Leandro Barbosa (Leo B. & Cigana Elétrica) exchanges band life for a solo career. In that role, his debut album ¿Pero Qué Sí? ¿Pero Qué No? inhabits the uncomfortable space between languages, cultures and musical traditions. The title (translated: “But what yes? But what no?”) echoes the charmingly broken Spanish spoken by many of his compatriots, but here it becomes a statement that identity is often found in imperfection.
Rather than claiming a single identity, the Brazilian singer-songwriter lets blues, Southern rock, and folk mingle naturally, creating a sound that feels as restless as the stories behind them. Drawing on decades of experience, he delivers no fewer than seventeen heartfelt songs—the closing five are unplugged—that embrace uncertainty without losing power. Most striking here, however, is that mighty voice, which makes every word count.
¿Pero Qué Sí? ¿Pero Qué No? is out digitally (self-released).
Andrew McLatchie’s next release under his Half Deaf Clatch moniker could be here any moment is already here, but I would still like to share this one from last month with you. I think the brilliant British singer-songwriter is at his best when he stays close to himself in terms of story and sound, and that is certainly the case on the Black Heart Blues EP (at least that’s how it feels): “Oh, my songs hold sway, people get enthralled by the music I play and trust me there’s a very good explanation. And it’s why I live the life of a troubadour.”
You’ll hear a gothic blues story that unfolds in just under 23 minutes, split into five chapters that continue the captivating narrative, with little more than acoustic guitar, mournful cello, ambient textures, and the characteristic gravelly, world-weary voice to carry its emotional weight. It begins as the confession of a wandering serenader but gradually reveals the cursed origin of his gift: after accepting a supernatural guitar from the Devil, he becomes an immortal minstrel doomed to corrupt every audience he plays for, harvesting souls through the haunting spell of the ‘black heart blues’ with no hope of escape, or ending.
Black Heart Blues is out digitally and on homemade CD through Speak Up Recordings.
Not all new music is really new, as many artists cover songs. Sometimes these are songs by their favorite artists, e.g. as a tribute to such a musical hero for a special reason, or they simply feel that a song deserves to be dusted and polished to reacquaint fans with great songs from the past. Other times, bands cover songs as a parody. Regardless of intent, some of those cover versions are so good or so much fun, we’d like to put a spotlight on them. Chosen from a wide range (only if supported by the artist, so no live videos filmed by the audience or anything like that), here are—in a kind of random order—a bunch of successful covers from last month.
Tycoon Machete is an art rock quartet from Salt Lake City, featuring John Whipple, Erin Stout, James Perry, and Sean McCarthy. Their latest record, Xenoblaster, came out two weeks ago, but I still can’t quite grasp it, layered and surreal as it is, both in terms of music (in their own words: guided by the ghosts of 1930s blues, 1960s psychedelia, 1980s electronica, and 1990s grunge) and lyrics (a romanticized, explicit history lesson). It seems sensible to let the band’s songwriter explain the themes here: “It’s based on the exploits of Dr. John R. Brinkley, an American hero who cured impotence by inserting goat testicles into sad men’s nutsacks. We thought this would be an apt metaphor about the American alignment of stupidity and power.”
It’s an eccentric concept album that thrives on chaos and cynical satire, but somehow it works. In ten extravagant songs, the bizarre life story of the infamous ‘goat gland’ doctor, radio pioneer, and self-made millionaire is told, set to psychedelic prog rock that is alternately dark and funky. With swirling textures, eclectic instrumentation (including a 1942 lap steel, 1890’s plectrum banjo, singing saw, synthesizers, and samplers), experimental twists, and black humor, Xenoblaster feels like a fever dream broadcast from a forgotten radio tower: strange, theatrical, and itense, yet captivating and impossible to ignore.
Xenoblaster is out digitally (self-released).
Add to wantlist: Bandcamp (here you can also find the complete backstory and lyrics of all tracks).
More than anything, Broken Souvenirs confirms that Bywater Call are at our service to make emotion feel tangible. The Toronto seven-piece capture their signature mix of Southern soul, blues, and roots rock into eleven warm, richly arranged songs where soaring horns, empathetic guitars, and Meghan Parnell’s commanding voice carry every note and word with conviction.
The band never loses sight of the human stories at its core; dedicated to two cherished lives lost, the album quietly reflects on grief, resilience and memory without becoming weighed down by them. Between the significance of heartbreak and the pull of hope lies the real magic: music performed with such honesty that it becomes both a refuge and a release.
Broken Souvenirs releases July 29 on CD and vinyl LP through Bywater Call Records / Continental Record Services.
Then came another surprise: Florida Water Blues, announced and released with almost no warning. And after spending time with it, I suspect Blame The Clown was less the destination and more a scenic detour. This new record feels like the album Twisted Teens had been building toward all along.
WhereBlame The Clown embraced looseness, odd turns, and a box-of-gems unpredictability, Florida Water Blues is tighter, more focused, and loaded with songs that seem engineered to lodge themselves in your brain. The tempos stay lively, the hooks arrive fast, and the lyrics continue to sound like they were pulled from some half-remembered piece of Southern folklore. “You can drink that Florida Water and go blind” is exactly the kind of line only Twisted Teens could make sound both ominous and ridiculously catchy.
Cas P. Ian remains one of the most distinctive vocalists operating anywhere near the underground, while RJ Santos threads pedal steel and slide guitar through these songs with the confidence of someone who knows precisely when to add beauty, when to add sadness and when to add danger.
Most importantly, Florida Water Blues captures the thing that made me obsessed with Twisted Teens in the first place. They take folk, blues, punk, garage rock, country, and old-time music and turn it into something that feels both ancient and brand new. The debut was a revelation. Blame The Clown was a reputation builder. Florida Water Blues sounds like a band realizing just how big this strange, sweaty, spellbinding thing they’ve created can become.
And apparently the madness isn’t slowing down. Another Twisted Teens record is already on the way in a couple of months. I learned that, and a lot more, from a fantastic Paste Magazine feature on Cas P. Ian and RJ Santos. The impressive thing is that the article doesn’t demystify the band at all. If anything, it makes the whole Twisted Teens universe even more fascinating.
Florida Water Blues is out now on Going Underground Records
Not all new music is really new, as many artists cover songs. Sometimes these are songs by their favorite artists, e.g. as a tribute to such a musical hero for a special reason, or they simply feel that a song deserves to be dusted and polished to reacquaint fans with great songs from the past. Other times, bands cover songs as a parody. Regardless of intent, some of those cover versions are so good or so much fun, we’d like to put a spotlight on them. Chosen from a wide range (only if supported by the artist, so no live videos filmed by the audience or anything like that), here are—in a kind of random order—a bunch of successful covers from last month.
50 Ft(PJ Harvey) by The Bobby Lees — from New Self LP (Epitaph)
Foggy Notion (The Velvet Underground) by Bob Bert — from Beach Bongo Bloodbath (Bar/None Records)
There are more wantlist-worthy releases than time to cover them all. Starting this year, Loose Ends is our monthly fix for the great records that slipped through the cracks. Expect a key track and quick take on each release (40+ this month!), and a link to add it to your shelves.
Annual Leaf || Sign of the Bellbird In April’s Loose Ends, we’ve put the spotlight on the most recent EP from these Melbourne indie pop janglers and slackers. This new CD compiles that EP and songs from 5 other releases of the past 5 years. Turns out Annual Leaf have been great for a while!
Baby Jane || Surfing To Hell This Barcelona “kebab punk” riot grrrl quartet looks like trouble and sounds even better. Fast, loud, and gloriously unruly.
Bringing together Melbourne underground lifers Mick Turner, Joel Silbersher, Claire Birchall, and Guy Maddison, Fancy Weapon’s self-titled first long-player finds common ground in a blaze of rock ‘n’ roll chemistry. Recorded in a single session at Head Gap just before the studio’s dramatic demise, these nine songs capture a band operating on decades of accumulated musical knowledge and the need to explore new directions.
They are in the realm of experimental, minimalist, heavy blues rock, where it is dark and dangerous. Sleazy guitars are the obvious focal point here, with distinct styles colliding and intertwining. Shared vocals add even more ragged personality, while the rhythm section provides a powerful, unwavering backbone. This is a fascinating, intoxicating debut brimming with confidence, character, and the thrill of discovery.
Fancy Weapon’s eponymous debut album—co-produced, recorded, and mixed by Finn Keane—is out digitally and on vinyl LP through Poison City Records.
With Eyes Full, versatile musician Zoh Amba steps away from the avant-garde saxophone world that first made their name and returns home, to Kingsport, Tennessee, and to their first instrument, the guitar. Recorded live with guitarist Kevin Hyland and drummer Jim White, the album blends ragged acoustic blues, Appalachian folk, and bursts of scorched alt-rock into something intriguingly idiosyncratic, deeply personal, and spiritually charged.
The thirteen songs are as pure as can be, delivered with fire and carried by raw and unguarded vocals declaiming stories of working-class lives, redemption, and hard-earned grace. A rough-cut instrumental backdrop lends them an even greater sense of urgency and vulnerability. Eyes Full is a fearless, heart-on-sleeve record that finds beauty, dignity, and mercy in overlooked places.
Eyes Full is out digitally, on CD and vinyl LP, through Matador Records.
