The debut from bluegrasser Sol Chase and deadpan singer Jared Huskey, who previously worked in hip-hop circles, offers up 10 left-of-center Americana tunes. READ MORE…
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You, Me and This Fuckin’ Guy
You, Me and This Fuckin’ Guy / Garden Variety Fuckers
Los Angeles art-rock duo LoveyDove teams up with NYC’s legendary King Missile wordsmith/crooner John S. Hall to form their new project You, Me and this Fuckin’ Guy. Their debut album Garden Variety Fuckers (out now) is a synth and profanity-laced journey through the looking glass of Hall’s misanthropic mind. This LP is a not-so-ordinary ride through the mundanity of daily life that’ll keep you uplifted and laughing this summer. It takes a magnifying glass to micro-moments of New York City living or more general musings about nature. Although Hall made a name for himself in the early ’80s New York City poetry scene, his projects have recently been covered in Vice, Pitchfork, SPIN, Exclaim! and more.
Hall cut his teeth in historic venues like Speakeasy and ABC No Rio. In ’85, Hall began presenting his work at various open mics. In ’86, feeling that “20 minutes of me reading poetry would be totally boring,” he augmented his performances with original music, and King Missile (Dog Fly Religion) was born. The band released three albums on indie label Shimmy Disc. On the strength of the single “Jesus Was Way Cool,” the album hit #1 on the college radio charts. Hall joked “Jesus got me signed to Atlantic Records.” King Missile recorded three albums for Atlantic and Happy Hour spawned a notable hit with “Detachable Penis” which reached #25 on Billboard’s Modern Rock Tracks. Hall has released two books on Soft Skull Press: 1997’s Jesus was Way Cool, a collection of 40 poems, and Daily Negations. Hall continues to perform in NYC in various musical incarnations (Unusual Squirrel, The Hat Cousins, The Lincoln Memorial, Sensation Play, Silk Cut, solo ukulele performances) as well as with his spoken words.
Azalia Snail, the Queen of Lo-Fi, is an avant-garde songwriter who played a prominent role in the ’90s lo-fi music scene. Snail has released thirteen solo albums and Hall can be heard on “Baby Brother,” a song that describes their relationship, and the b-side of her debut single “Another Slave Labour Day.” Hall also contributes spoken word to her third album Fumarole Rising on the song “Having an Experience.”
Snail has scored several indie features and short films and has toured the world for decades. In 2000, she won the Los Angeles Weekly Award for Best New-Genre/Uncategorizable Artist. SiriusXM debuted Azalia Snail’s cover of Tom Petty’s classic track “The Wild One, Forever” and it remains in heavy rotation on Tom Petty Radio.
Dan West, also known as d’Animal, is an American rock and jazz musician, songwriter and producer, and one half of the duo LoveyDove. West has also released three solo albums: Hot Corners, Does It Suit You? and d’Animal l’Ogic. West has performed with such notable artists as Sky Saxon of The Seeds, Maynard Ferguson, Rosemary Clooney, and Love, and scored the music for the documentary Mr. Movie Poster which follows the life of artist Paul Crifo.
As LoveyDove, Snail and West have released two albums with a third one on the way. Their second album Showstopper was released in New Zealand by Powertool Records and in the US by Records Ad Nauseam, and received rave reviews. LoveyDove has performed all over the world and can be heard in the Sony film Space Station 76.
Together, Hall, Snail and West recorded Garden Variety Fuckers to transform Hall’s curmudgeonly character observations into a hilarious, melodious musical excursion. You, Me, and This Fuckin’ Guy have collaborated with renowned music video director, Steve Hanft (Beck, The Cure, Phoenix) who directed a video for their song “FBI” and is in pre-production for their song “Owls.”
“Both endearing and crude, “Detachable Penis” was exemplary of Hall’s literary gifts and sneering wit. An absurdist rocker turned corporate analyst: Hall seems to have traced the fitful arcs of his verses…. he is casually prolific-his work includes four band incarnations, eleven albums, and hundreds of poems.” – The New Yorker
“John S. Hall writes hilarious lyrics.” – LA Times
“John S. Hall works as an Intellectual Property Analyst, whatever the fuck that is. He didn’t always, though. He’s been a major recording artist, a published author, and a highly respected poet. Now he’s an Intellectual Property Analyst, whatever the fuck that is.” – Vice
“The band could become known for skewed, screwball humor along the lines of They Might Be Giants or Mojo Nixon, King Missile’s roots are more traceable to Pere Ubu, Jonathan Richman, Patti Smith and Lou Reed. With his waffling between irony and despair, logic and absurdity, Hall’s stream-of-self-consciousness seems to work as poetry, underscored by his speaking-singing delivery.” – The Washington Post
“Hall is completely word-dependent… But it isn’t just the consistency of the sarcasm that distinguishes this one. It’s the way he’s putting his hard-rock comedy, shaggy dog fables, and sophistical shit across.” – Robert Christgau, Dean of American Rock Critics (on The Way to Salvation)
“[Azalia Snail] beams with joyousness and youthful vigour.” – Exclaim! (on Azalia Snail’s Neon Resistance)
“Wherever Azalia Snail’s genre dial happens to be pointed at any given moment—hazy pop rock, windswept folk, sidles into the no-fi inchoate—the Los Angeles-based artist evinces a palpable sense of joy, if not complete abandon. Her voice itself is a smile sans guile—a beatific chirp that’s the hippie equivalent of Lady Miss Kier’s cosmopolitan, empathic raver coo and a kindred spirit to the B-52s’ awe-struck Kate Pierson/Cindy Wilson axis.” – Raymond Cummings
“Harmonious psych-pop confections, the duo have outdone themselves. Sweet, savory, gorgeously rendered and painstakingly arranged, every track is a masterly example of their complex bubble-gum simplicity – a cunning, stunning contradiction that reliably engages the brain as it reaches deep into the soul. It’s an approach the pair has long since perfected, but on Showstopper, it’s displayed in even fuller, richer form than ever before.” – LA Weekly (on LoveyDove)
Alexandra Riorden
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Alexandra Riorden – Angel City Radio
Alexandra Riorden’s debut LP Angel City Radio is an abstract chronicle of the tumultuous healing process one endures after experiencing trauma, wrapped in a smoke-scented velvet curtain of shimmering indie-rock. Progressing like a Lynchian dream sequence, each song on the record takes the listener down a different hallway in the labyrinth that is recovery; some dark & menacing, others somber & reflective, but all moving towards empowerment and self-reliance. “The process of healing is not linear, it’s cyclical,” says Riorden. “You experience a trauma and then a lot of different things come up and you hopefully make progress, but it’s not just like it’s over and you’re done. Things come up again and again, but every time they do you’re getting stronger and making strides towards healing.”
Riorden began recording Angel City Radio in 2019 after relocating to Santa Barbara from Los Angeles, though she continued to work in LA with her co-producer Max Collier Goldenstein at his home studio. The informal tracking sessions allowed Riorden to experiment with different sounds and arrangements, free from the time and budget constraints of a professional studio. The extra time spent on experimentation, paired with their production techniques, resulted in an expansive set of songs that sound infinitely larger than the space in which they were created.
Though Riorden and Goldenstein were the primary creative forces behind the record, they tapped Shane Graham to play drums throughout the album and featured Brandon Graham (guitar), Brendy Hale (synthesizer), Annaliese Kowert (violin), Laura Epling (violin), Bobby Chase (viola), and Austin Hoke (cello) on select tracks, with string arrangements by Nashville’s Raymond Joseph. After tracking, Riorden teamed up with mixing engineer Jason Quever (Beach House, Mikael Cronin, Cass McCombs) and mastering engineer Timothy Stollenwerk (Kevin Morby, Haley Heynderickx, Grouper) to smooth the edges and shape Angel City Radio into an ethereal psych-pop masterpiece.
With twinkling guitars and and ambling rhythm section supporting Riorden’s expressive vocals, “Animals” kicks off Angel City Radio as a direct response to a terrifying home invasion that Riorden experienced in Los Angeles which shocked her into a state of hypervigilance and distrust. “I’m torn by these conflicting desires to protect myself & hide away, and also wanting to connect with people and be open & romantic,” she says. “I had been pretty open and free-spirited before and all of a sudden I felt scared all the time and had a hard time trusting anyone. It spiraled out into so many different aspects of my life.”
Over the course of the album, Riorden explores the repercussions of trauma and the complexities of healing through independent but loosely connected vignettes. The dark blend of chamber-pop and alternative rock on standout track “Tenderness” supports Riorden’s depiction of inward criticism while searching for self-love. “I think at some point everyone feels they’re not good enough, and that can be such a block to expression,” she says. “This is me reminding myself that my voice is valid and that I’m allowed to vocalize my feelings and express myself and that I deserve to be heard.”
Elsewhere on the LP, “The Barrier,” written in the wake of her uncle’s passing, finds Riorden reckoning with the discomfort of being human and the temptation towards self-destruction, ultimately seeking comfort and strength in the simple beauty of the world. Meanwhile, the hazy art-pop ballad “Dirty Mirror” blends indie-pop sensibility with sweeping orchestral arrangements akin to a James Bond theme, while mining the experience of heartbreak and finding freedom in self-reliance. “It’s about realizing that you don’t gain freedom from the person you’re with, but that you create it for yourself,” says Riorden. “When that person is removed from the equation, you’re able to look inward and realize, ‘Now it’s just me looking out for myself and taking responsibility for my happiness,’ and it’s really freeing to realize that you can do that for yourself.”
The album’s closer, “Angel City Radio (Outro),” takes the record back to the beginning, repurposing the lyrics from “Animals” atop a new, spacious string arrangement that allows listeners to reflect on the progression of the record and the healing process itself. “I wanted to bring the record full-circle,” says Riorden. “Revisiting ‘Animals,’ which kicks off the record from such a painful place, then bringing it back with the new arrangement, it feels more open—like I’m reopening myself to the world.”
While healing inherently stems from a place of darkness, Riorden navigates the process with an air of hopefulness throughout Angel City Radio, never lingering in the dark too long and always moving towards something more empowering. The album is less despairing and more a journey of self-love, reassurance, and finding trust in the world. “I never want to leave a song in a place of suffering or darkness,” says Riorden. “Singing is one of the deepest ways in which I regulate my nervous system, so it’s also important for me to never leave a song in an abysmally heavy place. Through my expression, I’m transcending that tough experience and coming back to self.”
Angel City Radio is at once thematically challenging, emotionally rewarding, and sonically memorable, and it’s largely due to Riorden’s newly regained confidence both in life and as a singer/songwriter. “So much of this record was born from the healing process,” she says. “Being able to listen and look back and realize that I made it through that makes me feel like I can make it through anything. I hope this sense of resilience will comfort and inspire whoever listens to the album, through whatever healing process they may be going through.”
David Croley Broyles
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David Croley Broyles blasts off with his energetic rock anthem, “Hot Water,” a powerful two minute rock jammer that he wrote for the critically acclaimed feature film Ham on Rye, a coming of age story about a bizarre rite of passage at a local deli that determines the fate of a generation of teenagers.
“Hot Water” is Broyles’ first solo release and the first with his indie label, Major Six Records. He produced the track with Ham on Rye director Tyler Taormina and Jackson Wargo (Snowball ii), who also engineered, mixed, and mastered the song. This is the first solo release by Broyles after writing and performing with LA acts The Planters, Cloud, and Winter. Having shared the stage with the likes of Luna, The Relationship, DIIV, Broncho, and played historic venues including The Troubadour, The Roxy, and The Echoplex, Broyles brings a storied musicianship to his songwriting, and we’re thrilled to experience his newest work.
The compact song starts with an unforgettable “Yeah!” that ropes the listener immediately in. With thumping drums and driving guitars, the song is an irreplaceable rock anthem for the ages. It has an insane guitar solo that, paired with revelatory chorus harmonies, makes this track an instant classic. It’s like an amped up sister song to Big Star’s “In The Street” and sounds like it would have come out of a Led Zeppelin jam session.
Broyles portrays the character of Ollie in Ham on Rye, who is seen driving his brother and friends to the all important prom-like event, all while blasting his “Hot Water” song throughout the neighborhood. “My entire character was created after principal photography… we knew we needed more energy in the film.” Broyles spent a few days rummaging through Hollywood’s various wig shops for the perfect – but not too expensive – wig. The rest is history. Ollie’s memorable “No milk in the car!” line in the film is sure to earn its place in cult film circles.
The writing of the song came easily for Broyles. “When we filmed the scene, we played along to Misty Mountain Hop by Led Zeppelin. But we knew we couldn’t afford to license the song, so when I got home, I sat down and channelled the energy of the film.” Though the song wasn’t a sure bet for the movie. “I initially played the song for Tyler on the piano and the acoustic, but he just wasn’t buying it. It wasn’t until I fully demoed out the song that he was won over.”
Broyles’ artistic skills go beyond the guitar: in addition to acting and composing “Hot Water” and other trailer music for the film, Broyles produced and first assistant directed the picture. Ham on Rye is the first feature film from Broyles’ collaborative production company, Omnes Films. The film is a true independent project, shot for under $30,000 in roughly two weeks. It has gone on to capture the hearts of filmgoers and critics alike, with K. Austin Collins of Rolling Stone praising the film as “one of a kind and completely unforgettable,” and Glenn Kenny of The New York Times calling the film “impressive” and “poignant” in his Critic’s Pick review. It was listed as one of The New Yorker’s best films of 2020. The film toured festivals throughout 2019 and was released in 2020 via Factory 25.
The music video for “Hot Water”, directed by Broyles, features a hilariously massive band behind Ollie, and most notably a cameo appearance by Brian Bell of Weezer. Broyles says, “I always wanted Brian to be in the video, but I figured he wouldn’t be interested, so like a fool I didn’t bring it up. Happened to be that the day we were shooting, he asked me what I was up to! So we got him over as soon we could and shot his bit after everybody had left. It was meant to be.” Bell, hearing the music, comes out of his trailer and immediately demands someone sign the band.
It all plays into Ollie’s fantastic aura. “We had to take the idea of Ollie’s band to the audacious end. Of course he has two drummers, two bassists, two keyboardists, four guitarists, a banjo player, percussionist, horns.” The lively music video also features clips from the film projected on an outdoor screen, jokingly playing off music videos like Nickelback’s “Hero” from Sam Raimi’s Spider-Man.
Broyles says that his Ollie character is “larger than life.” And we couldn’t agree more. “Hot Water” is just the beginning of this exciting chapter for Broyles, who shows us just how much talent he has with his first single. He plans to release a lot of music under his solo act and label, including another rock & roll song “Alright with Me” early this year. And there are plenty more films from Omnes Films on the horizon. For someone as talented as Broyles, we’re delighted to see where he brings us next.
The Wirelight
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The Wirelight – Megaturquoise
Upon hearing the sprawling, shimmering music on The Wirelight’s Megaturquoise, you’d be forgiven if you think it to be the work of a well-established rock band. In actuality, The Wirelight is the recording nom de plume for Atlanta-based musician Lewis Beard, who combines singer-songwriter profundity with studio ingenuity on an album that represents nothing less than a tour de force.
Perhaps it’s no surprise then to hear that there was a protracted gestation period for this album. “I’ve been working on Megaturquoise probably way longer than I’d like to admit,” Beard says. “I guess I got going on the album in mid-2018. The problem was I got so much better at what I was doing while making this album that I had to keep going back to the first couple songs and patching them. It was kind of like a snake eating its tail.”
Although the playing on the album is about 90 percent Beard, he did reach out to certain specialists for help with some of the more ornate instrumentation, like trumpet or banjo. “Most of my songs start out with myself on acoustic guitar,” he says. “But once I hear it, it’s like there’s so much more that I can do with this. I don’t just want to record a two-track song with my vocals and guitar. These songs sort of ballooned out into much more than what they started out as in every single case.”
While you can hear the acoustic origins of many of these songs in their early moments, they rarely stay in one place for long. Moody strumming in tracks like “Part Of This” and “Everything’s Cool” eventually give way to crunching electric guitars. “Mostly Rain” incorporates Americana touches like steel guitar but morphs into a Beatlesque bridge. And Beard is particularly proud of the massive closing track “Cardinal Red,” which seems to throw everything but the kitchen sink into the mix while maintaining cohesion.
“For me to cobble together a song that’s five-and-a-half minutes long felt like an achievement in itself really,” Beard says of “Cardinal Red.” “Once I realized that I had these multiple tiers in it, it became a quest to see how big I can build up a song, before I can dial it all the way back. It has two big cresting waves in it. It’s so big, so long and so dramatic, I don’t know how I could ever play it live. It would need ten people to play it.”
Lyrically, Beard manages to tap into emotions that are both strikingly personal and big-picture relevant, with an overriding sense of wistful regret hanging over everything. “When the end comes, there is no communion/Everything breaks down, everything bends,” he sings on “Bend.” “You were the closest call, and now you’re gone,” laments the narrator of “Miss You.” And the album’s final lines seem to sum up an entire generation’s doubt: “All the best things we intend/Now I don’t know.”
Beard honed his craft even as a teen, when he first received an acoustic guitar and gravitated toward the creative side of music. “I started writing songs almost immediately, which I’ve since learned is not that typical,” he says. “For me it was like I don’t even want to learn covers that much. I want to write my own stuff. I like music so much, so I want to write my own. I’ve got demos and notes and songs from me at age 15 that are just fucking terrible. But they do exist. I got going pretty early.”
After playing in a variety of bands and releasing music sporadically both solo and with others, Beard feels that, with Megaturquoise, he has reached a new level in his career. “I think it’s a matter of confidence,” he explains. “I’ve become so much more confident in my songwriting. At this point, I feel like I can sit down and write a song and feel pretty good about it. For a long time, there was a lot more second-guessing about it. Like ‘Oh, is this melody any good? Does this have any legs? Is it going anywhere?’ Now I feel like I know what I’m doing more than I ever have before. That’s a pretty big step forward for me.”
And he’s also OK that the album took a while to create. “I think it’s a double-edged sword for sure,” he admits. “It can be a lot. But I think the ultimate outcome was a good one because I’m more proud of this stuff than anything I’ve recorded before.”
Besides this wonderful new album, the other good news is that Beard feels we won’t have to wait so long to hear more from The Wirelight. “Eight songs in three years every time won’t get you anywhere,” he laughs. “Hopefully, this is just the liftoff point for more expedient recording in the future.”
Americana UK weighs in on June Star’s latest single, “Seven Pieces,” calling it “a perfect electric folk-rock arrangement which may have you thinking of The Jayhawks.”
June Star goes under the name Andrew Grimm in the real, and he’s a mightily productive practitioner of Americana music. ‘Seven Pieces‘ is taken off his upcoming album ‘How We See it Now,’ which is due out April 16th. It marks his eleventh album in just six years. And not just quantity, there’s quality involved too as ‘Seven Pieces‘ demonstrates – multiple layers of messages appear in the lyrics, whilst the tune is carried by a perfect electric folk-rock arrangement which may have you thinking of The Jayhawks.