Jason vs J: Release Rundown – Grandaddy and J Mascis

Words: Ben Forrester

To celebrate new releases from two of US indie rock’s most beloved songwriters, here are our thoughts on the highly anticipated new albums from J Mascis and Grandaddy.

Grandaddy – Blu Wav
(Dangerbird Records)

Although Grandaddy has always been very much a band dynamic, I think it’s fair to say that it is the brainchild of vocalist and guitarist Jason Lytle. Which is why it makes sense that for the sixth Grandaddy album, Jason has taken the reins, playing virtually everything we hear.

It’s not been an easy ride for the project – a burn out on the road led to their split in 2005, then once reformed and releasing 2017’s ‘Last Place’ LP, bassist Kevin Garcia suddenly passed away following a stroke just two months after its release. With a solo piano reimagining of the band’s classic ’The Sophtware Slump’ album put out in 2020, it was apparent that Jason’s musical mind was far away from the college rock fuzz that has peppered their discography.

As a result, ‘Blu Wav’ is a spaced out country record that is a reflective, melancholic trip into the depths of Lytle’s mind. It’s not until track 5 that the pace is picked up (fractionally) on the pleasant indie pop stylings of ‘Watercooler’. This is a slow burning, somber affair but nevertheless, an incredibly moving and beautiful one. ‘Cabin In My Mind’ is the poster boy for this record, a super dreamy slab of cloud-bathing psych that taps into the band’s most majestic yet intimate moments. 

This is still very much an album about loss and grief though. Lytle is still reeling from a breakdown in his marriage (a key theme on the previous album) and there are times where this album plummets into despair; the sampled screaming in interlude ‘Yeehaw AI in the year 2025’ can be a little distressing, while ‘Nothin’ To Lose’, full of stunning sun soaked harmonies, appears to be about living out your last days. 

‘Blu Wav’ is not always an easy listen, but Jason is such an engaging songwriter, so it’s hard not to get reeled in. I’ll be honest, on my first few listens, I struggled to get into the pace of this album, but the more time I spent with it, the more I found myself understanding its dark humour and ultimately finding solace in its gorgeous arrangements. It’s good to have Grandaddy back and their less is more approach has led to one of their boldest moves yet. 

J Mascis – What Do We Do Now
(Sub Pop)

Apparently it’s been six years since the last J Mascis solo record and his fifth record in total! Which all seems mad to me, but when you put together all the live records and other projects, not to mention his day job fronting Dinosaur motherfucking Jr, it’s fair to say that J has had quite a fruitful career. I love that quote from Lou Barlow; “J’s week beats your year”. 

‘What Do We Do Now’ has been knocking about for quite a bit, with sessions beginning in the first lockdown within his home studios. Usually when writing for Dinosaur Jr, J writes with his fellow bandmates in mind, coming up with ideas that they can fit into, whereas his solo material tends to be stripped back and much more simplistic. But with the sessions starting in what was perhaps a very isolating time for everyone, ‘What Do We Do Now’ finds J yearning to be back in a band, presenting probably his most full sounding solo offering to date.

To me, J is one of those songwriters that is so distinct in their songwriting and melodic choices – everything he does (whatever the name), sounds like him. A lot of this sounds like acoustically driven Dino tunes, which I’m very much up for. ‘Can’t Believe We’re Here’ is an excellent opener, coming straight in as a charged up indie pop banger, complete with a ripping solo! This is the first of many ear worms, ‘Right Behind You’ being my biggest in this collection. 

Elsewhere, this is all about beautifully breezy alt-country instrumentals with gorgeous slide guitars and piano plonks, topped with J’s inimitable vocals and forever honest, anxious lyrics. There are times where I think the electric guitars should have come out – ‘Old Friends’ is very much a rock song, with the drums going full pelt throughout. But then you get songs like ‘I Can’t Find You‘, which really suit the light and airy country-folk backing. 

There are a fair few moments on ‘What Do We Do Now’ where J shows us why he is such a beloved songwriter, especially in how he manages to fit such vulnerability in his lyrics against these gorgeous slices of sunshine pop. As previously mentioned, there’s also a few moments on here where the rockstar is maybe too eager to burst out and I wonder whether a couple of songs have been saved to get the full, fuzzed up Dinosaur Jr treatment for another time. But when it works, it really works and overall it makes for an extremely pleasant and charming release from everyone’s favourite silver-haired slacker.

(Photo Credit: Jeffrey Fowler)

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Listening Post – November 2022

Words: Andy Hughes

Well bugger me if it isn’t already November. Now that spooky season is behind us, we march on towards the big day – but not before whipping through November.

Our new playlist for the month is now live featuring 20 tunes, old and new. From wonky Russian alt-pop to ultra-pleasant Indonesia inspired jazz – It’s all here for the taking.

Tell your mum, tell your mates but please – leave the fireworks out if it this year, yeah? Dogs hate it.

Crack Cloud – Virtuous Industry
(Tough Baby)

Energising sprint from Canadian collective Crack Cloud, taken from their latest release, ‘Tough Baby‘. Vocalist Zach Choy gets all wonky with his mile-a-minute vocal delivery, ‘Virtuous Industry‘ capturing everything that we love about the outfit. Plug this one right into my nut!

Sweet Baboo – Good Luck
(The Wreckage)

Written by fellow countryman and collaborator H. Hawkline, the new single from Sweet Baboo is a sun-soaked, heavenly wee number that has more than a touch of The Kinks about it in the vocals. From a forthcoming new album on his own label (Amazing Tapes from Canton), it’s the first Sweet Baboo release since 2017s terrific ‘Wild Imagination‘ (though Baboo a.k.a. Stephen Black has spent the intervening years touring with the likes of Cate Le Bon and releasing records with Paul Jones as Group Listening).

Sweet Baboo recently gave us the low-down on the single – read that here.

Stephen Malkmus – Jo Jo’s Jacket
(Stephen Malkmus)

From his debut album post-Pavement, Malkmus brings that catchiness with him on the wicked ‘Jo Jo’s Jacket‘. Not a moment wasted, this has good times running through its middle like a stick of Blackpool rock. Nod of the head to the Yul Brynner and ‘Westworld’ references too.

(Photo Credit: Jenia Filatova)

Kate NV – Early Bird

Following her wonderful 2020 album ‘Room for the Moon‘, Russian artist Kate Shilonosova a.k.a. Kate NV goes full on art-pop with her latest single, ‘Early Bird‘. Funky as hell (with bass parts fresh out of ‘Les Aventures de TINTIN‘) but full of quirks (and chirping, tweeting birdsong), it sounds like it’s come straight off the soundtrack of PlayStation platformer ‘Croc: Legend of the Gobbos‘ (obviously a good thing).

Baby Cool – The Sea
(Earthling On The Road To Self Love)

The opener from her forthcoming solo debut, we welcome back Nice Biscuit via this from co-front woman Grace Cuell, a.k.a. Baby Cool. There’s a real dream-like quality to ‘The Sea’ – all vibe, it’s an enchanting offering from the Australia-based artist that has a bit of Cate Le Bon about it. 

Emma Pollock – Hug The Harbour
(The Law Of Large Numbers)

Emma Pollock, one of the founding members of cult Scottish alt-rock group The Delgados, truly captivates on ‘Hug The Harbour‘. From her second album ‘The Law Of Large Numbers‘ out in 2010, it’s all driving forward during the verses, the drumming keeping you on your toes as you hang onto every word from the vocalist.

Natasha Sandworms – Pet You
(No Magic)

Fuzzy heart-stopper here from the brilliantly named Natasha Sandworms. Eight minutes fly by in an instant, a haze of washed out guitar and soft, distant vocal, the guitar work taking on a nostalgic tone at points, reminiscent of early New Order.

Public Body – 35s & 40s
(Break From Life)

Another winner from the never-miss Brighton five-piece Public Body, we’ve banged on about this lot for years and seemingly will continue to do so when they churn out rippers like this. From their debut release on FatCat Records, ‘35s & 40s‘ propels forward with a DEVO synth attack and hardly lets up across its five minutes.

The Cowboys – After Sunset
(Volume 4)

What a swagger The Cowboys have about them. Would you expect anything less from a crew with a name like that? From a 2016 cassette release, ‘After Sunset‘ is a real treat from the Bloomington, Indiana outfit, vocalist Keith Harman really putting it out there with a twinge of a country and western great about him.

Myd – Moving Men
(Metronomy Remix)

DeMarco and Mount on the same record? Woof! From the tremendously titled album ‘Born A Loser‘, French artist Myd’s cheery whistle-fest ‘Moving Men‘ gets a proper moody Metronomy makeover. Metronomy main man Joseph Mount and Mac DeMarco go back to back on the vocals with Myd to elevate the single into the stratosphere.

The C.I.A. – Impersonator
(Surgery Channel)

Denée Segall returns once again as The C.I.A., with husband Ty and Emmett Kelly backing her up, the trio busting out the fuzz for the covid-catchy ‘Impersonator‘. Flitting between cool customer and Valley Girl, Segall’s vocals keep you hooked whilst the double bass thud of Kelly and Ty rattles the ears.

Dinosaur Jr. – Start Choppin’
(Where You Been)

Mid-October had me all g’d up for Massachusetts mainstays Dinosaur Jr.,when the trio visited Manchester for a proper head-banging affair. A dipped toe previously, sure, but homework was undertaken prior to the show and in all the cramming, ‘Start Choppin’‘ was a major standout amongst all the gold. Solid.

Akusmi – Cogito
(Fleeting Future)

On ‘Cogito‘, Pascal Bideau – the French-born, London based composer, multi-instrumentalist and producer – reminds us so much of fellow Frenchman (via Canada) Mathieu David Gagnon a.k.a. Flore Laurentienne. Inspired in part by a visit to Indonesia, where Bideua immersed himself in traditional Gamelan and gong music, ‘Cogito‘ is such a delightful, hypnotising piece.

Dutch Uncles – True Entertainment
(True Entertainment)

From the long awaited follow up to ‘Big Balloon‘ (which the internet tells me came out in 2017?!), Manchester’s goodest boys Dutch Uncles return with the scintillating ‘True Entertainment‘. The art-poppers have clearly not missed a beat in their time away, crafting yet another bop to add to their ever-growing collection. The skills pay the bills.

Kenny Segal / Serengeti – Ajai Finale
(Ajai)

Fairly soon, people are going to start asking you if you’ve watched ‘The Bear‘ yet. Save yourself the embarrassment and get it watched. From its soundtrack comes this, a collab between LA producer Kenny Segal and Chicago rapper Serengeti, which in itself feels like an episode of the hit TV show condensed into just shy of four minutes.

Kyoto Kyoto – Fenderr
(Mirror Flexing Jaw)

A choice slot supporting Tricot the other month in that London is a good indicator of where Kyoto Kyoto are up to. The London based trio released their debut EP ‘Mirror Flexing Jaw‘ at the start of the year and from it, ‘Fenderr‘ has really gripped us. Calling to mind the likes of Squid and The Homesick, it’s proper energising stuff.

(Photo Credit: Cameron Kelly)

Horse Lords – Zero Degree Machine
(Comradely Objects)

Taken from their forthcoming fifth album ‘Comradely Objects‘, Baltimore, Maryland quartet Horse Lords are all about the build on ‘Zero Degree Machine‘. Hypnotising and then some, the instrumental threatens to fly off track again and again but really rewards you for locking in. Proper rad.

Blacklisters – Leisure Centre
(Leisure Centre)

Blacklisters know where it’s at. Long live the ‘Leisure Centre’. Fond memories of post-swim hot chocolates from the vending machine at Madeley Court as a youngster… The title track from the latest Blacklisters release is pure gnarliness, a proper Pissed Jeans-esque thudder to get your neck jamming.

Martha – Beat, Perpetual
(Please Don’t Take Me Back)

Sugar-rush, anthemic poppy punk from Martha, the Durham lot hitting the ground running with the opener from their latest record, ‘Please Don’t Take Me Back‘. That chorus is pure energy and impossible not to love. Dig those killer J Mascis style guitar parts!

Martha recently gave us the low-down on the title track – read that here.

BODEGA – Statuette On The Console
(Broken Equipment)

With no fewer than nine versions of the song out there (each in a different language), New York art-punks BODEGA really put the graft in for this cut from their second album ‘Broken Equipment‘. Anthemic is the name of the game with ‘Statuette On The Console‘, a track which reminds us quite a bit of fellow New Yorkers Blondie.

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Live Review: Dinosaur Jr. at O2 Ritz in Manchester 14 October 2022

Words: Ben Forrester

It’s definitely a sign of growing old when you feel relieved about a stage time. A Taylor Swift club night means that the curfew tonight is a sweet, sweet 10pm, so US Alt rock heroes Dinosaur Jr. hit the stage at 8 tonight! Woo! However, what is not the sign of growing old is the excitement of receiving a two pint cup. Me and our faithful Ed struggle through the sold out crowd tonight (clutching onto our massive bevs with care) to place ourselves front right of the stage, ready to be torn a new one by J, Lou and Murph.

And you know what, it is fucking hit central in here tonight. Having seen the setlists for the rest of the band’s UK run this week, I knew we were in for a treat. I’m pretty sure we hear from about eight of the band’s 12 strong album discography, focusing of course on the slacker rock wonderment of last years ‘Sweep It Into Space’. It’s great to hear the laid back groove and bubble gum chorus of ‘I Ain’t’ in a live setting, while ‘Garden’ – which sees bassist Lou and guitarist J swap instruments – sounds as gloriously twee as it does on record, just with an extra bit of fuzz, which we love.

I’d been told that Dino shows can be pretty loud, with J’s amp count getting close to double figures from what I can see. Though I didn’t think it was as earth quaking as first thought, I did take my plugs out during one of J’s ripping solos and fucking hell was it loud. So, there’s a lesson to be had there. The fact that my ears ring after the show, having worn plugs, shows just how loud we’re talking.

To be honest, it’s more the heft of the songs that grab me tonight, there’s just so many fucking hits being belted out. ’Start Choppin‘’ gets the whole crowd bopping, ‘Out There’ ascends into a sea of head banging, while first album rager ‘Mountain Man’ sees a pit in full swing. It’s one of many too! The shows this week were actually rescheduled from last year, so you really do get a sense of excitement within the crowd tonight, which is reciprocated by the band as Lou joyfully exclaims “Manchester, we’ve missed you!”.

One thing I notice about the crowd tonight is the diversity of age. I was expecting it to be packed with sweaty old dudes (which is mostly is), but there’s loads of kids in tonight, which is great to see. A teenage girl stands next to me head banging in unison with her Dad, as two lads in front of me who look barely in their teens stand with wide grins, neck jamming away. It’s a beautiful sight and proof of the longevity and legacy this band has, their brilliance inspiring new generations. Although, despite that, there’s still a few old boys being annoying. One guy keeps calling the band “fucking twats” when they don’t play his request that he’s bumbling out in the encore, then proceeds to use my shoulder as leverage to pogo as they close on their legendary cover of The Cure’s ‘Just like Heaven’. But hey, it is a Friday night at the Ritz after all!

But yeah, the show rips. Nearly 40 years into it and Dinosaur Jr. still play with the same conviction they did in the 80s. Maybe even more. Lou’s wonderful mop of hair doesn’t stand still for a second, while Murph smacks every tub with purpose and J head bangs with the most knowing of looks. These dudes have got it down and the fact the whole set works like a greatest hits despite spanning nearly four decades of releases is a testament to the skill and craft these three have put in. A start to end solid set from one of the fucking best.

(Photo Credit: Cara-Totman)

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Release Rundown – Field Music and Dinosaur Jr.

Words: Ben Forrester (Photo Credit: Cara-Totman)

It’s that time again for our release rundown for the week, reviewing some brand new records ready for your aural consumption. As always we’d like to gently remind you that these releases are available to buy on the artist’s web stores as well as at your favourite record shop (both online and now back in store! Woo!) Pick up if you can.

Field Music – Flat White Moon
(Memphis Industries)

We are fast approaching the 20th anniversary since David and Peter Brewis began Field Music. In that time, Sunderland’s favourite twosome have continued to hone their craft, forming a distinct sound and handing in faultless album after faultless album. ‘Flat White Moon’ is their eighth full length, coming fairly hot on the heels of last years ‘Making A New World’. This was seen as probably the band’s most ambitious project, a sprawling concept album about the after effects of the First World War, initially performed at the Imperial War Museums back in 2019. To follow this up, it would seem that the Brewis brothers have decided to take things a little more back to basics.

The album was teased at the start of the year by the beautiful ‘Orion From The Street’. It was the glittering keys and subtle psych-pop textures that really grabbed me on first listen. I wondered if this shimmering, revitalising tone would carry across the record. The short answer is yes but in spite of the expansive pop vibe of its opener, to me this looks back on the band’s musical history in order to move forward.

Whilst writing ‘Making A New World’, the brothers were working though personal grievances, using the concept of the album almost as an escape from their usual, autobiographical songwriting style. ‘Flat White Moon’ can be quite reflective as a result, but ultimately it feels optimistic, moving through the shade to find the light.

Musically, Field Music seem to move only just slightly away from the broader, cinematic nature of their last two records in favour of a more traditional rock band set up. I find myself thinking back to their first two records when I hear this, which I think is what makes it such a revitalised listen.

As we flicker between Peter’s wonky pop rock and David’s grooved up funk, you can’t not help but feel the warmth coming through these performances. I really enjoy the off mic ‘woos’ on tracks like ‘Meant To Be’ and ‘Invisible Days’. And as always, FM are proud to nod to their influences – from the McCartney-esque pomp of ‘Do Me A Favour’ to the Prince like falsetto funk of ‘No Pressure’ or even its charming closer ‘You Get Better’. Of course, it wouldn’t be an FM record without some weird time signatures and some orchestral flourishes thrown in to keep us on our toes.

‘Flat White Moon’ is aware of the pressures and unexpected lows that life can throw at you but tries to have a bit of fun while it can. Field Music sound like a band refreshed, getting back to the wonky pop bangers we love them for. Couple this with forever forward thinking production and further hints to their extensive record collections and you have, in my eyes, their most consistent and enjoyable album since 2012’s ‘Plumb’.

Dinosaur Jr – Sweep It Into Space
(Jagjaguwar)

We’ve written a lot about reunions on this site over the years; the good, the bad and the greedy. But there’s a select few bands that get back together, deliver a load of wonderfully consistent records and have never sounded better. US indie rock gods Dinosaur Jr. definitely fall into this category. Now in their 13th year of reunion, J, Lou and Murph have delivered possibly some of their best material to date across four critically acclaimed full lengths. ‘Sweep It Into Space’ is comeback album number five, album twelve in total!

I always look forward to a new Dinosaur Jr. record, but when I found that the slacker rock prince himself Kurt Vile was involved as co-producer and providing a few solos, I got extremely excited.

Kurt Vile’s 2018 LP ‘Bottle It In’ was a superbly executed alt rock record full of warming production and a few ripping guitar solos. The idea of him working alongside the king of tone himself, J Mascis, feels like such a great fit. But although I can hear elements of Kurt’s laid back demeanour In some of these tracks, this is undoubtedly Dinosaur Jr. doing what they do best. I was a big fan of the bands previous LP ‘Give A Glimpse of What Yer Not’, it seemed to have everything, but there was a pretty bold rock tone that ran throughout it. Although there is a big bold rock tone that runs through everything this band do, here they focus on a slacker pop vibe and the general feel is so sprightly and full of light.

‘I Ain’t’ opens the album like a sonic hug from a pal, J’s hazy vocal floating on top of Murph’s driving drums that burst into a bubble gum pop chorus. ‘I Met The Stones’ keeps the energy up with almost 80s metal inspired guitar chugs, before launching back into another belting indie pop chorus. Elsewhere we have the fully raging alt country goes rock pomp of ‘I Ran Away’ that falls into the beautiful low-key groove of ‘Garden’, which sees Lou take to the front of stage for his traditional two-tracks-per-album lead vocal performance.

What I find so great about ‘Sweep It Into Space’ is that it seems to encompass quite a few variations within the rock genre but always comes out as Dinosaur Jr. I found myself singing along to every song on first listen, they just feel so timeless, easily matching up to the best of their early ’90s material. I think that’s the genuine beauty of this band, they are excellent songwriters that clearly have chemistry that has spanned a pretty hefty career of nearly 40 years in the game together. With the screws just a little bit tighter than its predecessor, this is a solid set of breezy, summer-ready rock songs from undoubtedly one of the best guitar bands around.

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What’s On Michael Portillo’s iPod: Thee MVPs

Here at Birthday Cake For Breakfast, we like to get to the heart of what an artist is all about. We feel the music they listen to is just as important as the music they make. With that in mind, we’re delighted to have noisy Leeds outfit THEE MVPs talking us through five releases that helped shape and inspire their debut album ‘Science Fiction‘!

Words: Andy Hughes
(Photo Credit: Neelam Khan Vela)

Jay Reatard’s album Blood Visions
(2006)

“Come on man, who the fuck else fitted that many good tunes into half hour? Furthermore aren’t they all about murder? But they’re dead pretty and poppy all the way through? A conflicted but brilliant dude. Singlehandedly brought back the flying v (I think).”

Dinosaur Jr. – KEXP live shit

“J Mascis and the lads and their pursuit for volume but actual decent and none wanky solos were a big influence in the ‘overdubbing’ part of doing this record. I think both me and Joel ended up using the same Jazzmaster for all the leads. We’d usually have a session when making breakfast before going to the studio.”

Flat Worms’ album Flat Worms
(2017)

“I’ve been friends with Tim for years and to be able to play with your friends all over the shop is lovely. We took a ‘break’ from recording to play support on their tour, crowds were lovely, all three of them were lovely, all their records are lovely. Lovely.”

Parquet Courts’ album Wide Awake
(2018)

“It was a while back now but I’m almost certain this came out in the weeks we were recording our stuff, the bass work on this record is phenomenal, it takes the lead on so many tunes on this record. I reckon it subliminally made us make poor edd play dafter basslines on the whole thing.”

The Minneapolis Uranium Club album All Of Them Naturals
(2017)

“Absolutely killer band, Devo-core with just enough of the quirk, guitar placement is about as similar but this band are a little dirtier about it, like if Devo never got big??? This album really hit home what they were trying to do, just trying to be a killer punk band that nudge the ball forward a little and exceed themselves with each song. Also there was a period of time Edd would have been buried in the shirt he found for 5 bucks at SXSW.”

‘Science Fiction‘ is out May 29th through Eeasy Records! Bag a copy (or two) here.

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