It was the second produced with Jeff Lynne.
#3 in the UK, #13 in the US, #4 in Canada.
Featured on the LP’s cover is a reproduction of a painting, titled Autumn Landscape
by Czech-American modernist artist Jan Matulka (1890-1972). The original is owned
by the Los Angeles County Museum of Art.
Entertainment Weekly (Former American magazine): “The closest thing to a “classic” album that Petty and the Heartbreakers had made in 15 years, and a return to the quality of their first two albums.”
Artist: LENNY KAYE Who: Best known as the longtime guitarist, for
more than 50 years, of Patti Smith‘s band.
Album: GOIN’ LOCAL
At 79, and after a zillion years in the music business, Kaye will release
his solo debut album. It’ll land on July 17th. Tracklist and info here.
“I feel like I’m a new artist. I think this album will surprise those
who think they know me from what I’ve done previously.”
TUTV: Well, you’re obviously never too old to put out your debut LP.
Of course, after half a decade playing in Patti Smith’s band, Kaye knows
all the tricks to deliver some good old rock ‘n’ roll buzz.
Joe Love (frontman) was inspired by John Lennon’s song ‘How Do You Sleep’ combined with
what Anatolian rock experimentalists Altın Gün would sound like if they were under siege from a thumping club beat.
Track: COWBOY ON AISLE THREE
Piece for their upcoming self-titled debut full-length,
which comes our way on September 25th.
Harry Hanson (frontman) says: “I came up with the idea when I was in Lidl.
I’m sure everyone has thought, ‘Imagine if I just went nuts now,’ to get out of
doing the big shop.”
Every day of this summer we go back to the same summer day somewhere in history
1 July 2026
Legendary pop songsmiths CROWDED HOUSE (1985–1996, 2006–2011, 2019–present) from down under released their 3rd album, named WOODFACE on 1 July 1991, today 35 years ago.
It topped the New Zealand charts, reached #2 in Australia and #6 in the UK.
AllMusic said: Woodface represents the joy of reunion and the freedom of a collaborative effort, more than half of the album was originally conceived as a Finn Brothers project, which was Tim and Neil’s first crack at writing together. The record combines flawless melodies and outstanding harmonies of the brothers’ perfectly matched voices.”
Band:BUTTHOLE SURFERS Who: San Antonio‘s heavyweight rockers who made a lot of riff racket between
1981 and 2017 with 8 LPs. Then they had a break and returned last year with
some live shows.
Now referred to as the 1998 lost album. After recordings were finished, their
then their label Capitol Records refused to release it. Too far-out to sell in big
numbers, they said.
The band changed labels and fabricated another LP, named Weird Revolution
with songs from the dumped After The Astronaut, but the critics sabered it.
Now, after all these years, the Surfers got back to work
to rejuvenate the original recordings the way they want.
Blabbermouth.Net says: “The entirety of the release is steeped in a forward-thinking kind of psychedelia that doesn’t sound dated even now decades later. Subdued beats and electronic grooves slither their way through your earholes with no intention of leaving.
Their playful and creative use of electronic, pulsing sounds and stuttered beats would make most trip-hop bands cross their arms with envy. The musically maniacal Texans strike creative gold with “After the Astronaut”. The rest of us can finally properly appreciate it now.”
TUTV: I’m suspicious when I hear the term lost album. In many cases, it means that a label wants to make money off something that went wrong the first time, to cash in years later, on the back of an artist/band that became famous over the years.
But this is a jawdropping exception. The album feels like the Surfers put all their past frustrations into it, leading to a momentous rock work. It’s a gloriously loud and clear triumph from start to finish. These veteran motherrockers still matter, big time.
A record that landed without foreplay
or warning. 5 tracks, 32 minutes.
Is it an album, is it an EP?
According to the common understanding, an EP contains more tracks than
a single but fewer than an album (8-10). Contemporary EPs usually contain
up to eight tracks and have a playing time of 15 to 30 minutes.
Osees‘ general calls it an album.
He’s the boss. So an album it is.
Credit Osees
Dwyer: “We went back to an older method of writing for this one. We jammed
and jammed and jammed. I took the tapes home and ironed out some mutant
tunes. We went back into the studio and burned them to tape live and then I
took it home and did the vocals. Spice is always nice.
Mixed it all up in the cauldron and thus we have a strange brew indeed Floating in
the smoke we have: A couple long jams, a couple short jams and a finale that’ll dump
a bucket of ear worms on you (reminiscent of “the axis”?) Dip your toe in organ rock
and roll.”
TUTV: EP or LP? Whatever, to my ears it’s one of the best things Osees did
in recent years. No riff mania, but 60/70’s psych prog rock-inspired work-outs,
a bit of Deep Purple in their symphonic phase.
Mind-bending and trance-inducing, coming close to the extravagant trips
of that other ultra-productive team King Gizzard & The Lizard Wizard.
The Trick is my fav track. An instrumental, Krautrock-like, motorik piece
that thrives on organ and hyperkinetic drumming. Flabbergasting. Mind
you, all 32 minutes have a dumbfounding effect.
Band: THE CHRONICLES OF MANIMAL AND SAMARA Who: London-based DIY duo – Daphne Ang (Singapore) and Andrea Papi (Italy)
that fills a gap in music by bringing literature, art, and history together into a
space where rock and metal meet electronica.
Press info: “‘Misantropi‘ presents a raw, unfiltered manifesto for those who despise humanity. According to the duo, this album is: rue to their roots, the album melds spoken poetry and spoken word over heavy metal riffs, but with a new emphasis on going back to the classic set up of drums, bass, and guitars. There is more singing and melodic vocals, adding a visceral human element to their already intense sound.”
TCOMAS:“The album is human made. It’s played with real instruments, with hands,
feet, vocal cords, and human body parts. It’s raw and unfiltered. It is for those who see
through the facade and aren’t afraid to admit that they hate what we have become.”
TUTV: More direct, yet constructed brick by brick. More melodic, yet fiercely aggressive. More singing/howling/growling than spoken word this time. Rage pushes this new TCOMAS opus sonically and lyrically throughout. Rage is the common thread that obviously stoked up Samara and Manimal to produce arguably their most unambiguous and alarming opus. Rage has been the world’s most dominant topic in the past few years.
The duo’s vehement and sharp-mouthed vocal (inter)actions are an important key in translating their infuriating frustrations. Fucks, spits, and sneers fly around and infuse Misantropi with an imminent volcanic threat. The production is flawless, the execution is overpowering, the visuals (artwork/video’s) are masterful (again), the album is TCOMAS’s masterpiece (thus far). Hands down.
Artist: WHERE WE SLEEP Who: The musical project of British songstress Beth Rettig started to realise her musical vision, and to experiment and express a deeply personal and poetic vision, following her previous collaboration in Blindness, signed to AC30 Records, and performing with the likes of Lene Lovitch, and Viv Albertine.
Rettig: “The Arsonist is about change, starting again where necessary, identifying things that aren’t working for us and things that aren’t necessary to us. Things that are weighing us down, be it systemic, societal or personal. A lot of people fear and fight change but if things aren’t working as they are, sometimes you have to take the risk. And then comes the liberation, in
the power of walking away.”
TUTV: Song by song, Beth Rethig draws you in her disturbed state of mind and her
sonic translation of her heart-and-soul-related meditations. After slow-burning torch opener Under A Big Sky, electro-guitar-punk banger Headlong changes the sonic timbre drastically.
Rethig applies this musical mood swing process from there on, to a puzzling,
chilling and blood-tingling effect, bringing a different dynamic from her debut
album.
Her mesmerising voice is an instrumental determinant throughout, carrying and accentuating both the doubting and hopeful tone of The Arsonist, while the imposing darkwave-goth-industrial reverberations- jolting mixes of menacing bass play, scorching guitars, and gloomy synth waves – sculpt an astonishingly fitting soundtrack. Bang-on.
An impressive accomplishment on all levels.
Band: PUSSY RIOT Who: The notorious Russian punk feminists and political activists, led by mastermind and driving force since day one Nadya Tolonkonnik who spent two years, along with 2 fellow pussy riotiours, in a Russian jail for hooliganism motivated by religious hatred after her protest performance in the Cathedral of Christ the Saviour church in 2012.
Album:CYKA (Russian for bitch)
Following several mixtapes, a series of barbed-wire singles, and countless
live protests in their home country, Ukraine, and the Western world PR finally
comes up with their first LP.
Tolokonnikova about the LP’s reactionary motivation, the ongoing war with Ukraine: “Me and my countrymen could have prevented it, we just had to fight harder for our dream
of a peaceful democratic Russia. I live in exile, like a rat. Everything I loved was taken from me; my entire country was stolen. My mother died of cancer in Moscow, and I couldn’t be there to say goodbye.
The father of my daughter nearly died after being poisoned with a nerve agent by the FSB. My friend Alexey Navalny was murdered in jail. And I no longer know whether I’ll ever be able to let people get close to me again – being torn away from everyone I loved cost too much. Vengeance is what forces my eyes open in the morning, and what keeps me going. “OUTRO” is dedicated to my mother and my love to her.‘
TUTV: Musically, only on smoking punk grenades Faceless Pigs, Disobey, Candy Dopamine and Blizzard, PR lash out with rage, the Bikini Kill way. Sonically, CYKA is for the greater
part a trip-hop, EBM-orientated record spiked with both reflective and spiralling synth-orchestrated flare-ups.
Vocally, Tolokonnikovashe alternates bouncy, whispering rap rants with poppy,
near-helium-like echoes. We have a unique party album here. One to dance to
when Putin is going down.
Lyrically Pussy Nadya unravels all her outrage and is in constant attack mode.
She will never quit attacking the Russian dictator (who appears on the title track).
She will never stop exposing his crimes. She’ll never back down. She’s a fearless
warrior. She’s a tenacious bitch.
The now 60-year-old J. Mascis‘s grungy slacker rock band DINOSAUR JR. just announced the upcoming delivery of their 13th LP, baptized THERE NEAR. It’ll land on August 28th.
Created in short, intense bursts over the course of a year, There Near was recorded almost entirely by Dino’s core trio: Murph on drums, Lou Barlow on bass/vocals and J Mascis on guitar/vocals.
Spooky artwork
J Mascis about writing the new LP: “I’m not always sure what a song is ‘about’ when
I’m writing it. I guess the meaning will present itself at some point. I’ll use whatever words
work. And a lot of it will be influenced by whatever esoteric mumbo jumbo I’m reading at
he time.
I try not to think too hard about any of it. I think it’s a drag that
Spotify shows all the lyrics to a song. What’s the fun of that?.”
Good golly! The first single SEVERAL GOT AWAY
is a stupendous sockdolager. Bombshelling hit!
