Fantastic sound, very indie/dreampop/shoegaze. loving all I've heard so far.

stick with the thorn stick with the bottle

PINS - Velvet Morning

Damage Control

Love No One

We were all knocked out by the Frankie Rose and the Outs album from 2010, the effortlessness of its gorgeous girl-pop mantras, the intimate immensity of its Spector-esque walls of reverb, the beauty of a song sung sweetly over the most graceful two-chord vamps. But are you ready for the new Frankie Rose? – her transformation into a wholly other kind of pop, the reverie and revelation of "Interstellar," an album that floats free of its maker’s history – time spent with Vivian Girls, Dum Dum Girls, Crystal Stilts, and creator of one of the most breathlessly compelling girl-pop albums of the past few years – and offers the listener something strangely other, as alien as it is familiar, as compelling as it is enchanting.

Talking with Frankie about the record, it’s clear she was itching for a new start. The first big indication – production by Le Chev, remixer supreme (for Lemonade, Narcisse, Passion Pit, and Frankie’s own “Candy”), an ensemble member of Fischerspooner, etc. “We recorded the record in a private studio dubbed The Thermometer Factory in Park Slope. I wanted this record to be totally different and in so doing I knew I had to work with someone who would lend fresh ideas and know how to make sounds that I wouldn't know how to make. I wanted to make a particular record and I knew Le Chev would be the one who could help me do it.”

So, out with the reverb of the Frankie Rose and the Outs, and in with something altogether more glam, glittering, shivering. On "Interstellar" Frankie takes the lessons learned with her debut album – like reverb as the holy route to pop-grandeur, scaling a wall of teenage tears – fully digests, and transfers those skills into the brave new world mapped out by ten new songs. In its place is the confident swagger of a singer and auteur fully aware of how to build the simplest of pop moves into aching, full-blown melodramas, how to grab hold of an emotion and ride its darker waves. “I always have a big picture in mind,” Frankie reflects. “I knew I wanted a HUGE sounding record. Big highs, big lows, and clean. There is no fuzz on this record. I knew I wanted to make a streamlined, spacious record with big choruses that sometimes referenced 80s pop.” But that referencing never swamps the melodies: this record isn’t a retro trip. If anything, it liberates sounds familiar from that decade and gives them new context, breathes life into clay golems of sound that too often become basic, pre-set triggers.

On "Interstellar," Frankie Rose goes epic, goes widescreen.

Out February 21 on Slumberland Records in US, Canada, Asia, Oceania.
Out March 19 on Memphis Industries in Europe.


Frankie Rose - Night Swim

Who can decipher the true origins of Neverever? Some say it started on the roadside in Malibu when a truck driver named Eric Fisher and his childhood buddy, Shaun Puklavetz, picked up Joe Meek's great niece and nephew, Jihae and Wallace. Others believe that it began a year earlier when Neverever's lost classic "Angelic Swells" was released on legendary pop mogul, Mike Schulman's, Slumberland Records.

Whichever you choose to put faith in, it was after consulting their book of Sacred Symbols of the Ancients, that Wallace and Jihae realized Eric and Shaun's rhythmical bond was most likely destined to be the missing piece of their puzzle. A mutual appreciation for Dave Hill (he of Slade fame)'s haircut soon sealed the deal one night after practice in Shaun's hot-tub.

The four began hallucinating endlessly about writing songs that could fill the void between one's love for Sandy Salisbury's "Do Unto Others" and the other's for Comet Gain's "Casino Classics." These visions began to slowly creep across Los Angeles stages like a purple smoke bomb engulfing. Shortly thereafter, crowds caught on and gaggles of girls and boys began flocking to their shows in fear that the flames which burned would someday descend back into technicolor smoke.

"Shake-A-Baby" is that technicolor smoke turned to solid vinyl. The band says it best: "The EP is loosely about the likes of child brides and sugar empire heirs either reluctantly growing up or simply choosing not to. Clinging to pre-teen and adolescent freedoms, Miss Teen Californian girlfriends, carefree trips, and dream-like loves, whether the changing world around them allows it or not. Some influences include the Raspberries, Dwight Twilley and Phil Seymour, ELO, Kim Fowley, Fleetwood Mac, Big Star, Alvin Stardust, Sandy Salisbury." 

From the couples' dance swoon of "Baby Oil And Iodine" to the latin-tinged glam-pop of "Mexicoco," we see the newly revitalized Neverever cooking up a heady mix of classic power-pop styles. "Bunker Spreckles" is a swinging little tune, featuring a typically catchy vocal melody from Jihae and a stick-in-your-head keyboard line. "Venus" slows the tempo down for a twangy slice of doo-wop pop, while "Wedding Day"  is a rambunctious power-pop gem that would slot in nicely on either of the first few Blondie albums.

Cut from the same classicist pop cloth at their debut album, on "Shake-A-Baby" Neverever sharpen their tunes, hone their hooks and brighten their palette.

Neverever - Mexicoco

Beneath the Bottom

Scott Walker - Duchess

Ghost Town - You Look So Bored (Surf version)

http://www.facebook.com/pages/Ghost-Town/138457812885360

You Look So Bored (Surf!)

Formed in January 2009, Girls Names quickly garnered recognition outside of the confines of their hometown of Belfast with the release of their eponymous debut EP in 2010 through New York's Captured Tracks. A mini-album through London imprint Tough Love soon followed, setting the foundations for their critically acclaimed debut LP Dead To Me, released in April last year again by Tough Love in Europe and cult West Coast label Slumberland Records in the US. 

Girls Names return in 2012 and are hinting at a slightly different direction and its all the more positive for it. This new single titled ‘A Troubled See’ makes up one half of a 7” split with label mates Weird Dreams. The release will be available from Tough Love records on 25th June and Slumberland Records the following day. The track itself has a wonderful simplicity, an endearing guitar hook that pulls the hip muscles back and forth yet staying that side of the dirty track where it’s ok to hang out. The band will also be playing a handful of shows in May including a performance at Primaverafestival in Barcelona. 

After a successful tour of Europe in October last year supporting stand alone single ‘Black Saturday’, Girls Names began to hint at a possible directional shift away from their often misperceived surf and indie-pop roots into something more a kin to Krautrock and Psychedelia. Indeed, the band has expanded to a four-piece and has spent the last six months in virtual seclusion honing and developing a more progressive and expansive sound, feeding on the darker sides of Echo and The Bunnymen, Spacemen 3, The Birthday Party and David Bowie's Low. 

So here we are in 2012 and Girls Names are going to come out of hiding with a sophomore record and right now ‘A Troubled See’ is as solid an introduction to the forthcoming chapter as you’re going to get.

Release/catalogue number: SLR 176

Girls Names - A Troubled See

the Floor

Not Anymore

We are a band from Dublin. We are Caoimhe, Jessie, Lauren, Paula & Sarah.
New album 'Age Of Indignation' out April 8th on Fortuna Pop.
helloseptembergirls@gmail.com
http://facebook.com/septembergirls
http://septembergirls.tumblr.com
x



Love No One

septembergirls

Recent comments

Killer Bee Queens

kool-aid man

The Glass House Museum

Olsonson

Related tracks