Australian psych-rock four piece The Lazy Eyes have shared groovy and brain scattering new jam single “Hippo” from their upcoming debut album Songbook, set to be released in March. Pre-order here.
“Hippo is my favourite song on the record,” shares bassist Leon. “You can really feel the energy coming together as a group, given that it was one of the three songs on the album that we recorded as a band.”
Listen to the new single below!
The band have also announced their first ever UK stopping in London, Manchester, Bristol and more.
Brothers Andy & Edwin White aka Tonstartssbandht have shared “Pass Away“, the second single from upcoming album Petunia, out October 22nd via Mexican Summer. This follows on from “What Has Happened” released last month.
The harmonies and intertwining melodies of the brothers’ music continues to flow within a space of its own. A silver sheen glosses over the top of each element of this track, allowing each element to feel as smooth as the last; nothing overpowering rather riding together in a wave of pure bliss. Each passage of the track shifts into the next seamlessly, as if you are continually entering a new realm of sound in each moment.
They have also shared a self-recorded video edited by Adrian Randall.”Long time music video enjoyer, first time mimer. Miming is pretty hard! Respect to all the mimes. We shot this one day in September 2021 in NYC.” says Andy White of the video.
Mumble Tide have today announced Everything Ugly, their debut mini-album, set to be released on December 3rd. The Bristol based duo have also shared new “Good 4 Me”, which will appear on the upcoming album alongside previously released singles “Sucker” and “Breakfast”.
There’s something special and surreal about Mumble Tide’s sound. It lives in that world between psychedelic and anthemic, yet never trying to force itself into each. Their synthesised sound seeps into your psyche and evokes memories and moments of nostalgia you thought long lost. Being written, recorded and produced by the band allows both their personalities to shine through in a triumph of emotive songwriting.
Speaking to the track, Gina said:
“Good 4 Me’ is one of our favourite songs that we’ve written so far. It fell together late at night during lockdown in our dressing gowns. The vocal is more or less the first take we did where I just let it all out. I guess it’s about how the years don’t always bring you the answers you thought they would. It’s kinda sad but there’s also this nostalgia and excitement underneath.”
Listen to the new single below!
The band have also announced a short run of tour dates at the end of the year. Find tickets here.
The Lazy Eyes have shared “The Island”, the last single from their upcoming EP2, out tomorrow July 16th. This follows on from previously released single “Where’s My Brain???” which will also appear on the new EP.
The Australian 4-piece continue their run of psychedelic mind-benders that twist and turn at every corner on the new single. Starting with melancholic lo-fi textures that evoke the feeling of POND’s Man It Feels Like Space Again before descending into an acoustic riptide of phased out guitar lines and spacey vocals. It’s only when the track reaches its instrumental break do you realise the full potential of Lazy Eyes. Kicking back in with Sabbath-worthy fuzzed out guitars and screeching guitar lines the band bring out every psychedelic trope in the book, and it works.
On the track the band said:
“’The Island’ was written about a place where none of The Lazy Eyes band members have been in real life, and acts as the sequel to ‘The Seaside’ from EP1. It’s an imaginary island that is a sort of utopia but is also filled with mystery. The writing process and a demo recording took place in Harvey’s childhood bedroom, he recalls, ‘all I remember was recording a terrible demo on GarageBand and really struggling to sing it because I had a cold that day. It’s interesting to hear the demo these days because you can hear the parts before they were refined as a result of playing the song over and over live.’”
King Gizzard & The Lizard Wizard have announced their 18th studio album Butterfly 3000, set to be self-released on June 11th. The band will forgo releasing any singles, tracklist or cover art ahead of the album but they have revealed that the cover will feature a “cross-eyed autostereogram” designed by Jason Galea and the sound will be “melodic and psychedelic”. The album was based around modular synth loops.
A press release for the album said: “Their 18th studio album, Butterfly 3000 might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesisers, before being fashioned into addictive, optimistic and utterly seductive dream-pop by the six-piece. The album sounds simultaneously like nothing they’ve ever done before, and thoroughly, unmistakeably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly the most accessible and jubilant album of their career”
The new album follows on from L.W. released back in February, the second part to the band’s K.G.L.W double album.
The Babe Rainbow have shared new single “Ready For Tomorrow” along with an accompanying music video shot by band confidante and former bass player Jordan Malane, around the local village watering hole, the Eltham Hotel. This comes after they released “Your Imagination” featuring Jaden in March, both cuts from upcoming album Changing Colours, out May 14th via Eureka Records.
Still in keeping with their breezy sound, Babe Rainbow sound radiantly vibrant on the new single. With a disco infused beat, elements of psych-folk and a melody that shines with eternal sunshine the band’s new album is lining up to be a summer sunny day favourite.
Speaking on the new single lead singer Angus Dowling said:
It’s about 21st-century life, finding relief from the stress of both the future and the past. It is about Persephone running into her mother Demeters comforting arms”
Crumb have today announced their second album Ice Melt, set to be released in two weeks time on April 30th via Crumb Records. The new album takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the ice into a viscous, briney slush and, eventually, nothing at all. Beginning with the dynamic chaos of “Up & Down,” and ending with Crumb’s closest thing to a lullaby, Ice Melt’ s ten tracks combine, like ice sculptures melting into a glistening puddle.
From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.
Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterises the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.
Tel Aviv native Yogev Glusman aka iogi returns with the follow up to 2018’s the ceiling. The multi-instrumentalist premiered his incredible songwriting and production talents on his debut after years of playing as a session musician with bands and artists such as A-WA and Idan Raichel. He now returns with an album that not only expands on the sounds and sights he brought to his debut album, but refines them to their most resonant form.
One of the most immediately captivating elements of this album is the production and sound design that iogi uses to transform these songs from longing ballads into swirling soundscapes that draw you into every sound and movement. From the moment the album opens with “you/me/everyone” you are drawn in by the funk infused guitars and synth-wave synthesisers that could have been taken straight from Jerry Paper’s Chameleon World. Every sound is vibrant and rich with definition and the short cut panning synth samples that speed by are a super smooth speedway to the next portion of the song. Then moving into the emphatic “oh yes” the searing guitar lines propel you along with immediate motion. Basking in a summery groove in the chorus you can feel the distinct free-flowing emotion pouring out at every moment, especially at the tracks climax as a wall of harmonies and fast paced guitars build to create the feeling of true captivation.
And this deep driving emotion is one that can be heard throughout this album. On “disney world” he compares the feeling of being with someone to the most magical place on earth. “Every time I think of her, it just puts my mind in such a place I can’t ignore, sometimes it makes me feel like i’m really in Disney World” he sings before the swooning guitar lines lead into the instrumental break. If you’re looking for a moment on this album to really blow you away at how captivating the sound is then look no further than “bliss”. Opening with a twinkling piano that makes you feel as though you’re sitting on the edge of an ocean, staring out as the sun slowly sets in front of you. “You will never really understand the way you make me feel, I would not be lying when I tell the truth that you’re the only thing thats real” he sings over a palette of warm synthesisers and comforting guitars. The deep connection that iogi is describing can be felt in every aspect of this song, bringing you right into this state of euphoria as the sounds swirl around you.
In our interview with iogi he described the sound of this album as “indie-pop, with influences from 70’s folk and psychedelic music” and the way that these sounds are blended so seamlessly together help make this album feel timeless. On “symphony of blue” the track opens with a tender folk piano ballad that exuberates some of the same 70’s nostalgia that was found on Montero’s 2018 album Performer. But the track quickly switches up to induce a sexy and groove filled funk chorus that is oozing with unapologetic sexiness, saxophones and all. Then on title track “everything’s worth it” you can find all the elements of a psych pop classic. The woozy soundscape is warm and encompassing and the add flairs of jazzy guitar lines glide over you like a soft summers breeze as iogi sings of the acceptance of self, “I try to be like myself, I would never choose to be someone else, That way I could meet some beautiful people”.
Throughout this album the one key element that binds this joyful journey together is the consistency of punchy and colourfully vibrant songwriting. There isn’t a moment where you aren’t dancing along, reminiscing about loved ones or just lost in the blissful soundscapes that encapsulate this album.
Tel Aviv native iogi aka Yogev Glusman is a craftsman of sound, a multi instrumentalist and producer who fuses together jazz, psychedelic pop, funk, folk and yacht rock to make soundscapes that are constantly shifting, swirling and swaying in their diverse and enticing movements. Being likened to the likes of Benny Sings and Jerry Paper, iogi has been making a name for himself for the past few years and now it feels like it’s his time to truly shine.
As a bassist, guitarist, violinist, and drummer, iogi has performed with several of Israeli’s biggest exports including Idan Raichel, the hip hop-leaning Yemenite sister trio A-WA, and Efraim Shamir and Yoni Rechter, both members of the legendary ‘70s Israeli prog-rock band Kaveret.
And now today he has returned with new album everything’s worth it, released via Raw Tapes, following on from his 2018 debut the ceiling. On his new album iogi is celebrating the joyous moments of life, backed by a swirling sonic landscape of psychedelic and jazz infused movements that are washed in an irresistible cool. We caught up with iogi to learn about the influences and ideas behind the new album.
What’s your musical story? How did you get into it?
I started as a classical violin player, and I played the violin from the age of 7 until I was 18 years old. At the age of 13, I got a classical guitar for my bar mitzvah from my brother & sister, which then led to the discovery of plenty of new music and genres that I was not aware of until that age, and that changed everything. When I was 17 I started playing the bass, and for many years it was my main instrument. Later in life, I got to play bass and guitar for many Israeli artists, and also tour with them worldwide. After almost 10 years of being a side musician, I had the urge to record my own music, which I did. From that point on, i started seeing myself not only as a musician and a player, but as an artist with his own taste. Since the first album came out, I have been more involved in studio work as a producer- for my music and for other people’s music.
How would you describe your sound?
My sound is a mixture of sounds and tastes that i acquired during my years as a music listener, but also as a musician and producer. Generally, I would say that it is indie-pop, with influences from 70’s folk and psychedelic music.
What’s the creative process behind a song?
All my songs begin with me sitting in front of the computer, with Ableton open. Usually I start by finding a beat or a groove that I like, and then I play guitar or synth over it. I have to finish the whole song structure in the same session I started the song, because if not – i will never be able to get back to it and finish it. Usually, I will finish the session once I have even a gibberish version of the melody. The next day, I will come to the studio, and probably write all the lyrics and finish the production of the song. If I love a song I am working on, I can finish it within two days.
Over what time and where was the new album created?
I started recording the album in my bedroom studio that i made in Jaffa, right after i finished recording and mixing my first solo album, the ceiling. It was a time in which i didn’t know what to do with my first album and how to release it, and if so – how will it be accepted. In this state i was, i started recording some of the songs for the album. I guess i just needed to move forward.
What’s the story you’re trying to tell on the new album?
I feel like this album is a natural continuation of my first album. It deals eventually with the same issues I dealt with 3 years ago, but from a more sober minded point of view.
What was the best part of recording the new album? And what was the most challenging?
The best part of recording the album was doing it all by myself. The first album was produced alongside a good friend, Nomok, who helped me a lot during that process, but I think that for the new album I needed full independence. It was a good experience letting him listen to the songs once they were almost finished, rather than working together from scratch. The most challenging part was also doing it all by myself. I had to trust myself completely, and that was hard. Constantly believing that what i’m doing is good, without getting immediate feedback – was super challenging.
Being a multi-instrumentalist what is your preferred instrument? And is there one you’d like to improve on?
Most definitely – drums. Drums are the most important instrument for me, and the one i love to play the most. Everything sits on top of it, and the song doesn’t lift off without it. Every song that i have in my heart and my brain – I know the drum part on it. I would love to improve my piano playing, i feel pretty stuck every time I sit in front of it.
Who are some of your biggest influences?
It evolves from Paul McCartney’s first solo albums, through Mac DeMarco and Real Estate, Super Furry Animals, Tame Impala – and back to Beach Boys.
Favourite show you’ve played?
One of the favorite shows i played with my band was 2 years ago, at Teder Tel Aviv. The place was packed, and that’s the moment that i felt that something new and special is starting to happen for me.
What will it be like playing that first show once shows are allowed again? (Concerts aren’t currently allowed in the UK)
Actually, in Israel shows are allowed already. Things are still pretty weird, because the crowd is standing with their masks on and it is hard to know what they really feel, but it is great to feel the warmth of people and hear them sing with you.
King Gizzard & The Lizard Wizard have shared a new demo albums featuring early versions of songs throughout their discography.
The new albums were teased in an email from the band earlier in the week where they also teased more new music to come after these singles. “First double drop is MEGA DIY – OCT 2nd. Pretty loose. Kinda shit but kinda sick type vibes. DW 2nd double drop is way more legit. Keep your eyes on our bandcamp”.
On Instagram lead singer Stu Mackenzie said about the new album “Ok, so this one required a fair old loosening of the ego to put out there. But sometimes you’ve just got to make yourself as small as an ant and let go… These are recordings that were never meant to see the light of day. But here they are: loose as; sloppy as. Hopefully endearing. In truth an insane amount of effort and love went into these songs and i feel buoyed by sharing them. I’ve shed my skin, i’m a butterfly, i’m on fire. Stu xoxox”
The band have also released another live album Live In Asheville 19 which is the 5th live album they’ve released this year along side Adelaide, Brussels, Paris and Chunky Shrapnel.
Earlier in the year King Gizzard released 3 new singles ‘Honey’, ‘Some Of Us’ and ‘Straws In The Wind’.