indie shhmindi

GT Reposted 2018 Mix, Vol. 5

Proclamation Tracks - October 18’

It’s a mix of tracks from about the last six months, some are just a few days old, some are older. The playlist is like the site, we post a varied mix of music here!!

Rebjukebox Playlist 17

A mix of fifty tracks from about the last six months, some are just a few days old, some are older. The playlist is like the Jungle Indie Rock site, where we post a varied mix of music!!

Rebjukebox Playlist 18

utterly free of restraints

spazz

back again! on lolipop records...
BUTTERTONES- "s/t" (CASS)
UBER GOOBER CATCHY & CHILL POP NUGGETS FROM BUTTERTONES, OF LOS ANGELES!
www.lolipoprecords.com

BUTTERTONES - "Orpheus Under The Influence"

Rare Hearts

Always (7" - SIDE B)

Tanya Donelly-Christopher Street

05 - Stoned Awhile

Cabo Boing - Blob On A Grid
Released on 4/11/17 by Haord Records
Written, recorded, and mixed by Brian Esser between May 2016 & February 2017
Mastered by Alex DeTurk
Art & layout by Brian Esser
Photo by Laura Suban

Available to purchase on cassette/digital here: https://haord.bandcamp.com/album/blob-on-a-grid

Asleep In The Saddle

stay away from my baby live

Song To The Siren

Spotify: https://open.spotify.com/album/6UzD4XXIZX441iUqPWEEFe
Itunes: https://itunes.apple.com/us/album/bangs-single/id1273699383

Produced by me
Mix by Jon Buscema (KNGDAVD) https://twitter.com/jon_buscema?lang=en
Mastered by Dan Millice http://www.danmillice.com/discography/

www.facebook.com/aarontaos
twitter.com/AARONTAOS
www.youtube.com/channel/UCmcCOzCNk1eKTcPzmLHpZnA
www.instagram.com/aarontaos/

Bangs

Mystery Hour

Pavo Pavo - Goldenrod

All but a Dream

Stove's sophomore album 's Favorite Friend is out October 31st, 2018.

Stove - Duckling Fantasy

Stove - Stiff Bones

Kristin Hersh
Releases new album ‘Possible Dust Clouds’
Out 5th October 2018 on Fire Records
Pre-order link: http://bit.ly/possibledustclouds

CD/LP/ Ltd Edition ‘Silver’ vinyl

 “Sometimes the most subversive thing I can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes, and sometimes a story is lived a thousand times before we can ride it like a roller coaster. Nothing wholly unfamiliar is gonna make you look twice. When you can describe a record as being “deceptively” anything, you’re hinting at the sociopathic nature of music. Something I love. Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can’t, really. Darkness we’ve seen. Dark sunshine? Still cool.

I usually play all the instruments on my solo records - essentially the sound of having no friends - but sociopaths can’t realize their potential without people to work out their grievances on and this record is a freakin’ sociopath. So I invited my friends to the party I wanted to hear. Not a live record but an alive record. 

Because a lot of live records don’t sound live, just poorly recorded. And self-conscious musicians can’t let fly. I wanted to recreate the impact of a show. Unpretentious, with a muscular song body running through the room. This entailed seriously messing with both extremes of the sonic spectrum: the fundamentals (basics, rhythm section, roots) but also with the detail (percussion, high end, effects). These two strata asked to sound eccentric: atonal and arhythmic. So when the song body runs through the room, it’s not wholly unfamiliar, just dressed oddly enough to make you look twice. Dark sunshine, still cool. Hopefully, anyway.

My friends helped me make a nice party noise, a goofy sociopath. Everyone who stopped by the studio was asked to make some noise and they pretty much did. A party that lasted for a few years, it’s only now dying down. A friend called this morning asking when the bus was leaving. A rickety, squealy, squeaky bus...none of us want to miss it.”

Kristin Hersh, July 2018

Throwing Muses’ lynchpin, Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. 

Her tenth studio album, ‘Possible Dust Clouds’ is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din. 

Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty. 

Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet.
‘Possible Dust Clouds’ is a glorious return to form for one of alternative rock’s true innovators.

“She's still as powerful a presence as she ever was.” Pitchfork
 
“The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” The Quietus

“Throwing Muses became a byword for college-rock feminism in the late 80s, largely because of Hersh’s uncompromising impressionist poetry of emotional anguish, subjugated womanhood and mental illness.” The Guardian

Track list
1.	LAX
2.	No Shade In Shadow
3.	Halfway Home
4.	Fox Point
5.	Lethe
6.	Loudmouth
7.	Gin
8.	Tulum
9.	Breathe In
10.	Lady Godiva

Kristin Hersh - No Shade In Shadow

American Pleasure Club - Oranges

Rick Rude's sophomore full length "Verb For Dreaming" is out on LP/CS via Exploding In Sound Records on November 16th.

Pre-order: http://www.explodinginsoundrecords.com/products/629315-rick-rude-verb-for-dreaming

Rick Rude - Slow Cooker

"Bizarre Love Triangle" is a masterpiece of New Order. 
otom arranged it for a shoegaze, a little nostalgic folktronica feeling. 
The feature of this cover song arranged that famous bass line with heavy rhythm of the floor tom. 
And there is always a lo-fi loop in the background. 
Then comes a vocal and unique chorus line different from the original.
And the guitars like a wall of sound will be coming. 
You will listen an unusual arrangement of this famous song, maybe. 
This project started from 2006, And it finally complete. 
If you New Order big fan, Don't angry me! 
Have fun. 

Bizarre Love Triangle is now available on digitally. 
released October 1, 2018 

It is released simultaneously with "Normalize" of otom's dream pop and shoegaze song. 

─ In Stores ──────────
bandcamp: https://otom.bandcamp.com/track/bizarre-love-triangle-2
Spotify: https://spoti.fi/2FNFj6M
Apple Music: https://apple.co/2CJeWN8
iTunes Store: https://apple.co/2CJeWN8
Google Play: http://bit.ly/2uE5s16
Amazon Music: https://amzn.to/2YGat7x

─ otom ────────── 
#otom is Japanese #shoegazing, #dream_pop, #electronic and #experimental musician, composer. 
works with guitars, computers, #MaxMSP and many musical instruments. 

日本のミュージシャン、作曲家のotom(オトム)。 
シューゲイザー、ドリームポップサウンドを中心に実験音楽、ドローン、エレクトロニック、ノイズ等の音楽を手掛けています。 
ニュー・オーダーの1986年のヒット曲『Bizarre Love Triangle』をotomがシューゲイズアレンジでカバー。特徴的なベースラインとリズムを活かしつつ、ノイズ、ギターと重めなリズムでひと味違う雰囲気に仕上げています。『Normalize』と同時の2018年10月1日リリース。

website: otom.jp 
soundcloud: soundcloud.com/otom/ 
twitter: twitter.com/otomotom/

Thank you for reading.

Bizarre Love Triangle

"So Right So Clean" is taken from Cloud Nothings' forthcoming album, "Last Building Burning," out October 19th on Carpark Records.

PRE-ORDER
smarturl.it/sorightsoclean_cn

TOUR DATES
October 22nd – Lexington, KY – The Burl
October 23rd – Atlanta, GA – Masquerade
October 24th – Birmingham, AL – Saturn
October 25th – New Orleans, LA – Gasa Gasa
October 26th – Houston, TX – White Oak Music Hall
October 27th – Austin, TX – Barracuda
October 28th  Dallas, TX – Club Dada
October 30th – Santa Fe, NM – Meow Wolf
November 1st – San Diego, CA – Casbah
November 2nd – Los Angeles, CA – Teragram Ballroom
November 3rd – San Francisco, CA – The Independent
November 5th – Seattle, WA – Neumos
November 6th – Vancouver, BC – Imperial
November 7th – Portland, OR – Mississippi Studios
November 9th – Boise, ID – Neurolux
November 10th – Salt Lake City, UT – Urban Lounge
November 11th – Denver, CO – Bluebird Theater
November 13th – Omaha, NE – The Waiting Room
November 14th – St. Louis, MO – Old Rock House
November 15th – Indianapolis, IN – The Hi-Fi
November 16th – Columbus, OH – The A&R Music Bar
November 17th – Cleveland Heights, OH – Grog Shop
November 26th – Detroit, MI – El Club
November 27th – Toronto, ON – Opera House
December 1st – Brooklyn, NY – Warsaw
December 4th – Philadelphia, PA – Union Transfer
December 5th – Pittsburgh, PA – The Club at Stage AE
December 6th – Baltimore, MD – Ottobar
December 9th – Richmond, VA – Strange Matter
December 11th – Durham, NC – Motorco Music Hall
December 14th – Chicago, IL – Thalia Hall
January 25th – Brighton, UK – Patterns
January 26th  – Birmingham, UK – The Castle & Falcon
January 27th  – Manchester, UK – Band on the Wall
January 28th  – Glasgow, UK – St. Lukes
January 30th  – Bristol, UK – Thekla
January 31st  – London, UK – EartH
February 1st – Paris, FR – Point Ephémère
February 3rd  – Brussels, BE – Rotonde - Botanique
February 4th  – Cologne, DE – Luxor
February 5th  – Tilburg, NL – 013
February 6th – Amsterdam, NL – Paradiso Noord
February 7th  – Hamburg, DE – Knust
February 8th  – Berlin, DE – Musik & Frieden
February 9th  – Warsaw, PL – Poglos
February 11th  – Prague, CZ – Underdogs
February 12th  – Vienna, AT – Chelsea
February 13th  – Zagreb, HR – Tvornica Kulture
February 14th  – Milan, IT – Ohibò
February 15th – Rome, IT – Monk
February 16th  – Bologna, IT – Covo Club
February 18th  – Zurich, CH – Bogen F
February 19th  – Lausanne, CH – Le Romandie Rock Club
February 21st  – San Sebastian, ES – Dabadaba Club
February 22nd  – Madrid, ES – Sala Q
February 23rd  – Valencia, ES – La Marina (free show)
February 24th – Barcelona, ES – La 2
March 11th – Tokyo, JP – Shibuya Tsutaya O-East
March 12th – Nagoya, JP – Nagoya Club Quattro
March 13th – Osaka, JP – Umeda Trad

Cloud Nothings - So Right So Clean

BALLADS 1

Cant Get Over You

Cant Get Over You- joji

Recorded by Memory Keepers in Austin, Texas. Mixed by Steve Christensen in Houston, Texas. Mastered by Heba Kadry in Brooklyn, New York. Photograph by Vineet Gordhandas in Austin, Texas.

J - Guitar / Vocoder
A - Drum Machine / Synth

www.memorykeeperzzz.com

Third Uncle (Brian Eno cover)

Put three guys and their instruments together in a room and there’s no guarantee it’ll work.

The unspoken, telepathic language of pure ROCK is either there or it ain’t. It’s not something to be taken for granted, something that just grows, like black mold, on rehearsal space walls. But when it’s there, you know it’s there. It just roars forth and completely destroys the room. And that only happens when you hit upon the exact, right combination of veteran players. Dudes who’ve been around the block and know how to bash some heads.

The YOUNG SKULLS are comprised of three such storied head bashers: vocalist and guitarist Peter Aaron (the Chrome Cranks, Avondale Airforce), drummer Chris Turco (Trans Am, Scene
Creamers), and organist Matty Dread (El Front, County Hell). The trio came together in 2015 in the dimly lit basement of a grimy machine shop next to the railroad tracks in an isolated industrial sector of Kingston, New York, about two hours north of Manhattan.

And that’s pretty much what they sound like. Scraping sheet-metal guitar. Howling alley-cat vocals. Bashing, hydraulic-press drums. And wheezing organ that echoes the squealing iron wheels of the crude oil carriers thundering by hourly just outside their bleak practice chamber. They sound like all of that cool stuff, with songs. Catchy songs. 

Now the first two of those songs to be fired upon the world—coproduced by engineer Kevin McMahon (Swans, Titus Andronicus, Chrome Cranks)—come to you via the group’s debut single on Slovenly Records. Side A, the thrashing, unstoppably locomotive “Bomb Train Blues,” alludes to the deadly rolling stock of the band’s rehearsal room surroundings. The flip side, “We’re Gone,” hits like a new wave nightmare rammed through the garage-punk gravel grinder: the sound of the Monks, the Kinks, Devo, and early Elvis Costello getting crushed into a rusty, chunky, and highly toxic powder.

The YOUNG SKULLS are pumped and primed to do some serious damage to the wasted world
of rock ’n’ roll. Rejoice.

"Bomb Train Blues" EP

Bomb Train Blues

YOUNG SKULLS -Bomb Train Blues EP- 01 Bomb Train Blues

Rattlesnake

Salvation

Remix by @blockheadnyc
Original featured on the album "Some Strange Reason"
Mastered by Eddie Logix
Artwork by Jake Ruiz

© 2018 Blockhead, Peace to Mateo, distributed by Young Heavy Souls, Inc.

Dream of Peace (Blockhead Remix) [Single]

Dream of Peace (Blockhead Remix)

Mac's debut LP '2' will be out October 16th on Captured Tracks.

Mac DeMarco // My Kind of Woman

LIMITED CASSETTE ALBUM

THE MOLDS - SALTINE - 01 FINNS

The New Noise Flexi Series Presents:
The Lemonheads
“Take It Easy (SUICIDE MIX)”

On Feb. 8, legendary Boston alt-rock band The Lemonheads will release 'Varshons 2' via Fire Records.

'Varshons 2' is the band’s first LP in 10 years and the follow-up to their critically-acclaimed 2009 cover album, 'Varshons.'

The record was produced by Matthew Cullen and features 13 brand new covers, including frontman Evan Dando’s take on “Take It Easy” by The Eagles. 

Cullen’s grinding electronic remix of the track is presented here, available exclusively through our New Noise Flexi Series.

“I first met Evan in 1996 in London, and our paths crossed a few times over the years,” Cullen recalls. “[The Band’s] Garth Hudson played a little bit, I think it was on a Lemonheads record in the mid 2000s, and I recorded a bunch of that.”

“We just always sort of keep bumping into each other every few years, y’know,” he says of Dando. “He was gonna do this record, and he decided that I was the person to do it, so we, uh, did it.”

After recording The Lemonheads’ cover of the classic “Take It Easy,” Cullen explains, “I’m like, ‘I hate this song. Can I just destroy it, please?’ And [Dando is] like, ‘Yeah, do whatever you want.’ So, this was sort of my trying to make it into some kind of weird German industrial track.”

“I mean, I don’t hate the song, but it’s The Eagles, so I was like, ‘We should just, y’know—can I just destroy it?’” he laughs. “I wanted to make it as claustrophobic and horrible and sort of Berlin-basement as I could, much the antithesis to the sort of sunny, California, really slick, really pro-sounding Eagles. The version on the record goes there a little bit, [but] it was probably the most refined song on the record; there’s a ton of vocals and all this other stuff. So, we’ve already done a kind of frilly, homage-y cover of it, and of all the songs that we had, that was the one that I really just wanted to rip to pieces.”