Album Review: Guy Grogan’s Familiar Explosions on Dynamite Bouquet

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Guy Grogan’s full length Dynamite Bouquet mines a simpler time for simpler songs; almost feeling like an attempt at bedroom necromancy, trying to resurrect the ‘90s on a budget. This isn’t an album concerned with changing any rules, rather it sounds like another effort (in a sea of similar efforts) to create a straightforward record of short, basic heart-on-sleeve indie rock songs capable of soundtracking cynicism-sinking crushes, whether they be in college towns or hip neighborhoods of major cities.

One of Grogan’s strengths is that he doesn’t seem to take himself too seriously, as evidenced by a playful pause on “Metafixation” and the album’s just-rolled-out-of-bed production. But this also lends to an overall weakness of the album with “My Own Way Out” opening the record like a soggy drunken punch on a miserable night, all muffled guitar fuzz, rattling drum echoes, and nasal vocal sneers that somehow simultaneously sound like they’re trying but also couldn’t really give a shit. You can use your prejudice to guess what kind of album Dynamite Bouquet is from the very first chords and Grogan does little over the album’s 10 tracks to break that judgment. If you like indie-rock-by-numbers, this isn’t necessarily a bad thing. You can almost see his collection of Guided by Voices records propped against the turntable or his fan photo posed in front of the Elliott Smith mural in Silverlake and each song makes that image clearer.

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The Big Moon Release ‘The Road’ EP Today, Share New Track

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“London’s coolest new guitar-wielding girl gang.” – NOISEY
“A band not waiting for anyone or anything to make them who they are” – NPR
It has been an exciting introductory year for Juliette, Fern, Soph and Celia of The Big Moon. After a victorious CMJ, where NPR’s Bob Boilen proclaimed them “the most tuneful band at CMJ,” calling their songs and performance “joyous” and naming them one of the top ten acts, The Big Moon went on to release a series of singles to widespread acclaim in the U.S. The band has been busy selling out their shows across the UK, and performing to expansive audiences on high-profile support tours with the likes of The Vaccines and Ezra Furman. Now they are pleased to announce their debut EP – The Road – available now on iTunes, Spotify and Apple Music via StarTime International/ Columbia. The EP features the previously released tracks “Sucker,” “The Road,” “Nothing Without You” and new track “Cupid.”

“Cupid” is everything that The Big Moon have already promised and more. It’s a track full of punch, verve and a knowing swagger, capped by vocalist Juliette Jackson’s wry snarl of a delivery, and her bandmates’ pin-sharp harmonies. “Cupid” is a smart and confident nextstep forward, listen here: http://smarturl.it/CupidAudio.

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Maybird Sign To 30th Century Records, Announce Debut EP + Shows

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Rochester, NY’s Maybird are excited to announce they have signed to 30th Century Records. Today the band also share the news of their forthcoming debut EP Turning Into Water which will be released on April 29th.  The title track is now available — watch the video here:

Maybird have confirmed a string of dates in support of the EP including a record release show at New York City’s Standard, East Village on April 29th.  The band will also be playing on May 12th at Bowery Electric in NYC followed by an appearance on May 19th in Philadelphia, PA at the World Café where they will be  appearing as part of the Non COMMvention.  Maybird’s performance at The World Cafe will be broadcast live on WXPN.org (please note this show is not open to the public).

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SINGLE REVIEW: viseMènn Perfect the Art of Moping on “Begging You Please”

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The latest single from Norway’s viseMènn find the band carefully exploring the cavernous hollows of atmospheric mope rock. Crestfallen guitar and softly glowing moonlit synth hang loosely from the frame of a skeletal scarecrow frame of drumming, swelling and collapsing as if tumbled and tussled by a lazy yet insistent breeze. “Begging You Please” is somehow emotionally vulnerable and casually disconnected at the same time, with pleading vocals seeming to disassociate from the poltergeists of music rising and falling in the expanses between. The track hangs heavy with an emotional weariness mirrored in the staggering, stumbling beat as the song, drunken and depressed, collapses face first yet sinks through the floorboards in a light, semi-corporeal dream state; unharmed save for a touch of despair.

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