It sounded a little iffy when Robert Pollard proclaimed that Space Gun, released in March, would be 2018’s sole Guided By Voices record. While true, it turns out that fanboys jonesing for new GBV product will get their fix before the year is out after all. (Go with the premise, people; the bizarrely amazing Cash Rivers stuff doesn’t count here.)
The details are a little tricky, so pay attention. On Feb. 1, 2019, GBV’s double-LP Zeppelin Over China hits real and virtual shops. In April, yet another outing, Warp And Woof, will land. In a move that’ll satiate the anxious faithful, Pollard has broken up Warp And Woof—recorded both in studio and while on tour—into four limited-edition (1,000 copies) vinyl-only EPs, each featuring six of the record’s 24 tracks. The first two—Winecork Stonehenge and 100 Dougs—arrive December 7; Umlaut Over The Özone and 1901 Acid Rock are slated for March. (Oh, and—deep breath—a third full-length, Rise Of The Ants, is scheduled for October.)
To celebrate all of this welcome GBV activity—and beloved Uncle Bob’s 61st birthday today—MAGNET is thrilled to premiere the Warp And Woof/100 Dougs song “Cohesive Scoops,” yet another slice of effortlessly ingratiating Pollard wizardry.
“Get Warped and Woof it up!” says Pollard via email.
You got it, Bob.
Pollard and crew will continue to pound stages till 2018’s end, concluding with another New Year’s Eve show in Chicago. What could go wrong?
November 9, Teragram Ballroom, Los Angeles
November 10, Great American Music Hall, San Francisco
November 13, Wonder Ballroom, Portland
November 14, The Crocodile, Seattle
December 30, First Avenue, Minneapolis
December 31, Bottom Lounge, Chicago
45 years ago, Richard Lloyd co-founded Television, whose 1977 Marquee Moon is one of guitar rock’s greatest debut albums. The six-string tandem of Lloyd and frontman Tom Verlaine is as influential on indie/alternative rock as any that came before or later. After turning off the Television two years after Marquee Moon (the NYC band has reformed twice and still plays shows, now sans Lloyd), he embarked on a solo career and also played with the likes of Matthew Sweet and John Doe.
The past few years have been particularly fruitful for Lloyd, who turned 67 last Thursday. 2016 brought Rosedale, his seventh solo album, which featured Lloyd playing the majority of the music on the LP. Last year saw the release of Everything Is Combustible: Television, CBGB’s And Five Decades Of Rock And Roll, an excellent, humorous memoir featuring stories every rock ‘n’ roll nerd needs to read immediately. (Lucky for us, it’s out in paperback on Friday.) Now comes The Countdown (Plowboy), Lloyd’s latest solo album (also out on Friday) .
Lloyd, who currently lives in Chattanooga, Tenn., and is also a visual artist, recorded the 10-track The Countdown in Nashville with a pair of Music City session players (bassist Dave Roe and drummer Steve Ebe) over the course of only two days. He then added to the songs, careful not to lose the live feel of the basic tracks. The result is yet another garage-y power-pop effort from one of alt-rock’s boldest-yet-tasteful guitarists.
One of The Countdown‘s standouts is second track “Smoke,” a punchy, catchy mid-tempo rocker that’s also a bit of a bittersweet ride down Memory Lane for Lloyd. “‘Smoke’ harkens back to one of my first loves—a girl who broke my heart,” he says. “I wrote the song in wistful remembrance of that tragic relationship.”
We’re proud to premiere “Smoke” today on magnetmagazine.com. Let the smoke get in your eyes, and check it out now.
The Countdown tracklising below.
1 “Wind In The Rain”
3 “So Sad”
6 “I Can Tell”
7 “Just My Heart”
8 “Something Remains”
9 “Down The Drain”
A half-decade between albums might’ve snuffed out most bands, but the Herbert Bail Orchestra isn’t your average band. The vaguely mysterious Los Angeles entity is fronted by Anthony Frattolillo, who’s been enjoying some success as a filmmaker since being selected for the Cannes Young Lions Program in 2014. So that makes the new, self-released History’s Made At Night, a labor of love, more or less.
“I’m in it for the long arc,” says Frattolillo.
The Herbert Bail Orchestra certainly has evolved since 2013’s The Future’s In The Past, which helped peg the group as a gypsy-folk collective. A few moments on History’s Made At Night further that already dated trend, but “Mountain Bar” isn’t one of them. Available here as a free download, this modestly cinematic wonder is more in line with the laid-back Laurel Canyon vibe of other standout tunes like “Hometown Honey,” “Cherokee” and “Headed North Again.” Lyrically, “Mountain Bar” reflects on a memorable early gig for Frattolillo, though the overall gist is less about backtracking than moving on with one’s life.
“It was a packed house, the crowd was going crazy, and they turned on the lights,” says Frattolillo. “So we set up in the middle of the square outside, people started coming out, and the police came, because it was like 2 a.m.”
Unless you live on the West Coast, don’t expect to see the Herbert Bail Orchestra in a town near you. “We’ve tried the touring thing already,” says Frattolillo. “It’s wild to me that there’s not more support for baby bands—that they have to make such an investment in touring. Often I find myself in van with a production crew hauling gear, and I’m thinking, ‘Wait a second, I decided I didn’t want to do this anymore.’ Then I realize it’s for a film, and I’m actually being paid.”
On October 12, the Persian Leaps will release Pop That Goes Crunch (Land Ski), an 18-song compilation of material culled from the band’s five EPs. It’s not surprising the Saint Paul, Minn., trio chose the fall to issue this anthology. Between 2013 and last year, the Drew Forsberg-led outfit has released a new five-song EP each autumn: debut Praise Elephants (’13), Drive Drive Delay (’14), High & Vibrate (’15), Underwater (’16) and Bicycle Face (’17). Pop That Goes Crunch collects 17 remixed/remastered tracks from these five releases as well as one new single.
“Not That Brave” is from Praise Elephants, and soon after its release, the Persian Leaps performed the song live on the University Of Minnesota’s Radio K. Forsberg and Co. thought the live version was far superior to the EP version, so the band took the drums, bass and lead-guitar tracks from the radio performance and Forsberg redid the vocals and the rest of the guitars to create a new take on the song.
Lyrically, “Not That Brave” is as relevant today as when it was written and originally recorded. Says Forsberg, “It’s a song about bystander effect—the phenomenon where you’re less likely to help a victim when other people are present. In 2012, I was riding on a Metro train in Paris and saw what appeared to be a group of teenage boys bullying an awkward-looking, possibly gay man. My French was hopeless, so I couldn’t be sure, but from the body language, it looked like the boys were loudly saying cruel things about the man standing near them while he kept his gaze down, blushed and did his best to ignore them. Of course, I wasn’t brave enough to speak up and stop them, and I felt guilty about it afterward. So, the song is based on that moment where you know you should help someone, but you just aren’t brave enough to actually do it.”
We are proud to premiere “Not That Brave (Radio K Version)” today on magnetmagazine.com. Check it out now.
The final version of Aaron Lee Tasjan’s “Heart Slows Down” was a long time coming. Available here as an exclusive free download, the song was initially written with 12-string guitar in mind for Tasjan’s 2016 release, Silver Tears. But it wasn’t until recording was well underway for the new Karma For Cheap (New West) that the tune found its legs with the propulsive strumming of an acoustic guitar.
It was worth the wait. With its offhanded catchiness and shambling chorus, “Heart Slows Down” wouldn’t have sounded out of place on a Tom Petty solo album. Its excellence bodes well for the rest of Karma, which sheds the Americana trappings Tasjan co-opted to coincide with his move from Brooklyn to East Nashville. In it’s place is a slightly off-kilter power-pop/folk-rock hybrid that properly pays it’s respects to the Petty/Jeff Lynne tandem, the Beatles and a handful of Tasjan’s earliest influences as a young kid growing up in Ohio.
“In my world, acts like the Raspberries, Cheap Trick and Dwight Twilley are my roots music,” says Tasjan. “That’s why a gravitated toward rock bands in New York. I think I made rootsier music when I got to Nashville really just to try and fit in.”
In the years prior to his solo turn, the gifted guitarist’s work with edgy glam-pop outfit Semi Precious Weapons and as a sideman for the likes of Everest, Drivin’ N Cryin’ and the New York Dolls paid the bills and established connections that would come in handy when he ventured out on his own. There’s also Tasjan’s flukey affiliation with Sheryl Crow, which began when she heard Silver Tears’ “Little Movies” in a Starbucks. That led to an opening slot for a series of Crow performances, along with an invitation to use her Brentwood, Tenn., studio. Some of those sessions found their way onto Karma.
The album was co-produced by Tasjan, award-winning Crow collaborator Jeff Trott and Gregory Lattimer (Albert Hammond Jr.), and it features his touring band: bassist Tommy Scifres, drummer Seth Earnest and guitarist Brian Wright (a respected singer/songwriter in his own right). “I went in expecting the worst-case scenario, but it’s been exciting—I enjoy the challenge,” says Tasjan of his relatively new role as frontman. “Brian is so magnetic onstage, and he’s a great reference point for me. He’s been great at saying, ‘Man, you’re overthinking it. It’s not gonna work every time.”
Karma For Cheap is available on all downloading and streaming services. Check out tour dates here.
It’s no surprise that Nick Hornby’s 2009 novel Juliet, Naked was turned into a movie. After all, his High Fidelity, About Boy and Fever Pitch have all ended up getting the big-time, big-screen treatment. But the esteemed Mr. Hornby probably never imagined while writing Juliet, Naked that it would be turned into an album.
Enter Perry Serpa, main man of the vastly underrated, long-running Sharp Things and a music-biz lifer (one of the good ones, incidentally). Serpa read the novel, which mentions—in classic Hornbian detail—a 10-track album by the central character, singer/songwriter Tucker Crowe. Serpa, for some reason, could not let this LP remain only on the pages of the book. So he decided to create the album himself.
The result of Serpa’s obsession is Wherefore Art Thou? Songs Inspired By Nick Hornby’s Juliet, Naked, out digitally October 5 via Schoolkids (in the U.K. via Shifty Disco, which will release it on CD a month later). Obviously with the LP, Serpa has taken the concept of “music nerd” to a whole new level, but he ups the ante by bringing together a geek squad of fellow musicians, friends and family members to help him out: Scott McCaughey (Minus 5, R.E.M., Baseball Project, et al), Laura Cantrell, Aja Warren, Edward Rogers and Don Piper, Aidan Serpa (Perry’s guitar-prodigy son) and more.
Though these contributors add some diversity to the musical proceedings, what’s most impressive about Wherefore Art Thou? is that it’s mostly Serpa by his lonesome, creating not only a great album but also one that holds its own with its source material. In lesser hands, this concept could’ve easily been a disaster on par with one of Rob Fleming’s breakups.
Even Hornby is impressed. “I love every song, words and music,” he says. “I’m happy to think that my book has somehow produced work this good. It works completely on its own terms—and sounds complete in a way that very few albums do anymore.”
Wherefore Art Thou?‘s latest single “In Too Deep” is an instantly catchy, mature, mid-tempo rocker (complete with killer yacht-rock sax courtesy of John “The Mogul” Barron) that deserves to wind up on its own romcom soundtrack someday. Says Serba of the track, “The lyrics deeply over-dramatize the buckling of a relationship—in this case, the novel’s protagonist/anti-hero Tucker Crowe’s, with his married muse. But it’s something we can all relate to: that sinking feeling. Many of the references are literal and are handed to us by Hornby, although this is not one of the handful of album tracks from which I snagged one of his couplets. It’s all my doing, logistically, but with in terms of inspiration, it’s all his.”
We’re proud to premiere “In Too Deep” today on magnetmagazine.com. Check it out now. And be sure to buy Wherefore Art Thou? when it comes out. Not only is it a stellar album, a portion of the proceeds will go to Ambitious About Autism, a U.K. national charity co-founded by Hornby for children and young people with autism.
It may take a village to raise a child, but it seems it takes more than 20 online magazines to debut an album. If you look up “ambitious” in the dictionary (millennials, that’s what we used before Google), you’ll find a photo of Salim Nourallah. Not only is the latest album from the Dallas-based singer/songwriter (and producer: Old 97’s, Damnwells, Rhett Miller, Deathray Davies) a sprawling, 21-track double LP, Nourallah is introducing each track as a separate premiere via a different outlet every weekday leading up to Somewhere South Of Sane‘s September 28 release date on Palo Santo. So MAGNET is excited to join frenemies such as PopMatters, Ghettoblaster, Atwood, Glide and 16 other online rags to introduce you to the heaping helping of new material from this underrated musicians’ musician before the album is out. It’s a lot to digest, kids, but it’s so worth your time.
Today we’re at track number 10, about halfway through Somewhere South Of Sane. “A Betrayal” is definitely one of the standout tracks from the set, which is one of the reasons we were so happy to snag it for this MAGNET premiere. It’s a dark, fingerpicked, mostly acoustic number that’s haunting and chilling and will appeal instantly to fans of Jeff Tweedy (in Loose Fur mode), Bill Callahan (Smog), Jason Molina (Songs:Ohia) and David Berman (Silver Jews). Which is to say that if you’re isolating while listening to “A Betrayal,” you might want to either unload the gun or put down the bottle.
Like all great songs, there’s more to it than meets the ears lyrically, so we asked Nourallah to give us a little (well, a lot) of background on “A Betrayal.” And, boy, did he: “The waves of past hurts that live in our subconscious roll in and retreat, often unexpectedly,” he says. “Sometimes we think, ‘Maybe this one’s finally gone for good?’ They usually come back, though. And when they do, sometimes they’re more devastating than they ever were before. Even when you know you’re over something or someone and you know you’re in a better place, they can still come banging in. You get a blast of resentment or bitterness or, in the case of ‘A Betrayal,’ abject sadness. I’d been having a series of vivid dreams involving my ex-wife. This had been going on for a couple of months, intermittently, then it ramped up to every night over the course of an entire week. They’d begun to weigh on me. I would wake up feeling like I’d been on a drinking bender the night before or someone had clobbered me on the head with a lead mallet 100 times.
“‘A Betrayal’ is not just about my failed marriage—it’s what the hidden parts of my psyche were forcing me to deal with. My own subconscious was now betraying me. The betrayal of our marriage was old news. I was over it—I was very happy with my new life. My subconscious wouldn’t have that, though. It was forcing me to keep reliving the past, and no matter what I tried, I couldn’t get away from it. As much as we’d all often love to—and as much as we all try—you can’t flip the ‘silent’ switch on your subconscious. This song was an attempt to flip that switch. On the third verse, I literally send my former bride into the ocean. I effectively drown her memory in an attempt to also drown my own subconscious. I guess it worked. The dreams stopped after I wrote this song.”
We’re proud to premiere “A Betrayal” today on magnetmagazine.com. Check it out now, and if you live in the Lone Star State, check out Nourallah live on his Texas tour (dates below):
Texas Tour Dates
10/11 Fort Worth, Fort Worth Live
10/12 San Antonio, Tobin Center For The Performing Arts
10/13 Austin, Cactus Cafe
10/15 Marfa, Hotel Saint George
10/16 Houston, Warehouse Live
10/18 Denton, PAAC Arts Center
10/19 Dallas, Palo Santo Galactic Headquarters
10/20 Dallas, Palo Santo Galactic Headquarters
The Mommyheads formed while Ronald Reagan was in the middle of his second term. They broke up when Bill Clinton was in the middle of his second term. They reformed as George W. Bush was getting ready to leave office. On Friday, the Mommyheads are set to release their first new album since The Donald became the leader of the free world, so is it just a coincidence it’s called Soundtrack To The World’s End?
“When we first got together to listen to each other’s new songs, we noticed a theme emerging: our world on the brink of social, ecological and economic catastrophe,” says mult-instrumentalist/vocalist Michael Holt. “Hopefully, those things would be on any awake mind these days. So we ran with that in our further writing and naming of the album.”
But don’t worry, kids: Soundtrack To The World’s End (Dead Frog), the band’s first LP since 2012’s Vulnerable Boy and 11th overall, isn’t all gloom and doom. Even those of you hiding under the sheets waiting for Trump’s presidency to end can find some hope and change in these tunes. Not all of these 13 tracks are about the impending apocalypse so many disheartened humans are certain is right around the corner.
“Not every song is on that topic, or even dark,” says Holt. “‘Everybody Needs A Fool,” for example, has an uplifting message in the chorus, and came out of a bunch of jamming we did in a remote cabin in upstate New York—it’s a real band co-write. That spirit of collaboration runs through the whole album, and we’re really psyched to be active again after a long break, putting ourselves out there, touring, making ourselves vulnerable to the world.”
You’re able to pre-order Soundtrack To The World’s Endhere, but you can try before you buy by checking out the whole album below. We’re proud to premiere it today on magnetmagazine.com. Give it a spin now, and if you happen to be in Sweden, you can catch the band live tonight, tomorrow and Saturday. For those of you in the New York area, you’ll have to wait a few weeks. Check out the band’s tour dates below. It may be the end of the world as you know it, but seeing the Mommyheads live will make you feel fine.
9/21 Beacon, NY, The Towne Crier
9/29 Brooklyn, Union Pool
10/6 New York City, Rockwood Music Hall
Every longtime MAGNET reader should recognize the big, bearded fella in the above photo. Why, yes, on the drums, it’s Mr. Russell Simins, ladies and gentlemen. While on tour with main gig the Jon Spencer Blues Explosion five years ago, Simins met We Are Hex frontwoman Jilly Weiss. They started hanging out, wrote some songs, fell in love, got married and formed a band: S-E-R-V-I-C-E. With multi-instrumentalist Sharlene Birdsong, guitarist Mitch Geisinger and bassist Johnny Zeps, the duo recorded a rockin’ ‘n’ wailin’ debut album called Drag Me, which is out early next year. But you don’t have to wait until then to get serviced by Russell, Jilly and Co. Today we’re bringing you first single “Hey,” a caterwauling assault of a post-punk song that will help you end your bummer summer on a high note. We’re proud to premiere “Hey” right here, right now on magnetmagazine.com. Check it out.
For every office drone who has let out a silent, frustrated scream in her cubicle and for every keyboard warrior who has figuratively slammed his forehead onto a desktop with utter hopelessness, there’s Chronic Anxiety. The Philadelphia trio is shouting, shrieking and banging things for you, channeling workplace frustration and modern-world angst into an unrelenting howl on debut full-length Canopy Shyness (Bunny Cat). Taking pages from Bikini Kill, Babes In Toyland and early White Lung and then shredding them, singer Ambr (no e), guitarist Hi Boi and drummer Hey Boi (names have been changed to protect them from employers) deliver two-minute assaults on bosses and bureaucracy.
“Ambr (no e) takes a lot of direct quotes from shit heard at work or things that are going on and then twists them together into word collages,” says Hi Boi who, like his bandmates, has held a federal or municipal government job at some point. “Maybe it’s just screaming into a void. But so many people feel the same way, so sharing and communicating that frustration is productive to being able to overcome it, or simply cope. I think that’s why Chronic Anxiety is a good name for our band, because we all suffer and experience similar things and how we cope or don’t cope heavily affects our lives.”
That experience manifests itself on “Open Floor Plan,” a Wire-y (circa Pink Flag) rant and “Central HR,” a sludgy crawl through a rough day at the office. As raw and sharp-edged as Canopy Shyness can sound, it’s noticeably cleaner than the band’s 2017 EP Faxed, a warped-reality set of songs that were processed through a beat-up, speed-varying tape machine. Chronic Anxiety recorded both releases in a former Amoroso bakery, a concrete box dubbed the Death Bakery that’s used as a shared practice space with a sonically diverse set of Philly bands such as punk slashers Great Weights and psych outfit Impressionist. As for Chronic Anxiety’s next move, Hi Boi indicates they’re upgrading to a nicer studio for an upcoming vinyl release.
“Don’t worry, though,” he says, “it’ll still be nice and shitty.”
We’re proud to premiere Canopy Shyness on magnetmagazine.com. The album is out August 31, and you can pre-order it here.