Tracklisting:

1. Red Coat – Adeline Hotel (Interview)
   2. S.O.B. – Nathaniel Rateliff & The Night Sweats
   3. Daughter of the Sea – House of Wolves (Interview)
   4. Monarchy – Table People
   5. Ruin – Doomking
   6. Lonely Boy – Titus Andronicus
   7. New York Hardcore – talons’
   8. Roar of Nothingness – Sun Organ
   9. Slow Dark Water – Furnsss
   10. You Are Arrived (But You’ve Been Cheated) – The Spirit of the Beehive
   11. It Was Gone – Orchid Mantis
   12. Big Sis – SALES
   13. No Comprende – Low
   14. The Washing Machine – SPORTS
   15. Shark? – Shark? (Everything Is Teeth by Evie Wyld and Joe Sumner)
   16. Christmas in Milwaukee – Advance Base
   17. Only Friend – Valley Maker
   18. My Track ’92 – Pet Cemetery
   19. Dusk; Falling Asleep, Know That You Are Loved – Sabbatical Wilderness
   20. Theremin Demonstration – Leon Theremin (Us Conductors by Sean Michaels)
   21. The Lemon’s Cousin – Boy Scouts
   22. Audrey Horne – Teen Love
   23. Mia – Spencer Radcliffe
   24. Return To The Moon – EL VY
   25. Bug – Alex G
   26. Wild Hearts – Kodiak Deathbeds
   27. Waves – Abby Gundersen
   28. UR = UO – No Touching
   29. Sparrow & Stone – Eva Foote
   30. What Can Be Taken – ÒOR

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Illustrated by Joe Sumner, the book charts Wyld’s life, from hearing Aussie fishermen stories aged six to her grown adult self. From the moment her brother is brought the jaws of a bronze whaler by Father Christmas, Wyld becomes preoccupied with sharks. The captivation is not helped when she discovers a book on shark attacks and falls in love with Rodney Fox‘s “salty eyes” and look which said “the whole thing was just fine”.

Back in London Wyld finds obsession continuing, scouring the Sydenham library for shark books while plagued by a fear which makes baths difficult and forces her to sit with all appendages safely on-board the sofa. An ill-advised viewing of Jaws cements her mindset before the family return to Australia and encounter more sharks in a variety of situations (imaginary and otherwise).

What this simplification of the plot leaves out are the small details of familial life squeezed into both the writing and illustration, the astute observations and interactions from Wyld’s juvenile viewpoint which reveal what the book is really about. Wyld’s father, the pale Englishman, often cuts a lone figure, isolated in London by work and wine and in Australia by layers of clothing and high-factor sun-cream, while her mother floats with Wyld in the pool at night because “she is awake anyway”. When Wyld’s older brother begins “linger[ing] in doorways with a blank look on his face”, and returning home cut and bruised, the home is loaded with tension yet remains cryptic to Wyld, and by extension, us. Be they adolescent anxieties, genuine enduring depressions or just good old fashioned existential ennui, the emotions of the adults remain alien, unknowable and for the most part hidden, present only as dark, lingering shapes and ominous choppy wake.

Indeed, this sharks-as-emotions allegory can be extended further than sadness. From her father’s well-meaning day trip to ‘Vic Hislop’s Killer Shark Show’, to her encounter with an uncomfortably comic doctor, pretty much all of Wyld’s interactions are surrounded by the unseen forces of love and loss. Sumner’s artwork highlights this paradoxically by adding photo-realistic sharks and wounds to his otherwise simple drawings, beasts which often stalk Wyld when, consciously or otherwise, she is considering losing a loved one. Although she doesn’t quite understand it yet, she is thinking about love through its most illuminating prism – the loss of it. She is thinking about death.

While this morbid idea is true and central to the plot, it would be naive and unfair to dwell on it without noticing that, amongst it all, life not only goes on but flourishes. Wyld is never caught by the shark, nor is her brother or mother or father. She might have felt ill examining the colossal White Pointer at Vic Hislop’s museum but the next day she was braver in the sea. Our relationship with sharks is changing, with The Discovery Channel and National Geographic and the seemingly monthly event of ‘Shark Week’ beaming out pro-shark propaganda in which deep-tanned marine biologists preach education and understanding and love. Similarly, the message from Wyld seems not so much ‘LOOK OUT LIFE WANTS TO EAT YOU!’ but rather ‘life could eat you, sure, but such occurrences are exceedingly rare and even then you can poke it in the eye and escape to the hands of kind strangers who prod your guts back into your body’. In other words, learning to accept the atavistic, bone-level violence and pain as something natural, unaware and worthy of careful respect. Its strikes are few and far between, and even then, it’s nothing personal.

Everything Is Teeth is out now on Jonathan Cape/Random House.

As per usual, we’ve made you a playlist of songs that are related to the book. Nothing too subtle this time, I’m afraid, just plenty of teeth and blood sprinkled with Australians and capped off with the definitive garage-rock  anthem for sharks.

Tracklisting:

1. The Race – Oh Pep
2. Teeth – Bowerbirds
3. Drawn to the Blood – Sufjan Stevens
4. Swim – Surfer Blood
5. I Want Blood – Water Liars
6. Ocean’s Nerves – Songs:Ohia
7. Jaws of Life – Wintersleep
8. Find Me In The Ocean – Will Samson
9. Blood Song – Stupid Loser
10. Everywhere I Go Smells Like Fish – Donovan Woods
11. King Fish – Sun Kil Moon
12. Lurk Underneath – Trouble Books
13. Blood – The Middle East
14. Shark? – Shark?

The post Everything Is Teeth – Evie Wyld & Joe Sumner appeared first on Various Small Flames.

Brooklyn’s Radical Dads are about to release Universal Coolers, their third album and the follow up to last year’s Cassette Brain EP. The band, comprised of ex-Clap Your Hands Say Yeah drummer Robbie Guertin, Chris Diken and guitarist/vocalist Lindsay Baker, draw inspiration from the guitar rock of heavyweights such as Pavement and Yo La Tengo, creating a hook-laden, melodic brand of twin guitar (zero bass) indie rock.

Opener ‘Absurd Tests’ sets the tone, a sub-two minute shot in the arm of carefree and ramshackle DIY rock. ‘Tomorrow’s Trash’ is all squealing guitars and Baker’s volatile delivery, while ‘Slammer’ is a blend of spiky rock and romantic dream pop, with some pretty odd (but funny) lyrics. “Snakes on the sidewalk / all over my block / I won’t go outside any more/ Good lord, they’re up to my front door”.

‘In the Water is a song about the repression of the masses, “And the negative creeps keep coming around / piling up as we’re shutting down / you can’t see it from the surface you can’t identify its purpose / its in the water”, but my current favourite track is ‘Don’t Go’, which has a really great, catchy chorus of, “Prepared pianos in our room / the kids come up to dance in the doom / new signs will soon appear in space / don’t worry dear, don’t go away”.

The title track features a simple shout-along chorus of “Universal Coolers!”, with ‘verses’ comprised of lots of squally noise and mumbled vocals. The yelled chorus trend continues on ‘Desperado Dude Lens’ (“Your name on a plaque at the world’s end / white hairs flying back in the wind / he’s going up the trail / he’s got that ex-explorer desperado dude lens”), before ‘Flight To NZ’ shakes things up with an almost spoken word account of the titular flight to New Zealand (“hey we were going away / headed for a new place / sitting on the tarmac / a couple, a couple of former sad sacks”), complete with roaring guitars and slamming drums.

The final two tracks are DJ Pancake, with its time-bomb percussion, and Cassette Brain (which you may recognise from the aforementioned EP), which is all low rumbling guitars and a pounding drum beat, and, at its core a love song. “We won’t get swept away / you will clear the toxic sludge from my head / we’ll go to the library and hammer away each day we’re not dead”. Basically, Universal Coolers is a really great indie rock record and if you find you can’t enjoy it then perhaps there is something wrong with you. I firmly believe that the “virtues” of innovation and trendsetting are majorly over-rated. If every band poured as much love, care and carefree energy into their records then the world would be a better place, both musically and otherwise.

You can order Universal Coolers now via Old Flame Records (who have also released albums by Shark?, Swimming and You Won’t), on either CD or limited edition blue or black vinyl.

P.S. Here’s a fun fact for you – The artwork was produced by Steve Keene, the prolific Greenpoint artist who designed some pretty famous album covers such as Pavement’s Wowee Zowee.

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Shark? have a new album out entitled ’True Waste’ which I think is a clear advance from their older songs. Songs such as ‘Shark?’ and ‘Down Low’ really capture the noisy fun I associate with this band.

‘True Waste’ can be download in the usual places such as iTunes, or why not head over to Bandcamp and have a listen before you buy?

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