PREVIOUS RELEASES ON SDZ RECORDS
LES VIPERES/SUX EVULSORS split Ep (SDZ
Co-release with Fourdu Records
Released in 2000.
Here you got some Frenchie
fucks belting out Frenchie cock 'n' roll punk attitude with two
savage songs you'll want to linger on. Flip this baby over and
you'll find a muddier sounding lo-fi explosion a la Rip Off
Records, fueled with in your face attitude, blood-curdling
screams and maniac guitar. These fuckin' Frenchies make my loins
Maximum Rock'n'Roll (USA)
Parlez vous francais? Oui! Les Viperes are akin to the likes of the TV Killers and Killer Klown. They like the guitars cranked up really high for maximum excitement. Les Viperes are a garage punk band that appreciates a good party! Now Sux Evulsors are another story all together. This cantankerous lot has all the energy and hate of a well-known Texas band called the Motards. Yeah, if the Motards ever had a little brat this is what they’d sound like. There are only 500 of these bad boys so act now, and don’t whine to me about finding a copy later, cause you ain’t getting mine! (JD)
Blank Generation (USA)
LES VIPERES/HOLY CURSE split CD (SDZ
Co-release with SHARK ATTACK & SMALL BUDGET
Released in 2001.
Les Vipères from Québec play
enjoyable Heartbreakers-style rockin' punk. Sharing this disc is
the last and only rock'n'roll band from Paris, Holy Curse, who
wear their Radio Birdman/New Christs influences on their
sleeves. That's not a bad place to be, so if it's your can
o'beans check this guys out.
Tony Slug - Hit List
This is a ten-song split album from Quebec City's Les Viperes and Paris's Holy Curse. First up are the French Canadians, with their heavy-handed, double-guitar hot rod punk rock. The best track from these boys is the short and speedy "Terroriste." There is a groovier side to the band too, as more steady-rocking tracks like "Rechercher" demonstrates. The band from the old country actually sings in English and plays a more restrained style of punk. They have a song called "Too Much Paranoia," which is an "I'm Eighteen" slow rocker. Their other tracks are more mid-tempo street anthems. A good split, in that the sampling of each band's material complements the other's.
Craig Daniels - Exclaim
THE D4 "Rock'n'Roll Motherfucker" 7" (SDZ 003)
Released in 2002.
...The song "Rocknroll
Motherfucker" is an appropriate opener: flat out frenetic, and
it's running down, along, until it blows up. It's got some cool
enough lyrics that thrash around it as well: "Going down on you
...I'm going down on you ..." Amazing, and this is just the
beginning: "I wanna give it to your sister and brother like a
mother fucker..." - It's a flawless start, played tight and
crisp with aching solos that bend into the flow, gliding up with
an indication of the smooth hooks waiting inside...
..."Running On Empty" is all maracas, with a bass line destined to get all the kids shaking on the dance floor amid plastic beer cups and cigarette butts. "Don't go slipping now - y'hear." You know the type of lyric, it's the type of stuff about waking up, shaking your head to shake the chemicals out, and something about losing y'girl, to which you lose y'mind - then you've got only one thing left ... y'gotta run on empty. It chugs, grunts, and pants along, like some hopped-up Beat Music band (I'm not at all talkin' snide, overly cool Jazz here, I'm talkin beat Beat BEAT!). The D4 only want be the biggest garage band on their local block....
Shane Jesse Xmas - Deadbeat
D4 (not to be confused with Dillinger 4, who put a Teenage Reject or two in the hospital awhile back) are a high-octane rock ‘n’ rolla group outta New-Zealand (also home to great television shows such as Zena: Warrior Princess). The D4 are a punk rock ‘n’ roll, beer-swillin’ powerhouse that the southern fried fucks lick off the counter of smoke-filled bar on late Thursday nights. Loud speakers a must...
Joe Domino - Blank Generation
ANTEENAGERS M.C "(The)Future('s Coming Tomorrow)" 7" (SDZ 004)
Released in 2003.
"Oh my god, this record is so
good! Thumbs up to sdz records for that release and the nice
packaging too. Basically Anteenagers are Steve & The Jerks
with legendary Nicus as second guitar player. "Down in
Amsterdam" is about your last trip in the Netherlands, getting
smashed in drak coffee shops listening to real bad reggae and
buying half-assed dutch pop records in smokey record-fairs. No
it's not. It's a RAIDERS cover (at least that what I'm being
told) and it's excellent. The A-side "future" is fantastic. The
two guitars mix brilliantly with Junior's trademark zooming bass
lines. The sound is crisp (a la Buzzcocks first alb) and the
lyrical progression is awesome. I'm impressed. Those Paris boys
have been blowing touring american bands off the stage on a
regular basis (just ask fuckin Zen Guerrilla) and are planning a
US tour. Get ready!"
Jack A. - Horizontal Action
The first is the debut 45 by ANTEENAGERS M.C. This band features 3 ex-members of STEVE AND THE JERKS! "(The)Future('s Coming Tomorrow)" b/w "Down In Amsterdam" is totally great! The a-side features a razor-sharp guitar attack and a definite BUZZCOCKS feel, while the flip is a PAUL REVERE & THE RAIDERS cover. A fantastic debut, with an LP soon to follow!"
Mitch Cardwell - MaximumRockNRoll #241 / May 2003
ANTEENAGERS MC "The Future ('s Coming Tomorrow)" (SDZ 7in) Wasn't one of these guys in the Splash 4? Anyways, there's a super Buzzcocks thing going on in the guitar line. Almost enough to think IT WAS the Buzzcocks on the a-side but they vocal sound more world weary. The flip they kick up some dust with a cover of Paul Revere and the Raiders "Down In Amsterdamn" that puts "Some Girls" era Stones on the tip of my tongue. (SDZ)
Dale - Smashin' Transistors
Here is the new attraction from France - Anteenagers m.c. with 3 former members of Steve And The Jerks. It's weird mix of punky power pop in style of Buzzcocks, Undertones with new wave touch and now days trash garage punk. I like their music there is something typical French in it and I think it's really pity they don't sing in French. B side is Paul Revere And The Riders cover. It's too punk to get stoned - hahaha, but good to get drunk in Amsterdam and take a walk through Red Light District.
Vanya - No Brains Zine
LES VIPERES/LES DERAILLEURS Split Ep (SDZ 005)
Artwork By Lili Z.
Released in 2003.
"I got two fantastic singles in
the mail from France's SDZ Records. See? They really do love us
yanks! (...) Secondly, SDZ brings us a split 7" EP LES VIPERES
and LES DERAILLEURS, two bands from Quebec. Language barrier
aside, both bands deliver here! Les Viperes come out on top with
their TEENGENERATE-inspired bouncers, while Les Derailleurs
offer up some spastic garage punk."
Mitch Cardwell - MaximumRockNRoll #241 / May 2003
"Did you ever wish you could
speak French? I didn't but I have this sudden urge to learn just
so I can find out what the hell these two bands are
talking\singing about. It must be good cause they've got me
pretty happy and I don't even know what the fuck they're
talking\singing about.Les Viperes from Québec City are coming
for you with guitars vaguely reminiscent of The Mummies and
vocals that kick you like The Undead's Bobby Steele, Les Viperes
is some good goddamn rockin' goodness that I'd love to get my
hands on a full length album of.(now if I only knew what they
were talking about)I accidentally played the b-side first when i
got this, but I decided it wasn't an accident it was fate. Les
Derailleurs claim to be "from the most Rockin' city in Québec"
(Chicoutimi) I believe it just might be possible if these guys
are rockin it regularly. You can listen to it and picture all
the pussy this Rock & Roll must be getting them, and with a
five to one ratio on girlies in their town how can you go
Benny Brylcreem - Smashin Transistors
Clicka Herrre for Moore Info
THE REBEL "Exciting new venue for soccer and execution of women" EP (SDZ 006)
Artwork by The Rebel
Released in 2004.
You can listen to this record right here // Ecoutez le disque ici:
CLICKA HERRRE FOR MOoRE IN-FO
CHEVEU "Clara Vénus" B/W "Superhero" 7"
co-release with Royal records
Released in 2006.
"When a modern band gets some
attention from both S-S and Polly Maggoo Records, its a pretty
sure bet that theyre something special. I think the S-S record
by Frances CHEVEU reviewed in April here was a fantastic blast
of electrospasm punk & this ones easily as good. Superhero
has a murderous 007/Batman riff & bunch of super-agitated
talking and fumbling, with odd squeaks and keytones throughout.
Its a devastating song for playing late, late at night, and
Exhibit A for those who dont believe that a whole new strain of
strange punk music has been invented these past couple years.
Clara Venus is like a frantically uptempo Cabaret Voltaire &
only lessens the pulse by a whisker. Wow. One of the best 45s of
2006, I dont care that its June 5th, its gonna be on the list!"
Jay - Agony Shorthand
"Right after their intoxicating songs on SS records, here are two siders which were highly expected and it's a whole french thang ! Parisian lads from SDZ Records (The Rebel 7 inches from 2004) and Royal Records' great comeback on the scene. Both labels eventually decided to smash the U.S. competition by combining their talents in order to keep weird punk on french soil! I'm warning you because this record is the total opposite of the one on SS (not in quality, you idiot). Like its dark and mean complementary little brother. Both sides are headbanging scorchers. It's just gonna smoke your system. It's obvious that both songs were carefully chosen in order to smash your phonograph in half. Fast drum machine stomps, obnoxious guitar waves, distorted weird vocals and the frantic-est keyboards bleeps ever. Those songs are the catchiest when played live and finally hearing "Superhero" recorded is just too bitchy. Just the guitar riff at the beginning of that song....god. And "Claravenus" is just a great Arthur Rimbaud poem rip-off which will send you home hypnotised and addicted. A fine eardrum breaker your neighbor will love in secret while he'll be calling the cops on you so he can get your copy! The one record that will surely put these bums on top of the Weird Punk league. Young, fast and scientific. Scums stats: 500 copies, black wax, this will go FAST so act quick."
Kemp Boyd - Terminal Boredom
"France's Cheveu have an excellent grasp on a very French post-punk dynamism, devolved in a lopsided way from progenitors such as Metal urbain, warum joe and Berurier noir. Their sound is both less and more mechanical than the suggests. In the sense that the drumming is "real" (!) (at least I think it is), and that the keyboard seem more robotic than the suggests. But whatever their model, these guys produce a superior guitar raunch with great memble mystery moves. This power is amplified on the Dog/Make my day 7", which was actually an earlier release (I think). The primitivism here is less fully integrated, but still lush enough to make you fall over."
Byron Coley - The Wire
"Fuck me! Theyve only gone & done it again! As if releasing the skronk-tastic Dog wasnt enough for one month, Cheveu go & drop Clara Venus.
Based on the poem Venus Anadyomene by everyones favourite Symbolist, Arthur Rimbaud, Clara Venus races along on primitive beats & skronky keys before the guitars cut in with the choicest of anti-riffs & blow the roof clean of the shed. Dont ask me whats going on. This ones sung in French - & despite many hours of regardez, ecoutez et repeatez during in my scholastic years (& my massive collection of symbolist poetry!) Im afraid Im none the wiser.
Not that that matters, you understand. Clara Venus is another copper-bottomed classic from the best new group in France, the best new French group in the new release pile aw, fuck it the best new group EVER!"
Jean Encoule - Trakmarx
"Follow up single Clara Venus clatters on a cow-bell click, Suicide-like intensity and a rhythm often interrupted by squeaks of distorted synth. Twisted cut-up garage r n r swept around on the words of Rimbaud. Superhero again plays up a Suicide clatter with a Butthole Surfers psychosis powering the hazy charger."
PLASTOBETON EP (SDZ 008)
Released in 2009.
After the ultra-limited comp cd-r on tanzprocesz comes the first Ep of the infamous Plastobeton from Metz, France. Band includes members of AH KRAKEN, FEELING OF LOVE, THE DREAMS...crude synth-punk with razor-sharp guitar and gut-wrenching vocals. Another shot to the brain from la GRANDE TRIPLE ALLIANCE DE L'EST.
"A drum machine set
to “MC 900 Foot Jesus,” barking dog guitar, and a person named
Dixie Music pleading emphatically over the mic is the whole
story behind France’s Plasto Beton, suburban funboys who may or
may not listen to Rammelzee, ready for a night out at the
leather bar. AH Kraken/Feeling of Love affiliation; I’m into one
of those bands. Snarling and harsh, the group does what it can
with pre-recorded rhythms and primitive drum machines, gargling
driveway sealant and spewing it all over your sidewalk, in a
recent tradition of spoiled decadents like A.R.E. Weapons, Flux
Information Sciences, and Ghost Exits. The fashion’s not part of
Plasto Beton – yet – so their woodshed antagonism still has a
great deal of bite to it. Fun, goofy times. 500 copies, from
France. It’s French."
- Doug Mosurock / Dusted Magazine
"...Rythmes tour à tour boiteux ou martial, guitare vrillante, synthé nauséeux, répétition malsaine avec A31, autoroute de la mort à rendre accro au bitume et Eté 1983, froid et lugubre, en tête de liste de l'ordonnance de votre médecin. C'est trop primaire, c'est trop crade et ça reste figé dans vos neurones comme un cancer dans votre bras droit. C'est pour toutes ces raisons qu'on les adore, eux et leur putain de single à trois balles."
- Perte & Fracas Webzine
Click here for more info and reviews
You can listen to the whole record right here
// Ecoutez le disque ici:
SDZ 009: THE LIMIÑANAS "AF3458" b/w "Betty and Johnny" 7" single (SDZ 009)
Released in 2011.
“AF3458 doesn’t exactly seem like a good name for a song, but the way they manage to seamlessly work it into the chorus is just about perfect. By the time it’s paired up with that fuzzy guitar garage static, the deal has already been sealed – you won’t be listening to another song for now. The best part is it doesn’t stop there, because the flip side “Betty and Johnny” is on the same level, equally as jangly and innocent as the last, except now they’re singing in French. The gritty guitar chord blasts are spread out and sparse, but I think that’s because the focus of this song is in the rhythm section. The nasally bass line doesn’t let up for the duration of the track, but it’s the percussion this time around that supplies the surprise. Notice the primal conga drumming, which is totally unexpected at first listen and adds much color to the rhythm.(...) Also be sure to keep this one in mind folks, because you’ll definitely be seeing it again at the end of the year." - The Styrofoam Drone
"The Liminanas never fail to crack a smile 'round these parts. Their latest single for the always intriguing SDZ is a multi-lingual blast of fuzz battered garage and 60's-mining pop swingers. The serial number-esque A-side kicks in a fizzy, English driven stomper that's as fun as anything in their repertoire. On the back they kick in another dose of that detached French cool that renders their tracks a notch above many of their peers. They have an intangible ability to make soundtracks for underground bungalows, backroom hideaways and the kind of in-the-know speakeasies where cash won't get you entrance but the right amount of wear on your leather jacket might. Definitely an essential piece of their catalog." - Raven sings the blues
"The new Limiñanas single continues their druggy run of cool records. Both sides create absinthe-like hallucinations, and putting this thing on your turntable will have you doing weird dances and conjuring spirits from a spinning wax platter. Not sure if it’s because I’ve been possessed by this record, but I can’t pick a favorite side from this one they’re both good." - The Finest Kiss
"Our favorite Frenchies are doing it again. The Liminanas have got a brand new single that just came out on SDZ Records and it sounds about like what you’d expect from them. After their full length on Trouble In Mind and a couple of singles, it’s almost like they’ve got walking the line between art school and garage and jangly rock and roll down to a science. Since the single’s an overseas release, it’s not too likely that you’ll see many copies over here. But we do think it’s worth your hard-earned buck to go ahead and order it from SDZ." - Nashville's Dead
"French duo plus guest vocalist mix a frontal approach steeped in 1960s French pop with a Velvets-infected musical thrust. It's all pretty damn winning, especially on 45." - Byron Coley, WIRE Magazine
"We don't exactly know how they do it, but seemingly everything that Lio & Marie Limiñana have a hand in just seems so COOL. Heck, we even FEEL cool just listening to it! After 2 great singles & a stunning LP on Trouble In Mind, France's greatest export finally makes their French debut with this import single on SDZ Records. "AF3458" starts out with a loping ukulele line & quickly morphs into a wild, VU-inflected stomper with vocalist Nadege crooning lustily on top. The flip side "Betty & Johnny" doesn't let up the heat, but lays down some sweet fuzz guitar & bongos on top of this mid-tempo burner! These guys really have a handle on all the great things about 60's French music (Gainsbourg, Dutronc, Ferrer) & are able to effortlessly fuse them with ye-ye, psych-pop, & straight up nasty garage fuzz. If you liked their previous efforts, you basically can't live without this one - Ah, oui - RECOMMANDE!" - Permanent Records Chicago
"AF3458 occupe la face A, un excellent morceau en anglais, très pop mais avec une fuzz qui déménage bien. On s'approche pas mal, aussi bien en terme de qualité que de style de leur single sur Hozac, les fans de l'album des Bellas ne seront pas non plus pris au dépourvu. Betty & Johnny est en français, on appréciera cette alternance dans le choix de la langue. Le texte est excellent et nous plonge tout droit dans un club 60s avec des filles en robe Op art et des franges, la construction en crescendo est super bien vu , je pense que je préfère même ce titre à la face A. En définitive, cette sortie est également particulièrement recommandé, elle ravira tous les fans de leurs LP et il y en a de plus en plus en France je crois bien, on espère aussi que ça donnera l'occasion à d'autres de découvrir cette belle formation perpignanaise." - Requiem pour un twister
You can listen to the single right here //
Ecoutez le single ici:
V / A FLOTTANTE TENSION D'ECLIPSE - TEN YEARS OF SDZ RECORDS LP (SDZ 010)
featuring tracks by
ALAN COURTIS, FEELING OF LOVE, TODDI WELLMAN, BRAINDAMAGE,
CHEVEU, THE REBEL, THE O VOIDS, ANTEENAGERS M.C, DEAD CLODETTES,
PIERRE & BASTIEN, DAILY VOID, POSADZKI PROJECT and ELECTRIC
Mastering by El Mofo. Silkscreened cover by JB / Le Temps Qui Seche.
Released in 2010.
punk/low-tech electro label SDZ celebrates ten years of
operations with its tenth release, a compilation which reflects
the left turns in their own history via a well-selected sample
of modern bands on the lo-fi/ugly sound tip. We’ve got
garage/slightly ‘billy punk (Anteenagers MC, Toddi Wellman, The
Feeling of Love, Daily Void), drum machine stomp (Braindamage,
Cheveu, Pierre & Bastien), and suffocating closet weirdness
(The Rebel’s cover of Sade’s “Maureen,” Reynols’ Alan Courtis, )
living hand-in-hand with one another, a bunch of outsized
personalities that find just enough room to fit next to one
another without major conflicts. It’s a strong enough
collection, with most bands turning in quality material. Hats
off to these folks, and may they continue to challenge us with
- Doug Mosurock / Still Single Blog / Dusted Magazine
dynamitée d’un bout à l’autre, rock, punk, folle."
- Joseph Ghosn Blog
pourtant si cohérente. Une ventouse à mange disque…
- Message to our folks Blog
Clicka heere for more info and reviews
You can hear the
whole comp right here // Ecoutez la compilation ici:
LES BELLAS "BELLADELIC" LP (SDZ 011 / STEAK 012)
Co-release with Les Disques Steak
Released in 2010.
that’s a little more traditional than most of what these two
labels have had on offer up ‘til now, but stay with me here,
because this is a good one. Les Bellas were active in the last
decade, and were well on their way to releasing this LP in 2006
on “a famed West Coast garage label” (unless you’re that guy
Chucky from “Sons of Anarchy” who’s got like two thumbs and
that’s all, you can count the number of possibilities here on a
single hand), when said label was said to have dropped the
anchor, which went straight through their proverbial boat,
“Flying Wasp”-style, and that was that. Members of the group
have resurfaced in the cutesy, slight Liminanas, while this
full-length languished under someone’s bed … UNTIL NOW. What you
have here is very, very boilerplate, slightly surfy garage-pop,
but its immaculate rendering and classic sound, which not only
predates the revival of such sounds by Girls Vivian and Dum Dum,
but takes the time to address all of the historical details that
are missing from kickball-borne revisionism and dress-up time.
The reverb and fuzz elements here sound straight out of ’67, the
arrangements of a sterling historical vintage, and the singing
and playing are both professional and personal, something that’s
not so easy to accomplish without a lot of practice. Really,
this sort of thing can go either way, but it’s important to note
that it sounds fresh instead of slavish, and that this thing is
full of great songs that belong right in time with their
influences rather than as revisionism. Ten originals and two
smashing covers of the Cryin’ Shames and Wanda Jackson complete
the simple, impeccable package."
- Doug Mosurock / Still Single Blog
refract the past through a prism of 20/20 hindsignt, playing
garage-punk with just the right amount of soul and swagger. They
pick covers with the deft perception and reinterpretation of The
Detroit Cobras (...) On the originals they smoke with the kind
of brash delivery and loose tone that have made so many French
garage releases such fun in the past few years."
- Raven sings the blues Blog
"Psychy garage pop, half sung in French half in English. Ever want your French pop to hit the bottle? This should be your cup of tea." - Sippy Cup Everything
"Premier album de
cet excellent combo garage pop de Perpignan après quelques 45
tours en 2005. Un disque prévu initialement pour 2006 et
finalement annulé suite au split du groupe en 2007. Les Disques
Steak ont donc eu la bonne idée de s'associer à SDZ Records pour
cette édition tardive, mais ô combien attendue. 12 titres rétro
dans la lignée des compositions de Fabienne Del Sol and the
Bristols. LE disque de la rentrée !"
- Contre Cultures Blog
"...A vrai dire les
Bellas donnent l'impression d'avoir compris les années 60s,
c'est évident que c'est leur grande influence, mais au lieu de
sonner comme un pastiche ou des fans transis, ils arrivent à
aller plus loin et s'immerger complètement dans le truc sans
sonner faux, car leur musique est juste et sincère. Elle a cette
fraîcheur que l'on recherche tant dans ces 45 tours plus vieux
Alexandre / Requiem pour un twister
You can listen to the whole record right here
// Ecoutez le disque ici:
THE MANTLES "Raspberry Thighs" b/w "Roman Hat" (7" single) (SDZ 012)
Released in 2011.
"One of our favorites is back with another great double shot of frayed and frazzled pop for European imprint SDZ. The Mantles showcase both their laid back pop impulses, on the A-Side's sunny strummer, and their more frantic pop chops on the B-Side's more Kiwi-Pop leaning "Roman Hat". Just as instantly enthralling as anything off of last year's Pink Information EP, this single is just another great step in the band's continued effort to build a spotless catalog. Highly recommended that you pick one up!" - Raven Sings The Blues
"Two more jangle-punk killers from the best garage band in the USA right now, San Francisco’s The Mantles, who mainline the moody psych/folk style of no count legends like The Dovers, The Rising Storm et al into blazing contemporary rips. Recommended." - Volcanic Tongue
"The Mantles sound like they could be on Flying Nun, but since they’re from California, that would be impossible. They’ve taken their jangly Byrds influenced sound to a number of labels over the years including Siltbreeze, Slumberland and Mexican Summer. Their latest single lands in France and the A-side Raspberrry Thighs is the best thing they’ve done since Lily Never Married and the B-side reminds me a little of the Vaselines Molly’s Lips minus the bicycle horn of course." - The Finest Kiss
"Its been awhile since we heard from San Fran’s Mantles, but now they have a syrupy sweet 7-inch out on French Label SDZ. It’s a breezy-easy one, fitting for the ongoing stretch into the late afternoon." - Weekly Tape Deck
"The Mantles’ self-titled Siltbreeze debut pretty much never left my turntable for a solid 3-month period – I wanted nothing more then their crunchy, distant psych-pop. And, from the sound of this new single, their best stuff may still lie ahead of us. “Raspberry Thighs” is undoubtedly their best track yet, a sunshiney number that screams West Coast psych rock at me. It chugs along like some of VU’s Loaded, only with a little more Byrds or Dead influence, and good lord: that guitar hook! “Roman Hat” on the flip, while still a midday tune, is a bit darker, sounding like there’s a heavy Flying Nun influence. It’s a little more sinister and buzzy and those guitar squalls could’ve probably gone another 10 minutes, to be honest. Another really impressive addition to a great catalogue – get it while you can." - Exquisite Boredom
"Since their debut
LP on Siltbreeze, this San Francisco quartet have gotten
progressively poppier as they evolve. Their new single reminds
me a bit of the early Go Betweens with a jangly centre sweet
enough to bite." - Byron
"Les Mantles ont un son unique, si on veut les classer rapidement, je dirais garage rock contemporain (ou lo-fi si vous voulez), mais c'est une étiquette très réductrice car les notes qu'ils tirent de leurs guitares évoquent tout aussi bien des Byrds déviants qu'un Dream Syndicate légèrement moins focalisé sur le Velvet. C'est un peu garage, un peu folk rock, un peu indie 80s, mais traité façon Mantles avec donc des qualités propres notamment la voix très particulière du chanteur, légèrement trainante.(...). Les guitares sont somptueuses aussi bien en terme de sonorité (qui tirent vous vous en doutez vers le carillonant, aussi appelé jangly par les anglo-saxons) que les notes qui en sortent, c'est toujours inspiré.(...). Vivement recommandé à ceux qui recherchent cette musique qui garde sa hargne et sa spontanéité sans négliger les mélodies et la subtilité." - Requiem pour un twister
You can listen to the single right here //
Ecoutez le single ici:
Old Mate "It Is What It Is" LP (SDZ 017)
Released in 2014.Old Mate is originally the solo project of Pat Telfer from australian band Bitch Prefect (two albums on the Bedroom Suck label).Formed in Adelaide but nowadays based in Melbourne, Old Mate here presents its first album, "It Is What It Is" following a self-produced EP in 2012 and a debut 7" single on Major Crimes in 2013. Still centered around founding member Pat Telfer, Old Mate are now a strong cast of 7 - 10 musicians including members of Peak Twins and Wireheads. From their early songs Old Mate have kept a certain melancholy that spices up this debut LP. Eight songs all in false flat, constantly and brilliantly defying an infinite monotony. Suspended on the fragile life line floating on the horizon, these not-so-calm songs are often stirred up by the thick limbo of permanent doubt. Frequently staring at the blind spot, the reality spot, Old Mate have conceived an album for the heaviness of the daily grind. A saxophone is sometimes warmly welcomed by the band, like sparkles in the Baudelairian spleen. One might think sometimes of Syd Barrett, Lou Reed, "Dreamy"-era Beat Happening, The Go-Betweens or some contemporary bands of the great australian scene like Dick Diver and Kitchen's Floor. Oh and some weird funky stuff too (check below the video for "Stressin"!). A first album with a great deal of character.
Old Mate est à l'origine le projet solo de Pat Telfer du groupe australien Bitch Prefect (deux albums sur le label Bedroom Suck). Formé à Adelaïde, Old Mate est maintenant basé à Melbourne et ce "It Is What It Is" est leur premier album après le EP autoproduit "Word is bond" sorti en 2012 et un 45t sorti fin 2013 sur le label Major Crimes. Toujours centré autour de Pat Telfer, Old Mate est désormais composé de sept à dix musiciens dont des membres de Peak Twins et Wireheads. Des ballades de ses débuts, Old Mate a gardé une mélancolie qui donne tout son sel à ce premier opus. Ces huit chansons tout en faux plat défient avec brio une monotonie infinie. Suspendues sur la fragile ligne de vie qui flotte à l'horizon, ces chansons sont parcourues d'intenses tremblements, dans les limbes du doute permanent. Le regard souvent perdu dans l'angle mort, celui du réel, Old Mate a conçu un album pour l'enclume des jours. Un spleen qui s'embrase parfois au détour d'un sursaut magnifié par le groupe, aidé de temps en temps par un saxophone de bon augure. On pense parfois à Syd Barrett, Lou Reed, Beat Happening (époque "Dreamy"), The Go-Betweens mais aussi à quelques contemporains de la bouillonnante scène australienne comme Dick Diver et Kitchen's Floor. Oh et à du funky bizarre aussi (regardez la video de "Stressin" ci-dessous!). Un premier album qui ne manque pas de caractère.
"“It is what it is”
becomes a mantra on ‘Medicine Man’, the first track off Old
Mate’s debut LP. At over 10 minutes, the song’s plodding
wrangle gives a false impression of what’s to come. It’s an
odd choice, but this is odd music. And even if ‘Medicine
Man’s dumbness gives no indication of the genius that lies
ahead, it doesn’t make it any less a master stroke. What it
does is draw the listener under a warm blanket with Old
Mate. From here he can introduce you to the soundtrack of
your coming weeks on this strange earth. It Is What It Is
gives the impression of nonchalance, but this is a
meticulously plotted master class in songwriting.
Second number ‘Requesting Permission’ is a sonic hammock. Pat Telfer’s glossy vocals and lazy guitar strokes bob away as the current gently draws the song through a perfect solo to a beautifully logical solution. The strumming pace is upped for the next tune, ‘Something’, but the thing’s still cotton-woolly enough to tie it to what we’ve heard so far. The rhythm swirls around and around as a slightly off-kilter voice bangs on about not much at all – more a case of the vocals acting as a secondary percussive instrument than revealing anything beyond inanity. Lonely-man lament ‘February’ comes next and this time the lyrics sit prominently in the foreground. The dusty desert vibes and the drop in tempo here draw a line back to the opening song, but this one barely lasts long enough to get stuck in any kind of whirlpool of sound. Our friend simply says his piece and disappears into fading light.
The second half of the record – it’s only eight tracks but, with an average length of over four and a half minutes, they’re generous offerings – kicks off with the hypnotic ‘Stressin’’. This track is so chilled it makes the diazepam of earlier number ‘Requesting Permission’ feel like an early-morning drug raid. Again, the few lyrics that appear on the song are of no real consequence, but they break the pulse of the beat just enough so you can catch your breath and give it all for that last 10 seconds of boogie at the end. The pace comes up again for ‘Know What He Wants’ and a bit of sax combines with a snappy beat and dabbly guitar to create a somehow cohesive slow build to oblivion.
‘Him’ takes this record to a whole other place and it’s borderline celestial. The song’s lyrical simplicity glows over a smouldering clatter of spare drum beats, awkward guitar pokes and horn honks. This is pop writing that could easily translate into commercial-radio-playable, hit-factory-type stuff, but Old Mate’s treatment of the song, as with so much of this record, is so sinister and off-putting that it makes for a far more satisfying experience. From the ashes of ‘Him’ rises ‘Truth Boy’ – a denouement of sorts – which assembles the constituent parts of the preceding songs and presents it all as one fabulous chunk of post-punk boldness. It’s flawless." - Mess+Noise
"Old Mate began as a solo-project by Bitch Prefect’s Pat Telfer. They now became a real band that consists of 7-10 different musicians including members of Peak Twins and Wireheads. "It Is What It Is" is an album of loose rock music that’s brimming with personal lyrics about the dreariness of everyday life and failed relationships. One of the most impressive things about this album is how Old Mate balances "monotony" and "variety". The "monotony" part is made with stripped-down, repetitive structures. When it comes to "variety" the songs show several different influences ranging from indie, post-punk, blues and psych. The sporadic use of piano and saxophone leave an airy mark on the songs, but in spite of all that instruements the songs never sound busy. There’s a certain atmospheric quality to this record that is difficult to describe and that's one of it's main secrets." - Ride A Dove
"Man, I like this. It's
kind of like the moody melodrama of Bauhaus or Nick Cave
gone dolewave, which is a great combination for a bloke like
me that never trusts people who are too far one way or the
other and i like bands that understand life is about
balance." - Repressed
"It Is What It Is? Really, Oldmate? You do
realize that’s what the ad director at The Post-Star in
Glens Falls, N.Y., said to me as he was laying me off in
2008 right (the idea being: layoffs are what they… are?)?
No? OK then, you get a pass for drudging up that memory
because your smoky post-blues messenger service is quite
effective at delivering the sort of rock you just don’t hear
much in the underground nowadays. But consider this a
warning wrapped in a query, the latter being: Is there a
market for Oldmate in this day and age? I say maybe not, and
that’s just about the highest praise I can give a young
artist in a world of sound-a-likes. Creating music so far
outside the periphery of what’s purportedly ‘happening’ is
one of the best ways to organically make things ‘happen.’
The main problem is, most bands simply don’t have the guts
to attempt the forbidden; it’s so much easier to settle for
a solo synth album or an electronic mash-up of the
indie-dance telephone book. FUCK THAT, play guitar, bass,
and drums and GET YOUR GODDAMN ROCKS OFF, like Oldmate. The
only problem on my end is coming up with apt comparisons for
y’all to hitch your ‘should I buy this?’ wagons to. As I
said before, it’s been so long since I sat back and let such
a restrained, hearty blues-rock album roll over me I’ve got
zippo for ya, save this entirely ridiculous stretch: Stephen
Merritt fronting a slow Fresh & Onlys tune? The label
that also brought you El-G’s La Chimie had absolutely no right to drop
this anomaly off at my door, and I’m glad they did." - Tiny
"It’s another great piece
of down in the dumps, black and blue rock. Australiana meets
Americana. Songs soaked in box wine and cheap beer, set
decrepit neighbourhoods and between shitty relationships.
There is a rhythm here that moves, a rhythm that one must
keep when moving through life to avoid being left behind.
Old Mate is the newest outfit helmed by Pat Telfer (Bitch Prefect). What originally started as a solo project has now expanded and features members of Peak Twins and Wireheads. It Is What It Is is the debut LP from the group, coming after an EP in 2012 and a 7” in 2013.
It’s another great piece of down in the dumps, black and blue rock. Australiana meets Americana. Songs soaked in box wine and cheap beer, set decrepit neighbourhoods and between shitty relationships. It’s a nice departure from the jangle and strum of Bitch Prefect, reflecting more the day drunk desperation of Kitchen’s Floor.
This is a terrific album thanks to some cunning instrumentation and a willingness to add flavour to the bluesy murk. Piano, saxophone and other intriguing bits and pieces create some airy texture over the fundamentals. Telfer’s brooding croon is exquisite. His purposefully flat delivery adds gravitas to his tales of daily monotony, over drinking and failed relationships.
The music helps to lift the vocals above the subject matter; for example, the sax on ‘Know What He Wants’ adds a sense of urgency to, what I gather is, the tale of a man seeking to take from others without consideration. The album seems to look at abusive relationships in society; abuse of substances, abuse of the self, abuse of others – it’s all pretty grim yet there is an interesting dichotomy at work with the instrumentation, preventing the listener from getting bogged down in the grittiness. We are made aware of the topics at hand, but are constantly moved along by the strong musical current.
It Is What It Is seems to be about the exploring the hard facts of life but not being able to do anything about it. Life is what it is; you can’t do a damn thing about it but live as best as possible. This album is about trying to do that but not always being successful. This is a largely entertaining album, I can imagine it transitioning well live – an experience I hope to catch soon. There is a rhythm here that moves, a rhythm that one must keep when moving through life to avoid being left behind. The road points straight ahead, where it leads is anyone’s guess. Old Mate walk the road, playing I Spy with what they see along the way; observant and honest music and something to treasure." - Weirdo Wasteland
"Les 8 morceaux du disque font preuve d’une maitrise impeccable du rythme, de la mélodie et des ambiances, même si l’on discerne clairement les influences : de Giant Sand à Beat Happening, de Lou Reed à Rhythm Activism. Les compositions sont très riches et offrent des surprises à chaque nouvelle écoute. En résumé, le disque idéal de la rentrée." - Contre-Cultures
"On a parfois un peu de
mal à se repérer dans la masse de groupes qui arrivent en
flux tendu d'Australie, tous passionnants, et qui
manifestent un certain penchant pour l'endogamie :
side-projects de side-projects, all-star bands de types
inconnus, il ne se passe pas une semaine sans qu'on tombe
sur un machin sorti du Bush, monté de toutes pièces avec des
morceaux d'autres formations, qui nous mette peu ou prou à
genoux. Une méthode qui a fait ses preuves consiste à
envisager ce territoire sauvage comme un ensemble de scènes
locales juxtaposées, et à rattacher des groupes à une ville
(en général Melbourne ou Brisbane). Aujourd'hui, Adélaïde,
cité populeuse de la côte sud, dont Old Mate fédère un
certain nombre d'acteurs : Pat Telfer, son fondateur, est
membre de Bitch Prefect, groupe gentillet de jangle pop qui
a essaimé dans Peak Twins et Wireheads, tout ce beau monde
collaborant sur It Is What It Is, premier album de cette
formation d'une dizaine de musiciens qui paraît sur
l'excellent (mais un peu rare) label français SDZ Records
(Cheveu, Plastobéton, Limiñanas...).
Il faut toutefois prendre un peu de hauteur pour appréhender la musique de Old Mate, qui s'éloigne du son d'Adelaïde comme de certains de ses compatriotes (Twerks, Dick Diver), et sort des sentiers balisés de cette jangle pop qui compte ici des ancêtres plus glorieux qu'ailleurs (The Church, The Go-Betweens). Old Mate est bien décidé à ne pas se résumer à un genre, et présente un album dont aucun des huit titres ne ressemble à un autre : c'est un album à tiroirs, à chausse-trappes, mais qui contrairement à d'autres fourre-tout plutôt réussis (le premier Total Control) ou ratés (le second Total Control) trouve une cohérence dans le ton, une manière de se répéter dans la variation qui tient essentiellement à l'immense mélancolie de l'ensemble, la tristesse inconsolable de celui que les gens et les choses ont irrémédiablement déçu.
It Is What It Is, donc, « c'est ce que c'est » et pas autre chose : constat tragique du fait que le réel est le réel, sans arrière-monde. Sur la monotonie d'un univers indifférent (figuré par les structures répétitives des morceaux), il s'agit de broder des motifs inédits, fragiles, comme des châteaux de sable finement ciselés que la prochaine vague de déceptions aplatira, mais qui reflètent autant d'humeurs passagères, autant de variations sur le spleen. C'est bien la mélancolie la plus tenace qui donne sa teinte à ce disque d'« atmosphère », du blues chamanique au milieu des crotales de « Medicine Man » au post-punk fatigué de « Truth Boy », en passant par la sublime ballade « February » (voix de cronner à la Lee Hazlewood, mal maitrisée, presque fausse, comme Beat Happening à l'époque de « Dreamy ») à « Stressin » et son clip lynchien, faux dance-rock au groove toujours parasité par une forme d'engourdissement, de langueur abattue. Si vous cherchiez un Vieux Pote pour pleurer sur son épaule, Old Mate est là." - Chronicart
"Après le Toulousain
Armure, SDZ records change d’ambiance et de continent en
s’entichant de la superbe nonchalance rock de l’Australien
Pat Telfer, échappé du groupe Bitch Prefect, et s’entourant
pour ce premier LP d’Old Mate It Is What It Is de membres de
Peak Twins (lire) et Wireheads. Et quoi de mieux que de
citer à nouveau le patronyme choisi par Telfer, Old Mate,
pour embrasser la langueur délicieusement monotone de ce
projet faisant passer Malkmus et sa bande pour des maniaques
du bpm ? De l’introductive et obnubilante Medicine Man à
Requesting Permission, mis en images par l’intéressé
lui-même, tout est mise en oeuvre pour que, de ce côté-ci de
l’hémisphère, l’été se prolonge pour quelques temps encore,
perdu dans les volutes de quelques réminiscences, flottant
entre Syd Barrett et Lou Reed." - Hartzine
"On Old Mate's debut LP
It Is What It Is, Pat Telfer (of Bitch Prefect fame) has
transformed himself again. With help from engineer Tom
Spall, the album is pierced with spacey synths and tape
machines that warp traditional blues, country, pop and
garage numbers into some compellingly strange terrain.
Opener 'Medicine Man' is an evil ten-minute plod that delivers a tale of a despoiled doctor. If the previous 7" on Major Crimes had traces of Leonard Cohen's broken heart, then this track comes through as an epic worthy of The Bad Seeds at the height of their gothic western infatuation. This is especially true through to the last minute of murky delay and decay where the album's title is repeated in mantra-like menace.
Pat's voice is always captivating, both in its stretch of registers and the conviction with which he uses it. It goes from low and monotone in songs like 'Something,' to creaky and near falsetto on the mournful Neil Young-esque ballad 'Him'. It always seems open to revealing honest strains and failings. “And I know that it's sad, and you know that it's true,” from 'February', which is a lonely and sombre tune with whispers of Bowie's 'The Man Who Sold The World' throughout it's only verse.
One last anomaly (but an excessively enjoyable one thanks to its excellent video) is the penultimate track 'Stressin'.' Its smooth and idling groove eventually gives way to the shaking of 'Truth Boy' where they play with phrase boundaries, rock and roll piano and the rumbling guitar fuzz to summon visions of a grand visitation, or the righteous return of a strange lost soul arriving home." - The Thousands
"One band that seemed to
both be confined by and outstrip the ill-fated "dolewave"
genre pigeonhole was South Australia's Old Mate. It may have
been in the name; it may have been in the droll drawl that
lead Pat Telfer (Bitch Prefect) delivered his
sometimes-weary, sometimes-jacked-up lyrics. But just as
many of the bands that were tarred with that brush over the
last two to three years have moved on by incorporating
stranger tics and tricks to their bag, Old Mate's new album
It Is What It Is (out through SDZ Records) explodes, its
core aesthetic spreading in every direction like the impact
of a paintball on a white wall. Don't let the kangaroos
boxing on the cover dissuade you from acknowledging that we
are entering a whole new world.
'Medicine Man' is a gargantuan jazz blues number - seriously. Sure, it's used and abused and flung in the corner to dry, but the 12 bars, the solos, the howling space, the husky vocals are all present and accounted for. It's a strange opener - it's a strange choice, considering the band's back catalogue - but then nothing should surprise you with these guys (remember the other half of Bitch Prefect is the chameleonic Liam Kenny...). From then on we are taken to one surrealist vignette to the next, in a battered limousine al Carax's bizarrely brilliant Holy Motors film from 2012, with Telfer the ever-present ringmaster of the macabre. 'Requesting Permission' is back on terra firma, a downer jangle with dour vocals a la Brisbane act Dag, with a melancholy that reminds me of the solo work of Neil Young in his early years - really - or that first recipient of the Grant McLennan Fellowship back in 2007, Charles Curse. But this isn't the needle and the damage done. We step up with 'Something', a vocal that sounds like Macka from The Onyas having a go at an acoustic number. It isn't overtly funny though - the tempo, the backing vocals, the 'hey hey hey hey hey heeeey, hey' lending a desperation to proceedings. 'February' is a lament in a netherworld saloon - the Gothic drawl reminiscent of another dormant Aussie act, Nikko - holding that plodding, maudlin beat for its entirety, and drags you down with it.
Then we hit a sonorous contemplation with 'Stressin'', a lysergic percolation of languid rhythms (for some reason Im tracking back to some of those subterranean grooves the Stone Roses often doled out) in what is generally an instrumental track, except for some growled, rolling-around-the-mouth vocals (and yet another video featuring that post-Soviet kid in the nightclub, which really looks like a sequal to the film Orphan); the sax burbles into the fervour underscoring 'Know What He Wants', a fine addition here; 'Him' re-enters the Young orbit, albeit in a warped fashion, offering layered nuance that promises more than it gives, with lyrics that imply never learning from mistakes; and closer 'Truth Boy' evokes another crooked minstrel of the Australian musical landscape, Nathan Roche, although there are no Sydney references in sight, just some Aussie sardonic sneers...
It Is What It Is is a bizarre and inexplicalby attractive record. The title tells it all, thus making this review, or any really, redundant. Old Mate, Telfer, the music - it is what it is. Deal with it." - Sonic Masala
"The band’s bluesy,
sombre rock – in contrast to the bright jangling of Bitch
Prefect – is the kind best listened to with a swishing glass
of cheap whiskey in one hand, and a burning cigar in the
other." - Tone
"Of Lou Reeds many
contributions to popular music, his embrace of the dirty and
noisy is surely chief among them. While his hippie
contemporaries were spreading the message of peace and love
to the rhythm of chirpy modern blues riffs, Lou and his ilk
recounted tales of heroin, prostitution and sexual depravity
to the tune of guitar drones and corrupted black rhythm.
While it is debatable whether the trajectory of rock and
roll would be much the same without Reed, it is very clear
that Pat Telfer and his crew would not.
The first release from the “seven to ten musicians” that make up Old Mate, ‘It Is What It Is’ succeeds in recasting obvious (but impeccable) references over eight tracks. Opening with the burlesque – Bad Seeds swagger of the slow burning Medicine Man, the album lurches from melancholy singalong (Requesting Permission) to wistful drunk stumbling (February) through macabre funk (Stressin’).
Although displaying no shortage of individual character, for my money, the best tracks are those in which Old Mate has worn its influences most clearly on its sleeve. On the irresistibly chunky twang of Something, Old Mate nail the cool drawl and laconic riffage. On Truth Boy, the band captures the Velvet’s hypnotic squall to a tee.
RIP Lou." - City & Sound
"Old Mate is the solo
project from Pat Telfer of Bitch Prefect, which has, as it
usually does round these parts, transmogrified into a band
of regular Australian kickabouts featuring members from Peak
Twins and Wireheads. Telfer, originally from Adelaide is now
mainly based in Melbourne and has just released It Is
What It Is, his debut album following a self produced EP and
7” over the past two years.
The album is a compilation of honest admissions regarding broken relationships, broken hearts, drinking, being drunk and feeling uncomfortable by an acute awareness of the mundane difficulties of reality.
Opening track ‘Medicine Man’ a 10min reverb drenched rolling slow jam, reminiscent of early Black Lips circa ’04-’05, assumedly about being the man with all the drugs you could need but may not necessarily be able to procure.
Scratchy, grimy guitar work with deep percussive rhythms and beautiful, catchy lighthearted synth, glock and sax (at times) layered above it all, an aspect of the music that really diversifies and breaks the drone of its core.
This shines through particularly in the track ‘Stressin’.
‘Him’ is a Brian Jonestown-esque circular trawl through weary mud-caked paths, complimented by buzzing, vibrato sodden delay, whizzes, whooshes and saxophone. The song closes out on a bare, honest acknowledgement of pointlessness.
A personal favourite from the album is the closing track ‘Truth Boy’. Its lo-fi, continuous drum splash and rolling bass rhythms combined with the repetitive phrasing of the lyrics make it a catchy madcap ramble, not to mention the myriad of other instruments that fill out the rest of the song including a piercing and anxiety inducing whistle or recorder of some description.
All the songs have a distinctly Australian story-to-be-told song writing inclination evident in countless classic Aussie singer/songwriters. This is a sentiment shared, and most eloquently expressed in the simple truth of the albums title It is what it is.
This album is a fine collection of honest unembellished songs about fears and difficulties we all experience being a 20-something year old person living in uncomfortable forbearance with the tumult of reality." - Throwing Frisbees
"The debut album from Pat
Telfer of Bitch Prefect, recording as Old Mate, is titled It
Is What It Is. And if one plays with the title to turn
it into a question, it provides a nice segue into the
quality of the album. That is, what is It Is What It
Is like? The answer for me is that it is an strikingly
good record. Telfer doesn't pretend to choose a
sub-genre of indie rock, resulting in an appealing variety
of music. And each song makes a convincing case for
your attention. The opening track "Medicine Man" is a
bluesy roadhouse jam that sprawls for ten minutes -- and
doesn't feel one second too long. "Requesting
Permission" (stream below) is a relaxed guitar pop tune,
with Pat's southern Australian drawl supported by
barely-there female background vocals and an organ.
line. "Something" is an urgent, chugging track that
brings to mind Jonathan Richman and the Modern Lovers.
Melancholy singer-songwriter sensibility infuses the
sparsely adorned "February".
The second half of the album kicks-off with "Stressin" (video below), which is a somewhat jittery instrumental for 2:45, before the simple admonition that "Sally's stressin". Driven by Telfer's baritone, the following "Know What He Wants" has a vibe that hints at Nick Cave or the Velvet Underground. Like a ray of light, "Him" begins with a chorus of female and male voices, and continues the enigmatic refrain accompanied predominantly by a bass guitar, drum and occasional guitar strokes. The album ends with "Truth Boy". a strutting post-punk gem that builds and then recedes with deserved confidence.
That's it. Eight tracks, but a fair measure of running time. The tone is a bit sinister and decadent, owing only partially to Telfer's voice and the arrangements. The true skeleton of this record is astute songwriting. Telfer doesn't hit you in the head; he just lets the words and atmosphere seep into your skin. Lay out some cash for this album, and you'll be richer for it.
Originally a solo project, Telfer now relies on a group of 7-10 musicians to flesh out Old Mate. It is a credit to Telfer's vision and the players' discipline that the songs are focused and efficient, with no hint of competition for time or attention. It Is What It Is is out now via French label SDZ Records." - When you motor away
"Last night, I copped a
lift, one of life’s simple pleasures. There isn’t anything
better than thinking you’re going to have to trek it, and
then someone lets you hop in the car and turn an hour trip
of nail-biting depression into 15 minutes of jovial,
four-wheeled harmony. Whilst in said car, I chucked on a
song by Bitch Prefect, the excellent “Bad Decisions”. And
the car fell silent. But it wasn’t an awkward, painful
silence. It was a silence in which a simple song was
appreciated in simple silence. That’s the best thing about
basic music. There’s no expectation, no need to catapult and
overwhelm everything. Whilst a wailing guitar solo and
banshee cries can be exhilarating, sometimes all you need is
a broken guitar, and an equally broken soul to hush you.
Fuck love, the sobs of a shattered soul are way more
That’s what you’re getting on Old Mate’s debut LP. It’s the solo project from Pat Telfer, a member of the aforementioned Bitch Prefect. But whilst Bitch Prefect almost confine themselves to scratchy, de-tuned musings, Old Mate is more diverse in the offerings, the seafood platter to BP’s BBQ. Also, whereas Bitch Prefect like to keep things at least a little upbeat, and inject some morbid humour, Telfer is as depressed as they come. Someone, give the guy a hug.
Now, that might sound a little forward. I mean, I don’t know the guy. How can I make assumptions about his life, and about what he’s trying to say? Mr. Telfer could be a bounding lil’ ball of energy for all I know. But the Adelaide aesthetic is there, and it sings loudly, especially in the lyrics. On “February'”, Telfer opens up, “Home’s where I’ll be, if you’re not next to me. I’ll stop myself from drinking beer. I’m holding in my tears…I’m lonely, but only without you”, as miserable, rain-soaked cowboy strums resound with funeral-esque finality.
And then there’s “Requesting Permission”, which has to be one of the finest songs released from a purely Australian perspective. It showcases Telfer as a modern day Paul Kelly, a poet with a guitar, a knack for putting the guilt in our throats, and creating a chokehold of emotions. “Every day I go away, and I wish that I could stay. Every now and then, I find that I’m going out of my mind”, points to a guy who’s tearing his hair out, and knows that he’ll never find a solution. He’s stuck in a rut, a trap of his own creation, and getting out of there is going to be harder than breaking Han Solo out of Jabba’s Palace. Throw that curveball of truth next to a brilliantly simple guitar solo, an alien whistle and more wistful regret than that shot of Patrick Swayze looking out at the Byron Bay surf in Point Break.
There are a few kinks to be worked through on the album however, namely the constant changing of tones. Although that does make for a constantly evolving record, it makes things messier than the results of giving a 2 year old a week-old, unrefrigerated chilli con carne. Don’t get me wrong, this album has more heart and originality packed into it than the majority of records, but there’s a bit of a lack of clarity and cohesiveness to the middle of the record.
However, maybe that’s the point. This isn’t a professional record. Rick Rubin didn’t twist knobs with his tentacle beard, and there wasn’t a guest verse from A$AP Rocky. It’s a vibrant mix of noise, sadness, confusion, and self-defeatism. There is so much going on in Pat Telfer’s brain, and the bloke has condensed it into something that reeks of originality. He’s taken sadness, something that at this point seems passe, and he’s made it interesting and gut-wrenching again. Like a car-lift, Old Mate is a simple pleasures that releases a lot of pain and stress. Who needs shit like Morrissey or Robert Smith when you’ve got Old Mate?" - Soundly Sounds
Mantles "Memory" b/w "Undelivered" 7" (SDZ 018)
co-released with Slumberland and Les Disques Steak
Released in 2014.
Since their 2011 SDZ single "Raspberry Thighs", San Francisco's The Mantles have kept on creating their own sound, somewhere between 60 garage and psychedelics, Kiwi sound of early Flying Nun releases and the false frivolity of C86 bands. If their approach seems more "pop" since their second album "Long Enough to leave" (Slumberland, 2013), the guitars remain razor sharp. Neither lunatic nor fully melancholic, the band is all about chiaroscuro, as you can hear in the two brand new songs featured on this single, "Memory" and "Undelivered". This single is a joint release between SDZ, Les Disques Steak and Slumberland. It has been released in time for The Mantles first tour in continental Europe in Fall 2014.
Depuis leur single "Raspberry Thighs" (SDZ, 2011) les Mantles ont continué à forger leur son, mélangeant subtilement influences garage et psychédéliques 60s, le kiwi sound des premières sorties du label Flying Nun et la fausse frivolité de certains groupes anglais de la scène C86. Si leur approche semble plus pop depuis le deuxième album "Long enough to leave" (Slumberland, 2013), les guitares restent tranchantes comme des lames de couteau soigneusement entretenues. Ni lunatique ni franchement mélancolique, le groupe de San Francisco joue sur les clair-obscurs avec une grande habileté comme le prouvent les deux nouveaux morceaux étincelants de ce single, "Memory" et "Undelivered". Un single qui sort conjointement sur leur label américain, Slumberland, et deux labels parisiens, SDZ et Les Disques Steak. Un disque sorti à l'occasion de la tournée européenne à l''automne 2014.
Velvet, des Feelies mais aussi des groupes
Néo-Zélandais tels les Bats, Chills et autres,
réjouissez-vous : SDZ Records en partenariat
avec Les Disques Steak, petites structures
parisiennes passionnées, sortent le nouveau
single de The Mantles : Memory/Undelivered. Soit
sept minutes d’une pop à guitares cristallines
de haute-volée sous influence Velvetienne
(troisième album et au-delà) et Flying Nunienne
agrémentée d’un soupçon de Go-Betweens (flagrant
A l’écoute de ces deux morceaux, autant le dire, le charme agit immédiatement : une face catchy, sautillante, légère, très jangle pop, l’autre plus mélancolique mais non moins classe, toujours aussi jangle mais lorgnant également vers l’indie pop de Yo La Tengo. Bref, avec ce single, vous avez l’assurance d’écouter une pop simple, sur l’os, de facture très classique mais extrêmement addictive." - Addict Culture
crafted hybrid of the Buzzcocks and Real Estate
(...) “Memory,” the A-side, is a chilled-out but
sensible post-punk song with just a hint of a surfy
vibe that reminds me of a sunny Saturday
afternoon—damn you San Franciscans and your
eternally pleasant weather. The B-side,
“Undelivered,” is just as mellow but a bit more
folky, hinting at the roots of English psych.
Anyhow, however you want to define them, or not
define them, the Mantles are some killer
"It’s quintessential Mantles, complete with a Peter Buck–inspired jangly guitar line, Dan Treacy–esque mumbly vocal melodies, and a precise yet unrefined guitar solo from Justin Loney—the Luther Perkins to Michael O.’s Johnny Cash" - Flood Magazine
Mantles are one of many fine rock bands in the Bay Area with
their own unique twist on jangly, infectious garage-psych.
New single “Memory” reminds us that the Mantles’ particular
twist involves faint echoes and a fervent post-punk edge.
This is an immensely likable rock ’n’ roll song, playful yet
melancholy, jaunty in tempo and catchy as hell." - Stereogum