'Casa de Cima' is the stunningly alive new album from Pega Monstro, out now on black 180g vinyl, CD and digitally. There's a sense of sisterly oneness and provision apparent in Pega Monstro's music allowing the album to sound instinctual and awash with ideas. 'Casa de Cima' is a record with its eyes firmly set on the heavens and courageous enough to climb mountains to get closer to them.
TERRY - GLORY VIDEO
15 June 2017
Off with their heads! Terry are back with a brand new song/video for 'Glory', taken from their forthcoming album 'Remember Terry' out June 30th through Upset The Rhythm. Thanks to Noisey for hosting the video along with their Euro tour dates.
THE DRAGON FLIES AWAY RELEASED
7 June 2017
Bamboo's excellent new album 'The Dragon Flies Away' is now available on blue 180g vinyl, gatefold CD as well as digitally. Here's a photo of the record looking as good as it sounds. Check out Bamboo's songs in our soundcloud playlist below too.
PEGA MONSTRO - NEW VIDEO
6 June 2017
Dancing shoes firmly on, here's Pega Monstro's wonderful choreographed video for the opening track from new album 'Casa de Cima'. Thanks to Raven Sings The Blues for premiering 'O Miguel'.
18 May 2017
Stereogum have kindly announced our new album for Melbourne glam pop country bops Terry. The album is entitled 'Remember Terry' and will be released through Upset The Rhythm on June 30th. They will be touring Europe around the same time, so watch this space and also watch this brand new video for lead single 'Take Me To The City'.
TERRY is getting ready, combing his hair, buttoning his jacket, turning the key in the door. "I'm doing fine," sings Terry out loud, he knows. Divide him into four and you get Al Montfort (UV Race, Total Control, Dick Diver etc.), Amy Hill (Constant Mongrel, School Of Radiant Living), Xanthe Waite (Primo, Mick Harvey Band) and Zephyr Pavey (Eastlink, Total Control, Russell Street Bombings). Inevitably, Terry likes to make a noise. Drums, guitars and all his voices come into play, making a solid raft for Terry's inner musings to navigate the languid rapids. This all unravels at its own pace, sometimes drifting into glam pop and country backwaters, always conducting a conversation with the commonplace. Love is a highway, but you're not likely to find Terry there anymore. He's on the plane. Terry saw the light, he put on his sunhat and is heading to Europe. Debut album, 'Terry HQ' was released last year by Upset The Rhythm, brand new album 'Remember Terry' is due out June 30th.
CHILD'S POSE are a new band who like to chop up that un-snappable beat, building high a framework of sound with drums and guitars onto which Sophie Brown pours he don't-care sass-fired brogue. Early doors for this art-prone quartet, fixated on the blunt end of the rhythmic stick, feeling as wild as free. No recordings quite yet, members of Woolf, Sauna Youth, Nekra and Sarcasm.
HOME ENTERTAINMENT find themselves at the intersection where avant garde experimentalism meets garage rock music. Drawing upon a palate of literary, artistic and sonic influences, Home Entertainment create primal, unrefined walls of sound adorned with jagged shards of english low life lyricism. Their debut, cassette garnered praise from The Quietus describing them as '"a weird mix of Sebadoh's crumbling charm, Les Rallizes Denudes' noisy squall, and the blues pop grooves of ZZ Top".
SHEER MAG begins like so many other celebrated rock 'n roll bands of yore: with two brothers. Following in the tradition of The Bee Gees, Oasis and The Allman Brothers, the brothers Seely conspired to create a rock 'n roll band to end all rock bands. The sheer magnitude of the endeavor required the recruitment of a daring drummer, a fearless lyricist and a diva who could party good AND write the rent check. With the pantheon assembled, MAG quickly recorded and released their debut 7" to cosmic acclaim. The band now stands poised on the brink of world domination or complete destruction. Is it Punk? Is it Rock 'n Roll? We'll leave that to the music 'critics.' But it is punk.
PIKACYU-MAKOTO is an alliance between two figureheads of underground Japanese psych/pop, the musically promiscuous Kawabata Makoto (most famous for his leadership of the legendary Acid Mothers Temple), and Afrirampo's Pikacyu. Pikacyu's drums pummel, jitter, crash and stumble, but steadfastly refuse to groove. She layers her voice several times, competing with pitch-shifted versions of herself whilst Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in 2005 to become Acid Mothers Afrirampo (releasing an album of the same name). Now they have distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and pop vocal, and Makoto's schizoid guitar conjurings. Brand new album 'Galaxilympics' is out on Upset The Rhythm on August 4th on LP and CD.
SPRAY PAINT are a no wave punk outfit from Austin, Texas made up of Chris Stephenson (drums/vocals), Cory Plump (guitar/vocals) and George Dishner (guitar/vocals). Spray Paint's buzz-sawing guitars run headlong through labyrinthine tunnels of reverb, chased down by some wildly brain-bashing drums. All three members of Spray Paint sing too, helping create an uncontrollable sense of fervour as they jostle for the words. They work up a tone of paranoia amid the jagged rhythms, locking into a motoric groove that's impossible to escape from, offset with stormy blasts of distortion. Since forming in 2012, Spray Paint have released six LPs and 7"s through SS-Records, Goner, Upset The Rhythm and Monofonus Press. They've wasted no time with hitting the road either, touring the US many times, with their friends Protomartyr and The Rebel.
THE REBEL is prolific London outsider Ben Wallers; a charismatic lone wolf in a cowboy hat or trilby and a tie whose electrified howls are too idiosyncratic to be broken down into market-oriented terms. It is difficult to sketch a thumbnail summary of a musician who has amassed a vast and unwieldy discography under a variety of names and genres: the most widely acclaimed is probably the Country Teasers, but he also moonlights as, or in, the Rebel, the Company, the Male Nurse, the Beale, the Stallion, the Black Poodle and Skills on Ampex, across folk, country, garage, post-punk, no wave and electronic pop. In the main part The Rebel is centred around twisted Casio drones, clanging guitar and some defiantly deadpan vocals, all thrown in the pan and pressure-cooked in Wallers' mind. Wallers has amassed a near-unquantifiable discography over the past 20 years, from scores of more or less "official" LPs, EPs and 7"s to seemingly endless self-released cassettes.
WARM DIGITS are Steve Jefferis and Andrew Hodson; a trans-pennine, krautophonic blizzard-wave duo that emerged from Newcastle upon Tyne's underground scene with a sound like Neu and Cluster forming a supergroup with Giorgio Moroder, Kevin Shields, Eno and Keith Levene. Their first album, 'Keep Warm... with the Warm Digits', came out in 2011 on Newcastle's Distraction Records; Andrew Weatherall described them as producing some fine "machine funk kraut-a-delia" and the duo were soon went on to headline one of his Live From Outer Space events. Live, Warm Digits are a motoric epiphany of drums, guitar and pulsing hardware, complete with mesmeric kosmische visuals; all that on-stage multi-tasking making their live sets a dynamic kraut-disco experience. The last few years have seen Warm Digits release a second album entitled 'Interchange', tour with British Sea Power and support the legendary Goblin, St Etienne, Future Islands and ESG. Warm Digits now have a new album due out on Memphis Industries this August, featuring vocal contributions from Field Music, Sarah Cracknell, Devon Sproule and Mia La Metta.
NAP EYES hail from Nova Scotia and make crooked, literate guitar pop refracted through the gray Halifax rain. Recorded live to tape with no overdubs, their songs are equal parts shambling and sophisticated, with one eye on the dirt and one trained on the starry firmament, inhabiting a skewed world where odes to NASA and the Earth's magnetic field coexist easily with lyrics about insomnia and drinking too much. In the world of Nap Eyes, workaday details punctuate (and puncture) cosmic concerns, as songwriter, singer, and rhythm guitarist Nigel Chapman wrestles with air and angels, struggling (and often failing) to reconcile the Romantic rifts, both real and imagined, that define our lives: between chaos and order; solipsism and fellowship; the anxiety of social (dis)orders both big and small; and the various intersections and oppositions of religion, art, and science. It's the sound of being young and alive in the city, a tenuous and impermanent counterpoise of recklessness and anxiety, archness and earnestness. Following the reissue of their 2014 debut 'Whine of the Mystic' on Paradise of Bachelors, Nap Eyes released an album of all-new material entitled 'Thought Rock Fish Scale' last year, following that up with two incredible London shows!
LE TON MITE
Monday 4 September
NB. This is the new date for Deerhoof's postponed Feb 6th show, original tickets remain valid
DEERHOOF are an alchemy of '77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.Twenty years deep into their career it's safe to describe them as legends of the American underground, releasing 14 albums and treating the world to their never-the-same-twice thrill-ride of a live show. Recent album 'The Magic' is out now on Upset The Rhythm, it is a mixtape imbued with Deerhoof's sorcery; boldness, wonder, technical know-how, risk. A mixtape by the kid with the biggest music collection you've ever seen, who will take you camping and show you how to pull a rabbit out of a hat. Are Deerhoof the greatest live band in the world? If you shake the Magic 8-ball, "all signs point to yes"!
LOWTIDE's murmurs have been growing of late. The shimmering vocal exchanges between Lucy Buckeridge and Giles Simon and their unique dual bass lines are pivotal to their shoegaze sonics. These hazy vocals and swirling guitar effects are given room to breathe as the band masterfully exploit rhythm and space. Australian fans have been enjoying all of this since 2014 - as well as a cover of Asylum Party's 'Julia' in 2015. Here in the UK we only got the record last August - and it's been spinning on our stereo regularly since then. 2016 was a breakthrough year for the dream pop / indie pop / shoegaze specialists who received critical acclaim for their inaugural long-player including in Rough Trade's renowned 'Albums Of The Year' list whilst also having amassed 4 and 4.5 star reviews in many of their homeland of Australia's magazines, and a string of sold out shows.
SHANNON AND THE CLAMS are from Oakland, California and comprise of Shannon Shaw (vocals, bass), Cody Blanchard (vocals, guitar), and Ian Amberson (drums, vocals). Sounding like a prom band from 1964 getting dosed with acid and having the sweetest lovelorn freak out, Shannon And The Clams defy expectations. Imagine a brawling Etta James, backed up by the 13th Floor Elevators singing Shangri La's tunes. Shannon has a voice that can go from a sweet girl group croon to a bluesy ballsy growl before you realize you're headed for the (dance) floor. It's total punk rock bop, brimming with doo-wop glory delivered to your door by the Homecoming Queen and Kings of weirdo rock 'n' roll. What started as an open mic project for a shy, young Shannon to try out some tunes ended with the Clams meeting and forming a band. Many have said to have been possessed by thee (eerily similar at times) haunted howls and beautiful growls of their two lead vocalists, hypnotized by their heavy heartbeats, and mesmerized by their magical music. Your ears may become infested with a real Buddy Holly jolly kinda joy (oh boy) while you stutter along to a hiccupy song. Take a scratch and a sniff at these stickers and get bit by their bad-brained snarls. It's always Christmas (if you want it). It's your party time, and it's excellent. Cry-yi-yi if you want to, but be sure to surf a splish-splash with a laugh later. Recent album, 'Gone by the Dawn' (Hardly Art) is monumental; immense, magnificent, and unforgettable. Shannon and the Clams have pioneered their way into a lonesome land where the past still lives in the long shadows of a hot afternoon, where whispering spirits follow high along canyon walls, and if you sink your fingers into the dusty hard-packed earth you pull out hands smeared with blood.
PRIESTS are Daniele Daniele (drums), Katie Alice Greer (vocals), G.L. Jaguar (guitar), and Taylor Mulitz (bass). Formed in 2011 in Washington DC, the band has proven a valuable force for strangeness in a city that is increasingly terraformed by norms. At a time when few groups were making serious moves beyond the Beltway, Priests toured throughout North America and Europe. More significantly, they've helped to raise the general standard of show-going at home through cassettes and singles released on Sister Polygon, including music by bands like Sneaks, Snail Mail, Pinkwash, Cigarette, Downtown Boys, and numerous Priests-affiliated groups like Gauche and Flasher. Still, even amidst thriving hometown creativity, Priests possess a singular gravity. They are physical and combustible, urgent and visceral.
This January, Nothing Feels Natural, the band's first full length LP was released on their own label Sister Polygon Records. It's the bands most stylistically diverse set of songs to date, expanding on their lo-fi post-punk bona-fides with ideas drawn from pop, R&B, and industrial noise. Thematically, Nothing can be understood as a series of vignettes - nine stories that crystallize into a bigger picture about the economics of human relationships, the invisibility of feminized labor, and the dual purpose of art for both the group and the individual. It's a record that thrives amid the tension between that what is valued and what is dismissed; between what is desired and what is presented.
DOWNTOWN BOYS use their ferocious energy and powerhouse live shows to unite crowds in the struggle to smash racism, queerphobia, capitalism, fascism, boredom, and all things people use to try to close our minds, eyes and hearts. The Providence, RI band have just announced their third album, Cost of Living, to be released August 11th on Sub Pop. The new album - the follow-up to their critically-acclaimed sophomore album, 2015's Full Communism - is at once incendiary, cathartic, and fun, melding the band's revolutionary ideals with boundless energy. Produced by Fugazi's Guy Picciotto, one of indie-rock's most mythological figures (he also produced Blonde Redhead, The Gossip, and others), Cost of Living shows a sense of maturity without compromising the band's righteous assault and captivating presence.
The position of Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded, indefatigable rock music: they are here to topple the white-cis-het hegemony and draft a new history. This is how Downtown Boys began, and their resolve has only strengthened as both their sound and audience have grown. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of today.