To say Ty Segall is a prolific artist would probably be an understatement. He’s just released his 16th or 17th long player, Possession (Drag City) – depending on who you ask, and that’s not counting any other releases with bands he’s a part of (Fuzz, Broken Bat, GØGGS, etc.) There’s just something about the man that makes me believe he might be a musical genius many don’t take the time to get to know. For this album though he enlisted past collaborator Matt Yoka. The album is genuine, trippy, catchy, perfectly recorded, filled with sweet harmonies & melodies, guitars, drums, bass, horns, etc. all etched with melodies that are captivating.
Some might surmise that New York’s Budos Band is out-of-date, style, and languishes in nostalgia but those are just the naysayers and shit talkers that have probably gentrified the city with their lattés. The group has returned with its seventh long player simply titled VII (Diamond West Records). The band takes on a variety of styles to create its own aura and identity it continues to embrace with its latest release. It’s a dark psychedelic afro-funk infused with soul, funk, and jazz. There aren’t many that are imposing figures with collections of instrumental tracks but rest assured, Budos is that bitch. The band is just that good.
DEBASED: A PIXIES TRIBUTE
Truth be told – I always tell the truth, except when I don’t – I’ve never been a fan of tribute albums, covers, or copycat bands. Wait, I’ll back it up a bit because there was a compilation called Chairman Of The Board: Interpretations Of Songs Made Famous By Frank Sinatra (Grass Records), released back in 1993 that was pretty amazing. It was filled by independent artists who took on songs like “Lady Is A Tramp” (Babe The Blue Ox), “Luck Be A Lady” (Toadies/Red Footed Genius), “My Funny Valentine” (Girls Against Boys), “I’ve Got The World On A String” (Swell), “I’ve Got You Under My Skin” (Jawbox) and many others. But Jesus, I’ve digressed.
Out today is Debased: A Pixies Tribute (Sweet Cheetah Records), with 100% of the proceeds will be donated to Border Angels, a non-profit organization that promotes a culture of love and defends the rights of migrants and refugees. which includes several covered tracks of the band by an assortment of groups. These bands offer their own interpretations of earlier recorded Pixies tracks. Since the late 90s, there have been other Pixies cover albums, and to my own chagrin, it’s more so than I originally thought or knew (side note: the Where Is My Mind? Tribute might be the only other one you need to familiarize yourself with.) Now, Debased doesn’t take any shortcuts, and some familiar names appear throughout, but still features others you may never have heard of before. Does it hit right? Mmm, for the most part. I’ll explain.
For starters, Los Angeles’ noisily infectious Deaf Club takes on “Broken Face,” running through it with sheer abandon. The melody is obvious with Justin Pearson (The Locust, Dead Cross) utterly obliterating Frank Black’s original vocals with over-the-top screeching that would make Timmy Taylor proud. The band’s screeching guitars and pummeling rhythms have laser-like control, and the song ends just as quickly as it began. Toilet Rats take on “Where Is My Mind?” giving it a synth treatment while still keeping it in line with the original. It’s inventive and might have you thinking this is what the band might sound like if guitars were eschewed. Dayton, Ohio’s Oh Condor slows things down just a bit with its booming “Tame,” which rallies the song with dissonant notes, feedback, and odd vocal effects. Of course, it’s worth its weight in gold, keeping to form with the original but giving it the edge it needs in 2025. But things don’t always fascinate.
MK Naomi takes on “Gigantic” and gives off mid-feelings. The rendition here doesn’t vary much from the original, and while it may match, or even surpass the original’s recording levels, I’ll stick to the original version. I wasn’t too sure about “Wave Of Mutilation” by the Massachusetts outfit Holy Hands. The vocals seem off-centered and at times off-key with the music again, mimicking the original. There’s a build-up that I notice, and about a minute and 24 seconds in, additional vocals reel it in to harmonize, and the band shouts it all out. This is the song’s saving grace. Then there’s the UK’s Kill Surf City taking on an echoey “Debaser,” which I’m surprisingly ok with. There’s a musical abandon to its rendition, and the 5-member outfit tosses enough of its own identity in it to make it their own. No fucks are given. What’s surprising is FVRMN’s take on “Gouge Away.” The band literally turns it into a rocker of a song, which no one will see coming. It’s powerful, and the song’s gruff vocal delivery adds to its charm as well. I can appreciate Palm Ghosts’ straightforward delivery of “Bone Machine” as it hits all the right dissonant notes with overlayed vocals. It’s odd, but then the band adds harmonizing female vocals as well, giving it a classic feel. Ok, on board for this one!!! Other artists featured here as well are Chris Broach (Braid) handling a weird dual vocalization of “I Bleed” and Hauntu’s multiple vocals, grabbing hold of “Velouria.”
As cover recordings go, Debased does a good job of bringing together a cohesive number of tracks from a variety of artists. What better way to release something for a worthy cause. Come on people, pony up. You won’t be disappointed.
SAVAK – SQUAWK!
They say the older you get, the more patience you’ll have but that’s probably a crock of shit. We come to the point in our lives when our patience sometimes wears thin and our expectations run high. Higher than it was when we were younger because we have less time for disappointment, and levels of criticism are on overflow. And now, here we are.
I’ve crossed paths with music by Savak in the past and found previous releases compelling, with the ability to draw in listeners with its post-punk antics throughout its songwriting. The group has just released its latest offering, SQUAWK! (Ernest Jenning Record Co./Peculiar Works) and if I have to get past three songs initially before I find something worthwhile, there might be a problem. Don’t get me wrong, I have enjoyed previous albums but here, it’s a bit more difficult to find something to gnaw your teeth on quickly. The opening “The Moon Over Marine Park,” I can understand what the band is doing sonically, but the flat melody here isn’t appealing, and after multiple listens, I’ve grown to dislike it even more. Its mechanical delivery never loosens up, and when dual guitars play notes simultaneously, it doesn’t help. But it also seems there’s an identity crisis of sorts after listening to “Child’s Pose,” which seems an ode to 60s rock with melody and harmony use, I just can’t pin any specific outfits this might resemble. It’ll come to me after the fact I’m sure.
Well, it isn’t until we get to “No Man’s Island” when things finally take a turn for the better with a Lou Reed-ish vocal delivery and an infectious groove but then moves into the squalor of the instrumental “American Vernacular,” which drifts along carelessly for over three and a half minutes. It’s empty space without direction. When Savak moves into a much more pop-oriented space, that’s when it shines, and we hear it on “Tomorrow And The Day After.” The flagrant melody that takes over the song is engaging and leaves nothing to chance with spoken/sung vocals that work well within the band’s favor. This is where the band shines brightly. Even on the more mechanical drive of “Hitting Therapy,” the band delivers a unique melody and interesting guitar interplay that leaves listeners curious. Its rhythm drives the song as guitars hit all the right notes. Unfortunately, it doesn’t las,t and we’re hit with songs like “Your Mother Is A Mirror,” filled with underutilized string arrangements that seem uncomfortably fitted within. Vocal interplay doesn’t seem to match the melody, and it seems confusing all around.
In the end, SQUAWK! just doesn’t seem to do it, for me at least. I really wanted to like the album but it’s hit and miss and there’s nothing more disappointing than something that sits right on a fence leaning one way and then the other.
ALAN SPARHAWK – WITH TRAMPLED BY TURTLES
Have you ever been a fan, then not a fan, and then a fan again? Yes, it happens when you’re disappointed for whatever reason, be it political stance, poorly constructed material, an action you may not agree with, etc. The reasons are vast, but regardless, you still keep your eyes on what they’re doing. Maybe they’ll surprise you or give you a reason to completely shun them in the near future. Either way, you’re still winning.
For decades, Low was consistent, releasing great albums, and fans were able to witness the evolution and growth of the band through 13 albums. While guitarist Alan Sparhawk delivered a solo album back in 2006 with Solo Guitar, he wouldn’t release a proper solo album until 2024’s White Roses, My God, his first since the death of his wife and Low percussionist Mimi Parker. Cutting to the chase, I gave up on Sparhawk with this release, which dove deep into experimentation through synths, drum machines, dance beats, and pitch-shifted vocals. The thought of listening to it again would cause a visceral pain that could only be soothed by an alcoholic beverage. But I can’t get off this wagon.
Today sees the release of With Trampled By Turtles (Sub Pop), his new solo effort, which differs vastly from his previous release. With the new album, he takes a path he’s traveled before, and seems reinvigorated and ready to take on the world. Songs take a variety of paths here, while many are surrounded by string arrangements that are embellished upon through the use of guitars. “Stranger” takes a delicate approach with just a few chords leading the way, but there isn’t any sparseness as all instruments find a place within, including that lightly plucked banjo. Sparhawk does know how to make an entrance, and the lush vocal harmonies are a clear sign of that. What’s always been uncanny is how Low/Sparhawk songs aren’t forced; they simply make their way gracefully, with just a simple melody as instruments build around it. “Too High” moves that way as strings wrap themselves around lightly played guitar strings. The song slowly crescendos but never crashes all around us; instead, its energy builds, leaving us captivated through Sparhawk’s compelling voice, accompanied by vocal harmonies and faint horns. It’s perfect.
One thing that’s notable is Sparhawk’s ability to ride the crescent wave of a repetitive melody. Mind you, it might find “Get Still” repetitive, but what it isn’t is repetitious. Just a few lightly strummed guitar notes, with a ghostly bass in the background, as other strings play out in the distance. His voice is oddly calming as soothing vocal harmonies change the dynamics somewhat. The song’s melody is allowed to play out as it was supposed to. This is genius. But many songs follow a similar pattern or repetition, although you won’t care about something so trivial because they’re infectious. One of the highlighted moments that stands out here is “Not Broken,” which wallows in melancholy, accentuated by the strings that open the song. Sparhawk’s lyrics, though his words are seemingly wrapped around all the noise around him, and when his daughter Hollis chimes in through the chorus, “It’s not broken, I’m not angry,” you get a sense there’s a lot of healing being worked through. Banjo & mandolin are lightly plucked throughout, which adds to the charm of sweetness within the melody of it all.
There isn’t a doubt that With Trampled By Turtles is the stunning masterpiece we’ve all been waiting for. We all understood the capabilities of Alan Sparhawk’s talent and ability to write massive pop tunes, whether with Low, The Retribution Gospel Choir, or his solo material, and this time around it’s made obvious with his latest effort.
BARF LOKO & THE YBOR RIPPER – BEAST PIT
Life moves in weird directions sometime, sometimes. Of course, we may find ourselves repeating ourselves, on repeat saying the same things over and over again. Repeating ourselves. But when life smacks you in the face with sweat dripping down your chin that may or may not be yours, things might just be getting interesting.
Here we have the new release by Barf Loko & The Ybor Ripper, which is Barfly of the Oldominion crew alone with the prolific Onry Ozzborn (Grayskul, Sark Time Sunchine) under an assumed pseudonym handling beats. Here Barfly commands every track with laser precision accuracy which might not be difficult to do considering songs range from 1:18 minutes to 3:02. As quickly as Beast Pit begins, is just as fast as it ends but when it hits, it hits with a decisive fervor. “Privatize Oxygen” for example, beats move in reverse as piano notes occasionally make themselves known as the melody drifts along. Barfly’s lethargic delivery fits right in and you get the sense that he too might be walking backwards as he spits. It’s a head nodder that hits all the right notes at every possible moment. At just over a minute and a half, “A Sincere Inquiry Into Vortex Dynamics (or Why Does Everything Suck)” Barfly is commanding. The musical backdrop seems almost minimalistic at times but when Barfly hums along, it creates an atmosphere completely different than what we think anything would sound like.
Nothing here is forced, and both Barfly & Onry may let the music ride out until they’re ready to come together. “Metaspace DLC Forced Early Access” slides in for over a minute until Barfly drips his words around it talking about McDonald’s in heaven with its working shake machine, seeing Tupac & Cobain, and falling in love again. It’s a fictious view of heaven that will have you gripped to your headphones and in heaven you can “rock out with your Glock out.” Interesting word play and imagination take hold of Barfly here.
At just eight tracks, Beast Pit moves quickly but its inventive, both musically and lyrically. Barf Loko & The Ybor Ripper are a match made…in the great northwest. Yeah, this quiet storm explodes.
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