BOSTON, Mass. – An ode to Woody Guthrie, Okemah Rising, the new album from Boston-based punk rockers Dropkick Murphys, is a triumphant celebration of resilience and hope.
The album is a tribute to the band’s roots and the blue-collar spirit of their hometown, and it showcases their signature blend of punk rock, Celtic folk, and socially conscious lyrics.
From the opening track “Middle Finger,” which is a blistering call to arms against oppression, to the closing anthem “Until the Next Time,” which is a moving tribute to the band’s fans and the power of live music, “Okemah Rising” is an exhilarating ride.
The album features explosive guitar riffs, driving rhythms, and infectious sing-along choruses that are sure to get any crowd jumping.
Throughout the album, Dropkick Murphys tackle a range of issues, from the struggles of working-class families (“L-EE-B-O-Y”) to the fight for social justice (“The Bonny”) to the enduring power of friendship and community (“Mick Jones Nicked My Pudding”).
The band’s lyrics are thoughtful and incisive, and they are delivered with a raw and passionate energy that is impossible to ignore.
One of the standout tracks on the album is “Queen of Suffolk County,” which is a tribute to the band’s late friend and former tour manager, Billy Sullivan.
The song is a heart-wrenching ballad that showcases the band’s emotional depth and their ability to connect with their audience on a personal level.
Overall, “Okemah Rising” is a tour de force from one of the most important punk rock bands of our time. It is a powerful reminder of the power of music to inspire and unite people, and it is sure to be an instant classic in the Dropkick Murphys’ catalog.
If you are a fan of Woody Guthrie, punk rock, Celtic music, or socially conscious lyrics, then this album is a must-listen.
January 2022 has been a fairly strong month for notable new album releases.
The first half of the month included new LPs from big indie bands like The Lumineers, The Wombats, Cat Power, Bonobo, Elvis Costello, Blood Red Shoes, Spector, Burial and others.
The second half of the first month of 2022 continued the flow of releases from favorites like Broken Social Scene, Beirut, EELS, Yard Act, Silverbacks, Palace and Years & Years.
In This Volume:
Artist/Band
Homebase
Album Title
Record Label
Genre
BROKEN SOCIAL SCENE
Toronto, Ontario
Old Dead Young (B-Sides & Rarities)
Arts and Crafts
(alt./indie rock)
Beirut
Sante Fe, New Mexico
Artifcats
Pompeii
(indie rock/pop)
EELS
Los Angeles, California
Extreme Witchcraft
E Works
(indie rock/pop)
Yard Act
Leeds, England
The Overload
Zen FC/Island
(indie rock/avante garde)
Palace
London, England
Shoals
Fiction
(indie rock/pop)
Years & Years
London, England
Night Call
Polydor
(indie rock/pop)
After a blockbuster year for 2021 album releases, it looks like 2022 is shaping up to be a year where a bunch of veteran indie/alt rock giants are set to drop new and highly anticipated albums.
These include new releases from what one could mistaken as a line-up for veteran indie/alt bands like Built to Spill; Spoon; Pavement; Sloan; Urge Overkill; Slowdive; Guided By Voices; Spiritualized with rumors/hopes of new albums from My Bloody Valentine and The Cure.
All said, the second half of January 2022 releases (drop dates: Jan. 21 and Jan. 28) has plenty of great indie music to keep all of us busy.
First things first: we’re a little bummed that BMG moved Band of Horses‘ new album – Things Are Great – from its initial January 21st drop date to March 4th.
That said, Ben Bridwell and friends have shared three tracks from the LP, including BOH-style pleasers like “Crutch” and “In Need of Repair” as only they can do.
Another veteran, influential and amazing indie rock band (more like a collective), Broken Social Scene returns in ’22 with an double-album titled Old Dead Young (B-Sides & Rarities). (Beirut also just dropped a 26-track double album of previously recordings; outtakes; previously-unreleased songs, B-sides, etc.)
Even though Broken Social Scene‘s new album is not technically a ‘studio’ release of new material, BSS die-hard fans are sure to enjoy the B-sides and ‘rarities’ treat.
Of course fans of BSS would welcome with wide-open arms an album of new material, especially following the success of 2017’s Hug of Thunder. In the two decades of existence, BSS has released just five albums.
And while the collection just dropped for streaming, a handful of album tracks have already racked up hundreds of thousands of streams, and not surprisingly mostly for the beautiful folksy chill of “This House is On Fire” or the surreal alt. art rock on “Canada vs. America.”
Record Collector (80): "Between the weather-worn blues reflections of Hard Times and the euphoric lift of closer Coalinga, the sense emerges of a band rediscovering their footing, a little saddle-sore but riding tall once more.
Classic Rock Magazine (80): "The result is a minor wonder of wit, weight and emotion the Horses back to full gallop.
Pitchfork (68): "The Canadian indie rock band sorts through a largely subdued grab bag of material on this career-spanning set, highlighted by offbeat experiments and homespun, intimate moments.
Bandcamper swills1: "BSS was basically a Super Group before the fact. Their lineup all went on to be all stars. I really like hearing the B-sides and how they differed from other tracks that made the A-side cut.
BEIRUT – Artifacts
Not only does BSS have a collection of rarities, B-sides, and various recordings to offer this month, so doesn’t another huge indie band, and IRC favorite since 2007 (they were one of our first posts): Beirut.
The collection is a worthy edition to Beirut fans’ playlists, especially for die-hard fans.
However, for the average indie fan who may dig a few of Beirut’s tracks (if they’ve heard of them), the collection is not as essential as Beirut’s previous years’ releases, including the epic The Flying Club Cub (2007) which followed Beirut breakthrough debut album, Gulag Orkestar (2006).
Artifacts features popular new tracks like “Fisher Island Sound,” and the more modern, dance-oriented “Fyodor Dormant”).
“This song was written while staying in band member Ben Lanz’s old family cottage on the coast of Connecticut, on the Fisher Island Sound,” Condon explains.
“I played with the lines for years before trying to record versions of it in Brooklyn with the band. Perrin Cloutier had taught himself how to play a new button accordion beautifully, and the band was really sounding their best.
“I however, struggled in those years to put vocals on the songs and ended up scrapping a lot of the music from that era in this part of the collection due to fear, stress and self-doubt. I’ve come to rediscover some of these old songs in a different light since then, but they do remain a heavy reminder of unsteady times.
Artifacts chronicles the evolution of Beirut during the past 15 years. It also includes some of Condon’s earliest recordings from the tender age of 14 years old.
“When the decision came to re-release this collection, I found myself digging through hard drives looking for something extra to add to the compilation,” Condon said in the liner notes for Artifacts.
“What started as a few extra unreleased tracks from my formative recording years quickly grew into an entire extra records-worth of music from my past, and a larger project of remixing and remastering everything I found for good measure.”
From XSNoise writer Michael Barron: “The strongest songs on this double album are the EP’s and the B-sides when Zachary had finally met bandmates Paul Collins and Nick Petree, who had taken Middle Eastern percussion classes and knew his way around a Darbuka drum.
“Condon, at this stage, knew how to channel and develop his experimentation. The influences of the minimal German electronica, hip hop and various mixtapes play a less prominent role, and the organic world music sounds come to the forefront. For example, the Portuguese Fado-style guitar over the main melody and trumpets across instrumental “Die Treue zum Ursprung” form the sound template that would eventually provide Beirut with international acclaim.”
EELS – Extreme Witchcraft
This past week sees the release of album #14 for indie vet Eels.
Extreme Witchcraft is a twelve-song album co-produced with PJ Harvey producer and guitarist John Parish.
It marks the first collaboration between Eels frontman (only man) Mark “E” Oliver Everett and Parish since 2001’s Souljacker.
“John Parish is one of the most even-tempered and polite people I’ve ever met. A true gentleman. In fact, he’s probably the most polite person I’ve ever met. But when he gets into the studio, he becomes a mad scientist. When you make music with John Parish you get things that no one else has. He has a really unique tool kit and a unique musical attitude. Maybe his politeness is a coping mechanism to keep Mr. Hyde in check when he’s not in his lab,” E said.
Eels advanced the first single “Good Night On Earth” last September. The album is available on CD, LP and as a limited edition double box set on transparent yellow vinyl (45 RPM, 180 g). The CD includes a digipak with a booklet, a lenticular print of the album artwork, an Extreme Witchcraft Ouija board with Eels’ planchette and a A5 sticker sheet.
It’s amazing to release that singer-songwriter and multi-instrumentalist Mark Oliver Everett first founded Eels back in 1991 – over 30 years ago. Since band members have changed frequently over the years, Everett is the only official Eels’ member with 13 studio albums, seven of which charted in the US Billboard 200. Extreme Witchcraft marks LP #14.
Yard Act – The Overload
While we’re late to the Yard Act love fest, that doesn’t lessen the attraction and intrigue for this interesting and unique no-wave/punk band from Leeds, England.
In recent months, the band has crossed many music bloggers’ radars, including ours, and has become a buzz-band for 2022.
Yard Act’s full-length debut, The Overload, is a rousing, ‘talkie’ punk rock trip that is garnering praise from critics and music lovers alike. Comparisons with bands like The Fall (an obvious heavy influence) and the Parquet Courts are appropriate.
Under The Radar(90): "At its heart, The Overload is a hugely impressive debut bubbling with sardonic wit, wisdom, anger, and compassion.
The (UK) Telegraph(80): "The Overload is a very fine debut from a group that sound like they think they are smarter, funnier and fiercer than all of their peers, and just might prove to be.
PopMatters (70): "Interestingly, the near-constant use of spoken word doesn’t ever become grating. The band have a knack for making their instrumentals minimalistic enough for the vocals to always feel natural while also unique.
Palace – Shoals
The third full-length release for British trio Palace was written during the first COVID lockdowns.
The Line of Best Fit (80): "With this album, Palace have offered a spiritual voyage through the fluctuations of life, and the uncertainty that holds its hand. If Shoals is anything to go by, Palace will be filling stadiums before too long.
Mojo (80) "It feels like Palace's first significant work.
DIY Magazine (70) "A more pure and intense sound, less manufactured and acutely heartfelt.
Yards & Yards – Night Call
The astronomical success of Years & Years in past years has a new chapter: Olly Alexander’s new ‘solo’ album Night Call has already garnered tens of millions of streams with the most going to “Starstruck” and “Sweet Talker”.
If you like to boogy, you may dig the mainstream-oriented dance record of Alexander’s new solo project – framed as such after two members of the once-blockbuster trio left for other projects.
AllMusic (80) "While Night Call builds nicely upon Years & Years' indie electronic roots, it primarily feels like a new beginning for Alexander as he boldly embraces his pop future."
Uncut (60) "Too often, though, good-not-great tunes can't quite make up for generic song structures and performances that seem to have lost a certain charismatic shine during the downsizing operation."
The latest full-length release from the Japanese post-rock band Boris is its first on the Sacred Bones label.
The Wire (80): "Where NO was extreme in its attack, W opts to let the group dream, as a more acoustic angle is explored – with Wata’s ephemeral vocal being an ever present guiding spirit force that trails like incense smoke through the songs."
One of indie/alt rock’s best artists of the past decade, San Francisco guitarist and songwriter Ty Segall, has dropped a new video single, “Feel Good.”
And, yes, it does feel good, in an edgy, swaggering way. “Feel Good” chugs along with a throbbing beat and spikey guitar riffs. Denee Segall lends sultry vocals and attire throughout. The storyline features the couple in various poses and driving an old 70’s gas-guzzler through the nighttime streets marked by vivid technicolor scenes.
It is from his riveting new album, Harmonizer, directed and produced by Joshua Erkman.
Segall also dropped a new tour list for a North American tour with the Freedom Band featuring of Ben Boye, Mikal Cronin, Emmett Kelly, and Charles Moothart.
According to Denée Segall, the track is meant to reaffirm the concept that whatever makes someone ‘feel good’ should be unrestrained, even encouraged “be it emotionally, physically, or beyond. It’s also about extending this sentiment to another who might desire this same sort of freedom but needs a little encouragement. It’s an ode to the joy that comes from loving and supporting one another unconditionally.”
Go-to assistant producer Cooper Crain was instrumental in creating the sound on Harmonizer. The LP is the first album to be recorded in Segall’s brand-new Harmonizer Studios.
From the blog Northern Transmissions: “Cooper’s own journey in rhythm, minimalism and DIY mines the depths around Ty’s vocal attack and the never-ending search for unfathomably corrosive guitar sounds. With an eye towards precision, feel, and explosive mass.”
Ty Segall & Freedom Band’s 2021-22 Tour Schedule
Fri. Aug. 20 – Las Vegas, NV @ Psycho Las Vegas Sun. Sep. 5 – Los Angeles, CA @ Teragram Ballroom Mon. Sep. 6- Los Angeles, CA @ Teragram Ballroom Thu. Sep. 9 – Solana Beach, CA @ Belly Up Tavern Sat. Sep. 11 – Chicago, IL @ Pitchfork Music Festival Mon. Sep. 13 – Los Angeles, CA @ Teragram Ballroom Tue. Sep. 14 – Los Angeles, CA @ Teragram Ballroom Wed. Sep. 15 – Big Sur, CA @ The Henry Miller Library Thu. Sep. 16 – Sacramento, CA @ Harlow’s Sat. Sep. 18 – Petaluma, CA @ Phoenix Theater Fri. Oct. 22 – Atlanta, GA @ Shaky Knees Festival Fri. Nov. 12 – Moreno Valley, CA @ Desert Daze Festival Mon. Dec. 27 – San Francisco, CA @ The Chapel Tue. Dec. 28 – San Francisco, CA @ The Chapel Wed. Dec. 29 – San Francisco, CA @ The Chapel Thu. Dec. 30 – San Francisco, CA @ The Chapel Fri. Dec. 31 – San Francisco, CA @ The Chapel Mon. Jan. 31 – Santa Barbara, CA @ Lobero Theatre Tue. Feb. 1 – Santa Cruz, CA @ Cocoanut Grove Historic Ballroom Fri. Feb. 4 – Portland, OR @ Crystal Ballroom Sat. Feb. 5 – Vancouver, BC @ Rickshaw Theatre Sun. Feb. 6 – Seattle, WA @ Showbox at the Market Tue. Feb. 8 – Sonoma, CA @ Gundlach Bundschu Wed. Feb. 9 – San Luis Obispo, CA @ Slo Brewing Co. Tue. Jun. 14 – Tucson, AZ @ 191 Toole Sun. Jun. 19 – New Orleans, LA @ Southport Hall Wed. Jun. 22 – Asheville, NC @ Orange Peel Thu. Jun. 23 – Baltimore, MD @ Ram’s Head Live Fri. Jun. 24 – Philadelphia, PA @ Union Transfer Sat. Jun. 25 – Brooklyn, NY @ Brooklyn Steel Mon. Jun. 27 – Boston, MA @ Royale Thu. Jun. 30 – Cleveland, OH @ Agora Theatre Sat. Jul. 2 – Minneapolis, MN @ First Avenue Mainroom Mon. Jul. 4 – Denver, CO @ The Mission Ballroom Tue. Jul. 5 – Salt Lake City, UT @ Metro Music Hall
As summer rolls along at a clip (like it always does), we’ve been listening to dozens and dozens of new DIY indie tracks sent in through our submission form. And as usual, we come across some really good ones that we are inclined to share with all of you. Some of these artists may not show up anywhere else on the blogosphere but that’s because we are able to detect talent and potential where the others can’t – which has been part of our brand since 2008.
This second volume of our favorite 2021 DIY Song Submissions features a bunch of noise rock, dream pop, shoegaze and more. (Please like and share if you dig).
Desperate Journalist – London, England Lucid Express – Hong Kong, ‘China’ New Math – Seattle, Washington Don’t Connect – London, England Burkini Beach – Berlin, Germany
Desperate Journalist – “Fault”
The fairly popular London-based indie/alt rock outfit Desperate Journalist belts out post-punk mixed with goth elements on the new track, “Fault,” in such a dreary and aggressive signal that it is borderline industrial rock/hardcore goth. And yet there is a gentle melancholy at play right along. Vocalist Jo Bevan’s vocals are fierce and firey, bursting with anxiety and fear.
The song’s lyrical content speaks to a situation in which the subject is basically about being stuck with bad decisions and not taking action to avoid bigger problems. Powerful shit.
Lucid Express – “Hotel 65”
Based in the precarious city of Hong Kong, five-piece indie rock band Lucid Express has dropped an impressive new single, “Hotel 65.”
It is the standout single so far from the band’s debut album dropped on July 16th via Kanine. The video for the song is described by the band as a collage of footage taken from the band’s travels in their native Hong Kong, as well as in Vietnam, Japan, the U.K. and the United States.”
“These flashes of scenery,” the band wrote, ” reflect the lyrical turns of the song, while being interspersed with the words themselves scrawled onto mirrors, notebooks and paper scraps.””
Shoegazed, fuzzy guitars wrapped around beautiful soft vocals make this dream-pop track one of the best of the summer so far.
New Math – “Lowe”
Multi-instrumentalist Chris Fish, aka New Math, busts out experimental shoegaze/noise pop to create blazing sonic artworks. This is on full display via his new album, Kudzu. If you’re a fan of experimental, noise pop or shoegaze, this is a place you may want to hang.
Fish, who is based in Seattle, picked the opening track, “Lowe,” as the first single from the album. The song, like the rest of the album, was and recorded during the quarantine “while I struggled with sobriety, the pandemic, and the collapse of society.”
“It’s not as depressing as it sounds,” he adds, ” I swear. The video is composed of edited stock footage, and I think it compliments the dreamy apocalyptic vibe.”
His solo ‘bedroom’ project began, he says, as “an acoustic drone experiment, Epigenesis (2013), and has since evolved into an experimental noise pop act [New Math].” Fish cites his top musical influences as My Bloody Valentine, Mclusky, and Kanye West.
Interestingly we also received a single the same week from the band Victims of the New Math. Stay tuned. ‘
Don’t Connect – “Burning Rubber in the Sun”
We don’t know much about the mysterious artist behind Don’t Connect, but we do know a few things. His name is ‘Charlie,’ he’s based in London, and his new song “Burning Rubber in the Sun” is fire.
Preferring to let his music speak for itself, “Burning Rubber in the Sun,” is a chilled acoustic guitar-driven slow-burner that picks up with percussion and rhythm in the second half of the track, a transition assisted by some taping effects.
Despite providing any more details about himself, the ‘unknown artist’ did provide some insight about the song:
“‘Burning Rubber in the Sun’ is a song written to capture the feeling of summer, escapism and the ability to forget about everything going on in your life and just have a good time.”
Obscure Sound wrote: ” The one-minute mark unveils playful interaction among guitars, synths, and a dose of backing strings; the feeling here is quite fondly reminiscent of Beck.”
Don’t Connect is aiming to drop his debut album Running soon.
Burkini Beach – “Crying at the Soundtrack”
Berlin indie rock guitarist/vocalist Rudi Maier didn’t provide many details his new single, “Crying at the Soundtrack,” simply writing: “I wrote a song to remind of the downsides of touring, haha. Thought you might like it.”
We do but we might like it even more if a song description came along with it. (Artists should really understand that the chances of them being featured on blogs greatly increases when a real song description is included. It gives the blogger something to post and it provides context. Additionally, an artist is much more likely to connect to listeners by providing a ‘behind-the-scenes’ description of the song.)
Anyways, Maier’s band, Burkini Beach, record and tour with him in between his projects and side gigs touring with Thees Uhlmann and Emperor XX and Das Paradies. The band members include Emma Elisabeth Dittrich (vocals), Simon Frontzek (keys, bass), Franz Neugebauer (drums), Sönke Corpus (pedal steel).
Burkini Beach has opened for indie bands like Cigarettes After Sex and Warpaint and include among its top musical influences Purple Mountains, Mount Eerie, and Phoebe Bridgers. The band was founded in 2017.
Make sure to follow us on whatever platform you choose to get more fresh, impressive singles from DIY/underrated DIY artists and bands.
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.
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.
“Alice” is a newly released track from Cape Weather, the Los Angeles-based collaboration of Natalie Smith and Eric Jackowitz. Entrancing vocals are complemented by contrasting elegant piano and buzzing guitar doses, captivating thoroughly from an aesthetic standpoint.
This week has seen Brit rock band, Frank Carter & The Rattlesnakes share their latest single, My Town, which features IDLES’ Joe Talbot. The track got its debut play as Annie Mac’s Hottest Record In The World on Wednesday and it was met with bounds of joy from adoring fans. Listen below.
The track sees Joe Talbot and Frank Carter unite as one, solidifying their place as the most exciting partnership in British music, it also allows Carter to assert himself as a vital voice in music, shouting out about injustice, politics, the patriarchy and toxic masculinity which affect each of us every day.
My Town is a metaphoric look at the nations mental health after a trio of strong lockdowns, visioning every person as a ‘town’ and its residents, with the town then representing the mental wellbeing of the person.
Speaking about the track, Frank states:
It’s easy to dissociate when it’s someone else’s problem but we are each responsible for keeping the streets clean, looking out for our fellow neighbours and acting with kindness and respect as we walk through life. We are then reminded that My Town looks just like yours, and no one gives a fuck at all and if we don’t start looking after ourselves soon then we are all going to be in big trouble.
My Town sees Frank Carter & The Rattlesnakes return with a new found immediacy and directness, punching out the speakers and really hitting home.
The Subways are back with a bang! After going on hiatus from 2016-2019, the Hertfordshire indie punks make their return with the politically charged new single Fight. The band, now a duo, also announce their signing to Alcopop! records and tease the release of their fifth studio album for later this year. Check out the video for Fight below.
Fight will be released on Friday, April 30h, on 7″ vinyl and comes with a bunch of bundle options. The track was inspired by the Black Lives Matter marches in the summer of 2020 and penned by guitarist and vocalist Billy Lunn in just a few hours. Lunn had attended one of the marches alongside a friend who for the first time found herself capable of expressing her experience as a black woman. Lunn said:
Fight is a letter in two parts: a gesture of solidarity with the Black community and communities of colour, as they face their daily oppression at the hands of systemic racism; and it’s a wake-up-call to the white community that such oppressions do in fact exist, and that we must acknowledge these oppressions and fight alongside marginalised communities as allies.
Fight is also the first single taken from the group’s forthcoming fifth album which they recently finished recording. It also marks the departure of drummer Josh Morgan, who left the band after recording was finished. The b-side features an interview between The Subways and rock duo Nova Twings about the Black Lives Matter movement.
The band have also confirmed their rescheduled UK tour dates with Art Brut for this autumn. Remaining tickets are available here.
In a two-and-a-half minute banger, Cucamaras have taken a simple riff and given it not only an entire personality but a life. Truly punk, the instrumental is simple but punchy and definitely catchy. Which is all you need really, isn’t it?
The guitar’s wiry and repetitive. It’s dizzying but not in a too-fast-on-the-roundabout way, more of an ah-I-can-feel-that-pint-now way. Everyone loves a great lead guitar, but it’s tracks like these that make you sit back and go “rhythm sections really are underrated, aren’t they?”. Like any good rhythm section, the bass and drums really tie the whole thing together. That riff simply wouldn’t work without the fulfilling low range sound of the bass. And the toms and kick are right behind that bass like a good mate backing it.
With half-chanted, half-spoken vocals, you can see the life the track will take once we’re all allowed back in venues and we’re smashing into each other again. Death Of The Social is a fantastic track as it is, but there’s this lurking feeling that it’ll be twice the track when performed live. It has the energy to create its own atmosphere. And it will.
If you haven’t heard of ASTN yet, you’re late to the game. The singer/songwriter/instrumentalist has the kind of talent that makes him a ticking time bomb just waiting to blow up. He’s been crafting a sweet indie-pop sound the past few years, and his latest single “What’s It Gonna Take” shows the fruits of his labor. It’s out now, in anticipation of his third EP coming this week.
“What’s It Gonna Take” is a syrupy and sweet groove that put both his voice and his guitar and piano skills on display. His charming croon wavers over the strumming chords and a wavy, vibey bassline. The whole thing is absolute flames, with a mature soulful feel and yet an indie boyishness at the same time.
Stream the song below, and stay tuned for the five-track project It’s Not That Serious, which is sure to be just as fire. Enjoy!
Manic Street Preachers have shared some new details about their upcoming new album.
After sharing a list of nine potential song titles back in January, followed by an Instagram post teasing a few lyrics, the band have now given another update on their 14th LP.
Speaking in the latest print edition of MOJO (via Contact Music), the Manics recalled their time recording the album at Rockfield Studios in Wales last year.
“I recorded my entire fucking bass parts with a mask on,” said bassist and lyricist Nicky Wire. “But it’s the most rehearsed we’ve ever been for an album.”
Describing the sound of the album, he added: “The catchphrase was ‘like The Clash playing Abba’ – The Clash when you felt they could play in any style.”
“It’s quite a subtle record. There are, always, guitars, but it’s very restrained for us, and really tasteful,” he continued. “It’s the usual thing, miserable lyrics, and great pop.”
Still awaiting a track from the album! In the meantime, here is something from the last:
On the first day of recording at Rockfield it began to snow; frontman James Dean Bradfield took this as a good omen.
“It was snowing. And when the first snowflake came down and you wake up to a beautiful blanket of snow, it was, ‘Yeah, this is going to be a really good record,’” he said.
The pair went on to explain that the songs they laid down were influenced by the ongoing coronavirus pandemic.
“I had a very smug idea of how I saw the world, but I’ve realized I’d undervalued absolutely everything in my life,” said Bradfield.
“I think that’s what the album became about,” he continued. “That’s what the music did, it found a way out of lockdown.”
“There’s a lot of exploring the internal galaxies of the mind on this album, and understanding,” said Wire. “It didn’t feel like the right time for spite. It’s more internalized, bathed in comforting melancholia, rather than a self-defeating one.”
He added: “I certainly feel like these are some of the best words I’ve ever written.”
Meanwhile, the Manics will play their rescheduled Cardiff Arena shows for the NHS in July 2021. The concerts were originally due to take place this December at Cardiff Motorpoint Arena, with one free for healthcare workers and the other a fundraiser for health service charities.
They’ve also announced more details of a show at Halifax Piece Hall on Friday, September, with support from British Sea Power, Adwaith, and The Anchoress. The latter recently released acclaimed second album ‘The Art Of Losing‘, featuring guest vocals and guitar from Bradfield.
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