Watch “Uncle Acid and the Deadbeats – Dead eyes of London” on YouTube

Some real #BlackSabbath influences going on with these guys. It sounds straight out of the 1972 acid rock playbook. 

I hear them adding a little punk influence as well.

That’s a good thing!

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Heavy Trash – Pick It Up

The actual title of the CD and vinyl is Heavy Trash – Going Way Out With Heavy Trash [2007]


The bastard cousin to Jon Spencer’s genre-demolishing Blues Explosion, Heavy Trash features Speedball Baby’s guitar brawler and producer extraordinaire Matt Verta-Ray in a project that drinks down the best of roots, R&B and rock-a-billy. Going Way Out with Heavy Trash, the second offering from these kings of buzz saw guitars and late night incantations, was recorded in three different countries and features an international cast of musicians – Canada’s The Sadies, members of Denmark’s Tremolo Beer Gut and Powersolo, and New York City’s Simon Chardiet and Phil Hernandez. Heavy Trash is what the name implies – filthy and hard – the soundtrack to the strung-out road trip from which there can be no return.

Pick up yer trash here

Saturnalia in the Gutter

Alternative-rock vets Greg Dulli and Mark Lanegan managed to transcend ’90s grunge with the Afghan Whigs and Screaming Trees, respectively. Dulli now
does business as the Twilight Singers, while Lanegan makes solo albums and lends his nicotine-scarred pipes to other people’s albums, including Queens of the Stone Age’s and Dulli’s. Both struggled with drug abuse—they lived, friends didn’t. They’ve spent the 21st century trying to figure out how to age respectably, if not gracefully, without selling their souls to Satan or Botox. And they’ve stayed pals over time. This is tough for guys in their 40s. Just ask one.

So Saturnalia naturally vibes as a record made by men who haven’t worn a band T-shirt to a bar in years. Mortality, regret, guilt, and whatever remains of passion after you say “I was in love with you” all weigh heavily on these two. Fortunately, they’re both versed in meaty riffs, acoustic drama, noirish electronics, and a nice heavy backbeat.

The grimy boogie on “Idle Hands” reminds us that “we are the devil’s playthings.” Dulli is more convinced than ever that “life is shame, and your hands are stained,” especially when he’s talking about himself. “Hold on,” Lanegan intones on “All Misery/Flowers,” as if he barely can. These guys sound like they’re genuinely torn between looking up at the stars and trying to find an exit to the sewer. Neat trick, that.

Here ya go

New Breeders

The Breeders released their last album – Title TK – back in 2002. Since then, of course, Kim Deal has been part of one of the most highly successful and warmly received music reunions of all time, getting back together with the rest of The Pixies for a series of exhilarating live shows in 2004 and 2005. After that, Kim headed back to Dayton, Ohio to start writing a new record. Mountain Battles is the result. It’s an album which captures all the bittersweet electricity of classic Breeders records like Pod and Last Splash, and which breaks new ground at the same time; classic sounding, yet as relevant and exciting as ever. Mountain Battles was recorded by Steve Albini at Electrical Audio in Chicago, Erika Larson at Stagg Street, Manny Nieto at Manny’s Studio, at Refraze in Dayton and by Ben Mumphrey in the Basement. 4AD. 2008.
– Product description from Amazon.com

Here it be

Oxford Collapse hang out with the sheep!!!

This is my current fav bands. Mixing a bit of Fugazi, Superchunk with something akin to The Mars Volta we get an 80’s college rock tribute…American rock at it’s best…guitars blazing …vocal yelps and howls…everything I love about Rock and Roll. Go get their music…NOW!

Guitars

Bio:

Oxford Collapse could have happened anywhere and anytime between 1980 and today, but it’s in New York City, it’s right now, and it’s leaving a dry, predictable status quo in emerging hipster music hanging in peril.

Buzzing and restless, overjoyed and confrontational, Oxford Collapse’s music telegraphs a passion for the last two decades of American indie rock exuberance. More importantly, they look to that music’s forefathers – bands like The Embarrassment, Mission of Burma, the dBs, Pylon, and the Feelies – who charged forward, innovatively liberating what they needed from their well-versed musical pasts and building them into a shaken, florid, ever-focusing present, only to be appreciated in the future. Moreover, these bands performed with a marked sense of innocence, amazement, a feeling of wonder that’s all but gone in the deluge of post-punk revivalism, which only seems to recall the oily glitter of Blondie or the sharp edges of Gang of Four and P.i.L. Oxford Collapse chooses not to crowd these lanes, particularly since there’s so much open ground to cover elsewhere. Blue skies, wide expanses, the drive to discover Some Wilderness within and without the maps of musical hierarchy.

There’s Michael Pace, guitarist and vocalist, who pulled the neck of his long-suffering Sekova Les Paul copy right off during the recording of Some Wilderness. Dan Fetherston, tasked with learning how to play drums specifically for this band, and filling the spaces capably with the disco ride. Yong Sing da Silva, who graced the stage at Pianos in a too-tight Polo shirt, Tuffskins and flip-flops, on bass (he’s moved onto medical school; the equally fashion-conscious Mike Henry now fills those shower shoes). The band started on a semester abroad in London, creating dissonant screamo-maximalism for complete cathartic release. Then they found their ways, sculpting the dissonance around the sounds of their Poindexterian brethren, opening chords and tunings, building dynamics against one another, and toning down the distortion on the relentless speed they play at. Pace’s guitar style closely mimics the anti-aircraft shred of Roger Miller, crashed right into the nimble lyricism of early Peter Buck. The rhythm section responds in kind, with dizzying bass scales all over the register and drumming that nearly topples over on itself while filling every last breath of space. The ten songs on Some Wilderness barely allow you to catch a breath – each track is performed with the density of three songs crammed into one – but the joyous melodies and frantic vocal delivery will ground your listening experience, even as the songs veer off, model-rocket style, into the sky; they’re due to come back down soon, parachute blowing in the wind and cargo bay of tentworms dazed and broken.

Oxford Collapse plays the sounds of the suburbs, the blueprint of early summer, hopped up on candy scarfed down at bar mitzvah blowouts, at the batting cages, sneaking around all day at the multiplex, then turfing the neighbor’s lawn on a riding mower for good measure. They flip over big flat rocks and gaze fascinated at the insects living a private life beneath. They know that the devils and the details don’t need one another to get by, and demonstrate that with some of the wildest manic pop abandon heard in years.

For more information, contact Call Girl PR at 773-205-8688 or email Amy Lombardi (amy@callgirlpr.com) or Kate Urcioli (kate@callgirlpr.com).

Present #1 Oxford Collapse-Some Wilderness.zip