I regretfully announce that ‘Daughters Of Wealthy Fathers’ will not be returning from its maternity sabbatical. Head-honcho Matt Main has endeavoured to continue music journalism, and is now writing for a sterling competitor in a new job in which we wish him the best of luck. Meanwhile, Matt Nelms has left England behind; trading in his lucrative soap company in exchange for a fresh start in South-East Asia. In an irregular career change the capricious Nelms has vowed ‘To live forever or die in the attempt’. Again, we wish him the best of luck.
‘Thank you for reading, one and all’
A precious knowledge baby is in the crucial stages of gestation, one month till this bitch is born and we’re back with a vengeance. Listen to some Fats Domino and Beastie Boys in the mean time.
Of Montreal/ Casiokids 7”- With the release of thecontrollersphere anticipated within the next fortnight—an EP containing the final residual droplets of last year’s False Priest– it was of some surprise to see of Montreal in action again so soon. Refreshingly, their cover of Buffalo Springfield’s ‘Expecting To Fly’ is far from the raucous psychedelia of ‘Black Lion Massacre’, the lead track from the above mentioned EP. Meanwhile Casiokids‘ B-side ‘London Zoo’ is a real slow burner, developing into a brooding and soulful dance track. The 7” comes courtesy of Norway’s Splendour records, who also release a split 12” from their remaining scandinavian clientele, Brad Laner and Joensuu 1685.
Lower Dens/ Deer Knives 7”– The success of Twin Hand Movement far outgrew anything Gnomonsong has seen before, in which case an emigration to Sub Pop a natural progression? This small foray would certainly suggest that at least some activity is occurring between Lower Dens and the label, ever willing to endorse Baltimore dream pop. Strictly in this mould comes ‘Deer Knives’, a nicely structured effort, containing a gorgeous whale song Esc guitar play off mid track.
Cults Abducted b/w Go Outside (remix)– Another tantalising snippet from Cults’ first full length expected in May. ‘Abducted’ continues to channel the post lo-fi pop duets that have catapulted the duo into recent fashion photoshoots with Vogue and The New York Times, whilst singer Follin is given a better chance to stretch her considerable vocal chords. Listen Below.
Since 2007, ‘Record Store Day’ has been growing and growing in endorsements, and it looks as though this year is going to be its most bumper harvest to date. One way bands have shown their support for the event is through covers, as we featured last week with Beach Fossils and Wild Nothing commemorative 7” split. Sing For Your Meat: A Tribute To Guided By Voices is as its name suggests- a collection of GVB covers, reworked by artists inspired by Robert Pollard and his Daytonian gang. Fresh from Share The Joy, out last week on Polyvinyl, Vivian Girls’ Katy Goodman has contributed a pretty organ based version of the melancholy ‘Watch Me Jumpstart’. Recording under her solo title, La Sera, Goodman appears amongst numerous other patrons, most notably The Flaming Lips and Blitzen Trapper.
Trevor Powers is channelling every young man’s frustrations into what can only be described as some mesmeric music. Having burst onto the scene 14 days ago, leaked tracks ‘July’ and ‘Cannons’ have already done the rounds, snowballing into somewhat of a internet monster. Amongst the usual hype a lot has been said about the hazy nature of Youth Lagoon‘s production- a point I feel may have been unfairly levelled. Yes, every layer is reverb dressed, but the punchy kick drum loops and fuzzed melodies that infiltrate each mix really lift YL above any chillwave malaise. Meanwhile, memorable vocal refrains are delivered with a brutal reality as to rival the most sincere of lo-fi hearts producing right now.
Powers bills the forthcoming full length The Year Of Hibernation as ‘a journal that I’m letting other people read’, a sentiment fitting his ramshackle approach to production. The vocals for example were recorded in a relative’s garage, blasted from one small speaker and recorded by two distant microphones. Time to fiddle with production is not something that the over worked Powers has in abundance (studying for an English degree with a full time job on the side doesn’t provide the most forgiving schedule). However, having the enthusiasm to write and record in the short amount of time you have free is the mark of a true musician, someone doing what they’re doing purely for the love of their art. The record will be available sometime in the summer on the new Juno Beach Records, a company co-founded in part by Pandit’s Lance Smith and the man behind BIRP!.
Hip-hop lives in a post-Odd Future world. As pretentious, overtly assuming and presumptuous as that statement is about the career trajectory Odd Future are undergoing, it is one difficult to deny – the gritty hyperbole of Wolf Gang’s menacing brand of rap is only as powerful as it is powerless to stop thousands of pale imitations; it is impossible to listen to some of their output without simultaneously wondering about/dreading the undeniable influence the collective wields through its lyrical themes. Still, this can work both ways, and hopefully OF will prove to be just the tip of the iceberg in forward, teenage hip-hop.
Plenty of evidence points to this being exactly the case. Allow me to introduce to you Jay Cue, central pillar of Nobody Really Knows, another youthful hip-hop collective, with a decidedly different interpretation of the Odd Future aesthetic. On his enthralling debut album, Pyramid Life runs the full gamut of unabashedly childlike emotions; you have your stereotypical hip-hop bravado and condescension; but equally, mundane feelings are held in the same regard – “Sore Loser” is exactly the type of track its title would suggest in its bemoaning of just how flipping frustrating it is to watch others reap the benefits for something you think you deserve.
Maybe that isn’t mundane, and maybe my circular analysis has just led me round to condescension of the modern kind; sitting behind a computer screen and berating other people for not thinking the same way you do, or at least not articulating their thoughts in a way you find satisfying. And I’m supposed to be suggesting you listen to this guy. Do that.
On April 16th Captured Tracks are releasing a bundle of goodies all dedicated to The Wake. The collection will include, On Our Honeymoon and Crush The Flowers, two records decidedly difficult to locate due to their release dates- 1982 and 1989 respectively, straddling the band’s tenure at Factory Records. Included in the bundle is a split 7” from labelmates Wild Nothing and Beach Fossils. Wild Nothing’s cover of choice, ‘Gruesome Castle’ provides an interesting task for Tatum and co as they attempt to re-create a sound very similar to their own. Meanwhile, fresh from the promising What A Pleasure, Beach Fossils try their hand at the sultry ‘Plastic Flowers’.