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Frankie and the Witch Fingers – “Sweet Freak”

Another mind bender vid from Frankie and the Witch Fingers is out today and the accompanying Spaghetti Jesus video is taking your childhood memories of claymation and running them through a Dario Argento filter. Aduction, dissection and uncertainty all build to a fear that I haven’t felt since Clay Fighter hit the Sega Genesis back when I was a kid.Themes of altered states and dimensional slip find good company as the band also lets on that the single accompanies announcement of their reality shattering cycle of psychedelia, Monsters Eating People Eating Monsters… (repeated infinitely). Having taken the trip I can assert that the LP flings open the folds of reality, and this here is just the beginning. The new LP is out October 2nd from Greenway and Reverberation Appreciation Society.


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Garcia Peoples – “One At A Time”

I’m not sure if it’s the most pressing issue of lockdown lifestyle, but the absence of Garcia Peoples’ shows has been felt fairly hard around here. The band’s built for the stage. It’s where they thrive, where they evolve, where they commune with the room sweat to create the next symbiotic stretch of cosmic comedown. That said, the band has become, increasingly, creatures of the studio in the past few years. With the release of One Step Behind they’ve crossed over into creating epics of tape transference that extend the alchemy on stage to the studio setting. They keep the momentum in motion with Night Cap At Wit’s End. The new record was recorded over nine months with Jeff Ziegler (Chris Forsyth, The War on Drugs) and the first whiff of the album, “One At A Time” finds the band shutting out some of their sunnier impulses in exchange for the reclusive, edgy, drug-induced lockjaw of the mid ‘70s.

The song sees the band begin to leave the obvious touchstones of their sound behind and merge their natural ability to find groove and explode it onstage with with the living organism of the studio environment. Acoustics play a bigger part here, injecting a bit of JJ Cale sweat, but that’s not where this one ends up, not by a long shot. Gubler’s keys are beginning to play a bigger part as well, so the fertile stench of prog rears its head, but that’s not where this leaves us either. Instead, “One At A Time” is as constantly shifting as anything the band has done, while feeling more surefooted than they’ve ever been. Its we, the listener, who rotate around them in flux, in thrall to the sound and where it goes. The band’s stirring the cloud cover and we’re just dodging the drops. If, somehow, Garcia Peoples escaped your view before now, this is the time to lock in. The record lands October 9th on Beyond Beyond is Beyond. Check out the excellent video created by labelmate Kendra Amalie above.



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Sally Anne Morgan – “Garden Song”

Another peek inside the beautiful new album Thread from Sally Anne Morgan (Black Twig Pickers, House and Land). Accompanying the verdant pluck of her “Garden Song,” Morgan has crafted an animated video from her own drawings and prints that captures the soft lilt of the song. Its been a brutal summer in so many ways, but “Garden Song” celebrates the moments when the heat’s beneath peak and the flowers seem to engulf every corner of view. I can’t grow for crap, plants shy away at my touch, but the song sure makes me wish I could. I’ll have to settle for some time in Morgan’s animated garden. Its not a bad compromise. The album is out September 11th on Thrill Jockey.



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Cut Worms – “Sold My Soul”

With a nice string of singles trickling out, Cut Worms’ Max Clarke finally announces an upcoming LP to collect them all in one place. With a delicate slide into the auburn arms of country, Clarke aims to release the bittersweet Nobody Lives Here Anymore on October 9th. The latest single doubles down on the cool air country swoon that he’s been courting over the last couple of months. “Sold My Soul” is a quicksilver slide slung chapter of storyteller country-folk and he wears the mantle well. His Everlys harmonies have begun to fold behind the horizon, but there’s still a nice warm glow about Clarke’s songwriting. Echoing fellow Clark’s (minus the ‘e’) Gene and Guy, Cut Worms aims to let us all deal with sadness and loneliness on our own terms. The video is a nice piece of surreal pulp that lends itself well to Clarke’s sunburned saunter.

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Sleeper & Snake

With Amy Hill and Al Montfort on the marquee it seems as if their duo Sleeper & Snake should pound out a post-punk tattoo that’s built off of their jangle and jitter with Terry, Dick Diver, and Primo. As with their previous album however, which slunk out into the night last year, the new sounds from S&S are more of a noir dream half remembered through the cracks in the coffin of sleep. The pace crawls as Montfort and Hill sing heat-warbled harmony. Cello saws above a soft snap of drums before a bleat of sax cuts the song into chunks that don’t quite fit into any discernible crate. Unease curdles all around “Flats Falling,” like a nagging memory that won’t resolve or one that’s been pushed to the back of the mind and won’t stay put. Its an itch that refuses to be scratched. Montfort gives a bit of context to the song here as well noting, “Flats Falling is about corrupt, deregulated development in Australian cities producing shoddy housing options. These “investments” are fueled by gentrification and displacement, and they just fall apart. Realestate.com basically, don’t forget it’s all on stolen land in the first place.”

I dunno, living over here in a country disassembled by a real estate con artist and a few hundred or so profiteers, it all sounds a little far-fetched to me, eh? The forthcoming Fresco Shed is out in September from Upset The Rhythm and LuLu.



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The Buoys – “Linda”

Still hard to miss with the serrated edge of Aussie punk these days and jumping up the ranks of cutters from Cable Ties to Mod Con and Moody Beaches is this new EP / singles collection from The Buoys. The band’s been letting out some fraught and fun gems over the last couple of months but they’ve saved the most savage for last, letting out this video for the gnarled and snarled “Linda” on the eve of the EP’s release. The song’s built on a fifteen foot riff and the tension of toxic acquaintances. The guitars shift from rubber twang to a battering ram rumble by the time the song crashes to an end. Fans of Bleached who were looking for a little less pop on the last outing should find a lot to love here as well. All This Talking Gets Us Nowhere is out now.

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The Belbury Poly – The Gone Away

Its been a couple of years yet since The Belbury Poly released a standalone album and news that a new one is one the way for 2020 is well received around these parts. Jim Jupp, who runs Ghost Box alongside Julian House has been busy in the interim, with collaborative LPs finding their way out with The Advisory Circle’s Jon Brooks, Sharon Kraus, and Justin Hopper. Even with these sating a bit of the break, its exciting to hear Jupp’s hallucinogenic sci-fi storybook soundtracks taking root once again in the synthscape wonderland that he’s created for Belbury. This teaser isn’t a video proper for one of the songs, presumably mixing up a few, but the warped tone and unsettling delivery from director Sean Reynard and star Quentin Smirhes play well with the haunted nostalgia that Belbury lays down underneath. Pushing this one way up the anticipated list for 2020. New LP The Gone Away is out August 28th, and again its coupled with Julian House’s impeccable artwork that makes every piece in the label a collector’s dream.

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R. E. Seraphin – “Leave Me Here in the Tide”

The last EP from R.E. Seraphin was steeped in a vaseline-lensed power pop, but on his follow-up, Seraphin is moving towards the crossroads of janglepop and indie pop that culls moves from The Field Mice, Even As We Speak, and all manner of 80’s twee pop confections. The track is cut with a dreaminess that’s less easy to pin down. For contemporary comparisons, Seraphin is running through the same filters that Cory Cunningham’s Business of Dreams seems to find familiar, and both bands share a lot of time among the soft pink clouds of daybreak, working their way through the mists. “Leave Me in the Tide” is pinned to a cracking drum machine, and finds its charm in not letting the jangle become the dominant force, letting the guitar warp in the sun just a bit as it wriggles its way through the song. The last EP showed a lot of promise and A Room Forever makes good on it in short order. The EP is out now on Paisley Shirt Records.



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Jacuzzi Boys – “The Pits”

I will alway be a sucker for the outsized garage pop that Jacuzzi Boys have been crafting for over a decade. The band’s sound only gets bigger with time and, while they’ve been a bit silent since 2016’s Ping Pong they hit back today with a new single backed by Third Man. The song’s off an upcoming 7”, and in the drought of Jaczzi gems I’ll take whatever they’ve got to give (though one can hope for an album, right?) The song springs off of the power pop with grit formula that they’d brought to a head on the last album and its hard not to bump this one right up the ranks of some of their best. The song blares from the speakers with a summertime glee. Fuzz, hooks, a little bass jab that knocks the gearshift down at just the right time – what more are you looking for on a Friday afternoon?

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Vintage Crop – “The North”

A second bent and bulging single from Aussies Vintage Crop comes with an austere Video in tow. “The North” is built on the same bulbous basslines that pushed the band’s previous cut, but there’s a dash of New Wave keys splashed on top as well that add an infectious itch. That said, this song is driven by the guitar/bass battle for which is gonna gum the most gristle. The tones are thick and satisfying and the band proves that they’ve got post-punk nailed to the door with every note. There’s not a miss on their upcoming album, but this is a prime example of the band at their peak. The record arrives August 7th as a split release between Upset The Rhythm and Anti-Fade.



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