Sun. Sand. Instagrammed images. Stock footage.
It’s all here in the new Sleeper video, when a deliberately retro images prefaces their new album in the video for ‘The Sun Also Rises’.
Sun. Sand. Instagrammed images. Stock footage.
It’s all here in the new Sleeper video, when a deliberately retro images prefaces their new album in the video for ‘The Sun Also Rises’.
After over two decades in the business, Italian garage rock/power pop band The Peawees have created more than a musical legacy. Their 2018 LP ‘Moving Target’ provided an excellent insight into the band’s style – a great listen for anyone unfamiliar with the band – delivering great hook after great hook. A tribute to Phil Spector on the suitably titled ‘Phil Spector’ provided an album highlight on a track big on retro riffs and even bigger on sleigh bells.
A new track, ‘You Don’t Know Me’ adds further to the band’s legacy with a three minute, guitar driven blaster that combines the more commercial feel of early 90s Social Distortion with the chorus thrills of Gaslight Anthem, all wrapped up in something that pays homage to ‘I Fought The Law’.
When Record Store Day first began, it was a great idea. Those who were regulars at independent record shops like Avalanche in Edinbugh and Resident in Brighton could potentially get their hands on very limited, exclusive items. It was a celebration of record buying culture, more than anything. Over the years the event has grown. After all of the major labels sensed a potential cash cow, it increasingly became about reissuing stuff en masse at inflated prices.
Record Store Day has become an event full of mixed feelings. There are now tales of people not actually visiting their local (and favourite) stores on RSD as the crowds of unfamiliar faces have made the experience quite stressful. People queue for hours in the hope of finding one of the many artificially created rarities – a lot of which seem to appear on ebay just hours later at even more inflated prices. In recent years, there have even been dealers “pre-selling” their RSD wares on the internet up to two days before the event that was supposed to get people into their shops.
In the summer of 2018, singer-songwriter Fred Abong released his ‘Homeless’ EP, effectively returning him to the world of recording and live performance. In support of the disc, Fred made extensive appearances across the UK with Kristin Hersh, including a very memorable show at Ramsgate Music Hall on a very hot Sunday night.
Unleashed into the wild on the eve of a second UK tour with Kristin, ‘Pulsing’ in many ways, is a logical continuation of ‘Homeless’. While half the EP takes an electric stance, fans of Abong’s previous release will find an immediate kinship in its deliberately introspective vibe.
Between the doom metal riffs and darkwave synths, The White Swan gave the world two potential classics with their respective 2016 and 2017 EPs, ‘Anubis’ and ‘The White’. Lovers of heavy riffs were given plenty to mull over with the band’s self-penned material while the heaviest ever version of Wings’ ‘Jet’ proved the Ontario-based doomers also had a sense of fun. Their eagerly awaited 2018 release ‘Touch Taste Destroy’ doesn’t necessarily think much further outside of the box – but then, it doesn’t need to; The White Swan’s gift of riffs combined with an ultimate heaviness sees the three numbers off in particularly great style.