The House in the Woods

Martin Jenkins, usually known as Pye Corner Audio, has branched out from his noir excursions and soundtrack synths on the last Pye release to embrace the ghostly ambiance of burnt out hallways and desolate vistas. Adopting the name The House in the Woods, he embraces the primal hum and menacing vibrations that live in the cracks of Boards of Canada tracks. He's eschewed any real reliance on rhythm, with the exception of the title track, "Bucolica" which acts as a respite of light in the otherwise bleak and haunted course of the album. Other than that aberration though, the rest dives deep into polar winds bumped up against longing synth strains and the mournful puddle of rains. Jenkins takes The House in the Woods to another temporal plane and harnesses the magnetic fields to create a work that vibrates at a resonant frequency with thatched despair and landlocked hope.

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Bloods - "No Fun" Video

I continue to be a sucker for each new offering from Aussie outfit Bloods. They've had an enviable string of singles and accompanying videos and the latest, "No Fun" is just another reason to track down their Golden Fang EP from overseas. Crank this one up and get those fingers crossed for an album in the near future (with a proper US release).

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First Base

Starting off this Monday morning with the sugar shock crush of First Base, who've tickled out low profile EPs and 7s over the last few years and are just now making the jump to the long format. They've traded covers in the past with Personal and The Pizzas but they've got considerably more punch than those slacker strummers and truthfully they'd fit in better shelved next to your Nobunny records anyway. Splitting gears between a power pop candy coating and the after school swing of bubblegum vibes that would fit right in with that new Dirtbombs LP, should you be so inclined, their self-titled affair never lets up from its frantic bounce, tearing around the room like toddlers and genuinely inspiring wide smiles with each successive track. Its simple stuff, but that's never a bad thing around here, especially since it simply knocks your ass into lighthearted territory, getting the living room dance party started quickly and keeping ya reaching for that tonearm to play it over and over again.

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Vatican Shadow

We've been following Dominick Fernow's rise as Vatican Shadow and so far the releases have been consistently good, but he takes a leap towards something seriously substantial on VS' first album release, Remember Your Black Day for his own Hospital Productions. The album, as with pretty much all of Fernow's Vatican Shadow material, centers on US military practices and their consequences abroad. As such the tone is remarkably bleak, but where some of his earlier works were scratched with noise and beat with a similar black heart, here he's thickened the production to a swampy thickness that rolls down your back. Bass pools in inky coils around chain link beats and the entire record perches twitchily on a fraught nervousness that can't help but evoke the dread and stress of occupied territory. The tracks rain down like accusations, reminders, hauntings; there are very few moments over the course of the LP where light seems to break through the atmosphere. It seems in Fernow's view the atrocities are numerous, coolly chaotic and always at night. Whether or not you feel the political objectives of Remember Your Black Day sink into conciousness, the album stands alone as an excellent piece of biting goth electronics that will pair perfectly with the Leyland Kirby release from yesterday. Cue them both up and draw the shades.

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Hunx & His Punx - "You Think You're Tough" Video

Hunx & His Punx follow up their last video trilogy with a new vid for my favorite track from their Street Punk LP, featuring Shannon Shaw front and center in a growling performance that she'd be wise to repeat on any following Clams LPs. The track is short and punchy and the vid is as chock full of wagging thongs and lip biting nudity as any Hunx fan would expect. Will the Punx find a replacement? Does Hunx own pants? Is this a ripe slice of snarl punk? Burning questions for sure. All will be answered. You will be entertained.

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The Stranger

Leyland Kirby has always been a force in the experimental electronic realm, but over the last few years he's taken a high seat of prominence, mostly on the tails of his darkly heartbreaking works as The Caretaker. But Kirby has always been a man of many monikers and for Modern Love he resurrects The Stranger, a project of his that's lain dormant since 2008. The nostalgic charm of The Caretaker, and even his namesake recordings has been burned away in favor of a dark, apocalyptic grind that feels like an essay in bleakness. The noisy squalor of opener "We Are Enemies But Not Here" gives way to a grime-caked suite of songs that rumble along on the scrape and clamor of percussion that ranges from numb to claustrophobic. The general ambiance of the album can be summed up in the oppressive grey concrete tones of the cover art, which seems to invite the listener into an urban landscape of fear, dread and despair. Kirby can be a master of immersion, and where The Caretaker feels like time lost to age, Watching Dead Empires In Decay feels like the dissolution of societal norms as summed up in the mind-scraping tones of steel on steel and tires on pavement. Take none of this as derision though, the oppressive atmosphere is gorgeous in its bleak suffocation, Kirby has nailed the edginess of not knowing what lies around the corner of next year.

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Mind Spiders

Stripped down and sounding all the more ferocious because of it, Fort Worth's Mind Spiders have unleashed their third album in as many years for Dirtnap. Inhumanistic snaps with a jittery, nervy concoction of new wave and punk, drawing from the collision of both forms that ruled the early 80's. Its easy to see why they've been touting Freedom of Choice as a touchstone for the album as Devo's jitter-punk masterpiece is one of the first images to come to mind here. They pull it off well, mixing horror / sci-fi themes with driving melodies and claustrophobic keys that make for the kind of nerd grail that pushed new wave forward in the first place. Sure they're not exactly rewriting the book here but they're making an able-bodied stab at it that recalls the later works of Jay Reatard and his slide towards frenetic yet super-melodic territory. Each new record has seen Mark Ryan solidify his vision for the band as he distances it from the associations with Marked Men, and here his fully formed pop craft added to a new, softer side on display seems to be the best version of himself yet.

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	Heldon - Interface Richard Pinhas, who was also in RSTB faves Schizo, created several albums under the name Heldon, evolving over the years from a full rock band leaning towards prog to this stripped down trio, including drummer Francois Auger and
keyboardist Patrick Gauthier that embraced some of the more harrowing sonic elements of the progressive spectrum. Heavily influenced by the guitar work of Robert Fripp during his tenure with Brian Eno, Pinhas crafted the dark and subversive Interface, rife with squalling guitar, growling synth and a general futuristic fog that feels menacing yet somehow inviting, as if the danger element is a challenge to jump in feet first. Regarded by many as their pinnacle, the album works its way towards the epic finale found in the title track that stretches the boundaries and pulls them closer to the German Progressives of the era like Can and Ash Ra Temple. Certainly an album that should be on the minds of those interested in Kraut, Kosmiche or the early experiments in electronics, Interface is a squelching, disorienting ride that's thankfully back on LP via Superior Viaduct, who have been killing it lately in the reissue department. Pinhas would go on to work solo for many years as well but Heldon might remain some of his most vital years. Listen: Buy it HERE.

Gap Dream

With his self-titled debut for Burger Records, Gabe Fulvimar perked ears everywhere. Now, with his sophomore album Shine Your Light he rewards those ears with a more polished, danceable version of his vision that's rife with downtempo rubbery bass, inverted synth shimmer and a late-night glint that blinds before it draws the listener in to his hazy underground disco. Sounding much larger than its recorded origins in a storeroom at Burger HQ would imply, the record is bolstered by some slick production from Conspiracy of Owls' Bobby Harlowe, who provided the keys and drum samples that give the album its pre-dawn charm. Part of me will always mourn the loss of 60's psych and jangle from an artist's repertoire, but here Fulvimar seems to have taken the album in such a complete stylistic turn that it would only be dragged down by deviating from the established style to focus on some of his past indulgences. He shakes off the garage implications that lie with his label and makes a headlong move into the bold pop notions that always bubbled underneath. Here they stretch wide and keep the night moving into a hazy sunrise that feels like the dream he's always been peddling.

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The Murlocs - "Space Cadet" Video

Sorry that the postings around these parts have taken a few lengthy strides between themselves, its been a hectic fall at RSTB. Still, that doesn't mean I can ignore an new single from Aussie faves The Murlocs. The band had a laptop stolen with the bulk of the recordings for their upcoming LP, an unfortunate setback that was only somewhat relieved by mixer Mikey Young recovering this file from his desk and allowing it out into the world as a stopgap for our now long wait for a full length. The track, recorded by Stu McKenzie of King Gizzard and the Lizard Wizard and mixed by the aforementioned Young is more great garage-blues topped with the Geelong band's trademark swagger. Hopes are high that they get back in the studio and finish up that LP so that hungry turntables can be satiated.

Cave

Cave has been ardent psychedelic warriors for years now, locking into a Neu driven groove that spaces out on the keys and delves into the murky depths of the kosmiche swamp. On Threace, Cooper Crane and co. follow on their recent flexi series to skew slightly off the krautrock channel and into a brand of minimalist space funk that feels like the natural progression of their 70's exploration. Threace was recorded to one-inch tape, half rehearsed, half jammed in studio utilizing strategic mic placements and cut up editing techniques to achieve the final slab of kinetic groove that roars from the needle. The album sees the band refine and tone their sound to such a hard cut form that it could slice you if you get too close. Crane is having a banner year, with the release of Threace only compounding his lock into the floating consciousness on Bitchtronics earlier in the year and the previous Bitchin' Bajas EP Krausend. Its clear that Cave has turned a corner here and we're left with a glistening slab minimalist burn to prove it.

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	The Records - Shades In Bed (S/T) The Records' first record contains two of their best-known singles, the essential power pop anthem "Starry Eyes" and the admittedly creepy in retrospect "Teenarama". The band took inspiration from The Raspberries and Big Star (often being compared to
the latter here in the States) and following the release of "Starry Eyes" they grabbed some attention on Stiff Records' Be Stiff tour, though they'd eventually sign to Virgin. Their first album was released in two versions, as Shades in Bed in the UK and as a self-titled record for the U.S. Sadly they never really nabbed the attention they should have. The two singles charted decently and they'd go on to record two more albums but the lack of longterm success would lead them to dissolve by the early 80’s. Of course some recognition would come along with their appearance on the Yellow Pills compilations and thankfully the album has been reissued and reinstated to its rightful place on any power pop fan's shelf. Listen: Buy it HERE.

Wooden Shjips

Wooden Shjips are something of a staple around here and so its always with celebration that each new record is received. Back To Land sees the band venture out of San Francisco for recording for the first time, taking the laid back, natural environs of Portland as a backdrop and utilizing that vibe on the record to influence the tone. The biggest change is the addition of acoustic guitar to their usually electric palette and it gives many of the songs a nice brushstroke of warmth over the cold motorik grind of the Shjips heady stew. The results are not a watered down Shjips but rather a progression to a more relaxed, West Coast psych built on their hardwired groove. Though its not a complete relaxation, peppered in are still some traditional Shjips grinders that feel like they could bridge the gap between West and Land. Each new release from the band just adds to a stellar catalog and this latest is no exception, as essential as any of their records.

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The Mistys

Following up on their single from earlier in 2013, Andrew Hargreaves (The Boats/Tape Loop Orchestra) and Beth Roberts continue their run of damaged pop brilliance under the banner of The Mistys. The record pairs Roberts' sweet high register vocals, recalling touchstones from obvious tinges of Bjork to múm's Kristín Valtýsdóttir, with the subversive pop tendencies of Fever Ray shuttled through a tunnel of overdriven fuzz. The subject matter sways towards the dark end of the pool, and given that Roberts' vocals sound as if they should be working their siren song towards green fields and sunny days, they only serve as a feint to suck the listener into The Mistys' chaotic world of corroded beats and syrupy darkness. There's plenty of modern dub architecture running through the electronics but they also hearken back to the kraut/kosmiche axis underneath, pulsating with a nauseating intensity all the while smiling venomously and never, ever taking their eyes off you. The feeling is disarming, alluring and strangely danceable. It’s inviting in a way that goes far beyond the dense pieces of their sonic puzzle. The end results are just the right kind of future pop, made for a disaffected world.

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The Ketamines - So Hot! stream

Paul Lawton's Ketamines have been on a tear lately, and aside from their solid cut of garage pop on You Can't Serve Two Masters, they've been steadily rolling out a series of 7"s that form a necessary supplement as well. Canadian label, Hosehead Records provides the next installment of singles run. Three bits of erratic pop that start with the 1-2 scorchers "So Hot!" and "New Skull Tattoo" then cool their tempers with the sweetly strung strums of "Summer Mothers". Check the whole single out below and then take a jump over to Hosehead to pick one up.

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	Jorma Kaukonen with Tom Hobson - Quah Though not the most prominent member of the band, Jorma Kaukonen came to fame as the guitarist for the band Jefferson Airplane. Previously he'd backed up Janis Jopilin and would go on to form Hot Tuna as well but after
Jefferson Airplane dissolved in 1974 he'd record this solo debut, an album of intimate folk-blues that brought him out from behind the shadows he'd often languished in while with Airplane. The record is tender and rooted in a soft spoken but strident folk that utilizes blues structures while eking into the kind of vocal territory covered by Cat Stevens. The album benefits from some vocal contributions by Tom Hobson, who adds a bit of theatricality to Jorma's usually restrained folk songs. The release is certainly one of the overlooked bits of the 60's canon and essential next to Kaukonen's work in Airplane and his more blues leaning entries to Hot Tuna. Listen: Buy it HERE.

Kelley Stoltz

Kelley Stoltz has always hovered on the edge of fame, a name on the tip of your tongue, but never quite an indie staple. He's been the man behind the boards, a studio gun for hire or a guiding force to Sonny & The Sunsets, Thee Oh Sees and The Mantles. He's got a deep catalog that includes three albums for Sub Pop, but it seems he's always been relegated to the B team, a songwriter for the diehards and true believers. But thankfully, Third Man is working their best to raise his profile with Double Exposure. The San Francisco air comes crackling through the album and its easy to see him as contemporary to The Fresh & Onlys, Sonny and the rest of that motley collective holing up on the West Coast. The album is crisp, not laden with overt hooks, but written with a deeply ingrained sense of California pop running in its veins. He's got his toes in the garage but, just as with The Fresh & Onlys, takes that jumping off point to craft an album that's swimming through pop's deep waters like an accomplished pro. Stoltz may not crank releases out with the feverish bent of some of his hometown contemporaries, but when one lands, its definitely worth the wait.

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Jacco Gardner - "The End of August" Video

Jacco Gardner's album Cabinet Of Curiosities was a charming find earlier this year. Seeing the musician live, he's even more captivating than on wax and often incorporates an array of film images that swim up on screen while he plays. Taking that effect off stage for his latest Trouble In Mind single, the artist crafts an audio/visual triumph that's perfect for these brisk months. Check out the video above and definitely snag the 7" below.

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The Spinning Rooms

Ah hell, just 'cause I love ya, here's another great nugget from the Aussie underground. Melbourne foursome The Spinning Rooms have been kicking around for awhile but their sophomore LP caught my ear with its din of dirge stomp, saxophone howl and general back alley haze that seems to float around it like a Stooges Fun House outtake melted into an X (the Australian one) b-side. Complicating Things throbs along on a queasy loll of bass that's invariably cut through with menacing guitar squalls and ragged, frantic vocals that befit such a sonic stew roiling beneath. The LP was recorded and mixed by Tom Lyngcoln but the true stamp of quality on anything these days emanating from the might South Hemi is that it was mastered by Mikey Young, who seems to be the litmus on anything of note in that general direction. The LP is a growler and not for your quiet autumn reflection, but should the blood need a little angrying up as the cold months approach, it’s a good fit.

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The Fresh & Onlys

The Fresh & Onlys further explore their love of jangle on a jaunt through West Coast psych, expanding on themes from Long Slow Dance, and using the short format to experiment with their style. Here they've utilized the studio to add sheen to the five tracks on Soothsayer, creeping them slightly further from the band's garage beginnings. Though, to be honest, F&O's have always bent down roads less traveled by many of their SF contemporaries, fusing a shaded emotional core to the upbeat jangles of The Go-Betweens and twisting New Wave-era moments of moodiness throughout their previous effort. Here they burrow further into both impulses, amping up the jangle on "God of Suez' and taking a few more of those New Wave hooks and bringing them to the forefront on standout track "Drugs" with its Cars-worthy guitar stabs. Personally I'd love to see the band wander further and further towards the latter style as "Fire Alarm" was a personal favorite from their last record and the look seems to suit them.

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	Juni & Too Much - Too Much Been a while since I dipped into 70's proto metal in this section and definitely a while since I've hit up the 70's Japanese scene so here's one for the die hard RSTB re-released fans. Too Much began as an offshoot of The Helpful Soul, another Japanese
blues-rock band that played alongside Blues Creation around Japan at the time. Both bands performed at a large concert event named TOO MUCH in Kyoto in 1970 and as The Helpful Soul came to an end guitarist Junio Nakahara appropriated the name for his new group, fleshed out with some high school friends as a powerful rhythm section and the stadium sized vocals of Juni Lush pulling the whole thing into hip-slung rock territory. The band got a deal from Atlantic but intervention from too many opportunistic execs seemed to take their sound in too many directions. The results make the straight-ahead rock thrusters here essential but some of the slower, ballad heavy swooners seem to be more in the filler category and maybe they shouldn't have tackled Dylan, someone should have intervened there. Still, for fans of power stomp, there's plenty to be had here. They close the album out with the epically adorned "Song for My Lady" which has huge Moody Blues overtones and, though its been derided elsewhere, I think has its own charms. Listen: Buy it HERE.