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

The Dandelion – “Every Other Day”

Sydney psych-pop acolytes The Dandelion pick up plenty of cues from Broadcast and Sterolab, but there’s also a glam element that comes away sounding like Vashti Bunyan working through a repertoire of T. Rex covers. The band came bubbling to the surface on the roster of last year’s GizzFest (King Gizz’ own hometown hoedown picking out the best of Aussie psych) and they’re prepping for an upcoming LP soon. The band’s interim, three track offering on French label Six Tonnes De Chair ably displays the Krautrock ripples of repetition, the good ol’ fashioned garage rock getdown and the flowers-in-their-hair throwback qualities that makes the band so endearing.

The title track is the most indebted to the ghost of Trish Keenan, though the band are definitely working on a less technical and more from-the-hip angle than Broadcast. Organs bubble through the headphones in cellophane-wrapped lysergic colors while Natalie de Silver’s voice whispers from some forgotten plane of existence. “Lucifer and the Knife” brings that Bolan boogie to the forefront, shimmying along the edges of astral projection. They actually hit on a lot of the same vibes that Meg Remy and U.S. Girls were simmering in during their Gems period. Then the band closes out the record with the instrumental killer “Malkaus,” shaking down enough crystal-funk spine shivers to keep the listener baking in bliss all the way home.

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Oh Sees – “Clearly Invisible”

Its quite possible that Oh Sees never rest, never sit still, and never let the feedback die down. Off of a tour and LP from last year (and with the inevitable new one coming sometime in the next year) the band lays down a single-track one-sided EP bonus for the fans. Seems that Dwyer and the band are as ardent Simply Saucer fans as I am and they’ve worked up a live in the studio cut of a Saucer jam from the fringes. “Clearly Invisible” existed purely as a live cut within Simply Saucer’s world and hearing John and crew tackle it with the intent to further dive into the sonic supernova is exciting. The track’s all tension, a nearly 15+ minute build of menace with crisp-fried guitar noodles topping it like a holiday casserole. The track touches the Hawkwind totem and seeps out into the furthest expanses of cosmic brain fry. While its probably best as a fan piece for completists and psych warriors, rather than an entry into Oh Sees chamber of psychedelic wonders, that’s not to diminish the impact of this limited gem. Wrapped up in the stunning photography of Martin Oggerli, this one begs the question of whether your Oh Sees shelf can squeeze one more.



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Gong Gong Gong – “Siren b/w Something’s Happening”

Beijing’s Gong Gong Gong tap into the tradition of bomb-bare psych blues. There’s not a drum in sight but the band is pounding that pulse as hard as Lightnin’ and John Lee. The pair herald the swell of a storm on lead single “Siren,” culminating in a feedback squall that’s not unhinged, but at the very least, unsettling. On the flip they let the floodwaters rip from the getgo, boiling their strings in a bath of fuzz and foam that’s thick as molten honey. Still the rhythm pulses and there’s a sense that Gong Gong Gong are either running from something sinister or running with it, bringing a deluge of doom to all who crowd their path.


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Parsnip – “Feeling Small” b/w “Winter”

I was definitely a fan of Parsnip’s last 7” and they popped up with a sunny jangler on Anti-Fade’s last label showcase comp that spent some time on the speakers around here. Their latest short format ripper adds another couple of fun tracks to their blossoming catalog. The a-side is pleasantly prim – full of barroom piano and Small Faces-level revelry for gang vocals and peanut gallery chatter. The flip adds a nice edge, with a punk-picked guitar and heavier hitting chorus. “Winter” might well be one of the best things they’ve done yet – hung with organ swells and confident harmonies. Parsnip have been a ‘blink-and-you-miss-it’ addition to the Aussie indie scene, but with each new piece of the puzzle they get harder to cast aside. Here’s hoping that there’s an album in the works sometime in 2019, but for now I’m going to go back to putting “Winter” on repeat.






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Civic

Not long after their last crackling EP, Civic returns with a follow-up that hits even harder. Where their debut boiled down porto-punk into its grit and grease components, there’s a cleanliness and clarity to Those Who No. The three originals here are scooped out of the ‘80s alt-pummel that birthed Hüsker Dü and The Wipers, but also indebted to an earlier strain of hard workin’ but melodic rock from the ‘70s. Both issuing labels (Anti-Fade and Famous Class) are billing it as power pop, but that’s just a touch off. There’s far more sneer here than any power pop band worth their salt ever inflicted. The closest they get to that camp might be “Heat,” but even on that one there’s a touch of pub sweat and punk brashness that makes Civic hard to get a beat on.

Once they throw in an Eno cover, there’s some sense that they’re toying with the slight wrap of glam they’re invoking here, but they take a savvy approach in which they nether sound like glam revivalists or power pop acolytes. With two such short and admittedly disparate releases under their belts I’m putting the jury still out on what to expect from Civic. Are they equally undecided, trying on hats or just having a laugh at it all? I’d love to see a full album from these guys that pulls that glam swagger permanently into this ‘80s pummel they’re working. I want to see where they’d go with a full length’s scope and some cohesive planning. However this and its predecessor are well worth the time and pick up.



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Comet Gain – “If Not Tomorrow” b/w “I Was More of a Mess Then”

If there’s one thing that can be counted on from Comet Gain, the long running UK jangle-pop hearthrobs, its that any release will be rife with earworms. Furthermore those earworms will burrow their way into your life until they become new favorites. Membership changes, labels change, even styles change – from the upbeat clatter of Réalistes to the polished punk hijinks of catalog highlight Howl of the Lonely Crowd and on down to the bittersweet bliss of Paperback Ghosts – the band always jangles, but they’re willing ping-pong between camps that employ the sound. They’re post-punks with a pop heart, indie rockers with a ’77 punk sneer in their back pockets, and this new single-sized offering is the latest bit of pop-strummin’ goodness from their ranks.

The band’s working up a potpourri of an album for Tapete and “If Not Tomorrow” marks the first peek under the hood. The A-side’s not wholly out of line with their aforementioned 2014 heartbreaker Paperback Ghosts, and its definitely showcasing the band’s autumnal sweet side. The guitar line’s bouncing gently, lapping against the swells of organ and a promise of change from David Feck’s earnest croon. While I prefer my Comet Gain with a bit of the bite, I can’t say no to a hummably good jangler that feels like a lost Go-Betweens outtake. The b-side pops the tempo up and dirties the mix with a bit of fuzz and Sarah Bleach running down the regrets. Its a fine pairing and only whets the appetite for more. If you’re already on board the Comet, this won’t knock you loose. If you’re new to the ride, then maybe take this as inspiration to parse back through one of indie pop’s greatest catalogs.


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The Oilies – “Anywhere With You”

More jangled goodness out of the Bay Area comes arrives with the first single from The Oilies, the new band from Carly Putnam (The Mantles, Art Museums, Reds, Pinks & Purples). The two-shot of understated pop displays Putnam’s knack for intimate, bittersweet melodies. “Anywhere With You” snakes through the psyche with nods to The Verlaines and early Chills. The song’s a darker shade of jangle-pop, with spiky stabs of guitar that displays the other side of love’s embrace. Putnam turns her back on her object of affection, asserting that she’s “better off nowhere, than anywhere with you.” It’s a great intro to the band that picks up several SF players and nabs a production credit from Skygreen Leopards’ Glenn Donaldson.

On the flip she’ gets a bit spritelier, cutting back some of the dark shading that elevates “Anywhere,” but still holding down court on some great jangle-pop. Seems the members of The Mantles are a busy bunch this Fall, with Michael O. also on the verge of a new album. Hopefully Carly’s got more in the works as well, as this is a great start.


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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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