Hill was the band’s bass player for more than 50 years. During his life, probably to his own surprise, he and his band mates became cultural and musical icons, even appearing in an episode of The Simpsons, television’s longest-running sitcom.
Band members Billy Gibbons and Frank Beard issued the following statement just a few hours ago:
“We are saddened by the news today that our Compadre, Dusty Hill, has passed away in his sleep at home in Houston, TX. We, along with legions of ZZ Top fans around the world, will miss your steadfast presence, your good nature and enduring commitment to providing that monumental bottom to the ‘Top’. We will forever be connected to that ‘Blues Shuffle in C.’
“You will be missed greatly, amigo.”
Earlier this month, Gibbons and Beard performed for the first time without Hill in more than 50 years. They stated that he had “to address a hip issue” although Hill was reportedly in more serious condition than the public was aware.
The relatively new U.K. indie rock band, Regressive Left, returns with a kick-ass new single that follows an impressive streak for the band since they premiered last year.
The booming, banging new single, “Cream Militia” features a hard-hitting bassline and spooky, aggressive dance beats coupled with and trippy synth/electro pop effects (from Delia Derbyshire) that lend to the overall ambience of the track.
Earlier this year, the band dropped the equally intense, hook-friendly and dance-inspiring single, “Eternal Returns”.
The band is slated to perform at U.K. fests like End Of The Road and Wild Paths.
From the first verse heard on Hideaway — the latest album by the Nathan Williams-headed project Wavves — it becomes clear that the singer is on the defensive. “Oh I don’t love the people? / You never even met me before” he sings on “Thru Hell”, the album’s opening surf-punk track. “Thru Hell” is the kind of track that’s become expected from Wavves: aggressive, self-deprecating, playful in a laughing-through-the-pain kind of way. He’s still aware of his contentious demeanor, likely not only in the context of the song but in the context of his career overall, one that’s been particularly plagued with PR missteps. In other words, little about Wavves has changed.
For the past decade, the band has built a readily identifiable (if increasingly derivative) discography; indeed, “Thru Hell” bears resemblance to the title track of 2010’s King of the Beach, which also served as its opener. To be fair, Hideaway does offer up some punk songs infused with genre experimentations that help prevent such a knee-jerk dismissal. It’s an achievement possible thanks to TV On The Radio’s Dave Sitek, who produced the album and was enlisted to give life to these songs that were previously workshopped by the band in abandoned studio sessions. Sitek would play Williams obscure honky tonk songs and Johnny Cash deep cuts; their influence on Hideaway is undeniable. The guitar riff that enters halfway through the straightforward surf-rock ballad “Honeycomb” gives the song a distinct country-western flavor. Williams further embraces the genre on “The Blame”, a rambling track that sees Williams hone in on his lower vocal range to evoke Cash’s crooning.
These ideas offer glimpses into a future for Wavves that isn’t so reliant on the sound that’s been their bedrock since King of the Beach. At the very least, they’re newer ways to deliver Wavves’ blend of depressing albeit catchy rock. “You say the grass is greener on the other side / But I know the truth is that everything dies,” Williams sings on the album’s title track. The teasing guitar notes plucked on the verses of “Planting A Garden” bears a passing resemblance to Pavement, but the choruses just as quickly return to the loud, angsty guitar playing heard on any generic punk-rock track. Hideaway also has Wavves venturing into the indie-pop territory of yesteryear; the playful “Sinking Feeling” wouldn’t feel out of place on an aughts-era Tegan and Sara record. Here, the approach is fleshed through its entire runtime, which only makes the more obvious ‘Wavves’-type tracks get lost in the shuffle (the album’s most aggressive song, “Marine Life”, can’t compete with, say, “Super Soaker”).
Hideaway marks the project’s return to Fat Possum, which released the early LPs Wavves and King of the Beach. Yet, returning to the label only seems to highlight Williams’ current predicament; despite the label hopping, the independent releases, the decade of time spent away, Wavves still hasn’t changed much. Take the single “Help is on the Way”, easily the album’s most hook-laden and accessible track. However, the title belies the song’s cynical message: “Nothings gonna stay okay / I’m getting used to it.” Williams isn’t hopeful, he’s struggling to come to terms with the place he’s found himself in 2021. No wonder he’s on the defensive.
58%
The post Album Review: Wavves – Hideaway first appeared on Beats Per Minute.
We’ve been digging newly-discovered indie/DIY artists and bands for the past couple of weeks in dee mail (aka, via our submission box). Some fantastic rarely-heard songs have been on repeat here in the cafe. They include the following artists and bands you need to hear. Please like, follow, and share to encourage highlighting talented, unstated musicians and bands, especially at a time when the already difficult situation for DIY artists has been exacerbated by the ongoing pandemic. (And, yes, for the top10-dedicated, we’re working on the new ones; stay tuned). Lots of great music so far this year.
Icarus Phoenix – Provo, Utah Matthew McNeal – Fort Worth, Texas Ora Violet – London, England The Slow Glow – Stockholm, Sweden The Red Curtain Affair – London, England
Icarus Phoenix – “All The Same”
Provo-based indie artist Icarus Phoenix hit our inbox with this sweet folk-rock track, “All The Same.” The music conveys a certain urgency but in much calmer tones than one would otherwise expect. A somber underbelly is delivered through textured notes and vocals.
The prolific Utah musician behind the moniker is Drew Danburry, a musician, filmmaker, animator, dad/husband, skateboarder, and barber. His new single is accompanied by a video of his own animation using hand-drawn index cards. That said, Danburry expresses angst at the difficulties of daily life these days, singing: “When I find myself in suffering/when I find myself in pain // Am I guilty of dishonor? Can I find another way?”
Since 2002, Danburry has performed more than 800 shows worldwide and dropped 20 albums and 13 E.P.s. “All the Same” is off of the forthcoming second album via his Icarus Phoenix moniker. The album, ‘No Tree Can Grow to Heaven Unless Its Roots Reach Down to Hell’ is available on tape and digital.
Matthew McNeal – “Tired of Believing”
With warm 1970’s vibes, relaxing instrumentation, and soft vocals, Fort Worth-based singer/songwriter Matthew McNeal‘s “Tired of Believing” is one of the most touching DIY singles of the summer. McNeal is an alluring songwriter with a knack for existential pondering.
After teaming up with Joey McClellan (BNQT, Israel Nash) and McKenzie Smith (Midlake, St. Vincent) for his 2015 release ‘Compadre’, McNeal and company aim to “bring an unorthodox feel to their music, pushing poetic storytelling forward atop a range of musical genres. ”
The talented London indie/alt. rock band Ora Violet has been pumping out a series of strong tracks since forming a couple of years ago and getting airplay and reviews in various blogs and zines. The band’s newest single, “Have You Met Me,” is a testament to the band’s rising profile. Ora Violet was even publicly lauded by The Strokes’ producer Gordon Raphael.
Ora Violet fuses rock influenced by bands like Raconteurs and Queens of the Stone Age with early 1970’s proto-punk in the vein of bands like The Stooges and The Modern Lovers. The duo is comprised of multi-instrumentalist production duo Black Tiles and guitarist Nick Ferman.
About the song (from the writer/band): “Influenced by Grinderman, Elizabeth Wurtzel, Marmaduke Duke & Ernest Hemingway, the song was inspired by the realization that the same way we go down, we come back up; gradually and then suddenly. The antihero protagonist has lived a life of unapologetic excessive in all ways and despite nearing the end, the statement is clear… I won’t go down.”
Vocalist Jeet Mulkerj and bassist Adam Liston also contributed to the song.
Stockholm lo-fi indie rock one-man band, Diego Garcia – who records as The Slow Glow – is also a multi-instrumentalist. His new single, “Loco,” is something to behold.
“‘Loco’ means many things in Spanish; it means ‘crazy’ but also ‘dude’ in certain parts of Latin America,” Garcia wrote to IRC. “I wrote and recorded the song in one go one afternoon in my living room as a sort of mantra for myself and it’s the song that got me signed to Lacreu Records, an independent cassette label based in Barcelona, Spain. I think right about now we could use some calming down.”
The Swedish-based Venezuelan-born musician’s influences include King Krule, The Beach Boys, Lou Reed, Mac DeMarco, Blood Orange, and Homeshake. He plays guitar, fake bass, snare drum, and synths. Garcia toured for several years under the Hotel moniker and released three EPs.
The Red Curtain Affair – “We’re All in the Same Boat”
Another multi-instrumentalist featured in this post is The Red Curtain Affair, a project of London musician Alexander Tarel. His new single, “We’re All in the Same Boat” showcases his fusion of unique funky rock with spices from world music. Tarel’s musical influences include The Smiths, The Cure, and Jimi Hendrix.
Tarel’s song description: “A feel-good U.K. indie rock song with rather depressing lyrics, a funky baseline to dance to, and a virtuoso guitar solo written in a dream.”
The final of Unknown Caller‘s summer releases, “Borderline,” caps off the impressive run as a funky pop success.
Hazy synth pulses, funky rhythms, and charismatic vocals lead, reminding fondly of Toro y Moi’s aesthetic.
The NYC-based artist builds upon the funky suaveness with satiating results, the “I’m the boy,” rise captivating with heightened guitar and rhythmic emphasis. A smooth bridge around 02:20 — “can’t stop feeling paranoid,” — adds the feeling of a slowed-down jam to the mix, thoroughly succeeding, as the rest of the track does.
The track follows up “Waste Our Time” and “Sometimes” (feat. Noah Chenfeld).
Unknown Caller explains more about “Borderline” below:
“It’s about that transitional period of a relationship when you’re getting to know someone and everything clicks, but you’re both figuring out if a relationship is something you can balance. It’s also more broadly about being on that midway point – on the borderline of switching jobs, moving cities etc. My mid-20s often feel like a changing phase of my life and I wanted to capture that feeling.”
The final of Unknown Caller‘s summer releases, “Borderline” caps off the impressive run as a funky pop success. Hazy synth pulses, funky rhythms, and charismatic vocals lead, reminding fondly of Toro y Moi’s aesthetic. The NYC-based artist builds upon the funky suaveness with satiating results, the “I’m the boy,” rise captivating with heightened guitar and […]
What is your favorite food? Celebrate a playlist of rock bands with food names.
To many, food is the way of life. For a foodie, trying new food or snack is pure thrill. Cuisines from different parts of the world have their own unique taste and flavor. In the realms of music, different types of foods and their expressions are hugely popular. Many musicians actually find inspiration to include food ideas in their bands name. Rock bands in particular have taken food inspired themes to a whole new level.
Significance of Food Names in Musical Groups
Musicians may mention food items in their band names for a variety of reasons. The vision of every group of musicians differs in accordance with their perspective. A creative thought process is implemented to come up with names that are unique in identity. The name of a specific food may be included with other words to bring about dynamism. Sometimes, food names are used as connecting terms with other words to highlight a deeper meaning. Certain musicians may arrange words to showcase a double entendre.
Certain musicians love to add contradictory elements from different genres to bring uniqueness to their band name. The name of a food is sometimes added with contrasting words that bring aesthetic value to a name. Food ideas may be incorporated in band names to give theatrical identity or make something absolutely illogical sound adorable. Sometimes nonsensical words are combined with food ideas to come up with whacky band names.
What Is the Purpose of Mentioning Food Items in Band Names?
The purpose of mentioning food items in band names is to acquire a uniquely distinctive identity. Foods mentioned in band names may represent a diverse perspective related to varied attributes. Musicians may implement a logical concept or something totally illogical to convey a meaning through their band name. Specific types of food maybe picked as names represent their unique qualities. Food may also be used as a metaphor to express a mystical concept.
Sometimes members in a musical group like to bring in a certain amount of absurdity by combining food-themes with words. A number of bands combine vague words with the intention of sounding outlandishly different. This is often done to build a conceptual identity to promote the band as a brand. Food related themes may also be incorporated by group members as their band name while having fun with words during a brainstorming session. Commonly mentioned foods in band names are
Fruits
Vegetables
Meat and Poultry
Fish and Seafood
Desserts
Fruit Preserves
Nuts & Seeds
Beverages
Dairy Products
Sweets
Grains and Legumes
The list below showcases a diverse collection of rock bands, alternative rock bands, indie rock bands, garage rock bands, punk rock bands, pop-rock bands, hard rock bands, blues rock bands, country rock bands, gothic rock bands and heavy metal bands that have food in their names. If you have a view, opinion, or band suggestion, let us know in the comments section.
The narrative style of this track spoke to me from first listen. I also really appreciate the unhurried composition style. In a world of so many handclaps and “get to the hook as soon as possible” tunes, it’s nice to hear a delightfully expressive tune. The lyrics are more prosaic than a typical folk song (in the best way possible).
But there’s nothing I could say here to prepare you for the energy and power of the guitar solo that rips into the middle of this lulling acoustic folk tune. The juxtaposition is as satisfying as it is surprising. This is a gem.
Michael Witt – “Older”
This is a gorgeous composition. The acoustic guitar is the heartbeat, but the rest of the strings make this a magnificent chamber folk piece. Actually, heck with the genre stuff, this is just a really interesting song. It has layers of complexity that all serve one purpose; to convey the lyrical message about reflecting on a complex moment in life.
I will say the main melody reminds me of “Oceans” by Hillsong United. That said, the personable lyrics and impressive guitar work definitely stand out for us on this one.
Chris Ho – “Borrowed Books”
There’s something gently rewarding about this track from Chris Ho. The acoustic guitar works in perfect balance with the backing track on this one. The overall energy is genuinely calming. If you’re a book lover (like many music lovers, I’ve found), then this song’s lyrical theme will connect deeply and personally.
It’s a love song, but it’s also about the feeling in the soul experienced with connecting to another’s world. This is a remarkable piece of music with some subtle harmonies that connect perfectly with the mood of the track.
Charm of Finches – “Concentrate on Breathing”
The harmonies from Charm of Finches are worth their own post, feature, and round of applause. Then, in addition to the glorious vocals, the rest of the track has this mysterious “wild west” meets a mystery novel… the vibes are absolutely remarkable. I don’t know the entire story behind the mystical sound this band creates, but I am here for the atmosphere that it creates.
If you’re looking for folk music that doesn’t sound like every other hand-clappy good time band out there, check out Charm of Finches esoteric-yet-endearing aesthetic. They are delightful.
Sammy Copley – “Marsha”
From the very first time I heard Sammy Copley, I was reminded of the great Anna Tivel. The expressive vocal lines all feel quite intentional. The phrasing is expertly done. The piano, too, plays a pivotal role in creating a calm yet poignant message from the song. The annunciation and clarity in the vocals feel poetic as much as actual singing; it works incredibly well.
This is a kind of heady folk music that speaks to our souls here at ETTG. If you are looking for a chamber folk aesthetic with an amazing lead vocal and thoughtful lyrics, give Sammy Copley a spin.
Canada’s Arkells have just announced their sixth studio album Blink Once will be released on September 30th.
Coinciding with this news, the band has also shared a brand new single and video for soul pop banger “One Thing I Know” .
Blink Once follows on from the acoustic album Campfire Chords, a collection of re-imagined Arkells classics, as well as recent singles Years In the Making, All Roads and You Can Get It. The latter features K.Flay on vocals and was featured in the launch trailer for the video game “Forza Horizon 5”.
The track charted at #1 at Canadian Alternative Radio where it remained for four weeks.
Speaking about Blink Once, frontman Max Kerman commented:
Now more than ever, it seems our lives can change in the blink of an eye. We began working on this album before the world changed and this title felt right given where we’ve collectively landed. Everyday you wake up and you think you know a lot of stuff, then it turns out – you don’t.
On new single “One Thing I Know” the charismatic singer adds:
This song is about not being ashamed of who you are and where you come from. The best version of yourself lets your colours show – to feel free, weird and unburdened by all the things out of our control.
Blink Once artwork and tracklisting
Liberation
You Can Get It (ft. K.Flay)
All Roads
Strong
One Thing I Know
Truce
Nobody Gets Me Like You Do
Swing Swing Swing
No Regrets
Years In The Making
Arm In Arm
The post Arkells reveal new album ‘Blink Once’ appeared first on Indie is not a genre.
Continuing a consistently impressive run of singles, Retro Video Club today return with their new single, Disaster. The track is a siren call that couldn’t have come at a better time, an exciting number driving home the message that the end is in sight. Listen below.
Coming in at just under 3-minutes, Disaster holds strong instrumentation which brings a high energy to the track. It’s destined to be a highlight at the band’s live shows later this year.
Speaking about the track, the band state ‘Disaster is a song about the thrill of the chase and the chaos that ensues when you reach the finish line’.
Retro Video Club have a massive catalog of new music ready for release, which sees the band free themselves from the chains of being a 4-piece band, ‘We’re just freer and the songs are more interesting because of it. I’ve always stressed we just write pop songs and just dress them up as an indie rock outfit,” says frontman Liam.
The band has also recently announced that they will be embarking on a headline tour throughout November, whilst also being set to play a huge show at Glasgow’s SWG3 on 26th August. On top of this, Retro Video Club will also be supporting The Kooks at their Glasgow show next February.
With their new tracks, Retro Video Club is full of life and ready to play huge stages, and with more to come, it’s set to be a big year for the band.
The post Retro Video Club Share New Single ‘Disaster’ appeared first on Indie is not a genre .
The post-reunion phase of a rock band’s lifespan can be a strange period to navigate. Provided the fans are on board, it is often a chance to make the sort of serious bucks that are out of reach during a band’s first flush. But a reunion often lays out an unwritten contract of expectations between band and fans; we want the nostalgia, we want the hits, do it this way, not that way.
In this respect, Sleater-Kinney have not entirely followed the letter of the deal. Their second post-reunion album, 2019’s St Vincent-produced The Center Won’t Hold, felt like a makeover of sorts, the roughness and rage of the band’s early days subsumed in a glossy, radio-friendly production that divided critics and fans alike. But the real shock came when, a month before the album’s release, drummer Janet Weiss announced she was leaving the band, citing Carrie Brownstein and Corin Tucker’s increasingly exclusive musical partnership: “I said, ‘Can you tell me if I am still a creative equal in the band?’ And they said no. So, I left.”
For a band often used as a byword for feminist solidarity, this sudden intrusion of personal animus came as a shock. But then, Sleater-Kinney have always been about kicking out against the expectations loaded on women. As Carrie Brownstein has it on Complex Female Characters, one of the standout tracks from their 10th album Path Of Wellness: “You’re too much of a woman now/You’re not enough of a woman now”. It’s that old story, so familiar to female musicians: damned if you do, damned if you don’t.
Path Of Wellness was written and recorded in the long, hot summer of 2020 in Portland, Oregon, with Brownstein and Tucker assisted by a host of local musicians. It is the first album that Sleater-Kinney have produced entirely by themselves, although that doesn’t mean a return to the raw riot-grrrl sound of old. On the contrary, there’s a full, rich quality to the record, which is thick with Wurlitzer and Rhodes, and often echoes various genres of a ’70s vintage – country and glam, funk and hard rock. The latter, in particular, powers some of the record’s best moments. High In The Grass is an exultant summertime anthem steeped in the histrionics of ’70s rock: “We lock when the pollen’s up/We love when the party’s on”. Wilder still is Tomorrow’s Grave, a knowing tribute to Black Sabbath that makes some entertaining rock theatre out of that band’s doom-laden clang.
As Path Of Wellness came together, the state of Oregon was in a strange flux, grappling with the pandemic, encroached on by wildfires, and gripped by protests against racial inequality that saw police suppressing crowds with batons and pepper spray. In places the album seems to address this explicitly. Favorite Neighbor is a righteous skewering of hypocrisy that accuses those “putting out fires/When your own house is burning”, while Bring Mercy finds Tucker singing, “How did we lose our city/Rifles running through our streets…”
Elsewhere, the turbulence outside seems to have brought out a reflective tone. The title track uses the language of self-help and self-care to interrogate personal insecurities, while the sleek, funky Worry With You addresses that feeling of anxiety when the shit has hit the fan and the loved one you need is out of reach. Once upon a time, Sleater-Kinney records were righteous and declamatory. More often here, the tone is open and inquisitive, a band trying to find their bearings when the times are a-changin’.
In an interview about her departure from the band, Janet Weiss spoke of the tight relationship between Tucker and Brownstein: “I just think the two of them are so connected and they really agree on almost everything.” Listening to this new clutch of songs, you’re often reminded of this. Even as Path Of Wellness grapples with the world outside, its songs often speak the intimate language of a private conversation – the words of one friend, or lover, to another.
Fans who listened to The Center Won’t Hold and baulked at its lack of righteous rage might also find moments here wanting. But Path Of Wellness proves Corin Tucker and Carrie Brownstein haven’t forgotten the empowering, life-giving qualities of rock’n’roll fun. Sleater-Kinney are turning their reunion years into a reaffirmation of the importance of support and solidarity on a private, personal level. As they sing on album closer Bring Mercy: “If it’s coming for us, darlin’/Take my hand and dance me down the line”.
The post Sleater-Kinney – Path Of Wellness appeared first on UNCUT.
Indie rock trailblazing artist Thom Yorke has released an interesting remix of the epic Radiohead indie song, “Creep” originally dropped for a fashion show in Japan earlier this year.
Yorke took his landmark hit single and made it a little bit different, slowing down the acoustic version of the track, adding some eerie synths, and expanding it from just under four minutes to a total of nine minutes.
The remix is accompanied by a wild new music video by Jun Takahashi.
Earlier this year, Yorke unveiled a new band project, The Smile, along with Johnny Greenwood and Semi of Kemet drummer Tom Skinner. The singer also announced the partnership with longtime Radiohead producer Nigel Godrich.
Radiohead, along with other Oxford music groups such as Foals, Glass Animals and Supergrass, was recently sponsored by local music magazine Nightshift and raised £ 12,000. They produced “Kid A” vinyl records and financial programs for bands who are struggling to recover following the pandemic.
Snapped Ankles, a group of anonymous British musicians who dress up in what looks like ghillie suits designed by Matthew Barney, have elaborate mythology around their new record which involves a character called The Cornucopian.
This is their avatar of the capitalist glutton, the hedonistic striver who reaches for material luxuries they can hardly afford. The character is given voice in this song, a crazed carnival tune that sounds like it should be signifying a good time but actually feels sweaty, paranoid, and unbalanced.
The vocals strongly resemble that of The Fall’s Mark E. Smith in tonality, phrasing, and sentiment as they spit bitterly sarcastic lines such as the opening “it’s a great time to be alive if only you’ve got some funds.”
The ideas they’re working with could come off a bit too didactic in lesser hands but this lot stays on the right side of satire and wisely place their greatest emphasis on rhythm and texture. You never need to pay attention to the words or look into their context to understand exactly what kind of bad – but still fun! – vibe they’re putting across here.
