Southern psych-rock songwriter Ian Ferguson has released the new groovy single "Love Crime", along with its music video. The track — which appears on Ferguson’s upcoming debut album State of Gold (out on July 26th) — channels a bit of The Beatles’ late discography, or even the more chilled-out ideas of Black Sabbath. A more contemporary comparison would be Mac DeMarco, perhaps, as the music video for the song has a bit of DeMarco’s knack for lo-fi and DIY production values. The Handicam-looking clip comes rife with low-budget aliens in cardboard triangle glasses, an old van, and old sci-fi film footage. It doesn’t take much to make a fun video, and Ferguson holds fast to that ethos with the clip for "Love Crime". Watch it below, and watch out for State of Gold which drops later this month. – Will Sisskind
New Honey Radar LP Available for Streaming & Purchase
Honey Radar‘s fifth full-length album, Ruby Puff Of Dust, is out now via What’s Your Rupture?. Smoky, fuzz-forward, garage-psych emanates from the recordings. Enveloped in a tranquilizing haze, one’s mind hypnotically floats amid the clouds, yet a certain rawness remains. Just rememeber to puff-puff-pass.
Watch Anna Egge’s crafty video for new single “Cocaine Cowboy”
Brooklyn-based Anna Egge will drop her newest album Is It This Kiss on September 6th; to preview the record, she’s released the music video for a single from the record called "Cocaine Cowboys". The sparse country-tinged track nods to legends such as Dolly Parton, Patsy Cline, and Hank Williams, weaving little more than Egge’s voice layered in harmony, a strummed acoustic guitar, and tiny touches of strings and wind instruments to create a beautiful and simple song. The video echoes this minimalistic approach: a pair of hands crafts the visuals to the lyrics, using paper cutouts and props such as cereal marshmallows, cotton balls, paper cutouts of the country stars to whom Egge pays homage, and a 45 of "Cocaine Cowboys" itself. Take a look for yourself at the video below. – Will Sisskind
Good F**k “Cherry Tree”
The duo of Tim Kinsella and Jenny Pulse (aka Good Fuck) released a new album called Cherry Tree yesterday, July 1st. This comes just five months after the couples self-titled debut, and further explores the merging of their very different approaches to music.
Triguna “Candied Lemons”
Suburban Death Metal group Triguna has released released the first two singles from their forthcoming EP “Candied Lemons”. This is the work of Claude Bird (Vocals), Jeremy York (Lead Guitar), Noah J. Ridens (Rhythm Guitar), Evan Van Dyne (Drums), and Jarrett Meier (Bass Guitar).
The EP’s opening track, which is also the title track, is a blistering 6 minutes, but contains many unique twists and turns.
CD of the Month: Tom Abbott – Puppet Boy
The CD of the Month for June hands down has to go to Tom Abbott of Wrentham, MA. Puppet Boy is from start to finish a sonic collage that captivates song after song. The singer-songwriter has crafted a record that shines with folk-rock splendor and flashes its highlights of blues, punk, and lo-fi production throughout fourteen riveting tracks. The New England artist gifts something to each listener: “Fake Punk” is a hard and edgy sonic thrill ride while “(It’d Be Nice) to Feel Wanted Again” is rich with sincerity, a vulnerable track made for broken hearts. Congrats to Tom Abbott for creating a pristine example of New England’s rich folk-rock history. Enjoy Puppet Boy streaming below. – Rene Cobar
Debut Soupy EP Available for Streaming & Purchase
Practice is the debut EP from Soupy, which is now available via Bee Side Cassettes. Instrumentally bouncing along while critiquing one’s thoughts and decisions, there’s a balance of introspection and adventure. It’s expressive, honest, bedroom pop from the fledgling Philly trio, led by Tabitha Ahnert. Enjoy!
Harm Less “Unviolence”
Harm Less has released a second single, “Unviolence”, from their forthcoming album, Safe’s Pace. The album, their first since 2015, is set to be released on August 9th via Flesh and Bone Records.
This is the Post Rock project of multi-Instrumentalist Bryan Kingsley of Bishop and Dead Sun.
Along with the first single, “Loose Leaves”, this album is lining up to be an incredible sonic journey.
Nathan Bajar’s “Silver Surfer” is an Interstellar Escape, plays H0L0 7.8
New York mutli-disciplinary artist Nathan Bajar channels R&B by-way-of slacker rock on new jam “Silver Surfer,” crafting something that relishes in both its sugary sweet melodies as well as the cracks and hisses of DIY production. Teaming up with fellow NYC musician Mel, who lays down a kicked-back molasses-like flow on the track’s bridge, Bajar lyrically describes an interstellar escape from the bustling Big City, finding inner peace through kitshfully detuned piano chords and day-dream fantasies of space travel, spoken into existence. And while only the ultra-wealthy among us may be able to afford recreational space travel (yet), the earnest desire for escapism at the core of Nathan Bajar’s provides a window for any listener to briefly (and metaphorically) touch the stars—or at the very least, provides a key addition to your summer beach playlist. Find yourself a shady spot before you stream it below, and catch Nathan Bajar at H0L0 on July 8th. -Connor Beckett McInerney
Krust Toons: “The Used Record Section” by Tedd Hazard
Krust Toons: "The Used Record Section" by Tedd Hazard – please feel free to drop him a line at teddandthehazards@gmail.com if you dig or have any funny ideas. You can also check out more of his illustrations and animation shorts HERE.
The Deli Philly’s July Record of the Month: Patience – Mannequin Pussy
The quartet of Mannequin Pussy, which is made of Marisa Dabice (guitar & vocals), Athanasios Paul (guitar & keys), Kaleen Reading (drums & percussion), and Colins Rey Regisford (bass, samples & vocals), has returned with its third album. Patience was produced by Will Yip, and is now available via Epitaph.
Aggression and tension melodically converge on the album’s title track. From the initial jarring jumpstart of guitar that sets things in motion, the song lyrically expresses a shift in perspective within a relationship – one that depicts insecurity in the form of possessiveness. “Who told you, that my body was yours to own? Long before you called, it was crawling through the wild.” “Patience” fuses enthusiastic energy, evaluating circumstances, and emerging resilience.
With “Drunk II,” the tone is set by hard-driving rhythms and searing, smooth guitar lines. Marisa Dabice’s vocals cut in a vulnerable, revealing manner. “I’ve been going out almost every night, I’ve been drinking everything I can get my hands on, I pretend I have fun.” A lingering sadness hovers as Dabice describes projecting strength, while internal doubts remain. “And everyone says to me, ‘Missy, you’re so strong!’ But what if I don’t wanna be? And everyone says to me, ‘Missy, how do you stand it?’ There’s so much that you don’t see.”
“Cream” races forward in a raw, frenetic manner, as Dabice expresses, “I was standing in the gates of my hell. I was looking at myself like, ‘Girl, what you did, take a look at yourself right now!” Backed by Kaleen Reading’s tenacious percussion, the moment seems to represent a pivotal point of change, which rips and roars like an inferno. In contrast, “Fear/+/Desire” exhibits a gentler side of the band. The aesthetic is reinforced by the softness of the vocals, which is juxtaposed by the painful dynamic of the relationship. “You beg me to build you a monument, and as it grew, oh so did all my regret. Is this what you wanted? Does holding me down make you feel desire?” Recalling the need to escape an abusive situation, the protagonist concludes that “possession is a demon that I never meant to keep.”
A fiery riff is complemented by raging percussion on “Drunk I,” as a limit is reached. “What kind of woman would you rather I be? Docile and waiting to breed? I’d rather be that. My heart is racing, wrapped up, and no, I’m not afraid.” Keeping things short, and not so sweet. A solemn, haunting instrumental opening develops the mood of “High Horse”. Painting an exit scene from a tumultuous setting, the instruments gradually swell, developing tension before momentously spilling over and crashing down. “Someone who wouldn’t treat me like you do, I fucked up. How many times will you beg me to? Your worlds on fire, as I watch up from my high horse. Your worlds on fire, and I walk away.”
“Who You Are” embraces the current moment, while describing self-acceptance. “If I were you, there’s not a thing I would restart. I love who you are.” Then, about halfway through, the tempo accelerates establishing a sense of urgency. “I felt the earth move, in your eyes. I get excited by your side. I know they want to get you to be the kind of person they’d rather see, but you don’t have to change.” There’s a high-speed intensity that exudes a cathartic control.
On “Clams,” Dabice trades verses with Regisford, as heavy percussion forge a combative sound seen through a financial scope. “I fought, but I did not win…I just want my money.” “F.U.C.A.W” captures an uncompromising in your face moment, as the guitar cuts and the drums bash. “What did you say to me boy? Come on and spit it in my face.”
“In Love Again” closes the record on an optimistic note. Keys mingle while the other instruments establish a bright bounce. Then, everything drops back isolating and highlighting the thoughts and vocals. “Oh, it keeps getting better. I cried out, and fell out the center. I’m so high; I want this forever.” When the instruments re-enter, a joyous blitz ensues.
Patience shines in its candid openness, exploring personal struggles, demonstrating the strength to break through and remain optimistic about what the future has in store. –Michael Colavita
Melt’s Sour Fruit is Out Now
Melt has just released their latest album, Sour Fruit, via Halfshell Records. The album is freaky, earnest fun. The band’s burn out aesthetic doesn’t slow down the energy and enthusiasm they put into playing. Songs like “Snow” are jazzy and psychedelic, but they don’t fall into the expected rhythms we usually get from psych songs. The band twists when you think they’ll turn. They introduce a high note when you think a low one is coming, or slow the beat down at moments where it traditionally picks up. The change is very welcome. Other songs are faster, more surf-punk oriented. “Catch Me” is a great example, with laggy vocal distortion and passionate guitar riffs chords. “Catch Me” has the kind of tongue-twisting lyrics that are are a lot of fun to sing along to.
If you want a chance to sing the lyrics along with the band, Melt’s tour kickoff will be taking place July 20th at the Ladd taphouse. Scott Yoder, Cry Babe and !mindparade will also be playing sets. You can find out more information on the facebook page here.