Category Archives: Audio stream

Track Premiere: Ghost Wolves “Shouldn’t Have Lied”

Killer tune from brand new album frontloaded with fuzz/slide-guit-and-drums fury. (Photo credit: David Brendan Hall)

By Blurt Staff

They’re not only one of most exciting bands the BLURT braintrust has ever heard outta Austin, the Ghost Wolves are one of the most exciting bands we’ve ever experienced, period. Indeed, just the recorded evidence alone is impressive—of their 2014 album Man, Woman, Beast, our reviewer, Michael Toland, noted, “Outside of a marvelously stripped-down sound featuring Jonathan Wolf on rhythm pound and Carley Wolf on bare-bones riffery and teasing, pouting vocal, the Wolves burst with sheer attitude, the kind of moxie that comes from being young, hungry and not giving a shit whether or not they see the inside of an arena… Carley’s frazzled bottleneck and aggressive assertion rides Jonathan’s surging drum kit like a surfer on a shark.” (Magazine editor Fred Mills was pretty damn impressed with their 2011 release, In Ya Neck, as well.)

So now they have a new ‘un about to drop, TEXA$ PLATINUM, via Hound Gawd, and we are privileged to unveil a track from it just in time for the group’s kicking off its US tour. Check out “Shouldn’t Have Lied”:

Notes Carley, “This song was based on an experience I witnessed where one lie led to so many more and to a path of misery for a while for that person. It all could have been avoided with simple honesty, but ego and pride got in the way. That’s dangerous stuff.”

The band formed in Austin, Texas in 2010, and Wolf’s guitar playing has been featured in Premiere Guitar, SheShreds, and Guitar Girl Magazine and has performed live on NPR stations like WBEZ in Chicago. (Wolf Endorses Silvertone Guitars and Eminence Speakers.) Several tracks from their previous record got prominent TV and film placements, including on the hit TV series Shameless; several programs on the Oxygen channel (Bad Girl’s Club, Funny Girls, Best Ink); and an over-the-top trailer for Japanese martial arts film called, Why Don’t You Play in Hell? Not to mention MTV’s Real World: Explosion and for Perry Ellis at Fashion week in New York.

They will be touring heavily behind the new album, so you don’t have no excuse for not checking ‘em out, kids. Some early tour dates are below. (Photo credit: Steven Alcala)

Saturday, May 27th at Swan Dive in Austin, TX

Wednesday, June 7th at Blue Canoe in Tupelo, MS

Thursday, June 8th at Smith’s Olde Bar in Atlanta, GA

Saturday, June 10th at The Cave in Chapel Hill, NC

Sunday, June 11th at Bandito’s in Richmond, VA

Thursday, June 15th at 10th Ave Burrito in Belmar, NJ

Friday, June 16th at Firehouse 13 in Providence, RI

Saturday, June 17th at The Press Room in Portsmouth, NH

Tuesday, June 20th at Brillobox in Pittsburgh, PA

Wednesday, June 21st Beachland Tavern in Cleveland, OH

Thursday, June 22nd at Marble Bar  in Detroit, MI

Friday, June 23rd at Brass Rail in Fort Wayne, IN

Saturday, June 24th at Fountain Brewing Co. in Indianapolis, IN

Sunday, June 25th at MOTR in Cincinnati, OH

***

Visit The Ghost Wolves online at:

theghostwolves.com

facebook.com/TheGhostWolves

twitter.com/TheGhostWolves

instagram.com/theghostwolves

youtube.com/user/TheGhostWolves

 

 

Track Premiere: Feederz “Stealing”

Incendiary tune is the A-side of the band’s crucial new single.

By Blurt Staff

In a recent roundup of new and notable single releases, the leadoff review is of Arizona punk vets the Feederz’ incendiary new 45 “WWHD (What Would Hitler Do?), a limited edition/orange vinyl 7”.  On the Cris Kirkwood-produced record, bandmembers Frank Discussion, DH Peligro, and Clear Bob serve up a twinpack of pure outrage and sonic scree, a veritable call to arms of the citizenry. The sleeve art alone (below) is worth its weight in cultural gold.

As Frank Discussion explains, “The record is the only reasonable response to a world gone completely off its fucking rails: sabotage, subversion and the other fine arts.” Indeed – when the new administration took power in January, pundits were divided as to whether this so-called bold new era of American greatness would galvanize the artistic community or not. Well, history tells us that during the Reagan years, punk rock was utterly energized, and it sounds like history is on the verge of repeating itself – with the Feederz’ record an early warning shot across the cultural bow.

Check out the track “Stealing” for ample evidence:

Notes Mr. Discussion, “’Stealing’ explores the joys to be found in rioting and looting because in a society that abolishes all adventure, the only adventure becomes abolishing that society.”

Amen. ‘Nuf said. Find the Feederz online for more info, touring details, and ordering the record:

feederz.org

facebook.com/FeederzBand

wikipedia.org/wiki/The_Feederz

https://sloperecords.com/artist/feederz/

https://sloperecords.com/shop/vinyl/feederz-wwhd/

 

Track Premiere: Outrageous Cherry “I Believe in Sunshine”

Crucial new 7” single en route from the Burger braintrust…

By Blurt Staff

Rather than blather on about this publication’s editor’s long-standing admiration for Detroit sonic auteur Matthew Smith—we could wax ebulliently at length about his equally long-standing (like, since the early ‘90s) combo Outrageous Cherry, or his participation in alt-country mavericks the Volebeats, and certainly his myriad production and engineering exploits—allow us to simply introduce the new O.C. track “I Believe in Sunshine,” from the group’s new single that arrives via the estimable Burger label:

Some background follows below. The song at hand was originally done back in 1968 by a band called A Passing Fancy, and if that name fails to sufficiently register, don’t despair—Smith knows his deep cuts, so you can leave the driving to him. Was the psych-pop combo singing about a physical paramour, or perhaps one slightly more lysergic? Who knows! Who cares! You’ll be a believer.

More is en route, we suspect, with this sort of chemical inspiration.

The Backstory: Named after a brilliant red hair dye, Detroit’s Outrageous Cherry mixes garage rock, psychedelic and indie pop into a timeless yet distinctive sound. The band started as a recording project in 1992 but blossomed into a full-fledged group when singer/guitarist/producer Matthew Smith (who also performs in the country tinged Volebeats) began performing live backed by a full band in 1993. Outrageous Cherry’s wistful noise-pop debuted with a limited-edition 7″ of “Pale, Frail Lovely One” on the local Third Gear label. Later came 1994’s Outrageous Cherry and 1997’s Nothing’s Gonna Cheer You Up.  In 1999, the band released Out There in the Dark via Del-Fi’s new music imprint, DF2K. The group moved to Alan McGee’s Poptones label for 2001’s prog- and space rock-influenced The Book of Spectral Projections, which Rainbow Quartz reissued the following year., the band subsequently serving up two 2003 releases for the label, Supernatural Equinox and the Stay Right Here for a Little While EP.

What came next for the increasingly prolific combo? How about 2004’s Why Don’t We Talk About Something Else EP, 2005’s Our Love Will Change the World and 2006’s Stay Happy. In 2009, the band released their ninth album, Universal Malcontents, followed quickly the following year by Seemingly Solid Reality.

Somewhere in the middle of all this the BLURT braintrust caught O.C. at SXSW one year and all those years of record collecting were reaffirmed with one of the most brilliant sets we’d ever witnessed during the annual Austin music fest.

In 2014, Outrageous Cherry returned with Digital Age, a more lo-fi set of songs released by Burger Records. Which brings us up to the new single. Rumor has it we should get ready for a new full-length as well…

Track Premiere: Jim Jones & the Righteous Mind “Aldecide”

SAMSUNG CSC

New album from the veteran Brit rocker is set on “stun” and arrives this week.

By Blurt Staff

So you say you know Jim Jones, eh? Maybe through, ahem, some of the BLURT coverage over the years—like HERE and HERE and HERE —from Thee Hypnotics to Black Moses to The Jim Jones Review. Now comes Jim Jones & The Righteous Mind, the latest manifestation of Jones’ “ever evolving sonic vision,” as we are advised, and not unwisely. The braintrust here is pretty chuffed to let you get a choice peek at brand new album Super Natural, due out this Friday, May 12, via Hound Gawd. Check out “Aldecide” – which, incidentally, is also out as a 10″ single on “ectoplasmic green vinyl” so you know you wanna get to huntin’…

Jones comments, “I wanted something raw, but exotic at the same time; spiritual, but blood and guts earthy too… Super Natural. It’s a tricky balance, but this band really has the chops to make it work.”

No shit. Jones has always delivered the goods, but here he has clearly hit a new and unique peak (listen, for example, to how he phrased that song title, or elsewhere, the sheer force of his howl), roping in elements of all his previous endeavors to forge a powerhouse sound that’s one part primal, one part tuneful, and several parts sheer bloody-minded purposeful. Incidentally, the album artwork is by renowned French illustrator and tattooist Jean-Luc Navette, who previously collaborated with the band on their Boil Yer Blood EP artwork and t-shirt designs.

In addition to Jones on guitar and vox, the Mind is Malcolm Troon (guitar; pedal steel and backing vocals) Matt Millership (keyboards and backing vocals); Gavin Jay (bass guitar, upright bass and backing vocals); Phil Martini (drums and backing vocals). The band has released three EPs from 2015 through 2016. See the link below, also, to check out some pretty choice videos.

Tour Dates:

10th May Petit Bain, Paris, France

13th May The Plug, Sheffield, UK

17th May Brudenell Social Club, Leeds, UK

18th May Fruit, Hull, UK

19th May The Cluny, Newcastle upon Tyne, UK

20th May The Lexington, London, UK

21st May Waterfront, Norwich, UK

25th May Cinetol, Amsterdam, Netherlands

26th May Sniester Festival, Den Haag, Netherlands

27th May Get Mad Festival, Madrid, Spain

21st July Le Sable Festival, Trouville, France

12th Aug Boomtown Festival, Winchester, UK

***

And you can check in with the Mind all over the place, such as:

righteousmind.co.uk

facebook.com/jjatrm

twitter.com/JJandtheRM

instagram.com/jjandtherm/

youtube.com/channel/UCDB2C6QPxuwUcmWZ7KPWFcQ

 

 

Track Premiere: Chris Price “Hi Lo”

“Weird chords” abound in key track from new album, due in May.

By Blurt Staff

It’s called Stop Talking but anyone who’s been privy to a preview of LA songwriter and producer Chris Price’s forthcoming album is probably urging him to keep going. As good as Price’s 2012 solo debut Homesick  was, the expansive, luminous pop and rock dotting Stop Talking (due May 19 via  Omnivore marks a quantum leap in songwriting and arranging for the musician. We’re privileged to unveil the first single from the album, “Hi Lo,” so please check it out:

Price talks about the song, noting, “I wrote this in Berlin half asleep, immediately after many hours of travel to get there. I was sitting in a hotel room, it was late, but I couldn’t fall asleep and I was more than a little delirious. And these chords just came. It kinda felt like I was channeling something from a place I don’t always have access to, but that could definitely just be the insomnia talking.

“The acoustic guitar I wrote it on broke immediately after I played it through for the first time, which is…something? It’s got a lot of ‘weird’ chords in it, which is always a great thing to get to say about a song.”

The product of several years’ worth of on-and-off work and representing the cream of nearly 50 songs that were recorded during those years, Stop Talking was also influenced by Price’s outside work: producing comebacks by Linda Perhacs and Emitt Rhodes, playing in Tal Wilkenfeld’s band and opening for The Who, and writing with Jellyfish/Beck mainstay Roger Joseph Manning, Jr. Those experiences clearly assisted Price in forming a holistic perspective for his own work—although, as Price is quick to quip, “I really should stop talking and let the music speak for itself.”

 

Incoming Vinyl: Limited Reissue of Michael Cerveris’ 2004 “dog eared”

400 copies only, 2LP set, 180-gram wax – make your plans accordingly. Below, listen to a key track from the album.

By Blurt Staff

In 2004, singer Michael Cerveris, former frontman of British band Retriever as well as American outfit Lame, released his solo debut dog eared. It went on to become a cult favorite, notching critical kudos everywhere, such as at Magnet magazine, which lauded the “Anglophile balladry and fuzzbox raunch recalling Big Star and Guided By Voices in equal measure…call it sloppy art for sloppy hearts, it’s damned swell.”

As produced and mixed by veteran studio whiz Adam Lasus, the album featured the performing talents of Corin Tucker, Janet Weiss, Ken Stringfellow, Steve Shelley, Norman Blake (one of the album’s best tracks was Teenage Fanclub’s “Can’t Feel My Soul”), Laura Cantrell, Anders Parker and others, so it was also a bit of an indie rock super session. Cerveris certainly has amassed a following on both sides of the Atlantic over the years, for in addition to the aforementioned bands he was touring guitarist/vocalist for Bob Mould on the 1998 Dog and Pony Show tour, starred in Sweeney Todd on Broadway as well as the title role in Tommy during the late ‘90s, and starred in Hedwig and the Angry Inch on London’s West End, in New York Off Broadway, and in Los Angeles. He also won a Tony Award in 2016 for Fun Home and in 2004 for Assassins on Broadway at Studio 54.

Still, in certain quarters it’s that 2004 album that continues to quicken heart rates—you can check it out at Spotify and find out exactly why. It is truly a lost gem that has lost none of its pop lustre in the decade-plus since it was originally released.

Long out of print physically, it’s now being resurrected for the first time as a limited edition, 2 LP set, pressed on 180-gram vinyl. Just 400 copies have been pressed up by the Azucar label, a boutique, vinyl-only label dedicated to releasing limited edition pressings of classic albums from the past 30 years. dog eared was remastered for vinyl and comes in gatefold packaging with printed inner sleeves and a poster containing lyrics and unseen photos from the recording sessions. You may recall Azucar’s vinyl handiwork last year on Ken Stringfellow’s 2001 album Touched, an impressive title on all counts. Expect no less with the Cerveris project.

 

 

Track Premiere: Seth Glier “For What It’s Worth”

Yes, indeed, the Buffalo Springfield classic… officially released tomorrow, April 21.

By Blurt Staff

If you’re a regular BLURT reader, you’ll be familiar with the name Seth Glier, a Grammy® Nominee and Independent Music Award-winner who we’ve featured a number of times in the past, including a video premiere not long ago and a number of album reviews, including one of his killer Things I Should Let You Know. Returning to the Glier well once again—and for reasons that will become immediately obvious—we want to unveil a new recording he’s done of Steven Stills’ eternally-relevant “For What It’s Worth,” which of course the Buffalo Springfield originally did in ’66, the tune going on to be revived numerous times in the years that followed. Check it out:

Glier, commenting on his version of the song, notes, “We have found ourselves, our values, & our leadership in a time of cognitive dissonance. Our age of information has been turned into an age of entertainment. I believe that people everywhere are beginning to say: there’s something happening here.” 

That’s for sure. It’s a remarkably powerful—primal, even—take on the tune, a bluesy and genuinely relevant anthem for these troubled times. And the artist is no stranger to activism—he’s served as a spokesperson for ChildFund International, Rock The Vote, Autism Speaks, and has been a TEDx speaker.

Glier will have a new album titled Birds (MPress) out this summer, the follow-up to 2015’s exquisite If I Could Change One Thing. You can catch him on tour right now and throughout the summer—tour dates at his official website. (You can also nab the track at his website.) He’s currently one of the top trending sessions on Daytrotter and his song, “The Next Right Thing” was just used in Nescafé’s International Women’s Day video commercial, “Meninas Fortes“.

Track Premiere: Matthew Edwards “When We Arrived at the Mountain”

Matthew Edwards

Tune from forthcoming June album by the California-by-way-of-Birmingham (England) rocker.

By Michael Toland

Do you remember what it’s like to discover an artist that you had been waiting for your entire life but didn’t realize it? An artist who may have been around for a while but somehow eluded your notice, and makes you wonder how that could have ever happened? An artist who answers all the questions you didn’t know you had about music?

We had that revelation about British singer and songwriter Matthew Edwards a few years ago. The late, great Nikki Sudden published a review of The Words We Say Before We Sleep, the debut full-length album by Edwards’ then-band the Music Lovers, in Bucketful of Brains, and we had to track it down. It was love at first spin, and it felt like a love that had been there all along, just waiting to be awoken from its unknown slumber. The San Francisco band’s lovingly constructed blend of British guitar pop, pre-rock balladry, sardonic wit and emotional impact felt tailor-made for anyone looking for that perfect rock & roll balance of craft and heart.

The Music Lovers split after three albums, and Edwards formed his current band the Unfortunates, releasing that combo’s debut The Fates in 2012. We covered that album here, noting that it had “a new emotional urgency” that “elevates it into the sphere of an artist’s greatest statements.” Now we at last have Folklore, the long-awaited follow-up, written and recorded after Edwards left California for his hometown of Birmingham, England. As with The Fates, Folklore hews closely to Edwards’ established m.o., while expanding on its sonic possibilities. The rockers rock harder, the ballads dig deeper and the production pushes the music nearly into the realm of the psychedelic. Folklore is that rare album that keeps to tradition while also presenting a step forward, a diamond in the sea of coal.

Blurt is proud to bring you “When We Arrived at the Mountain,” a track equally representative of Edwards’ songcrafting excellence and the Unfortunates’ evolving sonic palette. Check it out:

Folklore comes out June 2 via Gare du Nord. The band has the following dates lined up, with UK festival dates and U.S. dates coming soon. Catch ’em online as well: http://www.matthewedwardsandtheunfortunates.com/

Sunday 14th May @ Come Down & Meet the Folks, The Apple Tree, Clerkenwell

Saturday 3rd June @ Centrala, Digbeth, Birmingham

Saturday 2nd September @ Moseley Folk Festival (2PM)

 

Track Premiere: Cowbell “Haunted Heart”

COWBELL-2017-2-(7126)

London outfit preps kickass new album for early June release.

By Fred Mills

Take a little bit of Eddie Cochran-as-filtered-through-The-Cramps, stir in some vintage girl group harmonies, then douse liberally with the classic British Invasion/Nuggets ‘tude and you’ve got… Cowbell! The London-based duo of Jack Sandham and Wednesday Lyle serve up a nigh-on unimpeachable brew of high-energy R&B, soulful garage, and dirt-road psychobilly, and these rock ‘n’ roll miscreants have no problem with holding a double barrel shotgun to BLURT’s head until we unveil this new track for the readership, the title track to their forthcoming album Haunted Heart. Everyone get ready—duck!

“There’s a bit of a Hammer Horror atmosphere to this one,” explains Sandham, of the track. “We love The Cramps and both got really excited when we got that rumbling psychobilly groove happening, we thought it set the tone for the album.  I can’t decide whether I’m pitying, comforting or lambasting the protagonist, maybe all at the same time. I particularly like the way it jumps into a girl group groove for the bridge.”

Bloody well right, mate. The album, which arrives June 2 via the estimable Damaged Goods label, offers everything from dark West Coast psychedelia to Memphis gospel soul, in addition to the aforementioned influences. It’s simultaneously primal and percolating, testimony to the two musicians’ eight-year tenure, which has seen two albums, numerous singles, and mucho roadwork. Recommended: 2012 debut Stampede and 2014’s Skeleton Soul. Also recommended: catching the group live, as they have consistently wowed the critics, deejays (BBC 6 Music’s Chris Hawkins hailed them as “one of the best live bands I’ve seen in a long time.”) and punters alike.

Cowbell CD

More details, tour dates (they play April 21 in London), etc. at their Facebook page: https://www.facebook.com/cowbelltheband/ Or at their official website: http://www.cowbelltheband.co.uk/Cowbell/page.html

As the saying goes, “More, Cowbell.