I know I know. Playlists via Spotify are quickly becoming passe, and rightfully so, but at the moment, there’s still not an easily manipulated to collect songs from various places and put them into one killer playlist. So while we wait on Bandcamp to figure it out, let’s just ignore the devil in the corner. This last week we got a brand new album from Love, Burns, courtesy of us! And Jigsaw and KUS! Our homies in Brothers Griin also dropped a tune from their debut LP, not to mention a sweet jam from Skeggs. So here you go, here’s some stuff. To start Monday.
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.”
Again, it’s great to see what an author has to say about their own work, get a little insight into their thought process. So we continue celebrating It Should Have Been Tomorrow (coming out the day AFTER tomorrow) by a few more great words from the Love, Burns songwriter himself, Phil Sutton:
Dear Claire was a song I wrote a few years back, recorded by my then group, The Soft City, that included Jason Corace and Dora Lubin, then Turner Stough and Kyle Forester guesting. Dora was the singer, Jason was (is) A Boy Named Thor. The song came out on a 7 inch EP, self-released. I think its a really good EP, that sort of got lost. We broke up when Jason, then Dora, moved away from New York. I always wanted to put Dear Claire on an LP, so we re-recorded the song with me on vocals, and a slightly different arrangement. We kept the looping organ though, the melody of which I sang to Kyle. This is one of two covers on the LP. The other is “Come In the Spring,’ a Pale Lights song. Covering myself. How indulgent!”
This week, we’re letting Phil from Love, Burns send us a blurb about various tracks on his forthcoming LP, It Should Have Been Tomorrow (which comes out Friday!). Today, we’ve got the closing track on the record, and a reminder the band are playing Pete’s Candy Store on February 10th, so here’s the words from Mr. Sutton:
“Gary Olson, who recorded and mixed the LP, said this was my Chris Isaak song. Its a very simple song, about not fitting in, and getting the hell out. Id say about 67% of my songs are about this subject. Comes of being raised in a small, conservative village, I think. This time the protagonist needs to be themselves, because the mad villagers dont like who he/she/they is. It could be that theyre gay, a Communist, a freak, a hippy, a beatnik, an artist, whatever. They need to go somewhere where they can belong, be appreciated, and loved. Bigots decry the notion of a safe space, but everyone needs one to flower. Kyles lead guitar is fantastic. Twang-tastic! Pretty much one take. Kenny Wachtel (Great Lakes) is playing lead guitar live, and also does a sublime job. If you come to Petes Candy Store, Brooklyn, NY February 10th, at 10pm, you can hear Something Good done Kenny-style!”
This Bandcamp Friday, we’ll be releasing a cassette version of the new LP from Love, Burns, the solo LP from Pale Lights songwriter (and ex-Comet Gain!) Phil Sutton. I talked Phil into giving me a single a day this week with a little blurb about the tracks…so here’s Phil:
The Triffids song “Do You Want Me Near You,” from In the Pines was a big influence on “In a Long Time,” along with Petula Clarks “Downtown.” The former has a fantastically melodic bass line, and then a great metallic, reverb-y guitar solo that makes me think of wide open spaces in (the) Australia (of my imagination). The lyrics capture loneliness and isolation very well, which is what I tried to do with my song. Where it differs, I think is that Ive tried to make “In a Long Time” a New York City song, rather than a relationship song; it’s a sort of upside down, melancholic version of “Downtown,” where someone new to the city is on the subway, looking at twinkling lights, and all the Saturday night people, but is quite alone. Nothing new, really, a classic trope. Alone in the big city, but still intrigued by and drawn to it. New York always looks its best at night. Alicia Jeanine plays some beautiful violins, Hampus plays a very subtle driving Subway beat, and Kyle Forester does a really great guitar solo – not the first one on this LP. Kyle plays most of the instruments on It Should Have Been Tomorrow. He’s a pop genius.
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.
Our friends over in the UK will likely already be all over this one, but just wanted to make sure everyone was in the know on our end, as WIAIWYA just dropped an incredible holiday compilation titled 24. It’s 24 songs from some of the finest purveyors of pop music around; Pete Astor, Love Burns, the Orchids, the BVs, and a bunch bunch more of artists we’ve been covering on this site for some time. I have a feeling there’s a little something for everyone in this mix, so feel free to sample a tune or two below, then if you feel so inclined spread the holiday cheer by telling a friend!
Here we are on another Monday, about halfway through the musical calendar, and while I should probably be working on one of those magically meaningless “Midway Best Of,” I feel like I’d be letting down our friends if we didn’t do our wrap-up of the goods from last week. Honestly, and I won’t throw out names, but there are some jams that would certainly make my best of the year list…one in particular. Can you guess it? Also, some of the new stuff by Love, Burns and Normil Hawaiians isn’t streaming, so I linked you to some of their other work you might enjoy. Mostly, it’s Monday, and I like to make this playlist for my friend Marc, so he doesn’t have to read anything and just gets music. Happy Monday folks!
I have it on good authority that Love, Burns, the solo project of Phil Sutton (Pale Lights) has a full length ready to go. But, in the meantime, he’s teasing his fans with three non-album tunes, and personally, if these are the non-LP tunes, can you imagine how great a record this will be? “She Will Leave, Unless,” feels like a lesson on the bygone days of pop, that innocent sunshine in the window as you make breakfast to set off on your day, starring softened jangles. “Say What You Mean” seeps in with a little more swagger, sort of that late 60s almost pscyh where the whole band is wearing cliche black sunglasses, but with better songwriting. Still, the 3 new songs don’t peak, for me, until you get to “The Push and Pull of the Great Outdoors.” I love how stark and naked the tune feels, mostly Phil and guitar until a bit of tambourine shimmies near the 2 minute mark. Man, you better love eat this up pop fans!