Everybody Taste

Bleached - "Today Your Love, Tomorrow The World"

noreply@blogger.com (Matt Carr) — Wed, 30 May 2012 00:22:00 +0000

"Today Your Love, Tomorrow The World," arguably one of The Ramones' greatest cuts and the closer on the band's 1976 eponymous debut, recently got the cover treatment via Los Angeles outfit Bleached. Recorded at Daytrotter's Studio Paradiso outpost, the Clavin sisters barely break the two-minute mark hammering out Dee Dee Ramone's narrative about a Nazi youth. The song seems to be a touchstone of sorts for contemporary garage rock outfits. La Sera's Katy Goodman sports a shoulder tattoo of the track's title wrapped around a drawing of the world. Jennifer Clavin also played it while guesting on Aquarium Drunkard's sattellite radio show, the entirety of which you can download here. Head to Daytrotter for the rest of the session.

Bleached - "Today Your Love, Tomorrow The World" (The Ramones)

Flashback Fridays #1

noreply@blogger.com (Matt Carr) — Fri, 25 May 2012 11:41:00 +0000

A new series comprised of music dug, then forgotten, remembered, possibly forgotten again, re-remembered, and now shared.

Throwback California band The Allah-Las have setup a radio series dubbed Reverberation where they string together crate-dug gems into 9 to 12 song capsules. Hard to find rarities, overlooked classics, the occasional unreleased Allah-Las jam, and newer treats from White Fence and Sonny Smith all flow neatly from one heady space into the next. This week they reminded me of how much I dig Robyn Hitchcock and The Soft Boys. More.

The Soft Boys - "Tonight"

Speaking of White Fence, Aquarium Drunkard's series The Lagniappe Sessions recently offered up a handful of spectacular covers from Tim Presely. The Nina Simone and Strange Boys cuts are great, but the real head-turner is Presley's redressing of the Gin Blossoms 90s pop-rock sound via "Allison Road." More.

White Fence - "Allison Road"

Michael Coomers of garage-pop project Harlem has announced a solo venture, Lace Curtains, and the first glimpse is a doozy: jangly guitars, an irresistibly upbeat high bass riff, catchy sectionalized tempo changes, and lyrics that namedrop the infamous Judas. Via.

Lace Curtains - "High Fantasy"

We Listen For You's record club recently turned me onto Homebuilding, the atmospheric debut LP from Roman Ruins, aka Graham Hill. Hill—an architect and occasional drummer for Beach House and Papercuts—has created an immersive and meticulously layered sonic playground ripe for long drives, big headphones, or a sunny afternoon alongside your turntable. Put this on and you'll dream your way up into the clouds. More.

Roman Ruins - "Mighty Love"

Digging back into Philadelphia's beyond excellent Shaking Through web documentary series, I got caught up in the session for hometown husband-and-wife band Reading Rainbow. In the past, I couldn't get bast the terrible choice of a band name. Luckily, the band agreed, and changed it to the much more visually fantastic Bleeding Rainbow. Now we can all enjoy thoughts of rainbows dripping blood along with the blissful harmony and pulsing organs of "Always On My Mind"—a truly perfect pop concoction. More.

Bleeding Rainbow - "Always On My Mind"

The Undertones - "Here Comes The Summer"

noreply@blogger.com (Matt Carr) — Thu, 24 May 2012 22:01:00 +0000

The average track time on The Undertones' 1979 eponymous debut clocks in at just 2 minutes and 16 seconds. The five bandmates from Derry, Ireland were only in their late teens and early twenties when they put together this first LP, yet with a couple three chord bangers and a few simple verses and choruses it seemed like they had already mastered the primal forces of rock 'n' roll, releasing not only one of the best records of the 1970s, but perhaps the purest expressions of teenage youth, rebellion, and angst ever. And perhaps no song nails that sentiment better than "Teenage Kicks," a track that meant so much to famed English disc jockey and producer John Peel that he kept the original hand-written lyrics framed in his home and had the line "Teenage dreams, so hard to beat" carved onto his gravestone. More than three decades later, these songs still sound as relevant as ever. When the weather warms every year, the quick punches of organ, giddy smack of snare, and anthemic chorus of "Here Comes The Summer" still can't be beat.

Omaha, Nebraska imprint Drastic Plastic reissued the vinyl last year—pick up the limited pressing here.

The Undertones - "Here Comes The Summer" (from The Undertones)

JEFF The Brotherhood - "Sixpack"

noreply@blogger.com (Matt Carr) — Tue, 22 May 2012 22:15:00 +0000

After landing their Infinity Cat imprint under the Warner Bros. umbrella back in 2011, JEFF The Brotherhood are now putting out their first official release for the entertainment conglomerate: a four-song EP and sampling of the duo's forthcoming full-length album, Hypnotic Knights. Produced by Dan Auerbach and recorded in the Black Keys' guitarist's Easy Eye studio in Nashville, the band's major label offerings reveal its most economical and pop-geared sound yet. If We Are The Champions showed a hint of early Weezer influence, the Rivers Cuomo dial is now jacked to 10. But we're not complaining: the tracks are immensely enjoyable with Brothers Orrall retaining their signature humor, shred-heavy sound, and psychedelic jaunts. The hits of sitar and rhythmic jams are all still there, they're now just more compact and thoughtfully organized. Pop fans: rejoice.

Snag the EP now from iTunes.

JEFF The Brotherhood - "Sixpack" (from Hypnotic Knights EP)

Interview: Natural Child

noreply@blogger.com (Matt Carr) — Wed, 16 May 2012 12:00:00 +0000

Back in early April, after a show at the Black Cat here in DC, I spoke with the fellas in Nashville's Natural Child about their new record For The Love Of The Game, their interest in Kevin Costner movies, and swimmer's butt. The show ended that night with a blistering cover of "Like A Rolling Stone," and somehow that era-defining anthem fit perfectly into a set alongside the fiercely rollicking and low brow humor of Natural Child originals like "Easy Street" and "Shame Walkin," which feature the respective choruses, "Let me get that stoned" and "I don't wanna fuck you, but I got to." Natural Child may not be nearly as poetic as Dylan and they certainly aren't out to reinvent the wheel, but shit can they play. In fact, they might just be the best pure rock 'n' roll band playing today. While For Love Of The Game may lack any new curve balls (aside from the reggae joint "Paradise Heights"), it delivers the goods in the form of a raucous and unapologetically good time: crunchy roaring guitars, fat bass and drum grooves, and lyrics about everything from from death to codeine and weapons charges.

How did Natural Child get started? Wes, you were in Meemaw. Did you meet while the other guys were interning at Infinity Cat?
Wes: That’s not how I met everybody. We were already friends. Me and Seth had already played in a couple of bands together. We started Natural Child about three years ago.
Seth: We all hung out in the same places.

What made you guys want to move to Burger for this record?
Seth: They’re one of our favorite labels. They’re some of the easiest dudes to get along with ever.
Wes: They’re awesome to work with.

Tell me about the butt shot for the cover?
Zack: We got really drunk and I took a picture of either Wes or Seth’s ass.

I thought it was a lady’s ass, that’s a man’s ass?
Wes: We doctored it up a little it.
Seth: We were working out a lot.
Wes: We’ve been shaving our whole bodies for speed for swimming.
Seth: We’ve got swimmer’s ass.
Wes: Yea, I mean there’s a difference between a lazy guy sitting on the couch eating Cheetos all day and a man who’s a swimmer.
Zack: So then we all got the tattoo on ourselves.

That’s a real tattoo?
Sack: Yea.
Wes: The fucked up thing is none of us remember who it was because we all have that tattoo. We really don’t remember a whole lot about that night.
Seth: We don’t know who gave us those tattoos. That’s probably why we all have hepatitis.

So were you guys watching Kevin Costner flicks while recording this?
Wes: Yea, every time we get the chance to. Whenever we don't have to be on the fucking road.
Seth: Yea, Hard In Heaven is the name of our next record, but then the one after that is going to be called Dancing With Wolves.

Tom T. Hall - "That's How I Got To Memphis"

There’s two more records in the works?
Wes: Well, we haven’t written one, but we’re about halfway done with Hard In Heaven.
Seth: I don’t know when it will come out, but it'll be done in May.
Wes: It’ll be done in May, but probably wont come out for like 6 months.
Seth: We won’t let it sit too long. We’ll get it out by November.

You guys are about to meet up with Hunx for a tour?
Wes: Yea, were meeting up in New York then are gonna do the whole shebang-a-bang. The whole shebang-a-wang. The whole nine yards.
Zack: The whole 10 yards.
Seth: We did some sightseeing today. Went and saw the national mall. That’s what it’s called, right?
Wes: Did it make you feel patriotic?
Seth: Yea, it did actually.
Wes: We also ate at Ben’s Chili Bowl.

Are you going to keep going with Burger then for the next couple of records?
Wes: Who knows. Why not? So far they’re our boys. They on the up and up and we on the up and up. So we’ll see what happens.
Zack: We like ‘em. They’re really responsive dudes.

Man, I can’t believe that was one of your guy’s asses. I definitely thought that was a model’s ass. (ed. note: Please excuse my extreme gullibility.)
Wes: Well, thank you. I mean, that’s what happens when you go swimming everyday and really dedicate yourself.

You think you guys will ever go back to that punkier sound of that early 7” with "Shame Walkin" and "Crack Mountain"?
Wes: We won’t go back, but we might go forward.
Seth: Hard In Heaven is going to be a lot more hard. We played one song off of it tonight, right?
Zack: Yea, the one we co-wrote with Chuck Berry.
Seth: A lot of it’s going to be darker. Maybe not punkier, but faster. It also probably has one of the slowest songs we’ve ever written.
Wes: Yea, we might go forward, but we also might go backward.

Denney & The Jets Feat. Jessi Darlin - "Come On"

What’s your recording setup like?
Seth: We record everything ourselves. We’ve got a shed. The sound is really good there. We just recorded another band there too. We recorded a song for Denny and The Jets.
Wes: We’re going to record our next album though in a studio in the mountains.

In the Tennessee mountains?
Seth: Virginia.
Wes: Yea, the Rappahannock mountains in Virginia.
Seth: With some very old hippie.
Wes: It’ll be similar to the shed, but there’s no cell phone service. That’ll be the main difference.
Seth: We already spend everyday together pretty much. I can’t remember the last day I didn’t see you guys. Like a year ago?
Zack: That’s pretty cool, I hadn’t thought about that.
Wes: Yea, me neither. I really like seeing you guys.
Zack: Beautiful.

Purchase For The Love of The Game from Burger Records.

Natural Child - "Ain't Gonna Stop"

Here's a brand new gem that recalls a bit of Crazy Horse-era Neil Young:

Natural Child - "Mother Natures Daughter"

Feverishly Anticipating: King Tuff & The Walkmen

noreply@blogger.com (Matt Carr) — Thu, 10 May 2012 13:26:00 +0000

Pictured above, that's Seth "Hunx" Bogart embracing his buddy Kyle "King Tuff" Thomas and Walkmen guitarist Paul Maroon hanging out with his family. They look happy. We are too. Because in just a few weeks, on May 29th, the two bands will release Everybody Taste's two most highly anticipated records of the year: King Tuff's eponymous follow-up to his cult classic debut—the devilishly fun Was Dead—and The Walkmen's attempt to extend their perfect album streak to three with Heaven. Both bands recently dished out extra tasty and promising morsels from their records: Kyle Thomas with the gigantic and glammy hand-clapping celebratory basher "Keep On Movin," and on the softer side, The Walkmen with the finger-plucked doo-wop dressed "We Can't Be Beat," which features recent touring mate Robin Pecknold of the Fleet Foxes on background vocals. You know that feeling when you hear that perfect song for the first time? Well, it just happened. Twice. I've got goosebumps. I'm feverish. I'm sweaty. I've pre-ordered. Now to impatiently wait.

Pre-order King Tuff from Sub Pop and Heaven from Fat Possum.

King Tuff - "Keep On Movin" (from King Tuff)

The Walkmen Feat. Robin Pecknold - "We Can't Be Beat"

Eternal Summers - "Millions"

noreply@blogger.com (Matt Carr) — Wed, 09 May 2012 13:43:00 +0000

I've spent the past year enveloped in the barebones rhythmic snap and crackle of Roanoke, Virginia's Eternal Summers and in turn they've slowly become one of my favorite bands. On the Prisoner 12", the Silver LP, and most recently, the collection of early material, The Dawn of Eternal Summers, there's a charming and forceful minimalistic approach that utilizes little more than a rhythm guitar, heavy bass and snare drum, and Nicole Yun's crisply melodic vocals. "Millions," the first song from the band's forthcoming full-length Correct Behavior, couldn't be any more surprising. Yes, the song races out of the gate with the band's signature rhythmic intensity, but Yun's guitar has never been dressed up with this level of production. And the overdubbed lead guitar in the chorus? If not a first, it's definitely a rarity for the group. While I might be partial to the simple and swift early less-is-more pile drivers like "Able To" and "Lightswitch," there's an exciting dynamism "Millions" hints at: with a bassist now added to the band's permanent lineup and a touch of glossy studio work, The Eternal Summers have never sounded so creatively fleshed-out. This fan couldn't be more excited to hear what's next.

Pre-order from Kanine Records.

Eternal Summers - "Millions" (from Correct Behavior)
Eternal Summers - "Lightswitch" (from The Dawn of Eternal Summers)

Father John Misty :: Everyone's Favorite Weird Uncle

noreply@blogger.com (Matt Carr) — Wed, 09 May 2012 12:53:00 +0000

Word is J. Tillman never liked his first name, Josh. However, on his highly intelligent, sarcastic, and druggy Laurel Canyon trip Fear Fun, it seems he's finally found his true calling as Father John Misty—a hybrid of the charming rock 'n' roll frontman and everyone's favorite weird uncle. Like other recent albums written in the Canyon, Tillman gets help here from producer and guitarist Jonathan Wilson and delivers a record steeped in immaculately recorded rock instrumentals, from the lingering whisps of organ and piano to quick hits of mandolin and a boatful of guitar. But what elevates this record into truly memorable and potentially classic territory is two-fold: Tillman's incredible vocals and rich use of harmony picked up from his time drumming with The Fleet Foxes, and perhaps even more importantly, the man's lyrics. There are so many wild head-turning one-liners, layers of depth, and laugh-out loud moments, that it can be hard to keep up with Tillman's fast nicotine and caffeine fueled delivery, but every bit of it is worth soaking up. What can start out as a traditional foot-tapping country song often ends up with Tillman taking his dick out, conversing with an animal, or asking the listener to punch him in the face and call him Nancy. Though there's a bit of shock value, the lyrics here really are astoundingly creative, rich with depth, and scattered with Tillman's own demons.

Tillman and the rest of the Father John Misty touring outfit recently performed a handful of songs from Fear Fun for KCRW in Los Angeles. Below, check out one of the record's lighter tracks, "I'm Writing A Novel," which includes this doozy of an opener:

I ran down the road / Pants down to my knees / Screaming please come help me / That Canadian shaman gave a little too much to me / And I'm writing a novel / Because it's never been done before.

Nab Fear Fun from Sub Pop.

Father John Misty - "I'm Writing A Novel" (from Fear Fun)

Fletcher C. Johnson - "Messin' Up My Mind"

noreply@blogger.com (Matt Carr) — Wed, 02 May 2012 12:13:00 +0000

Brooklyn trio Fletcher C. Johnson, recommended via a commenter here on Everybody Taste, are wonderfully weird purveyors of pop-punk and garage rock. White Iris, the same folks that put out Fidlar's excellent DIYDUI 7", released Johnson's latest single, featuring the snappy and rollicking sing-along "Messin' Up My Mind" ("must have been messin' up my mind / must have been messing up my hair") by way of "Lost My Head," an impressively odd pop concoction with doo-wop background vocals and a short monologue heavy on advice ("always bet it all on Double Jeopardy").

Check out both tracks below, and if ya dig, nab the vinyl.

Fletcher C. Johnson - "Messin' Up My Mind"
Fletcher C. Johnson - "Lost My Head"

Nick Waterhouse & Allah-Las Release 7", 8", and 12"

noreply@blogger.com (Matt Carr) — Wed, 02 May 2012 01:50:00 +0000

Since releasing a few of last year's best vinyl singles, Nick Waterhouse and the Allah-Las have emerged as two of the west coast's more promising up-and-coming acts. Where Waterhouse dishes out blistering bursts of sweaty old school R&B with his backing band, the Allah-Las revel in vintage sun-baked Californian psychedelia with hypnotic swirling surf guitar riffs and insistent foot-tapping grooves. Waterhouse and the Allah-Las may record strictly with analog equipment and feature musical styles steeped in the sounds of another era, but as their time-warped music spins around the turntable it also feels vital, refreshing, and oddly of the moment. While the two bands got started with singles on Waterhouse's own Pres Records, they've now both relocated to the larger Los Angeles-based label Innovative Leisure, which just dropped a string of releases: a new Allah-Las 7" featuring the jangly acid-dropped sing-along "Tell Me (What's On Your Mind)," Waterhouse's excellent debut LP Time's All Gone, and a split 8-inch with the two bands playing different versions of the same track, "Don't You Forget It." It's hard to pick favorites, so I'm not going to: you should probably just snag it all.

The waxy goods can be found at Innovative Leisure.

Nick Waterhouse - "Is That Clear" ('At The Soul Inn' Lido Berlin, 2012-03-03)

Allah-Las - "Don't You Forget It"

Nick Waterhouse - "Don't You Forget It"

Teen Mom :: Mean Tom

noreply@blogger.com (Matt Carr) — Wed, 25 Apr 2012 20:04:00 +0000

DC-based trio Teen Mom released their debut EP last week, Mean Tom, and despite the silly word play and that band name, it contains a handful of really wonderfully crafted and charming pop jams. While the EP''s single, "You and Me," wrestles in off-kilter swaying rhythms, clean-toned slices of guitar, and sweet hushed vocal melodies, the band also slops on the fuzz as in the very 90s second half of "Always Happy" and the jumpy chorus of album stand-out "I Wanna Go Out." The band can really turn on a dime, churning out walls of gain-heavy guitars one moment and jangly foot-tapping funk-laced pop the next. It's an incredibly promising six-track introduction, and one I can't recommend enough.

Listen to and download the EP from Bandcamp.

You and Me by Teen Mom
I Wanna Go Out by Teen Mom

Sonny & The Sunsets - "Pretend You Love Me" / Kelley Stoltz - "Caroline"

noreply@blogger.com (Matt Carr) — Wed, 25 Apr 2012 12:26:00 +0000

Two gems recently surfaced from San Franciscan vintage pop connoisseurs Sonny Smith and Kelley Stoltz. "Pretend You Love Me" is off Smith's third LP as Sonny & The Sunsets and it breaks from Hit After Hit's sun burnt 60s pop territory for the heartbroken country. According to Smith's new label, Polyvinyl, every song on Longtime Companion was written during his breakup with a girlfriend of 10 years. The warm bouncing bass, room-filling hits of slide guitar, and a touch of flute on "Pretend You Love Me" recall at times the Marshall Tucker Band or a softer Allman Brothers cut, but Smith's voice brings it all back home, and the song's laid back swinging vibe proves the perfect shelter for his melancholy. Stoltz, also the drummer for the Sunsets, recently released his newest single, the thumping "Caroline," as a vinyl single on French label Les Disques Steak. A muted bass, handclaps, and a few understated guitar and organ riffs provide the perfect backdrop for Stoltz's classic pop sensibilities as he pines over Caroline, the girl that's been "sung about so many times."

Preorder Longtime Companion from Polyvinyl and get instant access to the MP3s. Order Caroline from Les Disques Steak, which boasts fantastic cover artwork by Smith.

Sonny & The Sunsets - "Pretend You Love Me"

Kelley Stoltz - "Caroline"

Record Store Day Giveaway

noreply@blogger.com (Matt Carr) — Fri, 20 Apr 2012 21:43:00 +0000

In honor of every music nerd's favorite holiday, Record Store Day, we're giving away two complete sets of Analog Edition vinyl. To get a shot at the goods, all you need to do is head to your favorite record store tomorrow and purchase a piece of holiday wax. Send proof of your purchase via a photograph on your mobile device, a receipt, or a detailed textual description to matt@analogedition.com with "RSD Giveaway" in the subject line, and we'll pick two winners from there.

Here's what you're getting: Lands & Peoples' freshly pressed debut Pop Guilt (limited to 300 hand-numbered copies), 7"s from Blake Mills and Stone Darling, a 10" EP from Breakfast In Fur, and one of the last four copies of our inaugural Analog Edition Zine. Find your participating neighborhood record stores here.

Lands & Peoples - "Ghosts" (from Pop Guilt)
Lands & Peoples - "I Tried" (from Pop Guilt)

Mixtape #20: Why don't we take the day off?

noreply@blogger.com (Matt Carr) — Fri, 20 Apr 2012 12:37:00 +0000

Tronics - "Time Off"

The Blood Feathers - "On A Holiday"

Tanlines - "All of Me"

Harlem - "Be Your Baby"

Lower Dens - "Blue & Silver"

Terry Malts - "Tumble Down"

The Tough Shits - "Heard She Kisses On The Mouth"

Father John Misty - "Nancy From Now On"

The Babies - "Here Comes Trouble"

The Strange Boys - "Doueh"

Robyn Hitchcock - "Television"

Cass McCombs - "Sacred Heart"

So Many Wizards - "Lose Your Mind"

The Creation - "Try and Stop Me"

The Velvet Underground - "I Found A Reason (demo version)"

The Chromatics - "Kill For Love"

The Walkmen - "Paper House"

Michael Hurley - "Be Kind To Me"

Download:
Why Don't We Take The Day Off?.zip

Stream on 8 Tracks

The Walkmen - "Heaven"

noreply@blogger.com (Matt Carr) — Wed, 18 Apr 2012 12:40:00 +0000

After 10 years of playing together as a band, The Walkmen are now set to release their sixth full-length record (or seventh if you count the Harry Nilsson covers record Pussy Cats) on June 5th. Heaven was produced by Phil Ek in Seattle and includes a brief guest spot by Fleet Foxes frontman Robin Pecknold, but if the newly released title-track is any indication, this is still the same old scrappy Walkmen. Though, as evidenced by all of the promo shots with Peter Bauer's coat-and-tie clad son and the motley crew of youngsters to your left, the guys have a bit more baggage these days as fully functioning adults and parents. Could that be the secret ingredient to the band's last two perfect LPs, You & Me and Lisbon? Having little ones? I can't remember a band that's ever aged like The Walkmen, where their best albums are coming five deep into their career. Here's hoping Heaven continues the streak.

Preorder Heaven directly from the band.

Denney & The Jets feat. Jessi Darlin - "Come On"

noreply@blogger.com (Matt Carr) — Sat, 14 Apr 2012 14:36:00 +0000

Nashville's Denney & The Jets are following up last year's Killin' Machine 7" with a four-track EP, which they recently finished recording over at local analog studio, Bomb Shelter. Additionally, Denney and company have been cutting a few tracks in Natural Child's home studio in East Nashville, the latest result of which is a cover of the classic Chuck Berry duet, "Come On." Jessi Darlin of Those Darlins assists on vocals.

Denney & The Jets feat. Jessi Darlin - "Come On"

The Tough Shits: Shit You Can Understand

noreply@blogger.com (Matt Carr) — Fri, 13 Apr 2012 14:11:00 +0000

Indie rock is all very vague. You never know what the fuck anyone is talking about and you can’t even relate to anything in it. - King Tuff

In the indie world, it's been a trend to obscure your message—it's happened more and more recently, with the whole lo-fi movement and rediscovery of reverb. People over-use effects to cover up what they're trying to say. To me, that feels really noncommittal. - Chris Chu

There's a time and place for pretty but undecipherable reverb-cloaked words, but as King Tuff and Chris Chu both point out, music has the potential to be much more relatable and interesting when artists take the time to write and perform lyrics that are actually accessible to the listener. That dynamic is precisely why I haven't stopped listening to The Tough Shits since February. The Philly band's eponymous debut—out now on Burger Records—is not only one of 2012's best albums, but it's aslo one of the year's most fun and enjoyable, in large part, because of its lyrics. These guys sing about the simple day-to-day goings ons of life in a direct, charmingly witty, and self-deprecating fashion: the "Space Heater" in their apartment, taking the "Chinatown" bus, a couple that fights like "Cats & Dogs," and of course, picking up drugs from the neighborhood "Hombre De La Cocaina."

The Tough Shits play jangly punk-pop and good ole fashioned rock 'n' roll, which is to say, they aren't out to reinvent the wheel. But at the same time, the songs come off as incredibly refreshing because of how prominent, carefully crafted, and clear the lyrics are. In "Cats & Dogs," while a couple is in the midst of a tense fight, the narrator sings about dodging his girlfriend's family, as in this comically melodramatic gem: "I don't want to run into your brother at the post office / I don't want him to know / That I'm sending you a letter / It says 'I want to die.'" There's a wonderful pairing here of late-night beer-stained debauchery ("society groans every time I leave my home") with an unexpected Paul Westerberg-like sensitivity and thoughtfulness, as in "Early Grave," where the group offers its support to a friend on the outs with his friends and job: "If it's attention that you crave, you can get it from me / But don't fall into an early grave." In "She's Through With You," the narration centers on a guy who's that last to know it's over with his girlfriend:

Sitting in your room, just trying to watch the tube. / You're in a bad mood. Your friends are hanging out with your old lady, / She's probably getting naked. / Who's gonna tell you the truth? / I never wanted it to happen this way to you. / Most dreams don't come true. / She's done and gone and though with you.

"Most dreams don't come true" is the harsh realism The Tough Shits tend to dish out, but at the same time, I can't remember ever laughing out loud with a record as often as I have with these guys. As a listener, you don't just relate to the songs, but rather, it feels like you're sitting around telling stories with a couple of your oldest buddies. And I haven't even mentioned the incredibly tightly delivered instrumentation, wherein tracks forego any thought of soloing for whittled-down two-minute packages filled to the brim with hooks, ear-catching melodies, and many a irresistible harmony-glazed chorus. Screw being vague and obscure: I can't remember the last time I had this much fun playing a record.

Below check out a track from the LP, which you can order now from Burger Records, and an equally great older track.

The Tough Shits - "She's Through With You" (from The Tough Shits)

The Tough Shits - "Heard She Kisses On The Mouth" (from The Tough Shits EP)

Thin Lizzy - "Whiskey In The Jar" (Peel session)

noreply@blogger.com (Matt Carr) — Fri, 13 Apr 2012 12:11:00 +0000

Phil Lynott is one of the all-time coolest motherfuckers that rock 'n' roll ever laid its eyes on. The afro-donning black Dubliner was a commanding presence as the bassist, singer, and frontman of Thin Lizzy for over a decade with hits like "Jailbreak" and "The Boys Are Back In Town." Perhaps Lynott's greatest feat though was transforming the traditional Irish folk song "Whiskey In The Jar"—originated sometime in the 17th century—into a giant and anthemic rock ballad. Thin Lizzy first released the track as a single in 1972, and later that year, recorded a live cut in London's Langham Hotel with the great John Peel. Dig into the Peel produced cut below, which boasts some seriously enjoyable drum breaks and a fantastically warm, laid back, and raspy Lynott on vocals.

Thin Lizzy - "Whiskey In The Jar" (from The Peel Sessions)

FIDLAR - "Got No Money"

noreply@blogger.com (Matt Carr) — Mon, 09 Apr 2012 23:40:00 +0000

FIDLAR released one of the best 7"s of last year in DIYDUI, a four-song smack-down of crazed and infectiously ramshackle punk music (the lyric "all methed-up watch the television static" from "Wake Bake Skate" remains one of the year's best lines). In 2012, FIDLAR—now signed to New York label Mom + Pop—have already released a follow up 7", a Daytrotter session, and now, a digital EP titled Don't Try. "Got No Money" is another comical and antagonistic musical gem, which over a backdrop of stoned surfer and bro talk choruses: "I got no money for school, I got no money for weed." In other words, the 21st century twenty-something blues.

FIDLAR - "Got No Money"

Eternal Summers - "Into Your Arms"

noreply@blogger.com (Matt Carr) — Sat, 07 Apr 2012 19:41:00 +0000

It's simple strummy rock 'n' roll, but Eternal Summers make it damn near impossible to resist: from those sticky melodies guided by Nicole Yun's dreamy and assertive vocals to the snappy foot-tapping tornados of rhythm, the band's music plays to both the feverishly uptempo and thoughtful and contemplative sides of pop. Eternal Summers' latest, The Dawn Of Eternal Summers, is a collection of some of the band's earliest material ("Able To," "Lightswitch," and "Fall Straight Back" are still some of the group's strongest jams to date) as well as a handful of covers, including the previously released take on Guided By Voices' classic "Salty Salute" and "Into Your Arms," a song originally recorded by Love Positions and later popularized by The Lemonheads. Check out the latter's sentimental 90s goodness below.

Order the vinyl, out April 10th, from Kanine Records.

After the jump, check out the original and The Lemonheads' version.

The Lemonheads - "Into Your Arms" (from Come On Feel The Lemonheads)

Father John Misty - "Nancy From Now On"

noreply@blogger.com (Matt Carr) — Thu, 05 Apr 2012 00:47:00 +0000

Josh Tillman stepped out from his Fleet Foxes drumming duties earlier this year to further pursue his solo endeavors, the latest output of which is his debut under the alias Father John Misty. The record, Fear Fun, was recorded with and produced by Jonathan Wilson—a big-time favorite here—in his Echo Park studio. I've seen Tillman perform both with the Fleet Foxes and solo with just an acoustic guitar, and though always a tremendous talent, it's safe to say nothing of his has sounded quite like this before. These songs are exciting, lush, fully formed, fully realized, and wholly out of this world.

Tillman explains the new sound and narrative of his music as the result of a journey he took to find his voice, or more literally: "I got into my van with enough mushrooms to choke a horse and started driving down the coast with nowhere to go." From there he started writing ("enough to fill a novel"), and the music followed soon after. Though "Hollywood Forever Cemetary Sings" is a nice single, it's the second offering from Fear Fun, "Nancy From Now On," that more accurately hints at the devilishly playful and true variegated heart of the record: from the circusy organ intro to the evocative lyrics ("I've got my right hand stamped in the concentration camp where my organs scream "slow down, man!") and smoldering falsetto and harmony drenched chorus. And if that isn't the hook, line, and sinker right there, just try and wrap your brain around the gorgeous and fiendishly demented art of Dima Drjuchin.

Fear Fun is out May 1st on Sub Pop.

Father John Misty - "Nancy From Now On" (from Fear Fun)

Marisa Anderson - Live on KBOO

noreply@blogger.com (Matt Carr) — Tue, 03 Apr 2012 19:03:00 +0000

Marisa Anderson's guitar playing knocks me on my ass. Between her melodic fingerpicking, gorgeous use of the slide, and occasional dips and dives into the more dissonant spectrum of her six string's tones, the Portland guitarist is a truly special talent. Fans of Fahey, the blues, bluegrass, rock 'n' roll and just about everything in between will find a wealth of material to admire and fond over in Anderson's debut LP, The Golden Hour, released last year on Mississippi Records (and one of our very favorite albums of 2012). Anderson recently released a live session she recorded on March 8th for Portland's community radio station KBOO, the result of which is a batch of warm, rich, and mesmerizing solo instrumental journeys. Musically, you might never know just where Anderson's wandering play is headed, but that's part of the fun: sitting back and enjoying the ride.

Download the whole session via a pay-what-you-want scenario here.

Marisa Anderson - "Prelude"
Marisa Anderson - "Medley"

Gentleman Jesse - "We Got To Get Out Of Here"

noreply@blogger.com (Matt Carr) — Mon, 02 Apr 2012 19:19:00 +0000

Welcome to one of my very favorite songs of 2012: the driving thumping bass and giant sing-along chorus of Gentleman Jesse's "We Got To Get Out Of Here." After a mugging and beating by way of a table leg landed Jesse Smith in bed for a month, the guy was getting seriously fed up with Atlanta. But instead of lashing out, Smith channeled all his frustations into Leaving Atlanta, a 13-track honey-coated power-pop classic that jangles, grooves, and most certainly rocks. "We Got To Get Out Of Here" is the record's anthemic finale: a blazingly upbeat rocker that puts Atlanta in the rearview mirror in cheery toe-tapping fashion. And that solo at the 1:22 mark? Yea, that's the good shit.

Order Leaving Atlanta on vinyl from Midheaven.

Gentleman Jesse - "We Got To Get Out Of Here" (from Leaving Atlanta)

Natural Child's For The Love of The Game

noreply@blogger.com (Matt Carr) — Mon, 02 Apr 2012 13:03:00 +0000

Here's the cover art for Natural Child's second LP, For The Love Of The Game, the title of which is pictured freshly tattooed on the back of some poor lady's naked buttocks. Like 1971, the album continues the band's tradition of releasing records on April 20th, this time through our favorite Fullerton, California label, Burger Records. Though the LP lacks the fiery punk punch of numbers like "Cougar" or "Crack Mountain," there's a string of truly classic and raucous southern fried rock gems here, like the riff-soaked "Baby," heart-ache riddled sing-along "That's How I Got To Memphis," and end-of-the-line fight song, "Faces of Death." These Nashville jokesters even found a way to fit in a reggae song, "Paradise Heights," where the trio riff about codeine and weapons charges. There's a real youthful charm to the tracks on For The Love Of The Game that reminds me of just how fun, wonderfully stupid, and rebellious rock and roll can be. I'm not sure whether I should grab a six-pack and a fat joint and go watch Dazed and Confused or light a fistful of cherry bombs and throw them into my boss's toilet.

The record is out digitally now and on vinyl April 20th from Burger Records.

Natural Child - "8 AM Blues" (from For The Love of The Game)

Natural Child - "Ain't Gonna Stop" (from For The Love of The Game)

Sic Alps cover Tronics

noreply@blogger.com (Matt Carr) — Fri, 23 Mar 2012 13:13:00 +0000

San Franciscan garage rock purveyors Sic Alps are set to release an EP of four covers from late 1970s and early 80s London post-punk outfit Tronics. Due out via Drag City on April 21st, the tracks were recorded in one weekend by Sic Alps frontman Mike Donovan and bassist Tim Hellman. I knew nothing about Tronics or the band's founder Ziro Baby before reading about this release, but what I've discovered I've fallen pretty hard for. Below, check out "Shark Fucks," one of the tracks that will be on the Sic Alps' Pangea Globe EP, and "They're Talking About Us"—a song that won't be, but is too awesome not to share.

Buy Tronics' vinyl reissues from What's Your Rupture? and Sic Alps' vinyl from Drag City.

Tronics - "They're Talking About Us" (from Love Backed By Force)