Name: Editrix - The History Of Dance by explodinginsoundrecords
Duration: 3 min 38 s
Description: Editrix's full length debut "Tell Me I'm Bad" out February 5th, 2021 via Exploding In Sound Records.

Melbourne's Constant Mongrel (featuring members of Terry, Woollen Kits, Taco Leg and Nun) return with a new 7” via Upset The Rhythm in conjunction with their 2019 European tour. ‘Experts in Skin’ is the little sister follow-up to 2018’s ‘Living In Excellence’. The A side single holds the familiar post-post punk angst the band is known for, only building ever higher with a triple saxophone flurry and singer Tom Ridgewell’s mutters on the often awkward nature of mainstream consumerism. On the flip side the band turns to its pop sensibilities producing the tough but sweet sounding ‘Schnuki’. Bassist Amy Hill’s bouncing vocals contrast to the anarcho-punk growls below. Subject matter being another complaint about people that are really fake nice. Can I help you darling? Honey? Sweetie? Deary? Pumpkin?...... no thanks. Constant Mongrel have previous releases available on RIP Society, La Vida Es Un Mus and Siltbreeze.

Release date: 7 June 2019

http://www.upsettherhythm.co.uk/

Experts In Skin 7"

Constant Mongrel - 'Shnuki'

Written and performed by LUMER.
Recorded and mixed by Alex Greaves at The Nave, Leeds. 
Produced by Alex Greaves and LUMER. 
Mastered by Pete Maher.

By Her Teeth

NYC's Peel Dream Magazine dazzled listeners with their recent release "Agitprop Alterna," a smart album that draws from a wide set of post-punk, shoegaze and indiepop influences but still has an assured, unique sound. Now they're following up with "Moral Panics," a companion EP that features unreleased songs from the "Agitprop Alterna" sessions. Far from being outtakes, these are all songs that stand strong on their own, and gathered together function as a useful corollary to the album. Songs like "New Culture," "Verfremdungseffekt" and "Life At The Movies" continue Peel Dream's investigations into those frought areas where art, culture and commerce meet. Bristling with both ideas and solid tunes, the EP as a whole comprises a crucial piece of the band's discography.

Moral Panics

Peel Dream Magazine - New Culture

Lunchbox's Tim Brown and Donna McKean have been making records in their Oakland, California basement for two decades, inspired by 1960s/70s AM-radio pop and TV show theme music, punk, C86, and mod à la the Creation and the Jam. From the sonically-inventive indiepop of "The Magic of Sound" (1999) to the dub-influenced psychedelia of "Evolver" (2001) to the critically-acclaimed bubblegum of "Lunchbox Loves You" (2013), the couple have established a sound all their own.

Their new album for Slumberland, "After School Special," finds them at the height of their powers of songcraft and performance. Donna's bass playing stakes out stylistic territory somewhere between Carol Kaye and John Entwhistle while Tim's guitar is equal parts 12-string jangle and clipped Orange Juice-esque funk. Horns by Gary Olson (Ladybug Transistor) and longtime collaborator Jeremy Goody drive the record from beginning to end. Evelyn Davis' delay-drenched keyboards combine with whispers of analog tape feedback to give the record an otherworldly vibe in keeping with its lyrical themes.

There, favorite seasons (autumn) and animals (cats), appear alongside love and death, ghosts and reincarnation. From the shimmering opener "Dream Parade" to the horn-driven mod-pop of "Hide and Seek," the groovy sixties R&B vibe of "I Really Wanna Know" and the haunting male-female vocal stylings of the  album-closing title track, the textures shift while the unity of artistic vision remains. Catchy as hell and beautifully packaged, "After School Special" is Lunchbox at their very best.

After School Special

Lunchbox - I Really Wanna Know

The Strain

KEYS - The Strain

The Sophtware Slump ..... on a wooden piano

Underneath the Weeping Willow (Piano Version)

Editrix's full length debut "Tell Me I'm Bad" out February 5th, 2021 via Exploding In Sound Records.

Editrix - The History Of Dance

From Pure X's 'Rare Ecstasy 2009-2019 out October 16th on Fire Talk

Buy: https://ffm.to/rareecstasy

Rare Ecstasy 2009-2019 is a collection of unreleased b-sides, demos, and covers that span the more than a decade career of the Texas underground legends. Rare Ecstasy includes early tracks that reflect what Pitchfork once called the “druggy, wall-of-sound escapism that put them on the map,” as well as unreleased recordings from each album session that document the evolution of the Pure X sound. A must- have addition to the collection of any Pure X fan.

Rare Ecstasy 2009-2019

Pure X - One Day At A Time

Third album from this Philadelphia duo is a modern sci-fi masterpiece. Minimal synth, drum machine, saxophone & effected bass guitar grind and sputter over two LPs worth of psychedelic, industrial punk scree.

RIYL: Stooges, Cabaret Voltaire, Primitive Calculators, Suicide.

Released March 2021 via Trouble In Mind Records (www.troubleinmindrecs.com)

Writhing Squares - Rogue Moon

Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm Taaka in suburban Benicia years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly - but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Editrix - The History Of Dance

explodinginsoundrecords

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