The Moles’ ‘Code Word’ Reviewed By Dagger Zine

The Moles- CODE WORD (SUPER SECRET RECORDS)

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Wow, Aussie expat Richard Davies (who’s been living in Massachusetts for years) is back with a new Moles record.  The Moles fabulous debut, Untune the Sky was a revelation for me when I heard it back in the mid-90’s as was his next project, the great Cardinal (with Eric Matthews). This time he’s back with a record as varied and disparate as anything he’s ever done. However despite having several different Moles lines up (Austin, NYC, Detroit, Mexico City and two in Massachusetts, Somerville and Easthampton, for all of the different lineups that recorded the record). Honestly, he doesn’t sound like he’s lost a step as the songs are rough and nimble, bumping up against each other  and then waltzing down the aisle (don’t mind if I do).  Opening cut “Moon in the Daytime” chugs along with some real panache while “Delicate,” despite its title, shows a more garagey side of the band with a rawer sound and “Queen Anne” is as off-kilter as anything Davies has ever done (as is the title track). Elsewhere don’t miss the uke-soaked “Riptide” or the odd, choppier “Punk On All Four Tracks” and the Soft Boys-esque “Prison Girls” as well.  There’s even a song called “Richard Davies 6.0”) and that final song “Gudbuy T’ Jane” which is just awesome. I’m not sure if Davies has been working on these songs since the last Moles record or if he whipped this batch in the past year or so but it’s a mostly terrific batch of songs birthed as only they could be by their enigmatic creator. Hail Sir Richard (or at least buy him a coffee the next time you happen to see him). www.supersecretrecords.com

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Austin Chronicle Review New Crack Pipes Album

The Crack Pipes

Fake Eyelashes (Super Secret Records)

Texas Platters

Much has changed since the Crack Pipes’ previous release, 2005’s Beauty School. First and foremost, extraordinary guitarist Billysteve Korpi beat cancer, but at the same time, recording home Sweatbox Studios ceased. And if a 2005 rocked by the Iraq War, Hurricane Katrina, and the American political pendulum swinging hard right doesn’t seem chaotic enough, 2018 feels suitably PTSD-riddled for all.

With Beauty School, vinylized last year by Super Secret Records’ reissue subsidiary Sonic Surgery, singer Ray Colgan, Korpi, drummer Mike Corwin, bass plucker Nick Moulos, and keyboardist Coby Cardosa proved that the locals possessed a huge, wide-ranging musical scholarship and they were gonna use it. The resultant art-garage squall took in a broad stylistic sweep. As Colgan says, “Yes, I love Captain Beefheart, but I also love Louis Armstrong.” Songwriting became the focus, and the album showed the Crack Pipes to be the true sons of the Lord High Fixers, Austin’s previous garage rock kings.

Thirteen years later – and 23 into their career – the group retains the same quintet that crafted its four previous studio full-lengths. Songs begun in 2007 remained, joined by fresh material from Estuary Recording Facility, and now Fake Eyelashes picks up where its predecessor left off – highlighting both song craft and genre hopping. Special guests aid the sonic expansion: Enduro/the Damn Times/Transgressors guitarist Chad Nichols drops in on the opening jangle-pop title track, the überfunky “Sha-Zam” features Riley Osbourne’s thick Hammond organ, a Funkadelic-tinged “Giraffe” boasts remarkable free jazz sax skronk from Gospel Truth/Art Acevedo’s Mark Tonucci, and the Fifties-flavored “Sea of Beverly” lilts behind Ro-Tel & the Hot Tomatoes’ Milaka Falk’s oohs and aahs.

The remaining seven titles veer all over the art-garage firmament. Frat rock riffer “Lil’ Cheetah,” soul clapper “Bang Bang Bangs,” and statement of purpose “My Underground” all move and groove. Yet it’s that interplay between the core Crack Pipes instrumentalist – especially Korpi’s articulate, inventive six-stringing – and Colgan’s sanctified church vocalising that remains the front-and-center of Fake Eyelashes.

Alongside fellow Aughties garage-punk heroes the White Stripes, the Crack Pipes continue to prove this music needn’t stay stuck in 1965. Fake Eyelashes continues pouring and mixing new and exciting hues on garage punk’s palette. We’re the better for it.

****

Post-Trash Premiere of “Punishers” Video From Exhalants

Exhalants – “Punishers” Video | Post-Trash Premiere

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exhalants.jpg

by Dan Goldin (@post_trash_)

In case you weren’t paying attention, Austin’s Exhalants released one of the year’s best noise rock albums with their self-titled debut back in August. The trio sound is both nuanced and rabid, lashing out with destructive tendencies but easily digestible, imagine something like the unholy three-headed stepchild of Unwound, Tar, and Big Black. It’s a debut that deserves praise beyond those with their ears to the ground, an album too gotdamn loud to be kept quiet. Forming from the ashes of the much beloved Carl Sagan’s Skate Shoes, Exhalants pick up where the former’s dusty noise punk left off and runs wild with it, decimating eardrums and perception all the same.

On an album that never lets up from it’s gripping sludge and distorted pummel, “Punishers” is a stand-out in a flurry of stand-outs thanks to it’s patience. The song uses empty space to create depth in their attack, with a sordid groove and mangled guitars finding their own room to wander. Even with moments carved out between the feedback, “Punishers” remains dense and abrasive, each member thudding in time with the muddy pulse and ferocious drums; Steve Pike’s dry shouts in command of Exhalants’ rusty scorn. The band’s video for the song is a black and white collage of sorts, capturing both performance and gentrification in motion with high rises constructed in flickers and chaotic flashes.

The band are touring in November with Pinko. Complete dates and video premiere below.

TOUR DATES:

11/02 – Austin, TX @ Beerland
11/03 – San Antonio, TX @ Limelight
11/08 – Houston, TX @ Leon’s Lounge
11/09 – New Orleans, LA @ Bank St. Bar
11/10 – Birmingham, AL @ Saturn Bar
11/11 – Athens, GA @ HI-Lo Lounge
11/12 – Nashville, TN @ East Room
11/13 – Kalamazoo, MI @ House show
11/14 – Chicago, IL @ Subterranean
11/15 – Kansas City, MO @ Roller Dog
11/16 – Denton, TX @ Space Station

Stream New Moles Album, Code Word, Exclusively at BrooklynVegan

The Moles releasing new LP ‘Code Word’ (stream it)

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code-word

Australian quirky pop maestro Richard Davies is back with Code Word, the first new album from The Moles in two years. (Which comes a lot sooner than than the one before that.) Davies made it with multiple Moles lineups in a few far-flung locations:

  • NYC Moles: Richard Davies, Matt LeMay, Jason Sigal, Pete Hilton, Henry Freedland, Danny Bowman
  • Detroit Moles: Richard Davies, Matt Smith, Chris McCinnis, Alexander Glendening, Pete Steffy, Scott Michalski
  • Austin Moles: Richard Davies, Steve Patterson, Wil Hendricks, Michael Krassner, Adam Ostrar, Will Courtney
  • Mexico City Moles: Richard Davies, Steve Patterson, Wil Hendricks, Michael Krassner, Adam Ostrar, Will Courtney, Rodriguez, Alejandro Romero, Rios, Juan Delacruz
  • Easthampton Moles: Richard Davies, Bob Fay, Andy Goulet, Will Courtney
  • Somerville Moles: Richard Davies, Dan Rosenthal, Bill Lowe, Mark Zaleski, Russ Gershon, Blake Newman, Luther Gray, Will Courtney

The record’s 16 tracks are nearly as disparate, from the Flying Nun style indie rock which typified The Moles’ classic Untune the Sky, to southern-fried boogie, bluesy garage rock, power-pop, jazz, psych folk, and everything in between, while Davies’ unique approach and distinctive vocals tie everything together. Like his pal Robert Pollard, Richard is a one-of-a-kind. Code Word is out this Friday via Super Secret Records but you can listen to the whole thing right now — a stream of the LP premieres below.

The Moles played Brooklyn’s Union Pool earlier this month and their only other upcoming show is in Austin, TX on Thursday, October 18 at Beerland.

The Moles’ “After May” Premiered At Austin Town Hall

THE MOLES SHARE AFTER MAY

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Richard Davies is one those songwriters who is adored by other songwriters; he’s made claim that Cobain and Pollard have both fallen in love with his music at some point or another…and now he’s releasing a double album with his band The Moles. The group of musical rabblerousers has members in various cities across the globe, which will allow them to perform songs from Code Word in various locales. Luckily for you, we’ve got a preview of one of the album tracks. “After May” is a bit of a ballad, with Davies working calmly over a strummed guitar with some space-aged electronic noodling cutting in and out; it gives the tracks just the faintest whiff of peculiarity. It’s just a small taste of what Richard can accomplish, and with a slew of contributors, each listen is likely to be as varied as the new LP; it drops this Friday via Super Secret Records (with an ATX Beerland show on Thursday).

PopMatters Premieres The Moles’ “Moon In The Daytime”

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Jedd Beaudoin

The Moles - Code Word Album

One of the most inventive bands to emerge from Australia in the 1990s, the Moles get a new lease on life in 2018 with various lineups, searing new tunes destined for your autumn/winter playlists.

Code Word is the new double LP from the Moles. The record arrives 19 October via Super Secret Records and may be pre-ordered here. The record is the band’s first 2016’s Tonight’s Music. This time out, band leader Richard Davies assembled multiple versions of the band from a variety of locations including Detroit, New York City, Austin, Texas, Mexico City, Easthampton, and Somerville. The result is a collection that’s right in tune with classic Moles sounds while carrying the group right to the edge of 2019.

The opening “Moon in the Daytime” is a rollicking pop-rock effort that imagines a hybrid of the Byrds and Guided By Voices (Davies collaborated with GBV’s Robert Pollard in 2009 under the moniker Cosmos.) Meanwhile, “Delicate” continues the psych/lo-fi/psychedelic aesthetic with a driving enthusiasm that imagines the Who having gone punk circa 1976 rather than evolving into an increasingly reflective and mature unit. “Cheaper to Keep Her” could be an obscure single by some forgotten UK act in the flavor of the Bevis Frond. Of course, those are touchstones, and the record is nothing less than what stalwarts would expect from the Moles: A full-on aural assault that’s tuneful, adventurous and filled with wild, wild imaginings.

In case anyone doubted Davies and his roots, a spot-on cover of Slade’s “Gubuy T’ Jane” reminds us that Noddy Holder and friends were as instrumental to glams rise as Bowie, Bolan or Sparks. You can hear further evidence of Davies’ particular genius in the trippy “Ancestors”, the delightfully strange “After May” and the titular piece which, once more, makes a case for further exploration of the missing links between indie and progressive rock.

Formed in Sydney, Australia in 1990, the group released an EP and one full-length, moving to New York, London, before unraveling in 1993. One more LP followed before Davies put the band to bed in 1996, only to reignite the flames of inspiration some 22 years after the debut utterance.

In the end, Code Word is a perfect reminder that Davies and the Moles (regardless of iteration) are as innovative as they are familiar, as sweet as they can be biting, as tuneful as they can be filled with abandon. This collection seems destined to garner the Moles a new group of devoted followers and pique the interest of those who have been there from the start.