Now, check out this band. Marigolds are from Norwich and they've gone straight into the Third Outing good books with an EP that just doesn't mess around. On top of that, they seem pretty sound too. Third Introduces the traffic directing marigold glove men...
Opposed to the popular belief that the name came from the Norwich Marigold Man, who went around directing traffic with marigold gloves on, it actually came from brainstorming, but inspired by a line from a Promise Ring song, Forget Me. It just suited the summery, upbeat vibes that we want from our music. We don't want to bore people.
It comes from a riff we had been agonising over for months, we really wanted a ballad song to start our sets and begin the EP, for a long time it just sounded like a awful country song with this riff over and over, but as we sorted a structure out, and mixed it together with this Wes Anderson inspired colourful love story, it became a more interesting song. The bright, vivid imagery that comes with it is something we tried to capture with all our songs on the EP.
We have a bunch of stories to describe our "tragicness", one time Joe went to shake the event organiser's hand on stage and she just turned around and completely blanked him in front of everyone. Tom once posi-jumped and his shoe came flying off mid-song. And on our first time touring a guy threatened to take Owen's glasses and 'borrow' our phones on Brighton beach. Dave has too many moments to even list. It's safe to say we are on the edge of not functioning at times.
We have had a break from doing a lot of shows to finish this EP and also make time for our exams coming up, so we want to get back into the swing of playing shows and also touring more with our mates, trying to travel as far as we can with these songs. In terms of music, we're gonna finish the songs we're currently writing and just see what happens, maybe even an album at some point, but I feel a summer single would be a more realistic goal.
Chamomile is an excellent song. It's easy to over do a review, eh. So lets keep it as simple as that to begin with. Even ignoring the opening scene in the video with glimpses of the old school Oasis T (which we are obviously big fans of), it's a track which simply takes you. Glide rock and roll in its simplest form. Result. So let's begin at the beginning...
I've always been a sucker for a long instrumental intro. The way this one lounges about and elongates into your ears is remarkable. The Beach Boys would have been proud of that cool. There's a purpose, though. Especially when you hear the guitar jag riff in full force with the backing of the beat dropping drums. It's very well done.
And to the vocals. This is where I'm at my most judgmental. Does your voice add anything to the song I've just listened to, or is it somewhat of a disappointment? Again, the Mariboys get it spot on here. The transition from verse to chorus is effortless, and there's even the odd moment of "vocal perfection" I'll call it, you know, when a simple utterance or unexpected intonation rings clearer than any instrument possibly could. Joe Maguire achieves that about 3 minutes in with the word "diaphragm". Well, that's never happened to me before whilst listening to an Indie tune.
And so I confirm that this is a band that I want to see live. Somewhere in their home town of Norwich in a pub on a Thursday night. That's how good a feeling I get from this one song alone. But luckily for you, me, the Mariboys and everybody else in Norwich, it doesn't end there. The entire EP Asleep In The Sun is a good shout. It' punchy. There's energy there. And importantly, it doesn't sound like every other band I've heard this week. Big Beat Manifesto is the highlight. Well stone me, they even got a Super Hans reference in there. Well done, Mariboys.
How many bands do you know who start out and start out seriously? The art of "banding" with a specific goal is a rarer one these days. Maybe that's why fewer bands seem to break-through? If it's a hobby, it's easier to give up. Doggo are the Philly DIY band who know exactly what they want to achieve in music. We spoke to front man Mike Pinto after the release of the band's debut Hotel Carlyle. Third Introducing Doggo
"We have been Doggo for a little over a year now, but before that we were called Blankbook. We went from being a blues revival band, to a screamo-ish band, to a title fight rip off band, to god knows what else. When we were Blankbook we had a bad habit of writing, recording, and then scrapping projects completely. We ain't about that now. We keep a line of clear communication between the three of us for everything we do as a band. Decisions are made together as homies, not just as band mates. And as far as where we will end up? I honestly have no idea".
"I guess if I had to pin point what this record is really about I'd have to say its gotta be my overall laziness and complacency, and how I want to get past it and not be human sloth for the rest of my life. When I wrote a lot of the lyrics for this record I was in a relatively dark place. The lyrics I was writing before were either too generic and had no meaning, or were too dark for me to feel comfortable putting them out there. A central theme of this record is finding the happy medium between sincerity and not taking anything too seriously".
"As far as the lyrics in Scully go, there really isn't too much deep meaning behind the song. I was literally spending a boat load of time the past summer laying in bed, watching the X- Files and not wanting to do much else. I definitely wasn't appreciating all the good around me and the good people I was surrounded by either. The way this record was written was pretty run of the mill. Nothing too crazy for us. We like to keep our writing as simple as we can".
"For right now we're just here in Philly grinding hard on being a solid band of solid people"
"First off, all three of us are born and raised in Philadelphia proper. There's always been a strong music and art culture here, and with that comes a DIY scene with a lot of different pockets, with different people making tons of music since way before our time. In the past 10 years there has been an influx of people moving into Philly in general. Artists and creative people looking for cheaper rent with more space to work and throw shows. Philly creates an environment for new people to be able to set up shop and make shit happen for themselves and their homies. But with that comes some people who want to gentrify neighborhoods and are rude to the communities they move into to throw shows. Change is great, but when it affects local people's lives, homes, and property taxes than things can get a bit hairy".
"Last summer, Miles and a few other Philly DIY organized a free outdoor gig at a local skatepark where we raised over $400 that was donated to The American Foundation for Suicide Prevention. At that show Brian was grilling and selling hot dogs and donated most the money he made to our fundraising efforts. We have thrown a few other fundraiser shows since then and will continue to do more fundraising work through shows. We're sure that when we start hitting the road more, more crazy stuff will happen and awesome memories will be made. But for right now we're just here in Philly grinding hard on being a solid band of solid people".
When you talk to Mike Pinto from Doggo you're talking to a man on a mission. This guy, this band, in fact this entire Philly DIY scene, is striving for success with their music. Hotel Carlyle marks the moment when Pinto and the rest of Doggo come out fighting. "This is what we want to do, and we're gonna do it", is the mentality. And it breeds success.
You get the impression that most of the mistakes bands commonly make, in terms of set-up and execution, are no longer in the Doggo system. Speaking to Pinto, their previous outfit Blankbook was perhaps the concept band. The building blocks for Doggo. "Who are we and what do we want to do"? These questions were posed in the Blues and Screamo stages of Blankbook. Now, with the inception of Doggo, the answers are clear and the direction decided.
That direction has inevitably led to Doggo releasing a very, very decent effort in the shape of debut record Hotel Carlyle, as well as their firm establishment within the DIY scene of Philly. That's especially what makes Doggo appeal to us at Third Outing; their community ambitions. The idea of throwing local shows, fundraisers for local issues, and most importantly, understanding the local community and respecting its way of life without bringing disruption to it.
And besides, yes, the record is very, very decent. The Doggos are on the heavier side of the alternative spectrum, but the sound is clear, concise and memorable. Lyricism also plays a big part on the record, and as Pinto himself rightly points out, perhaps his extra effort in developing his lyrical skill-set and actively avoiding complacency has made all the difference. Scully is the Third Outing stand-out track, for this. Lobotomy too. Yacht Boys (2016) especially! Tune!
It's too simple to say that Ellie Bleach is the perfect blend of Mac Demarco and Courtney Barnett, as we wrote but a few days ago. There's way more going on than that. Bleach's upcoming EP Petty must be described as an extremely well thought out record, one which proves that Ellie Bleach has certainly got a knack for channeling inner emotions
"I am just a girl, standing in front of a blog. Asking them to love her. My world is convenience stores at 2am, the sound of several conversations at once when you’ve tuned out of a house party, a page of practiced signatures, the green stain on your finger from cheap jewelry, forgetting what you were about to say, your friends laughing in the next room. I spend most days studying English Literature at University and talking about stupid things with my best friends trying not to think about how I have no idea what I’m doing. And of course working on the new EP".
"For me, Duvet Day was a way of dealing with a pretty daunting period of my life. Writing about wanting to give up and feeling alienated from a slightly arrogant, sarky angle kept it fun. I also wrote it pretty early on, it was maybe the third full song I’d written on guitar and steered my lyrical style in a completely different direction. Now I love the irony of one of my most lyrically depressing tunes being one of the most fun to play live".
The New EP
"Putting together this EP was kind of like when someone tells you "you’re really funny", then suddenly you feel obliged to be funny 24/7 to maintain this idea they have of you. When my first EP Can I Stay In The Car was made, I didn’t know if anyone would listen to it. The reaction made me think about my own music completely differently, I genuinely didn’t realise most of my songs are low-key depressing until people pointed it out, so I was a lot more aware of my emotional dirty laundry being aired. That sounds contrived, but I really enjoyed honing in on exactly what I wanted to say, exploring rejection and heartbreak from a self-centered teenage lens".
Stone Roses Hat & £100
"I’d start by selling the Stone Roses hat on depop to boost that £100 to £150. I’d then make a very boring video of me chain smoking the pack of cigs and post it on instagram - only my true loyal friends would like a post that bad, so I’d invite everyone who likes the post to a movie marathon of light hearted body-swap comedy films like Freaky Friday, It's A Boy Girl Thing, 13 Going On 30 etc. I’d spend the £150 on a shit load of drink and anything else of that nature, then spend the evening debating which Freaky Friday is better, the original or the remake. Maybe invite the sucker that paid 50 quid for a hat too...".
"Ellie has a knack for making her vivid flights of imagination and meticulous attention to seemingly insignificant detail seem effortless"
Ellie Bleach sounds like she’s day-dreaming out loud instead of singing, but she’s deceptively incisive as a lyricist. Her guitar-playing, while never particularly showy, can be subtle or scalding. Her minimalist style nicely counterpoints the maximum wordplay.
Put simply, Ellie's latest EP is a great record that doesn’t try too hard. Instead it depicts the life and times of a freshman girl who doesn't want to grow up too quickly. Who falls in love. Has fun. Wants someone. Doesn't succeed. Or maybe she does. Who knows? Ellie has a knack for making her vivid flights of imagination and meticulous attention to seemingly insignificant detail seem effortless.
The opener I Want You So Bad tries to capture the thrill of lust, but with strong sense of fear of rejection lurking underneath. It's a slow synth ballad, pure and raw. One of the highlight of the EP, actually. Bleach's voice reveals all of its subtleties, being both strong and febrile, as if Ellie knows what she wants, but not completely.
She also manages the ability to convey a different atmosphere on each track, as if all the songs have their own little stories and universes. Fragmented, you might think, yet the sensation you get from each tracks stays with you. Each new universe does not cancel whatever emotions you got with the first, and that's hard to achieve. Duvet Day is the least original song, it does sound like a Courtney Barnett impression of Avant-Gardener, but Grip (Get A Hobby) gives you chills. "Grip is the aftermath of that longing frustration at yourself for feeling rejected in the first place", tells Ellie.
Here's what we think. Ellie Bleach has got massive potential and showcasing Duvet Day as her first single isn't doing her any justice. These days more than ever, you need stand out from the crowd and releasing this track does exactly the opposite. A track like I Want You has got so much more to offer, and conveys more emotion than any other song on the EP. That should have been Bleach's first release. This would have caught the fan's attention. No doubt there is talent on each and every track on Petty, but not on Duvet Day. The safe choice, but not one which reflects the mood of this record.
Californian four-piece RAYS have just released their self-titled début record on Trouble In Mind Records. And here's what we think; RAYS are beyond punk. They're throwing it out the window and starting something new. So we thought we'd better catch up with guitarist Troy Hewit to find out what this new brand is all about. Third Introduces RAYS
"Our goal has always been to get our music out to other like-minded people. There are so many scenes of musicians and bands making really good music right now. The goals themselves have not evolved so much as the chances of fulfilling them. Like playing internationally. Touring Europe or Australia seems a lot closer than it used to".
"Each song has any number of different influences. A lot of the time it's 60's or 70's pop and rock but I think we all draw a lot of motivation from our contemporaries. It's one thing to admire The Byrds but good music seems much more attainable when you are blown away by songs your friends write. It's like, it's still possible. Bands such as Swiftumz, The Mantles, Honey Radar and Violent Change are very inspiring".
"Obviously there are many genres of music that don't rely on effects, like country and folk and all music before the 1960's. Electric guitar is a very versatile instrument. The sound that emerges has a lot to do with the room it's played in or the machines used to record. We often choose what guitar or amp we are using based on getting the sound we want without having to rely on effects".
"I can't speak for the rest of the band but the last two records I bought were the new Cube record My Cube and the Angel record 2017. They are both amazing".
When we ask Troy if the band think about genres when they create music, his answer is clear: "not at all." Though it has been said before, RAYS are beyond punk. In fact, they're throwing it out the window with their scrappy and purposefully jangly brand of punk. It is out of tune, it is fast, Lo-Fi, exhilarating. And it is punk. But they draw inspiration from so many contemporaries that their sound could never be considered a first wave rip-off. That punk is out the window! Yet we still can't tell you what this record sounds like. Because it sounds like RAYS. Nothing else.
Here's the deal with RAYS: they are unpredictable. In their weird and frightening world punk is something you're born with, not something you learn. The sound is as pure, honest and as terrible as it can get. The record compacts a dense, unwieldy tangle of rockabilly rhythms, spoken-word splatters, 70's punk spirit and a Sci-Fi synth salvaged a charity shop bargain bins. It's messy and menacing in equal measure. The best.
Newcastle Indie Rockers Seeing Hands are one of the latest bands to make waves in Britain. But what makes them different to any other jingle jangle dreamy pop band in Britain today? Kev answers the questions on this summer special feel Third Introducing...
Love You Still
"Love You Still is about being a bit mental in a relationship. If you've been messed around in the past it's quite hard to trust again and the song channels the anxiety you might feel about getting hurt again. Real deep".
"Usually these days something from my Discover Weekly will blow my mind and I'm like, right, I'm gonna go and copy the shit out of that. Then it'll come out nothing like it but I'll have a cool new song. Lyrics come last usually, and I guess it's what ever is going through my warped mind at the time".
"We've actually just lost a member. We've had to cancel a pretty big gig because of it. And we've just gained another member".
"Wild Nothing, Nocturne. Prefab Sprout, From Langley Park to Memphis. Generationals, Heza".
"Sometimes she's cross legged, and sometimes she stands, but most times she cradles her knees with her toes in the sand. While the moon glistens off the waves, it's there, patiently she waits. For once her love came, at that very place, forever she will return forever she will wait. She counts her blessings, she's missing just one, she's still waiting for the best thing to come. I like to call this one The Dolphin".
"We started the band to get girlfriends of course. I have one now so I guess this will be the first and last interview"
The band decided to send their music to Captured Tracks. Any feedback, we asked them? "Haha ermmm. They got in touch. But no follow up yet. Darn time zones". They'll say no more. But when you listen to the band's songs, you get the feeling they'll be perfect for some groundbreaking Brooklyn-based record label somewhere. Our attention is got...
The first of which sound that took us is I Knew You, released but a few months ago. The outfit rely on reverb to convey texture and depth. This aesthetic identification - DIIV, Real Estate, The War On Drugs - is obvious, but the outfit aren't the only ones to seek influences across the sea. Seeing Hands are slowly following the footsteps of some of these great bands and continuing to utilise this sound . Non more so than with their follow up, It's true.
It's True reconfirms their ever emerging identity. dream Pop. Jangly guitar lines, reverb-drenched melody, dreamy vocals. It's all there, but it also begs the logical question "are Seeing Hands becoming mere copycats?" No. Alas the band's latest single Love You Still is their best effort by far. By best, we mean most original, engaging, memorable. The full-bodied sound means that the entire feel of the music is somewhat "fleshier". The sound is bolder, the band sound more convincing, louder and reassuring.
Long Islander's Pindhurst Farms have recently returned with a storming new three track EP entitled Orange. Picking up where debut LP record Right Now left off, we caught up with drummer Jenna Noe to introduce this hot new sound. 3rd Introduces
Is any thing or any place you want it to be. We are four people who make music we love that we can dance with you to, and when asked this question we always simply answer; use your imagination.
The record takes the Pindhurst sound we've been working on and towards for the past six years and elevates it to new heights in terms of maturity, complexity, and overall musicianship. The songs on Orange have a bit more depth than those on Right Now! [Pindhurst's first record]. I think I can speak for all of us when I say that all we could hope for is for people to see that we are growing as musicians and human beings.
We definitely have a unique approach to songwriting. Our songs are driven by musical compatibility between the four of us and we like to highlight that in all of our songs. The great part about the intro to Orange is that when the song was first written, we played it differently for the first couple of shows. We started incorporating it into our set to until we found one that we thought really drove the song forward. Each verse, from the beginning and onward, adds a little more 'oomph' every time. By the end it has a full on rock drive that really gets us, and people, movin'.
Growing up and going to shows in the basements of churches, legion halls, friends' backyards, and the like were just a rite of passage for a kid into the music scene on Long Island. Usually, if you're making music, all of your friends are making music, so at any given time it's just one big jam sesh after another. Another great thing about music on Long Island is the camaraderie and accessibility of playing with your favorites; we were fortunate enough to play a show with Laura Stevenson and the Cans who is one of mine and Drew's biggest musical influences!
It's true! With the release of Orange, Pindhurst Farms have truly made their mark and developed as a band. The release of Right Now! a few years ago signified the start of four solid musicians finding their style. But now, with a little bit of time, and perhaps even more purpose, this style has developed into something much more all-round appealing.
The case study must start with the title track Orange. When we do our scouting at Third Outing, so vast is the amount of music on the internet, a band usually has only one chance, one listen, to shine. Pindhurst Farms only needed the introduction to do exactly that. Their combination of bass and guitar just blew us away. There's a 42 second build up on Orange which eventually resolves into the most perfect opening for a song and introduction to a band possible.
And what a song. Every level comes together perfectly. From enticing vocals to the electric guitar rips, Pindhurst Farms have created a Pop Indie classic which cannot be missed. It's the sound that we wished old favourite bands such as Born Ruffians were still making. Concentrating on a melody like Orange does and then building around it takes skill, but the track seems to kick on and gather strength as each layer is added. Forget an orange, this is like an onion of pop. "The devil is orange and he's staring back at me"! Sing on Pindhurst, we love it!
However. And this is a however we don't want to make. It has to be said that the title track is the clear stand out on the record. The other two tracks Okay and Falling Up both have their merits, though they do lack the appeal of Orange. Perhaps it's the energy in that bass line, or maybe it's just a shift in focus from melody, but the magic isn't quite at the same level. Having said that though, both tracks demand an incredible amount of musicianship and an excellent music brain is portrayed on both. The electric guitar role on Okay must be given an extra special nod.
Look at these cheeky chappies posing on what looks to be the tennis courts of the school grounds! Here's the deal; imagine what Here's Andy would sound like with a whole band? That's right, London-based Wayde is the answer. Third Outing Introduces this genuine talent
It’s a coming of age and fear of becoming an adult type deal. When we were writing it was never intentionally meant to have a meaning, but retrospectively there are undertones of reality crushing childhood dreams like Rivita.
We recorded the EP ourselves which was a nice change our traditional way, so having complete control over how we wanted everything was a touch. Then we had a lot of fun tracking guitars in Tyrone’s living room, a place where the beer flows like wine, where beautiful women instinctively flock like the salmon of Capistrano"
sElf Canon: We listened to a lot of sElf, we really liked the big wall of sound guitars and driving grooves and it became the nucleus for the sound we wanted to explore as Wayde // Slowdive 40 Days: We really like the atmospheric sounds of overly-reverberated guitars letting loose a load of colourful noise at your ears // David Bowie Space Oddity: The rising texture in this song is so cool, we maybe tried to steal that...
"We constantly argue over stupid conspiracy theories in a very fiery manner...our music is foot-stomping thigh-slapping
balls to the walls dangerous..."
Wayde's latest EP is the kind of dirt-caked guitar progression and proudly imperfect album which remains flawless, despite doing nothing new musically. Wayde's sound is overwhelming, not oppressive. The sonic expanse is even more mind-blowing. The band manage to create a sprawling, psychedelic record, dotted by fast and fuzzed-out rock & roll.
In other words, Wayde are in-between garage rock and shoegaze. The transition from Anti Hero to Incomplete proves this point. The first starts with a "T Rex style" heavy rhythm dusted with driving melody. On Incomplete there's enough of a melody, a compellingly harrowing one at that, to sustain the song's four minutes of "swirling". "Let's run, more speed, I'm feeling like I'm tripping free" sings the band.
There are two ways of looking at it. You could either say the band's ambition is to showcase their wide range of styles. The band hasn't found their own sound yet, so they're experimenting and having fun, trying new things. This works. The other way is to say that each song cancels out whatever sensations you might have felt with the previous song. For example, the slow, catchy opener Easy (Don't Be Long) melts into the bulky Anti Hero and then into the vertiginous mid-tempo shoegaze style...you get the idea.
Hailing from Victoria, BC, you know the place where our good pal Kkidss comes from, Jons have started making waves of their own and are about to re-release their latest record At Work On Several Things out on March 17th via Field Mates Records. Third Introduces Jons...
At Work On Several Things
The phrase At Work On Several Things addresses a lot for us (and probably everyone). It well describes how we function as a band; it seems like there's rarely a time when all four of us are simultaneously free. It's also descriptive of where we're at as artists. The phrase really captures how 'busyness' rules our worlds.
Keenan made the artwork using various old postcards. The inspiration for it came when he found one at a flea market in Vancouver, that had all of this industrial imagery on it that seemed to align well with the title of the album. Regarding the image, the absurdity of all of these different people and worlds they live in just budging into each other is meant to both communicate a feeling of busyness, as well as touch on the hyperactivity found in today's internet culture coupled with reality.
"Something about looking around at each other in silence with big headphones on while some of you are fiddling with knobs on machines makes you feel sort of like you're in a submarine or something.
Recording is kind of like being in a submarine"
3 Song Influence
Everything Happen's To You was named in jest of the jazz standard Everything Happens To Me, written by Tom Adair and Matt Dennis. This came about because we had Keenan's friend Adam Jasieniuk record some saxophone on what was originally a straightforward Krautrock song. Adam ended up doing some real jazzy stuff on it // Patrick and David talked about The Beatles song Mean Mr. Mustard a handful of time, trying to pick apart what elements of it made it so sweet, which definitely found its way into the album // We can't leave out This Night Has Opened My Eyes by The Smiths. It's just a very high quality and inspiring song.
We visited some good friends in Toronto while out that way on tour. We had a total blast walking around the city and watching the first few episodes of Sex and the City on VHS. The ability for us to have had that great time is thanks to being in this band in the first place. At a certain point Jons turned into this sort of collective between the four of us that lets us experience new things and different places through the performance of music, which is definitely sweet as hell and the reason we all do what we do.
The number of press releases we get these days mentioning Mac Demarco, Parquet Courts and Sonic Youth as the main influences is amazing. Oh, I forgot Pavement. The band Jons, "just four dudes who love listening to and playing music", purportedly belong to this category. "There's a Mac DeMarco in their music, but they're no copycats", reads the record release. They're not Mac Demarco. They are far from Demarco, very far away...
At Work On Several Things is the sound of a summer jam cruising round the OC. Jons seem to need a level of absurd to satisfy their creative thirst, see aforementioned saxophone track. But then in reality they keep to the same themes. They focus on variations of drone monotony, keep everything muted. There's the easy Mac Demarco "comparison" to make of course; the dream-like jangling of guitars, but that's where it stops.
In all honesty the record at times feels like a challenge to work through. Some tracks never quite reach their peak, or dare to take you anywhere new. There are a few moments of glory. Blood Red LeBaron is ultimately a cool song. The guitar and voice find their harmony, here. Dobro Genuis is another track which excites us. A more upbeat tempo, it's a clear idea of how Jons could shape their sound. This is definitely the best track on the record. Gutter Master must also take credit for its stylishness.
Andrew Younker's latest release Microchasm attempts to achieve the most difficult task in music; how to represent true feeling at a particular time of life. It makes this record a deeply personal one, and extremely meaningful too. But will it make sense to us listening to it?
My brother forced me to think of like 15 names for the record and I had to pick the one that made the most sense. The word is kind of a bastardization of 'Microcosm' I guess; when something small represents something larger. That terrifies me! Where is the line drawn? Can my entire life be pinned to a couple key moments? The "chasm" part comes from that sort of destructive mindset, it can be really easy to get lost in your own mind struggling to find out what seconds define it all. The album tried to capture that.
Electric Chair is special to me but I think Totaled Ambulance is my favorite. The line "when will you become important?" might seem like I'm taking a stab at someone I know personally, but I'm really talking to myself. That's why it sounds the most anxious and maybe even self-deprecating. The last 30 seconds with the blaring lead guitar makes me want to throw a fucking fit and it definitely is the best musical representation of my emotions as I wrote the record.
Jay Reatard Oh It's Such A Shame I can't stop listening to Blood Visions. Jay made catharsis seem so easy. The way this track ends in all of its shimmering glory changed the way I looked at garage rock for Microchasm. The ugly can be the most beautiful if its pushed hard enough.
Animal Collective Daily Routine This is where I kinda grabbed all the synth ideas on the album. Electric Chair starts with a synth line that starts at 500 bpm or something ridiculous, then slows down until the bass and drums join the track. Daily Routine kind of worked the opposite way, and even though the music doesn't really sound similar, I only ever dream of hitting the emotional highs that Merriweather Post Pavilion hits.
2814 悲哀/Sorrow I don't know if this track makes any musical appearances in Microchasm, but it has meant too much to me, especially when I was recording, to not include it here. I know this genre might not be the most respected or highly touted in terms of originality, but 2814 is different to me. This song takes all the anxiety and bargains with me. It lets me slip in to a very calm state of nausea.
Andrew Younker's Microchasm looks inward and discovers the endless possibilities of imagination and introspection. But it's also a strenuous record to describe. Andrew's idea on creating music is the following: "If I keep releasing music as fast as I am then I'll have a very accurate representation of how I felt in that exact time and space. A bunch of little microcosms of my life. And maybe it will keep me from losing my mind". It's a double-edge sword, you'll either get it right away or hate it forever. We've made our decision...
At times this record feels like a mix-tape Andrew has made for himself. Six songs made of six different experiments. But it also proves a great ability to switch and toy with sounds, textures and melodies. On Microchasm there are funky bass lines (Down The Stairs / Pretend Therapist), dub dream-pop sequences (Totally Ambulance) and post-punk 80's prophecies (Electric Chairs). It's surprising, it's satisfying, and most of all very, it's very very functional. He has proved he is smart enough to specialize and capture a moment; creating moods rather than sounds.
Garage punk outfit Shredd have grabbed the attention of Fuzzkill Records and released their first EP Everytime We Meet I Want To Die with the Scottish label. Here's the Third Introducing including three songs, the £100 Stone Roses hat conundrum and the best pub in Glasgow...
Chris - Finger by Ty Segall
Ty Segall made me want to start this band in the first place. The raw kind of carnage that comes from his records always influenced me to start this band and create these manic sounding songs!
Mark - Punks by FIDLAR
I remember Chris letting me hear this band for the first time, this was the song that really stood out for me. A huge sounding track with so many broody and intricate riffs; something we've tried to incorporate into Shredd. I first heard this song around the time we started out so it brings back some nice memories.
Calum - Providence by Foals
I didn't really know much about the garage rock genre when we started this band but as soon as we started rehearsing I had this image of what our live shows would be like and the only thing I could compare it to in my head was when I've seen Foals play this song live.
£100 + Stone Roses Hat
Our answers would be a bit different for this one! Mark and Calum are pretty sensible so they'd probably save the money, Chris would end up spending it on stuff he didn't need. None of us smoke so we'd probably sell them to our friends who do 50p a fag mate...Chris would probably wear the hat and pretend he was a mod for a night, people would love him for the cigarettes but hate me for the hat.
Best Pub In Glasgow
For us it has to be The Old Hairdressers! We've played there four times in total I think and we've never had a bad gig. They helped us out a lot recently when we had to change the venue of our EP launch literally about an hour before doors were supposed to open, we couldn't have been more appreciative! They also put on Freakender which was an amazing three day festival last year, everyone had a brilliant weekend!
"The spirit of the band just comes from the fact that we're all best mates making these crazy loud songs"
Shredd's first outing has one ambition; to be a tight, consistent, and unbelievably catchy rock sound that quickly and effectively defines who and what the band is all about. Everytime We Meet I Want To Die maintains cohesion despite several shifts in delivery and tone. The EP offers a sugary and immediate hit...fast tempos, thick fuzz and power.
Hideout is the classic garage rock tune of the EP. It sets the tone nicely, has a gloomy atmosphere and a catchy rhythm. The songs outro offers a first taste of what's to come next, as the band reel off a sickeningly fuzzed-out guitar solo. So far, so good...
It becomes apparent that Shredd are armed with intensely infectious melodies and hooks. The raw intensity of the band's live shows is captured with next to no embellishment. It transfers to the band's less ferocious side, too. The Switch is the slow, stoned, jam apocalyptic closer of the EP. It is also the loudest track on the EP. This is when you understand what Shredd are all about. The band do not exactly embrace punk’s nihilistic worldview, they share its disillusionment with rock’s increasingly ponderous, navel-gazing nature.
And so this EP is a rescue mission, saving the music from impending irrelevance by shredding thunderous ear-piercing garage rock gems together. It's all just a little bit different, after all as the band told us, they are just "three angelic boys making satanic noise"...