Choo Choo la Rouge has shared “In Between,” the third and final single and video from their forthcoming new album The Sunshine State, their first LP in 14 years which arrives April 5 on Kiam Records. According to singer/guitarist Vincent Scorziello. “To me this song is about bumping around in the middle of life, a little restless and feeling not quite sure about it all,” shares singer/guitarist Vincent Scorziello. “Somewhere between being happy and dealing with your obligations, between what you have and what you think you want, daydreaming your way into trouble, possibly. Choo Choo la Rouge refers to a part of the Boston subway system that passes through working class communities of the city as well as well as a certain Ivy League a campus. The band was a mainstay of the fertile Boston scene of the late-’90s and early aughts, alongside similarly arresting acts such as Papas Fritas and Hallelujah The Hills. So, the fact Choo Choo la Rouge are back and by all accounts sounding as good as ever is gift that I welcome wholeheartedly.
The accompanying video for In Between was created by artist, Matthew Schlanger known for his real time analog compositions. He created this video using a Rutt Etra, a 1970s scan processor.
TOUR DATES 4/4/ Kingston, NY @ Chromatic Studios w/ Jennifer O’Connor & Katie Prascher 4/5 Brooklyn, NY @ Main Drag Music w/ Antietam, Jennifer O’Connor, Jay Walsh (of The Douglas Fir) 4/6 Nyack, NY @ Main Street Beat instore at Noon 4/6Boston, MA @ The Midway Cafe w/ Lupo Citta, The Bret Tobias Set, Jay Walsh (of The Douglas Fir) 4/7 Providence, RI @ Myrtle w/Volcano Kings, Jay Walsh (of The Douglas Fir)
Back in 2020, the duo of Vertro Ubretl and Chri Milton who previously teamed up in the wildly underrated, Greed Island delivered a concise collection of engaging lo-fi pop on Archer (Tiny Room Records), their debut EP as Tiny Wine. The band recently released a video for the EP’s title track and according to Vertro it incorporates a concept that he had been sitting on for a while.
“Pretty soon after Tiny Wine put out our EP we sadly had to go on hiatus. This year everything aligned so we decided to start back up and be active again. With all that in mind we had the 3 year anniversary of the EP release and I had been sitting on this idea for a while and felt it could be a good way to bring some life back into the Archer EP.”
The Archer video has a decidedly vintage feel and like the has track itself posses something vaguely familiar yet completely exhilarating. On the surface it follows two masked people running amok in the woods, but Verto tells us there’s a bit more to it.
“I tried to incorporate a lot of little things from my life. We used my family camcorder I grew up with and went out to my old neighborhood woods I used to run around in to film. The mask concept is based off the idea that we can use masks to hide and feel more confident during times you can’t be yourself. It’s a pretty simple story of going to a familiar place and losing yourself to conquer . The band got some valuable assistance from Verto’s lovely wife Faye Butler, Tiny Wine’s Alex Keown and Cassie Brazeau.” – Vertro Ubretl
Tiny Wine are currently working on a new EP that they plan to release this year. You can catch their rounded out line up of Ubretl, Milton, Ryan Harrison (Rick Rude), Alex Keown and Auston Kennie (Kill-Kennie) when they play a hometown gig at Auspicious Brew in Dover, N.H on April 6th.
At the end of each year I have the best of intentions of putting together a post on the albums I connected with most during that calendar year, but more times than not those posts seldom reach completion. But, this year felt different from the start and in a banner year for music that it was I found the time and focus to share some thoughts on my favorite releases. Before we start I’d like to share a personal note: This year was a bit of a two sided coin, on one side I experienced the indescribable pain of losing my older brother to cancer and on the other side I discovered a little hope when I brought our shared vision that began as teenagers sharing a room littered with musical instruments, Replacements, Husker Du and REM records to start are own label. Best Brother Records came to fruition last fall and was named with intention, for him. The thread that ran through most of my year was as usual music, new records to get lost in and a lot of live music experiences seem to be a way to try to move forward. Weather it was making my inaugural trip to Dayton, Ohio for Guided By Voices 40th Anniversary celebration with my oldest son, or standing front and center while Australia’s post-punk upstarts, Vintage Crop made their U.S. debut at The Lilypad, or getting to see my beloved Swirlies at Nice, A Fest it was all gold and I’m grateful to all those who had a hand in making these records and those show a reality. I hope you find something you like or even something new to obsess over on this list. If so, please hit the links that are provided to support these deserving artist. Now without further delay are the 30 Albums, EP’s, Comps., and Reissues I found indispensable in 2023.
30. Luxor Rentals – Burn Yr Trash (A Sham Decade Production)
Over the summer, Luxor Rentals quietly released, Burn Yr Trash and it landed so firmly in my lo-fi wheelhouse I continue to play it regularly and endlessly. The songs at times can veer into sprawling jams at others more direct and concise pop nuggets. Luxor Rentals have created their own identity that incorporates both 90’s lo-fi weirdness of early GBV, The Clean, Chris Knox as well as a touch classic rock oddity reminiscent of Syd Barrett. Burn Yr Trash is peculiar, engrossing , mysterious and I just can’t hear it enough.
29. Smug Brothers – In The Book of Bad Ideas (Anyway Records)
On their 9th release Columbus, OH’s long running mid-fi pop concern, Smug Brothers have turned in a career highlight with an album overflowing with Kyle Melton’s rich melodies and exquisite pop hooks buoyed with big guitar crunch and dexterous percussion courtesy of former Swearing at Motorists/GBV drummer, Don Thrasher.
Nicole Yun issued her 2nd solo LP in April with the wonderful guitar driven indie pop that occupy Matter. The Eternal Summers guitarist and vocalist explores themes of race, discrimination and inclusion on songs that are both infectious, thought provoking, and anthemic. Yun continues to display a gift of lyrical phasing and expertly expressing emotional depth.
27. Red Pants –Not Quite There Yet (Meritorio Records)
Not Quite There Yet, finds the The Madison WI, duo of Jason Lembeth and Elsa Nekola creating melodic, fuzz drench pop songs that are times delicate, at others charging and always captivating. Witching Hour and See You At The Turnstile are both a superb examples of the wonderful noise pop that Red Pants create, but there is plenty more to compel me throughout the rest of the album.
Without a doubt one of the years most pleasant discovery was D.C.’s Birthday Girl, who released a debut album full of lovely melodies and shimmering guitar chords over 8 tracks in a brisk 24 minutes that bring to made 90’s greats, Bettie Serveert and early Blake Babies, but with a bit more tension and Mabel Canty’s vocals are completely bewitching. For the uninitiated this rising trio consists of Canty and Isabella MacKaye the children of Brendan Canty (Fugazi, Rites of Spring, Messthetics), Alec MacKaye (The Faith, Ignition, Warmers and Hammered Hulls) and rounded out by drummer Tess Kontarinis. I’m very much looking forward to catching the trio Live this year when they stop in town in March to support Mary Timony.
25. Landowner – Escape The Compound (Born Yesterday Records)
The 4th album from Holyoke’s, MA’s Landowner, Escape The Compound makes another case that they are one of the most captivating young acts around. Each of the albums 12 tracks are as vital as the next, jam packed with with taut rhythms and clean angular guitar lines as singer Dan Shaw delivers his twitchy and contorted speak/sing vocal. Escape The Compound is a compelling minimalist post-punk record with a timeless quality.
24. Lost Film – Keep It Together (Relief Map Records)
In a year that was marred with deep personal loss, Keep It Together was an album that expressed a lot of the things that I couldn’t. The things that come along with such profound experiences. It may seem dark or heavy but rest assured there was light to be found with these wonderfully infectious jangle and dream pop songs. On Keep It Together, Lost Film’s principle member Jim Hewitt channels his affinity for classic C86/Sarah Records bands and combines with his considerable lyrical gifts while addressing themes of loss, surveying the past and cautiously stepping out of your comfort zone. Keep It Together is place to take a respite and enjoy the beauty of guitar based pop music.
Cameron Keiber formally of Boston’s noise rock concern, The Beatings has been recording sad fuzz pop under the Eldridge Rodriguez moniker for the past 16 years issued ER’s most sonically direct and arresting song cycle to date. I immediately connected with Atrophy on personal level. Perhaps, it’s the perfect balance of dread and hope that occupies these songs coupled with it’s biting lyricism and massive hooks that keeps me coming back. Atrophy has it all.
Wednesday’s 5th LP is the most crystal clear outing for the Ashville’s NC’s quintet. The band that started as the songwriting project of Karly Hartzman has certainly evolved over handful of releases and with the addition of MJ Lenderman they’ve seamlessly been able to widen their sonic pallet. On Rat Saw God the band create a stunning document of Hartzman’s weighty tales of dysfunctional America which find buoyancy above a chaotic and affecting blend of aggressive shoegaze and lap steel. An intersection of disaffected punk and bleak country musings. I’m glad I’m here for it.
21. The Lost Days – In The Store (Speakeasy Studios SF)
Born out of a mutual admiration for The Byrds, Bill Fox, and GBV, Tony Molina and Sarah Rose Janko (Dawn Riding) formed The Lost Days. With Molina handling songwriting duties and Janko taking on the lion share of the vocals, save for a couple of tracks the album In The Store offers up a wonderful collection of lo-fi folk pop and further cements Molina as one of the most gifted songwriters around.
20. Connections – Cool Change (Trouble In Mind Records)
The Columbus OH, mid-fi pop dynamos returned in March with their first album in 5 years. A faux break-up album with a shit ton of killer hooks. Cool Change is brimming with outstanding scrappy power pop songs and pristine melodies. With a collection this strong it really is difficult to pick a favorite, but I happily point you to tracks such as The Bird Has Flown, I Confess, and It’s A Start which effectively display Connections’ penchant for creating gloriously catchy guitar driven pop songs.
19. R. Ring – War Poems, We Rested (Don Giovanni Records)
The musical pairing of Kelley Deal (The Breeders) and Mike Montgomery (Ampline) returned in January with their sophomore full length and what a return it is. With the two seasoned artists displaying their songwriting prowess over an album of varied and exhilarating guitar driven rock songs that incorporate punk, folk, and funk. The 1st time I head War Poems, We Rested I knew it was going to be a personal favorite.
18. Pardoner – Peace Loving People (Bar None Records)
San Francisco’s Pardoner continued their hot streak by following up 2021’s excellent Came Down Different with a bit of a step forward in the evolution of the bands pop friendly punk. Peace Loving People seems to be a bit more accessible with elements of punk still firmly in place, but its the big guitar riffs and massive hooks are at the forefront on tracks like Get Inside and the insanely catchy Deadbeat that keep me reaching for this album.
17. Drop Nineteens – Hard Light (Wharf Cat Records)
Back in January Greg Ackell sent a tweet stating that he had been in contact with his former bandmates to talk about what a modern Drop Nineteens song would sound like and by August they had reunited and recorded a new batch of song for Hard Light. The announcement came along with the albums astounding advance track, Scapa Flow. Hard Light is deeply rooted in the shoegaze textures of their 1992 debut Delaware, but the new material finds the band exhibiting a little more finesse, grandeur and sonic sophistication on the new material. It’s a highly rewarding LP that never sounds like a nostalgia trip, quite the opposite actually these songs find Drop Nineteens sounding as fresh and fascinating as ever.
16. Yo La Tengo – This Stupid World (Matador Records)
With album 17, Yo La Tengo delivered their most raucous album in a decade. A love at first listen experience, but somehow it reveals something new on every listen. The band recorded most of the album Live to tape and jammed it full of distortion drenched rock songs, tender ballads, and woozy drone. Delivered with skill and subtly the way only Yo La Tengo can.
Scotland’s Spare Snare took to celebrating their 30th anniversary by once again enlisting Steve Albini to record their 12th LP. The Brutal instantly became a go to album for me upon it’s release in September because it simply hit all right sonic spots. The stunning post-punk of Hold Your Sex and Ring To Me, a bit of kraut rock excellence with I have you and the reflective Bleached Out Rainbows make for one of the years most satisfying listens.
The remarkable 5th LP from these shoegaze legends arrived in September and found the quintet delivering an album still very much rooted in the genre that they helped to define, but one that finds Slowdive continuing to push their sound in new directions. Check out the gorgeous, Andalucia Plays, a dreamy number that finds Neil Hallstead’s gentle delivery vocal floating above acoustic guitar strums and modular synths. Elsewhere, Chained To A Cloud finds Rachel Goswell’s angelic vocal being immersed in layers of guitars, drums, and electronic drone for one of the albums most captivating tracks.
One half of Philadelphia’s lo-fi vets Von Hayes, Peter Bothum returned In July as Brother of Monday armed with 10 wonderful pop nuggets. The albums centerpiece, Tomb of Falcons display Bothom’s gift for delivering songs ripe with melancholy and lovely hooks. It’s nearly impossible for me to play this album just once and due to the 25 minute run time and the homespun quality to these tracks, Brother of Monday seems to reveal something bright and enticing with each listen.
12. Quasi – Breaking The Balls Of History (Sub-Pop)
The duo of Sam Coomes (Heatmiser/Jon Spencer & The Hitmakers) and Janet Weiss Sleater Kinney/The Jicks/Wild Flag) have been making bright ramshackle power pop together on and off for the past 30 years. Reportedly, fueled by the pandemic and general state of the world, Breaking The Balls Of History is a cutting collection of songs that should be worthy soundtrack to the coming election year or to help the general the world is burning sentiment. Quasi strikes a balance between joyous pop moments and sinister lyricism which are elevated by the duo sharing vocals duties, Coomes providing a tuneful racket behind his rocksichord and accompanied by one of the most creative and captivating drummers around in Weiss.
An unexpected gift in the form of a new Sparklehorse album 13 years after Mark Linkous’ passing. The album was pieced together by Mark’ brother and sister in-law consisting of material Mark was recording for the 5th Sparklehorse album. The results are captivating and this collection gives us a glimpse of what Mark Linkous had in store for us. Just as ramshackle, fractured, and beautiful as we’ve come to expect, and somehow better than we imagined.
File Under: Psychotic Soul. The cracked art prog trio of Robert Pollard, Todd and Tim Tobias returned after putting the project on the shelf in 2017 with the flat out superb, Squeeze The Needle. The 20 track LP sits proudly next to the outfits best releases with 20 tracks that blend elements of classic rock in the vein as if Beefheart and Blue Oyster Cult, as well as pristine acoustic balladry, and skewed pop. Circus Devils are back!
9. American Analog Set – For Forever (Hometown Fantasy)
The beloved Austin quintet released their first new album in 18 years with For Forever in late October. Throughout the LP they retain their knack for sparse arrangements that marry slowcore, post-rock and kraut rock which are on full display on the one two punch of Long Limbs and By The Bridle. Then there’s Camp Don’t Count that displays a brighter and dare I say grittier side of the band. I find myself reaching for For Forever regularly, not just because it’s an album I never expected but because it’s better than ever could have wished for.
8. Eyelids – A Colossal Waste of Light (Jealous Butcher Records)
In March Eyelids marked a decade since their formation by teaming up with Peter Buck to produce their follow up to the excellent, Accidental Falls. A Colossal Waste of Light firmly cements the quintet as indispensable purveyors of moody and thrilling guitar pop. The band certainly benefits from two gifted songwriters in Chris Slusarenko (Boston Spaceships/Sprinkler) and John Moen (Boston Spaceships/The Decemberists) which contributes to the dynamic sound of the LP. Both of whom dish out hooks expertly and at times with beautiful subtlety.
With Villagers, Tim Rutili’s gift for writing and performing compelling music that sounds both new and old simultaneously is on full display. His fractured folk songs adorned with electronics, static and fuzz so tastefully layered into each track that they become vital elements of each song. At it’s core Villagers finds Rutilli delivering his most direct set of songs which are warm, complex and compelling often at the same time. On Ox Eye a bluesy folk song that give a nod to Rutilli’s former band Red Red Meat, albeit a bit more raucous and rattling. Villagers is a rare thing, rich with emotion but never heavy handed and each song is as vital as the next. Califone pull off a neat trick of delivering both warmth and inventive exploration.
Located just 80 miles outside of Dunedin, NZ is the town of Oamaru, perhaps an unlikely place to find the creators of one of my favorite album of the year, Cuticles. Major work finds the a trio tossing off an album full of spectacular lo-fi songs rooted just as much in 90’s American indie touchstones as in Flying Nun’s classic acts. Right out of the gate you notice how well written and executed these songs are. Throughout Major Works, Cuticles take a refreshing approach to their songcraft by blending their influences with both deft exploration and wry sense of humor. I can’t wait to see what Cuticles have in store for us next.
5. Bug Club – Rare Birds: Hour of Song (We Are Busy Bodies Records)
Released at the peak of autumn Rare Birds: Hour of Song, a sprawling 47 track LP with 23 of those being spoken word interludes between the Welsh trio’s whipsmart punk, garage, and distorted psych leanings make for an enthralling listen. At times Bug Club wear their influences like badges of honor, channeling The Clean on We Call Can’t Play Saxophone and Marriage might just be the catchiest track on the album, think Pavement at their hookiest. Rare Birds is a wonderfully odd collection of skillfully written and played fuzzy folk pop that continues to reveal it’s charms with subsequent listen.
4. Guardian Singles – Feed Me To The Doves (Trouble In Mind Records)
Auckland, NZ post-punks, Guardian Singles somehow managed to follow up their tremendous 2021 self titled debut with an album that picks up pretty much where they left us. Feed Me To The Doves finds the band continuing to pay homage to their early post-punk influences particularly Mission of Burma, while managing to create something completely unique. A fine example is Pit Viper where Guardian Singles unleash buzzing guitars and infections melodies while delivering a socio-political commentary.
3. Guided By Voices – Welshpool Frillies (GBV Inc.)
The 2nd of 3 LP’s that Robert Pollard and Co. issued this year. The middle child if you will, between La La Land and the recently issued Nowhere To Go But Up. Welshpool Frillies is chock full of captivating songs, performed with deft and captivating musicianship while Pollard fires off 14 tracks the give the listener exactly what you want from a modern GBV LP, big riffs, soaring choruses, and two tracks of concise gorgeous lo-fi. For a band on an unparallel 16 album run, Welshpool Frillies stands tall as a modern classic.
2. Famous Mammals – Instant Pop Expressionism Now! (Siltbreeze Records)
Comprised of vets of the Bay Areas underground, Famous Mammals released a captivating record of off kilter pop, tape loops, and catchy as hell fuzz guitar compositions. Instant Pop Expressionism Now! is a gem of album that combines bits of 60’s psych, Elephant 6, and 90’s lo-fi through a post punk filter. On tracks like Comets For Poets and Private Anchor, Famous Mammals reveal a gift for creating propulsive and exhilarating pop songs with guitar jangle, fuzzy melodies and an anything goes ethos. The album has a wonderful sense of adventure, like some lost artifact of 90’s home recording heyday, but the more I listen the more it becomes apparent that Instant Pop Expressionism Now! could only have been created in the present to incorporate these influences so seamlessly to create a record this special.
1. Washer – Improved Means To Deteriorated Ends (Exploding in Sound Records)
Mike Quigley and Kieran McShane made their recoded return last spring after a couple of excellent pre pandemic releases with their debut LP, Here Comes Washer and 2017’s All Aboard. The minimalist garage punk that the duo displayed on those earlier albums are still very much present on Improved Means To Deteriorated Ends and that alone would make for a satisfying listen, but Washer went ahead and enhanced things with an album full of tension, clever melodies and lyrical depth. The addition of Becca Ryskalczyk on a few tracks adds warmth to some of the more dour themes that run through the album, specifically on Answer To Hell. Since it’s release last April, Improved Means To Deteriorated Ends continues to find it’s way on my turntable, on long runs, and long work commutes because it succeeds so wonderfully at expressing fears, thoughts and hope that we all feel from time to time. Also, it’s a truly expectational and cathartic rock record.
Last Friday former Wrens lynchpin, Charles Bissell released his first new music in a little over two decades. Bissell returned under his new moniker, Car Colors and armed with the staggering Old Death 12″ on the newly re-christened Absolutely Kosher Records. Perhaps an overshare, but on very first listen I became a bit emotional over the track’s absolute power, beauty and how much I connected with all 7 minutes of it. Music indeed can heal and in dealing with the aftermath of losing a sibling to cancer this track provides a shot in the arm and much needed respite in an otherwise difficult and dark time. Also, he would’ve fucking loved it.
A sequel of sorts to The Meadowlands according to it’s creator. Within Old Death, Bissell references his 2016 battle with cancer and the contentious break up of The Wrens with the lyrical jab “if the meadow lends itself to war”. The track begins with a singular chiming guitar and Bissell’s familiar warm vocal delivery that slowly gains momentum and buoyancy via a full array of instrumentation, massive hooks, and a soring chorus. According to a recent press release Bissell states that Old Death is a fair representation of Car Colors 2024 impending full length. Old Death addresses life’s darker side while making it sound like victory. A most triumphant return of a singular artist
Listen/own: Old Death + And It’s All Guns and Arrows (alt. take)/ I’ll Bear (non album track)
Today Red Pants, the Madison, WI lo-fi recording project of Jason Lambeth issues Gentle Centuries which follows up the excellent When We Were Dancing released early this year on Paisley Shirt Records. For those familiar with our pages may remember last winters coverage of Red Pants here. I recently caught up with Jason to discuss the new album and video which we’re thrilled to be premiering today to learn a bit more about how these songs came to life in Lambeth’s basement. “Gentle Centuries began in the early winter of ’22 when Elsa Nekola and I started practicing more and more in my basement. We ended up recording an acoustic version of the last Red Pants album live to my 4-track and that led us to want to continue recording more on the 4-track as opposed to on the computer like we usually do. Because we were in my basement instead of our usual practice space, I got to incorporate my acoustic guitar and my old Hammond organ as the main instruments. This was our first time playing with the organ and drum set up. Elsa picked up on my Stereolab/Krautrock vibes immediately on Century Phaser and that sort of busted the door wide open to try anything. One session, I presented Paper Moon as a couple new chords and we made it through it well enough on the second take that I was able to finish writing the song around the improvised take. ”
Check out the charming new video for Paper Moon. Highly recommended for fans of cassettes, ice coffee, not to mention intelligent and captivating post-underground pop songs. You can obtain both the limited edition tape or digital copies of the album at Red Pants Bandcamp.
Over the past year or so, I’ve been hearing rumblings of anonymous new hardcore act in the city known as DONE. The band has very little presence on-line and their bandcamp page doesn’t contain any music, but that’s all about change when the band releases their debut full length, Aged & Untreated next month. The band has issued the following statement to provide a hint or two: “It started off with J. writing riffs and programming drums until he got together with D. They then began to start the project writing songs remotely and matching up recordings during quarantine. Things began to open up so they got together a few times and immediately knew this was to be a full band. They teamed up with old friends B. & L. and recording immediately began. The full length was recorded through early 2021-2022 in our practice space. Having cut their teeth in more bands than you can shake a stick at, Done are both a reaction and a provocation to the ebb and flow of heavy music in Boston. They are equal parts His Hero is Gone and Boston hardcore with a spritz of 2nd wave black metal. On paper you’ll go Oh I know exactly what this sounds like, yet it feels fresh, like a recently opened cut. Crafted and performed with a ferocity that only age and dismay can produce. They are unfortunately still here, and angry about it.”
It’s a thrill to be premiering the sub two minute pummeling and enthralling advance track, The Wall In Every Door from DONE ahead of their debut release and that’s not all, on Saturday September 10th Tor Johnson Records and The Ash Gray Proclamation will present DONE’s tape release show at O’Brien’s along with Sexless Marriage, Deprogrammer Cult, and Glue Horse. Tickets & Info
I first became aware of J. Robbins through his seminal post hardcore outfit, Jawbox sometime in the early 90’s when I stumbled upon their debut, LP Grippe. A bit of a eureka moment that led me to follow along very closely to that bands initial run as well as the projects that J. embarked on after Jawbox disbanded in 1997. Robbins continued creating vital and inspiring work with both Channels and The Office of Future Plans. In 2014 Robbins released the Abandoned Mansions EP, the first release to use his name and hint of what would arrive 5 years later with his flat out excellent debut solo full length, Un-Becoming. J. is currently out on a short tour supporting Bob Mould that will bring him to the Provincetown Town Hall on Friday.
However, before that J. will be performing a special one-off headlining date tonight at The Haymarket Lounge at The City Winery along with support from Chris Colourn (Bufflao Tom) and Hilken Mancini (Fuzzy) tonight. I recently had the pleasure of speaking with J. about being back on the road, his writing and recording process, and the upcoming Jawbox tour.
The Ash Gray Proclamation: Can tell me a little about your songwriting process and specifically how the songs the occupy 2019’s Un-Becoming were crafted?
J. Robbins: Well, I’m forever trying to get myself into the mode of most of my favorite songwriters, which is to dedicate a little bit of time every day to the work. Unfortunately, that rarely happens, it’s more normal for a fragment of melody or harmony to pop into my head and then I’ll kind of steal time here and there to refine it. Where “Un-Becoming” is concerned, the biggest change in my process is that I wrote a lot of it on acoustic guitar, in an open tuning that is both forgiving (in that it just sounds great even when you strum the open strings) and takes away many of my guitar-playing fallbacks and habits. I was conscious of wanting to write songs (with an emphasis on what’s sung and on structure) as opposed to getting hung up trying to out-write and impress myself with clever guitar ideas. I was conscious of wanting to be more direct than I ever had before, both musically and lyrically.
The Ash Gray Proclamation: When writing do you know right off the bat that it will be a J. Robbins solo recording or are there times where you find songs come through that a better suited for the full band treatment?
J. Robbins: Well, the record is almost entirely in the format of a 4-piece rock band, and for better or worse most of the time that’s what I hear in my head. I can see it moving further away from that. I’ve been incorporating electronics more and more, for one thing, and this tour is also reminding me how much I love this acoustic solo/duo configuration with my friend Gordon Withers on cello. But one of the other main points of “going solo” rather than creating a new band entity is to feel unconstrained. I want to just make whatever feels good/right to make, period.
The Ash Gray Proclamation: That album saw you partnering once again with famed D.C. institution, Dischord Records. Would you mind revisiting how you first came to work with them and how they came to release your last album?
J. Robbins: Well, Dischord initially worked with Jawbox because we were friends with Ian MacKaye (Jaxbox bassist Kim Coletta and I both worked at Dischord in the late 80s), we were a highly active band in the DC scene and the association made sense. We are all still friends and basically, when I had finished working on Un-Becoming, I asked and Ian said yes. There is no other label I want to work with. There is real trust there and that is so, so important.
The Ash Gray Proclamation: Can you tell me a littel bit about the work that’s being put into your next solo album?
J. Robbins: I’ve been working on it, right now there are 15 recorded songs in various stages of completion. I hope to have it all wrapped up, mixed and mastered etc. by Fall or by the end of the year if it comes to it, and hopefully release it as early as feasible next year. Lyrics are the main sticking point, I hear melodies right away as I’m writing the music but, the lyrics take me forever because I just don’t want to feel like I’m slacking or faking it or just throwing any old thing out into the world. Writing lyrics, in its way, is a bit scary. So, about 1/3 of the tunes are missing vocals.
The Ash Gray Proclamation: Can you tell us the pairing and the current tour with Bob Mould came about?
J. Robbins: Well, Bob asked! I’ve been a huge fan of his work forever. I’d say Husker Du was a ground-zero formative influence on me. So, I’ve met Bob over the years a few times, and we know so many people in common, and over theyears I’ve played a couple of shows (Jawbox supporting Sugar, my band supporting Bob Mould Band). It turned out that Bob was actually a big fan of Un-Becoming, and he literally just wrote and asked.
The Ash Gray Proclamation: On this current two week tour you are being accompanied by Gordon Withers. Can you tell us what it’s been like for you to be performing to audience again and being able revisit your catalog?
J. Robbins: Well, my old band Jawbox reformed in 2019 for a reunion tour and are planning to play more shows this year. So, if you sort of factor out the world hitting pause for 2 years while everyone agreed there was a global pandemic we had to stay home for, I’ve actually been playing a lot. But all the songs Jawbox is playing at this point are quite old, and that material was all put together to some degree collectively when we were all a lot younger. So, this tour with Bob is really enjoyable for me because it’s actually not about revisiting stuff, it’s focused on more recent music of mine and on things I’m creating now. My sense of what I’m trying to express is a lot clearer, and feels somehow more pure or true, than it was in the initial incarnation of Jawbox. It feels great to play these songs to people. It’s been amazing to meet people after these shows who had never heard of me before but who were only there to see Bob, but who ended up feeling a connection with my songs in real time in that room on that evening. It’s fantastic to play with Gordon, he’s one of the most creative, astute and enjoyablemusical collaborators I’ve ever had, he’s an easy dude to be around as well. His contributions to Un-Becoming and to our previous band Office of Future Plans are just fundamental to the sound of those projects. He elevates everything he contributes to.
The Ash Gray Proclamation: Is there any material in the current set that you hadn’t played Live before, due to the pandemic or any songs that you’re enjoying performing again?
J. Robbins: We’ve been playing some brand-new songs that are part of the work-in-progress second J. Robbins album, and we’ve been playing “Dead-Eyed God” which will be on the album but which I released on Bandcamp in 2021.
The Ash Gray Proclamation: In addition to the current solo tour you are about to get busy with this summer with Jawbox. Can you tell me about the idea to play a New York residency where you will play the bands catalog over 3 nights?
J Robbins: It was an invitation from the venue. They offered us a 3-night residency, and we decided to make it a more complete overview than we could just do in one set. But it’s not exactly the full record in sequence thing that some bands do, there will be some overlap and some songs that we just don’t do. The general form is to go from our earliest stuff on night one to our most recent stuff on night three. We are re-learning a lot of material we didn’t get to on the 2019 reunion tour.
The Ash Gray Proclamation: I’m sure at this point you almost expect the will we get another Jawbox record question, but I’d remiss if I don’t ask if that’s something the band would or has considered recently?
J. Robbins: Initially we agreed we wouldn’t even entertain the idea of writing new material, but we’ve all become much more open to it recently. We had a member change when Bill Barbot decided he didn’t want to participate in our 2022 plans. Brooks Harlan is playing guitar with us now and having new blood in the band does feel reinvigorating. I can’t say we have any specific plans, but Jawbox does feel unexpectedly like a living breathing band in the present tense, rather than some sort of victory lap, nostalgia thing, so we’ll see.
With today’s release of Guided By Voices’ 35th album and instant classic, Crystal Nuns Cathedral as well as their highly anticipated return to Boston tomorrow night at Royale, I thought it would be a great time to check back in with GBV’s Doug Gillard. This time around we focused our conversation on the creative process behind Crystal Nuns Cathedral.
The Ash Gray Proclamation: Crystal Nuns Cathedral has been accumulating high praise from critics and fans alike and with just a few days until release day, I’m curious to know what makes CNC so special among the already impressive run of releases from this line up?
Doug Gillard: We approached this one with more of an eye to get slightly bigger sounds, slightly more homogenous throughout the album and deliberately less idiosyncratic mixes than usual perhaps. Its still us and all our same instincts, so there are still occasional synths, field recordings, amp drops, wild ideas, etc.
The Ash Gray Proclamation: On one of many standouts on the album, Climbing A Ramp offers a bit of orch pop before coming to an anthemic and rather exhilarating finish. Can you tell me how that track came together and what your vision was for both the string arrangement and guitar composition?
Doug Gillard: Bob’s demo had all the elements in it, plus his production notes. On this one, the cello line was something Bob already had in mind and sang it on the demo. I transposed it and wrote it out for the cellist Chris George, ex of the NYC string quartet Invert. For the song Eye City, those were cello parts I came up with. As far as guitar for this song, I just played Bobs chords on a couple electrics and acoustics, and already had the lead tracks done on a session at home so we used that instead of my trying to re-play it in studio. I could’ve tried, but it was one of those that came together so well I didn’t wanna fuck with what was already down.
The Ash Gray Proclamation: I read that on Earth Man Blues the band recorded their parts separately due to constraints of the pandemic. Was there a chance this time around for you all to get together in the same room to work on these songs?
Doug Gillard: We tend to do a great deal of remote home recording each album anyway, but especially during 2020 and 2021. For CNC, most of us were at the drum sessions one day or the other, and Travis Mark and I worked on guitar and bass parts at his studio. We did basics on select tracks all together for Its Not Them, Mirrored Aztec and prior, but not for Styles We Paid For or Earth Man Blues. Straynge dayze, you know.
The AGP: Did the process for recording Crystal Nuns Cathedral follow the usual process with Bob sending each of you demos to work on individually or was there any deviation from that or special instruction for this batch of songs?
Doug: Well, we receive the demos as a group at the same time, and that process didn’t change for this album. Bob usually gives us general production notes each record, so, nothing unique about this process with regard to past albums.
The AGP: As the band is currently in rehearsals for some upcoming East Coast show’s this weekend, what songs are you most looking forward to performing and can I cast a vote for Huddled?
Doug: Thanks, I agree, that’s a great tune! It’s a nice challenge doing Climbing A Ramp, which is sounding really great, and Excited Ones is such a great pop song that it’s really fun to play. Mad River Man has a special quality, so am looking forward to that one as well. Eyes Of Your Doctor is a slow boiler too. Total rock.
The AGP: What’s the rest of the year ahead look like for you personally as well as GBV?
Doug: Continuing to record, release records and play live shows, some side recording projects here and there, hopefully traveling to see family.
The AGP: During the last few conversations we’ve delved into some current listening habits. What albums have you been enjoying as of late?
Doug: Mainly, its going back and refamiliarizing myself with things I used to put on all the time but haven’t in a while. Lately its anything by The Groundhogs from ’68-’75. I’ve always been a big fan and can find a few things to love on all those records. Highly interesting stuff. Magazine- first 3 albums plus have been delving into their live performances from the time, TV appearances, etc., John McGeoch’s always been near the top of my favorite guitarists, and Barry Adamson’s career started here. All the Thin Lizzy output and solo Phil Lynott material. Probably prompted by news last year of a statue of Phil unveiled in Bromwich, UK which looks more like Vonnegut than Lynott.
Thank you to Doug for taking the time to chat during a busy week of rehearsals and travel to conduct this conversation.
Crystal Nuns Cathedral is available now via Rockathon
Don’t miss Guided By Voices Saturday, March 5th at Royale
Madison, WI post lo-fi concern, Red Pants will release their 2nd long playing album, When We Were Dancing on February 18th via San Francisco’s exemplary Paisley Shirt Records. The release will be available both digitally and on limited run of 100 cassettes. For the uninitiated, Red Pants is the solo project of Jason Lambeth: curator and owner behind Painted Blonde Tapes, avid 4-track cassette user, father, and all-around supporter of independent & DIY music-makers. Jason is joined by longtime collaborator Elsa Nekola on drums and vocals to complete their most spacious sounding album yet.
Today Red Pants give us the privilege of premiering their new song and video for Another Haircut. On the track the duo delivers massive hooks, guitar fuzz, and driving beats. The video for the noise pop gem has the feel of an adorable home movie, featuring Lambeth’s two daughters.
Red Pants forthcoming new album, While We Were Dancing is avialable for pre-order now.
theashgrayproclamation.com 