The Chisel "What a Fucking Nightmare"
London based punk army The Chisel return with album number two. They up the production, the intensity and the anger on the Jonah Falco produced What a Fucking Nightmare. It’s a crushing and relentless selection that mixes oi!, hardcore, and street punk. this is pure blood, sweat and beers.
“The band was once described as a ‘fucking nightmare’ to be around, whilst we are lovely people we do embrace the chaos that comes with all of this so found it fitting to title our next album as such. The songs themselves mainly follow this theme but relate to all aspects of life. Lyrically, it is more of the same… no metaphorical meanings, no fantastical story telling, no pretentious bollocks…. Just tales of a life lived as it will always be.”
Th' Losin Streaks "Last House"
The album was recorded at Louder Studios in Grass Valley, California, with Tim Green (Nation of Ulysses, Fucking Champs) behind the board. Green played piano on several tracks, and Anton Barbeau – a friend of the band since the beginning – plays organ on some cuts. All of the band members – Tim Foster, Stan Tindall, Mike Farrell and Brian Machado – contributed to the songwriting, and the album also features a cover of The Weeds classic “It’s Your Time.” The album cover and other photos were shot by their pal (and Bay Area punk legend) Al Sobrante.
We asked the band what the record is about. This is what they told us:
This album is about true love and good times. And bad decisions. It’s about breaking down. It’s about coming apart. It’s about sleeping rough. It’s about Dyer Lane. It’s about shaking it til you make it. It’s about EKO, Silvertone and Supro, Vox (Super Continental) and the Hohner Marine Band. It’s about 2” tape. It’s about the plague, and politics, and war or hands of time. It’s about the ice cream man after the apocalypse. It’s a trans-world punk rave up. It’s about Link Wray, The Sonics and the Downliners Sect. It’s about The Rolling Stones covering Sam Cooke. It’s about Folk
Rock. It was about time slipping away (but it’s not now). It’s about bullshit. It’s about being too late, always too late. It’s about getting old. It’s about those who never will. It’s about the person you dream about but never get. It’s about nothing in this world. It’s about surviving T-Minus self-destruction. And about the other side.
The Cavemen "Ca$h for Scrap"
New Zealand’s THE CAVEMEN are back with a new long glob for a dirty and dilapidated world, and it’s as grimy as you’ve ever heard from the wretched brethren. “Ca$h 4 Scrap” scrapes up more than enough degenerate garage-punk trash with unavoidable forays into theme of death, demons, and even amputation, making sure to stop for a kiss on your daughter’s lips along the way. YUCK MOUTH SAY MUAH! “Booze, Ciggies ‘n Drugs” is the first single, and leaves us wondering how many types of cancer these ghouls have among them, and if all four Cavemen share a brain tumor. “Leather Boys” is solid gold junk shop stomp, and the rest… well, you know by now how THE CAVEMEN rock’n’roll – the ONLY way, because any other way ain’t!
Elena Setein "Moonlit Reveries"
Multi-instrumentalist and vocalist Elena Setién uses her sweeping vocal range and delicate arrangements to create a universe where dream worlds converge with reality. Her compositions, grounded by her remarkable voice and her guitar or piano, ripple with textures and thoughtful details. Setién’s masterfully allegorical songs are both emotionally immediate and provoking. A musician’s musician, Setién has drawn collaborators from far and wide, from her improvisational duo Little Red Suitcase to more recent collaborations with Steve Gunn, Mary Lattimore, and fellow Basque musicians Xabier Erkizia and Grande Days. For Moonlit Reveries, a hallucinatory promenade of mood and rhythm, Setién is joined by renowned drummer/percussionist Glenn Kotche of Wilco.
At the core of Moonlit Reveries is the inspiration that Setién and Kotche found in one another. The two met while Kotche was touring Spain with Wilco, Kotche having been a fan of Setién’s 2022 album Unfamiliar Minds. Immediately the two started discussing collaboration which Setién began by using a series of unique drum patterns from Kotche’s “A Beat A Week” series as the basis for tracks like “Surfacing” and “Asking”. Kotche then sent in fresh drum takes for select pieces that embellished the frameworks set by Setién. Though not every piece features his drumming, his presence on the album invigorated Setién’s desire to delve further into rhythm as an avenue of expression, incorporating more Latin-influenced rhythmic architecture to her music than there previously has been. Says Setién, “Funnily enough, I, being a Spanish artist, sought inspiration in the rhythms of a Chicago drummer to reach something with a Latin feel to it. A somehow surrealistic way to get there.” The songs of Moonlit Reveries also make use of more guitar than Setién previously had ever explored, which Setién traces back to Steve Gunn introducing her to the music of Bridget St. John. “What fascinated me right from the beginning, was the calmness in her voice and her low register. Her music inspired me to try to write songs with a guitar rather than a keyboard: there’s more space for the voice and the sound qualities of both voice and guitar kind of melt into each other.”
Moonlit Reveries is an embrace of wonder, an ode to the alluring beauty, and glow of dream states. For Setién, dreams are to be appreciated, “I remember my dreams very often and they are part of my everyday life, as much as other everyday things.” The compositions are speckled with ethereal embellishments, from ghostly harpsichords to cavernous echoes to reverberating kalimba. Like the frosts of winter melting away, the darker textures of her previous albums give way to flashes of brightness. The twinkle of “Coloured Lizards” lilts with its delicate breeziness. Title track “Moonlit Reveries” revels in a playful mystique, Setién’s words carried by the wind across the night’s sky. For the gentle “Hard Heart” and the waltzing “Strange,” Setién kept things relatively unembellished, valuing the potency of their simplicity. “Mothers” captures the hopeful embrace of parenthood, letting go, and the cycle of life; it was written in the wake of Low’s Mimi Parker’s premature death. A mother and artist herself, Setién was deeply saddened by the loss while drawing strength from what Parker accomplished in her short time.
The winner of several Basque music awards, Elena Setién’s beautiful voice, creative arrangements, and both improvisational and compositional experience make for sophisticated songs with singular textural approaches. Her otherworldly sounds are perfectly complemented by Kotche’s light and agile syncopations throughout. Shading her parables with impressionistic hues, Elena Setién’s Moonlit Reveries is a touching embrace of the mysterious, a sparkling revelry of light dancing across a horizon, lifting the darkness from above.