MAC DEMARCO - Rock And Roll Night Club

With slack, smart-aleck moves that wouldn't be out of place on a playlist with Ariel Pink, Ween, Atlas Sound and White Fence, former Makeout Videotape member DeMarco's pitch-bent and breezy approach to home-fi solo swagger soothes as much as it unsettles.

"Rock And Roll Night Club is a confusing record, but not a mess. On the contrary, it's so deeply calculated that the intentions and possible motivations of its songs are likely to be lost on most. This would be a problem if the good songs weren't so incredible and strange." - Allmusic

"DeMarco is right at home with Captured Tracks, the Brooklyn imprint that specializes in signing artists who feel more comfortable reverting towards past sources, sometimes explicitly doing so by being knowingly ironic. But the cheeky nature of Rock And Roll Night Club inadvertently elevates its reputation—falling somewhere between classic pop and performance art, DeMarco’s talent for writing hooks should spurn any attempt to call it novelty." - No Ripcord

VA - Listen To The Music: Caltone's Jamaican 45's 1966-69

Anyone who enjoyed Caltone Special (which we also stock!), and any fan of the rocksteady era, for that matter, will want to add this beautifully packaged Pressure Sounds compilation to their collection.

"The 21 tunes featured on this set cover the years from 1966 to 1969, actually the late period ska years through to early reggae. For the most part the album is full of rare rocksteady gems, making it a real joy for any fan of that period in Jamaica's popular music to listen to this collection. Here you won't find any weak tracks or filler, but only solid to excellent tunes. From the wonderful opener, the essential "I'm Sorry" by Peter Austin & the Clarendonians, up to The Emotions' "Gypsy", you're treated to music that is stamped with quality all over." - Reggae Vibes

"Caltone was the work of lesser-known producer Ken Lack, who through a tour managing gig for the Skatalites came in contact with the upper echelons of Jamaican session players. Lack launched the label in the transitional time between ska and early reggae, and Listen To The Music graphs all of the exciting shifts and experimentation from that in-between time with songs crisscrossing the lines of instrumental ska, sentimental rocksteady, and even R&B-influenced early reggae tunes. The soft imperfections of the original vinyl source materials can range from in-the-red distortion on the more jumping numbers to noticeable warping sounds. Rather than distracting from the music, these extra sounds strangely add to the hidden-treasure feel of some of these obscured gems." - Allmusic

PAUL AND LINDA McCARTNEY - RAM (remaster)

Not to be outdone by such other recent 'Archive Collection' Macca reissues as McCartney, McCartney II and Band On The Run, RAM is now available as a single-disc remaster; a limited-pressing mono LP; a 2CD (or 2LP) set with bonus material; or a 4CD/DVD/book Deluxe Edition boxset, filled with reproductions of notes, lyrics, photo prints and other McCartney family ephemera (which is by far this reissue series' most lavish box to date—here's what it looked like when we cracked one open!).

"Forty years later, hearing  RAM again is like learning that the one-night stand you didn't think much of could have turned out to be the love of your life. Now, what I hear is a songwriter in an exuberantly good mood. I hear an artist really pulling out all the stops to prove he didn't need John, George, or Ringo to be a world-class act. I hear McCartney playing some of the best licks he ever laid down while building his compositions on some of the most artful studio production of any era." - SeattlePi

"'I want a horse, I want a sheep/Want to get me a good night's sleep,' Paul jauntily sings on 'Heart of the Country,' a city boy's vision of the country if ever there was one, and another clue to the record's mindstate. For Paul, the country isn't just a place where crops grow; it's 'a place where holy people grow.' Now that cities everywhere are having their Great Pastoral Moment, full of artisans churning goat's-milk yogurt and canning their own jams, RAM feels like particularly ripe fruit." - Pitchfork

PS I LOVE YOU - Death Dreams

Kingston's favourite sons PS I Love You are back with another album filled with songs about love and loneliness, the past and the future, and the minutiae of day-to-day life in their quiet hometown. While some of the songs on here stretch out longer than on their 2010 debut, Meet Me at the Muster Station, they haven't lost any of their pop goodness or charm.

"Guitarist and singer Paul Saulnier, one half of the Ontario duo PS I Love You, waves his rock fanboy flag so proudly he all but dares listeners to snicker at his sincerity. Saulnier sings with a quiver that fulcrums between countrymen Spencer Krug and Geddy Lee, and mixes and matches Alex Lifeson’s busybody fretwork and Thurston Moore’s blissful dissonance with little concern for the aesthetic barricades between Rush and Sonic Youth fans." - A.V. Club

"Death Deams almost faultlessly conveys the volatility and incomprehensibility of their particular genius. There isn’t even one clunker in here, which is a lot to say in a year that’s already seen another rock renaissance. If we’re actually torn to shreds in 2012, I couldn’t think of a more exhilarating soundtrack to go out with a bang." - No Ripcord

VA - Personal Space: Electronic Soul 1974-1984

Mandatory listening for anyone with a soft spot for the rhythm-box workouts of Sly Stone, Timmy Thomas and Shuggie Otis, Personal Space is a private-press soul/funk excavation of the highest order, and a solid front-to-back listen that has graced our store's P.A. on many a sunny afternoon so far.

"At the spine of this astounding collection is the ostensibly unburdening effect of affordable studio technology—synthesizers, drum machines, high-quality recording—as manifested in private soul music from the mid-seventies to the mid-eighties. As the liner notes lament, so little of this deeply affecting and forward-looking music ever saw release, and so little of what they did ever found any kind of audience. In the canopic jars of these recordings, however, they are preserved and sealed—as they once were in small studios, home studios, basement studios, bedroom studios—and their misshapen forms are allowed to move into the future by themselves, of themselves." - Soul Sides

TRONICS - Love Backed By Force

Full of simply-strummed songs and aggressively apathetic vocals that prefigure mid-'80s acts like Beat Happening and The Vaselines, Ziro Baby and Gaby de Vivienne's 1981 LP's hand in the secret history of indie-rock is made clear with this reissue, stumbling and swaggering along with enough behind-the-beat bongo tapping to either drive you nuts or charm you senseless.

"With singing based more on style than skill, clever retoolings of classic rock and folk forms, witty lyrics and drums that sound like they're playing plastic buckets (but barely managing to keep time), this record stands as a precursor to entire categories of late-'80s/early-'90s indie rock." - A Personal Miscellanarium

"These songs sound like they were banged out in one take straight into the recorder, which is probably the truth. But there’s this brutal honesty and youthful exuberance that very few bands have ever been able to replicate throughout all of the Tronics recordings, and it’s never more noticeable and fully realized than on Love Backed By Force." - eMusic

HERE WE GO MAGIC - A Different Ship

Both previous full-band Here We Go Magic albums (Pigeons, The January EP) proved themselves to be real growers, and this new Nigel Godrich-produced effort is no, well, different. A Different Ship refines their manic/mellow mix of modes with atmospheric textures that, as usual for this group, are always in service of the song, deservedly putting the most focus on Luke Temple's versatile and understated vocals.

"Bouncing back and forth between tight and wandering, A Different Ship gives the listener room to breathe and poke around in its ever-so-trippy and electronically-tinged indie-pop. Regardless of genre, founder and lead singer Luke Temple’s unnervingly soft and rambling vocals run like a meandering loose thread of indeterminate length throughout the album, tying it all together and keeping it from spinning too far out of control." - In Your Speakers

"A Different Ship feels as if it's built, both musically and lyrically, on a friction that arises from insecurity and contradiction. While it's a record that often leans heavily on its intricate polyrhythms, it is still, for all intents and purposes, a pop record. At times full of nervous vigour, at others letting itself fall blindly backwards into honeyed daydream, A Different Ship has a life and character all of its own." - Drowned In Sound

FRANCIS BEBEY - African Electronic Music 1975-1982

Long revered by African music aficionados, the late Francis Bebey was Cameroon's renaissance man, a journalist, novelist and musicologist whose zest for life and studied playfulness with language and instrumentation is apparent from the moment opener "New Track" bubbles into being.

"Brought up on Western styles and instruments, and educated at the Sorbonne and NYU, Cameroon's Francis Bebey studied Spanish classical guitar and led jazz bands before finding his way back to African traditional music as a researcher for UNESCO; he was in his forties when he began recording his distinctive brand of Afropop, publishing more than 20 albums before he died, in 2001, at the age of 72. The anthology's title is slightly misleading; this isn't so much 'electronic music' as it is idiosyncratic, border-hopping jazz fusion that happens to use synthesizers and rhythm boxes. But who cares? Whatever you call it, it's brilliant." - SPIN

CAROLE KING - The Legendary Demos

Hot on the heels of Something Good From The Goffin & King Songbook (as well as her new autobiography A Natural Woman), The Legendary Demos collects King's personal recordings spanning from 1962 to 1971.

"The set consists of thirteen works recorded from 1962, when she was working as a writer in New York’s songwriting epicenter the Brill Building, through 1971, after she’d divorced [Gerry] Goffin and moved to Laurel Canyon. The tracks on The Legendary Demos have been long coveted by collectors and King fans, and it’s easy to hear why. Though created as demo records and not intended for release, the documents contain some of King’s most casually elegant performances." - L.A. Times

"King’s grasp of composition and arrangement is astounding, with or without a band backing her. She knows exactly how her songs are supposed to sound for herself and other artists. The proof is in her solo Aldon demos, from 1961′s "Take Good Care Of My Baby," (which is far more soulful and introspective than Bobby Vee’s hit version) to sketches of songs that would later appear on Tapestry such as "Beautiful," "It’s Too Late," and the pure gospel of “Way Over Yonder.” It’s these recordings that are the highlights of this collection." - The International Review Of Music

RUFUS WAINWRIGHT - Out of the Game

Back when Rufus Wainwright got his start (this being the mid-to-late nineties—cast your minds back, everyone), pop music was awash in the hopeful spawn of past legends and cult heroes. Sean Lennon. Jeff Buckley. Adam Cohen. Jakob Dylan. Norah Jones.

The talents of these musicians varied wildly, as did their eventual paths. But after a series of deaths both figurative and, in one rare sad case, literal, few of them are still relevant today. This week, Norah Jones is releasing her fifth album thanks to a surprising ability to use savvy collaborations to sidestep the atrophy that normal seizes her Starbucks-soundtracking kin. And then there's Rufus Wainwright.

Despite his own best attempts at career suicide (including everything from writing an opera and releasing double-album/DVD recreations of a Judy Garland concert to binging on a volatile mix of crystal meth and reckless sex), Wainwright is still very much alive and kicking.

The quick and easy answer as to why this is so is that he truly is very, very talented—every ounce of his swooning narcissism and hedonistic, self-indulgent ambitions are met by equal amounts of raw ability and stunning reinvention. With the possible exception of Buckley, Wainwright is the greatest of that class of 1990s famous sons and daughters, and if his parents' collective pedigree got his foot in the door, he's never failed to convince that he deserves to be there on the merit of his work alone. This great ability aside, the man's keen sense of humour (a wonderfully balanced mix of bashful self-deprecation and preening arrogance) has often been what makes him more than just another gifted musician (not to mention, his ego bearable, charming even). 

Out of the Game could refer to a few things (Wainwright is both recently married and now a proud daddy), but certainly the most obvious way to take it is as a winking (if overdue) concession of his stakes in the game of world celebrity. For a guy who very clearly saw himself as a star-in-the-making upon his debut, this can't be especially easy. On the title track, Wainwright softens the blow the only way he knows how, goading his younger opponents with a chorus of "Look at you suckers! Does your mama know what you're doing?"

But if this album is meant to in some way pass the torch to a new parade of younger, prettier, and generally ill-fated dreamers, Wainwright intends to teach them a thing or do while doing so. Hitching up with producer Mark Ronson (a man who only knows hits) has led to what is easily Rufus' most amicable, consistent, and fun record since 2001's Poses. 

In this way, it is the antithesis of the lovely, but single-mindedly serious meditation of the piano and voice of his last full-length, All Days Are Nights: Songs for Lulu (an at times difficult record that was still miles more enjoyable than that other recent Lulu album...). Where that record was dominated by the passing of his beloved mother, Kate McGarrigle, and his bold move into opera, Out of the Game seeks to remind himself of the things around him that make his life a special one.

Though Wainwright can mope with the best of them, his brand of joy is particularly contagious and redeeming...and sometimes just plain silly. The volatile camp of the female vocal solo that wraps up "Rashida" may be like "The Great Gig in the Sky" as reimagined by Priscilla, Queen of the Desert, but it works because of how it fits into Wainwright's larger world—a place where every indulgence is not only permitted, but enthusiastically encouraged. 

Elsewhere, the grooves and song lengths are both tight, and hooks abound—a wild contrast to much of his more recent albums which were full of languid second acts and where pleasures, while great and varied, had to be earned and coaxed from hiding.

It's not so much that nothing on Game hits a serious note—the closing "Candles" is a typically stunning and elegiac conclusion to this record. But even when engaged in reflection, the guy sounds far more content with his lot than he has in years. And well he should: at 38, he has achieved far more than even the most smitten optimist could have predicted. Truth is, he's far from out of the game...and he's taking great pleasure in rewriting the rules.

ACTRESS - R.I.P

Darren Cunningham's third full-length (and second for Honest Jon's) sees his approach stay static-ridden and sidechain-prone, sinking into deeper, darker ambience than on previous efforts despite intermittent resurfacing into beat-based technoid territory.

"R.I.P is, without question, far removed from the twisted techno jams that comprise 2010's Splazsh and Actress' debut album, Hazyville, but the genre's influence is nonetheless dominant. Instead of blatantly nodding to the great Detroit veterans or, say, the German minimalists, however, Cunningham inverts techno and dives further into its deep cavern of possibilities than ever before. Only after he's reached the tunnel's end does the producer return, emerging with a sound that favors visceral textures and supernatural moods over outright rhythms and melodies." - XLR8R

"R.I.P increasingly floats free of mind/body exigencies to create a record—closer in spirit to 'sound art' than anything you might hear in a club—that revels in a sublime sense of unearthliness, from 'Ascending''s inverted beats and cloud-mist textures to 'Marble Plexus,' which sounds like god's own techno party heard through a wall, and on to sulphur-reeking cuts like the excellent 'Shadow From Tartarus' and 'Tree Of Knowledge.' The whole thing glows like freshly mangled spaceship parts found in the desert at night." - The Stool Pigeon

DR. JOHN - Locked Down

With The Black Keys' Dan Auerbach in the producer's seat, Mac Rebennack's newest finds an adventurous yet accessible middle ground between what each of these frontmen is known for, resulting in a record that exceeds expectations and succeeds at satisfying fans of both camps.    

"There are moments when Locked Down conjures up some old ghosts, such as on "Revolution," which brings together Dr. John’s pop, political, and garage sides; and "Ice Age" and "Eleggua," both of which work in some of the African funk elements that were a major part of Dr. John’s Night Tripper era. None of this is frozen in amber, though. If Locked Down has a mission statement, it’s embedded in the intro to “Big Shot,” which transitions from what sounds like a sample of an old Cab Calloway record to a spirited new rendition of that same style. The implication? This ain’t retro; it’s now." - A.V. Club

"If the album's components are retro, the pastiche has a 21st-century sensibility. Ghostly backing vocals waft through "Big Shot," which sounds like a Tom Waits-meets-Gnarls Barkley jam. The album is flush with dub-reggae effects and the grooves of Nigerian Afrobeat and Ethiopian funk, styles that have become memes for a new generation. Lyrically, the Doctor brings the confusementalism, diagnosing the present through the past in a more weathered version of his trademark nasal growl." - Rolling Stone

VA - Mad Daddy's Maddest Spins

Pete "Mad Daddy" Myers was an Akron, Ohio-based radio DJ whose wild persona was matched by the unhinged, raucous records he played. This compilation features a number of these, and serves as a fine primer for anyone interested in what later became the basis of inspiration for bands like The Cramps.

"Vintage late-'50s rock and swing, featuring classic cuts from his playlists at WJW Cleveland...Includes blistering R'n'R, madcap sax-drenched raunch, and some of the strangest tunes ever. All tracks remastered from the original sound sources with sleevenotes by MOJO magazine's Dave Henderson." - Cherry Red

"His show was groundbreaking, featuring the high-energy music of his day, made by blacks, whites and Hispanics, the stuff universally reviled by older folks; this was pure gold for The Mad Daddy and his following, all of those impressionable, horned-out, delinquent ears waiting in the darkness of a Cleveland night, including one Erick Lee Purkhiser, later Lux Interior...The show was littered with continuous sound effects, maniacal laughter, and tons of runaway repeat-echo, all to the accompaniment of some of the most wigged-out tunes ever captured on vinyl." - Louder Than War

LEE HAZLEWOOD - The LHI Years: Singles, Nudes & Backsides (1968-71)

Light In The Attic (responsible for releasing our number-one reissue of 2011, Jim Sullivan's U.F.O.) scores again with this collection of late-'60s/early-'70s gems by the brilliant Lee Hazlewood. This is the first in a series of releases delving deeply into the Hazlewood vaults that LITA plans to put out—we can't wait for more!

"While Hazlewood’s work may occasionally recall some of the lighter, lampoon-able aspects of the sixties and early seventies, there is definitely a serious side as well. In fact, while Hazlewood often dueted with pop-oriented female vocalists (most famously Nancy Sinatra), his own parts often evoke the other end of the spectrum: melancholy and longing. Whether he’s deriding 'the man' or bemoaning lost loves, Hazlewood’s rich baritone and 'straight man' attitude make for the ideal balancing act with his chipper leading ladies." - Reviler

"This is what you might call middle-period Hazlewood, after the big hits but before settling into the status of cult hero, being covered by everyone from Lydia Lunch to Billy Ray Cyrus. Here we find Hazlewood working up an act as a kind of WASP Leonard Cohen, or maybe Love’s Arthur Lee on Mogadon, with a range of lush, almost rococo orchestrations worthy of Rogerio Duprat or Jean-Claude Vannier." - The Line Of Best Fit

SPIRITUALIZED - Sweet Heart Sweet Light

"Well, it sure sounds like Spiritualized."

This kind of shrugging admission, which accompanied the first few listens to the latest LP by Jason Pierce's long-running space rock outfit, hardly seems to be an enthusiastic one. After all, at first glance Pierce has done little to change the original MO he set for himself upon the release of 1992's Lazer Guided Melodies—namechecking Jesus; taking drugs; wrapping his perpetually bruised heart in yards of gauze; and swigging on a cocktail equal parts blues, krautrock, and psych, with a dash of punk, chamber music, and gospel.

But as much as that is fairly true, Spiritualized has never quite done the same thing twice. The adjustments may be subtle, but every album has carried with it a conscious twist on Pierce's favourite themes. From the orchestra-powered experiment of 2001's Let It Come Down and the way that 1997's immediately classic Ladies and Gentlemen flexed the muscles grown during 1995's Pure Phase to their fullest, to the broken-teeth punk gospel of 2003's Amazing Grace, every record has a distinct accent that tweaks Pierce's language just so. (For great proof of this, examine how 1992's "Take Your Time" had grown from a gorgeous barely-there seance into a full-blown rockout by 1999's Royal Albert Hall.)

From a distance though, there was a sameness in the material that, when combined with the nearly impossible-to-shake legacy of Ladies..., rendered each subsequent Spiritualized album as less and less of an event. After some twenty years (if one included his incredibly groundbreaking work with Spacemen 3) of singing about a seemingly interminable loop of getting fucked up and finding redemption, it appeared the guy had reached something of a creative endgame—one that both he and his audience were increasingly aware of.

That all changed in 2008, however. Following on the heels of a vicious bout with double pneumonia, Songs In A&E was a harrowing and relatively stripped-down effort that was Pierce's best record in a decade. The disease may have literally nearly killed him, but the resultant experience rejuvenated his brand. It was impossible to divorce the real life from the art, and suddenly all of the same themes about which Pierce had always sung—death, love, sin, God—meant that much more. Even when very much sounding near death, ("Death Take Your Fiddle" even went as far as to feature the sound of an artificial respirator similar to the one that kept Pierce alive), it had been a long time since Pierce sounded so vital...both to us and himself.
 

Sweet Heart Sweet Light builds off of that career-rekindling momentum with the closest thing to a classic Spiritualized record since 1997. Unlike so many of his recent albums, there is no discernible premise to differentiate it from others in his catalogue (i.e. no self-composed scores, or amps turned up to eleven). Instead, it pulls liberally from the template built by Pure Phase and perfected by L & G (minus the free jazz)—big gospel, widescreen love songs, scuzzy confessionals, and kraut blues, all with key contributions from horns, backing vocalists, and orchestras. But if it deviates the least from Spiritualized's set parameters, it also seems the least embarrassed about doing so. Just as Dylan has parlayed an obsession with mimicking old-time radio and 12-bar blues into a late-career winning streak, Sweet Heart Sweet Light is the sound of Pierce taking what's his in a way that makes no apologies. It simply enjoys the hard-won fruits of his hard-lived labours.

Whether our own distance from those aforementioned albums has created a nostalgia that also allows for this to occur is certainly debatable. But from the way that "Hey Jane" shifts from jumping rave-up to chugging modern-day devotional; how "Headin' For The Top Now" essentially doesn't change much for eight plus minutes, yet always sounds shimmeringly potent; or the manner in which he makes an atheist like me wanna hitch a ride with Jesus on "Life Is A Problem," it's clear that after so much searching and tweaking (in both senses of the word) his music still matters for all the right reasons. Over time, Pierce has managed to distill a full century's worth of American and British music into a concoction that sounds like Spiritualized. And if he's been burned or gotten lost along the way, it only makes an album like this all the sweeter, for him and us.

VA - LateNightTales by Belle and Sebastian (Volume 2)

B&S's first contribution has now sadly fallen out of print; what better time, then, for these Scots to submit a whole new set of cross-genre finds? Another solid entry in this mix series.

"Their scene-straggling 2006 LateNightTales included pure pop, '60s psych, '70s rock, West Coast harmonies, beat groups, folk balladeering, punk, indie, girl groups, and bossanova; this new selection only delves deeper into their shared influences and inspirations, along with a subtle nod to digging for rare sampled beats, not perhaps a trait usually associated with B&S. Worldwise psychedelic breaks thread the mix together, with two tracks from Broadcast bookending a first half that includes late-'60s dreamers The Wonder Who? and Joe Pass, father of Ethio-jazz Mulatu Astatke, harpist Dorothy Ashby and the 21st-century beats of Gold Panda." - LateNightTales

MOE TUCKER - I Feel So Far Away: Anthology 1974-1998

Lovingly packaged and compiled by Sundazed, I Feel So Far Away is a must-listen for Velvet Underground fans—this set's opening tracks, taken from Tucker's debut solo LP Playin' Possum, are particularly brilliantly ramshackle.

"While her bandmates would go down many different roads with widely variant results, Tucker's sounds retained the ragged beauty and youthful sense of possibility that were at the heart of the VU, and rock & roll in general." - Allmusic

"Following her tenure with VU, Moe emerged as a solo artist, building a body of work that stretched over three decades. Ranging from home recordings to collaborations with members of Sonic Youth, Violent Femmes, Half Japanese and her former band, the songs cover a gamut of styles but all bear the unmistakable thumbprint of their creator. Released by various independent labels on LPs, EPs, singles and compact discs, collecting her catalog has been a daunting task. This compilation finally gathers those far-flung tracks in one place." - Sundazed

TIA BLAKE AND HER FOLK GROUP - Folksongs & Ballads

After a spell of dormancy, Water is back with this gem of a reissue, one that's right up there with other such past finds from this label as Ruthann Friedman's Constant Companion, Anne Briggs' self-titled set, and the songs of Judee Sill.

"A very rare and sought-after record, released only in France in 1971 and never before available on CD. A stunning selection of songs performed in a stripped-down setting, with Tia's achingly beautiful vocals taking center stage. A truly wonderful album, reissued here on CD with new notes from Tia herself, along with vintage photos, and bonus tracks taken from rehearsals and a scrapped CBC session that features the only known recordings of Tia's original songs." - Runt

HEAVEN & EARTH - Refuge

Another fine female-fronted, harmony-rich '70s folk reissue to perhaps check out alongside that Roches record mentioned a few entries below...

"We’re happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint). At one time this was an album completely unknown outside of Chicago, where the label was based, but these days, word gets around, and tracks like 'Feel The Spirit; and 'Jenny' have been making the rounds on the DJ circuit." - Light In The Attic

"Heaven & Earth provide the most wonderful harmonizing since, I dunno, Wendy & Bonnie? There are light psychedelic swirls throughout, and the occasional folk-funk flourish (the legendary Phil Upchurch plays on here) makes the trip even more magical." - Other Music

TY SEGALL & WHITE FENCE - Hair

Not to be confused with the hippie musical of the same name, Californians White Fence (a.k.a. Tim Presley) and Ty Segall have cooked up a noisier and trippier psycho-delic experience.

"If it sounds a little underwhelming to say that Hair pretty much sounds like what you would expect a collaboration between broadly similar garage rockers Ty Segall and White Fence to sound like, let me assure you that it's also what you would probably want and hope it to sound like...These two artists spend half an hour playing to their pre-established strengths, staying in their comfort zones and riding their fun, sloppy, rockin' sound to its effortlessly entertaining destination." - Drowned In Sound