Browsing Category Singles (7″, 10″, 12″)

Monnone Alone – “Cut Knuckle”

Lost and Lonesome cut through the fray yet again with another great band that’s winning my heart. Monnone Alone, is not, as the name would imply, a solo venture from songwriter Mark Monnone (Lucksmiths) but rather a full band featuring members of Architecture in Helsinki and Mid-State Orange. The first single from the group’s upcoming LP, Summer of the Mosquito, is the absolutely swimming “Cut Knuckle,” a gorgeously catchy jangler filled with 12-string strums and a chorus that seems ready to poke through the sky. The song stands alongside new cuts from The Chills and The Bats as an extension of the Aus/NZ jangle-pop prominence that bubbled over between ’86 and ’90. While the song will appear on the band’s upcoming sophomore outing, they’re issuing it as a standalone as well with the decidedly more reserved “Difficult Boy” on the flip.

The b-side is still besot with jangles, but this time they’re set to saunter and Monnone keeps the hook subtle, though no less affecting. The pair of tracks makes a strong case for the upcoming LP, out next year. There are plenty of good vibes rising out of Melbourne these days, but few are as arresting as the charms on “Cut Knuckle.” The band is making all the right moves here and I can’t wait to see where they go next.




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Midnite Snaxxx – “Let Me Do What I Want”

Since their 2017 record, Chew On This, Oakland’s Midnite Snaxxx have been spitting singles in fits and starts, but the short forms remain their forte. No disrespect to the full length lovers, but the band’s whiplash spirt is best captured between two sides of short attention span snotty punk built for sunshine hijinx. The A-side, “Let Me Do What I Want,” is a denim-vested world beater that’s not content to take no for an answer and isn’t afraid to lob the first volley in food fight fisticuffs. The song might as well stand as a credo for the California combo – loud, fast and brash – it’s a femme punk fuck you to the ruling class, or at the very least, a middle finger to the store manager on the way out of the sliding doors.

They swap to swooning on the flip side, with a tale of love lost that’s captured by only a handful of pictures left to remember the good times. Both halves serve as shades on the band’s West Coast garage punk that feels perfect as a soundtrack to Mod Podge a vision board of your ideal John Waters future. Here’s hoping the band continues their crusade to add up 7”s of plastic pogo punk for the disenchanted and heartbroken.



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Moody Beaches – “Weird Friends”

Following up their inclusion in the excellent Poison City / Our Golden Friend split singles series, Moody Beaches stretch out into two sides with their new single “Weird Friends”. While the flip snags “Guns,” from their debut split, the a-side sees them take a tough rumble through muscular punk, pinned to a menacing bass line but softening the corners with their swooning harmonies. Like labelmates Mod Con they aren’t glossing up their hooks, but rather burrowing deep into the grind of menace, snapping off tension like The Breeders, Green River or L7 before them.

Its the b-side that still steals the show here, though – built on rusted springs and smashing its hooks into the walls with gleeful abandon and gnashed teeth. That first taste is still the most addictive but it pairs well with the slower burn of “Weird Friends.” Its a tease of single – a two shot from a band that feels like its more suited to the long play slow burn than the flash paper dazzle of the short format. Hopefully they’ll build off of these two and dig their heels in for an album that seethes with a full measure of rat trap tension and explosive catharsis.



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Purling Hiss – “Out Tonight”

Seems fitting that Purling Hiss are taking a whack at Spacemen 3, the legends’ squall molded psych is an apt precursor to Mike Polizze’s own fuzz-caked face-melters. Though it seems they’re almost doing a twofer here. While the flip of this single is a cover of S3’s classic, “Walkin’ With Jesus,” the Purling original sounds like it came straight off of a day spent flipping Recurring over until the grooves got gooey. The song is sparking with that same ozone bliss that’s been a longtime Spacemen hallmark and the kind of hook that ducks its head under the horizon to let the repetition and guitar splatter do the heavy lifting. Personally, I’m a fan of the “best song a band never wrote” approach to homage, and while the world cries derivative, I just see a love letter blown thirty feet tall and electrified for visibility. It’s a fun curio that keeps the band’s fuzz pop banner aloft until the next album comes creeping in.

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Simply Saucer – “Lo-Fi Garage Symphonette”

As reissues begin to mount interest in bands the next stage brings the inevitable rumblings of reformation. For fans that missed out on the live shows of ‘blink and you miss ‘em’ bands this is sometimes a godsend, though it also holds the possibility of besmirching a tight catalog with an experience that can’t hope to live up to the originals’ weight. Its with such weight that bands also embark on the endeavor to extend the catalog. It’s a hard rope to cross without leaning too far into imitating one’s prime or updating it into something that’s well out of the scope of what fans came to hear. Canadian psych obscurities Simply Saucer have been having a year full of reissues and they now come to the precipice of adding to the conversation with new works.

Their first single in 40 years ropes in two original members along with studio friends and Jesse Locke (Century Palm, Tough Age) who has been instrumental in getting the band’s work back out to the public. The songs are sown from their same well of weirdness, though it’s clear in their present state they’re working with much better equipment than the machines that wrought Cyborgs Revisited. With the technical upgrade comes some wish fulfillment in fleshing out their sound with a battery of keys and backup vocals. They don’t push too hard into making it a recording “of its current time,” so it sits well with their back catalog, but it loses a bit of the immediacy and electricity of something like “Bullet Proof Nothing” and neither captures the off the rails quality inherit in “Instant Pleasure.”

That said the single’s not without its charms and indeed its not an addition that falls into the besmirch category. 40 years is a lifetime and that the band still have some of the same tinfoil wobble that blew through their amplifiers when they stood on the edges of punk is a testament to their core. “Alien Cornfield,” taken without expectations and stripped of associations is a prime slice of sci-fi garage, though “Lo-Fi Garage Symphonette” gets a bit grandiose for my taste. Regardless, its good to have the band back in the public eye. As I mentioned with the reissue, they’re an essential piece of the psych-punk lineage.



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Baby Blue – Do What You Like

Melbourne’s Baby Blue tap into a mournful ‘60s pop that swings between grey-skied girl group melancholy and a tough-kneed brand of garage pop. The band’s Rhea Caldwell packs a sharper punch on their sophomore outing, a five-song EP that employs some nice gloss touches that distance them from the bulk of their Aussie indie compatriots. Do What You Like finds more in common with West Coast US stompers like Bleached, though they share a great deal of crossover with fellow Aussie RSTB faves Bloods as well, putting them in good company.

While the breezy pop of opener “I Like You” feels pleasant, but overly familiar, the EP works its into darker dens as it wears on – adding a dark, caustic bite to “Dream Life” and a touch of progressive propulsion to closer “Fire and Ice.” Caldwell’s got her head ‘round the hooks but its when she adds power and darkness to her bag of tricks that the songs begin to stand out. If the standouts here are an indication of where the band is headed, then we should all keep an ear perked for Baby Blue’s next move.



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Goat – “Let It Burn”

Music from Goat, recorded and intended for use in a film about burning a giant straw goat? Seems like a perfect excuse to feature the Swedish psych collective to me. “Let It Burn” was recorded for use in the film Killing Gävle, a documentary about the custodians of a straw goat placed in the town square of the titular town of Gävle at Christmastime. The goat is in constant peril of being burned by mischievous pagans which, sure, makes perfect sense. Don’t erect a giant symbol of the old world gods without expecting true believers to get all effigy on it. The track in question is pure Goat, roiling on polyrhythmic drums flanked by flutes and doused in both fuzz and folk guitars. Essentially, if you’ve found joy in Goat’s catalog up to this point then a somewhat meta song about pagans going full Burning Man on a giant wicker likeness of the band’s namesake seems right in order.

The b-side here is a mellow comedown, buzzing with drones and buttered with sax, it’s a different side of the psych warriors that shows them reveling in cosmic jazz without the hectic sweat of their usual rhythmic pummel. The song is a portion of a freeform studio jam, so it almost seems given there’s bound to be a “Friday Pt. 2” at some point down the pike. Unfortunately, the physicals were scant on this one, so either battle the Discogs goblins for a copy or be happy with the digital drop on this. Either way, it’s a prime slice of one of Sweden’s most excellent exports.



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Velveteen Rabbit – “Mind Numbing Entertainment”

Rising out of the ashes of longstanding NYC power pop band The Jeanies comes a new band of glam-popped punchers holding onto a lot of what made their former band sizzle. Velveteen Rabbit are, however, doing it with quite a bit more refinement than The Jeanies ever mustered. Glam pop revivalists often get a bad rap for mining a movement that many see as a passing fad – the soon sullied toy found in the cereal box of punk, power pop and proto-metal at the end of the ‘70s. However, when done right there are fewer genres that can crack a smile so wide. Sure, the affectations are preposterous, the fashion was downright criminal and there was bubblegum stuck all in the hair of everyone involved, but as far as frivolous genre experiments go I’ll take it any day.

Velveteen Rabbit dip their paws into the great crossover between glam’s fuzz-tumbled crunch and the fey end of power pop. The bands that were able to hit this stride found a bit of a golden hour sound that rocks like the punks but shies away from the pit to pine over girls at the bar. Think The Quick, Brett Smiley, Milk n’ Cookies or Phil Seymour and you’re on the right track here. The double shot of flippant fun leaves ya wanting more, which always marks a good single. This is prime ‘70s jukebox fodder following in the footsteps of plenty before them but absolutely a good time with each spin it takes around the platter.



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Alex MacFarlane – “Planetarium Nights”

While there are plenty of great Aussie indies to keep on radar Hobbies Galore seems to be kicking up the dust quite nicely this year. With releases by Stroppies, Blank Realm and a tape issue of the debut Green Child album, there’s quite a bit of talent to be had. A cornerstone of the label, however, has been solo releases from Alex MacFarlane a fixture in Twerps, The Stevens and Teen Archer. The latest 7″ sees MacFarlane working through jangle-pop structures with prog-blocked overtones. There’s a slight dissonance that doesn’t always pop up in his other works, but at the core this is still prime Aussie jangle that’s a testament to MacFarlane’s prowess.

Standouts “Good With Little Numbers” and “Starter People” push this way beyond solo sketchbook fodder, proving that MacFarlane has plenty of hooks in his back pocket and a warped sense of pop that burrows under the skin. He fleshed it out with instrumentals that writhe and twist with synths and curls of noise. While I’d never balk and new Twerps or Stevens material, this release in particular begs for more from the artist solo. This one’s slipping out quietly but that’s no excuse to let it slip by completely.

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Lay Llamas – “Holy Worms / Silver Sun (Red Sun – Negra Branca Remix)”

On the first single from his global psychedelic stewpot of an album, “Silver Sun,” Nicola Giunta draped the German Progressive paradigm in shades of late ‘90s electronic psych, dredging up allusions to The Beta Band and Clinic. On the album’s second point of entry, “Holy Worms,” he embraces a multicultural funk that puts him in leagues with his labelmates in Goat, pinning a tangle of polyrhythms to a ‘70s afrofunk guitar line and a vocal workout that stretches through Talking Heads territory, but gets caught short in a haze of narcotic bliss.

This second single, in its most digital of forms, also happens to come with a standout flip side that digests the original version of “Silver Sun” and mangles it into a completely different animal. Remixed by Gnod’s Marlene Ribiero masquerading as Negra Branca, the “Red Sun Remix” shaves off Giunta’s psych-pop romp appeal and delves darker, amping up the rhythms until they pound at the eardrum. Ribiero also brings in a chorus of female vocals to replace Giunta’s originals. They breathe the mantra “Red Sun, Green Sun” in calming contrast to the panic attack psych bubbling throughout her version and it becomes an oracle of calm inside a virtual storm of a track.

She shaves down the acidic sax solo that adorned Lay Llamas original, saving only a few panicked bleats to whinny away over the chaotic atmosphere brewing below. The reconfiguration slides Giunta into a much more lysergic territory gnashing Krautrock’s teeth on a mash of dub and gospel with a free jazz storm threatening in the distance. Great remixes can often lay the original to waste, but here Negra Blanca simply prove that while the pop sheen adorning Lay Llamas new album is welcome, sometimes you gotta go deep into the cave to find the psychedelic heart.




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