Sunday, 5 May 2024

2024. Week 18, 10 singles (3)

Only a small dent is what writing two singles posts in a week achieves in this enormous number of singles that reach me, but it does allow for more artists' work to make it to the blog and for me to explore more than just one album. This week you will only find names that to most of you will be totally obscure. Heck, even to me several are just that and are found on this blog for the first time. This means that there is a lot to discover today, so enjoy.

White Spade Symphony. Derek Smith and the Cosmic Vultures

Why write a symphony about a white spade? If only I had the answer. What I can point you to is the fact that Boston's Derek Smith and the Cosmic Vultures has released a great song. Two chords and the truth describes it quite well. Add a minimally rewritten line by Bob Dylan starting with "something is happening here" and you have a starting point on the song. White Spade Symphony is a mildly rocking song, with two lead guitarists who really go for it in the solo, with just a mild  form of psychedelia ingrained within it. In essence this is an extremely simple song, made special by the variations in the vocal melody and the musicality of the musicians. From beginning to end they have me as an attentive listener. (And, do not forget to take a close look at the fabulous Dali like artwork!)

Big Dog / White Horse. Big Special

There were already a few singles by Big Special that did not make it to the blog. Big Dog / White Horse has. Despite that the bio describes the band as an update of the in 2024 almost past postpunkers of 2018, what I hear here comes closer to the restrained rock of The National than anything else. Singer and songwriter Joe Hicklin starts with this dark voice over a sombre song. One that progresses slowly, yet manages do draw the listener in. Big Dog / White Horse has that magnetism that slowly brings a listener in a trance. There's this ongoing bass riff over which drummer Callum Moloney plays in the counter beat of the bass, setting a great background to the sonorous singing. Slowly but surely Hicklin's voice moves towards a beautiful vocal climax. It doesn't matter that is understated and modest, a climax it is. Now I'm curious for the band's album 'Postindustrial Hometown Blues' any way, to be released on 10 May.

Sink Ya Teeth. The Mysterines

Here's the third single by The Mysterines on this blog. Once again the band manages to rock out in an alternative way with just a hint of psychedelia, while the Britpop element is the main element. Suede and Supergrass certainly are bands coming to mind listening to Sink Ya Teeth. The U.K. band knows what came before. In that sense a listener who has been around will not hear anything new. What he/she does hear is a powerful song, with a strong beat that may get crowds jumping, as it has just the right rhythm for that, without being obvious. What I like extra is the super simple yet effective riff, lifted from a Garbage song from a few decades back. Together it is all more than enthusiastic enough to be good enough as well. The album, 'Afraid Of Tomorrows', is there on 7 June.

R.L.M. MRCY

And now for something completely different. John Cleese could not have phrased it better. With MRCY we move into soul music, a genre not often encountered on this blog. So, let's have a soul outing for a change. MRCY is producer Barney Lister and vocalist Kojo Degraft-Johnson. R.L.M. is a single from their debut album 'Volume 1', that is to be released on 10 May. R.L.M. sets me back circa 50 years when I was first exposed to songs like 'Back Stabbers', 'Me And Mrs. Jones' and 'Walking In The Rain With The One I Love'. Songs I did not really know how to place, as I had just discovered (glam)rock in the form of Slade and Gary Glitter. The recognition of the quality of these songs came with age. MRCY's music is still an outlier in my collection, yet the warmth of the song immediately strikes a chord. DeGraft-Johnson has that true soul voice while Lister knows his classics. A nice and very suave song, with a bit confrontational video..

Motorway. Goat Girl

With Motorway Goat Girl has released an enchanting new single. It might become hard to make it have its own life apart from the super strange and good video. What is it I am looking at?, I found myself asking a few times. Lottie Pendlebury (she/her), Rosy Jones (they/them) and Holly Mullineaux (she/her) are working towards the release of the new album, 'Below The Waste', on 7 June. "Drive" is the call for action Goat Girl makes constantly. Now I opt for listening without getting into the car, as this is more than good enough. The song is filled with keyboards and, most likely, an electronic drums. In between a smooth sounding bass weaves itself through the electronic sounds. It all results in a very dreamy song, that I'd say prohibits driving, but ok. Motorway is very relaxing and interesting. A song to float on as it were into dreamland.

Shit Split Part Duh. Night Court - The Dumpies

Vancouver, Washington's Night Court and Portland, Oregon's The Dumpies released a split mini album containing four respectively five songs by each band. Shit Split Part Duh harbours what split singles usually do: punk(rock). Both bands show what they are made of, where Night Court and The Dumpies do not outdo each other. Both bands alternate between "true" punk songs and slightly more melodic punkrock songs, including songs that last just a few seconds. In fact, there's only one song, 'Cell Phone', lasting more than 2 minutes, by one second exactly. What wins out is the fun both bands obviously have in playing these songs. The fun wins out on wanting to excel in playing. The fun is combined with a serious level of skills though. Both Night Court and The Dumpies know what it is doing and why. That is pleasing the listeners.  Just listen to '1000000 millionth' song. 0.53 seconds and all was said and done. As you can see, the album may contain nine songs, whether it reaches 12 minutes in total may be an interesting question. When all is said and done The Dumpies win out on being the punkiest or better being angrier. Its 'Big' and 'Egg Timer' are great additions to my punk collection. Like Night Courts The Dumpies vary in the approaches to its punk. There are quite some differences I assure you. Still, Split Shit Part Duh was a good idea to make.

On special request, order the album here: https://store.greennoiserecords.com/products/dumpies-night-court-7

Shape Memory. Robin Kester

A good year after the release of her beautiful debut album 'Honeycomb Shades', Robin Kester returns with a new single. Expect an even more electronic track than her previous work. With Shape Memory she moves deeper into dreampop. As always, Warpaint becomes my personal benchmark. This single makes the grade. The dream is not just that. Do not expect Kester presentsing just a daydream of a tropical island with warm sand and water and Bountys falling out of coconut trees. Do expect places somewhat darker underneath the daydream. Not so much a nightmare but the suggestion of one just around the corner. It is in the darker sounds, in the pulsing synths that could turn into a nasty surprise, while the background oohs and aahs could turn out to be sirens and not angels. In short, Shape Memory is an intriguing song where nothing is what it seems. The electronic drums and bass guitar even seem to turn into real ones in the second half of the song.

Grave Pressure. Earth Tongue

Yes, New Zealand was missing so far in this post. Time to go over there and review the supercharged new single of Earth Tongue. Following the great 'Bodies Dissolve Tonight' the duo takes its alternative rock to the next level. Singer/guitarist Gussie Larkin (Mermaidens) and drummer/singer Ezra Simons go for Brighton U.K.'s Blood Red Shoes' crown alright. With a combinations of frantic drumming and a fuzzed guitar Earth Tongue has the energy the U.K. band used to have, while not having lost it completely, on its first albums. Grave Pressure is the kind of song that starts at full speed and from that moment onwards only starts to go faster and faster, to paraphrase my superior in a distribution centre I worked in a long, long time ago. Not so much literally. Earth Tongue doesn't let any energy escape. Grave Pressure is great fun for those who love energised duo rock bands. Album 'Great Hunting' is out on 14 June.

Moon Ride. Margo Guryan

A new single, released for the first time in 1958? Yes, so what's the story? Singer Margo Guryan (1937-2021) is remembered through a three set record containing her music recorded through the years. 'Margo Guryan’s Words And Music' will release on 7 June. Moon Ride is a jazzy kind of pop song and although I have never heard the song and of the singer before, to the best of my knowledge, Moon Ride is a song that may have inspired most of Nancy Sinatra's most famous songs, so in effect Lee Hazelwood. But also, several artists from the same era like Sonny & Cher and what came later as well. It is also a strange song. It starts out as a two chords jazzy song and with its adventurous flute the song is quite normal. It is the lyrics that become a bit weird and Guryan who starts talking in a parlando style, that returns in one of Masters of Reality' songs on 'Sunrise On The Suffer Bus'. (Sorry, I'm too time strapped to find out which one.) Moon Ride has surprised me no little, as it is so psychedelic in its lyric, Musically this could have been Doris Day without a big orchestra behind her, lyrically it's totally out there.  For 1958 it seems truly adventurous. I'm sure curious to hear more on the album.

Fight. The Gluts

Only a few weeks ago The Gluts debuted on this blog with 'Cade Gìu'. Here's the next single, 'Fight'. Expect the band to truly rock out with a shredding guitar solo that is taking the volume in the studio to the max, right before the moment amps tend to blow up. With 'Bang!' the Milan based band is about to release its fifth album on 31 May. Fight does a few things right. Besides being turbocharged as a good rock song should be, it uses dynamics in all the right ways. It doesn't give everything away all at once. The intro really goes for it but once the first verse starts the band holds back, leaving only bass and drums, Claudia Cesana / Dario Bruno Bassi, with an electric guitar coming in like a flash of lightning. Slowly but surely the guitar doesn't go away any more. An instrumental interlude changes the tempo and time signature. When things go back to normal, the guitar escapes its leash and goes off into the stratosphere. The singer tries to take back control but fat chance. Marco Campana is in the lead and not planning to give it back to singer Nicolò J. Campana, after which Marko plays the song home. Ears ringing and mouth slowly dropping.

Wout de Natris

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