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2017. július 8., szombat

MUSiC iN YOUR EARS #17/22 - DON'T GO BACK AT TEN / TEN EXCiTiNG TRACKS





10 EXCiTiNG TRACKS / DON'T GO BACK AT TEN
Girl Ray, Mogwai, The National, Matthew Dear, Alex Cameron, Filthy Friends, Roxy Music, Wolf Alice, Weeping Icon, Tall Friend, St. Vincent

Girl Ray - Don't Go Back at Ten 3:29
When we first heard of teenage London trio Girl Ray in October of last year, they had only two songs to their name... Now the band is gearing up for their debut album, Earl Grey (which rhymes with Girl Ray, get it?), due out in August. That means new singles abound... the band has shared another song, “Don’t Go Back At Ten.” Poppy Hankin’s vocals add a signature flair to the beachy, mellowed-out psych-rock track.

Mogwai - Party in the Dark 4:02
Scottish post-rock gremlins Mogwai returned last month with the excellently titled “Coolverine,” the first single from their upcoming full-length Every Country’s Sun. While that one found the band in meditative instrumental mode, new track “Party In The Dark” is probably the closest they’ve ever come to making a straight-ahead indie rock song, with vocals(!) and lyrics(!!) and everything. I like old-school guitar-freakout Mogwai as much as anyone, but this is a good look for them too.

The National - Guilty Party 5:38
The National are finally getting around to following up 2013’s Trouble Will Find Me with the new album Sleep Well Beast, which will be out in September...  they’ve shared the full track and announced an actual Guilty Party on 7/14 and 7/15, a collaborative concert at Basilica Hudson...  “Guilty Party” the song, which he describes in elliptical terms as “a dream about memory and the degradation of memory; it’s about distance in time and space. Time moves forward, but then backward as memory...

Matthew Dear - Modafinil Blues 5:01
Although he’s been active under the guise of his techno alias Audion, avant-pop crooner Matthew Dear hasn’t released much music under his own name since 2012’s excellent Beams. That all changes today with the release of “Modafinil Blues,” his first official single in years, which he wrote in Topanga Canyon with longtime Frank Ocean collaborator Troy Nōka. Named after a supposedly cognitive-enhancing “smart drug,” the song finds Dear’s slithering, emotive baritone cutting through a fog of moody electronics.

Alex Cameron - Candy May 4:08
Less than a year ago, the Australian musician Alex Cameron released his Jumping The Shark album, and he’s already announced plans to follow it up with a new one called Forced Witness. Cameron co-produced the album with Foxygen’s Jonathan Rado, and they recorded it in Berlin, Las Vegas, and Los Angeles. The LP includes contributions from Angel Olsen and from the Killers’ Brandon Flowers, as well as from Cameron’s sax-playing regular collaborator Roy Molloy. First single “Candy May” includes backing vocals from Olsen, and it’s a sleazy and self-assured synth-rocker with a bit of Nick Cave coming through in Cameron’s sexed-up baritone...

Filthy Friends - Editions of You (Roxy Music Cover) 3:02
Filthy Friends is the new Pacific Northwestern indie rock supergroup that features Sleater-Kinney co-leader Corin Tucker and former R.E.M. guitarist Peter Buck alongside fellow veterans like Young Fresh Fellows’ Scott McCaughey and the Fastbacks’ Kurt Bloch... And as it happens, the B-side of that 7″ single was a cover of “Editions Of You,” a feral and bitchy glam-rocker from Roxy Music’s 1973 album For Your Pleasure. The Filthy Friends’ version is fired-up and ragged, and it makes great use of the snappy snarl that Tucker used on Sleater-Kinney songs like “Milkshake ‘N’ Honey.”

Wolf Alice - Yuck Foo 2:13
Almost exactly two years after their debut album was released, Wolf Alice are back! The band have been teasing new single ‘Yuk Foo’ for a while now, and the track’s now been shared, along with details of their upcoming second album... ‘Yuk Foo’ is a vicious, uncompromising return that barely scrapes above the two-minute mark. “I don’t give a shit,” Ellie Rowsell yells, and it’s the sign of the scrappy, brilliant punk band we always knew lay within Wolf Alice come to the surface...

Weeping Icon - Warts 3:38
Weeping Icon are a feminist noise-punk quartet made up of veterans of other Brooklyn DIY acts like ADVAETA, Lutkie, and Mantismass. Their eight-track debut EP, Eyeball Under, is arriving in the fall, and today they’re sharing “Warts,” an exhilarating four-minute assault that manages to capture every possible texture of noise within its depths. “‘Warts’ is about secrets,” the band explain. “If you don’t tell anyone a secret, then no one knows they got the secret from you. But you can’t tell anyone, not the doctor, not even mom.”

Tall Friend - Small Face 2:07
...for the album’s second single, “Small Space.” Like the first, this one finds Charlie Pfaff focusing on the ways that childhood traumas can haunt our entire lives — “Think of a kid learning how to ice skate: there’s blood on the ice, but he’s quick on his blades,” they sing in a particularly expressive moment. But, as with “Oats,” “Small Space” is about finding strength within yourself to go about the day-to-day, and its closing line is emphasized by also being the title of the band’s new album: “I am no one’s/ I am sitting safely nobody’s.” Maybe a defense mechanism, but one that works.

St. Vincent - New York 2:33
Annie Clark has long been defined by contradictions—violence and beauty, power and supplication—but with “New York,” the only discord lies in the fact that she first performed this gorgeous ballad while dressed as a purple toilet. Presumably the first single from her forthcoming fifth album as St. Vincent (no official news yet), it surprises by totally forsaking her cosmic guitar playing for simple piano, which blooms beneath her laments for the lost accomplice who made NYC more than just a pile of old bricks... It’s a complete pivot from the imperious vigor of 2014’s St. Vincent, and unlike any other ballad in Clark’s catalogue—the scrambled inner compass and sense of being so close, yet so far, is a jarring sentiment from someone who always seems so supremely herself. Yet “New York” is confident, too, rushing into an orchestral chorus paired with a deep, skipping pulse that adds an infectious adrenaline shot...

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