Post Break-Up Sex

Smith Westerns have cleaned up nicely. Just over a year ago, the Chicago foursome were of the strictly "lo-fi" persuasion, stirring up hot, filthy garage-rock candy out of Marc Bolan and Beatles signifiers. It was youthful music in feeling and sound-- their noisy full-length debut was recorded while they were still in high school-- but the remarkable hooks buried therein were clear enough to land them on the increasingly stacked Fat Possum roster. And suddenly, they had a studio budget the likes of which they definitely hadn't enjoyed before. Though the leap is audibly huge, Dye It Blonde's many successes aren't wholly the result of its gilded production values and ambition. This band was able to furnish first-class melodies from the beginning. Now they've grown along with their resources.

You can hear the progress right away in "Imagine, Pt. 3", a song originally released as part of a split 7" in April 2010. Sped up here just a touch, it's also been re-outfitted with a far creamier set of synths and guitars. The way the latter seem to clasp hands during the coda is particularly breathtaking, frontman Cullen Omori and guitarist Max Kakacek letting their individual lines mate rather than duel. While the melodic foundation was already sturdy throughout, here, what once sounded ragged in stretches is now plush-upholstered from start to finish. Every single piece of Dye It Blonde is similarly decadent, whether it's the sweet whine of semi-titular closer "Dye the World" or the twilight jangle of "End of the Night".

In an interview not long after the album's completion, Omori noted that this otherwise new set of songs was influenced by 90s Britpop luminaries like Oasis, Teenage Fanclub, and Suede. All are present sonically and spiritually, be it in brash tones, melodic IQ or the sheer scope of these recordings. Where a Smith Westerns hook may have once sounded like another fuzzy member of the Nuggets family/genus, it now unfolds like crane-shot, mainstage festival fare. "Still New" for example floats some phasered guitar interplay before Kakacek rips a hole across the chest of the song with a woozy line so big it essentially serves as a chorus. Like "Weekend", whose central, hair-flipping lick also hugs all its parts together perfectly, the song just sounds so drunk-- drunk on love, drunk on heavy petting, drunk on drink, or maybe just drunk on a some combination of the above. In song, it all depends on the lean of Omori's voice and the whip of his chord changes, the curves of his brother Cameron's bass lines.

That moony/beery-eyed feel bleeds through every corridor of this album and in turn forms a crystalline expression of what moves this band. Their use of the studio in augmenting that never goes overboard, though: this music still retains the innately psychedelic, lamplit, tongue-kissed sense of atmosphere that set it apart. There's perhaps no better instance of all that than "All Die Young", the album's centerpiece. It's a ballad turned hymn whose grand, tumbling scale and "Oh Yoko"-indebted outro celebration are peaks on an album rich in them. In its closing moments, Omori sings what sounds like, "Love is lovely when you are young." They were convincing before, but now they seem like experts.

— David Bevan, January 18, 2011 [Pitchfork | Best New Music | 8.4]

All Die Young

Arctic Monkeys - No Buses

Sing me to sleep
Sing me to sleep
I'm tired and I
I want to go to bed
Sing me to sleep
Sing me to sleep
And then leave me alone
Don't try to wake me in the morning
'Cause I will be gone
Don't feel bad for me
I want you to know
Deep in the cell of my heart
I will feel so glad to go
Sing me to sleep
Sing me to sleep
I don't want to wake up
On my own anymore
Sing to me
Sing to me
I don't want to wake up
On my own anymore
Don't feel bad for me
I want you to know
Deep in the cell of my heart
I really want to go
There is another world
There is a better world
Well, there must be
Well, there must be
Well, there must be
Well, there must be
Well
Bye
Bye
Bye hmm

Asleep - The Smiths

Cage The Elephant "Trouble" Live

Capacity

Mary

The Last Shadow Puppets - In the Heat of the Morning

Albert Hammond Jr’s fourth solo album Francis Trouble explores a deeply personal topic – the stillborn death of his twin brother, Francis, and the lingering effects that event has had in his life and music.
In November of 1979, Hammond Jr’s mother, Claudia, miscarried. Although they rushed to the hospital, Claudia and Albert Hammond Sr. were told that the baby was far too premature to live. Albert continued to grow inside of his mother undetected until she was nearly six months pregnant.

Stream on Spotify: ffm.to/mutedbeatings/spotify
Stream on Apple Music: ffm.to/mutedbeatings/applemusic
Buy on iTunes: ffm.to/mutedbeatings/itunes
Buy the album: ffm.to/francistrouble/

Lyrics:
I was so quiet 
But you were excited 
Waiting for romance
Someone come talk to me 
Lonely out on this tree
There is a need to feel safe
How do we get to this place
With eyes on my back
I'm set to attack
I've come to take your hand

Hold on (x8)

Don't know what to do
Don't know what to do
Don't know what to do with you

I was so quiet but you were excited
Waiting for the dance
They all just waltzed in a second behind me
I stood there like some dumb kid
The music played and the boys would take you far from where I was
I was still hoping that you were the victory to what felt like love

Hold on (x8)

Don't know what to do
Don't know what to do
Don't know what to do with you

Hold on (x8)

Francis Trouble

Albert Hammond Jr - Set to Attack

I Always Knew

Cover de "Despair In The Departure Lounge" de Arctic Monkeys. 

Despair In The Departure Lounge

My Version.  See the Video Here
https://www.youtube.com/watch?v=3RBEmj5KpEg

"I'll Try Anything Once" by Julian Casablancas

V pleased to announce BACK IN LOVE CITY, our fifth child is OUT NOW 💊💊 https://thevaccines.ffm.to/bilc-album

Post Break-Up Sex

The Vaccines

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