Caboladies have a new album out on Students of Decay – well, it was out, now it’s sold out. Fuckin’ lame! You can still listen to a sampling of three tracks from the LP on the labels soundcloud page, or right here:
Parisian artist Holy Strays has just released his debut 7-inch, “Enlightenment,” on Not Not Fun. “Phrenesia,” the track streaming above, is the single’s B-side. And hey, since we’re now in the Holy Strays mood, it’s worth checking out his recent remix of Forest Sword’s “Trust Your Blood” over at No Pain In Pop’s SoundCloud page.
The Flaming Lips and Lightning Bolt
“I Wanna Get High But I Don’t Want Brain Damage”
Two of the most boring bands of all-time, The Flaming Lips and Lightning Bolt, have recorded an EP together. Great. More lame singer/songwriter crap! The four-track 12-inch EP will be available this Tuesday at Newbury Comics in Harvard Square, where Wayne Coyne himself will be bringing copies of the EP along with some gummy treats. Check the intro to the video above for more info, followed by the video for one of their collabo tracks, entitled “I Wanna Get High But I Don’t Want Brain Damage.”
Call Back The Giants
“The Rising” / “The Lizard”
The opening moments of this video had me fooled: I thought it’d turn out to be another typical hypnagogic half-remembered vanilla latte bullshit synth excursion. Turns out, it’s a lot more fragmented, non-linear, and minimal, attributes that get me drooling when listening to experimental music. But I really should’ve known better, as the two tracks in the video are by Call Back The Giants, the project of former Shadow Ring member Tim Goss, who plays here with Chloe Mutter and sometimes-member Big Rob Stewart.
Graham Lambkin (Goss’ Shadow Ring buddy and TMT favorite) has just released the group’s second album, The Rising, via his Kye imprint (which was also responsible for Lambkin’s now-classic Salmon Run, #15 on our decade list). For info on obtaining a copy (or 20) of The Rising, email Kye at firstname.lastname@example.org. It’s limited to 1000.
“Surgeon” begins somewhat tentatively before slipping into an elegant, Eastern-style mid section. Then the song smirkingly defies odds by exploding into quite the tantalizing second half jam, trembling synth solo and all. I always liked St. Vincent’s proggier left turns, so let’s hope her new record follows suit.