Thursday, November 27, 2014

Give Thanks For This: Legendary 1976 Sneakers (Chris Stamey) EP Is Now Available

In 1976, a few years before they were in The dB's, Chris Stamey and Will Rigby were in Sneakers. The band's output has been the stuff of legend, especially for those of us without access to collectible vinyl. Now, thanks to the good folks at Omnivore Recordings, the 6-track EP from the band has been re-issued along with 3 bonus cuts. The vinyl version of this release is limited to 1,500 copies and they come with a download card. I urge you to get this when it's released on Black Friday. Skip the shopping. Get this instead!

"Ruby" kicks things off. What's remarkable about this cut is how very modern it sounds. When the rest of the world seemed to be following the lead of The Ramones or The Clash, Stamey and his boys in Sneakers were translating the herky-jerky angst of Talking Heads into something closer to power pop in the style of the more upbeat Big Star cuts. More Chilton-ish than Knack-ish, "Ruby" and the other 8 cuts here are lost gems so good as to make a listener positively shocked at the fact that they weren't re-issued like this already.

"Condition Red" is more straightforward while the sublime "Driving" somehow crams a Velvet Underground-style skewed melody line into what could very easily be a Jonathan Richman song. The tune is artful in its seemingly casual artlessness. Unwinding with a very non-punk sense of melody, "Driving" provides proof why Sneakers are worth catching up with now. Not only is the cut an indication of future greatness from Stamey and The dB's but it's also a sort of template for the bands of the power pop boom that would erupt at the end of the 1970s. Sneakers are, however, infinitely better than the thousand skinny tie bands that would follow.

"Love's Like a Cuban Crisis" is chiming tunefulness while "On the Brink" sounds a bit like what contemporaries Cheap Trick would do on their debut album in 1977 but without the noisy bits -- think "Mandocello" made more concise.

There follows a cover of "Let's Live For Today" by The Grass Roots and then "Story of a Girl" which is easily worth the price of this release alone. The equal of anything Big Star's Chris Bell would commit to vinyl later -- Stamey's label put out not only the Sneakers EP but Bell's "I Am the Cosmos"/"You and Your Sister" single -- the song is haunting and affecting. A real revelation for any fan of power pop and not just fans of The dB's. A precursor of the sound of early R.E.M. is here with 2 future producers of that band at work on this EP (Don Dixon as engineer and Mitch Easter contributing guitar and drums to this track).

"Nonsequitar" and "S'il Vous Plait" round out this set and both are hints of the sort thing that Stamey would produce later in his career, both with The dB's and as a solo artist.

This is an amazing piece of history and a potent reminder of just what a great songwriter Chris Stamey was (and still is, for that matter). What strikes a listener first about these 9 cuts is how surprisingly modern they sound given the era in which they were recorded. Somehow, caught between the extremes of punk and disco, Sneakers managed to craft something this good and real. Omnivore Recordings are providing music fans a true gift here. One listen to "Story of a Girl" should be enough to convince you that these 9 cuts have more appeal than as just showcases of the admittedly talented geniuses who eventually formed The dB's.

Sneakers by Sneakers is out on Friday, November 28, 2014, via Omnivore Recordings.

Wednesday, November 26, 2014

Have You Heard The Marvelous Ciaran And Wilding Single Yet?

These are two lovely songs. And they will probably be the best new things you hear this week.

Cian Ciaran from Super Furry Animals has teamed up with Aussie Justin Wilding Stokes, better known as musician Wilding, to record "Missing Her" from Ciaran and Wilding. The 2-track single is available now from Strangetown Records.

As you probably know, SFA man Cian Ciaran recently put out another fantastic solo album, the magnificent 2013 release They Are Nothing Without Us. He's also been busy working on records from the SFA's Bunf (the new one from The Pale Blue Dots) and Daf (the equally awesome new one from The Earth).

His influence looms very large over these two cuts. "Missing Her" is a reworking of an earlier Wilding cut which here turns into the sort of thing that Paul McCartney would have cut had he left Wings and joined 10cc. "Stuck in the Middle" sounds a lot like "Bleed Forever" from the Super Furry Animals 2003 masterpiece Phantom Power. I can think of no higher praise than that.

More details on the Ciaran and Wilding project are available here.

The "Missing Her" single from Ciaran and Wilding is out now via Strangetown Records.

Tuesday, November 25, 2014

New Trailer For Manic Street Preachers Documentary No Manifesto

What's there to write about this upcoming film at this point? If you are even a casual fan of the band you already know about it and are anxiously awaiting its release...and have been for 2 years now, I guess it's been. It's been a long time coming but it looks like the Manic Street Preachers documentary No Manifesto is close to being ready.

Well, there's a new trailer for the film up online and the comments under that state that a January 2015 release date is planned.

Fantastic news, eh? Yes. Cross your fingers and play the trailer and stay tuned for updates between now and January 2015.

A Few Words About 2 New AJ Davila Releases

I feel like I've been missing so much by not hearing much from AJ Davila until now. The Puerto Rican superstar creates music that at once echoes the 1960s garage rock heyday as well as tunes that owe a bit to grunge and the best bands of the more recent past.

With Davila 666, you have tunes that are like lost Nuggets gems that someone found on a tape and just put out. Dig "Sabes Que Quiero" below and see what I mean. Infectious, ain't it?

The band also covers the old Nerves classic "Hanging on the Telephone" which most people know from Blondie's version.

The record is a trip. A stroll down an imaginary past filled with punk-y bits of tunefulness.

Davila also works with another band. The tunes from AJ Davila Y Terror Amor are harder. The cuts recall Primal Scream and some of the best early Nirvana stuff. Dig this tune below and see what I mean. There's a palpable sense of attitude here.

Both albums from AJ Davila's projects are highly recommended. Even if you don't speak Spanish, you'll find yourself at least humming along to these rockers.

Find out more details on the Burger Records website.

Monday, November 24, 2014

The First Of A Few Game Theory Reissues This Week Drops Today: My Take on Dead Center

Forget the big sales in the shops this Thanksgiving week. What you really need to be buying are a slew of Game Theory reissues due from Omnivore Recordings, the first of which drops today. The compilation Dead Center from 1984 has been "reimagined" and expanded and reissued in spectacular fashion. Grab it now and then on Black Friday grab another 2 Game Theory reissues from the label.

But for now, here's my look at Dead Center.

What's important to note is that this comp doesn't completely overlap with Pointed Accounts of People You Know (1983) and Distortion (1984) so you need to buy those 2 when they're re-issued on Friday. There are 4 songs each from those 2 releases here plus loads more. It's the "loads more" that should interest any fan of Game Theory.

Michael Quercio of The Three O'Clock provides some insights via the masterful liner notes and it's worth remembering how he was nearly in the band at this point. And Dead Center captures a band in a period of transition. This collection of EP tracks and live cuts is not so much a mixed bag as a smorgasbord of diverse riches. That it holds together so well speaks to the strengths of the band, the personnel involved, and Scott Miller's skill as a songwriter.

Michael Quercio's own contributions are best highlighted by the inclusion of "Too Late for Tears (Michael Q's 'George Martin' Rough Mix)", a highlight of this release. This version of the cut from Distortion (1984) is sleek despite the "rough" production. It's a tune that places Game Theory closer to their LA power pop peers like The Plimsouls. Spin this next to "Zero Hour" and you'll see what I mean.

But ultimately Game Theory were a far more complicated band. Scott Miller's brainy lyrics and sense of song-craft guaranteed that the band were never going to be easy to categorize.

And to further that point there's a cover of R.E.M.'s "Radio Free Europe" here which takes what was a fairly odd sounding single at the time and turns it into something direct like a Marshall Crenshaw tune. The guitar licks on this rendition are less Peter Buck and more Keith Richards. Miller seems at once to be "taking the piss" out of his then-rock rivals and also distilling what R.E.M. were doing then into its most basic parts. It's worth remembering that back in '83 - '84 R.E.M. were a bit mysterious compared to how they'd sound on "The One I Love" a few years later. And Miller seems to be picking apart that mystery, never mind that Game Theory were due to tour with R.E.M. producer Mitch Easter's Let's Active around the time period that Dead Center chronicles.

A similar result is found in the included cover of one of my favorite Roxy Music songs. "Mother of Pearl" doesn't seem to be the kind of song that power-poppers would gravitate to but Miller and his crew find the hook and turn it into something fresh.

What's revealed here in these and other covers is how adept Scott Miller was at this sort of thing. He was Robert Pollard before Robert Pollard was Robert Pollard. There's a feeling that he was cranking this sort of thing out effortlessly and at a fast clip. And for that reason he was a genius.

Or as The Three O'Clock's Michael Quercio says so eloquently about Scott Miller in the liner notes: "To me, he was an incredibly melodic rocket scientist."

Play "Shark Pretty" here with its near-rockabilly rhythms and Big Beat Era guitar lines. It's far better than most of the stuff that we hold in such high esteem from this era. How many times have you played a Culture Club record recently? Your nostalgia for that Valley Girl era would be far better served by smart pop like this.

Quite simply: Scott Miller was too good for his time. He joins his beloved Alex Chilton of Big Star in the list of those who were more appreciated by fans a generation later, fans who "got it" on first listen.

Maybe because Game Theory were not strictly a skinny tie act made it so hard to characterize them in 1983 or 1984? More Beatles-influenced than the Byrds-ian R.E.M., Scott Miller and his crew were like the sober Replacements, capable of both rockin' covers ("The Letter") and plaintive bits of genuine emotion ("The Red Baron"). And that breadth of skill in multiple styles made the band seem unique then. One listen to this reissue of Dead Center, out today on Omnivore Recordings, ought to remind you of just how great this band was.

I came of age when Paul Westerberg was constantly name-dropping Big Star in interviews -- or at least critics of the band were -- and even naming one of his best singles after "Alex Chilton". It's seems as if the time is ripe for someone to do the same for the late great Scott Miller.

The contemporaries of The Replacements, Game Theory were every bit as good. Hear that depth and variety here. After all, it's only a short hop to Rigel Five folks!

Dead Center by Game Theory is out today on Omnivore Recordings.

Saturday, November 22, 2014

Heads Up About Some Rocking Tunes From London's Cross Wires

You know I spent the last week thinking how Hard-Fi were unfairly maligned. I was listened to some of their singles on my iPod and enjoying them quite a bit for the first time in a few years.

East London's Cross Wires sound a tiny bit like Hard-Fi but here's the crucial difference: Cross Wires rock a lot harder.

Cross Wires -- Jonathan Chapman, vocals, Peter Muller, guitar, Pete Letch, bass, and Ian Clarke, drums -- create angular, punk-y music that earns well-deserved comparisons to The Buzzcocks and Glen Matlock's post-Sex Pistols band, Rich Kids.

The band is actively promoting their most recent release, the excellently named Your History Defaced EP. "Modern Art" is the charging cousin of Art Brut without the arched eyebrows and sheen of irony. "Tab Clear" mingles the barest hint of a ska skank with rhythms like those found on early XTC releases. The aces "Vultures" combines guitar hooks like ones out of a Wire record with pounding drums from Clarke that give the cut more of a punk feel.

Get on board with Cross Wires by following them on their official Facebook page here.

A Peak Into The Fiery Birth Of Lone Justice: My Review Of This Is Lone Justice

As I was about to graduate high school in the spring of 1985, I saw Lone Justice open for U2 at the Capital Centre in Maryland. I lived in Southern Maryland at the time and most of the area where I lived still didn't have cable yet, and this was a good year or two before I discovered magazines like Option and NME. So without MTV, or decent music magazines, you had to work to find the good stuff that was coming out, or maybe wait for it to be played on D.C.'s legendary WHFS radio station.

Recalling some tidbits about U2's opener gleaned from the pages of Rolling Stone, I sat in my nosebleed seat and wrapped my head around this new band. Maria McKee's voice filled that big stadium and the band behind her played like they were in a sweaty roadhouse and not a gleaming amphitheater. There were echoes of Loretta Lynn in McKee's performance, and even a hint of stuff like Ruth Brown and LaVern Baker in her vocal delivery, and I had heard plenty of those singers as a kid thanks to my parents and grandparents.

Which is all a long way of saying that it was easy for me to love Lone Justice in April 1985.

But, like with many bands in those days, I was sort of alone in my fandom. After the concert I remember asking some HS mates what they thought of the openers and one of them said: "I didn't like that country shit!"

What makes that comment hysterical is not so much the speaker's lack of good taste but the fact that we both lived in Southern Maryland...the epicentre of "country shit", both musically and culturally. But in an era when Duran Duran was still ruling the airwaves, his reaction to something decidedly genuine like Lone Justice isn't too surprising in hindsight.

What rankled some about Lone Justice was that they were peddling not the soft, safe country music heard on the radio then and now but, instead, something primal. And in the process they were turning out the fiercest sort of roots rock just as that mini-wave was entering its own heyday.

Now listeners are rewarded with perhaps the clearest peak yet into that ferocious rock of Lone Justice. This Is Lone Justice, out now on Omnivore Recordings, is quite possibly one of the most significant reissues of any genre of the last few years.

This direct-to-two-track set provides a glimpse of what made this band so vital and urgent long before AOR stations -- even the ones in this area -- started playing "Ways to be Wicked" later in 1985.

Recorded primarily to serve as a demo for the band in 1983, This is Lone Justice is more Patti Smith than Shelter. Lone Justice rock with raw abandon on this release. There's something wickedly uncompromising about the band here.

Example one: "Soup, Soap and Salvation" which here roars like X covering Them. Hearing this version makes one realize that the version eventually released on Lone Justice's 1985 eponymous debut could never be anything less than over-produced. Blurring the lines of a few genres, the tune succeeds still precisely 'cause it's unlike most of the stuff that was out there then. And, thanks to the release of This is Lone Justice by Omnivore Recordings, this 1983 version can now be rightly regarded as the definitive version of this set staple for the LA group.

"Nothing Can Stop My Loving You" has a rhythm that reminds one of some Smiths tracks, oddly, but this cover of the George Jones/Roger Miller tune is also a good example of just how much more honkytonk spirit was in the music of these kids than either of their 2 studio records ever captured.

A rendition of "Jackson" adds more to the band's country bona fides but in case you were somehow still in doubt, check out this high praise from Dolly Parton, quoted in the informative liner notes:

"I have loved Lone Justice and Maria McKee since they first started out as a group. I remember going to see them at The Music Machine in Los Angeles in 1983; I was so impressed. I especially love this album. It has some of my favorite old songs on it and some new favorites that I've never heard. Hope you enjoy Lone Justice, everybody! I know I will."

The wonderful "When Love Comes Home to Stay" is a lost classic for any fan of Lone Justice. Listening to this now 30+ years after it was recorded even a casual fan must wonder why it wasn't included on either of the band's 2 studio records. A sort of pastiche of some obvious overtly country tropes, the cut has a unique interplay between Maria and guitarist Ryan Hedgecock that hints at something great that was never captured on their studio records. Add some very Los Lobos-styled mandolin (?) runs from Hedgecock, I presume, and you've got a cut that at once sounds like the Lone Justice the world knows from the first album and another, altogether looser band.

There's only so much I can write about This is Lone Justice. Put simply, it is a revelation. The record provides an entirely new angle from which to view a band so many of us cherished in that era. Even in 1985, there was a sense that Lone Justice was too polished. And by the time that Shelter came out, that polish was even thicker. Seeing Maria McKee and the band genuinely rock out on "I Found Love" on TV's "Saturday Night Live" only made the second album harder to take in 1987 or so. As a listener I felt like the band was being diluted even if I had no idea of what they really sounded like prior to being over-produced.

Well, now I do! This is Lone Justice should by all rights serve as the introduction to this band for anyone who missed out on them the first time around.

Make no mistake: I still like the 2 studio albums these folks put out but I actually like this collection more than either of those "proper" records.

This is Lone Justice is out now on Omnivore Recordings.

Here's a song that appears on This is Lone Justice and should give you an indication of the fire of this pre-Geffen version of the band.

Wednesday, November 19, 2014

How Did I Miss This? Play Lovely Collaborative Single From The New Lines And Sansyou Here

In what makes perfect sense, The New Lines and Sansyou collaborated on a single a few weeks ago. Somehow I missed this then which is a shame 'cause 1) I'm a fan of both bands, 2) Lorelei's drummer Davis White is in both bands, and 3) the single is marvelous.

"gowanus canal field inspection" not only combines these two bands but also combines the sounds of chamber pop circa the glory days of The Left Banke with the more expansive moments of early R.E.M. This really is a splendid single and it should earn both bands a few new fans in the process.

The New Lines are playing D.C.'s awesome Comet Ping Pong on December 6. Find out more details about The New Lines on their official Facebook page.

Sansyou are playing at The Pinch in D.C. on December 7. Find out more details about Sansyou on their official Facebook page.

Monday, November 17, 2014

Ty Segall Drops Singles 2 This Week, Plus My Look Back at Manipulator

On Tuesday, Ty Segall will drop yet another album. The awesome Singles 2 -- or $ingle$ 2 as it's sometimes being written -- is a collection of singles made between the time he made a few of his recent albums, including Twins (2012) and Sleeper (2013). Singles 2 is a fantastic record and the perfect introduction to this guy's stuff for anyone out there who could have inexplicably not gotten on-board the Ty train by now. You can find out for yourself when Singles 2 is released by Drag City tomorrow.

"Mother Lemonade" is all Woodstock-era fuzz and Detroit-styled exhortations. It's amped out agression from decades ago made into the indie of the 21st century...and a succinct distillation of the Ty Segall formula as well.

An unrecognizable cover of "Femme Fatale" adds to the magic of the record. Shredding the soft edges of the song, Segall turns the cut into something T. Rex would have roared through in front of a sea of screaming Brit teens at Wembley some decades ago.

"Children of Paul" and "It's a Problem" bring the melodic charms. Both tracks echo the Beatles or, better yet, The Move when Roy Wood pushed them into being a louder band.

$ingle$ 2, or Singles 2, is a quick education into what makes Ty Segall's music so exciting and infectious. Spin the one-two punch of album openers "Spiders" and "Hand Glam" and you'll get the message. This is gloriously fuzzed out, grungy (in the very best sense of the word's meaning prior to the rise of Sub Pop), wigged out rawk. I defy anyone not to get turned on by this one.

Singles 2 by Ty Segall is out on Tuesday, November 18, via Drag City.

For some weird reason, I'm only now catching up with Manipulator, the August 2014 release from Ty Segall on Drag City. The record -- double album in length -- is a monster. It at once delivers the goods we know Ty is capable of but also shows signs of new directions -- the expansive and amazing "The Singer", for example.

The title cut is the sound of all those US bands who tried to sound British in the wake of The Beatles in the mid-1960s. If "The Flintsones" had turned The Way-Outs into a real band and hired a bunch of garage rockers to fit the suits Johnny Bravo-style, the results would have sounded like this. A masterpiece!

Ty stretches his vocal style a bit on "Feel" where the familiar formula is mixed with a new sense of melody to indicate how Manipulator can serve as an indication of new directions for the performer, as well as an awesome collection of the guy's music.

The record is long but just when you think he's running out of steam a new rocker rears its head. "The Crawler" is an unholy beast of a jam. Think MC5 and The Stooges playing a beach party for a bunch of rich kids. Riffs on top of riffs brothas!

Manipulator by Ty Segall, out now on Drag City, is an impressive collection of the best sort of stuff that this guy is capable of cranking out on a routine basis. It's a buffet of riches that best works as a collection of tunes and not as much as a cohesive, long record.

By no means is that a criticism; from me that sentiment is the highest compliment I can give any collection 'cause I want the cuts to to each work on their own, out of the context of the rest of the overall album. Manipulator plays like a compilation and you can cherry-pick any tune here and plop it down on your iPod and be rewarded when it comes around in a mix.

Better yet: plop all of these riff-rockers down on your iPod. It's easier that way.

Saturday, November 15, 2014

A Few Words About The New Album From Peter Brewis (Field Music) And Paul Smith (Maximo Park)

In what is sure to be marked as one of the most significant releases of 2014, we have the unlikely pairing of 2 blokes from 2 great bands. Paul Smith from Maximo Park and Peter Brewis from Field Music have teamed up to produce the singularly beautiful Frozen by Sight, out early next week via Memphis Industries.

The 2 musicians convened to set Paul's travel writings to music. The result is something unlike most of the records you've heard in 2014. It's an odd mix of classical figures and rock sensibilities. Aiming high without being pretentious about it, these two musicians have crafted something at once delicate and beautiful as well as bold and direct.

The arrangements favor strings and heavy bass which suits these cuts. Opener "Old Odeon" has chords that recall the best stuff from Field Music but a track like "Exiting Hyde Park Towers", for example, echoes Van Dyke Parks and even The Blue Nile.

"Barcelona (At Eye Level)" made me think of Tom Waits and Rickie Lee Jones in those moments when they sacrificed their jazz tendencies for their more lyrical ones, while "Perty to Bunbury" brought to mind a hint of the more experimental moments of The Associates even if these guys are using strings to get the music across and not synthesizers.

Brewis and Smith have made something magical here. It's not entirely an easy listen but nor is it an abrasive one. The closest cousin I could find to this record would be 1990's Songs for Drella by Lou Reed and John Cale. But while those VU guys made something punchy out of chamber music elements, Brewis and Smith are using the same implements of chamber pop to push the boundaries of indie rock. Frozen by Sight is at once aiming for something higher but it's also, thanks to the lyrics based on Smith's own writing, presenting something entirely personal.

Peter Brewis and Paul Smith have accomplished the unlikeliest of successes here. I will confess that I never imagined that the guy behind something as raucous and wonderful as "Going Missing" could be part of something so sublime and affecting.

I urge you to get Frozen by Sight when it's released next week.

Find out more details on the website for the project or the Memphis Industries website.

Friday, November 14, 2014

The Pink Teens (Temple Songs) Are Set To Release A New EP: Here's My Early Review

In a wise move, the lads in Temple Songs have decided to re-brand their collective as The Pink Teens. And they are set to release a new EP called -- fittingly enough -- Good Luck, Pink Teens on November 24 via RIP Records.

It's a 9-cut EP so, you know, it's another spillover of riches from these cats.

(I say that as someone who was in on the secret more than 2 years ago when these guys -- as Temple Songs -- had a WHOLE LOT of good music up on Bandcamp for free. No more. But if you missed that buffet of tunes, here's a link from RIP Records that serves as a sort of free "greatest hits" of Temple Songs/The Pink Teens.)

I started blogging about this band slightly more than 2 years ago and then all of a sudden Temples popped up (and I blogged about them too). Temple Songs continued to put incredibly cool music but Temples got a bit more traction with the press. Well, that's okay. Temples are a good band too.

So now that problem of 2 similarly named British bands is over. From here on out it will be The Pink Teens and I hopefully won't even have to mention the group's old moniker many more times.

The Pink Teens make sounds that echo the best bands from your cool(est) friend's record collection. If he -- or she -- made you a mix-tape, the songs on it would be ones that would instantly grab your attention even if they were not already familiar hits to you. That's the best way to describe the effect of the music of The Pink Teens.

At their best moments they capture what sounds like chaos being shaped into meaning, to get a bit freakin' pretentious about it. They sound like the music you'd hear at a wild party as some guys rushed the floor, grabbed some instruments, frantically plugged in, cranked up the amps, and started playing. These tunes are the sounds of songs being found for the first time. There's a sense of excitement here that I just don't hear in many bands these days, frankly.

Good Luck, Pink Teens is a subtle refinement on what's come before. There are still those moments of beauty being pulled out of the mess but things sound slightly more focused here. It takes a lot of skill to sound this unhinged in spots.

Let's start with "Shanghaied" which takes the sort of guitar sound that Lush used so frequently on their first few releases only to turn that sound into a hook that gets repeated with fury over and over. The love child of shoegazers and The Wedding Present is here.

There are next 2 songs with the exact same title. The first "Easter Island Head" is warped goodness -- think the best stuff from Swirlies -- while the second one is shorter and all jagged edges like a Beefheart tunes being sung by Marc Bolan maybe. The vocals here by Jolan Lewis are is the tune.

"Spray Ark" has the band going at full tilt in a cut that reminds one -- oddly -- of early Talking Heads. Only early Talking Heads being worked over at a furious clip with drummer Andrew Richardson playing like a madman all the way through.

"More Than I Can Bear" is, quite frankly, one of the very best things these dudes have released so far. Melodic, yearning, and trippy, the cut expands on what they've done before to push the familiar parts of the group's signature style into a new area.

"Cola Girls" is the sound of Squeeze being played by a group of guys who love The Fall. It's the gloriously ramshackle result of such a pairing and it's every bit as catchy as the best stuff by either of those acts.

"Silver Hills/Sleepwalking" starts with a near-metal -- at least like old Sabbath metal -- hook that guitarist Jean Hughes and bassist Dave Hardy ride to abandon before letting the song end in a storm of feedback.

"Coco" is Sonic Youth doing a Syd Barrett ballad while EP closer "Hate" is all the catchy vibes of earlier Temple Songs songs like "I Can't Look After You" revved up to 11. I can't understand pretty every word that Jolan is singing here but it really doesn't matter in the least. The song rocks and it's got a hook.

Good Luck, Pink Teens by The Pink Teens is out on November 24 via RIP Records. It's not luck these guys need but access to eardrums. One listen of "More Than I Can Bear" out to create another wave of Pink Teens fans.

Follow The Pink Teens on their official Facebook page.

Since I've already shared the only (?) track from the new EP that's online up above, here's a fairly recent bit of brilliance from these Manc cats...just remember it's The Pink Teens now and not Temple Songs. Got it?