Martha – “Heart Is Healing”

I dug Martha’s last album of emotionally raw power punk, but came to it late, making me feel like I’d been missing out until that moment. The band picks at the bones of pop punk but adds a heavier hit with touches of Ted Leo in their DNA and a jangle splattered twang that belies their UK roots. This time I’ve vowed to pay attention and it seems to have paid off. On their way to what I’d hope is an announcement for LP3, the band has offered up a new single and video for the strummy, knotty, and as might be expected, emotionally fraught “Heart Is Healing.” The video is a dizzy, homey shot of the band lounging, but it lets the song stand out as the focus here. The track lands among their stronger singles, hinged on a hook but letting some slippery slide work smoothe the edges on those jangles. Its a damn fun ride and hopefully a herald of new works to come.



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Mixtape: This Is Aus

Ok please allow one more year-end indulgence here in the form of a recap mixtape. It should no longer be a surprise that I have a sweet spot for Aussie indie, and as the genre has made up so much of the site’s direction in the last year, I’ve decided to round up some of my favorites into a massive mixtape that should keep you busy for a few hours and serve as a primer to those looking to break the seal on their Aussie pop habit. Plenty of usual suspects arise in the label department here with representation from RSTB favorites Bedroom Suck, Anti-Fade, Lost and Lonesome, Poison City, Hobbies Galore, Milk! Records, Flightless, and Tenth Court alongside internationally friendly harbors like Trouble in Mind, Upset The Rhythm, Share It, Kanine, and Emotional Response. There were plenty of offerings to love this year from the South Hemi, so get cracking on that listen. Click below for tracklist and stream.

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Snapped Ankles – “Drink and Glide”

UK rhythm-picked psych lobbers Snapped Ankles are back with a new album next March and its shaping up to kick just as hard as their last. The band has put forth a clip for lead single “Drink and Glide” that’s chafing the corporate mindfulness and self-care cavalcade. The song itself is built on their stew of hard-chugging rhythms, squelchin’ keys and anthemic vocals. Lotta psych bands utilizing the Echoplex vocal stab these days, but it takes a new tack to not make it sound like an Oh Sees rip. The band skirts the influence of their American compatriots, while crafting a sound that would slot in quite nicely next to them on any playlist. Feels like the second album is shaping up to be just as freakishly fun as the first. Check out the clip above and stay tuned as the album creeps closer.

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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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The Cowboys – “Some Things Never Change”

Photo: Caroline Marchildon

Every new LP from Bloomington, Indiana’s The Cowboys further cements them in my mind as true savants of garage bliss. Over the past few years the rough edges have fallen away but their sense of chaotic fun hasn’t ebbed one bit. Their fourth LP is on the way from Feel It records who’ve worked with the band in the past, bringing their Volume 4 to LP from its humble cassette origins. “Some Things Never Change” is a sunny day strummer that’s pinned to a tumble of organ and some of the band’s catchiest hook work to date. This one carves out some of the soul and heads to the heart of power pop and it sounds good on ‘em. Definitely bumping this record up to the top of the anticipated pile for 2019.



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Lorelle Meets The Obsolete – “Lineas En Hojas”

Perennial RSTB favorite Lorelle Meets The Obsolete have a new album, De Facto, on the way in January and a hypnotic new video to get you excited for said album. The band plowed into the studio after touring their last album, Balance, and began a new process of writing that relied more on synths than guitars, an aesthetic shift for the band who’s often used the feedback-rich foundations of MBV and Jesus and Mary Chain as a starting point. “Lineas En Hojas” is gauzy and gazey at the same time, luxuriating in verses that are airy and, yes, decidedly synth heavy. They don’t throw out their distortion pedals and amps altogether though, as they surface again during the toughened chorus. The band pairs the song with a blissful beach walking video focusing on the pull of the waves. Be sure to check out the new album when it hits on Jan. 11th.

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RSTB Best of 2018: Reissues, Etc.

A large part of the site is not only focusing on new releases, but also the great reissues that are unearthed during the course of a year. Below are my picks for the best editions dug up by the hardworking folks on the reissue circuit. Every year there are less options to work from and every year labels continue to surprise me with what they bring out. I’m also going to take a moment to give tribute to an album that could have been this year but due to unfortunate circumstances didn’t make it to fruition.

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RSTB Best of 2018

So, it seems that 2018 is finally coming to an end. It’s been a hell of a year by most standards, but musically its been damn entertaining. Perhaps its fair that there’s some bright spot in all the chaos. Not to diminish the chaos, but when the negativity is at an all-pervasive fever pitch, its feels good to have something to hold onto. I’ll choose to remember 2018 as a banner year for music and for the birth of my second daughter rather than the year that page refresh politics threatened to give me an ulcer any day. Below are my favorite albums of the year, taking care to highlight some that might otherwise get forgotten. They’re in (quasi) alphabetical order with no other particular weight on the list. Keep your eyes out for a few more year-end features this week before I reset for the new year. As always, thanks for sticking with RSTB for these 12-odd years or so.

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Traffik Island – “17”

One of the standout tracks on the Anti-Fade compilation, New Center of the Universe Vol. 3, this year was a track from Traffik Island. The band is largely the solo output of Zak Olsen from ORB, The Frowning Clouds and Hierophants. While he’s had a handful of singles scattered over the last few years, news today comes of a debut album on Flightless. The pairing makes sense, given ORB’s standing at the label, and first track “17” is a delightfully sunny swath of psych-pop that’s a far cry from ORB’s windpipe crushers. Instead the track, like previous outings from Traffik Island, is a sparkling jangler full of bright harmonies that bring to mind The Free Design, Euphoria, Sapphire Thinkers, or any other manner of the bittersweet brand of sunshine psych. The LP, Nature Strip is out next year and this track gives it a glow of promise. Definitely excited for this.

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Adam Hattaway and the Haunters

New Zealand’s Melted Ice Cream collective binds up a loose collection of jangle-prone, indie scrapers and post-punk purveyors with just the right mix of off-kilter sensibilities to keep the mind spinning. The label adds the solo debut from Christchurch’s Adam Hattaway (of Wurld Series) to the stable and it’s a delirious mishmash of crimped-tinfoil punk, fuzzgut indie and wistful power pop that laminates the Memphis school into a hot glued gauze. Hattaway might not be pulling down Big Star soul, but he’s getting runner up vibes a la The Hot Dogs on “Turn Around” and “Too Tired” and making it sound sweet. The dial twisting approach poaches well from his country’s past just as often though, finding a wobbly kinship with Chris Knox in various forms (his scattershot solo shamblin’ and Toy Love come to mind) not to mention indie lancers The 3Ds or Able Tasmans. Hell, maybe even a touch of Tall Dwarfs creeps in around he crimped edges.

There’s a sense that Hattaway coulda played it all straight – he’s got the hook chops to whip it ‘til smooth – but the record works because he refuses to do any such thing. Tape hiss creeps in to remind the listener that decorum isn’t at stake here. Whenever things threaten to get too close to the kernel of pop, Hattaway stomps down on the squelch to twist the feedback knife a little closer to chaos. As much as Australia has a knack for loose-knit indie wranglin’, their Eastern counterparts seem to push just a touch further towards the fringe, which is what makes them such a wellspring of great pop. Add Hattaway to that legacy. This collection is rough under the chin, but that’s what made some of the best Flying Nun platters so desirable in hindsight. All Dat Love is proving to be a late entry favorite around here, and I’m keeping an ear to where Hattaway’s headed in the future.



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