Bob Mould – ‘Blue Hearts’ (Merge Records)

Bob Mould – ‘Blue Hearts’ (Merge Records)

It’s all gone a bit Bob Mould bonkers this last month what with the post Husker Du reissues and Box set bonanza and this here new album. Solo album number fourteen if I’m not mistaken has seen him go from the darkness of ‘Black Sheets Of Rain’ to his last offering ‘Sunshine Rock’ covering just about everything in between the polar opposites.

‘Blue Hearts’ see that sunshine hidden behind some pretty dark clouds from the crackle of the opening acoustic Mould certainly does wear his heart on his sleeve as he pulls no punches.  Government, Climate change its a sad portrait he paints but one that can’t be denied or refuted. From there on the guitars are turned up to eleven and the ‘Next Generation’ crashes in.

Sure it’s familiar territory but I kinda like it when Bob Mould is raging against the machine.  Like being hit on the temple by a wrecking ball, Mould gives his guitar one hell of a seeing to as he doesn’t go gently into the night.  But wait it gets darker, ‘American Crisis’ is as angry as I can remember him Husker Du and Sugar included. Regan Bush and now Trump there seems to be an ever lasting conveyor belt of shit rolling through the white house doors and Sub two and a half minutes punk rock with a dark melodic chorus is the only thing that can save us. It’s crushing.  Pausing momentarily in the middle for breath (Not).

Fourteen songs mean its not anywhere near prog lengths for each number as one crashes into the other like a stormy sea its wave after wave as your senses get pummeled with each track devouring the last but there is respite with acoustic guitars being abused on ‘Forcast Of Rain’  even with its church organ sarcastically filing ever corner of darkness with more darkness its bleak and depressing but it isn’t if you know what I mean.

I don’t know if I should admit to being pleased that Mould is pissed off or disappointed with the wider world because it brings out the beast in his songwriting and this has been the case here.  He voices his disappointment at the state of the US at religion at the fact that man in the western world doesn’t seem to learn from its mistakes and as he roars “never thought I’d see this bullshit again” yet here he is. It’s fair to say Trump won’t ever see Mould wearing one of his trucker caps nor waving a patriotic flag at a rally any day soon.

‘When You Left’ sounds like a one-take number as Bob tries to break his voice it does mellow (did I just say mellow) I mean ease up a little on the next couple of tracks maybe Bob thought we needed to catch out breath and he’d be right.

I bet Bob’s guitar amps all go to eleven, it sounds like they do and it must be exhilarating to listen to the playback in a good studio as he wrestles to control the feedback on ‘Baby Needs A Cookie’.

The fact that this came out the same day Idles released their new album I think it’s safe to say that alternative guitar music is in safe hands.  Men who give a shit are standing on a mountain raging against the pricks and I like it.

It might be brand new but I already love it.  Don’t ask me in a month I love it here and now and it’s just what I need to hear every time I turn on the news I’m disappointed and I find myself shouting at the interviewers to hold the politician’s feet a little closer to the fire and I wish one day the powers that be will tell the truth or be a little honest or humble but until then I’m getting behind people like Bob Mould because they can turn that rage into something quite beautiful.  ‘Blue Hearts’ is Bob Mould doing what he excels at just at the right time. Anger is an energy and energy is something Bob Mould has in spades – come to think of it anger is something he’s pretty bloody good at as well – Exquisite record.

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Author: Dom Daley

Bob Mould releases new video for ‘Siberian Butterfly’

Bob Mould releases new video for ‘Siberian Butterfly’

TAKEN FROM NEW ALBUM, BLUE HEARTS,
OUT SEPT 25th ON MERGE RECORDS

 the latest single from his explosive upcoming album Blue Hearts, which arrives via Merge Records on Friday, September 25th. Pre-orders are available HERE.

Mould released this statement about ‘Siberian Butterfly’:

“The genesis of ‘Siberian Butterfly’ spoke to the notion of “collectors” — people with excessive means who gather the works of creative folk for their ego-driven portfolios.

“As I kept writing, the narrative shifted toward themes of change, growth, and freedom. These motifs are central to how we become our true selves. This is how we begin our journey toward our true identities.

“It’s autobiographical as well. I put myself through some self-hating years as a young gay man — never feeling “good enough”, not recognising the positive qualities I had to offer, while inhibiting the development of my gay identity.

“I hope for a world where all people can be what they want to be. Life seems shorter every day; maybe this simple song can be of use to people who are struggling to find their true selves.”


‘Siberian Butterfly’ is the third song released from Mould’s 14th solo LP, Blue Hearts – and follows the provocative first single ‘American Crisis‘ and the powerful second single ‘Forecast of Rain‘. Blue Hearts is the rawest and most confrontational work of Bob Mould’s four-decade solo career, a raging 14-track collection described by its creator as “the catchiest batch of protest songs I’ve ever written in one sitting.” Produced by Mould at Chicago’s famed Electrical Audio with longtime collaborator Beau Sorenson engineering, the album – which once again features backing from the crack rhythm section of drummer Jon Wurster and bassist Jason Narducy – nods to the veteran singer-songwriter’s groundbreaking past while remaining firmly planted in the issues of the day. Where Sunshine Rock captured Mould at his most “violently happy” (according to Rolling Stone), Blue Hearts is both seething and pointed, the raging yin to ​the previous album’s positive yang. Acoustic opener ‘Heart on My Sleeve‘ catalogues the ravages of climate change, while ‘American Crisis’ – written initially for Sunshine Rock but deemed “too heavy” by its writer – spits plainspoken fire at the people who fomented this catastrophic moment in history, while ‘Forecast of Rain’ questions the ethos of American community: “This love this neighbour thing: Does it apply to all mankind, or only those who fit neatly inside your narrow lines?”

Photograph Credit –  Blake Little Photography

Redd Kross release cover of classic Sparks song

Redd Kross release cover of classic Sparks song

Today, California legends Redd Kross have released “When Do I Get To Sing ‘My Way’” the latest single to be lifted from their much-anticipated album Beyond The Door out August 23rd on Merge Records. On “When Do I Get To Sing “My Way’ Redd Kross reinterpret the beloved Sparks single with a new blast of fresh hooks and hum-able melodies.

About the cover, Sparks’ Ron Mael says, “Redd Kross has always been one of my favorite bands and that opinion was cemented when I heard their amazing version of our ‘When Do I Get To Sing ‘My Way.’ To do a version of that song with a completely different musical approach from the original while keeping every ounce of the original sentiment was an amazing feat. I love it!” “When Do I Get To Sing ‘My Way'”

Beyond the Door can be pre-ordered now on CD, digitally, and on limited-edition opaque purple Peak Vinyl in the Merge store. Redd Kross have also announced a massive US tour with the Melvins which kicks off on September 3rd in San Diego and includes shows in major markets including Los Angeles, Seattle, Boston, Philadelphia, Brooklyn, and more.

Beyond the Door is an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “The Party”). Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge. The album marks Redd Kross’ most collaborative record to date. Steven describes this evolution: “Jeff is still very much the driving force behind the compositions, but with more help from me than ever. Jeff and I haven’t shared this much of the writing and singing since Born Innocent in 1981.” Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are longtime members of the Redd Kross live band, but this album marks the pair’s recorded debut with the group. Mixed in Los Angeles by Steven McDonald, Beyond the Door includes notable guest appearances from Anna Waronker (That Dog), Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer.

On the surface, the album title is a playful reference to an Italian horror film the McDonald brothers watched as children, a loose rip-off of both The Exorcist and Rosemary’s Baby that stars Juliet Mills of ’70s television program Nanny and the Professor. But like all things Redd Kross, it would be a sad injustice to stop digging there. No one knows what lies Beyond the Door… but we’re all in front of it.

Inspirations as varied as K-pop, glitter gangs, embarrassed tweens, long-term relationships, a mysterious character named Fantástico Roberto, and much more all contributed to Beyond the Door, an album that lures the listener into Redd Kross’ secret club full of riddles and inside jokes, with the ultimate reward of the perfect pop moment!

New album ‘Beyond the Door’ out August 23rd via Merge Records.

Redd Kross – Beyond the Door pre release details

Redd Kross – Beyond the Door pre release details

On August 23, Merge Records will release the much-anticipated Redd Kross LP Beyond the Door. Today, Beyond the Door can be pre-ordered now on CD, digitally, and on limited-edition opaque purple Peak Vinyl in the Merge store.

Redd Kross have also announced a massive US tour with the Melvins which kicks off on September 3rd in San Diego and includes shows in major markets including Los Angeles, Seattle, Boston, Philadelphia, Brooklyn, and more.

Beyond the Door is an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “The Party”). It’s a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge.

Beyond the Door marks Redd Kross’ most collaborative record to date. Steven describes this evolution: “Jeff is still very much the driving force behind the compositions, but with more help from me than ever. Jeff and I haven’t shared this much of the writing and singing since Born Innocent in 1981.” Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are longtime members of the Redd Kross live band, but this album marks the pair’s recorded debut with the group. Mixed in Los Angeles by Steven McDonald, Beyond the Door includes notable guest appearances from Anna Waronker (That Dog), Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer.

On the surface, the album title is a playful reference to an Italian horror film the McDonald brothers watched as children, a loose rip-off of both The Exorcist and Rosemary’s Baby that stars Juliet Mills of ’70s television program Nanny and the Professor. But like all things Redd Kross, it would be a sad injustice to stop digging there. No one knows what lies Beyond the Door… but we’re all in front of it.

Inspirations as varied as K-pop, glitter gangs, embarrassed tweens, long-term relationships, a mysterious character named Fantástico Roberto, and much more all contributed to Beyond the Door, an album that lures the listener into Redd Kross’ secret club full of riddles and inside jokes, with the ultimate reward of the perfect pop moment!

Bob Mould – Sunshine Rock (Merge Records)

Bob Mould – Sunshine Rock (Merge Records)

It seems like an eternity since the news was released that Bob Mould was releasing a follow up to the fantastic ‘Patch The Sky’ but the day is upon us and on this day ‘Sunshine Rock’ is breaking out over the skyline.

The album opens with the title track and a sprightly jump around it is too. There’s a rough edge and a fire inside his belly that still burns and fans will be delighted that everything is in order and ‘Sunshine Rock’ gets off to a fizzing start like a pop song with loud guitars. We head off in an upward trajectory from there on in as the guitars are turned up loud and when I say loud anyone whos seen the guy live can testify he doesn’t scrimp on the volume and he’s transferred that onto this record. ‘What Do You Want Me To Do’ is loud and it sounds like the record of a guy with hunger and love for what he’s doing its exhilarating stuff.

Splitting Mould albums into light and dark categories can get in the way, sure sometimes it’s inevitable but for me, this one most definitely goes into the big bright happy category.  I don’t think its a coincidence it has the title it does.  Clear your mind and let Sunshine into your life.  Blimey, it works. I must say I’m really enjoying this record on initial plays and I’m sure the deeper I get into it and over time my views might well change but initially this might just be one of his finest offerings to date (solo wise) ‘Sunny Love Song’ is vibrant and skips along LOUDLY!  I find the coloured vinyl quite hypnotic as well looking at it whilst spinning and letting the music try and sink in ‘Thirteen Dozen Roses’ has a sharp riff that dominates the song as Mould slashes at his Strat and beats the chords out.

‘The Final Years’ is a real shift in gears as a keyboard dominates the intro but as the verse begins it drops back to the rhythm section and sparse keyboards as the band locks in for a real slab of new wave This could easily be some 80’s brit pop. Bob turns the amps back on and lets the warm valve heat up as ‘Irrational Poison sounds like a band just playing live and capturing some real live in the studio magic.

If your looking for possible radio singles ‘I Fought’ wouldn’t be one of them as Mould spits out the lyrics laden with expletives like he really means it maaan. ‘Sin King’ sounds like cruising down the freeway in a classic car with the sun blazing down and the radio on full volume its got a real road trip feel to it hidden in the depths of ‘Sunshine Rock’ a song that will give more and more over time I’m sure of it.

‘Lost Faith’ is a more laid back mellow affair at first few plays it had some REM in its melody with strings in the background and well in the background to be fair. the track builds up to a bridge that just soars before falling back to and repeat its like song climbing with Bob Mould it ebbs and flows wonderfully  and like he might be in the next room writing these and your the first person and maybe the only person he’s singing to its got that personal feel to it which is a magical thing to capture. mould stays ahead of the game on ‘Sunshine Rock’ and is as relevant as he’s ever been which is some mean feat considering how quickly the musical sands of time shift and many a musician and songwriter lose their footing and stumble and fall, Mould remains at the top of that dune. He can change gear from song to song whilst ‘Lost Faith’ is calm ‘Irrational Poison’ and ‘Sin King’ are heavy but in a good way and the campfire stum of ‘Camp Sunshine’ is as easy listening as you’re going to get. As a final hoorah you have the frantic one-two of ‘Send Me A postcard’ (made for throwing your ageing body around at some sweaty live show sometime soon.) Mould bows out of ‘Sunshine rock’ with the splendid ‘Western Sunset’ and already the world is a better place as a Bob Mould record gets released into the ever-maddening and confusing world there are few things to rely on and this guys records are one of them. ‘Sunshine Rock’  is a must own record it’s as simple as that what an awesome way to end your week than playing this over and over and over again.  Buy It!

 

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