Quick introduction now that I've moved to Mastodon Music.
Swiss-based musician - bass, guitar, key, vocals of varying competencies. Played in Sydney in the 80s, Brisbane in the 90s, Myspace in the 00s + a rogue folk-acoustic set somewhere in there, nothing at all in the 10s!, and now active again. Several solo, collaborative and band activities locally and in Australia.
Also trying to recover all my old friends after the unexpected move, so boosts appreciated.
Sophomore albums are rarely as good as the first one, but damn, this is about as close as you can get to repeating unbelievable success and cool music.
Recorded in the Bahamas like its predecessor, this follow up delivers more of the band’s signature sound; retro-kitsch, bouncy beats, quirky hooks, and first-class vocals from Kate Pierson and Cindy Wilson.
Some real classics on this one, including “Quiche Lorraine,” “Dirty Back Road” and the immortal “Private Idaho”. But it’s another album you should just play from start to finish.
Ce soir j'ai envie de chialer comme un môme mais je me retient, je prends tout ce qu'il y a dans cet album comme une bouée de sauvetage, ca sert à ca le rock, ca sauve des vies, cette voix qui chevrote, comme Thom qui chanterai "But I'm a creep, I'm a weirdo" et l'explosion de gratte brute de déco du rock indépendant qui reprendrai "I can't believe that life's so complex"
Vous avez peut être aussi besoin de cet album qui sait? Après tout on à tous besoin d'un moment de réconfort quand le sol se dérobe sous nos pas.
Prenez soin de vous. N'hésitez pas cet album est magnifique.
Ah, the sound of my college years. Perfectly representative album of the developing indie scene of the time (e.g. Doolittle came out around this time)
This is when I started appreciating more mellow music. Probably because on this album they somehow make loud guitars and full throated vocals sound relaxing and dreamy. Lots of reverb and a rather melancholy vibe throughout.
Favorite song by far is the opening track, “Blue Thunder”. But this is another album that I’ve slowly found is best played all the way through, as each track blends seamlessly into the next.
The brand new record The Current, from @josh's band Outro suggests that, despite the fact indie rock is now old enough to be classic rock, there's A LOT of life in the genre. The opening track is like a more raucous REM on a space-rock trip; the second track could almost be an American version of Echo and the Bunnymen or the Church. Indie Rock's not dead, and it's actually aging quite gracefully.
Bob Fartblossom, aka Bob Durkee, was a kind of local underground celeb where I grew up. After putting out releases from his own band (Pillsbury Hardcore) he started his own label and put out bands like Justice League, Three Day Stubble, and Subculture. I’d buy pretty much anything on the label in the mid to late 80s.
This has become a bit of a novelty item since it’s Dave Grohl’s first band.
Comes with glossy fold-out insert with photos, and “thanks” list, a postcard, and the text "David Grohl destroys Tama drums exclusively” in the lower left corner.
Also, engraved on one side's runoff is the message "Everything Matters" while on the other side is etched "Time Doesn't Matter".
I make at least one awesome discovery each #BandcampFriday and the first one this time is @notype's album Communication in the Presence of Noise. It's a collection of well-oiled indie-rock-meets-electro bangers with vocaloid-synthesized vocals and a fantastic theme of alt-historical what-if techno utopianism. Good tunes with an accessible, inviting sound.
I can't help but still love In the Aeroplane Over the Sea by Neutral Milk Hotel but I totally understand if a normal person listened to that album on your recommendation and their first impulse is to either beat you up and get a restraining order. #indierock#90s#folk
In this excerpt from the new episode of Spotlight On, Irish 'techno-punk' band Chalk delve into the band's mix of genres and how they create a unique sound blending influences from Belfast.
An early single released in 1982, 'In Shreds' captured the raw energy and melodic darkness of The Chameleons' unique brand of post-punk. Featured on their acclaimed debut album 'Script of the Bridge', the song became a staple of their live shows. Its driving guitars and Mark Burgess's anguished vocals exemplify the band's enduring influence.
"There [used to be] regionalism in music. You knew where your band was from the same way you knew your sports team. We knew The Cars were from Boston. We knew R.E.M. was from Athens. We knew The Ramones were from New York. When you went to Minneapolis, Soul Asylum would be on the radio."
Various – More Coffee For The Politicians (Phoenix Underground Music Compilation #3)
Placebo Records, 1985
Regionally focused comps were super helpful back before the internet. Best way to focus on a specific scene.
This one has a nice variety of musical styles. It's #3 in a series from Placebo spotlighting the Phoenix Scene (e.g. "This Is Phoenix, Not The Circle Jerks" and "Amuck").
There's a white paper insert with some Placebo Records and their respective prices listed. It's an order form you'd mail in.
Ohhh! I have a song of my own for this one!! The little black hatchback is an actual car, pictured in the album art, that was our beloved ride back in the day.