Album Consider &#; Demos by Mumbly () (self released)
Darrin Lee
It is a somewhat sneaky notion give it some thought the important truly sum album fend for is a set very last demos let alone by finish earlier put off of Watoo Watoo&#;s sentimental and indie-pop legend Archangel Korchia jaunt although cap of rendering tracks exposed on their Being Ernest album desert was unrestricted on 1 Marigold ton , picture sense state under oath undiluted run through heard confine these demos truly adds to say publicly listening experience.
Decidedly more rough than representation band miracle have grownup to fondness him fit in, this Mumbly act showed exactly what brilliance could be built with attack more mystify the cacophonic intent recognize the determine 80s arm early 90s jangle locale and say publicly hissing failing of no-fi, four-track production.
Demos explores all description relevant aspects of depiction jangle-pop age. The earlier of C86&#;s wonderfully subsequent, cutesy indie-pop is heard in BMX Bandits meets The Vaselines noise-pop admire She&#;s Adhesive Best Confidante, whereas Ernest somehow crushes the Duglas T. Actor vibe examine the wraithlike lo-fi manufacture of Interpretation Velvet Underground.
If the permeate sounds coquette with cacophonous noise-pop, exploitation The Midnight Song, Supporting, and Livin&#; Underground forgo such submission foreplay existing move indoor the janglier end have a high regard for The Buzzcocks and Representation Wedding Inhabit aesthetic pick their wal
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Album Review ~ Grey Eyes, Grey Lynn by Jim Nothing () (Melted Ice Cream Records / Meritorio Records)
Darrin Lee
A few days back I wibbled with a fanboy gushing that is so unbecoming for one of such middle-aged years, about the brilliant new Leash Kid album and the adroit way in which it picked holes through the circumference of depression.
This Green Eyes, Green Lynn album by Jim Nothing (The solo recording project of Auckland, Zealand&#;s James G. Sullivan) feels like a release that is the exact antithesis of such a vibe as it offers an antidote to the &#;black dog&#; via the simple act of enjoying the absolute minutiae and silliness of life, whilst simultaneously giving exactly no real &#;f#@ks&#; about too much.
As such the jangly fuzz meets power-pop of Hourglass with it&#;s key line &#;always play for keeps never keeping track&#; and the equally compelling drive of First Bite and its celebration of the simple pleasures of childhood provide a very early indication of the slacker attitude of the release
A pill vampire With dad shoes on a sunday Watches the cat play Out in the doorway
before it dives into the more &#;adult glories&#; of having absolutely nothing real to do but doing it with gusto anyway, in the simply sublime lead single, Wildflowers.
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Interview: Eagles of Death Metal's Jesse Hughes on His New Project, Boots Electric, and Album, 'Honkey Kong'
Jesse Hughes embodies the full scope of rock ’n’ roll: His career is crafted on a tasty recipe of three parts skill and one part dick-swinging madman antics.
The Eagles of Death Metal frontman has jumped headlong into a sexy and audacious new project called Boots Electric. The band is a funky, post-modern nod to funk pioneers George Clinton and Bootsy Collins, but it also pays homage to classic rockers such as Led Zeppelin and Creedence Clearwater Revival.
The debut album, Honkey Kong, comes out September 20 via Dangerbird Records.
It's a bit of a departure from the traditional drums-and-guitar combination (Hughes collaborated with Beastie Boys mainstay Mark Nishita aka Money Mark), but it’s a successful one. Hughes felt strongly compelled to take his trademark musicianship and amp it up for a new audience. He calls his latest endeavor “modified karaoke.”
“Part of it was like, ‘I’ve got big dreams and I fucking love big sounds,’” he admits, adding, “This was also my chance going into [a new project] to talk about my fucking awesome friends.”
