October was a long month, but to the best of my ability I’ve recollected what happened in the last 31 days. Since this blog has been neglected for many more than the last 31 days, a few things may have slipped in that took place 61, 91, or even 121 days ago.
This single is a great example of a Pylon influenced groove combined with current climate change dilemma that the world is now in. Who says you can’t dance to the apocalypse?
Album number two from this New York band is no let down. The record is full of
urgent, politically astute, post-punk songs. My favorite is buried near the end. Keys to the City is an hallucination inducing slice of Byrdsian psychedelic haze.
This Australian band who likely count the Triffids and U2 and maybe even the Go-Betweens as influences, self-released their debut album earlier this year and it instantly sold out of the first vinyl pressing. The excitement has not died down, and it’s been repressed. Don’t say you haven’t been warned.
When I first heard Motorcycle Cop from this Bay Area band I thought it might have been a direct decedent of the Pastel’s Speeding Motorcycle. On second thought, it might just be an ode to Larry Baker and Frank Poncherello. Whatever it is, it’s brilliant!
The Lucksmiths broke up some years back and chief songwriter Marty Donald went into semi-retirement. I’m glad it wasn’t permanent, and now he’s got the boys back together minus drummer and lead singer Tali White. Mr. Donald can still turn a phrase and his voice reminds me a little of Max Eider of the Jazz Butcher. The only song I remember Marty singing in the Lucksmiths was their cover of the Magnetic Fields Deep Sea Diving Suit. Maybe they could do a cover of Partytime or D.R.I.N.K.
Maybe I just have the Pastels on the brain (or the Clean, Coconut Coolouts or Modern Lovers for that matter), but Falmouth, England’s Holiday Ghosts have a similar ramshackle approach to pop music as that Scottish institution. Their debut album is lots of fun, with songs that make you want to wiggle your extremities.
A Certain Smile
Portland’s A Certain Smile played in Seattle last weekend opening for Zebra Hunt and Math & Physics Club. I won’t go into how Portland is beating Seattle right now in great new bands to get excited about, but I will say that this band’s debut is an understated janglepop beauty!
Detroit, Michigan band Deadbeat Beat released When I Talk To You on cassette way back in 2011. Six years later it get’s a vinyl treatment. Make no mistake this record is an early 10’s surfy-garage rock classic that is has elements of Buddy Holly, Beach Boys, and Agent Orange.
Another Detroit band, this one with a new record on a new label. Formerly signed to Seattle’s Hardly Art, these Motor city post punks moved on to Domino for album number four and it’s nearly as good as their high point (in my opinion) Under Color of Official Right. Live, they’re like going 10 rounds in a heavy weight fight. They’re set a Chop Suey here in Seattle was an Olympia beer fueled pummeling. I left feeling battered and bruised, and woke up swollen and sore the next morning. It was great.
Portland’s Landlines remind me of Sloan around their Twice Removed and One Chord to Another era. Their songs are catchy, classic sounding pop. This is their second album and it would seem that their well of great songs is very deep.
This Bay Area band has a white hot sound that will get you on the floor skanking. Great saxophone bits juxtaposed with angular guitar bits. I feel like the World is what the Specials would have evolved into if they would have gotten King Tubby to produce a third album. Anxiously awaiting on the dub version of this record!
Dead Leaf Echo
The cover of New York shoegaze outfit Dead Leaf Echo new album looks like it came out on 4AD in the 80’s, and sounds like it was made in the shoegaze heyday of 90’s. Funny because Guy Fixen (Moose, My Bloody Valentine) helped record it and the cover was designed by 4AD alumna Timothy O’Donnell.
The last time I saw Slowdive play was at CMJ in 1991. I have vague recollections of that show where they were on a bill with Blur and Levitation. Last week in Seattle their show at the Neptune Theatre was mesmerizing and imprinted (hopefully) long-term memories in my cerebral cortex. The reformed band’s new LP is top notch, but it was Catch the Breeze, Avalyn and their cover of Syd Barrett’s Golden Hair that were massive sounding and downright otherworldly!