31/12/2019
Bonzo Dog Doo Dah Band - Canyons Of Your Mind (1968)
R.I.P. NEIL INNES
we all liked the bonzo ....
I'm a big fan of these eccentric artists
Bonzo Dog Doo Dah Band - Canyons Of Your Mind (1968)
R.I.P. NEIL INNES
we all liked the bonzo ....
I'm a big fan of these eccentric artists
29/12/2019
25/12/2019
Public Image Limited - Public Image (Official Video)
1978
John Lydon's new group Public Image Ltd played their first live gig at the Rainbow Theatre, London.
Parasite (2019) - Trailer Subtitulado | Bong Joon-Ho
Parasitos – Director: Bong Joon-Ho
Abrir las ventanas cuando pasa el fumigador, rastrear wi-fi por el techo, y doblar cajas de pizza. Así se busca la vida la familia de Parásitos. Después de Okja y Snowpiercer, Bong Joon-ho regresa a casa para demostrar que es un genio incontestable, con una visión mordaz de su país. Un híbrido de thriller social y comedia que traspasa todos los umbrales del negro. Albert Fernández
Fontaines D.C. - Big
Este jovencísimo quinteto comandado por la voz de Grian Chatten, un vocalista-poeta de la más genuina escuela Mark E. Smith, ha pasado en dos años de ensayar como amateurs al salir del instituto a dar más de 200 conciertos en Irlanda, Reino Unido y Europa, amplificando su fama de gran banda en directo. Y todo gracias a unos singles autoeditados que, si en un momento podían rememorar el encanto socarrón y macarra de The Vaccines (‘Liberty Belle’), pronto se fueron agriando como la mezcla de olor a sudor, sidra, serrín empapado y líquenes en la puerta de un pub de su barrio en temas de ascendente post-punk como ‘Chequeless Reckless’ y ‘Too Real’ –que no han olvidado incluir–, rabiosas y malencaradas, pero magnéticas. Fontaines D.C. utilizan una poesía que, con su costumbrismo crudo, reivindica la realidad desenmascarada como fuente de romanticismo, en contra del perverso maquillaje sofisticado al que los codiciosos someten a nuestras calles, menoscabando el tejido humano de las grandes urbes.
24/12/2019
21/12/2019
16/12/2019
15/12/2019
Sleater-Kinney - Hurry On Home (live)
Sleater-Kinney’s Carrie Brownstein has likened the romantic disjointment in “Hurry on Home” to the breakdown of trust between government and citizens in our Trumpian epoch. It is, quite certainly, the horniest song of said epoch. The lead single from The Center Won’t Hold is a raw-throated howl of queer desire, shot through with angry, annihilative hunger. It is the sort of music about fucking that you make when your very right to fuck is under attack: Brownstein and bandmate Corin Tucker sing about sex as a desperate leap into disembodiment. The fevered pulse of St. Vincent’s production blurs the jagged edges of Brownstein and Tucker’s twin guitars, making for an urgent undercurrent capable of driving listeners into each other’s arms. So long as Sleater-Kinney survives, no force on earth will stand between a woman, another woman, and their primal urge to U-Haul. –Peyton Thomas
Sheer Mag - The Killer -OFFICIAL AUDIO
Sheer Mag: A Distant Call
Sheer Mag crashed into the indie consciousness five years ago with surly abandon, thanks to their Thin Lizzy-style anthems and their true punk heart. The Philadelphia four-piece’s latest album, A Distant Call, feels as storm-tossed as ever, only now with more old-school-metal riffs and some unexpected fine-tuning. The production quality is less lo-fi and the arrangements are more multi-dimensional, resulting in the sharpest-sounding Sheer Mag release yet. Tina Halladay’s shredded howl remains the group’s North Star as members shift between barnburners and slow-builders, often fueled by present-day ills. They throw a light on the refugee crisis in “Unfound Manifest,” rail against fat-shaming on “The Right Stuff,” and put a name to widespread government corruption with “The Killer.” –Eric Torres
peaer - Don't
Peaer: A Healthy Earth
Midway through their third album, the members of Brooklyn trio Peaer briefly imagine a peaceful alternate reality. “In another universe, we have a healthy earth, we understand the worth of a life,” warbles frontman Peter Katz on the slow-building “Multiverse.” It’s a nice daydream, but it’s ultimately not where the math-rockers reside. They spend their time wrestling with quandaries small and large, from a confusing kind of romantic attraction to feeling crushed by the relentless pace of the world, all the while exploring similar leaps of scale sonically. Tightly-knit slowcore reveries swell into post-punk explosions, barely-there melodies tangle to the point of dissonance. Incisive and meticulous in nature, Peaer make the case that even a kind of shitty life is worth examining. –Quinn Moreland
Lorelei
DIIV: Deceiver
The first time Zachary Cole Smith tried to make an album about getting sober, the DIIV frontman wasn’t ready to be honest—with fans, with the people around him, or even with himself. A year after releasing 2016’s beloved Is the Is Are, Smith re-entered treatment for heroin addiction. A stretch of radio silence followed, before more and more tour dates gave way to this summer’s announcement of Deceiver. Recorded with producer Sonny Diperri, who previously engineered for My Bloody Valentine, DIIV’s third album draws deeply on the gossamer textures and double-tracked vocals that define shoegaze. Gone is the surface-level catchiness that drew listeners into the first two DIIV LPs, replaced by intricate songwriting that reveals itself further with each listen. With Deceiver, DIIV seek to reinvent themselves for themselves, and nobody else. –Noah Yoo
Crumb - Ghostride [Official Audio]
Crumb: Jinx
Crumb’s debut LP has some hallmarks of a band that would be popular in 2019: jazz-influenced psych rock with crisp drums that brace an otherwise warbly, lo-fi aesthetic, complete with honeyed vocals dripped into the mix
Covert Contracts
Control Top: Covert Contracts
The first album from Philadelphia’s Control Top works with brutal efficiency. Taking cues from the insistent rhythms of the Slits and the bright riffs of new wave, the trio’s strident yet melodic post-punk is an antidote for anyone feeling oppressed, exhausted, or just plain stultified by modern life under a capitalist patriarchy. Bassist/singer Ali Carter’s lyrics fuel the kind of motivating anger that cuts through political disillusionment with surgical sharpness: “We’re in a black hole/Of our own making,” she screams on “Black Hole.” “We have solutions/Yet no one’s debating.” The point of Covert Contracts isn’t that Control Top have all the answers, it’s that they know something is very wrong—and they’re willing to stay pissed about it. –Anna Gaca
Brittany Howard - History Repeats (Official Audio)
Brittany Howard: Jaime
Brittany Howard named her debut solo album after her older sister, who died when Brittany was eight years old. While there’s no song explicitly about her on Jaime, there is urgent advice about how to live with the time we’re given: by refusing hatred and spreading love in fractious times; by dismissing inattentive partners and acting on desire. That immediacy pervades the sound of Howard’s solo debut, which is less wedded to genre than her work with Alabama Shakes and Thunderbitch. When the spirit calls for sparkling old soul, it’s there, as on the perennially festive “Stay High”; when Howard addresses a racist attack on her mixed-race parents, she doesn’t smooth over the stumbling piano refrain, nor her stunned delivery. The magnetic scrappiness doubles as a bracing alert. –Laura Snapes
black midi - bmbmbm (Hyundai Mercury Prize 2019)
black midi: Schlagenheim
In 2019, black midi taught a new generation of indie kids that prog and punk aren’t as different as sometimes advertised. The London quartet’s debut album, Schlagenheim, juggles flashy technical sophistication and raw fuck-you energy in a way that sometimes inspires older listeners to draw up lists of comparisons. And black midi would be impressive enough if they were “just” this year’s answer to Public Image Ltd.-Slint-Deerhoof-Battles-These New Puritans-Your Example Here. But form-defying freakouts like “bmbmbm” sound so certain they’re the future of guitar music, you’ll probably want to believe it, too. With touches of synth, drum machine, and accordion, Schlagenheim shows these young masters of the herky-jerky starting to grow into their studio-wizard potential. –Marc Hogan
Big Thief - Not
Big Thief: Two Hands
By the time Big Thief released U.F.O.F. this past May, you might’ve thought they deserved some time off: It was their third album in four years. But not five months later came Two Hands, which is as much an exorcism as its predecessor. Violence ripples through these songs like a vein of quartz—“Rock and Sing” might be a children’s lullaby about lost souls, “The Toy” an intimation of great evil. Warmed by humming amps and the presence of four bodies pressed in close, the album unspools as effortlessly as a campfire session—stray counterpoints, offhand vocal harmonies, tiny details dancing like shadows on the treeline. At a time when it feels like no patch of ground is immune from either flood or fire, Two Hands draws a circle and creates a refuge there. –Philip Sherburne
14/12/2019
Bona Dish - Sand
Extremely obscure post-pop rarity from the tape recording generation. The band seems to link to a number of less obscure acts, but little can actually be confirmed, other than that they come from the UK and were operating around 1982.
Bona Dish - Sand
Extremely obscure post-pop rarity from the tape recording generation. The band seems to link to a number of less obscure acts, but little can actually be confirmed, other than that they come from the UK and were operating around 1982.
...And The Native Hipsters - Mr. Magic
One of the post-punk period’s most inventive bands, the Native Hipsters made incredibly bizarre records sampling a variety of things and creating noises, mixed with voices telling strange stories. A John Peel favourite that nevertheless remains largely unknown. Time to discover them.
Snakefinger - Here Come the Bums
Buy or Die 1980, EP
MX-80 Sound - Don't Blame It on Me3:15
Snakefinger - Here Comes the Bums2:52
Tuxedomoon - 7 Years3:07
The Residents - The Festival
13/12/2019
09/12/2019
Squid: Town Centre - Rodeo
Squid: Town Centre
British outfit Squid caught our attention at this year’s SXSW with their nervy, dynamic art punk, and their debut EP Town Centre, which was released a few months later, cemented the hype. “Savage” sets the scene with swirling ambiance, the faint ringing of church bells, and sultry saxophone—it sounds like a slow pan of a desolate Medieval town at the peak of the Black Death. The anxious post-punk of “Match Bet” sees lead vocalist Ollie Judge write from the perspective of a manic gambler, while “The Cleaner” is a bombastic ‘80s synth-punk (think Talking Heads meets Brainiac) ode to a janitor who dances “with DVDs and books” to “rocket pop.”
Throughout this seven-minute, wonky scene, “The Cleaner” celebrates people who work thankless, faceless low-wage jobs, and somehow its protagonist takes pleasure in the small details that make their job bearable, like their “favorite shoes” and the music that blares as they sweep and mop. It’s a seering rebuke of modern labor (“I’m the cleaner who gets home whose body drops down / On the floor as you find it there with a brush and mop”) and a depiction of how transcendence has become an essential late-capitalist coping mechanism. The EP closes with the minimal drum machines of “Rodeo,” a critique of the competitive sport which abuses large animals for often violent and often six-second-long chaos—all for mere human entertainment. The characters and narratives in Town Centre are all ones that aliens would find mind-boggling, but Squid capture this surreal world with charming humor and stark, poetic flare. —Lizzie Manno
Sweater Curse - Can't See You Anymore
Sweater Curse: See You
The next chapter of Aussie rock has brought us Sweater Curse, the rock-minded Brisbane trio who landed on our list of 20 rising Australian bands to know in 2019. Sweater Curse have been buzzy for a few years now, Pacific-side—back in 2017, with only two singles to their name, they toured with guitar vets Jen Cloher and Julia Jacklin, plus Camp Cope and Rolling Blackouts C.F. But if their impressive debut EP, See You is any indication, they’re bound to break out even more.
Beginning with the wizened standout “Can’t See You Anymore,” Sweater Curse create an emotional arc—the rise and fall of a failing relationship—on See You in less than 25 minutes. On that first track, a truly great rock song, bassist Monica Sottile sings, “What I’ll see and how I’ll feel is beyond me,” in a state of confusion amid a swarm of steady, punk-leaning guitar riffs. Later, the unease fuels agency: “I can’t see you anymore / ‘Cause I don’t know who to adore.’” On “Take Some Time,” the relationship in question is crumbling, but Sottile’s character is exhausted trying to save it: “Please just try for the sake of it / try not to lie / I’m so tired and I don’t have the strength to try.” —Ellen Johnson
Kate Teague - Low Life
Kate Teague: Kate Teague
Oxford, Miss. indie singer-songwriter Kate Teague caught out ear straight from her debut single, “Low Life,” which introduced her captivating sound to the world with confidence. Her next single, “Good To You,” which we also highlighted as our Daily Dose upon its release, matches breezy instrumentation with self-conscious, striving lyrics
Pottery: No. 1 (20199 Worked Up
Pottery: No. 1
After a solid performance at this year’s South By Southwest and tours opening for Parquet Courts, Viagra Boys, Oh Sees and Fontaines D.C., Montreal five-piece Pottery released their debut EP No. 1, recorded in just over two nights and cut live to tape. Crediting Orange Juice, Josef K and DEVO as influences, Pottery blend the whimsical, danceable and the arty leanings of some of pop and punk’s greatest groups.
N0V3L: Novel- song Natural
N0V3L: Novel
The debut EP from Vancouver art collective N0V3L sounds both tighter and looser than the other records on this list. Its guitar riffs are more tightly-coiled and the lyrics are delivered with an unmistakable anti-capitalist ideology, but it’s also packed with funky, disco-punk grooves that will help you unwind. On “Sign on the Line,” you won’t know whether to organize a collective bargaining strike or put on cyclops sunglasses and head for the dancefloor.
Broken Social Scene: Let’s Try The After (Vol. 1) -1972
Broken Social Scene: Let’s Try The After (Vol. 1)
Broken Social Scene’s rotating cast of 17 or so musicians always keeps us guessing. On part one of their recent EP Let’s Try The After, Kevin Drew and co. take us through an odyssey of quicksilver post-rock and starry, ascendent pop/rock. Following the seagull-infused clamor of intro “The Sweet Sea,” Broken Social Scene emerge elegant, spacey and experimental on the largely instrumental “Remember Me Young,” a challenging tune that also warms the soul. “Boyfriends” sees them channel The National and Phoenix for dusty-meets-electro indie rock while the horn-laden “1972” marries garbled synths, Ariel Engle’s dreamy pop coo and robotic backing vocals.
Lucy Dacus - "Forever Half Mast"
Lucy Dacus - 2019
Time may be a construct, but it’s a pretty damn tireless one. It doesn’t stop when a family member dies, when you move to a new city or when a depression spell hits. The unending flow of time is overwhelming, a riptide that sweeps us under and threatens to drown us as we realize that, fuck, 2019 is almost over and we are on the precipice of a new decade.
Slow Pulp - At Home
Chicago-via-Wisconsin four-piece Slow Pulp recorded most of their Big Day EP—not to be confused with The Big Day, inoffensive and not-very-good “debut album” also released this year—in a cabin in Michigan. Music critics love to obsess over environment—where an album was recorded, how it was recorded and how the process was potentially affected by a space—and occasionally their assumptions about the music’s relationship to the landscape actually reflect reality
THYLA - Bitter
Thyla: What’s On Your Mind
With the release of their exceptional debut EP, What’s On Your Mind
GUERILLA - Jesus Rabbit
Guerilla Toss: What Would The Odd Do?
Guerilla Toss are a reminder that art-rock doesn’t need to be pompous to push boundaries. The group’s EP, What Would The Odd Do?, shows a danceable inventiveness that’s as fun as it is pensive—even when confronting serious topics like addiction and recovery. “Future Doesn’t Know” is a pristine glimpse into existential thought that’s propped up by its energetic instrumentation. It’s also incredibly fun.
BODEGA - Treasures Of The Ancient World
BODEGA have always gone against the grain: Their insane attention to detail and deliberate aesthetic represents the antithesis of slacker rock and bedroom pop trends. From their harsh Parquet Courts-meets-Gang of Four-meets-Television take on post-punk and art-rock to co-lead singers Ben Hozie and Nikki Belfiglio’s
Bodega - Shiny New Model
BODEGA have always gone against the grain: Their insane attention to detail and deliberate aesthetic represents the antithesis of slacker rock and bedroom pop trends. From their harsh Parquet Courts-meets-Gang of Four-meets-Television take on post-punk and art-rock to co-lead singers Ben Hozie and Nikki Belfiglio’s combative stage personas, every move, every lyric and every sound you hear is extremely calculated. They rage against the machine quite literally—so much of their material references the negative aspects of modern technology and late-stage capitalism—and with only a few exceptions
08/12/2019
07/12/2019
06/12/2019
Adrian Borland ~ Long Dark Train
Adrian Kelvin Borland (6 December 1957 – 26 April 1999) was an English singer, songwriter, guitarist and record producer, best known as the frontman of post-punk band The Sound.
Following a substantial musical career spanning numerous groups, as well as a solo career, he succumbed to symptoms of what is known as schizoaffective disorder, and committed suicide by jumping in front of a train on 26 April 1999.
REST IN PEACE
01/12/2019
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