitable influences of the blues masters who seem to sprout from the Delta as if planted by some unseen hand. A hand that loves the blues. Mohead is a homeboy, rich in Southern charm with a natural storytelling gift. He plays with passion and respect for the masters who came before him, carrying the torch with pride and purpose. WEBSITE.

Featuring the title track from the new album 'Son Of The South' this collection of music really should appeal to a wide range of music lovers. The vocal comparisons with Van Morrison are down to nature rather than any attempt to copy the man, and the musical arrangements take us on a grand tour of Americana at it's finest and all it's connotations. Let the player below continue and you will hear three more tracks from the forthcoming album, in my opinion this is a very special one.

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Tomberlin - Caezar

Tomberlin - Any Other Way.

Background - Tomberlin, the rising Louisville, KY-based artist, has released a video for "Any Other Way," the opener from her anticipated Saddle Creek debut album, At Weddings. On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery - a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love - sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity - a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure. WEBSITE.

Back in June we featured 'Seventeen' describing the song as "a seriously good singer, songwriter track, with gorgeous vocals and a beautifully crafted musical arrangement that adds even more emotion." Now we have a new video for 'Any Other Way' the opening song on 'At Weddings', a beautiful album, as is further evidenced by this adorable piece. If either of these songs have grabbed your attention, I would suggest that making a little time to explore the remaining material, will be both rewarding and delight you even more.


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Caezar - Hold On.

Background - UK natives Caezar have announced their much-anticipated debut EP ‘Hail!’ and have just shared their exciting new single with the world, titled ‘Hold On’. The group will be making their release through RG Records and have had the pleasure of having Justin Broad on board as the producer for this latest project, who has produced for names such as Jessie J, Emeli Sandé, Izzy Bizu and Corinne Bailey Rae. ‘Hail!’ also boasts mastering by formidable mastering engineer Stuart Hawkes, who’s work on artists such as Amy Winehouse, Clean Bandit, Rudimental and has been indispensable to pop music the world over. Playing alongside giant names such as Hozier, James Bay and Jack Garrett, Caezar can really hold their own in the scene and have had the pleasure of playing at the award-winning independent Barn on the Farm Festival as well as being featured on the acclaimed radio platform BBC Music Introducing, who have discovered many exceptional UK artists in the pop-rock genre such as Declan McKenna and Catfish and the Bottlemen.

Hailing from the unassuming town of Cheltenham, the two founding members of Caezar, Chris Quiqley and Rich Gills decided to take their passion for music to the next level when the pair found themselves both suffering from sports injuries that meant they would no longer be able to play rugby for their local club. It was under the lights of the rugby pitch where the two ex-players decided that they would take their previously hidden musical talents to the stage. When Zoe joined the band in 2017, the trio really found their niche. Her soft synths and sweet-as-honey backing vocals helped build on the unique crossover of pop, indie and rock elements that make up the band’s special sound.

Caezar’s single ‘Hold On’ starts off with an infectious guitar lick that sets the mood of the song - pensive but upbeat. When Chris Quigley’s vocals enter the mix, it’s easy to hear that the group can be likened to modern pop-rock heroes Imagine Dragons and Bastille. The band’s mix of skillfully-played live instruments and expertly produced electronic beats coupled with strong, melodic lead vocals creates an impressively versatile sound. While there is a clear thoughtfulness in the lyricism and delivery of ‘Hold On’, the track still manages to create an uplifting, anthemic mood, with a dash of funk thrown in, much like the work of Will Heard. The track is one that’ll touch the listener on an emotional level while still making sure that the dance floor is packed with bodies moving to the crisp, fun beats.

The band explained that, “Just because you love someone, doesn't mean it's right. ‘Hold On’ was written out of the conflicted feelings of breaking up with someone who you still love. The track was one of the first songs the band wrote, and has since come to life after years of performing the track at festivals and finally in the studio with Justin Broad.” WEBSITE.

A sophisticated yet understated guitar opening on 'Hold On' is quickly joined by some addictive and captivating vocals and background harmonies. The song is undoubtedly cool and slick, what makes it stand out is the soulful delivery and the seemingly suppressed emotion within the vocals.

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Jen Awad - Hey Harriett - John Hiatt

Jen Awad - Break A Man.

Background - Grab the nearest fire extinguisher cos Jen Awad is about to set your wig alight. This half Egyptian, half Peruvian powerhouse delivers the kneecap melting soul and sass of Etta James combined with an in-your-face swagger reminiscent of Tina Turner. Self taught on vocals, piano, guitar and bass, Jen also pens the lyrics to all of her material.
  
Jen's ability to deliver cherubic, velvety vocals that effortlessly transition into the radical rumble of a runaway 18 wheeler doing 90 mph on an open highway is a feat in itself to witness live. Backed by an eight member band with a horn section, Jen Awad packs a combination punch that will leave your core ringing in the most delectable manner imaginable. Recently Jen Awad has been selected to play the Broke L.A. Festival, being 1 of 50 acts chosen out of 700 contenders. She has consistently filled her local L.A. venues to maximum capacity and is steadily gaining ground as a widely respected act in the L.A. music scene. 
  
When Jen is not writing and performing her music, she is designing for her self-titled label Jen Awad, as well as the urban men's line also out of Los Angeles called "900". It is not a rare sight to behold her 8 piece band donning metallic bomber jackets Jen designed from the "900" label. A few other clients who wear Jen Awad's fashions are: Kali Uchis, Bebe Rexha, Keyshia Cole, Madame Ghandi, Ivy LevIn, Daya, India Love, Christina Milian, Ashanti, Chanel West Coast, and Crystal Westbrooks. 
  
Jen Awad comments - "Break a Man was originally written about the fragility of men. I like to leave it up to interpretation of the listener and however they identify with the song. The origin of break a man was inspired by an article i read in esquire magazine title "100 ways to build a man". Reading the heartfelt article about men sharing their stories about their dads and those defining moments of what built them to be great men brought me to tears. Having been around so many damaged men i realized it took almost nothing to break a man. the song than progresses and discusses how sometimes a woman has to do what she has to do in order to break out of a toxic relationship even if it means hurting someone to set them selves free. its never the intent to destroy someone going in to a relationship..it just happens" - TWITTER.

With a deep breath or a sigh (I haven't quite figure out which yet) 'Break A Man' rapidly builds into a gorgeous and vital song. The passion simmers and then boils over into a classic full bodied soul masterpiece, the band and backing singers are majestic, and any fragile men had better watch out!


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Hey Harriett - Too Fast Too Soon.

Background - Forming in 2017, Hey Harriett is an indie/surf/rock band that has made leaps and bounds in the Adelaide music scene. To the outsider it may seem that Hey Harriett appeared out of nowhere but those closer to the project know that this has been a long time coming for front woman and singer/songwriter Georgy Rochow. Too Fast Too Soon is their latest single. Taking the heartache and uncertainty of young love and wrapping it in indie goodness, Too Fast Too Soon is soaked in positivity and one to get you on the dance floor. 

Hey Harriett released their debut single Old Parts in November 2017, just months after they formed, proving the hardworking passionate nature of this band family. Launching the single backyard gig style, saw a humble garden in Bowden full of happy faces dancing in moonlight, drunk off a full day line up of local music.

Following the release of Old Parts, Hey Harriett have been gigging non stop. Winning over audiences in Adelaide and Melbourne this band pulls on your heartstrings whilst getting your body moving to the music. The best way to describe this band is; soaked in positivity, a band full of believers and big thinkers. Hitting the road this year for a few sneaky interstate shows, Hey Harriett is spreading their positive vibe wherever they go. Aspiring towards bigger stages in 2019, this band sits solidly in the indie rock scene.

With budding sound engineers making up the band, they are tackling recording themselves. Self producing, recording and mixing takes a little extra time but the result is a recording that is 100% Hey Harriett from start to finish. With no limits for Hey Harriett, their latest single will be launched in Willunga as Georgy turns another property into a mini festival only this time think open fires, camping village, vintage clothes, and local food and beverages. Proving herself as a band leader and event manager, this band is getting a name for their backyard bonanzas.

Rising through the ranks, Hey Harriett is quickly becoming the word on the town. Led by a fierce woman with her eye on the prize, this band pumps out indie bangers quicker than you can say San Cisco. Less than a year in from their first release, it’s going to be an exciting, wild ride with these folk. FACEBOOK.

'Too Fast Too Soon' is a vibrant indie song that keeps things simple, allowing the upbeat melodic vocals and delightfully tight music to quickly work there way under your skin.

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John Hiatt - Cry To Me.

Background - John Hiatt is set to return with The Eclipse Sessions on October 12th, 2018 via New West Records. The 11-track set is the Grammy nominated legend’s first new album in four years. It was produced by Kevin McKendree (Delbert McClinton) and features Hiatt’s longtime drummer Kenneth Blevins and bassist Patrick O’Hearn, as well as Yates McKendree (Kevin’s then 16-year old wunderkind son, who also engineered). Hiatt places The Eclipse Sessions in a lineage alongside two of his greatest works -- 1987’s mainstream breakthrough Bring the Family, which sprung from an impulsive four-day session with an all-star combo led by Ry Cooder, and 2000’s Crossing Muddy Waters, an unplanned and largely unplugged effort that garnered a Grammy Award nomination and also set Hiatt on the rootsier path he’s still pursuing today. “The three albums are very connected in my mind,” Hiatt says. “They all have a vibe to them that was unexpected. I didn’t know where I was going when I started out on any of them. And each one wound up being a pleasant surprise.”

Since the release of Hiatt’s 1974 debut, Hangin’ Around the Observatory, rarely has more than a year or two passed without a new collection hitting the shelves. But after wrapping up a year of touring in support of 2014’s Terms of My Surrender -- the singer-songwriter’s 22nd studio effort overall -- he found himself, for the first time in a long time, unsure of what would come next. “I’ve been lost before,” Hiatt says. “Although usually I have some sort of notion or clue where to go. But this time? I had no sense whatsoever.” He continues, “I wanted to spend more time with my family (which includes his critically acclaimed singer-songwriter daughter Lilly). I was aging, with all that entails or doesn’t entail. Stuff was just happening.”

During this period of transition Hiatt did compose a new song that closes The Eclipse Sessions - a dusty, road-worn meditation titled “Robber’s Highway” with the ominously prophetic lyrics “I had words, chords and strings / now I don’t have any of these things.”  Hiatt explains, “I was just thinking in terms of somebody who’s out there hammerin’ away with his music, wondering what it’s all coming to.  And maybe the songs just aren’t there anymore…” Fast-forward a few years, however, and it’s clear the songs are still very much there as the 11 tracks presented here demonstrate that the singer-songwriter, now 66-years-old, is only getting better with age, his guitar playing more rugged and rootsy, his words wiser and more wry. 

True to its title, Hiatt and his band were hard at work on August 21st, 2017 when a solar eclipse traveled the length of the continental U.S. “I think we recorded three songs that day, and then we took a break to go outside and watch everything happen,” Hiatt says.  What he observed amongst his fellow Nashvillians during that moment of totality -- his city was one of a few spots in the U.S. to be plunged into near complete darkness -- did give him pause. “It seemed everything stopped for a minute or two,” he says. “It was like a magical little bit of time, a harmonic convergence or something. Like everybody was on the same page.” NEW WEST RECORDS.

I am always pleased to feature new music from an artist or band that are older than me (something that is becoming increasingly more of a challenge). Anyhow 'Cry To Me' sees John Hiatt demonstrating that he is not without fresh new musical ideas, and with years of experience and a fine gathering of musicians, his music remains engaging, honest and lovable.


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Japanese Television - Party Hardly

Japanese Television - Tick Tock.

Background - Japanese harp and synth player Ian Thorn and Bassist Alex Lawton met on tour in Europe, performing as part of a Canadian space-rock orchestra. They bonded over their shared passion for Finnish experimental band Circle, Pink Floyd, Television, Broadcast and Brian Eno, and went on to form instrumental space-surf band, Japanese Television, with James Moriaty and Tim Jones.

They put together a collection of tracks that would make their debut self-titled EP and went into “the studio” (i.e a village hall outside of Peterborough, England, armed with an 8-track) with Kristian Bell of The Wytches at the helm. The EP is out on 7th September via revered underground label Tip Top Recordings (Cassels, Sun Cop).

This week the band share first single from the EP; Tick Tock - a white knuckle ride journey through time and space. The single was given its first play last night on John Kennedy's Radio X, with John making it a 'hot one'. He said the track had "shades of Electrelane".

From the ashes of three separate psychedelic rock bands, rose Japanese Television – who formed late last year with a shared vision of creating wonky surf-rock. “Although the band is instrumental, we don't play solos. It's more about atmosphere and creating a hypnotic effect. Hypnotism through repetition, reverbs and delays, harps and fuzzboxes” Ian continues.

“The combination of extensive travelling and our shared love for psychedelic and experimental music has crept into the sound of the EP” says synth/harpist Ian. “If Country Joe represents the scenic part of the journey where you're by the coast or in the mountains in the sunshine, then Tick Tock is bombing it up the M1.”

The quartet have succeeded in capturing the raw spirit of their live performance on the EP, recording over a mere two days to an 8-track tape. “The rural location coupled with the fact that it rained constantly, meant that we were able to focus completely on getting it done in a short amount of time” they explained.

At the heavier end of Japanese Television’s brief collection of experimental tracks, is lead single from their first EP, Tick Tock. Recorded live in one take, the track harks back to ‘70s-era motorik rock, employing organs, synths and reverb-drenched guitars cascading over a hypnotic, driving bass. “Tick Tock is heavily influenced by the likes of Hawkwind and Neu!” says Ian. FACEBOOK.

Mention of Hawkwind, Pink Floyd and Neu as influences in the bands promo grabbed my attention, however at the same time it kind of set the bar rather high in terms of expectation, after all anyone can name drop. Our first taste of Japanese Television comes in the form of the instrumental 'Tick Tock'. Yes the expected components of psych, space rock and surf rock are all present, the key factor is that they are blended together beautifully with an air of exuberance and passion. The EP cannot arrive soon enough!

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Party Hardly - Terry Shure.

Background - Bustling Leeds (UK) quartet Party Hardly launch woozy, alt-rock number Terry Shure, the first track taken from their forthcoming debut EP Cycle Of Life out this autumn. 

Recorded with MJ of Hookworms in his acclaimed Suburban Home studio, the band’s latest social commentary adds further credence to their songwriting capabilities with guitarist Matt Pownall discussing the release in detail:

“Terry Shure is my personal realisation of seeing people’s lives go stagnant. How over time you go from doing new and exciting things to telling the same old stories and being stuck in the past”.

Positioned firmly at the heart of the city’s thriving music scene, the rising foursome have already landed impressive support slots with acts including INHEAVEN, The Magic Gang and Trudy and the Romance as well as picking up key champions throughout the online community with their first few releases.

Upcoming debut EP Cycle Of Life sees the fuzzy outfit take another giant leap forward with their eccentric brand of indie rock and in lead single Terry Shure they provide the perfect taste of what’s to come. Produced by Hookworms’ MJ (Drenge, The Magic Gang, Honeyblood), Party Hardly’s Terry Shure is out now and available on all digital platforms. TWITTER.

'Terry Shure' is fresh and modern and yet for some reason, I get the feeling that this song could have been comfortably at home in the swinging sixties, circa the Carnaby Street era. It's alternative enough, however that doesn't stop the hooks coming in droves and making this one very addictive piece of gorgeous music.

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Princess Chelsea - Meres

Princess Chelsea - Wasting Time.

Background - New Zealand subversive pop artist Princess Chelsea (Chelsea Nikkel) shares the second single "Wasting Time" from her forthcoming fourth studio album The Loneliest Girl, due out on 7 September via Lil' Chief.  The album examines the loneliness and ultimately the artistic satisfaction a strong work ethic can bring, the result of which is this eclectic collection of pop songs. The Loneliest Girl captures moments of inspiration and madness, with lyrics that show Chelsea isn't afraid to ask the deeper questions while still maintaining a playful nature about it all.  "I can’t be bothered with subscribing to any kind of 'sound,'" Chelsea says.

That becomes evident upon listening to "Wasting Time," a pop culture puzzle, sonically speaking. The song has influences of early Madonna melded with 1960s Brian Wilson that Chelsea peppers with kitschy Yamaha DX7 synths, trombone, and a choir.  The music video for "Wasting Time", was shot edited and directed by Anastasia Doniants in just one day using only ten minutes of Super 8 film and a torch operated by YourFriendElectric. Some of the film was expired which caused unpredictable happy accidents like what appears to be strange lightning flashes in the sky and the iconic single art shot.

This single follows the popular "I Love My Boyfriend" a deceptively clever 60s garage rock song discussing an internal struggle with monogamy.

Princess Chelsea will be heading to Europe for a tour in September including a date at London's Shacklewell Arms on 9 September (see full tour dates below). FACEBOOK.

31.08.2018 PL – Gdansk - Soundrive Festival
07.09.2018 FR - Bordeaux - Iboat
09.09.2018 UK – London - Shacklewell Arms
12.09.2018 FR - Paris - Point Ephemere
18.09.2018 BE - Liege - Reflektor
19.09.2018 NL – Amsterdam - Paradiso / Indiestad
20.09.2018 DE - Hamburg - Reeperbahn Festival
21.09.2018 DK – Bucharest - Control Club
22.09.2018 DE – Berlin - Funkhaus / Indiesession
23.09.2018 DE – Dresden - Beatpol
25.09.2018 CZ – Prague - Jazzdock
26.09.2018 CZ – Pilzen - Andel
27.09.2018 SK – Presov - Christiania
28.09.2018 SK - Liptovsky Mikulas - Diera Do Sveta
29.09.2018 CZ – Ostrava - Cooltour
01.10.2018 CZ – Brno - Fleda
04.10.2018 CH – Geneva - Kalingrad
05.10.2018 GR – Athens - Fuzz Club

We shared 'I Love My Boyfriend' back in June and I think it fair to say that we made it pretty clear then, that Beehive Candy are rather fond of Princess Chelsea's music! With a steady methodical beat 'Wasting Time' is a mixture of carefree melodic vocals and a musical backdrop with intricate layers of sound. The video is a real bonus and works beautifully with the song.


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Meres - Feardom.

Background - Something magical has been brewing down in Launceston, Tasmania. Today, Meres emerges with sonic and visual offering, 'Feardom'. Conceived in the perfect echo chambers of Canada’s cheap motel bathrooms, Meres came into its own in northern Tasmania. The glittering brand of dreamy, fuzzed out punk explores "the dissident and the mundane".

'Feardom' is a confessional exploration of themes of introversion, feelings of inadequacy and success and arrives with an accompanying a music video by Cameron Jones, providing a glimpse into Meres’ daily life trying to learn the ropes as Producer of a Youth Dance Company and struggles with the efforts involved to make yourself presentable in the public sphere.

In Meres’ words, "I was on tour with a couple of great bands while playing bass for Isla Ka. It was one of those defining moments of feeling a jealousy in the blistering heat of Brisbane, where a musician could take their shirt off quite happily in an effort to cool off from performing excellent bloody music. And I know if I were a confident and outspoken type of person like so many of the musicians I look up to, I'd also happily take my shirt off. But I am not that type of person. I'm modest and insular and introverted. I don't want people to look at me, to listen to me, and yet I do, but that wanting that, kind of makes me feel like I am a lesser person. Like I don't work hard enough to write the best music I can or perform with enough confidence. I think watching the bands that night made me realise...maybe it was time to turn everything upside down. And I had no idea what that looked like or meant. "

Meres is the solo project of Mary Shannon, (Bansheeland, Isla Ka). Her abstract, multi-layered approach takes notes from the likes of Sadie Dupuis of Speedy Ortiz, U.S slacker rockers Bad History Month and Australian punk icon Adalita, with a dynamic live set that lends itself to solo performance featuring trash beat electronic drums and the full wrath of her four-piece band. 'Feardom' is a galvanizing first cut of what’s to come for the Tasmanian artist. TWITTER.

Described as fuzzy punk 'Feardom' is all of that and more. The passion and power go hand in hand and the vocals (albeit immersed deep within the mix) are more than capable of pumping in some potent addictive hooks.


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