If you missed out on Slum Summer‘s 2019 masterpiece, ABABO, you missed an incredible batch of pop rock tunes that you couldn’t get out of your head. So, you should start THERE. Once you’ve done that, check out the brand new video from the group’s forthcoming record, then relish the feel good vibes your soaking up at the moment. Musically, the band are playing a heavy jangling pop rock at the moment, akin to recent stuff from Monnone Alone or the like; it’s energetic and driving, with these riffs ready to rip right through your apartment walls. Hugh Noble’s voice on the other hand, still holds a bit of that ex-Brit tone, though I’ll admit, his delivery has him channeling a bit of a more melodic J. Mascis…adding to the enjoyment factor on my behalf. You’ll even get an added kick when there’s some backing female vocals giving the hook a bit of extra depth! I love it, as you should. And, if you do, then grab be sure to keep an eye out for Living in Milk, dropping August 6th via Jigsaw Records.
Hopefully you’ve been following along all week as we’ve dropped a Love, Burns tune here and there with commentary from the songwriter himself, Phil Sutton. But, along with our friends at Jigsaw and KUS, we’re super excited to bring you the record in its entirety, which you can now stream below. So, you don’t need to hear me wax on and on about what a great collection of songs you’ll be getting, you can just stream It Should Have Been Tomorrow below and enjoy the day!
Tomorrow’s the big day my friends; we’ve got It Should Have Been Tomorrow dropping this Friday, and Phil from Love, Burns has been sharing his thoughts all week long; don’t forget to buy the album in your preferred format from ATH/KUS/Jigsaw. Here we have some thoughts on “A Gate and the Ghost:”
“Franoise Hardys recording of La maison o j’ai grandi is all over this song. The tune and lyrics are my own, of course, but I wanted the song to have a gradual build up, something Hardy does on her recording. Its one of the few songs where I was quite specific with Hampus and, especially Kyle, as to what I wanted in the arrangement. Start off with the acoustic, drums, bass, then the keys come, and then electric rhythm, guitar solo, harmonies all going off. Gary Olson does all of the harmonies on the LP, btw. Im a big Franoise Hardy fan, like a lot of indie pop types. Charles Blackwell did the arrangement for La maison Mat Patalano did a lovely promo to go with Gate and the Ghost that features two years old me, filmed by my Grandad. The LP sleeve pictures were taken around the same time, by my Dad. Thats me and my Mum on the sleeve. We’re somewhere near Ballykinler, in Northern Ireland. Gate and the Ghost is about returning home (as is the Hardy song). And theres a building in it. Its no Cattle and Cain, but I think its the best song Ive written. I know for a fact that Lloyd Cole and Tracyanne Campbell like it. They said so on Twitter! I use my 1965 Burns Nu-Sonic this song, because that guitar has a fantastic tremolo. Its my Pale Lights guitar, and this is its guest appearance for Love, Burns.”
It seems only fitting that we begin covering music in the new year by covering our first release of 2022; It Should Have Been Tomorrow by Love, Burns. The band is the solo project of Phil Sutton, who plays in Pale Lights (among other acts like Cinema Red and Blue and Comet Gain!), but the album features help from Kyle Forester, Hampus Ohland-Frolund, and Gary Olson…so it’s kind of a big deal! We’re releasing it in conjunction with Kleine Untergrund Schallplatten, Calico Cat Records and Jigsaw…all great labels run by admirable persons, so we’re fortunate to be part of this release (we’ll be handling the cassette version)! But, we can’t really convince you to pick it up without a little taste now can we? Here’s a few tunes from the album, which will be out on February 4th; buy it from us HERE.
Plus, Phil recently recorded a wonderful cover of the Wake’s “Crush the Flowers” with Suzanne Nienaber for Soleado, a Tribute to Siesta Records, organized by Fadeawayradiate. You can hear that below:
Phil photo courtesy of Dominick Mastrangelo Photography.
We’ve covered German outfit Crabber since their first LP a few years back, and, well, I feel like I’d be remiss if I didn’t encourage you to take a peak at Who Let the Ducks Out, the band’s latest LP. This go round, you can start with a little nod towards the crisp jangling pop of the Lucksmiths on opener “Climb Into My Mind,” and its a sound that pops up throughout the whole of the LP. But, you also get a bit of a heavier edge, a la early Boyracer, albeit with a push towards the more melodic; you can just listen to “A Kind of Tragic,” to get where I’m coming from here. Each time I listen, a new reminder pops up, so let me sum it all up for you. This new record is specifically for those who love Field Mice, Lucksmiths, Buzzcocks and Boyracer…then all the various bus stops in between. Seriously, just stream this album; its available via Jigsaw Records!
This November, all those folks that pine for Sarah Records 7″ on Discogs (like myself) will certainly find themselves being absolutely charmed by the sophomore album from Germany’s Crabber. Honestly, listening through this new single, one thing sticks out in my mind; the song sounds a lot like Comet Gain, except its just a pure pop version there, getting rid of some of the lo-fi effects in order to bring out more from the melody in these lines. I’m not sure how someone doesn’t listen to the soft crystalline guitars and just fall to pieces at how glorious they sound dancing down your ear canal. Their album drops via Jigsaw in November!
German outfit will Hanemoon drop their debut LP this Friday via Jigsaw Records, and I promise you that you’re going to want to spend a lot of time with it. It’s pretty classic power-pop, though its spun in that sort of left of the dial feel you might associate with GBV or Galaxie 500. It’s energetic and bouncy, with hints of fuzz that leave the song dreamy to a degree. Haze bop is how I’m branding it today, and it goes perfectly in line with the wash of the video at hand here too, so turn your speakers up and play this as many times as you damn well please! The Last Thing I Heard should be in steady rotation for the next few months!
The last time that I checked in with The Rightovers, they were crafting these jangling power-pop gems; the tunes were happy, shining with melodies and hooks. On their latest Kruise Kontrol EP, they’ve traded the jangles for a heavier feel, giving the band a heavier vibe, though one still wholly rooted to the vibes of pop rock. Some of the songs have these huge sonic walls, like the instrumental piece “Want You,” feeling like some leftover piece of Kevin Shields artistry. “Stereocrush” is probably one of my favorite tunes here, offering up this sort of 80s influenced bedroom pop vibe. And, maybe you just want good old fashioned pop rock n’ roll, so check out “Kruise Kontrol,” a tune that lets you know the band never left the hooks behind. Jigsaw Records just released the EP, so get to it!
After spending a good 15 years playing music, Jeremy Charbonneau took a break to focus on his young family. But, the songs kept pulling at him, begging for completion, which led to the creation of Summer Sleeves. He’s signed up with Jigsaw Records to release In the Throes of Woes, and we’ve got the new single from the LP below. It’s a got a slight jangle, a splash of folk, but mostly its just really great songwriting. For me, it reminds me of the endearing side of the Shins from their first record, before it grew to be cliche; this is pop songwriting at its purest, working on great melodies and a voice with just enough peculiarity to keep it interesting. We’re better off having Jeremy back in the songwriting fold; the new album drops on April 23rd.
While “Sick Days” was likely written before this coronavirus pandemic, the new video from Sleuth comes at an apt time, particularly in the way it was recorded, with each member filming while in isolation. You’ll likely find some similar ground if you’re laying low and staying safe. Musically, the song has this casual bounce at the get-go, like happily plodding along and telling stories with an old friend. At the 1:16 mark, the song jumps off and gets a touch boisterous, using gang vocals to build up the song’s exuberant nature. It’s a great song, with a relatable video; you’ll find the track on their new album Gold, which is scheduled to drop on May 29th via Lost Sound Tapes/Jigsaw Records.