Category Archives: Track premiere

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/

 

Video Premiere: Calan’s “Kân”

Track taken from new album that drops this week.

 By Blurt Staff

Traditional Welsh folk music group Calan aren’t your everyday “traditional” outfit. Despite the ancient roots of Calan’s music, this brash, young group is composed of a new generation of ambassadors, striving to take their sound to new audiences, raising some eyebrows with their deliberate presentation, while also raising the international profile of traditional Welsh music. Get used to this: Accordion, Fiddle, Pipes, Harp, and the percussive sound of Clogs are the new Guitar, Bass, and Drums.

We’re very proud to unveil a video from the group, whose new single is Kân,” a patriotic song about the future of the Welsh language and culture. It’s taken from their new album, Solomon, due out this week (May 12, Sain Records). Check it out:

Explains the group, “In the song we sample the voice of the late poet Nigel Jenkins, father of our fiddle player, Angharad Jenkins, reading an extract of his poem, ‘The Creation.’ The chorus of this song is based on the style of traditional psalm chanting popular in west Wales at one time.”

Calan caused a bit of a stir recently, having been held in a detainment cell at Chicago’s O’Hare International Airport alongside a death metal band from Estonia. They were subsequently seen onstage performing alongside Sting at the Royal Albert Hall as part of the 50th birthday celebration of famed opera singer, Sir Bryn Terfel Jones. And they tour seemingly nonstop, having graduated from busking in the streets of Cardiff to introducing Welsh traditional music to curious music fans in the UK, Belgium, Italy, France, and on several tours of North America, playing festival shows on huge stages to tens-of-thousands, as well as at local folk club shows, unrestricted by sound systems, while standing on tables and jumping off chairs.

Keep your eyes peeled for tour dates in North America – this month they will be all over the UK. Official website: https://www.calan-band.com/

Calan (L-R): Angharad Jenkins, Sam Humphreys, Bethan Rhiannon, Patrick Rimes, Alice French. Photo credit: Richard P Walton. 

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

 

 

Video Premiere: Raging Fire “Free to Be”

New album from Nashville rockers out this week!

By Blurt Staff

So – what could be better than a Raging Fire retrospective release? How about a NEW Raging Fire release? A year and a half ago we wrote, in this space:

They were called Raging Fire, and they were a bright spot on the otherwise moribund Nashville rock scene in the ‘80s. As the saying goes, while likeminded Nashville insurgents Jason and the Scorchers merged the Sex Pistols with Hank Williams, Raging Fire merged the Clash with Tennessee Williams. Voted “one of America’s best unsigned bands” (along with the Pixies) in 1988 in the annual CMJ readers’ poll, they burned brightly, but by the end of the decade they were done. Now, though, the members have collaborated in order to release a 30th anniversary celebration, Everything Is Roses 1985-1989

That was then, track premiere-wise, but this is now, and NOW we are stoked to offer up a premiere from the revived band. Check out the video for “Free to Be”:

The song is from the new album These Teeth are Sharp, out May 12, and the video is by Robert Johnson (no, not that Robert Johnson).

Explains the band’s Mark Medley, “Interestingly my friend, original Raging Fire guitarist Michael Godsey wrote ‘Free to Be’ in early 2012 as a techno-pop song. He and RF vocalist Melora Zaner were living in Shanghai and they cut what sounded to me like an unfinished demo with Melora and singer Monica Chen on vocals. A few months later, in May 2012, Michael was taken by a heart attack. He was 47. Three years after that, Raging Fire released an anthology LP entitled Everything is Roses 1985 -1989 and played their first show in 25 years to a packed house at Nashville’s Exit/In.

“In the wake of that project we began making recordings for a brand new record. These Teeth are Sharp will be released May 12th and is dedicated to Michael Godsey. The LP features a new version of ‘Free to be’ expanding on its themes of self-responsibility and free will. In reference to the song’s Asian origins most of the third verse in Chinese by Melora. The band was knocked out when we realized ‘Free to Be’ represents a departure –a new twenty-first century sound for Raging FIre.

“We asked a dear friend to make a video of the song –photographer and original Jason and the Scorchers bassist Robert Johnson, also known as Jeff Johnson. Jeff was also the producer of Raging Fire’s first full length LP in 1986 and we’ve enjoyed a sense of homecoming working with him on this project. Using Chinese footage and stills from Melora’s friends in Shanghai, as well as imagery submitted by the band and himself, Jeff said he wanted to capture the spirit of Michael Godsey. We believe he did.”

Indeed he did. The resulting These Teeth are Sharp is a culmination, then—and a beginning. Keep your eyes peeled for tour dates this summer, too.

 

Track Premiere: Sunshine & the Rain “Let’s Go”

Ace track culled from forthcoming album on the Ernest Jenning Record Company label—a TMOQ, natch.

By Blurt Staff

Sunshine & The Rain — husband and wife team Ashley Morey (vocals, bass) and Justin Morey (guitar), both formerly of critically acclaimed psych rockers The Black Hollies — formed around the same time as the 2014 dissolution of their former band, subsequently releasing the single “Can’t Stop Thinking About You” b/w “Pale Blue Skies” in late 2015. Now their debut full-length, In The Darkness Of My Night, is set to drop May 12 via the Ernest Jenning Record Company, and we are hereby authorized to give you, the gentle BLURT readership, an advance look (listen). Check out “Let’s Go”:

Thoughts, readers? How about “garage-punk with the four-on-the-floor drive of the Ramones, but cut with the grit of Big Black, the snarl of Joan Jett and the melodic sensibility of the Shirelles. Throw in some Jesus & Mary Chain and you’re almost there.”

Well, alright then! About the album:

In early 2016 the band headed into Sonic Youth’s Echo Canyon West studio with Jon Spencer to begin work on the album. Eschewing some of the lengthier psych leanings of their earliest days, Spencer coaxed the band towards a more immediate sound, cutting down track lengths and, according to the band, “leaving nothing but pointed pop gems with sugary hooks and a dirty Ramones grit cutting throughout.”

Among those “pop gems”: a Fugazi cover—yes, you read that correctly—in which the Moreys turn “Merchandise” into a personal statement.

On the web for tour dates and more:

https://sunshineandtherain.bandcamp.com/

https://www.facebook.com/sunshineandtherain/

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.”

 

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“.

Video Premiere: Cait Brennan “Bad At Apologies”

Track appears on songwriter’s third album, out this week, April 21.

By Blurt Staff

Indie rocker Cait Brennan got soul—so naturally she went to Memphis, to the ever-estimable Ardent Studios, to cut her third album, which she subsequently titled Third. Yeah, we know, we know—cheeky of her. But it’s appropriate, as Brennan and her collaborator Fernando Perdomo brewed up a cheeky blend as well, combining straight-up pop rock and edgy R&B befitting of the record’s origins. It’s released April 21 on Omnivore Recordings and we’re rather pleased to unveil a new video for the BLURT readership, album track “Bad at Apologies.” Check it out:

Explains Brennan, of the tune, “‘Bad At Apologies’ was the second song we recorded on our first day at Ardent. Fernando and I had basically just walked through the doors of this space that is so sacred to both of us, where so many of the records that changed both our lives had been made, and then Jody Stephens came in and said hi and gave us this amazingly encouraging talk. [Engineer] Adam Hill rolled in the actual Big Star Mellotron, and Alex Chilton’s Hi-Watt amp, and Chris Bell’s cherry red Gibson, and then we had to get to work like this was just another day at the office.

“I used to take pains to tell people all the songs were fictional, but it’s ridiculous, of course they’re not, and nobody else’s are either. This pretty much happened as written, and was intended as an actual apology until I very quickly realized it sounded like anything but, which is why it’s called what it’s called. When I sing “yeah, I’m the asshole who stile your boyfriend” it’s not me being proud of myself, I felt really bad about it despite the rationalizations that follow. Love makes you do crazy things, as Lindsey and Stevie can tell you. Many of the songs on the album are about the relationship that ensued, so you can tell how that all worked out. “It’s all fodder for more songs” as the line goes.”

The record includes the talents of no less than Memphis stalwart (and Big Star pal) Van Duren and Robert Mache from the Continental Drifters, with multiinstrumentalist Perdomo handling the lion’s share of the playing and Brennan weighing in instrumentally as well while serving up expressive lead vox and plenty of harmonies (she’s got a four-octave voice). Brennan, from Los Angeles by way of Phoenix, is transgender with experience in acting and journalism, but was eventually coaxed back into music, releasing her first album in 2012. A chance meeting with Big Star drummer Jody Stephens at Ardent during a Grammy Museum celebration of the facility’s 50th anniversary led to an invitation to record there, and the rest is history.

Brennan will have an album release show this weekend, and on May 9 she’ll do a special show in Memphis featuring Jody Stephens, Adam Hill, Van Duren, Vicki Loveland, Candace Mache and more. Full details at her website: http://www.planetcait.com/#third

 

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)