We aren’t going to bore you with a long, drawn-out chunk of this review dedicated to the fact that the covid pandemic – and its effects on our society – have lasted too long. Instead, I’m going to put it like this: Extreme Witchcraft, the 14th album by Mark Oliver Everett’s long-running outfit Eels, isn’t his first quarantine album, but his second.
2020’s gentle Earth to Dora was itself a reaction to the fact that the pandemic had clipped the wings of Everett – or, as he prefers, simply E – one designed to give solace to his fans during that downtime. By the time E returns to the road and the stage, who knows how many albums he’ll have to promote? Will he be able to manage a hat trick?
The pandemic has lasted long enough, though, that life has begun to return to normal for Eels, and while Dora was produced entirely by E himself, Extreme Witchcraft reunites the band with PJ Harvey and Sparklehorse (not to mention Eels’ own Souljacker) producer John Parish, and with it, Eels return to their more rock-oriented sound.
This alone is a breath of fresh air for Eels fans who prefer the group at their most comparatively energetic – which has long been one of the most beloved shades of Eels – and who will easily sink into the grungier shades of Extreme Witchcraft, which help elevate songs like “The Magic” (among the best songs here) and “Better Living Through Desperation,” which are each packed with some pretty hefty firepower.
The most engaging of the bunch is also the most compelling: “What It Isn’t” oscillates between softly-delivered verses and jagged choruses. “If it is what it is, then I’ve got to say,” he coos as he trails off – just in time for the chorus to suckerpunch you in the jaw: “Then make it what it isn’t/ Shut up!” he howls over the track’s dramatic guitars.
This first official DIY edition of 2022 features new music from artists both familiar and those that are brand new to our ears.
King Gizzard & The Lizard Wizard – Melbourne, Australia Electric Lecture – Los Angeles, California Strangejuice – Perth, Australia The Flashcrackers – Dublin, California NEEDSHES – Tula, Russia HYDE OUT – London, England
King Gizzard & The Lizard Wizard- Butterfly 3001
As late arrivers (like really late) to the King Gizzard & The Lizard Wizard bandwagon of musical pranksters, their new drop is a remix album of hit (mostly hit) and miss mixes.
That said, the band’s abundantly creative exploits into offbeat, even wacky-rock, experiments are exciting artistic sonic paintings – like Picaso meets Pollock and they eat some shrooms. Once you start to dig into their discography, it becomes apparent why they have a loyal following.
Interestingly, the band has their own label – KGLW – and so, they are effectively DIY.
If you’re not on the King Giz and Liz Wiz band wagon, and remixes are not your favs, check out releases like 2016’s Nonagon Infinity or their last two studio releases – L.W. (2021) and K.G. (2020). Those might just be the ones that get you to hop aboard.
The guests making contributions include Vril, DJ Shadow, Yu Su, DaM-Funk, The Flaming Lips, and many others.
Electric Lecture – “Beam Me Up”
Los Angeles-based band Electric Lecture has dropped another new dream-pop/alt. country rock style single with the single “Beam Me Up.”
The new single follows a number of singles dropped by the band over the past couple of years.
“Reverse Evolution” plays like a laid back alt-country pop anthem that pulls together a wide variety of influences.
The track successfully marries elements of Tom Petty and Beck, while presenting an arsenal of inspired sounds unique to the new band. Reverse Evolution hits home in a familiar way, yet it’s unlike anything you’ve heard: ‘Reverse evolution/we want a war/find a solution?/we just want the war.’
Musicians and songwriters Bronson Taalbi and Greg Ansin, the band’s fronters, sing drunkenly in the chorus. This lyric says a lot about the state of some people in the world who are set in their ways instead of welcoming change.
“The ship is sinking!” Bronson sings out as overdriven guitar harmonies steal you away for a monster hook, and what happens next can only be described “as a deconstructed orchestra, flying through space at fiery speeds, and crashing onto a timpani that tosses us int
The third band member, Anthony J. Resta, is a multi-platinum producer, composer and guitar collector whose collaborations include Collective Soul; Elton John and Duran Duran among others.
Ansin, a songwriter, producer and filmmaker is the co-creator of the movies The Drive-In Horrorshow and Infinite Santa 8000.
Taalbi, a singer, songwriter and guitarist, is the second-half of the guitar duo Taalbi Brothers. Their music has been featured in the TV shows like Breaking Bad.
Strangejuice – “The Moth”
Last year, one of our favorite Australian DIY artists, Strangejuice, was featured on our pages because his amazing 2019 album, Raising Cannibals, was, and is, a DIY, under-the-radar classic.
He lives on Mount Nasura in Perth crafting a banquet of sounds, styles and moods such as tracks like “Ghost” “Embreyo” and “The Moth,” to name just a few.
“The Moth” is a grungy rock number with a theatrical element that rolls into a full-on chorus and a romping, slightly meancing beat.
“This is the second track and first single from my 13th album release “The Last Year,” Michael Andersen, aka Strangejuice, says.
A moth symbolises tremendous change, he says, and the song “is about the relationship breakdown of the mother of my child and the change that lead to me being a single father.”
“A moth thinks its beautiful like the butterfly, but it is neither beautiful nor majestic.”
For the actual recording and production process, Andersen used a number of techniques and gear.
“I use tape stops instead of faders to bring music sections in and out,” he addds.
He recorded the song in his home studio with cardboard boxes to “insulate the squawking chickens next door to my makeshift studio using a PRS custom guitar into a Klon Pedal out to a Fender Princeton amp and a Neumann U87 microphone.”
“The Moth” appears on Strangejuice’s 17-track album, The Last Year, available on Bandcamp.
The Last Year is an album written as part if a grieving and healing” he says, adding that he was partly inspired by Beck’s Seachange album
“Into the Sea” is a minimalist and dreamy new track from Dublin, California indie band The Flashcrackers.
The warm track is full of melody and emotion with a sweet rythym to keep it grounded.
“The bass is the anchor of the song with guitar, piano and vocal hanging off it,” says frontman Dave Fedorenko (Curbside Journal; Brave Music).
There are no extra notes, he says, with each instrument “used to maximum effect.” The lyric is about “staring down the future and realizing our best years are ahead of us regardless of what noise our culture throws at us.”
Written and recorded in 30 days, the recording, Fedorenko says, was “a personal challenge to start and finish a song in a limited time frame.”
The Flashcrackers forge decades of varied and disparate influences into their own distinctive style of dreampop. Their music is full of seeming contradictions: sparse yet full, melancholy yet uplifting.
We were immediately taken by the amazing motion picture collage video, and the song itself too, for the new track “One Day” from a DIY band in Russia.
“One Day” is a dreamy retro ode, emotive and epic composition that makes us think about living in the present instead of being caught in dreams of a better future.
The track comes by way of NEEDSHES – an indie rock/alternative band founded by songwriter, multi-instrumentalist, and producer Otabek ‘Beck’ Salamov who is originally from Uzbekistan.
“I wrote the melody for the verse probably in 2010 in my hometown of Tashkent. The sketch was in a bad condition until 2020. Sometimes it takes something from outside to push you,” Salamov says.
“For me, it was my friend, music supervisor who asked me to show something old school and dreamy enough to be a song for the closing of the movie. This movie has never been finished but I got the song. I can tell for sure this song was easy to sing and record. It’s personal stuff, I can feel it one hundred percent…”
The story about the kite was a “really bright event” of his childhood Salamov exclaims. “All I had was this kite. When you grow up in poverty and have no future, you don’t waste time on dreams. You have to think about how to find your piece of bread tomorrow.”
Salamov encapsulates his art for composing soaring ballads with funk-soul anthems mixed with swagger rock and suffocating alternative. While studying at the music academy, Bek was awarded the first prize for his precision on clarinet.
As a teen, he was drawn to compose metalcore. He growled hardcore music in nightclubs with the cross-painted face. One day he decided to dilute the hard album with melodic undertones.
The switch gravitated to his liking leading to the formation of NEEDSHES in 2013. Among his main influences, there are Jack White, The Killers, James Brown, Queen, RHCP, among others.
Salamov’s music has been featured in commercials in 32 countries of Europe and television/cable programming.
Currently based in Tula (Russia), he continues to expand his eclectic style rooted in David Bowie, Queen, and James Brown in 2022.
Hyde Out is a London hard rock duo by Omar Merlo (from Switzerland and Australia) and Jaka (from Slovenia).
Last week, the duo dropped their sophomore album, Tunnel Vision, featuring a set of 12 original songs with stronger hard rock influences, opening up yet a new style and direction for the band.
Omar and Jaka come from broad creative musical backgrounds and have played in several groups around the world. Their musical style and influences are diverse, ranging from British alt-pop to American folk music, and from pop-rock to hard rock.
Their music often tries to blend different styles and genres, leading to creative and interesting musical results. Hyde Out make music simply out of passion, looking for new ways to bring to life the sounds that defined their own musical origins.
Following a few experimental self-produced demo projects and collaborations, in November 2020 Hyde Out finally released their first studio album, Smoke and Mirrors , a collection of original songs showcasing Hyde Out’s varied influences and softer side.
Two songs from that album have done particularly well: “Alive” and “Smoke and Mirrors” (the latter was a semi-finalist in the 2021 International Song-writing Contest).
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."
Veteran indie rockers Eels have shared a new bouncy and upbeat single “Amateur Hour.” The track is the fourth advance from the band’s upcoming 14th studio album. The LP, Extreme Witchcraft, is set to drop officially on January 28th.
Previously, Eels released the tracks ’The Magic”, “Steam Engine” and “Good Night On Earth.”
Frontman Mark ‘E’ Oliver Everett co-produced the album with alt rocker PJ Harvey and producer/guitarist John Parish. It is the first time Parish and E have worked together since 2001’s Souljacker release.
“John Parish is one of the most even-tempered, polite people I’ve ever met,” E said in a statement. ” A true gentleman. Actually he’s probably THE most polite person I’ve ever met. But when he gets into the studio he becomes a mad scientist.
“If you make music with John Parish, you get stuff no one else does. He has a really unique toolbox and musical outlook. Perhaps his politeness is a coping mechanism to keep Mr. Hyde under control when he’s out of his laboratory.”
Eels will head to the UK and Ireland in March for a tour starting in Belfast on March 11 and concluding on March 18 at the O2 Guildhall in Southampton before starting their European tour.
