The band have finished recording their debut full-length with Swearin’s Kyle Gilbride (who’s worked with other WTD-favs like Radiator Hospital and Girlpool), and a few of the tracks are available for your streaming please. The latest of which, ‘Tectonics’, was unveiled today. Starting with near Titus Andronicus-style guitars and percussion, Madeline’s half-deadpan vocals carry the song through until it descends into frenzy in the closing portion, the instrumentation accelerating along with the final refrain of “all will change!”

“I want to be good at a lot of things
but I don’t know how to go about that
culture shifts
like tectonics”

Of Wandering will be released on Birdtapes on the 25th March, including some lovely vinyl varieties (with coke bottle green and yellow editions). You can pre-order the vinyl now, or grab a digital copy via the Littler Bandcamp page.

P.S. If you find yourself state-side this Spring you can catch the Littler on tour. Check the dates below:

Photo by Emily Burtner, Artwork by Nathan Zeidman

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“The cassettes have been emptied of their disgusting post-war shmaltz, and are now full to the brim with the best contemporary underground pop music attainable”

To whet your appetite, they have unveiled a track from 18 year-old one-man-band Zebrafi. ‘Bad Vibes’ takes after Pavement and Kurt Vile, the vocals flat and cool and the instrumentation prone to bursts of noise. Have a listen below:

You can pre-order Sentimental Journey from the Memorials of Distinction Bandcamp page.

The post Memorials of Distinction announce Sentimental Journey with single from Zebrafi appeared first on Various Small Flames.

‘List of People Buried at Arlington National Cemetery’ kicks things off with a bang, opening with emo/hardcore-style ranting delivery before morphing into the anti-folk territory of Defiance, Ohio. “I get so alone that I start to drink,” they shout, “I’m usually fine then I start to think / an atom bomb leaves nothing in its wake / do I survive for everyone’s sake?” The instrumentation is slightly off-kilter which, coupled with Lightning’s delivery, gives a sense of cathartic energy, as if the music is arriving to your ears unfiltered in its ferocity and strangeness.

“Purge me of my sins
now I’m friends with my demons
screaming, ‘it’s in my blood
it’s in my blood
it’s in my blood”
it’s in… ‘”

Sounding like Fugazi meets Young Jesus, ‘Wicked & Divine’ details slash-and-burn attempts to escape psychic pain, the ill-fated self-destruction-as-a-narcotic routine acting as a vicious circle from which respite can only be gained through further revolutions of the cycle. This self-aware entrapment triggers further feelings of self loathing and suffering, leading to further entrapment, then self-loathing, then entrapment etc. etc, so that while the narrator dreams of going back to reseed the charred ground, in reality they just keep on blazing the same earth over and over again.

“I can take the heat
Icarus got nothin’ on me
baby, we’ll burn out brilliantly
where’s the fun in fading out quietly?
As the sun melts our wings
your arms around me
I’ll kiss you goodbye as our bodies
plunge into the sea

It all starts out the same on Resolution Day
take me back to your room and say
‘kiss me, I want to feel right’
but I’m too busy getting high”

‘Fade to Black’ continues this idea (“The insanity of doing the same thing over and over til I collapse”) and, although the sound is more restrained, the sense of immediacy remains. A departure from the other two, the track unfurls into something akin to The Weakerthans meets Small Wonder, ending with a determined crescendo of militaristic drums that Titus Andronicus would be proud of.

“I started to tell you
you were in a dream I had
all our friends were in the backyard
everyone was wearing black
then right there you stopped me
you asked ‘did anyone have sex?’
I stammered ‘no I-I don’t think so.’
You sighed, ‘then keep it to yourself'”

With all this talk of pain and trauma and its inescapable bind, you might get the impression that this is a bleak record. The funny thing is, that couldn’t be further from the truth. What emerges in Lightning’s first lines (and in every word and note thereafter) is that the music is the very thing to break the Kekuléan knot they had gotten lost in. Survival punk is not a creative descriptor so much as an ethos, a way of life. CUTTERS exists so that it’s band members feel more alive. How can that be bleak? Bleak would be to sing happy songs about Hollywood love stories you could never believe. Bleak would be to say nothing at all.

As brief as it is brilliant, both//neither ends just as you get hooked, leaving you thrilled and short-changed and baying for more, like some musical equivalent of the best episodes of Lost. This feels like the beginning of something, so let’s sit and wait patiently.

You can buy both//neither now from the CUTTERS Bandcamp page, or grab a vinyl from Jam Eater Records.

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Titus Andronicus, a band not shy of pushing musical boundaries, are a case in point. Their new album, The Most Lamentable Tragedy (hereinafter referred to as TMLT), is a 29-song, five-act “rock opera” centring on an unnamed protagonist (hereinafter referred to as Our Hero), based loosely on Patrick Stickles, and his battle with mental illness. After meeting his doppelgänger, Our Hero is sent “on a transformative odyssey”, confronting the past and living the present and looking at the future in a new way. Clocking in at over 90 minutes, the album is ambitious and demanding, as if, lost for words, Stickles gave up trying to convey his manic depression in normal terms and went all out with his band. There’s something to be said here about the noble pursuit of ‘difficult’ (challenging?) art in a world where singles have replaced albums and the news is presented in lists, but it’s probably been said before and it will be said again. So just know this: How much you get out of the record is pretty much up to you.

‘The Angry Hour’ opens like the mist lifting from our tale, the peaceful note interrupted by harsh, lurching drone like the awful realisation it was all just a dream. Indeed, the opening lines on ‘No Future Part IV: No Future Triumphant’ confirm this, going some way to paint Our Hero’s mindset from the off:

“Some days start with an earthquake
The bed shakes until it breaks
And I hate to be awake
Most days start with a dull ache
Enough weight to crush my face
And I hate to be awake”

The rest of the track describes depression and self-loathing in typically imaginative fashion, conveying not only the bleakness but also the imprisonment of serious mental health issues (Stickles refers to his locale (read: mind) as a “dungeon” and a “house of pain”). The track ends with a refrain of “I hate to be awake!”, another addition to the band’s repertoire of cathartic, self-flagellating choruses, and from here it’s clear that Our Hero’s rut is dark and deep.

However, the growling, soaring ‘Stranded (On My Own)’ hints at another side to Our Hero, a “crazy heart”, the upward cycles of manic depression. Musically, the song is boisterous and brash, while the lyrics are pessimistic and forlorn, the conflict between the track’s two elements decidedly bipolar. ‘Lonely Boy’ is similarly dissonant, a veritable rock song with an ending like the theme to the best 80s kids cartoon they never made, the lyrics charting Our Hero’s loneliness (“I ain’t gonna leave the building/Just lie here and stare at the ceiling”) and his simmering, internalized anger (“Stay away, he doesn’t wanna hurt you/A lonely boy is an angry boy”).

Similarly, the midway sojourn into hope and belief in love is dressed in mixed signals, from lyrical doubt to heavy instrumentation. ‘(S)HE SAID / (S)HE SAID’ sees Our Hero turn to sex as a possible escape, although he finds he wants to spill his problems onto this near stranger, form a real, nourishing human connection. The song concludes with him asking sincere questions aloud, her already asleep. “Talking myself again,” he sings. “Talking to myself again”. However, this female (eventually named as Siobhán) returns in the following songs. Our Hero claims to be able to control the “something” inside him on ‘Funny Feeling’, and worries about the consequences with Siobhán should he lose his grip (“She’s looking after me / She doesn’t know the kind of things I could do if I lose control”). Things take a downward spin once more, but, optimistically, the last proper song ‘Stable Boy’ is an ode to living hyper-aware of death, preaching life not through some escapism or feigned ignorance but instead through an understanding of permanence. While it might sound strange of a song so preoccupied with death, the track is triumphant, altruism in it’s biological form, Our Hero speaking from a position of clarity in the hope that others will offer similar advice should he ever find himself again thinking irrational thoughts.

This high/low combination is present across the album’s 29 songs, along with a near countless number of musical, literary and philosophical references and nods to the Titus Andronicus back catalogue. The narrative, structured into five acts, is pretty clear for the most part (at least if you have the lyrics to hand), but the change in tempo and general atmosphere is less organised, with Stickles going from 0 to 100 and back again whether the story warrants it or not. This acts as a further complication of an already challenging album, with several songs sounding, at least musically, like epiphanies, before turning out to be false dawns or else sadness or anger dressed up differently. But of course, life (and especially mental illness) isn’t a neat Freytagian pyramid, so why should a representation of it conform to expectations?

The other thing that doesn’t conform to much at all is the musical style across TMLT. ‘Mr E. Mann’ picks up from Local Business’s bar-room jangle, while  ‘Fired Up’ is classic punk rock, the slow(ish) verses’ clear and coherent lyrics punctuated with louder sections (including the “FIRED UP!” refrain). ‘Dimed Out’ is a full-throttle jumble of the band’s past and present sound, ‘More Perfect Union’ is a brooding 9-minute marathon, ‘Sun Salutation’ is a hymn of a forgotten religion, and ‘No Future Part V’ a piano ballad. There are nods to Springsteen and The Replacements, The Rolling Stones and Dexy’s Midnight Runners. There’s a Pogues cover, a Daniel Johnston quasi-cover, a rendition of Auld Lang Syne. And then a whole lot more. You are left with the impression that the band have said “fuck it, we’re doing it our way”, rejecting a clear genre in favour of whatever felt right at any given time. This kind of zealous self-belief in their own work is interesting, as it’s at odds with Our Hero’s struggles to accept himself as Himself, and sees Titus Andronicus cutting swathes through the field of wannabes, imposters and pretenders and stepping up to the plate as the twenty-first century’s bona fide punk rock band.

Closer ‘A Moral’ consists of the same drone from the opening, ending on a sharp intake of breath which could prelude ‘The Angry Hour’ or even ‘Fear and Loathing in Mahwah, NJ’ (the opening track of the band’s debut album), as if we are going to do it all over again in a constant loop. The effect is an important one, not only mirroring the endless battle that is mental illness, or indeed life itself, but also encouraging the listener to immerse themselves in the work. Because that seems to be the key to the whole record – immersion.

Because, even after 1000+ words, trying to write about this seems besides the point. Stickles is trying to communicate something vast and complicated and quite possibly incommunicable. It might work and it might not, but that’s between you and him. Besides, I could be wrong, but I have a sneaking suspicion that every review so far, be they claiming success or failure, is little more than a guess, a sneaking suspicion based upon χ repeat listens. The album is just too large to properly judge in weeks and probably months. If that alone means the album doesn’t work then fine, Titus Andronicus are not the band for you.

The Most Lamentable Tragedy is out now on Merge Records.

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“[The Most Lamentable Tragedy] reveals that +@ are what hardcore fans have said they are for years, and what the world must now recognize them to be: not merely the greatest rock and roll band of this era, but one of the greatest rock and roll bands of all time.”

The Most Lamentable Tragedy will be released on Merge Records on the 28th July. You can pre-order it now.

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‘Stranded (On My Own)’ has apparently been a staple in Titus Andronicus sets for a good while. It opens with the instruction/declaration ‘Let’s rock!’ and then duly obligies. The lyrics are as strong as ever, with Stickles exercising his talent of sounded strong worded and eloquent, yet also sloppy and disorderly and uninhibited.

’I could have made history,
but now i’ve been made history.
Who knew that victory,
could be so slippery?
Cover the thick bloodstains
on your sick young brain.
Just take your ritalin,
and you can play the old hits again.’

You can hear it below.

The full set subscription has already sold out (our fault for being slow), but you can buy the first 7″ here, and there are various other packages and deals to be had on the +@ store.

The post Titus Andronicus – 7″ Subscription Series appeared first on Various Small Flames.

Billy Moon makes music for summer.

Summer is coming.

Grab the EP, Young Adult, here.

The post Billy Moon – Young Adult appeared first on Various Small Flames.

The album is set to be released by GODMODE and can be streamed in its entirety over at Noisey. 16oh Records are releasing a run of vinyl soon so keep an eye out for that.

The post Sleepies – Weird Wild World appeared first on Various Small Flames.

Vancouver punk rock outfit Japandroids are back with another album. Fresh off the back of what sounded like a few very impressive SXSW appearances, the duo announced ‘Celebration Rock’ will be released on Polyvinyl Records on 5th June. You can pre-order it here.

You can stream the single from the new record, ‘The House That Heaven Built’, above. It sounds like a continuation of Post-Nothing’s noisy but jubilant sound rather than some of the heavier songs they released on their collection of singles (No Singles). I must say I like both sounds so hopefully there is room on the album for both.

Japandroids are touring in support of the new album (according to Consequence of Sound):
05/17 – Cardiff, UK @ Clwb Ifor Bach
05/18 – Brighton, UK @ The Green Door Store
05/19 – Amsterdam, NL @ Paradiso
05/21 – Bristol, UK @ Cooler
05/22 – London, UK @ Camp Basement
05/23 – Manchester, UK @ Soup Kitchen
05/24 – Glasgow, UK @ King Tuts
05/25 – Leeds, UK @ Cockpit 2
05/26 – Nottingham, UK 2 The Bodega
05/31 – Barcelona, ES @ Primavera Sound
06/11 – Seattle, WA @ Neumo’s
06/12 – Portland, OR @ Doug Fir Lounge
06/14 – San Francisco, CA @ The Independent
06/15 – Los Angeles, CA @ Echoplex
06/16 – San Diego, CA @ The Casbah
06/19 – Denver, CO @ Larimer Lounge
06/21 – Chicago, IL @ Lincoln Hall
06/22 – Cleveland, OH @ Grog Shop
06/23 – Toronto, ON @ Horseshoe Tavern
06/25 – Montreal, ON @ La Salla Rossa
06/26 – Allston, MA @ Brighton Music Hall
06/27 – New York, NY @ Bowery Ballroom
06/29 – Philadelphia, PA @ Johnny Brenda’s
06/30 – Washington, DC @ The Rock and Roll Hotel
07/03 – Minneapolis, MN @ 7th Street Entry
07/07 – Vancouver, BC @ Biltmore Cabaret

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