An immense yet disconcerting music video accompanies this single which is the first to be taken from The Hickey Underworld‘s forthcoming second album. Can you figure out what’s going on in the below? Because we’re not entirely sure. Could be any number of scenarios leading to the neverending-suicide-attempt-loop. Definitely some fucked-up shit. The starring roles are taken by the members of the band and the single itself also has that unnerving air about it. A darkly driven riff with vocals edging towards a pained howl yet somehow sounding calm and collected at the same time. Basically cool-as-fuck.
This is an achingly brilliant piece of off-kilter rock and roll and when it’s played live, the volume is ramped up with both instrumentals and vocals making such a visceral and alarming impact that the air is knocked clean out of your lungs. And you may be left a little deaf.
Seattle’s explosive blues-rock duo My Goodness just left the UK after a full UK tour with friends We Are Augustines. Not the pairing you would expect if you compared them musically but both bands have a reputation for giving everything live and they did not disappoint at Dingwalls. So much so, we decided to interview them.
Their first UK release C’Mon Doll has a swaggers between rock and roll and a dose of filthy blues that RL Burnside would be proud of. On record, this track is underpinned with a heavy stomp but live, it’s gargantuan riffs bellow out through their speakers whilst the sweat pours from their brows. It’s a huge racket from a 2-piece and a highly recommended experience.
Produced by Chris Common of These Arms Are Snakes their debut single ‘CMon Doll’ and b-side track ‘Lost in the Soul’ paint 2 sides of this beast. One filled with a relentless drive and cry for help, the other sees the come-down, the lighter, more melodic and stripped back My Goodness that allows people to draw breath whilst they slay the stage.
My Goodness keep their blues-infused bluster simple by plugging in and letting rip. It’s about amplified, electrified music without the need for computer technology, samples or any bullshit and we dig it.
Download a FREE WAV of C’Mon Doll and the b-side below. The band have also released a film documentary featuring the making of the video here too. FREE from this soundcloud link below.
Panda Bear is due to release ‘You Can Count On Me‘ on October 19th through Domino.
Limited to 500 copies, the single has been described by Domino as a gentle duet between Noah and himself, as ethereal and uplifting as ever, featuring an off-beat melancholic chord progression and a light two-step beat.
The artwork is below, and you can pre-order the record here.
It’s been five years (seven if you don’t count the El Mark EP) since we’ve heard all these words in one sentence but Glassjaw have confirmed the release of a new single this month.
All Good Junkies Go To Heaven was available on 7″ as of last night but has already sold out! New stock may be coming in before its shipping date of August 20th so keep an eye open for more information.
Is this the first real sign of a new physical album release soon? Let’s hope so.
My excitement for new music has the unfortunate tedency to peak only once every ten years, this was during 1997 and 2007 if you want to be specific. Now, given that the contemporary life expectancy is reduced to whatever age they are in the winter of 2012 I have been hopeful that this pattern will change. Thankfully this year my hopes had already been answered in the form of excellent releases from Flying Lotus, LCD Soundsystem, Spoon,Mr Oizo, Arcade Fire and potentially even Radiohead. But wait, aren’t all these just artists that released material in 2007? Yes, they are.
But in each example the music has changed, dramatically. Much the same can be said (and it has) about the new Panda Bear single Tomboy, which sees a radical departure from 2007’s dreamy jangle pop soundscapes of Person Pitch into something haunting, penetrating and unhinged. Tomboy carries the inherent reverb of Noah’s so-high-and-angelic-I-could-eat-a-fucking-star vocal in a rickety guitar journey across a landscape very distant from the imagined beaches we laid on in 2007. The year is 2010 and excited barely defines my hurried approach to the haunted festivals that are promised in the filtered wobbles, punctuating handclaps and uncertain delight of the incredible b-side Slow Motion. It’s simultaneously exactly what I hoped and expected from Noah Lennox, and yet totally different. A trend that hopefully continues as being excited about new music and then being rewarded with something slightly different and new feels good man.