MELOMANIA labors for you with five new releases (including possibly Hip-Hop's AOTY?) and a brief review of Jan-May.
and a remembrance and how you can help the family of the late Bobby Sutliff.
PYE CORNER AUDIO - Let's Emerge [LP](Sonic Cathedral UK)
After years of their magnificent and haunting dark score music, it is quite beautiful to hear them celebrate the light - so to speak - with Andy Bell of Ride. "Lyracal" uses a sequencer loop and some deep synths to cradle you while the guitar and a keyboard get to "speak" above it. When "Does It Go Dark?" brings back the black clouds and air raid sirens, their swirl is still ominous but more psychedelia. The track "Let's Emerge" impresses because it introduces color to Martin Jenkins' musical creations. "Haze Loops" is entrancing in an early Klaus Schulze-ian manner with a couple of neat My Bloody Valentine-like bends and subtle dives. The Musik Kosmiche vibe continues in Tangerine Dream-esque (think "Sorcerer") "Saturation Point" which is both ominous and twinkling. "Sun Stroke" and the closer "Warmth of the Sun" strays the farthest from PCA's typical sound. "Sun Stroke" is quiet waves of almost New Age (in a good way) meditation. At the same time "Warmth" is more Spacemen 3-ian as the vocoder guides you along a trip through electronic nature with buzzing, whirring, and oscillating air surrounding you.
INTOXICATED - Watch You Burn [LP](Seeing Red)
This Florida band is resurrecting the throat-slashed Death-ly gallop of the Morrisound studio days of old. Intoxicated is turning Thrash into Death Metal and then flipping back and forth as they wish. The title cut soars out of the gate with a double-kick-led flourish into shrieking verse. They manage to turn on a dime for the descending chorus, then dive right back in. However, the thundering bridge where they break it all the way down to just drums, bass, and guitar chugging on the start/stop riff is a stick of dynamite. Later on "Majestic Eyes" continues the demolition with a neck-breaking verse riff and another pit-ready various on the chromatics from before. As the complexity of their writing grows, Intoxicated is going to be a monster Thrash/Death Metal band.
SLUM SUMMER - Living In Milk [CD](Jigsaw)
With his foghorn Billy Bragg-ish Brit voice, Hugh J.Noble fronts this San Diego band as they roll through some Punk-flavored (the divine single “Tenderize The Night”) fractured Americana. Noble’s lyrics produce some fascinating couplets. “Octopus Ink” is a genuine lament that feels desperate - but never says it (“Kicked a can with kerosene across the floor.”) “Wake of The Flood” is a bit like Eleventh Dream Day’s offhand tribute to the Dead (“Bomb The Mars Hotel”) as it destroys/preserves the myth. While not a howler, Noble’s wordplay (“I had won first chair playing second fiddle/while you were a third force playing both sides against the middle”) lights up how playful either flirting/not flirting exists in his mind - that is until reality sets in (“Spit out your gum before you kiss me.”) Either way, if he framing it with the Dead reference to be cool (or point out uncool it is,) Noble is truly on to something. The band gel with him occasionally, but Slum Summer’s best songs harness their tension of feeling uncomfortable. “Piety Hill” and “Santa Rosa” could be twee or could be revved up toward Punk speed. Behind “Piety Hill,” the drummer drives it a little faster and it really counters the languid, legato texture of Noble’s singing very well. Elsewhere, “Santa Rosa” is dramatic without Noble’s vocals thanks to some powerful bass playing. When Noble enters to intone, the band’s consistency in pushing the song allows his lyrics to dwindle a bit in between. As a result, the excellent couplet “The road is black as night/The night is black as tarmac” rolls by as if you are with him driving. A powerful moment from a promising new band.
…AND YOU WILL KNOW US BY TRAIL OF DEAD - XI: Bleed Here Now [LP/CD](Dine Alone/The Orchard)
With the raw power of every TV performance you can find on YouTube, it would be easy to pigeonhole Trail of Dead into an emotional Metallic/Punk band. However, their epic run as a band - finally has an epic to claim as part of their vast catalog. 22 tracks stretch over 75 minutes and transport you through their history and even how they emulate their myriad influences (“Taken By The Head” is as hypnotic as Pink Floyd ever was, with some striking world-music style drums added.) “XI: Bleed Here Now” succeeds because it bursts through despite having a very loose central concept. The extended opening may seem like an indulgence. However, when the clouds part and you hear the jangle/piano-driven “Field Song” - it is supposed to gleam like a ray of hope. As “XI: Bleed Here Now” unfolds, you can even trace some of their chordal ideas back to previous albums. (“Penny Candle” could have been on “Madonna,” the elegant swelling “Golden Sail” hearkens back to “Source Tags & Codes” with harmonies and Prog Rock organ solo added.) If that was not enough to draw you in, they also get stellar guest performances out of Britt Daniel of Spoon (the Elliott Smith-esque acoustic “Growing Divide,”) and Amanda Palmer (the delicate-then-dramatic “Millenial Actress.”) As sprawling as it may be, the massive album will leave you wanting to reinvest in their vast catalog.
J.I.D. - The Forever Story (Dreamville/Interscope)
Apologies to Kendrick, but “The Forever Story” by East Atlanta rhymer J.I.D may be the Hip-Hop album of 2022. Signed by J.Cole (also a brilliant wordsmith,) “The Forever Story” is a blistering showcase for J.I.D’s verbal acumen and uncanny ability to change his flow. Like Southern MF Doom, J.I.D. swings his rhymes out of nowhere sometimes (“Crack Sandwich” is dense with clever bars and lines that turn on themselves.) With a cadre of producers and collaborators, mostly the tracks that Christo has a hand in are the most imaginative. “Raydar” is just the set-up for the twin burner singles but Christo layers it with so many effects and interstitials that boost its character. (On the other hand, the album’s weakest cut “Money” by veteran Khrysis drives a truly monster hook too hard.)
The content (and blueprint) are very Kendrick and Lil’ Wayne-esque. J.I.D reels in his autobiography at times (“Bruddamen” and “Sistanem” are a powerful pair) and mixes it into his thumbnail sketches of a world is leaving behind (“Can’t Punk Me” featuring the gritty voice of longtime collaborator Earthgang.) When J.I.D. turns himself over to outside influence or other input, he still stands miles above everyone. With its Motown sample and steady groove, “Can’t Make You Change” attempts to unite a slinky R&B radio-ready groove with a hook from Ari Lennox with some very personal lyrics. Unlike the pugilistic wonder “Crack Sandwich” and the poignant ending of “Kody Blu 31,” the fantastic parts just do not raise each other. In addition, the new sign of a powerful rapper is that they dust nearly every feature on the album (“Stars” with BadBadNotGood actually pauses to let Yasiin Bey enter to juxtapose J.I.D’s serpentine patterns with an old-school stentorian verse.)
Like all great Hip-Hoppers, J.I.D’s rhymes are alive with cultural references to his idols. Lil’ Wayne even shows up to slice-and-dice the Dirty South rumble of “Just in Time.” However, this show is all J.I.D. The single “Dance Now” should be in every sync and top the charts soon. Its structure AND beat are irresistible even after multiple listens. While the improbably deep bass of “Surround Sound” is like the three-ring circus all good Hip-Hop singles should be flipping its sample of Aretha with a flashy verse from 21 Savage and sweet-sour double-tracked hook from Baby Tate.
With the exception of the beginning and end of “Mr.Morale,” we are unlikely to find another Hip-Hop album that not only ticks all the boxes, summons emotion, and paints a vivid picture of the life of its protagonist. While the internet pushes hype levels to AOTY nearly every week (and shoots others down with hilarious accuracy,) “The Forever Story” just gets better with every listen. These are the new rules and (again highly likely) the new ruler.
2022 in REVIEW (briefly)
Here are several of the releases that Melomania still has in heavy rotation (either in singles or the album) that hopefully were not overlooked and are also either fondly remembered or better-late-than-never discoveries. For reasons of ripening, our revisit stops at the beginning of Summer - so as to give those fruit (which you can still read as well) time to grow more.
KIDS ON A CRIME SPREE - Fall In Love Not In Line [LP](Slumberland/Redeye)
Like new bands Shadow Show, Death Valley Girls, and L.A.Witch, Kids On A Crime Spree take a gritty look at the way songs used to be written. Fuzz-drenched buzzing Pop (think the Vaselines) bursts from your speakers with music in that classic verse/chorus/verse form. These songs rumble and remain crisp like classic Pop. The Twenty-five minutes you will visit again and again. [1.19.22]
KILL ALTERS - Armed To The Teeth [LP/CS](Hausu Mountain/Redeye)
Bonnie Baxter discovered a passel of tapes that belonged to her mother. As she worked through the very personal fighting and emotional violence she captured, Bonnie found a way to take her fright and anger about it and make music. Kill Alters is a dangerous band. Like Death Grips, these cuts are no holds barred. The songs are brutal. The beats are punishing. Synths and screams punctuate nearly every emotion they dredge up in you. [2.10.22]
DRUG CHURCH - Hygiene [LP/CD](Pure Noise/The Orchard)
New York’s Drug Church has always had a great post-Hardcore Pixies sound. “Avoidarama” sealed their Jawbreaker-esque Nineties crunch Punk. “Hygiene” expands their view a little more. The twin thrust of “Detective Lieutenant” and “Premium Offer” where Drug Church shows punchy commercial potential with blazing hooks and punch-in-the-air-wherever-you-are intensity. [3.11.22]
ROYAL ARCH - “La Nuit” [7”] (Jigsaw)
Athens, Greece’s Royal Arch makes their debut with a perfect mix of delay-driven riffs and haze, plus that waiting/wanting feeling that keeps pulling you back into the song. “La Nuit” knows it does not have to do anything but capture that single moment in a relationship where everything changes and let it play again and again until you drown in its feedback. [3.18.22]
EX-VOID - Bigger Than Before [LP/CD](Don Giovanni/Redeye)
Ex-Void’s earlier tracks bonded manic Punk energy with streamlined Byrds-ian/70’s Pop. On their first album for Don Giovanni, the quartet move up to a Matthew Sweet-ian level of confession/harmony/songwriting. “No Other Way” may be the most perfect single this year. It pushes beautifully through a Lemonheads-ish heart-tugging verse (McArdle and Williams's dual vocals are a thing of beauty,) a sparkling chorus, a Dinosaur-esque driving solo portion, and wraps up with an elegant and masterful slowdown. [3.25.22]
GOOD LOOKS - Bummer Year [LP/CD/CS](Keeled Scales/Secretly/AMPED)
With his coyote drawl and wicked sense of humor, Tyler Jordan writes Country-ish Indie Rock songs that consistently juxtapose sincerity with sarcasm in a promising way. “Almost Automatic” carries itself like early Wilco with building verses, a soaring chorus, and a great pulldown post-guitar solo. The title cut is a brilliant exploration of how our opinions guide us away from people. “Vision Boards” has a little more swagger and a neat Eighties-esque twangy lead. Jordan does a lot with repetition here to force it forward until it builds to a litany of things “just not working out.” [4.8.22]
LIME GARDEN - “Marbles/Clockwork” [7”](So Young UK/Believe FRA)
Like Goat Girl or Pillow Queens, this pair of singles show their skill and depth. “Marbles” is a dazzling dance track (in the same vein as “Sad Cowboy”) that smartly does not reveal its hook too soon. When that one is not on repeat (as it will be,) “Clockwork” is more of a moody Talking Heads bubbly jam. [4.14.22]
BOB VYLAN - Presents The Price of Life [LP](Ghost Theatre UK)
This daring Hip-Hop collective from London is putting Grime, Hip-Hop, and Punk together into a force of nature. "Presents The Price of Life" takes most of its comparisons from Sleaford Mods, Rage Against The Machine, and Linton Kwesi Johnson. Each of these tracks (even the interlude) immediately feels vital. Bob Vylan is not interested in the current ongoing party culture that has taken over Hip-Hop. Instead, their songs are both political and personal. In that most dangerous way, they sloganeer ("CENSORED (Interlude)/Turn Off The Radio," and the slamming "Pretty Songs,") proselytize (the hardcore "GDP" and the sinuous lesson "Health Is Wealth") and confess ("Must Be More.") [4.29.22]
LANDE HEKT - “Romantic/Octopussy” [7”](Emotional Response)
Lande Hekt mixes her airy vocals and smart lyrics with a crush-worthy lo-fi jangle. Her hook “I knew you were romantic at heart” beautifully dovetails at the end of the chorus like a classic Smiths song or even early Sundays. With its Juliana Hatfield-ish drive, Hekt completes her introspective lyrics with some Keats-ian observation (possibly the other connotation of “Romantic?) “When you hear a voice that summons you, a voice dragging you home/When the last days of winter hang outside your home, just let me know” clearly puts a lump in your throat. Then Hekt plaintively wraps it up elliptically (like most great songs) saying “I’m just gonna wait around ‘til the end becomes the start.” [5.6.22]
THE CLASH AND RANKING ROGER - "Rock The Casbah/Red Angel Dragnet" [7"](SONY UK)
"Rock The Casbah" has always been a busy song in the Clash canon (that dated digital watch.) On the Roger version, the mix is lithe and light. The dance groove drives it hard in the beginning, then lets off at the chorus where every nuance of the rubbery Funk-saturated bassline of Paul Simonon bolts out. From here, Roger circles around the guitar strikes and the basic elements of the track until his wordless syllabic burst feels like pure bliss. [5.20.22]
STROPPIES - Levity [LP/CD](Tough Love UK)
“Levity” is one that really needs to grow on you. “Levity” is a difficult record because they purposefully slow down (or soften, for that matter) the jangle of “Whoosh!” and “Look Alive.” That is the key. “Smilers Strange Politely” parks itself halfway between Go-Betweens and a perkier Young Marble Giants. “Levity” strikes us as an exercise to exceed their limitations by actually doing the fabled more with less. Underneath their atoms of structure (the shimmer/splintering of “Figure Eights,”) The Stroppies are forcing themselves into weird places - and bringing us along with them. A textbook grower. [5.20.22]
LEWSBERG - In Your Hands [LP](Lewsberg NED)
The Dutch minimal Pop of Lewsberg dares to revisit both the early Velvet Underground sound (that sublime violin on "The Corner") and the Beat Happening-style return to it during the Nineties. Lewsberg’s songs are largely mood pieces trading melody and Belle & Sebastian-style narration or easy singing. However, there is something tender about how they are learning to use the space of their songs. "In Your Hands" could be a lullaby, while "Dependency" is too gentle to be a rebuke and has enough sting in its repetition of "first she has to go, she has to go away" to hurt. However, it is the genius turn of the two-part closer "All Things" that best shows how Lewsberg's modest sound packs a real punch. [5.27.22]
Well, another week, another list of several different styles and pursuits in music for you. Enjoy. Listen again. Share as you wish.
NEW RELEASES lovingly compiled for you from this very week!
T-BONES Records and Cafe is a full-service fast-casual restaurant and record store in Hattiesburg, MS. We are a member of the Coalition of Independent Music Stores. We are the longest-running record store in the state of Mississippi. If you have questions - we have answers … and probably a lot more information just waiting for you at:
tbone@tbonescafe.com
Visit our website for more information and shop in our ONLINE store if you wish.
T-BONES ships the best music all over the United States daily. We also specialize in Special Orders. Let us know what you are looking for - we are thrilled to help.
This week we lost Bobby Sutliff. As a Windbreaker (with our friend Tim Lee) and a solo artist, Sutliff was one of the key contributors to the “jangle” that defined Eighties College Rock. Well-respected by peers and generations of musicians here in Mississippi, Sutliff was active up until his diagnosis with Stage 4 Kidney Cancer and his passing this week. A luminary to Paisley Underground-ers like The Rain Parade and the first generation East Power Pop merchants like Richard Barone, Sutliff was even a favorite of Bruce Springsteen. Tim Lee was already kind enough to release “At Home With Bobby and Time” to raise funds for Bobby and his wife Wendy Lena Yee. Now in remembrance of Bobby, “Skrang!: Sounds Like Bobby Sutliff” is also available for purchase on the Windbreakers’ Bandcamp page. As it is Bandcamp Friday, your support of these releases will truly help out. Fare thee well, Bobby.