Issue  #1  –  October  2014  -­‐  FREE  -­‐  killerponytail.com  

Pissed Jeans

Night School

Wild Ones

Neutral Milk Hotel  

SHE KEEPS BEES The Brooklyn duo prove that quiet is the new loud

  2  

So  we  made  it  to  the  first  ‘official’  issue  of  Killer  Ponytail!  Following  on  from  #0,  released  in  the  summer,  there  has  been  nothing  short  of  an  onslaught  of  new  and  exciting  music  released  since  then.  The  end  of  the  festival  season  means  bands  can  hole  themselves  up  and  do  what  hey  do  best:  write  and  record  some  great  music.  And  we’ve  got  some  spectacular  examples  right  here.      We’re  proud  as  proverbial  punch  to  have  Brooklyn’s  soulful  rockers  She  Keeps  Bees  gracing  our  front  cover  -­‐  read  on  for  an  in  depth  interview  with  singer  Jessica  Larrabee.      Elsewhere,  we’ve  also  got  a  hilarious  Q&A  with  Matt  Korvette  of  legendary  agro-­‐rock  outfit  Pissed  Jeans,  as  well  a  spotlight  on  Night  School  who  bring  with  them  some  seriously  60s  tinged  punk  as  well  as  a  nostalgic  look  back  at  Neutral  Milk  Hotel’s  seminal  album  In  The  Aeroplane  Over  The  Sea.  And  if  that  wasn’t  enough,  you’ll  find  all  the  usual  recommended  tracks  and  reviews  to  chew  over.      Thanks  for  reading  and  go  and  discover  some  amazing  new  music…  it’s  right  here.        

James  

If  you’ve  got  something  you  think  we  should  know  about,  or  just  want  to  say  

hi,  get  in  touch:  killerponytail@gmail.com  

 Twitter  

@killerponytail  

 Facebook  

Facebook.com/killerponytail  

  3  

Matt  Korvette  –  Pissed  Jeans    

SPEAKERS  PUSH  THE  AIR    

A  few  choice  tracks  that  have  been  rattling  our  speakers                    4  

SPOTLIGHT    

We  shine  a  spotlight  on  popgaze  stalwarts  Night  School                    5  

INTERVIEW    

We  meet  the  mighty  grit-­‐rock  duo  She  Keeps  Bees                  6  

Q&A    

Getting  weird  with  Matt  Korvette  of  Pissed  Jeans                  9  

INTRODUCING    

Wild  Ones  bring  some  synth-­‐pop  sunshine  our  way              11  

REVIEWS    

Music  +  opinions                      12  

RETRO  HYPE    

We  revisit  Neutral  Milk  Hotel’s  seminal  second  album:                  15  

  4  

Here  are  some  of  the  tracks  that  have  been  massaging  the  speakers  of  the  office  stereo  since  last  time…    

Ty  Segall  –  ‘Feel’  The  omnipresent  San  Franciscan  returned  this  summer  with  Manipulator,  an  album  that  gave  us  all  a  peak  into  the  psychedelic  psyche  of  the  man  himself.    Standout  track  ‘Feel’  delivers  a  sucker-­‐punch  of  hard  rock,  swirling  melody  and  an  unashamedly  ostentations  guitar  solo  with  a  wall  of  guitars  that  sounds  like  a  turbo  injected  bulldozer.  What  more  could  you  ask  for?  

Mina  Tindle  –  ‘Taranta’      ‘Taranta’,   taken   from   Tindle’s   forthcoming   album   Parades,   mixes   a  cocktail  of  Latin  beats  and  delicate  piano.  It’s  a  potent  and  intoxicating  journey,   during   which   Tindle   serenades   and   seduces   with   her   sultry  vocals.  Beautiful.    

Girlpool  –  ‘Blah,  Blah,  Blah’    LA  based  duo  Girlpool  are  about  as  direct  as   it’s  possible  to  get.  Short,  sharp   bursts   of   blistering   harmonies,   indie   rock   guitar   noise  with   pop  hooks   so   catchy   they’ll   stay   with   you   for   days,   maybe   even   months.  ‘Blah,   Blah,   Blah’   is   a   case   in   point.   Two   minutes   of   scrappy,   punk  infused   attitude   and   gloriously   lo-­‐fi   hooks.   That   fact   that   they   don’t  have   a   drummer   doesn’t   really   matter.   With   songs   this   good,   who  needs  one?     Girlpool  

  5  

NIGHT  SCHOOL  Everybody  knows  school  is  a  drag.  And   going   to   school   at   night   is  even   worse.   Remember   being  stuck  in  a  room  staring  out  of  the  window  during  the  evening  whist  your   friends   are   out   partying  sucking  nitrous  oxide  and  getting  drunk?   Well,  Californian   three  piece  Night   School  are   here   to  put   those   memories   far   behind  you.   They’re   ready   to   bring   their  own   party   straight   to   wherever  you  are.      Ex-­‐Whirr   member   Alexandra  Morte   has   been   busy   recently  and   has   now   formed   a   three  strong  outfit   in  the  form  of  Night  School,   creating   pure,   hardcore  nuggets  of  popgaze  crack  for  your  ears.  

The  band  are  set   to   release  their  debut   EP  Heart   Beat  on   7th  October   and   it   has   all   the  hallmarks   of   60s   pop   infused  teenage   heartache   coupled   with  the   trashy   garage   punk   attitude  to  get  over  it.      From  the  first  track  ‘Best  Friends’  to   closer   ‘Heart   Beat’,   Night  School   showcase   their   ability   to  sound   like   the   long   lost   children  of   the   Shangri-­‐Las   and   The  Crystals  if  they’d  been  locked  in  a  room   listening   to   90s   Sub   Pop  records   before   climbing   out   the  window   to   party   with   Echo   and  the   Bunnymen.   In   other   words,  pretty  amazing.  

  6  

When   you   listen   to   Brooklyn  based  duo  She  Keeps  Bees,  it’s  obvious   that   they   deliver  more   than   the   average   rock  ‘n’   roll   duo.   Jessica   Larrabee  and   Andy   LaPlant   have   spent  the   past   eight   years   honing  their   skills  as   two  of  the  most  dynamic   purveyors   of   dirty,  gritty,   soulful   rock   with   a  depth   of   emotion   it’s   hard   to  find  these  days.    In   their   fourth   album,  Eight  Houses,   She   Keeps   Bees   have  taken   a   departure   from   their  usual   wall-­‐to-­‐wall   gnarly  guitars   and   pounding   drums  and   taken   their   music   in   a  more   considered   direction.  There’s   still   plenty   of   muscle  in  the  music,  but  this  time  it’s  got  a  softer  touch.  

We  caught  up  with  Jessica  Larrabee  to  find  out  about  their  new  album,  what  inspired  their  change  in  direction  and  where  the  band  are  going  from  here.    

Tell  us  about  the  new  album,  how  did  it  all  come  together  and  what  was  the  recording  process  like?    

We  used  a  studio  and  a  producer  which  allowed  us  to  focus  on  

the   performance   and   mood  instead   of   Andy   engineering.  Working   with   Nicolas   Vernhes  was   transformational.   He  stretched   and   pruned   us.  Made   us   get   uncomfortable  and   real   and   break   certain  songs   apart.   He   could   pull  sounds  and  create  atmosphere  that   comes   with   years   of  honing   craft.   We   were  honored   to   share   that  experience   with   him   and   his  assistant  Gabe  Wax.      Eight   Houses   has   a   more  mellow   aesthetic   compared  with   your   previous   albums  and   there’s   almost   a   gospel  feel   to   some   of   the   tracks.  Why   did   you   choose   to   take  your  music  in  this  direction?  

  7  

We   definitely   took   our   time   and  sculpted   this   album.   I   think   it’s   natural  to   ebb   and   flow   from   aggressive   to  receptive  qualities.  We  set  out  to  make  a   different   record   but   as  we   cut   songs  from  the  album  it  definitely  turned  into  a  slow-­‐burn.  Though  ‘Raven’  is  probably  the   loudest,   hardest   song   we’ve   ever  recorded.    There’s   a   real   visceral   quality   to   the  lyrics   on   this   album,   tracks   like  ‘Burning   Bowl’   and   ‘Wasichu’  particularly.  What   did   you   draw   upon  when   writing   the   lyrics   for   Eight  Houses?    ‘Burning   Bowl’   is   a   clearing   ritual   that  anyone  can  do.  Write  down  elements  of  your   life   that   you   want   written   out   of  your  life.  Burn  it  safely  –  take  the  ashes  to  a   living  water  source  for  that  energy  to  be  recycled  by  the  universe.  

‘Wasichu’   –   The   more   I   read   of   early  american   history   the   more   I   realized  this  was  a  universal  story  of  “progress.”    

The   western   world   enclosing   on  indigenous  people  of   the  world  –   taking  their   natural   resources,   destroying   their  sense   of   self   through   assimilation,   be  concurred   or   die.   Punishment   for  speaking   your   language,   cut   your   hair,  believe  in  our  God,  stay  put,  be  quiet.    

What   inspired   you   (musically   or  otherwise)   during   the   song   writing  process  as  a  whole  for  the  new  album?  

Our   love   for  the  East  Village  Radio  show  called   Chances   With   Wolves   –   that   has  pulled   us   through   some   low   moments.  The   documentary   ‘We   Shall   Remain’  about  the  history  of  First  Nations  People  in  America.  Driving  through  the  States  on  our  tour  in  2012/13  –  really  being  able  to  see   America   and   it’s   small   towns  disintegrating   –   it’s   sadness   and   stories.  It  was  really  eye-­‐opening  and  affected  a  lot  of  the  songs  on  the  new  album.      You’ve   collaborated   with   Sharon   Van  Etten   on   this   album.   How   did   her  involvement  come  about?  

“We   definitely   took   our   time  and   sculpted   this   album...   it  definitely   turned   into   a   slow-­‐burn.   Though   ‘Raven’   is  probably   the   loudest,   hardest  song  we’ve  ever  recorded.”    We’ve   been   friends   for   years.   She   is   a  truly  giving  and  supportive   friend.   I  am  always  strengthen  by  her  loving  energy.  She   happen   to   be   in   town   while   we  were   recording.   We   love   the   way   our  voices  sound  together.    What’s   the   story   behind   the   album  title  and  the  cover?    We   came   across   an   incredible   family  photo   album   in   a   thrift   store   in  Wisconsin.   We   love   the   old   and  forgotten  and  giving  it  a  new  life.  Eight  Houses   comes   from   astrology   –   the  eighth   house.   This   also   our   eighth  release   and   we’ve   been   a   band   for  eight  years.  

  8  

Eight  Houses  comes  from  astrology  –  the  eighth  house.  This  also  our  eighth  release  and  we’ve  been  a  band  for  eight  years.    You’re  about  to  embark  on  a  pretty  big  tour.  How  does  it  feel  to  be  taking  the  new  songs  on  the  road?    Good!  We’re  happy  to  start  sharing  the  new  album.    How  do  you  feel  about  going  on  the  road  and  touring?    We  love  it.  Though  it’s  hard  –  we  are  honored  to  get  to  do  what  we  do.    Have  you  got  any  strange  and/or  funny  tour  stories?    In  Oslo  Norway  we  were  sound  checking  before  the  show  and  noticed  a  couple  was  on  a  date  watching  us.  We  finished  and  I  was  chatting  to  the  sound  guy  when  this  woman  (very  beautiful)  walked  over  and  kissed  me  on  the  lips  and  walked  out  of  the  venue.  Andy  quipped  “I’m  in  the  band  too!”  She  never  came  back.    What’s  next  for  She  Keeps  Bees  over  the  next  year?    Touring  as  much  as  we  can.    Eight  Houses  is  out  now  on  BB*Island.    

  9  

Ten  years  is  a  long  time.  As  the  years  pass,  every  now  and  then  certain  circumstances  combine  and  give  you  the  chance  to  take  stock  and  look  back  at  what  you’ve  achieved.  Well,  it  turns  out  this  is  exactly  what’s  happening  to  Pennsylvanian  agro-­‐rockers  Pissed  Jeans  as  their  debut  album  Shallow  is  being  subjected  to  the  reissue  treatment,  in  a  release  that  also  includes  their  inaugural  Throbbing  Organ  7″₺,  all  courtesy  of  the  alternative  music  mecca  that  is  Sub  Pop.    On  the  eve  of  the  reissue  of  Shallow/  Throbbing  Organ  we  caught  up  with  Pissed  Jeans  ring  leader  and  all  round  good  dude  Matt  Korvette  to  look  back  on  how  things  have  changed  over  the  past  ten  years,  and  to  find  out  if  being  in  one  of  the  loudest  bands  around  is  still  any  fun.    So,  a  remastered  version  of  your  debut  album  Shallow  is  about  to  be  released.  How  does  it  feel  for  your  first  album  to  be  subjected  to  the  reissue  treatment?    I’m  pretty  pleased!  It’s  nothing  super  fancy  really,  no  box  set  of  practice  recordings  and  prank  phone  calls,  just  a  record  we  are  proud  of  being  available  once  again.  I’m  glad  it’s  happening!  

Shallow  certainly  caught  people’s  attention  when  it  came  out.  How  do  you  think  it’s  going  to  go  down  second  time  around?    I  hope  people  enjoy  it!  We  still  play  a  lot  of  those  songs,  and  I  think  it’s  a  great  record.  It’s  kinda  fun  to  look  back  a  little  and  see  how  we’ve  matured,  or  completely  not  matured,  maybe.    What  was  the  recording  process  like  for  Shallow  back  in  2005?    Pretty  rudimentary,  although  not  too  different  from  now.  We  set  up  in  our  friend  Dan  McKinney’s  basement  studio,  filled  one  tiny  little  side  room  with  Brad’s  amps,  and  scared  the  hell  out  of  the  community  college  interns  who  helped  plug  in  cables.    Any  funny  stories  to  tell  about  the  recording  and/or  touring  you  did  in  support  of  Shallow?    We  traveled  in  Dave’s  small  bus  that  he  converted  to  run  on  vegetable  oil,  and  it  broke  down  like  three  times.  We  stayed  at  some  asshole’s  house  in  North  Carolina  and  while  I  was  sleeping  inside  the  bunk  (or  rather,  attempting    

  10  

to   sleep),   some   neighbor   was   fed   up   with   the   insane   noise  happening   at   the   asshole’s   house   and   threw   a   rock   through  the   window,   narrowly   avoiding   my   limp   body.   The   asshole  never  apologized.  I  distinctly  remember  staying  in  a  hotel  the  next   night,   and   swimming   in   the   indoor   hotel   pool,   where  Brad   sang   King   Diamond   songs   flawlessly   with   the   insane  pool-­‐room   acoustics.   One   night,   Robert,   from   the   band   Air  Conditioning  that  we  were  touring  with,  came  in  super  late  to  our   hotel   room,   covered   in   grass   clippings   from   laying   on  someone’s   lawn.   I   think   that   was   the   same   night   that   Dave  played  without  any  pants  on,  his  junk  swinging  in  the  breeze,  and  we  blew  the  power  out,  so  he  had  to  just  stand  there  and  try   to  cover  up.  There  are  actually  a   ton  of  stories   from  that  tour.  It  was  the  first  time  I  heard  Benny  Benassi,  which  kind  of  changed  my  life.    How  has  Pissed  Jeans  changed  as  a  band  in  the  near  decade  since  Shallow  was  released?      Both  Dave  and  Tim,  in  the  original  line  up,  have  left  the  band,  both  shortly   after   Shallow.  They   remain   close   friends.  We’ve  also   matured   from   our   early   20s   to   our   early   30s,   in   more  ways  than  I  could  have  imagined.  It’s  cool,  I  am  way  better  at  life  now,  but  sadly,  also  closer  to  death.    Hindsight’s   a   great   thing   –   would   you   change   anything  about  Shallow  looking  back  on  it?      

I  would’ve  boosted  the  vocals  in  the  mix,  and  I  don’t  say  that  as  an  egotistical  vocalist  (at  least  I  hope  not),  I  say  it  because  they  were  pretty  buried.   I   think   the   remastering   kinda   fixed  that,  though.  Besides  that,  great  record!    The   album   includes   the   2004  Throbbing  Organ  single.   How  did   you   think   the   single   was   gong   to   be   received   on   its  release  and  did  you   think  Pissed  Jeans  would   still   be  going  10  years  later?      I  thought  it  was  a  cool  record,  fairly  unique  for  its  time,  and  I  was  really  proud  of  it.  I  also  really  didn’t  care  about  it,  like  it  was  more   of   a   lark   than   anything,   which   is   probably  why   it  ended  up  being  cool.   If   I  was  strongly   invested  in   it,  we  may  not  be  chatting  right  now.    What’s  next  for  Pissed  Jeans?    A  new  record,  more  shows,  same  old  same  old  really.  Being  in  this  band   is   truly  a  delight,  both  performing   live  and  writing  and   recording   new   music.   I   don’t   think   we’ll   ever   stop,   at  least  until  Sub  Pop  talks  to  their  accountant  and  realizes  what  a  horrible  mistake  they’ve  been  making.    Shallow  is  out  now  on  Sub  Pop.  Read  the  full  interview  with  Matt  Korvette  over  at  killerponytail.com!      

  11  

Wild  Ones  Portland’s     Wild   Ones     are   no  strangers   to   adversity.   Back   in  2012   the   band   were   on   the  verge   of   meltdown,   their  original  drummer  left  the  band,  their   long   time   guitarist   had   a  busted   eardrum   the   new  drummer   brought   in   to   bolster  the   rhythm   section   suffered   a  punctured   lung   and   was   well  and   truly   out   of   action.  On   top  of   that,   the   band   were  financially   struggling   to   finish  their   debut   album   with   the  costs   of   mastering   and   mixing  racing   beyond   anything   the  band  could  afford,  it  looked  like  Wild   Ones   were   about   to   be  forced   to   put   a   stop   to   the  whole  thing.  

Luckily,   things   turned   around   in   a   big   way.   Through  determination,  the  band  recovered  (both  physically  and  financially)   and   by   the   beginning   of   2014,   Wild   Ones  were  stronger  than  ever  playing  shows  once  again  with  their   freshly   completed   debut   album  Keep   It   Safe  in  tow.  And  we’re  glad  it  all  worked  out.  

Keep   It   Safe  is   an   album  full  of  charm   and   melodic  overdrive   taking   influences  from   synth   pop   and   punk   to  world   beat   and   good   old  fashioned   rock   ‘n’   roll  delivering  a  sonic  punch  akin  to  the   likes   of   Vampire  Weekend  and  Hospitality.      Wild   Ones   managed   to   create  an   album   that’s   greater   than  the  sum  of  its  eclectic  parts  and  are   set   make   music   that  continues  to  be  so.      It   turns   out   what   doesn’t   kill  you   actually     does     make   you  stronger.  

  12  

E l i sa Ambrog io The Immora l is t (D rag C i ty) 21 October Resul t : A    

Elisa  Ambrogio,  better  known  for  fronting  the  jam-­‐rock  outfit  Magik   Markers,   is   no   stranger   to   making   serious   noise.   If  you’ve   ever   caught   a   Markers   show,   you’ll   have   been  subjected   to   the   heady  mix   of   feedback   and   distortion   that  Ambrogio   seems   to   revel   in   so   readily.     So,   you   could   be  forgiven   for  expecting  her   solo  album   to  be  along   the   same  lines.  But  you’d  be  wrong.      The   Immoralist   sees   Ambrogio   embracing   her   more  contemplative  side  in  creating  an  album  that  has,  at  its  heart,  a  tender  touch.      The   album   has   much   in   common   with   Andre   Gide’s   1902  book  of  the  same  name,  which  is  undoubtedly  its  namesake,  

in  that  they  deal  with  introspection  and  self  discovery,  and  in  Ambrogio’s   album,   these   two  emotive   forces  combine  with  emotionally  explosive  results.    The   opening   track   ‘Superstitious’   weaves   subtle   tones   of  guitar   and   soft   synths   as   Ambrogio   confesses   “I   get  superstitious   when   it   comes   to   you   and   me”,   bearing   her  soul  to  an  unidentified  lover.  Tracks  like  ‘Reservoir’  continue  this   trend,   steeping   their  own   sound   in  ethereal   tones   that  wash   over   the   immersive   vocal   line   leaving   you   feeling   the  need   to   come   up   for   air.   ‘Kylie’   combines   Ambrogio’s   free  form  vocals  and  a  cello  to  devastating  effect,  sounding  like  a  long  lost  Patti  Smith  track.      Despite   having   favored   a   more   down-­‐tempo   aesthetic  compared   to   her   previous   output,   the   spirit   of   Magik  Markers   does   make   an   appearance,   manifesting   itself   in  tracks  like  ‘Mary  Perfectly’  and  ‘Stopped  Clocks’  which  blaze  a  trail  of  frenetic  energy  in  their  wake  that  seems,  at  times,  unstoppable.  But  it’s  the  softer  side  that  wins  out  in  the  end,  and   it’s  Ambrogio’s   confessional   tone   that   runs   throughout  the   album   and   makes   The   Immoralist   such   a   captivating  listen.    

  13  

Thom Yorke Tomorrow’s Modern Boxes (se l f re leased) 6 October Resul t : D+      

 It’s  hard  to  know  what  to  expect  from  Radiohead  frontman  and  wiggly  dancer  extraordinaire  Thom  Yorke.  In  between  his  most  well   known   work   with   Radiohead   and   various   side   projects  including   the   wildly   successful   Atoms   For   Peace,   Yorke   has  somehow  found  the  time  to  produce  a  second  solo  record,  his  first  since  2006’s  Eraser.  It’s  being  touted  as  a  solo  record,  but  it  was   conceived  and  executed   in   close  partnership  with  Yorke’s  long   time   cohort   Nigel   Godrich,   who   also   happens   to   be   in  Atoms  For  Peace,  so  it’s  probably  more  appropriate  to  call   it  a  collaboration.    The  fact  that  Yorke  chose  to  side  step  traditional  models  of  the  established  record  industry  by  releasing  this  album  via  a  pay-­‐for  download   on   the   infamous   BitTorrent   site   is   probably   an  entirely   separate   conversation   in   itself,   but   it   does   bear   out  Yorke’s   considerable   frustration   with   the   industry  establishment,  as  well  as  his  willingness  to  openly  kick  against  it.    

 Despite   him   saying   the   release   was   an   “experiment”,   it  certainly   seem   to   have   an   anti-­‐establishment  motivation   far  beyond  just  trying  out  something  new.      But  industry  politics  aside,  what  of  the  music?      Tomorrow’s  Modern  Boxes  is  definitely  not  an  easy  listen,  but  given   Yorke’s   recent   output,   that  was   to   be   expected.   From  the  opening  track   ‘A  Brain   in  a  Bottle’   it’s   clear   that  Yorke   is  accessing   the   depths   of   his   experimental   side   relying  almost  entirely   on   samples   and   crunchy   drum   loops   to   create   the  songs  on   this  album.  Yorke  has   taken  his  music,   in  whatever  guise,  down  an  electronic  path  for  a  long  time  now,  so  it’s  no  real  surprise  that  Tomorrow’s  Modern  Boxes  is  composed  the  way  it  is,  the  trouble  is  that  the  glitches  and  overly  saturated  samples  tend  to  tread  water  in  places  and  closer  ‘Nose  Grows  Some’  seems  to  edge  into  sound  collage  territory,  rather  than  being  a  coherent  piece  of  work.    Tomorrow’s  Modern  Boxes  is  not  a  bad  record,  it’s  got  plenty  of  energy  and  dynamism,  not   least   in   tracks   like   ‘There’s  No  Ice   For   My   Drink’   which   builds   with   carefully   constructed  textures   and   ambient   overdubs,   crating   an   impressive   sonic  landscape.  But  as  a  whole,  Tomorrow’s  Modern  Boxes  comes  across   as   a   pretty   good   demo,   rather   than   a   fully   realized  album.  Maybe  it  just  needed  more  time  to  breathe.    

  14  

Aphex Twin Sy ro (Warp) 6 October Resul t : C+    

   Richard   D.   James  made   sure   the  Warp  records  hype  machine  was   in  overdrive  during   the   run  up   to   the   release   of   his  new   album,   Syro.   But   who   can   blame  him?  It  was  the   first  Aphex  Twin  album  in  13  years,  so  it  was  kind  of  a  big  deal…  a  big  deal   that,   it   turned  out,  delivered  in   multiple   ways.   With   tracks   like   the  catchily   titled   ‘4   bit   9d   api+e+6  [126.26]’,   Aphex   Twin   showcases   his  sinister   vision   of   dystopia   through  electronic   music.   Sonically,   Syro   isn’t  that   different   to   his   previous   output,  but     ‘different’   isn’t   really   what   you  want  from  an  Aphex  Twin  album,  more  of  the  same  will  do  just  fine.  

Ex-Hex Rips (Merge) 13 October Resul t : A-    

   With  former  Helium  and  Wild  Flag  member  Mary   Timony   serving   as   the   driving   force  behind  Ex-­‐Hex,  it  was  nearly  impossible  for  this   project   to   fail.   But   provenance   aside,  what   counts   is   the   music   (obviously),   and  with   Rips,   Ex-­‐Hex   have   proved   that  experience  counts  for  a  lot.      From   the   opening   onslaught   of   ‘Don’t  Wanna   Lose’   to   ‘You   Fell   Apart’,   Ex-­‐Hex  deliver   an   unrelenting   juggernaut   of  taught,   vampish   punk   energy.   And   ‘Waste  Your  Time’  sounds  like  it  could  comfortably  sit   alongside   any   Kim   Deal   fronted   Pixies  track.  Rips   is  basically  a  messy,  unmissable  teenage   house   party   strewn   across   35  minutes.    

Myster ies New Age Mus ic Is Here (Fe lte) 27 October Resul t : B-

   

When   it   comes   to   musical   enigmas,  you’d   be   hard   pushed   to   find   a   band  more   shrouded   in   mystery   than   LA’s  (aptly   called)   Mysteries.   The   trio   keep  their  identities  a  closely  guarded  secret,  but   this   aesthetic   perfectly   suits   their  sound.   New   Age   Music   Is   Here  immerses   you   in   its   own   world   filled  with   frenetic   resonance   and   spectral  melodies.   Tracks   like   ‘Knight   Takes  Rook’   and   ‘Motion’   burst   with   sonic  verve  across  dissonant  synth  hooks,  and  ‘Deckard’   sounds   like   the   sinister  brainchild   of   Trent   Reznor   and   Antony  Hegarty.   In   parts   it   feels   like  Mysteries  have   reigned   themselves   in  a   little,  but  as   a   whole,  NAMIH   pushes   confidently  towards  off-­‐kilter  pop  maximalism.    

  15  

Every  issue  we  revisit  a  game-­‐changing  album.  This  time  it’s…      

Neutral  Milk  Hotel  -­‐  In  the  Aeroplane  Over  The  Sea  

When   it   comes   to   bands   that  have   a   jagged   history,   few   come  close   to   Neutral   Milk   Hotel.   In  between   the   squabbles   and  mental   breakdowns   it   seems  amazing   that   they  succeeded   in  making   such   a  meteoric  dent   in  the   alt-­‐rock   genre   of   late   90s  Americana.   But   they   did.  In   The  Aeroplane   Over   The   Sea  turned  out   to   be   the   band’s   major  breakthrough,   but   the   pressures  that  came  with  the  attention  and  relentless   touring   schedules   of   a  hugely  successful  album  bared  its  load   on   the   output   of   the   band,  and  especially  on  the  mental  

wellbeing  of   lead  singer/songwriter  Jeff   Mangum,   who  allegedly  had   a  fully   fledged   breakdown   just   six  short   months   after   the   album’s  release.   But   that   doesn’t  make   the  visceral  nature  of  the  songs  any  less  effective.    The   album   was   created   as   a  concept   album   about   the  experiences   of   holocaust   victim  Anne   Frank,   and   the   two-­‐step  tempo   of   the   trumpets   and   drums  on   tracks   like   ‘The   Fool’   and   ‘Oh  Comely’   gives   the   album   a   certain  ceremonial   feel,   which   is   entirely  fitting.  

  16  

Listening  to  In  The  Aeroplane  Over  The  Sea  fifteen  years  after  it  was   released   is  a   stark   reminder  of  how  relevant   the   song  writing  is  and  how  inventive  Mangum’s  lyrics  are.      From  the  first  bash  of  the  acoustic  guitar  on  opener  ‘The  King  Of  Carrot  Flowers  pt.  1ʹ′   it’s  clear  that  this  was  an  album  that  was   created  solely  for   the   people   creating   it,   like   a   cathartic  private   escape.   It   just   so   happens   that   the   album   hit  a  zeitgeist  championed  by  bands  like  R.E.M.  (in  the  early  days)  and   Wilco.   The   album   became   greater   than   the   sum   of   its  parts.    The   songs   on  In   The   Aeroplane   Over   The   Sea  have   been  covered   by   the   likes   of   The   Dresden   Dolls,   The   Mountain  Goats   and   Frightened  Rabbit   and   the   album   continues   to  be  an  underrated  selection  of  wildly  energetic  melodies  brought  to  the  fore  with  the  urgent  vocal  stylings  of  Mangum.      Neutral  Milk   Hotel     went   on  indefinite   hiatus   shortly   after  In  The   Aeroplane   Over   The   Sea  was   released   (the   band   even  turned  down  an  extremely  lucrative  support  tour  with  R.E.M.)  but  have   recently   reformed   to   play   a   series   of   live   shows  drawing   heavily   from   the   album   in   their   set,   proving   that   In  The   Aeroplane   Over   The   Sea   remains   as   relevant   today   as   it  did  when  it  was  released  fifteen  years  ago.      (Right)  Neutral  Milk  Hotel  performing  at  The  Satyricon,  Portland,  OR  in  1998  

  17