So far we’ve heard “Lights” and “Barricade” from Interpol’s upcoming self-titled fourth collection. The guys stay mopey and mid-tempo on “Memory Serves,” which you can hear over at The Hook (Thanks for the tip, Kunal).
Interpol is out in 9/14 via Matador.
Milwaukee pop quartet’s “The Stroller” sounds more weathered than lead tracks on debut albums usually sound. (Note: Because it’s their Sub Pop “debut,” not their actual debut, duh…) Take another listen via this interstellar Beach Blanket Bingo directed by Cole/Rock ‘N’ Roller Remote Controller.
You’ve seen and heard “Old Fangs,” the chunky-guitar-and-laser-guided first single from Black Mountain’s forthcoming third album Wilderness Heart. “The Hair Song” nails a more laid-back, bluesy Southern (B.C.) rock groove that wouldn’t upset the “vibe” at a Black Crowes show.
I’ve mentioned the importance of the New Zealand experimental noise and pop scenes on my teenage (y)ears, so it’s exciting to announce the first new Gate record in more than a decade. Gate is the late ’80s/’90s Precious Metal/Majora/Table Of The Elements/Forced Exposure-conjuring project of the Dead C’s Michael Morley and a revolving cast (Lee Ranaldo, Downtown NYC and NZ regulars, others). The excellent Republic Of Sadness’s six songs are a surprising/not-surprising development, finding Morley affixing those intimately noisy sheets of guitar and suffocated vocal drones over increasingly danceable beats, space-cramming loops, tranced-out electronics, strange funk moments, and a slew of unidentifiable hypnotic nocturnal rumbles. The resulting 46 minutes should go over well with fans of contemporary experimental/psychedelic/”dance”/drone (Oneohtrix Point Never, Svarge Greiner, Salem, etc.) along with the older school of ’90s Union Pole, Chocolate Monk, Road Cone, Twisted Village, Xpressway, the stuff covered in Chemical Imbalance, etc. (It happily made me think of Bugskull for the first time in a long time.) Republic’s a vinyl-only release, but we’re offering a listen to the beautifully rattling “All” for those of you without record players.
This fall, Brooklyn via Georgia and Alabama outfit Bear In Heaven re-release their worthy, East West North South punning Beast Rest Forth Mouth. They’ve expanded the directional palette with a bonus disc of new remixes, one of which comes from cut-and-paste minimal techno king the Field, who puts a stately trance-like touch to the the polyrhythmic synth workout “Ultimate Satisfaction,” stretching it out, doubling it up, generally winning.
First single from Black Mountain’s upcoming Wilderness Heart, “Old Fangs,” gets a music video. It hits pretty much everything on your Black Mountain checklist: drugs, hallucinations, weird sisters, aviator shades. The video was directed by Mike Bruce.
Above is the intimidating cover for Black Mountain’s upcoming album Wilderness Heart. When I talked to her for the band’s Progress Report, singer Amber Webber said keyboardist Jeremy Schmidt had made an awesome album cover but they were waiting for a final version and clearance. Schmidt also did the cover for their last album Into The Future. Accompanying the album cover unveiling is the first single from the album, “Old Fangs.” Webber promised more compact, driving songs (as in, songs good for driving), and “Old Fang” seems made for a road trip across a desert (maybe a post-apocalyptic wasteland with its laser keyboards). Welcome to the desert of the real:
Looks like some folks were added to the schedule early on the Mountain Jam webcast from iClips.net — you can go and watch the sets now as opposed to the 1pm PDT start-time that we originally posted. Doh!
Grace Potter & the Nocturnals are on in five…
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Rebirth Brass Band recently rolled through Chicago and played some new club out in Evanston, IL. I had never heard of Space but the room looks tight and well worth seeing a show at. Chris Monaghan shot the band while they were rockin’ the suburbs and he sent this gallery our way. […]
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You probably noticed with Mountain Man’s “Soft Skin” that the trio’s songs require some quiet to hear their harmonies. But the Vermont trio inspire silence as well. The band opened for The Middle East last night at the Brooklyn Vegan-sponsored show, and as you can see from photographer Jessica Amaya’s shots, they did a couple songs unamplified. No shushing of the audience was needed: The video below is almost eerily quiet, as if it were shot for a Takeaway episode rather than at a show. One of Mountain Man’s unamplified tracks, “Mazda,” even brought Mountain Man’s Alexandra Sauser-Monnig to tears (more from how much she loves her bandmates’s voices. This band probably never fights). Australian headliners the Middle East also got a very quiet audience for their finely rendered recent single “The Darkest Side.” This show was in-between a couple of others for The Middle East opening for Mumford and Sons, and it was their first set of shows in NYC. Probably not their last though: Their long US tour that began in April includes stops at Bonnaroo and Sasquatch! (they also played Coachella).
