Nothing/Everything

Spell Blanket - Collected Demos 2006 - 2009

Where Are You?

The Singularity

Roko's Basilisk (feat. Jens Kidman)

Kate Clover is a songwriter and musician from Los Angeles, California. From the local lineage of bands like X, Germs, and The Gun Club, to the glamorous destitution of the downtown streets, Clover is inspired by the city that raised her, exploring the intricacies of self-discovery, self-creation, and self-preservation in the place where dreams are born to die. With the live-wire energy and crackling force of defiant fists raised in the air, Clover’s music is the rallying cry of a natural born killer. Clover cuts an electric figure--a next-gen underground hero for the would-be believers. 

Check out her mix for Radio L’envie now streaming on Mixcloud, Soundcloud, Spotify! 

Los Pao Paos - Quiero Ser Tu Perro 
Lou Reed - Your Love 
The Meanies - Waiting For You 
Ghetto Brothers - There Is Something in My Heart 
The Blue Rondos - Little Baby 
Cast - Alright 
The Searchers - Needles and Pins 
The Dentists - I Had an Excellent Dream 
Gene Clark - Here Tonight 
The Equals - Police on My Back 
Jackson C. Frank - Cover Me With Roses 
The Standells - Sometimes Good Guys Don't Wear White
WITCH - The Only Way 
Mink DeVille - Spanish Stroll

L’envie #189 :: Kate Clover

Show & Tell

Johnny Adams – Salt of the Earth 
Humble Pie – Cold Lady 
JJ Cale – Magnolia 
Rob Franken Organization - Mother Nature's Son 
Michel Polnareff - Love Me Please Love Me \
PP Arnold – First Cut Is The Deepest 
Charles Smith – Tell Him That You’re Mine \
Lula Reed – It’s Easy Child

Recent Songs #76 :: Salt of the Earth

Since October 7th Israeli politicians, spokespeople, and Israel's supporters have mobilised feminist narratives in defence of the state's genocidal actions in Gaza and sought to portray Palestinian resistance to Israel as suffused with religiously inspired misogyny. In a recent article in Salvage, Sophie Lewis wrote about the way in which Zionist feminists have worked to defend the settler colonial project and how it places them in a long lineage of self-described feminists who have been enthusiastic supporters and participants in imperial conquest. In our conversation we talked about that history, and whether we're seeing a decline in Zionist feminism that parallels the broader crisis of liberal Zionism. 

Book your spot at the first PTO Live! event on May 16th in London here: https://www.eventbrite.co.uk/e/disaster-nationalism-politics-theory-other-podcast-live-tickets-883198700087

Israel and the history of imperial feminism w/ Sophie Lewis

LUMER – Lying in wait //
REGULAR GIRL - breakthrough //
Théo CHARAF et Raoul VIGNAL (Nitebirds) – Moonlite //
Les SOUCOUPES VIOLENTES - J'irai pas //
The LEMON TWIGS - My golden years //
METZ - entwined_street_light_buzz //
MARBLED EYE – Read The Air //
LUMER – One hundred years of solitude //
LUMER – Notion of the dark //
ELYSIAN FIELDS - First last wishes //
Catherine GRAINDORGE - Orpheus' head //
Turner CODY – First One at the Drive In //
LUMER – Dead Conversation //

#850 - LUMER

Track in progress from 2024.

Lyrics:
Mental bind
Force the restraints
Tread the day
Lost and frayed
Time slowing

Mental bind
No restraint
Motion strife
Mental tide
Day after day

No restraint

Restraint [Second Edit/Vocal Test] - 2024

Lost Dub Dub from "Fight Against Babylon" Deluxe Edition.

LOST DUB DUB

Teen Babes From Monsanto

Saviour Machine

Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys’ hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they’d have been blitzing ballrooms in the early ’70s instead of opening for Stone Temple Pilots in the early ’90s), but Redd Kross have endured and endeared because they’ve always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they’ve devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late ’80s/early-’90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock’s post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the ’90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here’s the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band’s current lineup, who’ve re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They’re too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you’re two minutes and 51 seconds into the second song, “Stay Away From Downtown,” and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian “Dracula’s Daughters,” ends and the dynamic mid-’60s Beatles jingle “Meet Frankenstein” launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-”The Nu Temptations” (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the “Surrender”/Noel ‘n’ Liam rockers “Choose to Play” and “Winter Blues,” and the stunning summer psychedelic power pop that is the closing “Hazel Eyes”-you will know the truth. You tried the rest-but now you’ve had the best. The McDonalds were educated at Rock ‘n’ Roll High, and they’ve stayed true to their school. Here’s to their beautiful reunion! Redd Kross Forever!

Saviour Machine

ReddKross

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