Hollywood Brats – Hollywood Brats (Cherry Red)

Hollywood Brats

It’s all too easy to think of the Hollywood Brats and just some British cheapo rip-off of The New York Dolls. Both dressed in outrageous – and frequently androgynous – clothes, both recorded debuts in 1973 (the Brats’ album getting shelved until 1980) and both played streetwise glam-rock that would prove to be a sonic precursor to punk. However, the Brats were likely just synthesizing the same influences at the same time as their NY counterparts - welding their own bad attitudes to the visceral pleasures of Chuck Berry, The Stones, girl-groups and garage rock misfits in an era of overblown stadium rock pomposity. Their only album, recorded in London’s famed Olympic Studios just a few months after the release of the first Dolls album, may not have opened many doors back in the day, but 40 years on it sounds amazing. “Another School Day” and a tarted up cover of “Then He Kissed Me” (with original gender roles intact) were good ol’ glam rock rebellion, but it was on wild careening tracks like “Chez Maximes”, “Nightmare”, and especially the closing “Sick On You”, that the band excelled, standing neck and neck with any other proto-punk greats of the era.


The 2014 edition doesn’t feature any remastering, new songs or updated liner notes – just a new layout. So, if you already own an older version there’s no need to update. However, if you’re new to the band then you should definitely check this album out immediately.

The Mighty Lemon Drops – Uptight: The Early Recordings 1985/1986 (Cherry Red)

The Mighty Lemon Drops











The Mighty Lemon Drops were one of the better second-tier acts to emerge from the ‘C86 scene’ of mid-’80s UK indie rock bands. The West Midlands group made their way by cross-pollinating the adrenaline rush of garage rock and punk with the darker side of ’60s psychedelia. It was a promising conglomeration of influences and its promise was often delivered on with great songs, however, the band spent their careers dogged by constant comparisons to Echo and The Bunnymen. These comparisons were completely warranted, as it can be hard to tell the two apart sonically; although Mighty Lemon Drops singer Paul Marsh was more contented to devise lyrics out of basic rhymes (head/said, fine/mine, hide/side) than Ian McCulloch was. Uptight collects twenty-four tracks from The Lemon Drops’ early days, sourced from demos, BBC sessions, singles and EPs. The four songs from the Like An Angel EP are the best ones, including my personal favorite “Sympathize With Us”. Perhaps the song is little more than The Bunnymen rewriting The Doors’ “L.A. Woman”, but it works well despite its obvious origins. A trio of songs recorded a year later for the C86 cassette compilation show the band getting more comfortable with the recording studio while still retaining the Velvets-meets-Nuggets attack fans had already come to expect from them. The album closes oddly, with eight songs from the band’s earliest recordings – the Some Of My Best Friends Are Songs cassette. It includes some of the same songs found elsewhere on the album (including the aforementioned “Sympathize With Us”) but a bad recording makes these versions far less enjoyable. Even a cover of The Velvet Underground’s “There She Goes Again” misses the mark. Yes, Uptight may be a bit of a mixed bag but it’s one whose high points make it worth investigating.


Sultan Bathery – Sultan Bathery (Slovenly Recordings)

Sultan Bathery


Reno label Slovenly Recordings’ globe-spanning search for the perfect rip-snortin’ psychedelic garage-punk band has brought interesting bands to our attention before - Acid Baby Jesus (from Greece) and J.C. Satan (from France) being personal faves – and now you can add Italian trio Sultan Bathery to the list. Their music is a natural fit for the Slovenly roster – reverb-heavy punk stomp, acid fried lyrics, and vocals sung in a thick accent that tells you English in not the band’s first language. What differentiates Sultan Bathery from the rest of the pack (which includes similar groups from outside the Slovenly universe, like Brimstone Howl, The Back Angels and Ty Segall) is their advanced musicianship. Their hearts may be planted in “Louie Louie”-style three-chord trash but these guys know their way around their instruments too, ably toying with tempos, time signatures and tension levels throughout their debut’s twelve songs. “Mirror”, for example, may sound like standard issue garage rock swagger on the surface, but the bluesy guitar riff and interesting drum accents elevate beyond the genre’s confines to something more interesting and creative. Likewise, “Purple Moon” throws you for a loop with almost proggy drumwork (Matteo Muser is pretty impressive sticksman) and what sounds like tape-reversed guitar lines. Craving a new band that combines intensity with innovation? Look no further.


1. Satellite

2. Mirror

3. Purple Moon

4. Flowers Of Evil

5. Dead Leaves

6. Spring Of Youth

7. Talk With You

8. On The Run

9. Something Good To Me

10. Where Lights Are Low

11. Nightmare

12. Blue



Mudhoney: The Sound and The Fury From Seattle by Keith Cameron (Omnibus Press)

If you’ve been itching for a Mudhoney bio, then 2013 was definitely a year to celebrate. First came the documentary film, I’m Now (reviewed here: http://midnighttosix.wordpress.com/2013/03/01/mudhoney-im-now-king-of-hearts-productions/) and now there’s The Sound and The Fury From Seattle, written by British music journalist Keith Cameron. So, which one should you spend your hard-earned dollar on? I’m giving the nod to the book, which is far more detailed than the film. With over 250 pages of material, Cameron covers all the things you already knew about Mudhoney, but finds new areas of exploration like singer Mark Arm’s experiences as stand-in for Rob Tyner in the reformed MC5 and the band’s long-term spiritual connection to the Australian punk scene. Mostly it does a better job of capturing the band’s contrarian attitude (born from formative years on the hardcore circuit) and the many humorous acts of self-sabotage that made them a cult act rather than the globe-conquering supernova many of their Seattle peers became. Perfect example: When offered $20,000 to record a song for the soundtrack to Singles – basically a 90 minutes infomercial for Seattle rock (a.k.a. “grunge” – and yes, that term still sucks) – they spent $164 recording a song (“Overblown”) with lyrics that directly poke fun at the Seattle rock zeitgeist that the film celebrated, and pocketed the rest. Speaking of soundtrack contributions, the book never mentions “Freak Momma”, their collaboration with Sir-Mix-A-Lot for the 1993 soundtrack to Judgment Night. I don’t care about the song (although I certainly had my Judgment Night cassette on regular rotation in High School), but I’d love to hear what happens when a band that loves The Stooges and The Scientists goes into the studio with the rapper famous for “Baby’s Got Back” to record for a Hollywood film. That one small miss aside, Cameron’s book is fun, interesting and easy to recommend for fans of the band.

The Top Thirty-Something Albums of 2013 – The Beerbrarian Guest Post

Some background: every year the proprietor of the blog and I trade top 10, or 15, or 20, or whatever lists. Then we argue and make fun of each other as if we could change the others’ mind. Here is my list (and here is his). If you like it, feel free to stop by my blog where I talk about libraries and beer, and occasionally post a link to a semi-relevant song. You can also follow me on twitter. If you don’t like it, as George Will says “Well…”

This year I’ve organized albums into four tiers, ranging from something like “excellent” to “good.” The top tier is in order, the others I’m listing just by tier, because hey, it’s my list, and because I thought there were semi-clear cut-off points between these groups of albums. Here goes…

Tier One, in order


Sigur Ros – Kveikur: This band spent the last two albums in the wilderness, mistaking pretty sounds for cohesive, coherent records. Perhaps shedding a band member provoked an identity crisis. Like a grade school student trying on new personas, wondering where they want to try to fit in, Sigur Ros cuts an album that shows they spent the ‘90s listening to the pop-industrial stylings of Nine Inch Nails and Smashing Pumpkins. The band drops its most aggressive record to date, polished to a slick studio sheen as if Mutt Lange was behind the boards. Heavy percussion, prog-metal tendencies, and actual verse-chorus-verse song structure, albeit at 6/8 time, make this perhaps the most accessible Sigur Ros record as well as the most unexpected. This is as tight, compact, and mainstream as this band will get, and the result is their only album you could credibly play on a road trip.

Silence Yourself

Savages – Silence Yourself: Politicized without being political, Savages are a thrash band that happens to play post-punk in the vein of Siouxsie and the Banshees and Pornography-era Cure. Jagged, angular guitar riffs, a tight rhythm section, and a snarling beast of a lead singer add up to one of the better debut records in recent memory.


Deafheaven – Sunbathers: It’s black metal. It’s post-hardcore. It’s shoegaze. It’s post-rock. It’s screamo. It’s walls of guitar noise, piercing Neil Young-style solos, blast-beat drumming and then…. silence. It’s gravity-defying and earthbound. One of the best explorations of musical space from the new breed of smarty-pants metal groups out there. But mostly it’s uplifting.

Yeezus [Explicit]

Kanye West – Yeezus: Let’s get this out of the way right now: Kanye is the GOAT. There’s no one better, past or present. He’s not on the next level, he is the next level. There’s enough going on here to write a dissertation on, and I suspect that people will try. Yeezus is an album full of self-loathing that reminds me of the controversy around Guns ‘n Roses’ “One in a Million;” Kanye’s misogyny says so much more about him than it does about anything else. “Dude misses his mom and lashes out” is the pop-psychology take I subscribe to. “The plan was to drink until the pain’s over, but what’s worse, the pain or the hangover?” he asked on his last album. We still don’t have an answer. He writes some of the most fascinating lyrics around: “She Instagram herself like ‘bad bitch alert / the Instagrammers watch like ‘mad bitch alert’” sums up so much of 2013 in terms of race, class, celebrity, and gender, and the cultural tourism that stems from those cleavages. But there’s more. The trappiest, trunk-rattlingest, DJ Khaled- est, “We tha Best-est” song on the album, the one you’d like to bump the loudest? It features a Nina Simone sample about lynching. Elsewhere, dancehall menacingly interrupts songs, beats drop out, and the most soulful song on the record, “Bound 2,” was the subject of an embarrassing video/home movie leak. Absolutely fascinating, and the album spawned some of the best music writing of the year. To wit: http://www.grantland.com/story/_/id/9395729/kanye-west-yeezus-fatherhood http://www.theatlantic.com/entertainment/archive/2013/06/how-kanye-wests-i-yeezus-i-is-like-i-sgt-pepper-i-or-i-kid-a-i-or-i-riot-goin-on-i/277087/ http://thetalkhouse.com/reviews/view/lou-reed http://www.slate.com/blogs/browbeat/2013/06/18/yeezus_samples_stream_a_mixtape_of_samples_from_kanye_west_s_new_album.html

Modern Vampires of the City

Vampire Weekend – Modern Vampires of the City: The greatest trick VW ever played was their first, applying African compositions to preppies and being in on the joke while too many critics weren’t. Now they’ve gone and made their most challenging album, both musically and lyrically. A mediation on growing old that shouts out my late night falafel joint and borrows from Souls of Mischief’s “Step to My Girl.”

My Bloody Valentine – m b v: An album that has no right to exist that sits comfortably alongside the rest of their cannon, twenty years after the fact. “Touched” and “To Here Knows When” from Loveless are the precedents for this album, which is less “pop” than their others. Unlike this album, their live show has some rust.

Tier Two, in no particular order

Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You.

Los Campesinos! – No Blues: Back to positivity for my favorite bunch of miserablists. It suits them well.

Atoms for Peace – Amok: This feels like a much more natural fit for Thom Yorke’s electronic- and percussion-based songs than Radiohead, as explored in this concert review.

Tricky – False Idols: One of the year’s most pleasant surprises, Tricky doesn’t attempt to reinvent the trip-hop wheel, but instead adds to it. This record would be ahead of its time in 1997, but it sounds just right in 2013, an interesting juxtaposition of the familiar with the challenging.

Besnard Lakes – Until in Excess, Imperceptible UFO.

Mogwai – Les Revenants: The late-career resurgence continues with this seething, slow-burn soundtrack work.

Run the Jewels – S/T: El-P, Killer Mike, and an 8-track.

Danny Brown – Old.

Tier Three, in no particular order

Wax Idols – Discipline + Desire.

Surfer Blood – Pythons.

The National – Trouble Will Find Me.

The Night Marchers – Allez! Allez!.

Tegan and Sara – Heartthrob: Pop suits them very well.

Waxatachee – Cerulean Salt: On the 20th anniversary of Exile in Guyville, we got this. We are very very fortunate.

Nick Cave and the Bad Seeds – Push the Sky Away: A quiet, slow burn that threatens to, but never does, explode. By far the best album of Nick Cave’s career to rhyme “Hannah Montana” and “African Savannah” (your move, Vampire Weekend), but probably only the second- or third-best of Warren Ellis’ career, who takes a well-deserved bow here.

Chvrches – The Bones Of What You Believe: Synth-pop done smart.

Tier Four, in no particular order

Pusha T – My Name is My Name:

No Age – An Object: It’s hard for a two-piece to get more stripped-down, but consider this their Darklands. The songs hold up.

Cult of Luna – Vertikal: More smarty-pants metal, complete with a bass drop in the middle of an eighteen-minute long song.

Local Natives – Hummingbird.

Mazes – Ores and Minerals: Someone else has also been growing up with Yo La Tengo.

A$AP Rocky – LONG.LIVE.A$AP: This album is a death-knell for regionality and sense of place in hip hop, but if you’re going to kill it, this is how you do it, with syrup, bounce, and trap executed perfectly alongside ‘90s-style bangers.

Rhye – Woman: Easier to pronounce than Sade.

London Grammar – If You Wait.

MIA – Matangi: Much better than you think it is.

The Men – New Moon: The nominally post-hardcore band continues to mutate, winding its way through folk, americana, and alt-rock.

Touche Amore – Is Survived By.


Daft Punk – Get Lucky

RVIVR – Paper Thin

Pusha-T – Number on the Boards

Pusha-T f. Kendrick Lamar – Nosetalgia

Spotlight Kid – All is Real

Phosphorescent – Song for Zula

Jason Isbell – Elephant

A$AP Rocky – Goldie

Deerhunter – Leather Jacket II

The National – I Should Live in Salt

Suede – For the Strangers

Fuck Buttons – Brainfreeze

Youth Lagoon – Mute

Janelle Monae – PrimeTime feat. Miguel

Majical Cloudz – Childhood’s End

Cheers – Janelle Monae, for giving more of herself than in the past. Kendrick Lamar on “Control.”

Top 15 Albums of 2013

Pre- (r)amble: 2013 was a rough year for me in terms of my role as music reviewer. I didn’t get to spend as much time reviewing, or even listening to, new records as I would have liked. Thanks to the distractions of work and moving (ya know, “adult stuff”) I probably missed out on some good things that I’ll hopefully get acquainted with somewhere down the road. In the meantime, I still listened to a lot of stuff, so here are my Top 15 albums of 2013.

1. Nick Cave and The Bad Seeds – Push The Sky Away (Bad Seeds Ltd.)

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It takes a few listens to get the genius of this quieter iteration of The Bad Seeds, but over time Push The Sky Away reveals itself as one of the stronger entries in the band’s thirty-year discography. Seeing them play these songs live helped too.

Read my full original review here (and note that I still didn’t fully ‘get it’ at this point): http://midnighttosix.wordpress.com/category/2013-reviews/nick-cave-and-the-bad-seeds/

2. Parquet Courts – Light Up Gold (What’s Your Rupture)

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Rock lost a lot of ground to hip-hop and pop over the last few years but these guys are one of the few young bands that give me hope. Consider them a new addition to the pantheon of great NY bands like VU, Richard Hell and The Voidoids, Sonic Youth…etc.

3. My Bloody Valentine – m b v (m b v)

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After twenty years of false starts and missed release dates, the fact that this album simply exists is probably enough to earn a spot in the Top 10. That it’s great is simply icing on the cake.

4. Mark Lanegan – Imitations (Vagrant)

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I’ve been waving the Lanegan flag for a long time now, and his latest album of all covers is yet another example of how he can apply his voice – an affecting blend of gruff and croon – to just about anything and make it great.

Full review here: http://midnighttosix.wordpress.com/category/2013-reviews/mark-lanegan-2013-reviews/

5. Uncle Acid and The Deadbeats – Mind Control (Metal Blade)

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A concept album about a murderous drug cult by a band that sounds like a cross between 1966 Beatles and 1972 Sabbath? Yup. It’s easy to see why they’ve been opening for Black Sabbath on their European reunion tour. I probably listened to Mind Control more than anything else that came out this year.

6. Kadavar – Abra Kadavar (Nuclear Blast)

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Another Sabbath-y record makes the list? Yup, and this time it’s Sabbath-as-power-trio. Tunes and facial hair for days.

7. Besnard Lakes – Until In Excess, Imperceptible UFO

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A bizarre album title, but it kind of fits the band’s expansive space-rock vibe. Slightly less engaging than Besnard Lakes’ previous two albums but they’re good enough to afford a small decline and still come out smelling like a rose.

8. Guided By Voices – English Little League (GBV Inc.)

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The second best of the four albums by Guided by Voices since reuniting (Class Clown Spots A UFO takes the top sot for me). It shows that there’s still plenty of fight left in this indie rock powerhouse and “Send To Celeste” should earn a place on future GBV best of comps. Thankfully there’s a fifth album already planned for 2014, squashing the recent break-up rumors.

9. Ghostface Killah – Twelve Reasons To Die (Soul Temple)

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Ghostface finds the prefect musical foil in Adrian Younge, who produced and recorded the ‘70s funk/soul-styled backing tracks for this hip-hop concept album. Weighing in at a lean and mean 40 minutes, it’s the best thing to come from the Wu Tang camp since Ghost’s Fishscale in ’06.

10. Dirty Streets – Blades Of Grass (Alive)

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Sounds like a lost power-trio from the classic rock era with echoes of The Who, Zeppelin and The James Gang reverberating throughout. Listen closely and you can also hear the influence of soul/funk instrumentalists like Booker T. and The MGs or The Meters lurking beneath the surface.

Full review here: http://midnighttosix.wordpress.com/category/2013-reviews/dirty-streets-2013-reviews/

11. Atoms For Peace – Amok (XL)

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To be honest, I’m not sure that AFP’s electronica/afrobeat hybrid of cold clicks and beeps is the best venue for the ultra-human warmth of Thom Yorke’s voice, but any album that features his voice is very good.

12. Mazzy Star – Seasons Of Your Day (Rhymes Of An Hour)

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Like m b v, I never expected to see this album either. Perhaps time apart has made Seasons a step down from their trio of classic albums, but the world is a better place with them active. “California” is especially chill-inducing.

13. The Black Angels – Indigo Meadow (Blue Horizon)

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Good droney psych-rock songs, with production adding more of a pop sheen than previous albums. Luckily it doesn’t take away from the music. This also seems like a good time to mention that I haven’t yet heard Dead Meadow or The Warlocks’ albums from 2013.

14. Queens Of The Stone Age – …Like Clockwork (Matador)

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Less gut-punching Black Flag/Stooges/Sabbath type of stuff and more glam ballads than the usual QOTSA album – luckily they’re the T.Rex/Bowie kind and not Motley Crue/Ratt. Josh Homme and whoever he happens to be working with these days know what they’re doing, even on an album whose lyrics are mostly asking “What the hell am I doing?”.

15. Robert Pollard – Blazing Gentlemen (GBV Inc.)

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The best of the 15(!) solo albums Pollard has released since 2006’s From A Compound Eye. Definitely the best album ever with a song called “Professional Goose Trainer”.

John’s Children – A Strange Affair: The Sixties Recordings (Grapefruit)

I’ve always placed John’s Children in the same category as The Seeds, The Germs, Billy Childish, The Fall…etc. – bands who may not be the most technically proficient musicians, but can transcend flat vocals, out of tune guitars and missed drum cues with great songs and spirited performances. Even the group’s manager Simon Napier-Bell (who also managed The Yardbirds) referred to them as “the worst group I’d ever seen”….and that’s their manager! Today the psych-mod pop group are best remembered for a four-month stint where they featured a young Marc Bolan on guitar before he split to form T. Rex. But relegate John’s Children to a simple historical footnote and you might miss the brilliance of hard-driving singles like “Desdemona” (written by Bolan, and featuring his trademark vocal warble), “A Midsummer Night’s Scene” and “Jagged Time Lapse” among others. They often recall the thundering sound of The Who, and in fact, the two bands once toured Germany together, until John’s Children were kicked off the bill for being “too loud and violent” according to Pete Townshend; no small feat given The Who’s own reputation for volume and violence. It was the band’s outrageous antics that ultimately kept them from achieving commercial success, but it made them influential to the UK Glam and Punk scenes, where such things were celebrated.
A Strange Affair is the final word on the band’s recorded output, featuring all their singles, their sole album, Orgasm (recorded in 1967 but shelved until 1970 due to protests over the title), songs from pre-John’s Children outfit The Silence, post-John’s Children singles by single Andy Ellison and a host of alternate recordings, mixes, instrumentals and other ephemera. The 2cd-set features fifty-two tracks in total, which is a lot of John’s Children. To be honest it’s probably too much, but there’s about 15-20 great songs you’ll keep coming back to (mostly from the band’s early singles). You probably won’t be apt to revisit the Orgasm album very often though because management decided to give what could have been a strong studio album a ‘live’ feel by overdubbing the screaming girls from the soundtrack to A Hard Days Night, rendering it unlistenable. In addition to the music, A Strange Affair also boasts fabulous liner notes by singer Andy Ellison (who would go on to form Jet and Radio Stars several years after John’s Children’s 1968 break-up) with song-by-song commentary and a fascinating band history taken from his upcoming autobiography.