Browsing Category Videos

Omni – “Afterlife”

New cut from this Atlanta trio on Trouble in Mind recalls a welcomed jittery blast of new wave / post-punk dragging the line from ’77 – ’81. Flecked with bits of Televison’s hangover and Robert Quine’s shaky surgeon’s hand, the band seems well versed in their music nerdom. Stapling those post-punk guitars to the safety glass gaze of Devo and Pylon, they’re definitely rumbling down a hallway that I’ve got a soft spot for. The video pays homage in kind with some Commodore 64 vintage graphics that feel out the same angles they’re pinning to the track. This song’s giving me plenty of room for anticipation for the rest of Omni’s full length. Hopes on that the rest has the same jittery jones.

More info HERE.

0 Comments

Wireheads – “Arrive Alive”

I’ve had a soft spot for Adelaide’s Wireheads for a while now and after last year’s excellent, Big Issues, they’re back already with a new track from an upcoming Tenth Court LP. The track is more refined and reserved than the Wireheads of old. There is hardly a sign of disonant violin or screeching din, instead they’ve built a song around the steady roll of bass that builds like a distant menace and hazy, grey tinted guitars. Of course the charred copper delivery of Dom Trimboli remains in the forefrong, never letting things get too comfortable, but as far as Wireheads go, this one is positively restrained. I’ll be interested to see how it fits in with the rest of the album (also titled Arrive Alive) which arrives soon from the Aussie imprint.

More info HERE.

0 Comments

Savoy Motel – “Hot One”

This wasn’t quite what I was expecting when I’d heard that members of Cheap Time and Heavy Cream were teaming up for a new band. Both were RSTB faves and both traded in the sweaty crunch of garage punk with touches of glam floating in the mix. Savoy Motel have similar penchant for the late ’70s but they take their cues from a mutant strain of disco and funk that comes together in songs that are catchy and propulsive with melted wax twist. The addition of vocals sung through a mouth harp dips into just a bit of the wide open experimentalism that fueled the beginnings of disco, when anything was in play as long as the beat remained locked and you could find a way to dance to it. Sadly this single remains decidedly hard to actually obtain. There was a run of 50 promo 7″s that are long since gone. Though both sides can be found streaming as videos, neither can be purchased as of yet. Maybe they’ll show up on a full length or the band will get a Bandcamp running. Though for now, that elusiveness adds to the warbled charm of the single.

More info HERE.

0 Comments

Pony Time

Pony Time are creating a pretty danceable racket with just bass and drums, knocking the garage-pop formula askew and finding their solace in a quick wit that’s underscored by chunky as hell hooks. The Seattle duo has kicked out four releases since 2011 and they’re only now finding a true stride with Rumours 2: The Rumours Are True. The band called out Wounded Lion, which caught my eye and its a damn fine point of reference for the their half cocked smile and thick low-end celebrating fare. There’s a toasted ember element in the grumble and rumble of Rumours that comes off as duct tape biker glam, feeling like a band reaching for the bright lights with what they have on hand. I’ve always loved a non-trad lineup and though the bass n’ drums combo has been around plenty (DFA 1979, COCO, Lightning Bolt) that fat bass sound combined with Luke Beetham’s yelp lets Pony Time keep the tradition alive without immediately pegging them into a hole dug by others traveling down similar aesthetic paths. The band brings the party and not a whiff of self-seriousness and that’s the charm of Rumours 2 they’re just hanging out like the Spuds McKenzie of garage you were always looking for.




Support the artist. Buy it HERE.

0 Comments

Drinking Flowers – “Black Monday”

Creeping into the sheets of Britpop’s glam hangover and smudged with post-punk’s rhythmic charms, Drinking Flowers are finding a hazy medium between driving pop and smokey psychedelics. Their album on Manifesto is packed with a plethora of pop gems but standout single “Black Monday” ranks among the best. The band have an appropriately gauzy and disorienting video for the track, leaning on the song’s droning buzz and rumble of bass, the clip is a pretty apt summation of the track’s headspun approach. This one’s been a playlist staple for a while now and I’m remiss for only noticing now that this video’s been out for a couple of weeks, but worth a spin for sure.


Support the artist. Buy it HERE.

0 Comments

Steve Gunn – “Conditions Wild”

Its always nice to see longtime RSTB faves grow to the kind of widespread attention they deserve. Steve Gunn has been a fixture on the site for quite a while and his classic Golden Gunn album remains on constant rotation on my turntable. Way Out Weather broke him to a wide audience and signing to Matador probably won’t hurt either, huh? The first taste of his new album for the venerable label, Eyes On The Lines, takes a more accessible direction than ever, delving into the lushest bit of singer-songwriter territory Gunn’s ever explored. But with that unmistakable Gunn guitar snaking its way through the track and a crack team of players assembled for the album – Nathan Bowles (drums, banjo, organ), Hans Chew (wurlitzer), James Elkington (guitar, lap steel, dobro), Mary Lattimore (harp), Jason Meagher (bass, guitar, flute), Paul Sukeena (guitar), Justin Tripp (bass, keyboards), and John Truscinski (drums) – it would be hard to keep this one under wraps for long.

The video takes Steve on a stop-motion diorama trip through the woods that ends with Steve charming his would be threats with his guitar. Seems like a solid plan to me. This is looking to be an album worth keeping tabs on until its June release.

Support the artist. Buy it HERE.

0 Comments

Black Mountain

The thing I love about Black Mountain is that they go all in. They aren’t doing prog by half measures, name checking King Crimson or Can because it ticks some boxes off of their diverse influences card. No they’re full on Tarkus-ing. They’re pulling Pink Floyd synths out of their teenage memories and updating the notion of grandiose for a new age. They’re finding the Lost Chord, breaking through Wakeman’s Fragile territory and going for it like they couldn’t give a shit if you notice their Tull shirts showing. If punk was the buck reaction to prog, then what’s more punk than going full prog in 2016? Thing is this isn’t just a rehash. Its not a nostalgia album proper. Black Mountain have all these influences searing through their veins and they come pouring out through every inch of IV but the take feels fresh. They make prog mammoth again, crushing and awe-inducing in a way that should make you feel a fool for ever passing up all those Hammond-laden brothers in arms in the first place.

Its hard to believe that its been well over a decade since they dropped their eponymous debut, and even harder to realize its been six years since they had a proper full length. But just hearing the McBean / Webber combo back on the speakers makes me realize how long its really been and how big a hole there’s been in rock since they left. The album boasts production from Randall Dunn (Sunn o)), Wolves In The Throne Room) and has the balls to open with a eight plus minute epic that’s only the first taste of how towering this album gets. Six years is a long time but build up expectations, but IV smashes through them with ease.




Support the artist. Buy it HERE.

0 Comments

Josefin Öhrn + The Liberation – “Sunny Afternoon”

Good psych doesn’t have to peel your face every time and Josefin Öhrn + The Liberation are proof that the dark chug of drums and a building cloud of menace can be just as effective as amplifier screech. “Sunny Afternoon” appeared on The Liberation’s album from last winter and gets a new life as a single released this month with a proper b-side, “Lucid Sapphire.” For those that missed out on their album, Horse Dance, as it was slinking out last November this is a good intro. Josefin Öhrn culls a bit from the Bat For Lashes and Jane Weaver camps in equal measure, finding a motorik groove to fit her bewitching vocal delivery on this stomper of a single. The video knocks things up a level with some simple, but great psych effects coming off like a Marcus Keef album cover come alive. Its highly recommended you take a listen.


Support the artist. Buy it HERE

0 Comments

King Gizzard & The Lizard Wizard – “Gamma Knife”

Ah its almost unfair how much greatness is coming out of the South Hemi this week. Yesterday graces us with a cut from The Murlocs and today the next King Gizz is confirmed and already burning with the release of the “Gamma Knife” video. This is the long rumored release that the band was recording at Daptone while there were here last year and its taken that long to knock this one into the blistering shape hinted at on “Gamma Knife.” A year in the oven is a long time for a band on a three-record-a-year schedule, so hopes are pretty high for Nonagon Infinity to go ahead and flatten a few skulls.

The first cut doesn’t disappoint. It gets right back to the Gizz in fine form hitting, the octane gulping garage-prog that’s made them a household fixture this year. The video is much in the same light as “Trapdoor” from Paper Mâché Dream Balloon, a trip through the ren-faire rabbit hole, mixed with plenty of psychedelic overtones and effects. Doesn’t look like ATO has any more of their pre-orders up but, I’d say get in line for the Aussie pre-order now. Even with shipping this one’s gonna be worth it.


Support the artist. Buy it HERE

0 Comments

The Murlocs – “Compensation”

The Murlocs hard driving brand of Garage ‘n B is headed for a new album with the release of Young Blindness later this month. Ahead of its touchdown on the turntable the band, featuring King Gizz harp/key man Ambrose Kenny-Smith, has released a couple of stellar tracks that bode well for the full length soundtracking your Saturday night sweat lodge. The video for “Compensation” is a simple setup, just a dancer and an iPod intercut with a few shots of the band, but with the addition of Jason Galea’s digital crust, it adds a layer of off-kilter distortion that fits the band’s vibe well. The song’s a killer riff that can’t be tamed and if you’re holding out for more from Ambrose’s day gig then you’d be a damn fool to sleep on The Murlocs.

Support the artist. Buy it HERE.

0 Comments