WL//WH - JANUARY 2021 // Shoegaze /Dream Pop /Psychedelic /Indie Pop

https://whitelight-whiteheat.com/playlist/wl-wh-weekly-shoegaze-dreampop-psychedelic-indie-tips-05-21/

WL//WH - JANUARY 2021 // Shoegaze /Dream Pop /Psychedelic /Indie Pop

Lançamentos ... #Rock #Indie #Alternative #NewWave #Pop

www.facebook.com/zumbidomaximoblog

Mix  January 2021

2021/02 #1 IndieRock DJ Playlist

https://fortherabbits.net/2021/01/22/five-things-we-liked-this-week-22-02-21/

Five Things We Liked This Week - 22/01/21

Janvier 2021

Bloodbuzzed Jukebox 278

crashing

Taken from the Songs From My Bedroom EP. Out Tomorrow.

https://www.facebook.com/isaacgraciemusic/
https://twitter.com/isaac_gracie
https://www.instagram.com/isaac_g_music/
https://open.spotify.com/artist/5Smb3KB29epOb92Btsxulb





Terrified

Greys - Candy Says (Velvet Underground cover)

Recorded by Richard James & Anthony Nemet
Artwork by Elliot Lane

Saturday Drag

QTY - Rodeo

QTY - World Breaker

Action Replay

Old Hotel

American Culture - Silence

Brace Yourself

Strangers Talking

Following on from 2016's "Wordless Wonder" album, Minneapolis' Real Numbers are back with a brand new EP entitled "Brighter Then." Recorded over winter 2019/2020, the EP shows the band journeying deeper into straight-up indiepop than ever before. Where "Wordless Wonder" partook in lo-fi post-punk DIY pop thrills, "Brighter Then" revels in the more sophisticated sounds of the late 80s and *nails* it. The smart songs and crisp production echo Sarah Records favorites like The Wake and Brighter; while never straying too far from their scrappy DIY roots, Real Numbers have broadened their sound with assurance, and fans of Felt and the Field Mice will be pleased with the results.

Brighter Then EP

Brighter Then

Real Numbers - Darling

Folds

I wish I was drunk enough to call you
You could tell me how this ends
Yeah, I could talk to you for hours
and not hear a single word you said
Baby, I just need to hear you miss me
even if it brings me down
Yeah, I need all the worst things I can get right now

I think I'll go drive around tomorrow
till I find you out somewhere
and you'll have found someone just like me
only taller and less scared
Baby, I just need to see your face drop
when you spot me in the crowd
Yeah, I need all the worst things I can get right now

I need all the worst things, baby

I wish I had something I could tell you —
crashed my car or sick in bed —
and you'd come running back beside me
just to hold me till the end
Maybe I'd be yours for just a moment
till they finally lay me down
Yeah, I need all the worst things I can get right now


Music & lyrics by Harrison Wood Hsiang.
Recorded, produced, and mixed by Harrison Wood Hsiang.
Mastered by Gus Elg of Sky Onion Mastering.

Harrison Wood Hsiang — Vocals, Guitar, Piano, Organ
Zack Levine — Drums
Max Shashoua — Vocals, Bass
Mike Nunziante — Slide Guitar
Laura Heaberlin — Vocals

all the worst things

I Don't Want to Get Adjusted to This World

Silly and Self-Destructive

https://cameronknowlereliwinter.bandcamp.com/album/anticipation

The Trans-Pecos is a land of stark beauty, dotted with javelinas, ghost towns and small mountain ranges. There’s Marfa, known for its lights and minimalist art, and Terlingua, a tight-knit community of old-timers near the Texas-Mexico border; Alpine, 12,000 strong, is the region’s center. The winter holidays of 2018 found Cameron Knowler and Eli Winter touring through that part of the state. Each night they played solo and duo sets, interpreting traditional folk songs and showcasing their own, unifying seemingly disparate approaches to the guitar. Anticipation, the first album of gorgeous duets by the two young gun guitarists, is the product of this trip, documenting a musical juncture between desert and city, Chicago and the Southwest, folk traditions and America's musical avant-garde.

At first, Knowler says, their collaboration “seemed insurmountable conceptually.” Knowler, a Houstonian by way of Yuma, Arizona, came to bluegrass guitar through an obsession with Norman Blake, teaching himself over years of practice sessions 12 to 16 hours long. Since then he's gigged at bluegrass festivals, house shows, hoedowns and honky-tonks, working as a session musician, sideman and teacher, and honing a measured approach to the guitar informed as much by wide-ranging folk cultures as the silence of the desert. Only 23, Winter (named an artist to watch by The Guardian and “generational talent" by NYCTaper) has developed a moving command of the instrument like that of his inspirations Daniel Bachman and Jack Rose, with an energy and confidence honed from extensive touring and performances with Chicago experimental music touchstones (Ryley Walker, Sam Wagster, Tyler Damon).

The bulk of the record was composed and recorded in Houston, in a marathon nine-hour session completed on the eve of Winter's return to Chicago last year. Several recordings, including the bookends, are first takes. Album opener “Strawberry Milk,” which emerged fully-formed, sets the tone: sweet, inquisitive, daring. It's not unlike “Parapraxis of a Dragonfly,” which moves from lush, constellate harmonies to enigmatic, spiralling progressions and harmonics suggesting Derek Bailey.

The circumstances of the session forced the two to play outside of their comfort zones, building a new vocabulary of playing. This is most clear on freely improvised piece “Sippin’ Amaretto,” which crafts melodies from dissonance, pivoting between power chords and comical, stupefying licks, as if Charlie Christian were running on three hours of sleep. But it's true of the gentler "Cumberland Application,” a playful, pointillist arrangement of folk song "Cumberland Gap." Western suggestions run throughout: on "And So I Did,” Knowler renders Winter’s bracing Weissenborn tune into a dusky cowboy noir. Later, he complements his sensitive rendition of Michael Chapman's “Caddo Lake,” after the lake bordering Texas and Louisiana, with dizzying contrapuntal runs. Their rendition of Tut Taylor’s "Southern Filibuster," sourced from the homecoming show of the aforementioned Texas tour, is rousing and comforting, like a bear hug from an old friend.

The record’s centerpiece is "A White Rose for Mark," a tribute to late fingerstyle guitarist Mark Fosson, with whom Winter and Knowler played his last concert before his death. Knowler lays the foundation for Winter's harmonies, simultaneously recalling orchestral voicings and Nigerian highlife; the song, spontaneously composed, opens over three sections like a flower from a seed. It often feels as if they're playing one guitar.

Their willingness to set distinct conventions in conversation with each other advances guitar music, resulting in a record experimental, learned, eager and uniquely their own. Anticipation nods to its forebears while staking out its own ground, further establishing Knowler and Winter as musicians to watch.

Cameron Knowler & Eli Winter - Strawberry Milk

Create Simulate

Candle

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!

At George's Zoo

Cool Ghouls - Helpless Circumstance

Positive Outlooks for the Apocalypse

Taken from the forthcoming album "The Problem of Leisure: a celebration of Andy Gill and Gang of Four" 

Available to pre order now - https://gang-of-four.ffm.to/theproblemofleisure.ofp

TOM MORELLO & SERJ TANKIAN - Natural's Not In It

DRINKING ON MY OWN

”Hideaway” will be a joint release by Soliti and the american indie pop label Cloudberry records.  Official release digitally on Friday 29.1. via Soliti! 7” (Hideaway+Pink Clouds) coming out on American label Cloudberry February 20th!

This year has seen Verandan write many new songs but for obvious reasons not doing concerts. This is the first single release in 2021 and will be joined by more singles in 2021. It will also be the first time Verandan is released on vinyl. 

One of the themes of the song is the ambivalence of relating to the uncertain future of the planet, when making plans and ”playing it safe” sometimes can feel pointless. As the old ways of doing things don’t really work anymore it could even feel like an opportunity to do things in a completely new way, though I wouldn’t count on that happening anytime soon. 

Music and lyrics: Ville Hopponen
Arranged by Verandan (Ville Hopponen, Kaarlo Stauffer, Aleksi Peltonen, Aki Pohjankyrö, Sampo Seppänen) and Pauli Laasonen
Recorded in Roihupelto and Puotila, Helsinki spring 2020
Mixed by Aki Pohjankyrö
Mastered by Jari Suominen, Tasankokaiku

Ville Hopponen: Vocals, electric guitar, synths, percussion
Kaarlo Stauffer: Electric guitar
Aki Pohjankyrö: Bass
Aleksi Peltonen: Drums, backing vocals
Sampo Seppänen: Synths
Saxophone by Jussi Hurskainen

Cover art by Oct Streitenberger behance.net/octstreitenberger


https://www.instagram.com/verandanmusic/
https://www.facebook.com/Verandanmusic
http://www.cloudberryrecords.com/
https://solitimusic.com/

Hideaway

Verandan: Hideaway

Buy + Stream "Back At It" https://zaydewolf.ffm.to/backatit
From the upcoming album NEON BLOOD TYPE out May 7: https://zaydewolf.ffm.to/neonbloodtype 


Follow ZAYDE WOLF: 
http://www.zaydewolf.com 
https://www.facebook.com/zaydewolf
https://twitter.com/zaydewolf 
https://www.instagram.com/zaydewolf 
https://www.youtube.com/zaydewolf

BACK AT IT

Nocturne

Gone

Gone (feat. Woods)

After releasing 2 singles, "Storm" and "Way In", we are thrilled to release the 3rd and last single - "Roses" which will be followed by our debut album release on Feb 10th 2021.

ROSES

⚡️ Pre-Save 'Ether' Full Album Jan. 29th
→ https://distrokid.com/hyperfollow/cathedralbells/ether-3

🎵 Cathedral Bells
→ https://open.spotify.com/artist/0a7RruzBySceAPGfmFZtQ2?si=pKTHxAUeRGmF3r9Pz0oVeg
→ https://instagram.com/cathedralbells/
→ https://facebook.com/cathedralbellsmusic

Cathedral Bells - Dark Aura

Forthcoming PostMap Club release, out February 1st - with two exclusive b-sides.

'The Circular' is taken from Firestations upcoming Melted Medium EP - which will be released on March 5th 2021. Pre-orders will be available soon.

Firestations - 'The Circular'

Stream 'Close / Closer' : https://robimitch.fanlink.to/closecloser

Dive head first into Robi's universe with his new single 'Close / Closer' out today via Nice Guys. Robi's music blends lo-fi production and laid-back vocal style, while his experiences as a session guitarist in Taipei lend a distinctiveness to his sound.

Stream

Robi Mitch - Close / Closer

From the album "Sunbreather", out Feb. 12, 2021 on Facedown Records.

Sunbreather

FALLSTAR "Waiting"

Shoegaze/dreampop/post-punk hailing

All songs written, performed and produced by Samn (OutControlJoys)

Mastered by: zenshxn

2. Far Away

Clover

New album "Sabbat Matters" out in March via Howlin' Banana, Outré and Le Pop Club Rds.

Gloria - You Had It All

Taken from the album "Southern Lights"

Facebook:
https://www.facebook.com/holymonitor
Bandcamp:
https://holymonitor.bandcamp.com

Lyrics:
Who stole the sun
Who hides the skyline
Who won't believe in fate
Who rules the weather child

Naked in the rain
And you shine on shine on

Who celebrates
In the cloudy sunrise
Who envies your days
Who rules the weather child

Naked in the rain
And you shine on shine on

Produced by Holy Monitor
Recorded and mixed by Alex Bolpasis at Suono Studio
Vocals recorded by George Nikas at Black Caravan
Mastered by Nick Townsend at Townsend Mastering
Artwork by Bewild Brother

Holy Monitor:
George Nikas: Vocals, Guitars
Stefanos Mitsis: Guitars
Vangelis Mitsis: Keys
Alex Bolpasis: Bass
Dimitris Doumouliakas: Drums

Released by:
Blackspin/Primitive Music
Release date:
26 February 2021

Naked In The Rain

ISLE OF EIGG. MUSIC, MUSIC, PARTY TIMES, MUSIC, PARTY.

Amy May Ellis, BAS JAN, Alabaster dePlume, Firestations, Josie Long, Tuff Love, Insect Heroes, Rozi Plain, Kid Canaveral, Seamus Fogarty, Randolph’s Leap, eagleowl, Monoganon, Victoria Hume, Ichi & Pictish Trail.

Firestations - 'The Circular'

Lost Map