Author: nathan.lankford

Zac Denton of the Ocean Party Passes Away

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I’m generally a man of few emotions, but news of the passing of Zac Denton is hitting me pretty hard. I released one LP from the Ocean Party on my label, mostly due to the fact that I kept in close contact via the Internet with the band. Since those days, they’ve pulled out several other releases, all excellent. I was fortunate to host the group on their US tour, and I spent a few days trying to get the band accustomed to Texas. I remember Zac as this giant of a man, with an even bigger smile; he worked the stage like an aged veteran, he was just this gentle giant happy to be playing music with his friends. It’s strange how chance encounters leave lasting impressions, and I’m sure everyone whose spent time with the Ocean Party feels the same great loss. My thoughts are with his brother Lachlan, the band and his family.

In honor of Zac, the group have released their new LP The Oddfellow’s Hall a few days ahead of its release; you can stream it below.

Did You Listen to Nana Grizol’s Theo Zumm

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Back in 2017 Nana Grizol released the incredible Ursa Minor; it was one of my favorite releases that year, and one with staying power in my rotation. But, just this last week, the band put up some early recorded tracks from the group, some that made it onto later releases, and some not. I’ve been listening to these tracks pretty non-stop all evening with my daughter; it has this oddball charm that reminds me of my college years when I was looking for anything that could make me dance or laugh out loud. Seriously, this is how you should spend your morning, visiting Theo and his guitar in the early days of the band; you can grab Theo Zumm right HERE.

Melby Share Delightful Pop Number

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Melby have been on my radar for just a bit, having signed up to be part of the strong roster over at Rama Lama Records. They’re currently wrapping up their debut full-length for the label, but have dropped up this wonderful teaser to whet our appetites. There’s a dreamy guitar that meanders carefully through the song, watchful of the precise percussive elements (that sound a little like the percussion on “Young Folks”). As the two vocalists share contrasting vocal lines, a keyboard begins to emerge, elevating the track as the guitar tones, also, give the song a bit of a pick up. If the debut LP is this good, they’re knocking it out of the park!

Always Down for New Deerhunter

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Bradford Cox and Deerhunter are never far from my mind; I feel like Cox has crafted some of my favorite tracks over the last decade or so. Now we’ve got news of a brand new LP, one that gets production credit from Cate Le Bon; I feel like her influence can be heard almost immediately, riding through the background of the track. I love how the song swells to a bold punch around the 1 minute mark, creating this sly punch. That power gets emphatic as the song draws near a close, so it’s hard to turn a blind eye to Cox at his songwriting best. Look for Why Hasn’t Everything Already Disappeared via 4AD this January.

Moving Panoramas Ready New LP

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We’ve long been supporters of Leslie Sisson’s outfit, Moving Panoramas, and we might be even more impressed by the group’s newest single. It starts with this krautrock cum psychedelic guitar and keyboard line, pushing the pace from the get-go before we even get a hint of the vocals; it’s a fairly primal power, which works in contrast to Sisson’s voice. And what a performance by Leslie here. She carries this pristine sparkle to notes that dreamily soar over the top of the musical mix, aided by some warm “aahs” to flesh out the vibe. It’s one of those rare tracks that balances the walk between heavy and saccharine; you’ll find this track on the band’s next LP, In Two, dropping in February via Modern Outsider.

Listen to Pale Lights Cover Lake Ruth

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Last week we brought you the wonderful Lake Ruth cover from their split 7″ with Pale Lights, and it only seems right that we share the flip side, right? Pale Lights take the nostalgic leaning pop of the original and spruce it up with a dreamy sense of longing, with guitars seemingly racing through the speakers while Phil has this warm croon, backed by a female counterpart, adding a depth to the tones present in this number. The split sold out in an instant, but you can always enjoy both band’s versions of one another…and you can’t go wrong with either, if you ask me.

Attic Lights Announce Love in the Time of Shark Attacks

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I won’t shy away from a band that makes a humorous Gabriel Garcia Marquez allusion, especially if they’re crafting delightful pop like Attic Lights. The Glaswegian quartet come at you with these hearty harmonies, particularly glorious during the chorus of this tune. I’m also drawn to the way the band expand on the jangling style, adding just a hint of twang and a tinkering piano line; it allows for a more organic sound that really shines on all the melodic moments coming through the speakers. Love in the Time of Shark Attacks will be out in January via Elefant Records, but for now, you can grab the digital single with an exclusive B Side.

Promising Pop Number from BDRMM

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Now, while BDRMM might look upon themselves as a new-age shoegaze outfit, their sound reflects more of a late 80s post-punk sound…a la New Order. The guitar work has you dreaming, yearning for something more as it seems to fade through your speakers. With the vocals, you get a touch of softness, which allows for the pop sensibility to shine though. I do appreciate how they spend the last minute of the track flexing their guitar muscles, leaving room for growth for the future. They’ve just signed to Permanent Creeps, so hopefully we’ll get more news soon.

Stream Kevin Hairs’ Freak in the Streets

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I was a big fan of the Hairs, the indiepop act starring Mr. Kevin Hairs, so when we thought about posting the stream of his new EP, I reached out to toss a couple of quick questions his way. Don’t forget to stream the new EP…out today via

ATH: You’ve been working with the name The Hairs for nearly a decade, so why the change to Kevin Hairs? Any particular reason?

KH: I got tired of playing behind a band name and working with that expectation. I felt like I was getting to that point where I just wanted to write and make music by myself and have something that was more intimate. I wanted to play out more with ease. Getting a band around town and practicing…. it’s too much stress. I love the idea of “Kevin Hairs” being flexible and playing by myself or with a bit of a band or a drum machine. It seemed easier and fun. I’m just at that age… but essentially, it’s easier to play by yourself and being a solo artist seems cool to me now.

ATH: How does Freak in the Streets fit in to your catalog? For you, do you see it as a continued progression from While I Hated Life, Barbarian?

KH: “Freak in the Streets” feels like when I started to be myself. It feels like a continuation of the Hairs, but now I feel like I can just get a lil’ deeper with the songs.

ATH: If you can think back to the recording of this EP, what was the one band or album that you were listening to on your own that might have seeped into the sound subconsciously?

KH: I really love “Crab Day” by Cate Le Bon. The way she sings. The music is batshit crazy at first. The lyrics are just bizarre and psychedelic and like free association. She feels like a modern day Syd Barrett. I’m just attracted to that kind of vibe.

ATH: You and I have talked about this a bit…but where do you see physical media going in regards to smaller artists? If you had a preference, where would you like to see it go? Any ideas on how to shake it all up?

KH: Mmmmm – all of my musical listening is streaming. If there would be physical media, I’d prefer it to be useful like shirts (clothing) with a download code attached. Maybe a postcard can be good…to hang on your wall. That band Rocketship was selling postcards with great art on it and a download code. I thought that was beautiful. I find myself being anti-stuff. I don’t like having things. I like the essentials. I think it would make going to shows more necessary. Streaming should be more shared. That’s about it.

ATH: Did Kevin ever get a dog or find something to believe in?

KH: I used to have a dog when I was a tween into my young adult life, she passed away years ago. HAVING SAID THAT…..I think I found something to believe in. Haha. I believe in focusing on positive things. External things come and go. So I think I’ve learned to just focus on how I feel.

ATH: An EP is sometimes thought of as a stop-gap between album cycles…can we expect a Kevin Hairs full length in the near future?

KH: To be honest, I haven’t really thought too far out about Kevin Hairs. I certainly want to make more songs and eventually another short album / long EP. I’m having fun doing what I’m doing. Honestly, I find music to be fun again and I don’t wanna burden myself thinking like that. I’m sure there’ll be other songs and stuff. But I don’t know.

Lake Ruth Covers Pale Lights

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The team over at Kleine Untergrund Schallplatten are responsible for some of my favorite releases the last few years, and they’re definitely hitting their mark with this new Lake Ruth/Pale Lights split 7″. Below we have Lake Ruth‘s wonderfully woozy cover of “Only an Ocean” off their opposites Before There Were Pictures LP. They craft this smooth space pop, which interestingly fits inside the ramshackle pop of the original; it definitely gives you a different viewpoint for the song…and I can’t wait to hear what Pale Lights did to “Through the Lychgates!”

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