New Single from Veronica Falls

vfVeronica Falls is one of the great stable acts of Slumberland Records; they’ve only improved (immensely) as they’ve matured.  They’ve just recorded a brand new single for their upcoming tour, which unfortunately doesn’t include any dates Stateside…we can always hold out hope. Honestly, this new single is probably the best thing the group has written to date, and that says a lot considering how special I think Waiting for Something to Happen (Feb 2013) truly is. If you need a catchy tune with some bounce then you better spend some quality time with this tune.  Thanks to IPSML for the heads up.

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Cool Cover Jam from Girls Names

Girls NamesI’m not usually one to get all hot-and-bothered about cover songs, but I’ve spent enough time with Girls Names that I almost feel like what they’re doing is completely separate from just a typical cover.  For one, this cover of Brian Eno’s “Third Uncle” will appear on the band’s The Next Life EP, which will be a limited 12″ with some remixes from the group’s latest opus The New Life LP; it also is the first recorded piece featuring the band’s new drummer, Gib Cassidy.  Feel like it’s a good day for some sweet cover action, so why not go there with one of my favorite acts. If you dig, the EP will be out on October 29th on Slumberland.

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Terry Malts – Nobody Realizes This Is Nowhere

terryRating: ★★★★½

The last time out Terry Malts ruled my world with Killing Time, so I was curious to see where they could go from that point.  Would Nobody Realizes This Is Nowhere top the previous effort? Would it fall off?  Well, after spending the last few weeks listening to the record on repeat, I’ve come to the conclusion that it’s much the same, in a good way, though I feel like there’s a heavier punch this go round.

“Disconnect” begins the album off in much the same way that Killing Time left off, blasting off with guitar explosive guitar riffs and darkly tinged melody in the vocals.  It’s not breakneck speed until it pounds out near the 1.19 mark, yet it reverts into this interesting melody that works alongside, including a light backing vocal. And with such a post-pop hit, it’s interesting how the band moves right into the furiously punk “Life’s a Dream.”  Envision circle pits with smiles, and then the track ends.

It’s hard to find out standout moments on Nobody Realizes This is Nowhere, as the group are so consistent in their songwriting that it’s hard to pick out a favorite. Can I take them all?  Of course, “I Was Not There” should be on everyone’s year-end list.  The crunchy distorted guitar operates in such a forceful manner that it completely works against the seemingly spoken-word lyrical delivery.  That being said, Terry Malts always manage to unite such things, which is why I can’t help but tap my feet and bounce around the room when this song is on full blast.  It fits perfectly in the mix, going into the poppier “No Tomorrow.”  While the pounding drums stand out on this tune, I really like the way the vocals are delivered on this song.  The notes are held long longer than usual, and they make way for this electric soloing guitar that pointedly knifes its way through the track.

One of the differences that I have noticed here is that Terry Malts seem to have gone to the darker corner of punk on this release.  Their last record sounded like a beautifully modern Ramones LP, but this time songs like “Walking Without You” and “So Serious” take on the heavier area, at least in regards to how the music comes across.  They’re not nearly as pummeling in speed, though you’ll hear a noisier element to these tunes.  Luckily, even with that approach, they don’t lose their pop sensibility.  One spin of “So Serious” and you’ll see exactly what I mean.  Heavy meets pop and it equals perfect tune.

It’s possible that I’m predisposed to love this album, seeing how much I enjoyed their first release, but I can say, assuredly, that this isn’t some fanboy letter.  Nobody Realizes This Is Nowhere takes on the noise in a different manner than its predecessor, though still wraps you up in melodious hooks that invade your soul.  With such an array of great songs, it’s hard not to enjoy this record, so be sure to pick it up as soon as you can.

 

Shimmering Pop from Joanna Gruesome

joannagruesomeThe kids in Joanna Gruesome are already having a great year; they should be happy to find a home on such an incredible label like Slumberland Records.  That being said, the more I hear from the band, the more likely it seems that it’ll be a banner year for the group.  Sure, you can see similarities to label mates Pains of Being Pure at Heart, but they do it with their own sense of reckless abandon and added flare.  While the song trots along, you’re not ready for the noisy outro that takes place just beyond the two minute mark.  Like every band, they make nods to their heroes, but in doing so, they also make it entirely their own; I applaud them for that.  Their album Weird Sister will be out on September 10th.

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More New Music From Terry Malts

terrymaltsATH loves Terry Malts and we hope that they love us just as much in return.  With that out of the way, it’s due time for us to share another new track from the bands upcoming album entitled “Walking Without You”.  It’s loud, it’s fast, and daddy likes it.

As previously mentioned, Terry Malts have a new album called Nobody Realizes This is Nowhere due out September 10th via Slumberland Records.

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New Album from Black Hearted Brother

artworks-000053537338-9n5adl-t500x500I feel like at this point in the year, I’ve probably helped pay most of the salaries of those at Slumberland Records, but hey, when you’re on fire, you’re on fire.  The label is back with a resurgence, of sorts, this time around, releasing the new record from Black Hearted Brother, the project of Neil Halstead…the man behind Slowdive and Mojave 3.  Perhaps one of my favorite things about this new single is that there’s no use of gratuitous noise, like I’ve come to find in a lot of gaze-noise-core acts of late; it’s purposeful and blending with melodies.  Stars Are Our Hope is the title of this new effort, and it will be released on October 22nd.

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Check Out New Rock from Joanna Gruesome

joannagruesomeA long while ago I posted a hit from Joanna Gruesome, and it appears Slumberland Records were watching, as they just picked up the Cardiff group to release the band’s debut album, Weird Sister.  On the first single from said album, the group comes out with a rioting rock taste, blasting off noisily.  But, one of the reason’s I love the band is evident in the track too; they pull back from the barrage of noise and add a sweetness to the track, with softer melodies and a bit of serenity….of course they blast right back off again.  You can grab the album from the group on September 10th when it hits stores.

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They’re Back: The Terry Malts Announce New Album/Single

terrymaltsOh man. Monday rules.  I can’t tell you how excited I am for the return of one of my favorite bands, The Terry Malts. Their debut album still gets spins, but we should all rejoice knowing that they’ll be back with Nobody Realizes This is Nowhere on September 10 via Slumberland Records.  Their first tune from the album definitely has that chainsaw buzzing guitar accompanied by infectious bass lines and precision drumming.  I really can’t say enough things about this band, on record or in the live setting; they kill, simple as that. Enjoy this new jam.

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Spectrals – Sob Story

sobstory620Rating: ★★★☆☆

All signs from Spectrals were definitely leading up to this.  Bad Penny and the various EPs from Louis Jones hinted at his influences, but with Sob Story he executes everything perfectly, leaving listeners with classic pop sounds that are fitting for any time of day or year.

There’s a bit of guitar tinkering to open up Sob Story, but the warmth of Jones eventually makes its way through your speakers.  Ringing guitars and a stomping beat provide an energetic touch to Louis’ vocals, which seems to have a bit of a Southern drawl to it.  It builds the listener towards the immediate hit, “Heartbeat Behind. Chugging guitars offer a glimpse at traditional pub rock, yet the chorus pulls back with a softer side of things, rather than ramping up the speed for the expected release of tension.  This tune demonstrates the balance and care put forth in the songwriting, never going too far into one musical realm without venturing into another.

While the majority of the numbers on the latest Spectrals release are short and to the point, we do find Jones experimenting with more expansive songs.  “Sob Story” is his first go at this on the record, sprawling and slide-guitaring all the way beyond the five-minute mark. Vocally, there’s a bit of fragility, leaving Louis exposed.  He doesn’t shy away, however, weaving his words around the twang of the guitar by stretching out syllables in an endearing fashion. The 3 minute mark reveals just how special his writing has become, musically.  But, while this song exceeds expectations, the bread and butter on Sob Story comes from the more compact tunes.

Personally, I like the swagger of a song like “Blue Whatever.”  Guitars ring out in this song, while Jones executes the lyrical delivery perfectly, bringing a smoothness to the track that helps it maintain its balance; the lightest touch of backup vocals doesn’t hurt either.  And, in the best fashion, Spectrals deliver a stomping number with “Keep Your Magic” that shows just how much territory the outfit can cover, while still treading water in the pools of classic pop.  The attitude is the same with the following track, “Gentle,” although the heritage of the American West resonates again with bits of slide guitar thrown in for accent marks.

Throughout the whole of Sob Story you can see that Louis Jones has a story to tell. That story seems far away from his home in Leeds, instead opting for the landscape of American pop songwriting.  He sprinkles bits and pieces throughout, yet he holds it all together fairly well, leaving you with a Spectrals album that sounds varied, yet very much in one place; you’ll have fun letting your ears live in that space.

 

The Mantles – Long Enough To Leave

mantlesRating: ★★★½☆

San Francisco and the Bay Area has been long time famous for their psychedelic pop and rock music, so it’s no surprise that The Mantles hail from the West Coast, and this area specifically. In 2009 they released their self-titled debut, which made for a running start for the band, and put their name out for fans to gather behind. That first album won people over with its tighter approach to jangly rock music, and Long Enough to Leave is set to do the same.

First up to start the jangly jams is “Marbled Birds,” which features some prominent precision riffs and gentle, far away percussion. The song itself feels very laid back and easy, but the lyrics, given to you swiftly by vocalist Michael Olivares, paint a picture a bit more complex than you’d imagine for a garage rock band like The Mantles. This imagery, evoked early on, hooks you on what this group is putting out, and lets you know from the start that this is not going to be one of those throwaway albums that you burn through a few times and then sits on your shelf. Though the album isn’t exactly filled with exceptionally long tracks and you do move from track to track fairly quickly, each number turns out to be more detailed in lyrics than you’d expect, and more tightened up within the loops of electric guitar buzzing in the background.

My one and only qualm with Long Enough to Leave is that some stretches of the album tend of blur together. Sometimes, the distant percussion leaves too much to the vocals and guitars to carry the music and lends itself to a lack of variety to separate out the songs. Alas, this is thankfully not the case for the whole album, as the band spices the music up with standout tracks at beginning, middle and end. One of these exceptional numbers, and contender for best song of the album is middle of the road; track five, “Raspberry Thighs.” Something about this song, perhaps the softer vocals from Olivares, or the more tender guitar parts gives it this beautifully nostalgic feel to it, though it isn’t any slower or radically different than the other numbers; the differences are subtle, yet effective in changing the pace of perception.

At the end of Long Enough to Leave, you finish strong with the penultimate track being yet another highlight in “More That I Pay.”  This time it’s fast and high energy for the group—short and sweet leading into the slower burning last track to round things out. The album is all in an all interesting and encourages repeated listens, which is sometimes not the case for jangly garage rock. Have a listen or two.

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