© Photography by Aidan Nonsense
Hailing from Glasgow, The Animal Mothers surf on the fuzz wave, but the question begs do they completely convince? This is the Third Feeling on the band which might still make fuzzy heads somewhat clearer...
You know the feeling. When you hear one good tune like A Rain Will Come and it leaves you wanting more. But then the album drops and the others songs never quite reach the same level. The first listen is the best. Sadly, that's the feeling we've got in the 3rd Outing office listening to The Animal Mothers Must Be Destroyed.
But the following question applies to all artists playing fuzzy rock music, including The Animal Mothers. What can you do to keep people listening? They give us the the answer: "This record is definitely influenced by the desire to move away from a typical garage sound". The answer is correct. And you can see it in action; that's why there's a nod to some golden old chaotic British punk on the record. It's also why the record isn't your typical garage rock record, that you've heard a million times. It's definitely not a "rock" record. But it definitely worth a listen. Donovan's Reefer in particular.
So, did the band get lost trying to move away from the garage sound? Did they find an old copy of Tony Hawk's Pro Skater 2? It doesn't really matter. What does matter, is their desire to create something new, whether or not they've succeeded. The band's spirit to innovate is what we'll retain here. Overall, there's improvement to be made from The Animal Mothers, but it's still a thumbs up from us. Interview away...
"If we ever make a fucking "rock" record then it's time for a one way ticket to Switzerland if you know I mean".
Why should we buy The Animal Mothers Must be Destroyed? // Wallace: The same reason you would buy anything. The satisfaction of accumulating possessions which has been created by living in a materialistic, capitalist society. It's music so you might dig that but if you're looking for a DIY manual or a recipe book then you should give it a miss. // Richard: I think its got some of the best songs the band has ever written on it, also after recording at the Green Door studio in Glasgow this is the most polished record we've done yet.
Is genre something you think about when making music? // Wallace: In a way yes. It's important to grow and develop as a band. We started off as a run of the mill garage rock/punk band which was fun but that's been done to death so it's nice to broaden our horizons. Plus if we ever make a fucking "rock" record then it's time for a one way ticket to Switzerland if you know I mean. // Richard: I think subconsciously yes, but really you just play what you have in you - I think this record was definitely influenced by the desire to move away from a typical garage sound.
Is there a story which epitomises the band's spirit? // Richard: We were playing a gig in Dundee recently and the drum kit at the venue was a piece of shit, the front of the base drum kept falling off, so midway through the set the sound guy jumped on stage and put this object in front of it to keep it in place, we really couldn't tell what was happening , next thing we know there's a sea of spilt white paint spreading across the stage coming at us, he used a goddamn paint pot. We carried on playing and used it as war paint - basically embrace the chaos and play through the pain(t).
Last two questions! A good title for a book about your life story so far would be...
Wallace: One Last Warning to Those Who Would Stand in Our Way
Otherwise, he'll tell you "Shit, some serious changes to be made here then". What kind of changes? We don't know. But Mr Yolk's upcoming record will haunt you. That, we are certain.
Here's the thing: Mr Yolk's sound is seriously cool. It's a mash up hybrid style of indie, soft psychedelia and everything electronic. But it works because of two underlying factors; Samuel's voice and groove. It's a low haunting tone which effortlessly rolls line after line.
Here's one other thing (less cool): it's hard to say if this record brings joy to Samuel or not. When we ask him a story about the album, he says: "If there was any story it would be just me sitting around pondering at where to go musically. It would be a murky anecdote". Grim. On another website, he states: "I prefer to be alone. It is a personal thing for me ya know. My own sense of humour and views and in some cases vulnerability are on display".
Here's one last thing: Though it may or may not bring him joy, it showcases Samuel's talent and the different directions he can take. On his previous projects, you could hear DIIV (the song Vegan Broadcast) for instance, and on this one, please, don't tell him he's ripping off Jagwar Ma. Simply don't.
Right, if someone tells you you're ripping off Jagwar Ma, what would you say? // I would say: "Shit, some serious changes to be made here then".
Baker Street is a very good single, as it leaves you wanting more. Is the whole record in the same vein as this track? // It has become apparent that the sounds on the album with be contrasting slightly…but to a degree, yes. I think when you come up with a more conceptual approach for the musical vehicle you are on it is a lot more healthy having contrasting songs.
What are the differences between your previous project Velvet Morning and Mr. Yolk? // Primarily I am just hiding behind certain techniques less like reverb, etc. So that and the words are a lot more surreal. I think this comes from me letting a degree of satire into the writing process. It’s probably a bit easier to move to also.
If we give you give you a $100, a packet of cigarettes and a Stone Roses hat, How would the night go? // I would take the tobacco out of each individual cigarette and roll it all up using the $100 as a skin. I would then toke up immediately and once I have finished suckling on my smoky teet I would sit outside my local premiere offering my only belonging – my stone roses hat – in exchange for more smokes. Once I achieve more smoke inhalation I will wait beyond contempt until my next blem fuelled expedition arises.
The best Psych band right now might just come from Switzerland. Here's everything you should know about Magic & Naked and their latest record Human Expression.
Is it fair to say Switzerland isn't the first country that comes to mind when you think of psychedelic music? Glad you agree. Alright, here comes the 'did you know' sequence. Did you know Switzerland gave the world LSD. Did you know it's also the home of the Rickenbacker? That's psych enough right?
And so is this. Right now there's one Swiss band making serious waves in the genre. They are called Magic & Naked and have just released their second album Human Expression. It's very strong. There's just the one problem; they're being called the "Swiss Beach Boys", but let's see if we can help them get over this.
87% of current music
Human Expression is the kind of record you tend to forget you're listening to. But it would be unfair to call it background music. From time to time you find yourself drifting, think about something else and so the album plays, alternating between slower, chilled out sounds and the more upbeat, catchy moments.
The guitar twangs sound more cool than refreshing, and though in a way you've already heard this record, elements borrowed from the 60's and the 70's, Magic & Naked try to throw their own style into the blend too, just like 87% of current music in the world. (DISCLAIMER: This is a made up number by the author of this article).
The moments that grab you really do grab you. In The Morning and We Will Loose are both very beautiful, and My Green Bird gives it best to sound like it was really made in 2017. Need more? Scroll down for the interview with the band.
Guys, is it hard to be taken seriously when you're a psych band from Switzerland?
Even though we don't really consider ourselves a psych band, Switzerland gave the world LSD and Rickenbacker guitars, psych enough right? More seriously, it's harder to be taken seriously when you're a Swiss band than an American, but at the end of the day if the music is good then no one really cares about where it comes from.
What elements of your music is taken from 60's and 70's music and what elements feels new?
The way instruments sounded in the 70's, especially drums and bass, is something that we really enjoy and naturally look for. That said, we never think things like "oh, that's not retro enough". We keep our ears and mind open to any genre and era of recorded music. Never heard a good drum sound from the 90's though.
What three things do people not know about the band yet?
One of us doesn't wear underwear in the summertime, the drummer's just bought a pet monkey and we pioneered a new way of smoking hash called "la chenille arabe" (all rights reserved).
They're barely old enough to vote, but The Flashers have already figured out the answer to the really important question, how to churn out the greatest Rock'n Roll tunes you'll listen to this year. Meet the band of French rockers who are going to save the French art of Rock 'n Roll.
The Flashers are on a mission. They might not know it yet, or perhaps they don't want to realise it, but this band have the power to change the face of Rock 'n Roll music in France. There's an heir of arrogance here. They've got it all: the look, the attitude, the energy and most importantly, the tunes. Let's prove it, then:
"French Rock 'n Roll sucks, we’re here to save music in global...La Femme made a song about mycosis, we did one about cheap girls, everyone has his style"
One thing which is often lacking today, mostly with the rise of bedroom DIY pop music, is the attitude. We're talking about having a stage presence, fun and direct thinking in interviews and, in a way, not really giving a fuck. You kind of need to act like an asshole, and tell everyone in the world your band is the best and that's why you're here to save music. That's exactly what The Flashers are doing. Spot on. Tres bien.
Cliché, yes, but it makes a massive difference.
The first record Stupid Tape is a very decent effort. It bleeds Burger Records, American pscyh and fast paced thrash. It's a sound you don't hear often in France, or at least you need to be a fervent seeker of underground music to find it (dig, you'll find great things...eventually)! The one French band which seems to have had a strong impact on The Flashers, though, is La Femme. This influence is clear to see.
There are some moments on Stupid Tape where you really find a band with the potential to become big. Anyway, Stupid Man (an English version of their latest tune Fille Facile) and Mary are the clear stand outs. This French version of Stupid Man though, is just what french Rock'n Roll needs right now.
Here's the song and their tell all interview. Ready?
The Flashers, are you here to save French Rock 'n Roll? // Elliot: French Rock 'n Roll sucks, we’re here to save music in global. // Charles: France has never been a land of Rock 'n Roll, but Rennes yes. So they tried above all to make the Rock endure in Rennes and then make it known, then sharing it in France and other countries. For that reason singing in French helps us a lot, because even those who do not listen to rock, can sing and have fun. The Flashers, are the saviors of French Rock in France.
We can hear a lot of American influences in your music. Black Lips, Ty Segall, Burger Records...why's that? Is French Rock not at the right level? // Elliot: In France, there is a slew of good bands but we cannot associate it with the term "French Rock". It's either fat and corny as you can see with Matmatah or Johnny Mafia, or luckily bands like Les Olivenstein raise the level. // Charles: French Rock is redneck and has absolutely no level. The groups in France that walk are awful, they have no style, no originality, nothing; it's empty. They all try to do as the Americans do, but they are not.
On the new record how does the band choose between singing in French or English? Fille Facile was first written in English, right... // Ophelie: At the beginning, it was really hard for us to choose the language of the lyrics. Personally, the first time we we were speaking about it, I preferred the English version. But in the end the French version had its own cheesy vibe that we really liked and fitted to the atmosphere we wanted to give. // Elliot : We are French, so it makes sense to speak in this language, but at the same time we have always been in an anglophonic culture, we try to find the right balance. For the next album we have got 5 songs in French and 5 in English. // Arthur: We talked quite a bit about the French version, and we knew it could be a risk to do it. I believe it's because of the provocative nature of the issue that we finally did it. La Femme made a song about mycosis, we did one about cheap girls, everyone has his style.
Last one, can we agree now Le Terminus is the best pub in France? // Arthur: I think we all agree to say that Le Terminus is one of the creepiest neighborhood bar of Rennes. My mates say that the Melody Maker and the Penny Lane are the perfect bars for Rock 'n Roll parties. // Charles: Terminus is undoubtedly the most sordid and glaucous bar in Rennes where you can see the artists hanging on a rope, or 50-year-olds who still believe in love.
Third Introducing Honey Hill, the folk band inspired by the past and firmly at home in the future. A sound which will become recognisable for years to come, discover the story of Honey Hill...
We have been Facebook official for about 5 months now! Gigging around NYC, CT, and NJ since late January. The band right now is Helene, Karl (with a K), and Justin. The web that connects us runs deep and it must be clear that the story involves a Karl and a Carl. Different people, similar name, just one letter apart. Justin, Karl, and Carl (Helene’s Brother) meet in North Carolina. Justin and Carl (with a C) wrote some music for a project called Amateur Astronauts with Helene in Norway. Justin and Helene fall in love in Norway. She comes back to the US with Justin. Carl (with a C) stays in Norway. Karl (with a K) learns the guitar in the US and forms a band with Justin and Helene called Honey Hill!
We have some plans to live record all of our music in a church later this summer.
Folk Life NYC
There’s so much support for the folk genre because of the rich history that folk music has in Manhattan and Brooklyn. One of the coolest places we’ve had the chance to play is the Jalopy Theater in Brooklyn. It’s a small theater that hosts a really good open mic every week where everyone gathers around a condenser mic and plays on this sort of ragtime-like stage. There’s also thePostcrypt Cafe which has a great sound and vibe. There is no shortage of support for any type of music in NYC and we love that about it. The more we meet and discover new bands the more we realise that genre is becoming a thing of the past. So as much as we love folk and what it stands for, we’re influenced by everything from The Wonder Years to Woody Guthrie. And NYC supports it all, which is just lovely.
In all honesty, we didn’t expect anyone to see this EP on Bandcamp. We were just doing some summer booking and needed to get some tracks up quickly to convince venues to let us play. We just wanted a succinct one-word title that describes the way we try to write our melodies. We value simplicity and sweetness in our songwriting. When you can get your message across powerfully without over-complicating things while keeping the melody sweet, well that’s just wonderful.
"We can't be created, or destroyed
I know you're out there in the lines
You're the charge and the noise
And there's still ways to enjoy
Forever different, but alright,
And we'll always run to your light
Always drawn to, always drawn to your light"
Cold Woods (Come Clean)
We don’t like to mix anyone’s message by leaving it in the blender too long and diluting it down to this sort of homogenous being. We are just learning how to support each other’s songwriting style as best we can, instrumentally and vocally, and trust that there will be enough cohesiveness in that. There’s just something irreplaceable about the lead vocalist in a song being the person who wrote it and the person who feels it. It may not always be the most polished or pretty, but we believe that the soul of a song always translates. So we went into the studio for a weekend and did our best to track three songs, as organically as possible, that represent the three of us.
Well I’m almost embarrassed to say, but it was the fictional character, Llewyn Davis, from the Coen Brothers film that awoke in me whatever had been lying dormant for so long. I still remember the feeling the first scene gave me, when Oscar Isaac is singing his heart out to the high heavens. Such a raw and simple and hauntingly beautiful performance. After that movie ended I think I subconsciously made up my mind that I wanted to be a failing folk singer. The next day, I picked up the guitar in earnest for the first time in my life and have been walking this path ever since, a path that’s led me to the inspiration of the film, Dave Van Ronk, who then introduced me to the Greenwich Village folk artists of the 1960s, which led me to the contemporary artists that they inspired. It’s a seemingly endless road of discovery and inspiration.
Honey Hill. The kind of band I like. Music is everything to these guys, besides the love and respect they have for each other. They've gone about producing this great sound in the only way they know how. Friends together, who are humble, honest, insightful; it made hearing their story all the more important. For Third Outing, this was the perfect introduction to Honey Hill.
Sweet is a three track EP and it's wonderful, a term Honey Hill like to use! Just three little tracks to give us an idea what they are all about, or the venues who should be booking them. They are a gentle proposition, infusing folk and a heavier, percussive touch, in their own definite style, and voice. Remember bands like Slow Club? Pursuing harmony and balance in delivery. The male/female combination of song writing seems to have become something of the past. Maybe Edward Sharpe and Jade Castrinos were the last ones to successfully deliver that kind of balance. Honey Hill have a similar thing going on, but perfectly influenced by a volume of folk and a youth of NYC.
Karl from the band was almost embarrassed to discuss the influence for the music, Inside Llewyn Davis. But he couldn't have described it better. The opening scene from that film is one you can only sympathise with, and be inspired by. Hang Me, Oh Hang Me is the track from the opening scene, but Honey Hill remind me more of some of the others heard on the Inside Llewyn Davis soundtrack, as performed by Oscar Isaac. My description would be closer to Shoals Of Herring. There's already a sense of tradition about Honey Hill, despite their young formation.
Of the three tracks on the EP, Martha Song #4 is the one for me. Maybe I like it so much because it reminds me of Conor Oberst. It's energetic, warming, resolving. But it still has its own, genuine voice. The storytelling is natural, with moments of sensitivity and sincerity, //You held my hand and I danced you through that storm, never to find the only thing worth fighting for// and other all round defining lyricism. In the same breath then, we should also mention Subway Song. This shares the same story telling strengths, again delivered so sincerely with a wisdom about it. Like the final line // I know you’re mine, though there’s pieces of you in anyone, anyone who’s ever truly met you //.
Dreeamss. Dreams, dreams, dreams. Armando Zamora is the king of dreaming, indisputable and proved to the max with the release of his encapsulating EP The Reichstag Fire. So when we awoke from our music coma, we sent him the questions, he sent us the answers, and now you're reading Third Introducing Armando Zamora...
I started playing music when I was about 12. I played the clarinet and picked up the guitar about a year later. I ended going to a performing arts high school and I played guitar in the jazz band. Being surrounded by such talented musicians all the time really changed my perspective on music and widened my horizons in terms of my openness to music and my taste.
The Reichstag Fire
I wrote the song when Donald Trump was elected president. The Reichstag Fire was the event that led to Hitler's eventual fascist regime. A lot of my friends were comparing Trump to Hitler and it made me wonder what our Reichstag Fire would be. I think ultimately the song is about hope while being totally ready for everything to fall apart. I think the rest of the songs share a similar feeling of a faded hope that things will be better when they probably won't be. Making the album cover was really what made it clear to me that the album was dealing with that dichotomy.
Right now my favorite to listen to is Teaching You How To Swim. Its very different than the other songs and I feel like maybe that's a musical direction I'd be interested in exploring more. My favorite to play depends on if I'm playing alone or with my band... Alone I love playing Reichstag Fire and with the band The Answers is a blast to play.
There's something very Florida about the songs. I can't quite pinpoint it but they make sense being played at the beach. It might get drowned out by all the Pitbull and Kodak Black but I'm sure someone will be sitting close enough to hear me wonder when the world will end.
The Reichstag Fire is a late night record that helps you lose track of time. The EP could be 20 minutes long or 20 hours long for all I know. I'm still not sure. It tends to go on repeat for me. The only thing I can establish is the following; it's got flow. So, let's take a leap into the unknown here with the following comment; Zamora's music is definitely unique. Isn't everybody's? Nope. And therefore the difficulty; how to describe it to my friends down the pub?
There's two ways to go. First of all, that this is an historic moment as the world's first ever acoustic Shoegaze release. But that doesn't cut the mustard. It's not Zamora's attitude or style. Instead, I think Zamora is doing something very similar to what we've seen from Damon Albarn over the last few years. The whole record is a meandering theme, with an oppressed leitmotif running throughout, and though your spirits are never raised by the music, it enables the thinkers to think, and the dreamers to dream.
"I think the music has a very specific mood that isn't something people want to always experience but its a reflection and consequence of how it was made. It does unfortunately limit how many people will listen to it and how often they'll listen to it but I have some hope that it becomes someone's rainy day or contemplation music"
Zamora is wholeheartedly realistic about this EP release. It's not going to be for everybody. The energy remains on a drip and the theme is very one dimensional. But then that's also the point of the record. It's a picture, so to speak. And there are highlights too. Again, Zamora gets his analysis spot on; leaving the best til last, Teaching You How To Swim is the strongest contender of the record.
It's quite the dream of a song. Beautiful plucked guitar, and for the first time on the record, an upbeat swinging underpinning the guitars rhythm throughout. The lyrics also remain rather poignant to The Reichstag Fire theme. "Teaching you to swim, has been the best for me". It's where I would imagine Zamora would further explore if he was to release another short format record.
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.
Photography by Rubin Utama©
Melbourne's Rolling Blackouts Coastal Fever's latest record The French Press is full of ethereal, hazy melancholy and repetitive melodies. Third Introduces...
"There's 5 of us, two Brothers Tom and Joe Russo, cousins Fran Keaney and Joe White, and our handsome drummer Marcel Tussie. We came together as RBCF on the back of a lot of time spent talking about songs, bedroom jams and pizza".
The War On Drugs Influence?
"Yeah I think that's fair. I'm certainly a fan of theirs. In terms of role models for melody I can't say I have one. I enjoy melody in all it's forms, from ad jingles to King Crimson riffs. Maybe there's some science to it? I'd rather not know, I just get through listening and enjoying the melodies I like".
"People have been singing all the words to French Press lately. The first time that happened I took a lot of joy in watching Tom's eyes wide with suprise, just trying to keep it together".
The DMA's 3 Questions
A good title for a book about your life story so far would be...?
How to make a coffee with a guitar in your hand...the many benefits of the the guitar strap.
What's the best line from the movie The Castle?
Daryl: "l mean, they're judging the place by what it looks like, and if it doesn't have a pool or a classy front or a big garden" // Dennis: "lt's got a pretty good gate".
Which would you choose? Stones or Beatles; Pixies or Nirvana; Oasis or Blur?
Beatles, Pixies, Oasis.
The band name is terrible, but the music is worth listening to. Rolling Blackouts Coastal Fever's latest effort The French Press is nostalgic, wistful and sunlit. This band has a gift for finding just the right textures for their songs. At their best, every layer of sound is sumptuous in its own way. At worst, you could say they rip-off The War On Drugs...
This new record is a blissed-out, classic-rock ramble, the type of thing that will give many of us flashbacks to the 80's. But while there’s certainly a radio-friendly sheen on these songs, it’s also an expansive and spacey piece of work. And compared to Talk Tight, it feels like a more direct, dry-souding and focused record, more to the point. It has more beef.
So there is an improvement, in both the way they have been recorded the songs (more pro?) and the structures of them. Talking to the band, they want to make us think that they don't overthink their music, that they are influenced by whatever and are not taking it very seriously. But it doesn't sound like all this.
It sounds like a more focused and confident band than one year ago, when they released Talk Tight. The band tries to come up with an answer "we spent a lot more time scrutinizing and perfecting these recordings and that might just be because they needed it or because our standards shifted, hard to say". Hard to say indeed.
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.