Saturday, January 27, 2018

Visitors Poet's End & shows # 704, 705, 706


Visitors were a band from Edinburgh, Scotland that formed in 1978. Initially known as The Deleted, the band’s original sound was that of a garage band and was influenced by the early music of The Clash, Sex Pistols, Buzzcocks and others. When they changed their name to Visitors, the band also changed the sound of their music. Relying more on influences such as Wire, Teardrop Explodes and Joy Division, Visitors were made up of brothers John McVay (keyboards/guitar/vocals) and Derek McVay (bass/vocals), as well as Colin Cragie (guitar/vocals) and rotating drummers Alan Laing and Keith Wilson. Their sound was more atmospheric, adding the element of keyboards, and could be described as post-punk. Their first release, Electric Heat, was put out on the Deep Cuts record label in 1979. This short-lived label was run by Johnny Waller, who in addition to managing the band also ran a music/punk fanzine called Kingdom Come.

“Electric Heat” is dominated by creepy sounding keyboards, fiery electric guitar, bass parts and military-like drumbeats that simmer in the verses and engulf the listener in the choruses. “Moth”, the second song on Electric Heat, reflects a desire to not be like everybody else and to follow your own direction. These lyrics find themselves in between the distorted guitar, thumping basslines and fluctuating keyboards that fly throughout the verses and choruses, while the third song on this release, “One Line” changes the mood and pace. The song, originally titled “The Circle” pulls in an almost Magazine influence, with lyrics such as “Atmosphere/Contained in a box”, “What did they do to deserve no pain/A cavern of echoes” and “Circles are vicious/But results remain the same”, is about situations that come back to you that you can’t get out of and that always follow you around (as stated in a Kingdom Come interview in 1979). This song also ventures into what was eventually called dark wave music.

These three songs drew the attention of legendary DJ John Peel, who played these tracks on his BBC radio program several times. The band would do three Peel Sessions for his program due to the momentum that this release gained. The band’s second and third singles were funded by Peel himself and the recordings came from session tracks that were recorded for the John Peel radio program. 1980’s Empty Rooms single, also featured three tracks, “Empty Rooms” which benefited from stronger production and was dominated by a more produced sound, is dominated by bass and subtle keyboards that lurk in the background, “The Orcadian” features wild guitar stabs, revolving basslines and emphatic vocals, “Visitor” sounds like it could have been written for a B-horror movie. Visitors third single, Compatibility, was culled from the band’s second Peel Session and featured the song “Compatibility”, that attacks with a more angular/funkier groove and “Poet’s End”, which is an anthemic, almost seven-minute track. With this single, the band explored their sound and lyrics with further depth, but it would be their last single that was released while they were still a band. Following a shift in the band line-up and one more Peel session, which produced three more tracks, Visitors were essentially over. They had an arrangement to record a full-length record with 4AD, but disbanded before they could record it.

Enter 2016, when Toronto based label, Telephone Explosion compiled Visitors three singles and four unreleased tracks from the band’s John Peel sessions for a compilation retrospective release entitled Poet’s End. Of the four unreleased tracks, “Our Glass” digs in with a deep bass groove, echoing drums, modulating keyboards, sparse guitar work and strong vocals. As a whole the song evokes a disturbing landscape with lyrics such as “Search out the grain/All sad within/Within our truth”. “Pattern” brings forth claustrophobic rhythms and keyboard/synth sounds, “Exploiting The Masters”, and “Distance” both add to the bands moody, darker post-punk sounds. Poet’s End is a well-compiled retrospective from a band that would have otherwise been lost in the roster of Scotland’s punk/post-punk era.

Pick up a copy of Poet's End from Telephone Explosion here!

Show 706 Play List (Nap Eyes, The Fall, David Byrne)(Originally Aired On January 27th, 2017):

1. Nap Eyes - Every Time The Feeling
2. Supergrass - Kick In The Teeth
3. Sufis - Another Way
4. Orange Kyte - Microdose
5. Raleigh - Dead In Tracks
6. The Fall - Hot Cake
7. The Fall - Couldn't Get Ahead
8. The Fall - Jawbone and The Air Rifle
9. The Fall - Living Too Late
10. The Fall - Your Heart Out
11. Storc - Recalibrate
12. William Shatner- Garbageman
13. Deja Voodoo - Bound For Glory
14. Dik Van Dykes - (I Was A) Teenage Gumby
15. The Nelsons - State Police (Demo)
16. Lost Patrol - See Me Now
17. Laps - Essential
18. David Byrne - Everybody's Coming To My House
19. Talking Heads - Warning Sign
20. Ty Segall - Main Pretender
21. Tough Age - Piquant Freeze
22. The O-Voids - Next Week
23. Danny & The Darleans - Dr. Finger
24. Bobby Fuller & The Fanatics - Our Favorite Martian
25. The Try-Umphs - The Incomplete Enchantres
26. The Fall - Neighbourhood Of Infinity
27. The Fall - To Nkroachment: Yarbles

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 27.

Show 705 Play List (Mudhoney, The Replacements, Daniele Lupi, AC/DC and Motorhead)(Originally Aired On January 20th, 2017):

1. Mudhoney - In The Blood
2. Mudhoney - Six Two One
3. Klazo - Restrictions
4. Klazo - Med-Functions
5. Pow Wows - Surfin' Dirge
6. The Shin-Diggers - The Mummy Walk
7. Huevos Rancheros - American Sunset
8. Urban Surf Kings - Surf Vs. The Flying Saucers
9. Tweedy - Low Key
10. Yellow Feather - If You Ain't Cheatin'
11. Johnny Cash - Big River (1964 Columbia Version)
12. Dragsville - That Girl
13. Baby Giant - Wyoming
14. John Cale - You Know More Then I Know (John Peel Session 1975)
15. The Replacements - Bent Out Of Shape
16. The Replacements - Someone Take The Wheel
17. The Replacements - Nobody
18. AC/DC - Show Business
19. AC/DC - Rocker
20. Motorhead - I'll Be your Sister
21. Motorhead - (We Are) The Road Crew
22. The O-Voids - One-Two
23. The O-Voids - On Fire
24. Preoccupations - Espionage
25. Tim Darcy - You Felt Comfort
26. King Khan - Born In 77
27. Hot Snakes - Six Wave Hold Down
28. King Gizzard & The Lizard Wizard - The Castle In The Air
29. Daniele Luppi & Parquet Courts - Talisa
30. Daniele Luppi & Parquet Courts - Memphis Blues Again

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 20.

Show 704 (The Rolling Stones On Air, Bloodshot Bill, Visitors)(Originally Aired On January 13th, 2017):


1. The Black Angels - Comanche Moon
2. Nick Cave & The Bad Seeds - Moonland
3. Le Kidd & Les Marinellis - T'es Pas D'ici
4. Phil Jones & The Unknown Blues - If I Had A Ticket
5. Van Morrison - Goodbye Baby (Baby Goodbye)
6. The Tornadoes - Jungle Fever
7. Jeff Rosenstock - Beating My Head Against The Wall
8. Buzzcocks - Nostalgia
9. Pixies - Tony's Theme
10. No Fix - Local Boys
11. Paul Jacobs - Worn Out Working
12. Wine Lips - Opera Ghost
13. Bloodshot Bill - Gonna Get Gone
14. Bloodshot Bill - Don't Wanna See You Anymore
15. Hank Williams - Ramblin' Man
16. Townes Van Zandt - Mr. Mudd & Mr. Gold (Live At The Old Quarter)
17. Tom Waits - Buzz Fledderjohn
18. Bob Dylan & The Band - 2 Dollars and 99 Cents
19. Devo - Jerkin' Back and Forth
20. Wire - Practice Makes Perfect
21. Preoccupations - Degraded
22. Teenage Head - Teenage Beer Drinking Party
23. Grassy Knoll & The Magic Bullit - In The Distance
24. The Zombies - Friends of Mine
25. The Rolling Stones - Come On (BBC Session)
26. The Rolling Stones - (I Can't Get No) Satisfaction (BBC Session)
27. The Tornadoes - The Gremmie
28. The Oblivians - You Better Behave
29. The Oblivians - Trouble
30. Visitors - Electric Heat
31. Visitors - Our Glass

To download this weeks program, visit CJAM's schedule page for Revolution Rock and download the file for January 13.

Saturday, January 06, 2018

2017 Highlights & Shows # 702 & 703

For my best of 2017, me and my co-host selected 10 albums that we each liked and played these and other selections from 2017 across two episodes. You can download these episodes under the playlists below. I’ve included each of our top 10 lists in this post, followed by a little write-up of each of our top five albums that we liked from 2017.

Dave’s Top 10 Albums of 2017:

1. The Sadies - Northern Passages
2. Chad VanGaalen - Light Information
3. Ty Segall - Ty Segall
4. Dion Lunadon - Dion Lunadon
5. King Khan Murderburgers
6. Oh Sees - Orc/OCS - Memory of a Cut Off Head
7. Protomartyr - Relatives In Descent
8. The Courtneys - II
9. Black Lips - Satan’s Graffiti or God’s Art?
10. Teenanger - Teenager

Adam’s Top 10 Albums of 2017:

1. Mount Eerie - A Crow Looked At Me
2. LCD Soundsystem - American Dream
3. Ty Segall - Ty Segall
4. King Krule - The Ooz
5. Slowdive - Slowdive
6. Priests - Nothing Feels Natural
7. Perfume Genius - No Shape
8. The Courtneys - II
9. Protomartyr - Relatives In Descent
10. Father John Misty - Pure Comedy

A Few Write-ups From A Selection of Our Top 10 Lists:

Dave's Top Five:


1. The Sadies – Northern Passages


Northern Passages is the 10th full-length album released by Toronto’s The Sadies, who formed in 1994. This album makes connections with the band’s past, musically and spiritually as well as connecting with the present and future. Several of the songs on Northern Passages are like walking into a wide-open field. With each track The Sadies make new paths and breathe new life into previous paths that they’ve travelled through in the past. “Riverview Fog” opens Northern Passages in a psychedelic folk fashion. It is slow and conjures up the feeling of walking on an overcast day prior to a rainfall. Lyrically the song acts as a letter and combination of thoughts to an old reclusive friend that you haven’t spoken to in a while. “Riverview Fog” is said to be about Rick White of Eric’s Trip/Elevator, who alongside Greg Keelor (of Blue Rodeo), Dallas Good, Travis Good, Sean Dean and Mike Belitsky of The Sadies played in The Unintended. With lyrics such as “I know that’s not where you’re at today/Stay calm in your quiet getaway”, “Long gone are the days/They’ve all passed away” and “But I know you’re where you need to be/Out in the country”, “Riverview Fog” mixes up a complex pairing of thoughts and reflectiveness, while at the same time displaying a hopefulness. With an overall sound that can be described as an “acid-folk-country-punk trip”, Northern Passages finds The Sadies navigating through familiar and new territories. The Sadies are not travelling through a path less travelled here, but they are creating their own.

2. Chad VanGaalen – Light Information

Chad VanGaalen has always been known for his own unique style, one many call off-kilter indie rock. Recorded and produced by himself (with the exceptions of a few parts on a few tracks), the music on Light Information predates 2014’s Shrink Dust. As usual, VanGaalen’s music provides the listener with a different, often darker perspective on many things. Musically, the album produces its own unique rhythms, but at the same time seeming to have more catchy melodies, combined with many of the creepy, paranoid induced lyrics. “Mind Hijackers Curse”, is a warbly post-punk inspired track, “Locked In The Phase” gets more psychedelic, as “Host Body” tells the haunting tale of parasitic demons that “Eat me from the inside/I can already hear them chewing”, but one that seems to bring forth a tale of someone taken over by one of these parasites, to represent and save (or doom) the others. This can be seen as a look into our modern, Internet, quick spread information driven world. A subject that is touched upon in many different ways on Light Information.

“Mystery Elementals” is a fuzz driven track, “Old Heads” is an off-kilter pop song that only VanGaalen could write. It is a song about how technologies need to constantly replace, or regenerate themselves. “Golden Oceans” dips into garage punk waters, as “Pine And Clover” is a haunting ballad, as the album closer “Static Shape”, combines folk with synthesizer sounds. Light Information as VanGaalen stated in a press release is about “not being comfortable with anything really”. As a result, Light Information revels in unease, producing tales of paranoia, isolation, and alienation, among other themes reflecting our modern technological landscape.

3. Ty Segall – Ty Segall

Following Ty Segall’s 2016 noisy concept album Emotional Mugger, Ty Segall released a self-titled full-length album in 2017. This album, is not as noisy as its predecessor, however, that doesn’t mean that there aren’t noisy moments found on this album, there are plenty. This album is also the second full-length album released by Ty Segall that is also a self-titled release. His first was in 2008, at the beginning of his recording and musical garage adventures as a solo artist, with Segall playing the majority of the instrumentation. 2017’s Ty Segall release seems like a new beginning of sorts for Segall. This is the first full-length album where it was recorded with a live band in a room since 2012’s Slaughterhouse, which was recorded with the Ty Segall Band. Despite being produced (or recorded by) Steve Albini, this does not get in the way of the album. It has its own feel. This album isn’t a concept album as was the noisy horror punk of Emotional Mugger and it’s not as glossy sounding as 2014’s Manipulator, but despite what his previous albums have to say, this one has its own thing to say. There is no overarching concept here and the last twelve seconds of this album provide us with a glimpse of an answer to the points I’m bringing up here. The eleventh track on Ty Segall is a twelve second song titled “Untitled”. It is clearly a false start of one of the other songs found on this album, followed by laughter. This ending may seem odd to some, but it also provides a simple sonic example, that Ty Segall may be trying new things and has released multiple albums throughout his career, but, he’s still Ty Segall. He hasn’t forgotten his beginnings and we don’t know where he’ll go next musically.

4. Dion Lunadon – Dion Lunadon

For the past seven years, Dion Lunadon has been playing bass in New York’s A Place To Bury Strangers. Prior to exploring the noisy world of A Place To Bury Strangers, Dion played in numerous bands. The D4 are now known as garage legends from New Zealand and were part of the garage revival of the late 90s/early 2000’s. Dion played guitar in this band and would take lead vocals on several tracks at times, trading off with Jimmy Christmas, The D4’s other singer/guitarist. Following the end of this band, Dion relocated to New York, where he started a new group, The True Lovers. This band adopted a more soulful approach, but after about a year and one album they ended too. Beneath the noisy waves and bass grooves in A Place To Bury Strangers, something was rising to the surface. For Dion and was a raw, unbridled blast of songwriting. During a recording/touring break with A Place To Bury Strangers, Dion wrote fifty new songs and from this list he culled eleven tracks (twelve if you count the B-side to 2016’s Com/Broke single) to create what would become his first self-titled and debut album. The songs that make up Dion Lunadon are filled with a certain raw, visceral aesthetic. Dion Lunadon explores a noisy world encompassing a variety of influences drawing on punk, garage, psychedelic, post-punk and others while lyrically it taps into urban life and the frustrations and determinations that come along with it. Dion Lunadon is an album that was created within a certain moment in time and it is something that not only grabs, but demands your attention.

5. King Khan - Murderburgers

Murderburgers is the first solo album released by King Khan. Khan, who has been releasing music usually of the garage, punk and soul/R&B variety since the early 2000’s, has been part of many bands including King Khan & The Shrines as well as The King Khan & BBQ and countless others. For this album, Khan was backed by Oakland, California band The Gris Gris. Recorded in about a week, the album was produced by Greg Ashley at his Creamery Studio, which is no more. At just ten tracks, the album shows a new depth to the music created by Khan. “Discrete Disguise” is a soulful island ballad, “It’s Just Begin” gives the listener a taste of folk rock, “Run Doggy Run” adds some psychedelic soul sounds to this album’s palate, while “It’s A Lie” brings garage rock flavours. “Born In 77” is a proto-punk Stooges rave-up, “Teeth Are Shite” is a sleazy garage punk track, “Desert Mile” delves into the blues, and “Winter Weather”, the album’s closer, is a slow garage soul ballad. When all ten tracks are put together, the combination of musical ingredients may surprise some, but Murderburgers provides the listener with an eclectic platter of King Khan’s musical abilities.

Adam's Top Five:

1. Mount Eerie – A Crow Looked at Me


There is a clear distinction between A Crow Looked at Me and other recent releases that address leaving behind this mortal coil, such as Blackstar or You Want it Darker. The later albums are exercises in accepting mortality. Elverum’s record details the experience of losing a loved one. In 2016, Elverum’s wife Geneviève Castrée the Washington based singer, performer, and visual artist passed away from pancreatic cancer. A Crow Looked at Me is the aftermath of this loss, recounting in excruciating detail the process of mourning Phil Elverum went through. There is something so pure and raw in his depiction of the day-to-day aspects of life after his wife’s death that truly underscore the loss. It is these minor details, the eruption of grief that comes from the most seeming mundane of events, that tangibly relay this experience: trying to remember whether she liked Canadian Geese, sorting items in her vacant room, and crying after receiving a backpack in the mail she had ordered for their daughter.

For anyone who has dealt with the death of a loved one, A Crow Looked at Me will resonate all too strongly. Elverum never obfuscates or embellishes, but gives direct and impactful descriptions in his songs. On the album’s final song, Elverum recounts a trek with his daughter where they spot a crow circling overhead. Rather than a sign of resolution, the crow acts as a reminder of the presence death constantly has over them. It is a sobering admittance that there is neither consolation nor closure. To the album’s credit it offers no instructions on how to deal with grief, for there are none. A Crow Looked at Me is a painful record. However, it may be the most crucial record of 2017. During a polemic year in which the divisions of politics, race, class, gender, and privilege have been reminded to us again and again, Elverum has produced a work that talks about one of the few truly universal subjects that crosses all divisions and boundaries. By articulating his personal pain, Elverum reminds us of the one aspect in which we are the same.

2. LCD Soundsystem – American Dream

If you would have asked me at the beginning of the year whether the world needed another LCD Soundsystem album, my answer would have been a resounding “no.” I thought I had my full of the nostalgia-drenched, new wave tinged dance-rock that the band helped to popularize in the late 2000’s. Yes, Murphy is still pilfering riffs from late 70’s art-rock (the grinding guitars of “Change Yr Mind” take liberally from Brian Eno’s “No One Receiving”). Yes, the album still permeates with fat, warm sounding synths. And yes, Murphy still waxes philosophically over his growing alienation from the youth culture he once inhabited. However, for all the familiarity there is also a lot of change. The album is less dance-oriented than its predecessors, marked by slower paced songs and darker textures. There has never been so much atmosphere on an LCD Soundsystem record before. As a result the album projects a very serious mood that is all too appropriate for the matured lyrical focus of James Murphy.

As one would suspect from a title like American Dream, the album sees Murphy casting a critical eye towards the society around him. Online, commercial, and youth culture are thoroughly scrutinized, all the while Murphy tackles these subjects with humour, nuance, and refreshing self-awareness. Some topics broached include government surveillance (“Other Voices”), the escalating political and ideological rifts within America (“Call the Police”), and the false promises of individual identity offered by consumer culture (“Tonite”). While darker in scope than any of the band’s previous releases, the album’s bleakest moment is left for its closer: “Blank Screen,” a slow pulsing eulogy for Murphy’s deceased friend and musical idol David Bowie. More than just an acceptable return to the studio, American Dream acts as a revitalization for the group. It is a warts-and-all snapshot of what it means to live in America in 2017, and perhaps the band’s best and most mature record.

3. Ty Segall – Ty Segall

Ty Segall is the logical culmination of the artist’s past ten years of output. For 36 glorious minutes the garage-rocker rummages through the sounds of The Beatles, Stooges, and Syd Barrett to create a kaleidoscopic sonic experience.“Break a Guitar” is not so much a song but an anthem, celebrating the destructive and creative powers of rock. “Orange Colour Queen” is Segall’s most beautiful and emotive ballad to date. Then there is the 10 minute freak out “Warm Hands (Freedom Returned)”, the definitive moment of the rocker’s career - Ty sounds like he is exorcising the ghosts of Hendrix, Bolan, and Ashton throughout with his incendiary playing. In a year when rock music seems to be losing its presence in the van guard of modern popular music, Ty Segall is an electrifying reminder of the energy, passion, and rawness that makes this music so powerful.

4. King Krule – The Ooz

On The Ooz, Archy Marshall does the inexplicable: the artist doesn’t so much create an album, but a country of sound. In this new land the searing psychobilly of the Birthday Party sits comfortably beside icy Wu-Tang hip-hop, ambient soundscapes merge into indie-guitar freak outs, and the line between dissonance and melody is irrevocably blurred. This 70 minute downer-rock suite takes the best of what Marshall did in the past and magnifies it; Marshall has never sounded as melancholic as on “Slush Puppy,” as contemplative as on “Half Man Half Shark,” or as vicious as on “Dum Surfer.” An epic and immersive listen.



5. Slowdive – Slowdive

Slowdive could have been a simple cash-in, banking on 90’s indie nostalgia for the band’s signature guitar based dream-pop. Instead, it turned out to be one of the most powerful statements of the group’s career. Familiar shoegaze guitars and hazy vocals are paired with more innovative arrangements, vaster atmospheres, and an increased focus on volume. While most bands tend to soften with age, Slowdive have never sounded as explorative or self-assured as on “Roving Star” and “Slomo.” These intense numbers are aided by the album’s production, which relies on live-recording rather than the processed textures of their earlier work. The result is Slowdive’s rawest record to date, an album that pays homage to the band’s legacy while simultaneously striving for innovation.


Show 703 (Best of 2017 Part Two):

1. James O-L & The Villains - Back Then (Wild Goose Jack EP - Famous Last Records - 2017)
2. Diane Motel - Get Through To You (Lonesome For The Colour - 2017)
3. Ariel Pink - Bubblegum Dreams (Dedicated Bobby Jameson - Mexican Summer - 2017)
4. Tough Age - Everyday Life (Shame - Mint Records - 2017)
5. Cellos - Demagogue (The Great Leap Backward - Harbour House - 2017)
6. Tobin Sprout - Future Boy/Man of Tomorrow (The Universe and Me - Burger Records - 2017)
7. Sprinters - Young As Me (Sprinters - Icecapades - 2017)
8. Thee Rum Coves - Behind Your Smile (Out Tonight EP - Aeroplane - 2017)
9. Chain & The Gang - Rome Wasn't Burned In A Day (Experimental Music - Radical Elite Records - 2017)
10. Alvvays - Hey (Antisocialities - Polyvinyl Record Co. - 2017)
11. Kevin Morby - 1234 (City Music - Dead Oceans - 2017)
12. Slowdive - Star Roving (Slowdive - Dead Oceans - 2017)
13. King Khan - Winter Weather (Murderburgers - Khannibalism - 2017)
14. King Krule - Half Man Half Shark (The Ooz - True Panther Sounds - 2017)
15. Dion Lunadon - Com/Broke (Dion Lunadon - Agitated Records - 2017)
16. Ty Segall - Paper (Ty Segall - Drag City Records - 2017)
17. Ty Segall - Warm Hands (Freedom Returned) (Ty Segall - Drag City Records - 2017)
18. LCD Soundsystem - Emotional Haircut (American Dream - DFA Records/Columbia - 2017)
19. Chad VanGaalen - Old Heads (Light Information - Sub Pop - 2017
20. Mount Eerie - Ravens (A Crow Looked At Me - P.W. Elverum & Sun - 2017)
21. The Sadies - There Are No Words (Northern Passages - Yep Roc Records/Dine Alone Records - 2017)
22. The Sadies - It's Easy (Like Walking)(Northern Passages - Yep Roc Records/Dine Alone Records - 2017)

Download this episode here!

Show 702 (Best of 2017 Part One):

1. The National - Turtleneck (Sleep Well Beast - 4AD - 2017)
2. Tim Darcy - Tall Glass of Water (Saturday Night - Jagjaguwar - 2017)
3. Aron D'Alesio - Where You Going To (Aron D'Alesio - Paper Bag Records - 2017)
4. Paul The Tailor - Two Brains (Paul The Tailor - 2017)
5. Lucille Furs - Please, Give Her The Letter (Lucille Furs - 2017)
6. (Sandy) Alex G. - Judge (Rocket - Domino Recording Co. - 2017)
7. Courtney Barnett & Kurt Vile - Fear Is Like A Forest (Lotta Sea Lice - Matador Records - 2017)
8. Daniel Romano - Roya (Modern Pressure - New West Records - 2017)
9. Deer Tick - Jumpstarting (Vol. 1/Vol. 2 - Partisan Records - 2017)
10. Sam Coffey & The Iron Lungs - Judy (Sam Coffey & The Iron Lungs - Burger Records/Dine Alone Records - 2017)
11. Guided By Voices - Keep Me Down (August By Cake - Guided By Voices Inc. - 2017)
12. Dusty Mush - I Ate your Dog (Cheap Entertainment - Stolen Body Records - 2017)
13. Wolf Parade - Valley Boy (Cry Cry Cry - Sub Pop - 2017)
14. Father John Misty - Total Entertainment Forever (Pure Comedy - Sub Pop - 2017)
15. Teenanger - Fun Forgot (Teenager - Telephone Explosion - 2017)
16. Protomartyr - Here Is The Thing (Relatives In Descent - Domino Records - 2017)
17. Black Lips - Crystal Night (Satan's Graffiti Or God's Art? - Vice Records - 2017)
18. Black Lips - Wayne (Satan's Graffiti Or God's Art? - Vice Records - 2017)
19. The Courtneys - Silver Velvet (II - Flying Nun Records - 2017)
20. The Courtneys - Country Song (II - Flying Nun Records - 2017)
21. The Courtneys - Minnesota (II - Flying Nun Records - 2017)
22. Perfume Genius - Slip Away (No Shape - Matador Records - 2017)
23. Protomartyr - A Private Understanding (Relatives In Descent - Domino Records - 2017)
24. Priests - Appropriate (Nothing Feels Natural - Sister Polygon Records - 2017)
25. OCS - The Chopping Block (Memory Of A Cut Off Head - Castle Face Records - 2017)
26. Oh Sees - Jettisoned (Orc - Castle Face Records - 2017)

Download this episode here!