In June, I hope to see long-time indie pop favorites Tennis on their farewell tour. The husband and wife duo of Patrick Riley and Alaina Moore are calling it quits after an impressive run.
The pair made this statement regarding the end of their time as Tennis:
read more…It became clear that we had said everything we wanted to say and achieved everything we wanted to achieve with our band … We are ready to pursue other creative projects and to make space in our lives for new things.
Just as I’m starting to get back into vinyl records, one of the format’s proponents, a popular record club called Vinyl Me, Please is shutting down.
Read more…Since launching in 2012, Vinyl Me, Please has offered boutique, collectible record pressings to a subscriber base paying as much as $654 a year for the highest-tier membership, as The Denver Post’s John Wenzel reported last month. The article traces the period of instability back to the firing, in March 2024, of three senior staff, whom the board of directors allege had conspired to divert company funds to build a pressing plant. Cameron Schaefer, the company’s former chief executive, said he believed that he and the two others had been fired to save on severance.
Featuring a heavy dose of Nippon by way of Berlin, Germany, Mitsune brings their blend of traditional folk sounds with a proggy psychedelic flair to KEXP. The songs center around the shamisen playing of Shiomi Kawaguchi and Youka Snell but have the rhythm backing of bass and drums. Colorful traditional costumes enhance the power of the music in what is almost as much of a visual as audio delight.
I’ve been coming back to this video quite a bit. I’m not sure anything could be farther from the Byzantine chants that will accompany the Pascha celebration at my Orthodox Church tonight, but I’m enjoying the thought of the contrast.
Mitsune – Live on KEXP (YouTube)
I was delighted to find out yesterday that one of my favorite EPs from 30 years ago, long out of print, was available on Bandcamp. I loved Peter from Eric’s Trip, but even when it was current, it was hard to obtain. I’m somewhat ashamed to admit that I ripped my friend’s copy to burn on a CD, a practice I was totally against, but felt I had no other choice. Now the band’s Rick White is releasing his archive through the indie music service.
Read more…The record label Ghostly International just reissued West Coast, the 2006 album by Studio, a collaboration between two musical auteurs from Gothenburg, Sweden. Ghostly spent months hyping the release, and it has garnered critical acclaim from the likes of Pitchfork, which labeled it a best new reissue. Bandcamp selected West Coast as their album of the day near the end of January.
Louis Pattison’s review for Bandcamp Daily focuses on the balearic influences that feature prominently on West Coast but what struck me most was the sense that this album fit right in with much of the disco (dance) punk revival that permeated the musical landscape in the aughts. Even the heavy reggae vibes coming from the slow staccato guitars on the expansive (almost 16-minutes long) “Out There” wouldn’t sound out of place in some of the first wave experiments in dance punk.
Read more…For this Friday Night Video, we’re going back a way, to the mid-nineties. Smashing Pumpkins had released Mellon Collie And The Infinite Sadness a fittingly grandiose title for an ambitious and widely varied double-album. At the time, I heard the first single, the “rat in cage” song, and I thought this latest effort wasn’t for me. I actually went out and sold my Smashing Pumpkins CDs, which I had been collecting since shortly after the release of their debut, Gish.
It wasn’t until later that I found out there were some strong tracks on the third official record from the band. “1979” is a well-loved classic. Even Pavement covered the song, and they had their own song with the lyrics, “I don’t understand what they mean, and I could really give a f**k,” in reference to SP.
Read more…When I heard that Starflyer 59 was releasing a new album hot on the heels of their critically acclaimed 2024 record Lust For Gold, I was a bit surprised. Once I dove further into the concept for the record, though, I began to understand why the band was able to put this out so quickly. This isn’t a collection of new songs, but rather a reimagining of previous material in a gently soporific, slumber-inducing format. I wasn’t sure about the premise, but I have to admit to being fond of the results.
The collection comes off as very similar to the Lullaby Renditions of… series that came together almost two decades ago. The series took the songs of popular bands and recreated them in a format that sounded like lullabies. Tracks by Nirvana or Radiohead or even Led Zeppelin were transformed into something that you would hear coming from the plastic mobile rotating over an infant’s crib. If it sounds hokey, maybe it was a bit, but somehow it worked. We had the volume dedicated to The Cure and used to play it to get my oldest son to settle down when he was a baby.
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