South London indie outfit The Elegant Chasers dropped a dazzling debut album, Sentimental Dust, on Friday following a series of single releases in recent months.
The latest, and fourth, single from the album, is “Car Salesman Smile” is a menacing alt rock-driven track with a mean riff running like a vein of discontent throughout. A cool new music video is also produced by Loizou.
After switching careers during the pandemic, the multi-instrumentalist, singer/songwriter behind the moniker is South London native Maz Loizou, set out on a road trip writing songs “around a derelict London [character]”.
Loizou, a former – and disgrunted – television producer, set out to assemble his own customize recording studio at home.
His musical style incorporates sounds from the 1990s grunge, alt rock and Brit-Pop movements as well as 1980s new wave influences.
“The music for ‘Car Salesman Smile’ was largely written during the Sentimental Dust album sessions,” Loizou says.
“The riff, bridge and chorus were conjured within a matter of minutes. I was looking for a 1970’s rock vibe along with influences from 1990’s bands like Nirvana, Foo Fighters, Faith No More and Terrorvision.”
Terrorvision’s “hit ‘Alice, What’s The Matter?’ inspired some of my rhythm guitar work. But for the vocals it was a line from a Therapy? track that stuck with me. The phrase ‘Car Salesman Smile’ was featured in their song ‘Hellbelly’…I penned down most of the lyrics for CSS a few years back, which was unusual for me in terms of songwriting approach,” Loizou explains
He adds that the song is essentially about a woman “being unfairly treated and how relationships can play out. Sadly, I have female friends who have these stories to tell. I felt compelled to write a song about it from someone on the outside looking in.”
Loizou explores how women are “taken advantage of by men (who appear to be genuine and charming).”
“My message [is]…don’t give up hope…you don’t deserve to be thrown on the scrapheap.
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."
