#deathray davies

[blacklodgemusictx]

Salim Nourallah: Record Release Mini Tour - Night Two

It’s cool, dark, quiet. Finally. We're at our final hotel. My husband is sleeping.

I’m behind again. I knew I would be. I didn’t manage to capture most of what happened on the road 6 months ago. Here we are again. There is something to be said for living these moments though and not necessarily capturing them. Several times during the show last night while I was recording, I caught my subjects slipping from my viewfinder (Salim’s head got trimmed a few times) as I tried to look at them and not my phone or camera.

First and foremost: I am a fan. I am here to drink these experiences up; get enough to inoculate myself against the screaming mundanity I will return to on Monday. I have to maintain balance. I am here for my friends. I am here to see and hear for them while they lose themselves in the music. But I need a piece; a peace for me.

Yesterday was busy.

We got to our hotel sometime nearing one. Check in at four. I follow the rules, fear those in authority even if it’s just the authority to say, “No, you can’t have your room. CAN’T YOU READ?? It’s too early!”

Well, it’s never been a problem before…

Except today the hotel’s computers are down (since 11, I learn later). Absolutely no check ins. Get comfy. So we hunker down in the lobby. Doug reads. I watch General Hospital and then some inane talk show. Every now and then I watch another guest told the no check in news. They get huffy. Or they pick another place to wait and hunker like us.

Just as I’m starting to catastrophize about the computers NEVER coming back up and therefore them NEVER checking anyone in (leaving us stranded in Austin with no place to stay just like we found ourselves back in 2018 when we first fell in with Salim), we are allowed a room. A little after 3 - still early!

Doug tries to sleep, but he’s a realtor and therefore always on call. His phone doesn’t let him sleep. At this point, Salim messages us and tells us load in is at 4:30: we’re welcome to come up any time. So thoughts of rest and any chance for me to write or start to sort my pictures is abandoned. We get cleaned up and head to the venue.

[The] Parish is a nondescript stone building with a small sign and an even smaller marquee… that none of the bands were as of yet placed upon.

We are there closer to 5:30, but load in seems to be taking place right then so we fall in line and start grabbing things to take in. John Dufilho is there. He’s smiling and friendly again just like last night. Glad for the help, he hands me some small drum cases that I take in. They are the smallest of what is left. I remember trying to pick up Salim’s pedal case on our first trip together. It was like trying to pick up Thor’s hammer… my soul briefly left my body. Equipment is… heavy. Yeah. The curb sign announcing the tacos and other delicacies to be had inside has fallen over. I pick it up and set it back on its feet. Helpful! Sings a Disney movie refrain in my head. Satisfied, I head in.

Salim is there. The merch table is set up by the bar. He’s hung some of his shirts up already. Doug takes his place and starts arranging things. More merch appears as the musicians file by and deposit it: shirts for the Deathray Davies and John and June (Dufilho’s singing duo with his daughter), vinyl, CDs. Joe Reyes materializes like a ninja at some point and leaves us Buttercup albums without us even seeing.

The venue is lovely. 400 capacity, Salim says, but that’s not immediately obvious as there is an upstairs and a downstairs.

The soundcheck is the most thorough I've witnessed in my time with Salim. Each musician (and just like last night, the stage is overrun with them) is given a chance to ask for what they need. More of this. Less of that. Can I have more vocal in my monitor? Maybe this is too loud? Yes, but there will be drums momentarily. This will fight everything for attention. A small, curly haired woman is in the balcony flipping switches, knobs up, knobs down (I'm imagining. She floats around later tweaking things on an IPAD -- the whole thing is probably a great deal more digital than I am picturing.) The sound promises to be exceptional. Occasionally I'm asked how it sounded. You guys do The Thing, make the music, it might as well be sorcery to my untrained ear. Still - it sounded excellent.

Buttercup's van has unceremoniously died outside. Their bass player is outside trying to oversee the situation while the sound check proceeds. Joe picks up the bass and checks on his behalf (Doug tells me this enigmatic, goateed figure may or may not be called "Odie" - I could Google, but this would ruin the mystic.)

I am trying to play catch up. I adjourn to my corner by merch and start writing up San Antonio by squinting self consciously squinting at my phone (I can't imagine what it looked like - being glued to my phone all night. I'd hate to think anyone thought I wasn't paying attention. Every time I'm at a show, every fiber of my being is sucking up the music. Osmosis. Grabbing particles of the music as they float by. Repairing my damaged bit. Patching my DNA with notes and melodies.)

At some point, Salim admonishes me to eat... like I didn't last night. I pick out some random stuff from the taco corner by the door. It appears after awhile. Random thing for me, random thing for Doug. It's both molten hot and hellaciously spicy. I will pay for this, but it's so so good.

Each night the line up shuffles. Night one it was Salim -> Deathray Davies -> Buttercup. Tonight it's Buttercup -> Salim -> Deathray Davies. I write through most of Buttercup. Doug tells me QUICK, Joe is doing something interesting that would make an awesome photo. I run up to the stage in enough time to see Joe unfold himself from a sort of backbend on one of his bandmates. I did miss it. And dammit, Doug was right. It would have made an excellent photo.

If you get a chance to have a look at Buttercup with your ears, I've been trying to think of an apt description. I came up with Neil Young meets REM. I asked Doug - one far more knowledgeable than me about such - if the Pixies would be appropriate to throw in there too. He responded, "Art Rock." "Is that a thing?" "Well... there's Art Punk so I'm assuming Art Rock exists too." Lead Erik is energetic and unique in his delivery. I call it Lou Reed-ing. You'll see. Go look.

Time for Salim et all approaches. I briefly consider going upstairs. I shot Live (the band, not the concept) from a balcony once and it turned out very well, but I didn't have the option of being near the stage for that show. I'll stay. Climbing the stairs sounds like effort and performers rarely glace at the balcony so you lose that closer line-of-sight angle.

The thing that made this stage so attractive to me as a photographer and spectator actually ended up being Salim's downfall. Literally.

The stage is long. This offers many different places to stand and gaze unobstructed at the performers. The stage is also narrow. Jammed with every peformers' gear (Salim already mentioned the forest of microphones he was lost in at some point while on stage), the possible tripping hazards rear up large.

And right as the band launches in to song number one, a up tempo track from the new album, "(I Can't Take) Another Heartbreak"... Salim trips... starts to recover... and topples backward in majestic slow motion. I don't know what to do with my camera. I can't even verify my memory is correct and that was the song playing. I have not gone back to review the footage (I put my camera down sort of. Do I stop filming? I was at the Texas Frightmare Weekend where Meatloaf fell off the stage and broke his collarbone. Footage of that exists as well and that shooter was subsequently ostracized from the horror community for selling it to media outlets). I, personally, have a low tolerance for things that would cause me to instantly cease existing and... yea... (a similar piece of footage has hopefully decayed to VHS dust. A band concert from the 6th grade where someone behind me thought it would be the height of hilarity to pull me chair out from under me causing me to fall spectacularly and be hit - and subsequently, massively bruised - by the baritone saxophone I was wielding). But Salim, thank goodness is not me. He recovers and goes back to his aerobic bouncing. He seems a little slower. I worry that he is brushing off being secretly hurt, but it appears that the wind was just knocked out of him for a minute. He's fine.

I ask him later just to be sure. He's fine and grateful not to have been impaled on any number of the pointy things that were on stage at the time.

The show is fantastic as per standard. I do worry about Marty (worrying is just a thing I do. I figure if I can worry about something on your behalf, perhaps you won't have to or it won't affect you at all. It's my gift to you as your neurotic friend.) Marty is far (pausing to Google stage terms... I don't know my right from left on a good day, I certainly don't remember stage terms. High School theatre was a loooong time ago) stage left. He is turned the opposite way as the rest of the performers. Doug says it was a little harder to notice in San Antonio last night, but the stage is long tonight and it's easy to spot differences. He's got cheat sheets (he verifies this later -- it's understandable, he points out that he is using a different guitar, different pedals, singing and playing on different songs than he is used to). But it looks like he is apart from the rest of the band. I worry people will think that he's separating himself from the group, that he's not "in to it," when I know for a fact that he is.

So much time has passed. I used to watch this man on stage with his Former Band. I rooted for Other Guitarist (I learned later this was incorrect when I actually spoke to him and he was not... nice... that particular night) as is my way. I pick out the member of the band that appears underappreciated and champion them, if only in my mind. Marty was flashy. I called his style "showboating." He was always "on" when on stage. His band was comprised of multiple strong personalities thrown together at the peak of young adulthood, the cusp of fame and all the unsurety and ensuing weirdness that brought.

Just know that what you perceive is not always correct. Insert that in to any situation.

MWP is now my father's age. Weathered by 20 more years of experiencing (the first time I saw him was 2002. I can't even conceive. I was just barely old enough to see them in a bar serving alcohol... and now I'm 42: old enough to laugh when I get carded in the same situations). But I still see that "showboat" glint in his eyes, wicked smile, arch of those vagabond eyebrows. I am so glad to know this Marty.

I'm treated to "Let Go" again. Tonight it doesn't make me cry. I feel better. I haven't thought about my personal garbage all day. Salim and his friends weave their magic. I feel better. I feel.. good.

Salim heads back to merch. I know what he will say as I've watched two or three others ask him on his path to us, but I ask anyway: "Are you ok??" He's assures me he is.

Deathray Davies bulldoze in and work their magic again just like last night. People rock out. People dance. Joyful, gentle thrashing. I take what turn out later to be some excellent pictures of them. Tonight is the maiden voyage of the lens I purchased after our trip to The Caverns in May where I got to shoot Marty's former band thanks to a photo pass from one of the Nice Guitarists (the other one... the one that wasn't particularly nice is gone now.) One other woman had a photo pass so I watched her and tried to do what she did. She was a... *professional*. SHE had a lens like this.

At the end of their set, John requests as many people from the other bands to join them as possible. At first, no one seems to pay attention. I tell Salim he was requested. I don't think he heard. They do another song with no joining them. John calls out again. This time people come. Salim ends up back up on the stage, jubilantly shaking maracas for two more songs.

Then it's over.

I watch everyone start to file out. Watch lights come up and the deconstruction process begins. Miles of cords are wound. Instruments back in cases. Doug packs merch back up. It's a relief to know this is as far as we go. The merch goes off with others unlike when we are with Salim and Rhett Miller and we retain the merch and all the responsibilities inherent therein.

Doug approaches John Dufilho to give over the Davies’ cash and the night’s merch accounting. Here John pays me one of the biggest compliments I’ve ever received. He apologizes. He has been remiss in investigating us. He sees the videos I post on Facebook. Do we have albums? Are we on Spotify? *blush*. No sir, we have more guitars than we have talent. He doesn’t believe it. Somehow I bring up that I just love music. Love to sing. If it could ever be arranged to jam at Salim’s again (we partook in an impromptu jam in 2019) we should do that. He is agreeable.

Back to the hotel. I promise I will write.

I shoot off a message to John… not the writing I intended. I tell him that I treasure the compliment he paid us - a real musician thought I was a musician too. *starry eyes* I tell him that I wield a camera and sometimes a pen instead of a guitar. But I am here to do anything in the service of music (when he responds later he’ll tell me we have that in common: anything for music).

I fall in to bed without producing another productive word.

End of night two.

[independentartistbuzz]

Welcome to the 21st! Debut Stunning New Release “Dyatlov Pass”

Dyatlov Pass is an 8 - song historical concept album by Welcome to the 21st! about the mysterious fate of eight college - age students and their guide who died while on a winter trek in the USSR's Ural Mountains in February 1959. The students were found over time after they disappeared, with varying injuries, and no one knows exactly what happened. It remains an open inquiry to this day. The theories as to what happened include an avalanche, a military test gone awry, and some even believe a malevolent supernatural intervention. 

Find the album via:

Spotify:  

https://open.spotify.com/track/1FDd01jGcNDRapbPGmmwKp?si=bdd6b8da5a92492b

Bandcamp:  https://welcometothe21stband.bandcamp.com/track/warning-light

The album follows the 20 - something nature travelers from meeting up before they left ( Hang on to Yourself - Song 1 ), to the early part of their voyage through a peaceful winter environment ( Sing to the Moon - Song 4 ), with hints of warnings along the way ( Warning Signs - Song 3 ). The middle of the album tracks the group’s eventual demise near a frozen mountain pass ( Dyaltov Pass - Song 5 and Lost but Found - Song 6 ), to the search and recovery teams that looked for them ( Boots in the Rain - Song 7 ) and who have sought for years to determine what actually happened ( Misleading Clues - Song 8 ). Band Info: The album was written and conceived of by Bob Blumenfeld (Guitars, from Texas, US) and Touanda (Vocals, from Manchester, UK), who met online through AirGigs. The rest of the instrumentation was mainly performed by, and mixed and produced by , John Dufilho a multi - instrumentalist, drummer, and long - time established indie music producer from Dallas, Texas. Bob’s other bands include The Disappearing Act and Lowdog. John is best known for his work with his band Deathray Davies.

Robert Blumenfeld of the band shares:"A few years ago, my good friend and former bandmate, Mark Mendel, gave me a nonfiction book about the Incident at Dyatlov Pass, a Soviet-era Russia unsolved mystery.  If you haven’t heard of this, which most Americans haven’t, in February 1959, a group of eight students and their guide went missing on a winter trek through the Ural mountains. Search and rescue teams later found their empty tent pitched on a mountain side, sliced open, and a few frozen bodies, without shoes, laying some distance away.   It took several months to find all the bodies and it has taken over 60 years to piece together what might have gone wrong.   No one knows exactly what happened, and the forensic evidence discovered afterwards, for a lack of a better description, is really weird and creepy.  

I originally thought I might write a book or play about the Dyatlov mystery, but as much as I think one day I’ll write about history, it turns out I am better at songwriting than being an author.   In 2018, I was commuting back and forth between El Paso, where I worked, and the Dallas area, where I had moved with my wife.   I had more time to write songs that year, my brother Dan had just built a baritone guitar for me, and that guitar inspired a slew of new songs.   One of those songs just came to me, fairly fully formed for me, with lyrics – and the song “Dyatlov Pass” was born.

The idea for a “concept album” came a bit later, during Covid.  I wanted to keep developing new material during the early days of the “lockdown”  and reached out to Touanda, who I met on an online song-writing platform, about helping me write the song “Lost But Found” about the students who never made it back from their trek back in 1959.    I sent Touanda the rough mix of the song and the idea, and she did her own research on the subject and turned a draft of the song right around in a day or two, giving us the song Lost But Found.    Two songs down, and the idea of a historical concept album was on its way.  

So, the inspiration for the album is- besides me being a history buff - the true story of the Mystery of Dyatlov Pass.   The album is arranged as a chronology of the ill-fated trip, starting with the group of 20s-something boys and girls meeting up, eating and drinking around a campfire before they left (Hang on to Yourself).   The album midpoint is the last night of the trip for the trekkers, with them being lost but found afterwards.   The last two songs take the point of view of the search and recovery teams that spent months to find all the bodies and years trying to figure out what happened to them.

The third member of the band that put this album together is John Dufilho, a multi-instrumentalist, producer and engineer in Dallas.  John took the rough mixes Touanda and I were working on and turned them into full arrangements, giving us the opportunity to complete our Dyatlov Pass project."

[madmackerel]

The Deathray Davies - Time Well Wasted

The Deathray Davies – Time Well Wasted

Apparently fifteen years have passed since the garage rock outfit The Deathray Davies have shared any new material. That has changed with the forthcoming release of a brand new album, Time Well Wasted (out on the 19th March) and here are the first tasters from it, Oh Stars and You And Me Until The End. Check out both below, shot through with echoes of the 60’s Brit invasion and equally contagious…

[jungleindierock]

Rebjukebox Selects 25 Songs for 2021 - Vol 2

Tracklist

Drinking Boys and Girls Choir - Gonna Tell You (South Korea)

Pale Waves - Easy (England)

Maximo Park - All Of Me (England)

Claude - Everything's Great (USA)

Death Cab for Cutie - Fall On Me (R.E.M. Cover) (USA)

Home Counties - Modern Yuppies (England)

Beafets - Open Letter (Scotland)

Nervous Twitch - Alright Lads (England)

Citizen - I Want To Kill You (USA)

Still Corners - White Sands (England)

Nation Of Language - Deliver Me From Wondering Why (USA)

Spunsugar - (You Never) Turn Around (Sweden)

Laura Hyde - Coca Cola (Australia)

Freedom Fry - Le Point Zéro (USA)

The Rungs - Right Rooms (USA)

The Banshees - Point Of You (England)

Piqued Jacks - Elephant (Italy)

DELIGHTS -Utopia (England)

The Deathray Davies - Oh Stars (USA)

Solar Strides - Goodbye Again (England)

Sister Psychosis - Besdie Myself (Canada)

MONOWHALES - Out With The Old (Canada)

King Blonde - Low Light (England)

Safari Room - One Day Here (USA)

Casual Vice - Antihero (USA)

The second selection of 25 tracks for your enjoyment!! The bands / artists on here are mainly unknown but a few famous ones do creep in. The tracks are mixed genre and the position in the playlist is not based on songs, is mixed by me to mix the genres. So the position of any song means nothing, all 25 tunes are there on merit. The bands featured are from 8 differnt countries, England, South Korea, Australia, America, Scotland, Sweden, Italy and Canada.

Volume 3 will be out in the middle of next week with volume four the following week.

So please take your time and have a listen, hopefully you will enjoy and find some bands that are new to you!! So listen, share and enjoy these playlists of new music from Jungle Indie Rock.

Stay safe Reb

If you would like to send me a track for consideration for one of the future edtions, then send me a link by message on my Soundcloud account here. This does work i listen to everything that is sent.

[lower-east-side]

A hidden gem that I like to throw on mixtapes for people, always a hit

[daggerzine]

The Deathray Davies- Time Well Wasted (We Know Better Records)

Has it really been 16 year since the last Deathray Davies record? Why yes it has as that band seemed to come to a screeching half after 2005’s The Kick and the Snare (Glurp records). Well, they’re back and Time Well Wasted sure sounds like a return to form for me. The band originally form Dallas, released a few terrific garage pop records in the early 00’s before taking a break after that previously mentioned record. Not sure about the other guys but leader John Dufilho was busy in the Apples in Stereo and the Polyphone Spree (and released a record last year under the name Clifffs that was very good).  But back to Time Well Wasted, it seems like this Dufilho gent has a knack for songwriting (just maybe). As most everything on here ranges from good to very good to flat-out great.  First cut “Tapping on the X-Ray” begins with oddball synth until the countdown comes in then it’s prime DRD as is the next cut, the pretty “Oh Stars” to the arch new wave of “Talking with Friends” Keep listening as Dufilho and pals have more tricks up their sleeve with rolling “Medicine Head”  (where Dufhilo repeats the line ‘Its just a dream….”) and then gorgeous bounce of “Don’t Let Me Fail.” Just a handful of the gems on here and I must say nice to know they’ve still got it after 15 years, www.thedeathraydavies.bandcamp.com

[damydevito]

behave you sill freaks by the deathray davies!!

this is a very sexy song

[cryptidflavored-archived-blog]

Some of my favorites right now- Good to Sea by Pinback, Lemon to a Knife Fight by The Wombats, Flesh and Blood by The Killers, Don't Wanna Be In Love by Good Charlotte, Clever Love by Angels and Airwaves (and many many other songs by that band I love them), Starlight by Muse (and other songs by them) Float On by Modest Mouse, Plan to Stay Awake by The Deathray Davies, Sleeping In by The Postal Service, Inside of Love by Nada Surf. Hope this isn't too many but I could also give more if wanted :0

askjflasjdf bless u anon. this is gonna take me a while to get through but if u want to send more that’s be great

[blacklodgemusictx]

Salim Nourallah: Record Release Mini Tour - Night One

Standing in front of the Lonesome Rose honky tonk in San Antonio, I am keenly reminded of what it was *not* when I last stood here. When last here it was January. It was not 95 degrees.

I’m starting to sweat. I gravitate to available outdoor seating: a row of what appears to be old movie theater chairs… stuffing coming out through loose cushion stitches appears to be *squint* hair…?

Jason Garner is there. I’ve never actually spoken to him, but with his bare, tattooed arms and cheerful blue mohawk, he’s recognizable to say the least. He’s crouched over taking pictures of a cactus by the stairs. The cactus is smiling.

“We’ve never actually met. We’re LizNDoug (run it together. All one word. Can’t have one without the other… like peanut butter and jelly)… Salim’s friends.”

Sure! He’s seen us at shows. The same way we’ve seen him. He disappears inside to see if a Salim could be located. No, he’s gone off to eat.

I continue wilting. It’s 15 minutes to the announced door time, but there is no one around. Absolutely no one. The key to walking in where you may or may not belong is confidence. Just walk in. So we did.

The difference between the bright sunshine and the low light dazzles my eyes. A benevolent shadow form coalesces and hugs me. My eyes adjust. Olivia Willson-Piper. There she is being happy to see me again - still getting use to that: kind people being happy to see me for no other reason than my basic existence. She’s there with Marty having a bite to eat.

Marty is a vegetarian. He informs us while delicately unwrapping his… wrap (?) that he also doesn’t like peppers. He tweezes them out while we chat.

Olivia and I end up under a light source comparing tattoos. I start naming off the menagerie of animals that dot my arms. And let slip that my favorite chicken - an artistically rendered Lavender Orpington on my left forearm- is called Olivia. She seems delighted.

John Dufhilo appears. I haven’t really ever spoken to him before, but just like Jason Garner, he is immediately recognizable. We are Salim facilitated Facebook friends and not too long ago, I added my voice to those on said social media platform rejoicing as he recovered from a massive heart attack. He surprises and delights me with a hug. It is wonderful seeing him well and hearty.

Joe Reyes is there. We know him a little better than some of these satellites we have met in Salim’s orbit. He has the best smile. Seems genuinely delighted to just be in a room with air. The addition of friends and the opportunity to play music? Even better.

At some point Salim appears. It’s hard to talk amidst the bustle of a bar waking up for its nightly duties. Something upsetting happened to him the day before. I hug him. I got nightmare family news (related to the nightmare of my family… namely it’s toppled, usurped, disgraced patriarch. Daddy issues? I’ll have a lifetime subscription) this very day and have spent a good portion of my afternoon crying.

He’s going to play, “Let Go” from his new album, he tells me. I like it… this is an excellent idea. The *only* thing that would give me peace right now is that very [impossible] action.

Time passes. Positions shift. Marty dons glasses and moves to a different table. He looks like a stern bookkeeper going over accounts. In reality, he’s making a setlist.

More time passes. I don’t mind the wait. To get my fix in the vicinity of musicians, I used to queue up first thing in the morning and spend all day without food or water to be first in, front row for The Flaming Lips. My only reward for that might be a faraway wave from Steven or a chat with Kliph.

Sitting inside the dark and cool, talking to these fascinating people - my friends - this is heaven.

Early on, Doug is recruited to run merch. I’m not surprised. The merch table has become our station. Doug is in his element. Me? I’ll helpfully point at the records. Tell people after the set where the songs they thought were catchy originated. Tell them ‘A Nuclear Winter’ yes, that’s the newest one. But I stand here next to him proudly. Whatever you need. Whatever helps.

Salim and the Treefort Five are first to play tonight (he tells me later their new name is ‘Salim and the Philistines.’)

I am deeply deeply biased at this point… but they sound incredible to me. Seeing Salim backed by a full band… he comes alive in a completely new way as a performer. I’ve been lucky enough to behold this two other times - Sons of Hermann Hall in Dallas in 2019. Then this year (2023) opening for the Old 97s. I love my friend as an energetic front man.

This time is different and monumental. This time Marty. Marty Willson-Piper formerly of Australian band The Church (this man is the whole reason we were brought in to warm regard of Salim Nourallah - he and Doug share a mutual love of The Church.)

Marty and Olivia came over in 2018 to be enfolded in to the Nourallah musical family. Recording, producing has happened even with a global pandemic to work around.

This is work coming to fruition. Nuclear Winter finally birthed. Marty is finally on stage by Salim’s side. I know this is monumental for him and I love it. I love witnessing this. I love being here. Love that he wants me here. Love that these amazing people jam packed in to this tiny room are our friends now too.

The amassed gents rip through a mix of Salim standards and a heavy dose of things from the new album.

The set end nears. I’ve snapped my pictures. Taken my videos. All in the name of seeing; witnessing; presence.

Olivia is on stage. I know ‘Friends for Life’ is coming. That’s one she started playing on during the shows 6 mos ago. This one makes me sad. I have a dear dear friend who allowed me to turn him on to Salim (there is no greater compliment than to let me show you the music I love… then love it to). This is his favorite. My friend is in Greenland. I haven’t seen him in months.

Friends for life… if I had to sum up my time with Salim it would be with those three words. If you are lucky enough to ever be on the receiving end of Salim’s regard, you have a friend for life. Just shut up and enjoy the ride.

But then it’s time. Time to ‘Let Go’ - another song made more achingly beautiful with the deft application of Olivia’s bow.

I cry. Bitterly. Let go, he tells me, surrender to the things I can’t control. Best advice possible… I’m so far away from that right now, all I can do is feel sorry for myself.

The set is over. Back to husband in the merch nook (we’ve seen many incarnations. This one is nice. Padded booths made into their own cozy corner.)

I feel wrung out. Physically. Emotionally. An older gentleman asks me if I’m ok. Brings me water. Oh good. I look as bad as I feel.

The Deathray Davies are next. I know John Dufilho fronts this configuration, but I’ve never seen them. I also don’t know how many people are in the band. Musicians appear - to tired eyes - to swarm the stage like clowns from a tiny car.

They tear in to their first song and I like them immediately. Their energy is palpable and consuming. Nick Earl appears to be old school Seattle grunge: rakes his hands across an artfully battered Jazzmaster, long hair hanging in his face.

That energy is catching. I spy my first dancer of the evening. This woman gives no fucks and it is a scene to behold. Her shuck and jive is part Ministry of Silly Walks part scraping-gum-off-her-shoe. She gyrates with an oily self aware sensuality. At one point, her untethered breasts seem in danger of escaping. Not so fast. She doesn’t miss a beat: stuffs the offending mammary back down through the armhole of her sundress. Not today, titty.

She. Is. Magnificent.

Salim is with us at this point. I start relaying what I have seen to Doug. Salim wants in to the conversation. I smile thinking about how I will pay tribute to her, “Just getting inspired.”

It’s at this point, the night takes it’s massive, sudden toll. I’ve got a stabbing pain in the back of my head. Great. When I fantasize about death, it’s quick. I don’t want to stroke out. Here I come, it’s The Big One.

… or I’m hungry and tired and dehydrated.

Salim says it’s ok, you don’t have to stay. Marty and Olivia are already gone. The place has cleared out in a hurry. Even those disciplines of rock have to get home at a reasonable hour on a weekday. There’s work in the morning.

I hate to miss Buttercup, but I don’t think Joe will blame me for feeling poorly.

So we sneak off to the healing powers of Whataburger.

I will live to rock another day.

[jungleindierock]

Rebjukebox 25 for 2020 - Vol 25

Tracklist

Spyres - I Don't Care (UK-Eng)

The Marquis - Strangers (Australia)

LOWER LOVEDAY - Is It Right? (UK-Eng)

THE BASKERVILLES - Only Human (UK-Eng)

The Deathray Davies - Talking With Friends (USA)

The Drives - All This Afternoon (USA)

Nation Of Language - A Different Kind Of Life (USA)

BOYSCLUB - Villains (Australia)

Francis Of Delirium - Lakes (Canada)

EGOISM - Happy (Australia)

Courting - Popshop! (UK-Eng)

Alt Fiction - Can't Get It Right (Australia)

Dead Pony -23, Never Me (UK-Scot)

Cliché Cult - Common Ground (UK-Eng)

Garden Party - In The Middle (UK-Eng)

Kid Bloom — Hold In, Hold On (USA)

Boy With Apple - Iceage (Sweden)

The Arosa — Just Not Today (UK-Eng)

Choosing Sides — Cardboard Seats (Australia)

LE SAIINT — Tangled (USA)

Stephen's Shore - Skogen (Sweden)

THE CAVEMEN - Eat Your Heart & Wear Your Face (New Zealand)

Wynnm - Falling From The Stars (USA)

Girl As Wave - Setting Sun (USA)

Pleasure Heads - Sick Of The Sights (UK-Scot)

Volume 25 of Rebjukebox 25 for 2020 is here, with 25 tracks from mainly unknown bands and artists. The bands featured are from seven differnt countries, England, America, Australia, Scotland, New Zealand, Sweden and Canada. 

If you would like to send me a track for consideration for one of the future edtions, then send me a link by message on my Soundcloud account here.

[dandelionfaggot]

♪ owo

Plan to Stay Awake by the Deathray Davies"I should go back to sleep, but sleep it doesn't matter anywayI'm sure it's for the best, and I'll attest that rest is overrated"I know all the words to this song. It's very fun to sing

[daggerzine]

Clifffs- PANIC ATTACK (WE KNOW BETTER RECORDS/ STATE FAIR RECORDS)

Anyone who has ever spent any time with records by a Texas band called The Deathray Davies will know the name John Dufilho. In addition to the DRD he also spent time in the Apples in Stereo for a brief spell (and produced some bands including DAGGER faves the Old 97’s) and now he has this new band, Clifffs (three f’s baby). He keeps things simple on here as Dufilho is on vocals/guitar/keys an he’s joined by a very attentive rhythm section of Bill Spellman on drums and Andy Lester on bass (who sings on about half the tunes) and these guys are, in a word, scrappy (in the best way possible).  This is the band’s 2nd record and they’re putting the pop back into spunk (or whatever that one guy said…maybe it’s the other way around). Most of the songs are under two minutes and not one of these 13 songs goes over the 3 minute mark so in other words my kinda record! Cuts like the salty opener ‘Undone,” the robotic “Manatee” and the driving “It’s All Gone Wrong” are three anthems for a generation of kids with a shorter attention span than myself. 13 songs in all and not much, if any, filler. If new-wavey, garage punk is your thing (and it better be) then Panic Attack will be your kinda record. Really.  www.statefairrecords.com

[findasongblog]

Find a #psychfolk song

Corner Suns - The Rattle In The Room

Brandon Carr of folk-psychedelia band The Earlies and John Dufilho of experimental pop group The Apples In Stereo and indie rockers The Deathray Davies have joined forces to create Corner Suns.

Upcoming single from the self-titled debut album.

[simonh]

(via Deathray Davies Test 3 (sans type) | H. Michael Karshis | Flickr)

[parkerbombshell]

Ice Cream Man Power Pop And More #347

Monday's 10am-11am EST bombshellradio.com#IceCreamManPowerPopAndMore #PowerPop #Mod #NorthernSoul #Punk#60sClassics #Ska #60sGarage#Surf#Itunes#BombshellRadio #recordcollector #musiclover#powerpopgrunge #powerpopgirls #newmusic #rocknroll The Undertones - Teenage Kicks (single) Nada Surf - Teenage Dreams (The Stars Are Indiffrent To Astronomy LP) Wyldlife - Teenage Heart (Out On Your Block LP) Braddock Station Garrison - Forgotten Teenage Dream (A Hint Of Recognition LP) Honeywagon - Anywhere The Wind Blows (Halfdog LP) Cupid's Carnival - Working All Day (Colour Blind LP) Red Skylark - Bad Dream (Collection 1 LP) It's Karma It's Kool - The Girl Who Gave You Everything (Woke Up In Hollywood LP) The Who - A Legal Matter (My Generation LP) Jordan Jones - Text You Back (Single) Beluga Records The Crushing Violets - Dragon (Single) The Beat Nicks - Can't Be Sad About It (A Big Much Of Sixties Dutch LP) Daniel Insa - She Said Yes (The Wind Speaks Softly LP) The Targets - Mods Dancam Sos (Single) (Mods Dance SOS) Lisa Mychols & Super 8 - Honey Bee (Single) Bronzettes - Hot Spot (Single) Pony Death Ride - Where Did All The Ladies Go (New LP out soon!) Ultimate Fakebook - This Unfrozen Girl (The Preserving Machine LP) Sam Hoffman - All The Places (Hit The Hay Volume 11 LP) The Byrds - It Won't Be Wrong (Single) Deathray Davies - Plan To Stay Awake (The Kick And The Snare LP) Read the full article

[atje]

Does anyone else know The Deathray Davies out there? Throwback, I know. Showing my age. Good fucking music, tho.