Monthly Archives: May 2012

Report: Dressy Bessy Live in Denver


May 25 at the Gothic Theatre, with
opening act Sauna.


By Tim Hinely

I tried to get
there early enough to catch The Buckingham Squares which apparently has a few
members of The Fluid but was not to be. As I was walking in they were tearing
down and I swear I saw one of the band member utter the words, “Bite me,
Hinely!” Gulp.


Sauna is a Denver quartet who
apparently is in high school (or maybe just got out). Whatever, the 2 guys
(bass and guitar) and 2 gals (vocals/keyboard and drums) put on one helluva
show. One song I was reminded of Bratmobile then another I thought of the
B-52’s (some great yelps) then another song it was The Pipettes and…well, I
think you get the picture. The drummer was terrific as was the guitarist (he of
many, many pedals) while the bassist was more than able and the vocalist
brought some excellent energy (and cuteness) to the stage. Catch ‘em before
they grow (or break) up.


I was hoping,
upon moving to Denver,
that some Dressy Bessy gigs would be a consistent thing but I hear they haven’t
been playing out much and this was a reunion of sorts (only they never broke
up). Their last record was in 2008, but I hear they have a new ep coming out
sometime soon. It’s the same four folks (Tammy on vocals, John on guitar, Rob
on bass and Craig on drums, who replaced Darren Albert who happened to be in
attendance) with a gal added on keyboards/percussion/backing vocals (regarding
this extra member, Tammy said “She’s in town for a visit so we put her to
work.”).  They played a generous amount
of tunes from all of their records and the band seemed in good spirits with
Tammy looking like a mix between Lene Lovich, Nina Hagen and Roxy Epoxy while
John Hill still has that perpetually stoned grin throughout the set. Bassist
Rob Greene is looking a bit professorial these days with the thick glasses and
crazed ‘fro (sorry, I didn’t get a good enough look at Craig to size him up).
Opening with Live to Tell All”  and
onward we heard “Little TV”, “Shoot”, “Baby Six String”, “Headphones”, “She
Likes It” and plenty more. They ended the set with “Extraordinary” then popped
back out for a two-song encore of “Better Luck” and “Electrified.”


The band seems
to have taken a bit of a harder, more rock approach to their songs these days
(as evidenced in the live set, a well) and while I do miss the twee-er aspects
of their songs, the hooks are still there and hey, the bands seems happy,
right? Side note: I’m not quite sure why this gig was a venue of this size
where it was maybe a third to half full, I think they could have completely
packed the Larimer Lounge or the Hi-Dive.


[Photo credit:
courtesy the band’s Facebook page]




Video: Howard Devoto Rejoins Buzzcocks


Well, for one night in
Manchester, at


By Fred Mills


Howard Devoto was a guest of the Buzzcocks in Manchester the other
night (May 25) during the band’s “Back to Front” concert featuring material
culled from different eras of its back catalog – and performed, logically, by
members culled from different eras, too. As Slicing Up Eyeballs reported, Devoto
joined for the evening’s closing set, 1977’s legendary Spiral Scratch EP (“Breakdown,” “Time’s Up,” “Boredom” and “Friends of Mine”), plus an encore
of the Troggs’ “I Can’t Control Myself.” It was the first tie in 33 years
Devoto had shared a stage with the band. Check out some video clips, below.


Elsewhere during the show, Steve Garvey and John Mayer
played with mainstays Pete Shelley and Steve Diggle (as the “classic” 1978-79
period Buzzcocks), while current members Danny Farrant and Chris Remington were
on hand for other numbers.




New Best Kept Secret: Wolf Ram Heart


Latest pick of cool
emerging artist in our ongoing collaboration with Sonicbids.


By Fred Mills


The BLURT staff put our heads (and ears) together and we
have the latest pick for our Blurt/Sonicbids “Best Kept
Secret”: it’s Wolf Ram Heart, from Columbus,
Ohio. This makes our 19th BKS selection since commencing the program of spotlighting new and
under-the-radar artists back in 2008.


The group is described in its bio thusly: “Wolf Ram Heart is
an American pop group whose members are split between the Appalachian foothills
of southeastern Ohio and the urban metropolis
of Columbus.
This is a band bent on marrying art with popular music. Retro-futuristic best
defines their sound that straddles neo-psychedelia and dark art synthesizer
pop. The music is an all encompassing hybrid of pop’s faded echoing
sensibilities, molded into a modern space, and created in a sound that allows
these hauntings to occur and transform.”



Viewgirls by wolframheart



That description
just about nails it, and I’ll just note that the group additionally slots in
wonderfully with the contemporary dream-pop movement (Beach House et al) while retaining a visceral
originality that suggests a cinematic approach to songwriting. An eventual liaison
with Hollywood
seems all but inevitable, given the widescreen vibe and rampant eclecticism;
these folks seem to share a sensibility with veteran film scorers as diverse as
Ry Cooder, Calexico and even director David Lynch. With one album to date,
2011’s Betrayal of Hearts, and kudos
from a press chorus that includes Magnet,
Under the Radar
and The Big Takeover
one journalists rightly called it a “headphone masterpiece” – the potential for
the future seems equally wide open.


Wolf Ram Heart:

David James – Vocals, Guitar, and Keyboards
Jessica Barnes – Vocals, Bass and Keyboards
Ryan Stolte-Sawa – Vocals, Violin and Keyboards
Eric Buford – drums and percussion
Rob Cave – keyboards



We’ll have an interview with the band posted to the site
shortly in which we let them fill you in on all this and more. Meanwhile, check
out their official website or Facebook page for additional details as well as
song samples. They’re one of the good ‘uns,
trust us.




Bands, go to to submit and have us review your materials for feature consideration.



>Our November ‘08 Best Kept
Secret: The
Handcuffs, from Chicago.


>Our December Best Kept
Secret: Black
Swan Green, from Brooklyn


>Our January 2009 Best Kept
Secret: stephaniesI­d,
from Asheville


>Our March Best Kept Secret: Polly Mackey
& the Pleasure Principle, from England


>Our June Best Kept Secret: Wiretree, from


>Our August Best Kept Secret: Bulletproof
Vests, from Memphis


>Our November Best Kept
Secret: The
Vivs, from Boston


>Our January 2010 Best Kept
Secret: The
Public Good, from D.C.


>Our February Best Kept
Secret: Dirty Dancing, from


>Our April Best Kept Secret: Jenny Dee
& the Deelinquents
, from Boston


>Our June Best Kept Secret: The Rebel Set,
from Phoenix


 >Our August Best Kept
Secret: Alice
, from Los Angeles


>Our October 2010 Best Kept
Secret: Doug
, from Charlotte



>Our January 2011 Best Kept
Secret: Drunken
, from Portland



>Our April 2011 Best Kept
Secret: Preachers
, from Dublin, Ireland



>Our June 2011 Best Kept
Secret: Butter, from Durham, NC



>Our August 2011 Best Kept
Secret: Dark Circles,
from Nashville, TN


2012 Best Kept Secret: The Glimmer, from Australia


Watch: Alice Cooper Live ’79 DVD


Strange Case of Alice Cooper: Live 1979 – The Madhouse Rock Tour, recently
released by Shout! Factory, is 72 minutes of ghoulish, hard rocking fun.


By Lee Zimmerman

Alice Cooper has a drinking problem, or so says Vincent Furnier — Alice’s real life
alter-ego — in the prelude to the video version of the over-the-top tour de
force that marked the 1979 Madhouse Rock tour. An exercise in theatrical excess
and outrageous spectacle, it goes to show how durable Alice has always been, so durable in fact that
he currently has a featured role in the Johnny Depp remake of Dark Shadows, looking every bit as
ghastly and ghoulish as he did back in the day. No matter, then, that the
character has an abuse problem or a psychopathic disorder; the enduring icon is
in peak form in this intriguing period piece, one that finds him and his band
surrounded a variety of loony characters and enough special effects to mount a
Broadway extravaganza. Furnier’s ability to mine his muse for nearly four
decades has turned Alice’s road show into a
handsome paycheck, and unlike Kiss, his closest competition, Alice has never shed his make-up or attempted to suppress the quirkier aspects of his character’s




As a result, Alice’s
oddities are never more evident than they were here, as the demented star
pleads, cajoles and generally bares his fears and fantasies for an approving
audience. Using songs from his then-current album From the Inside to guide the narrative, the 72-minute video takes
him from an insane asylum to a stage shared with dancing bottles of booze of an
international variety. He’s accompanied by a ghoulish cast of creepy caretakers
and all manner of ghastly accoutrements – among them, disembodied heads, his ever-ready
straight jacket and, naturally, Alice’s
pet boa constrictor.




And of course, there’s also an ample stash of hits – “Welcome to My
Nightmare,” “Only Women Bleed,” “Billion Dollar Babies,” “No More Mr. Nice
Guy,” “I’m Eighteen” and, naturally, his signature song, “School’s Out,” all
sung with typical Cooper cachet. The ageless Alice regales the crowd in full freak frenzy,
as strangely stunning as ever.




The National Unveil New Song for Thrones


Brooklyn band continue to make their “fantasy” come true…

By Blurt Staff

The song is “The Rains of Castomere” and it’s a track on the soundtrack for hit TV program Game of Thrones. As Pitchfork notes, this is their second plum placement with a fantasy outlet: last year they had another new track, “Exile Vilify,” appear in the video game Portal 2. Check out “Castomere,” below.




Report/Photos: Austin Psych Fest


Held April 27-29 at Emo’s
East (pictured, above) and Beauty Ballroom in Austin, it was a cranium-uncorking blast –
and BLURT lived to tell ya about it!


Story & Photos by
Michael Passman


Psychedelic rock is one thing, psychedelic music or “psych” is
another thing.  Black Angels lead singer
Alex Maas famously noted “four
80-year-old women in yellow bikinis playing the banjo” is psychedelic.  I don’t see the point, but given the success
of The Black Angels, all the bands that play with them during their annual
Psych Fest, no matter what they sound like, are suddenly psych. 


is the new garage.  Anyone can claim the
title and suddenly, it’s cool, especially at Psych Fest.  The mainstay for most fans of the “new” genre
is almost entirely centered on shoegaze, and anything with drone and reverb,
but Austin Reverb Appreciation society, the organizers of Psych Fest in
conjunction with The Black Angels, have gotten more ambitious over the past two
years.  What started as a gathering of
The Black Angels and their friends in different bands has branched out into a
full offering not just the expected drone and reverb, stoner jam rock, but
fuzz, jangly, more traditional “psychedelic rock” bands, some heavier,
raunchier garage psych bands, and quite a few surprises.


above mentioned diversity was the center of this year’s Psych Fest, a three day
festival starting in the afternoon and ending around two am or later with two
different stages going simultaneously. 
Last year’s event venue was The Seaholm Power Plant, an abandoned
Bauhaus style electrical plant in downtown Austin. 
The combination of the music and the architecture was something to
behold, so the bar was set pretty high for this year.  Seaholm is being converted to high end shops,
so it wasn’t available, and Psych Fest has attendance in the thousands, so it’s
not easy finding a venue with two large stages. 
As the trend is going in Austin, things are moving East, so Psych Fest
was held this year at the newly opened Emo’s East, which was previously a
legendary venue off of Austin’s Sixth Street District, with a second stage
through an outdoor corridor in the same strip mall at the also newly opened
Beauty Bar Ballroom.


20+ bands daily for three days, highlights will be mentioned here.  For a full lineup of this year, see http://www.austinPsych






The Black Angels as hosts, they started the first day this year, leaving the
festival open for other acts to take the spotlight and build to a climax.  Among the highlights the first day were The
Allah Las, a So-Cal retro psych band that sound entirely analog with touches of
surf and LA folk rock. They were followed by Acid Baby Jesus, the swampy four
piece from Athens, Greece that sound like The Stones
meet King Khan on ouzo.  They performed
multiple times all over town that weekend in various states of inebriation and
disorder, which only seem to add to their performances, but their Psych Fest
appearance was a little bit reserved, although great nonetheless.


pic 2:
Acid Baby Jesus



evening’s surprise came with Disappears, whose lineup includes Brian Case of
The Ponys and Steve Shelley, formerly of Sonic Youth.  Their sound is best described as shoegaze
with heavy helpings of noise pop innovation and krautrock.


Pic 3:



playing the first day were The Night Beats, a psychotic, acid tinged rock band
from Seattle that conjure up Pebbles Volume III and more 13th Floor Elevators
than one can imagine, but with a captivating,
peyotic performance.


pic 4:
The Night Beats



Black Angels closed the first day with their always intense performance.  They’ve always been something to behold and
the performance always leaves one stunned for about a half hour later trying to
take in what they just heard and saw, but the added treat this year was their
new bass/alternating guitar player Rishi Dhir from Elephant Stone and
previously from The High Dials.  His
sound a stronger sense of harmony that made The Black Angels fuller and more
rounded, if that’s possible, not to mention his sitar playing on The Black
Angels’ staple performance song “Manipulation”.


pic 5:
The Black Angels



pic 6:
The Black Angels with Rishi Dhir







Day Two had 24 bands playing in 12 hours over two stages.  This was best described as Psych Fest
Veterans Day with returning acts from the past few years taking the stage, then
followed by some newer, more diverse additions. 
Among the early performing vets were Vacant Lots and local acid rockers Smoke
and Feathers.  Things weren’t remarkable
until jangly noise veterans (and Psych Fest II performers) The Asteroid #4 took
the stage later in the afternoon and asked the crowd during soundcheck on one
of the guitars if the reverb was wet enough, when an attendee yelled “soak us
in it!”.  The Asteroid #4 always seemed
like an incredible contradiction.  Their
songs are melodic, noisy, heavy, yet possess truly psychedelic rock ambiance
and Byrds-like harmony.  The combination
is always striking. For all the Piper at The Gates of Dawn namedropping so
overstated in the “psych” crowd, this band is the closest thing to it while
retaining pop simplicity. Their 2011 release “Hail to The Clear Figurines” was
one of the best albums released that year, and their earlier work is also comparable
in paisley underground era pop filtered through drone and reverb with nods to
The Church and Rain Parade. Their performance was a highlight of the weekend.


Pic 1: Asteroid #4



A curious addition to the lineup was Denton’s Mindspiders, a garage punk leaning
act with members of The Marked Men, Bad Sport, High Tension Wires, and a few
more.  Given the ‘60s projection vibe of
the festival, their inclusion was odd, but they’re exciting, high energy set
was lauded by the crowd, not to mention that most couldn’t turn away from their


Pic 2: Mindspiders



In some otherworldly psych syncopation, they were followed by
Psych Fest III vets Spindrift, who can only be described as The Ventures on
acid playing spaghetti western with Ennio Morricone.  While slow and atmospheric of frontier towns
and crawling scorpions at times, their up tempo songs are horse galloping
Indian war cries. Even more impressive is their distinctiveness, with
Kirkpatrick Thomas as an electric guitar slinging narrator, Henry Evans with
his Double Dano howling and moving with the rhythm, and Sasha Vallely on organ,
keyboard, and flute providing softer reprieves. 
Although a concept, Spindrift
symbolizes the evolution and completion of psychedelic rock with songs that are
hard, loud, combining surf music with Gram Parsons style Americana, British
shoegaze, dust in your mouth, big skies, saloons, warpaint, and even a little
Hawaiian thrown in.  They are definitely
a soundtrack.


Pic 3: Kirkpatrick Thomas of Spindrift


Pic 4: Henry Evans of Spindrift



With so many acts playing non-stop, there will always be hit and
misses.  A side effect of the festival is
that many different acts are indistinguishable from one another with drone and
stoner rock jamming.  An example of this
drone out was Entrance Band, who did a horrendous Deep Purple drenched version
of Love’s “A House Is Not a Motel”.  Love
and more importantly, Forever Changes is sacred, hallowed ground.  The music is beautiful, soft, harsh,
haunting, and filled with multiple subtleties. 
Their songs have been covered before with positive results from bands
like The Marshmallow Overcoat and Love tribute band Forever Changes, but it
succeeds in how it felt to the ears.  It
was rhythmic and possessed a similar atmosphere of those contradictions. That
harmonic conflict is essential to Love, and was missing in Entrance Band’s
performance to the effect of more than disappointment. 


Among the fans’ pics of the day was The Jesus and Mary Chain
style fuzz of Iceland’s
Singapore Sling.  The current lineup has
some original members and a few from The Meek, another one of the weekend’s
fuzz overdosed but always enjoyable performers. 
One should take note that just about anything from Scandinavia
is far above average.  Turbonegro, The
Sugarcubes, The Hives, The Hellacopters,
Norwegian death metal, it’s all pretty memorable.  Singapore Sling is no exception and ended their too brief 45 minute set with
“Life is Killing My Rock ‘N’ Roll”, a great anthem, if there ever was one.


Pic 5: Singapore



In a climactic close to the evening, the always surprising to say
the least Black Lips took the main stage. 
Their appearance was looked forward to with some apprehension.  They’re raw, raunchy, loud, their antics and
sense of wild freedom on stage that encourages pure mayhem and moshing, plus
they’re really a garage rock act with heavy psychedelic overtones that almost
defines pure teenage kicks is always

the most fun one could have at a show, but many wondered how it
would go over with the mellow drone “psych” fans.  Although they promised to behave, they also
had a few tricks up their sleeve.  They
played their set in a constant barrage onstage of toilet paper, heavy fans with
streamers, and a hefty supply of beer happily shared with the crowd.  What started as a small moshpit became an
endless sea, minus those who stepped far back in uncertainty about whether or
not this was really “psych.” 
Nevertheless, the performance was electric and wowed everyone, with many
people from other bands and a few friends joining them on stage, dancing, and
possibly copying their antics, which one almost can’t help but doing when they
see The Black Lips.  Their inclusion this
year was definitely groundbreaking, not to mention they picked up a whole new
group of devotees.


Pic 6: The Black Lips


Pic 7. The Black Lips









As most Sundays go, things start later.  Day Three was no exception,
and it was a good thing, mostly to sleep off the party launched by The Black
Lips the night before.  Kicking off the
day was a late addition to the festival, Get Hip Recordings band The Ripe.  They’re a sugary sweet power pop band with a
surprising punch.  Most of their material
was brand new, stemming from their recent trip to Gijon, Spain
to record with Jorgé Explosion at Circo Perotti.  Best known for his production for bands such
as The Masonics, Hollywood Sinners, The Urges, Wau Y Los Arrrghs, The Staggers,
and countless great garage revival acts, but also the fourth member of The
Ripe, whose absence was felt despite The Ripe’s vibrance as a three-piece.


Pic 1: The Ripe




Other acts performing included Brooklyn Raga Association, a full
sitar and tabla band with the compulsory belly dancer, the very young but well
seasoned over the past year of touring Secret Colors, who present a perfect
synthesis of VU and Rickenbacker jangle, the gothic leaned Wall of Death, and
Psych Fest favorites Wooden Ships.  The
evening performances became a festival to behold, starting with the great
western blues  via African desert music
from Niger’s
Bombino.  With him and his band fully
dressed in Nigerien (not Nigerian) desert garb and phenomenal telecaster work,
the crowd felt honored and lucky to see him.


Pic 2: Bombino




With further surprises, San
Francisco’s Thee Oh Sees came on stage and rocked out
the crowd to double drummed, loud and raw psych tunes.  This was another band outside of the standard
fare for most “psych” fans, but in true compliment to Austin Reverb
Appreciation Society, this was another slice of the psychedelic pie that had to
be heard in keeping with a theme that it’s not just drone and reverb.  The low-fi, DIY energy of Thee Oh Sees and
their willingness to play almost anywhere for any size crowd fit them in with
Psych Fest V well, not to mention that their performances always show how much
they love playing for people.  The crowd
responded enthusiastically.


Pic 3: Thee Oh Sees




The following act was an all out wild performance flying into
tangents by legends (and locals) The Meat Puppets, who played new material as
well as crowd-pleasers “Plateau” and “Lake of Fire”,
as well as their grunge era hit “Backwater”. 
They’re well known for psychedelic overtones, but given their history as
country tinged punk (not cowpunk), it was further proof that this year was
about diverse psychedelic music and not the familiar narrow interpretation
often associated with modern psych.


Pic 4: The Meat Puppets




If there’s a father of modern psych, it’s Anton Newcombe and his
now stable lineup in The Brian Jonestown Massacre.  His following is more than loyal, with many
modern acts citing him as an influence, even at the point of overshadowing his
own influences.  Despite critical acclaim
and being strongly prolific, Anton’s rants and reputation are often better
known than his music.  No matter how
infamous his words and press, Anton is not only dedicated to his art, but
genuinely approachable and dedicated to his fans, both old and new.  BJM’s arrival to the stage at Psych Fest V as
the closing act was therefore, only fitting in a Punk Meets The Godfather
way.  With no hurries, three Fender Twin
Reverb amps, multiple eye-popping Vox and Hagstrom 12-strings, a mellotron, and
the band’s proprietary drum kit was assembled, followed by multiple towels and
beverages, for the late start of BJM.  Anton, cigarette in mouth, took to his stool,
picked up his Vox 12-string, gave Emo’s the historic nostalgic nod, and reached
out to the crowd, letting them know this was a real event and a culture filled
with substance outside of the mainstream. 
The rest of the evening drifted out in a muddy drone of reverb filled
haze of light and sound.


Pic 5: Anton Newcombe of Brian Jonestown Massacre



Pic 6: Joel Gion of Brian Jonestown Massacre




Austin Psych Fest V and its organizers made a tremendous effort
to outdo themselves this year by showing it as multi genre and
encompassing.  Nevertheless, modern
psychedelic and unfortunately, many of the followers who say they’re into
psychedelic rock have a narrow interpretation: Drone and reverb.  In recent revival history, there was a garage
rock revival, then a psych revival followed, much like the timeline shared by
their ‘60s predecessors.  Unfortunately,
a narrow, genre specific outlook is prevalent. 
It’s always been a disappointment when talking to “psych” fans over the
past few years that their perceived upbringing is a stop/start progression with
Barrett era Pink Floyd, The 13th Floor Elevators The Seeds, a complete stop,
then a sudden start up with The Jesus & Mary Chain and Shoegaze, stop,
Brian Jonestown Massacre and Dandy Warhols, stop, ending with The Black Angels,
Dead Meadow, Pink Mountaintops, and the other modern revival acts who often
share the stage with The Black Angels. 
No Nuggets, No Pet Sounds, no paisley underground except a few nods to Mazzy Star since Hope Sandoval sang
on a Jesus and Mary Chain song. Definitely no Revolver or Byrds. 


Psychedelic rock was an offshoot of garage rock.  Both shared the same instruments and gear and
were mostly indistinguishable from another. 
Garage and Psychedelic rock are a continuum.  Many bands both new and old know this and
define themselves and their music as both. 
For a festival to truly be a “Psych Fest”, acts such as The Cynics, Los
Peyotes, Wyld Olde Souls, Magic Christian, The Higher State, The Urges, and
countless others who play a more vintage psychedelic rock or who even were the forbearers
such as ? and The Mysterians and The Left Banke should be included.  Nevertheless, Psych Fest V and its organizers
were very, very ambitious this year in making it more diverse.  It is more than likely that they’ll outdo
themselves again next year and surprise both their greatest fans and harshest
critics, me included.





Numero Group Announces Power Pop Series


It’s pop – with power!


By Fred Mills


The good archivists at Chicago’s
Numero label has announced an ambitious series of power pop reissues aiming to
build upon the momentum of (and across-the-board enthusiasm for) their Yellow Pills: Prefill compilation. That
one was nearly a decade ago and it soon went out of print, but apparently there
had been plans all along to continue the power pop excavations. Now, on July
17, comes Buttons: From Champaign to
, and Buttons: Starter Kit,
and expectations are high. Below see the Numero product descriptions and tracklistings – if you are a power pop
fan, prepare to start salivating…





Buttons: From Champaign to Chicago

 An homage to the prairie state Numero calls
home, From Champaign To Chicago is a 19-track survey of Illinois’ Cheapest
Tricks. Reaching back to 1973 and Peoria outliers the Jets and ending in 1987
with Romeoville’s Julian Leal and his Dick Clark approved “Get Away,” From
Champaign to Chicago
 connects, via map, pins, and string, the various
scenes that pockmarked the face of the Land of Lincoln.


Prettyboys – I Wanna Make You! (Chicago)
Julian Leal – Get Away (Romeoville)
All-Night Newsboys – She’s Gone Hollywood (Chicago)
Names – It’s A Miracle (Rockford)
Kevin Lee & Heartbeat – Tonight (Chicago)
Band Jocks – At Practice (Chicago)
Vertebrats – Diamonds In The Rough (Champaign)
Nines – Holiday (Champaign)
Jerks – So Lifelike (LaSalle)
Northshore – School Yard (Chicago)
Paul – I Have Always Loved You (Oak Park)
Tom Orsi – Where Are You Now (Desplaines)
Kind – Total Insanity (Chicago)
Eyz – Midnight Girls (Desplaines)
Shoes – In My Arms Again (Zion)
Loose Lips – Kyle (Chicago)
Lay-Z – More And More (Joliet)
Jets – Be For Me (Pekin)
Contraband – See You Tonight (Champaign)


Buttons: Starter Kit

 Our entry-level power pop compilation features 20
songs from the original 004, plus two bonus cuts, new liners, tons of sleeve
scans, photos, and ephemera, all housed in a spot varnished, brick-thick
gatefold sleeve.



Luxury – Green Hearts
Tweeds – I Need That Record
Colors – Rave It Up
Kids – Hey Little Girl
Trend – (I Feel Like A) Dictionary


Toms – (I Wanna Be A) Teen Again
Tommy Rock – Dream Rocker
Randy Winburn – Somebody Else’s Girl
Luxury – One In A Million
Tweeds – She’s The Girl (Who Said No)
Randy Winburn – Sunshine U.S.A


Bats – Not Easy For Me
Sponsors – In And Out Of Love
Treble Boys – Julie-Anne
Colors – All I Want
Toms – Domestic/Imported


Trend – She’s Hi-Fi
Kids – There Goes My Heart Again
Bats – Not My Girl Anymore
Treble Boys – One Kiss
Sponsors – Love I Can’t Wait
Tommy Rock – High School




MP3: New Saint Saviour

Song “I Call This Home”
taken from upcoming album Union.


By Blurt Staff



London-based Saint Saviour, aka Becky Jones, is prepping to
release her long-playing debut, Union, following a pair of critically acclaimed EPs as
well as an impressive stint as co-writer and de-facto front woman for Groove Armada. The
album is due July 24 on her own Surface Area Records, and you can check out a
stream of lead track “I Call This Home”:



I Call This Home by Saint Saviour



Jones explains that she took her traditional music background
and harnessed it to a burgeoning love of electro and production skills,
inspired by the works of Factory Records and the seminal producer Martin
Hannett, while nodding in the direction of everyone from M.I.A. and Robyn to
Antony Hegarty and Carole King. “I never ever write about my own experience, my
family life or relationships,” said Jones. “I’m not really interested in
badgering on about my own life, I’d rather write about daydreams and the news,
stuff that’s important rather than being self-indulgent.”


And as long as we have your attention, check out her awesome Siouxsie and the Banshees cover as well:



Happy House (Siouxsie and the Banshees Cover) Saint Saviour by Saint Saviour



Soundtrack Of Our Lives Call It Quits?

Seventh album is “very
likely” their last. Listen to new track, below.


By Blurt Staff



June 26th The Soundtrack of our Lives release Throw It To The Universe. Their seventh album since forming in
1995, it is reportedly their final one, according to vocalist Ebbot Lundberg. “My
idea when we started this band was that we were gonna peak around 2012.Which
suddenly is pretty soon! I think it’s the best album we’ve done – and that’s
the way we wanted it… go out in a blaze of glory.”



The Soundtrack Of Our Lives – 10. If Nothing Lasts Forever (new album “Throw It To The Universe”) by Haldern Pop


wait – there seems to be some dissension in the ranks regarding this matter. As
drummer Fredrik Sandsten puts it, “We haven’t split up, we haven’t replaced
anyone and no-one’s died.”


Us too. Stay tuned… maybe there will be a Union Carbide Productions reunion in
store, hmmm?  



Video: New A Place to Bury Strangers



“You Are The One” taken from forthcoming album Worship, due June 26 on Dead Oceans.

Directing duo Matt Moroz & Tracy Maurice are behind the new video from A Place to Bury Strangers. deliver a twisted nightmare in
this grindhouse-esque clip produced by Greencard Pictures. Shot on 16mm film,
their dark, experimental style expertly mirrors the mood of APTBS’s track
and elevates the music video to a cinematic noir thriller.


(If the video below does not play, go to this link or view it over at Spin.)

Moroz and Maurice’s creation recalls a 70s-era, B-movie that is definitley
Not Safe For Work. The duo says, “We
really loved the song. The video evoked something extremely dark, weird and
disturbing.” In it, the viewer follows a mysterious figure as he
visciously beats total strangers, leers at nubile young girls at an underground
club, and initiates a blood-soaked make-out session.