The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. Voice Recorder, Mini Voice Activated Recorder, 8GB Memory Audio Recorders, Recording Device w/USB Rechargeable and MP3 Functions, Ideal for Lectures, Meetings, Interviews, Up to 96 Hours Mgaxyff U Disk Shaped Recorder USB 2.0 Digital Voice Recorder Flash Drive Mini Audio Recorder , Digital Audio Recording DevicesBinrrio Mini Voice Recorder Slim Audio Voice Activated Recorder Small Listening Recording Device, 192 Hours Recording Capacity 3 x 4 x 0.6cm Small Size 4.2 out of 5 stars 81 49.99 49.
Explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Instead, across 10 cheery-sounding songs, Ducks Ltd. This is not a nostalgic record, after all, nor is it a derivative one. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm.
Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. Writing the album was intimate. Now that we're in the 21st century, we've got digital voice recorders, which record in high quality stereo sound. This gadget is very small so that it can be hidden anywhere or taken away for recording.Voice Recorders have come a long way from the old analog recorders that required tapes or mini tapes to record (although some places still carry this outdated technology). It only weighs about the size of a coin with the weight of 24 grams. The tiny Vimel voice recorder is one of the smallest voice recorders with the top-quality recording in the World.
“A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.STAFF COMMENTS Laura says: Absolutely loving this! For fans of McCarthy, Flying Nun Records, RBCF, Horsebeach, Goon Sax. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss.
This is a credit to the duo's craft as musicians and songwriters, presenting their influences as a circular interaction between the present and the past rather than a linear one.The album’s range of instrumentation has expanded from the previous record to include zithers, harpsichords, congas, bongos, bulbul tarang, and a mock-up choir on top of the synthesizers, balalaikas, organs, and saxophones. It celebrates its influences but is very much a modern record, being simultaneously brand new and retro. However, “Melodi” sees the band evolve with even more diversity, effortlessly strolling between moods and influences.“Melodi” is imbued with Kit Sebastian's love of vintage records and world cinema, but it is not a retro homage. Those familiar with the band's cult classic 2019 debut,”Mantra Moderne” will instantly recognize their unique sound that blurs the boundaries of world music, jazz and psychedelia.
“People have been using music as a vehicle for protest since time immemorial,” says bass-player Horace Panter. All that’s required is the combination of something that needs to be said with music that needs to be heard. A typically unpredictable collection of unique takes from folk to post-punk, righteous uplift to biting satire, and from Kingston to Alabama, the album is a powerful reminder that there are no fixed rules to what makes a protest song. It's fitting, then, that in 2021, at a time when the world is riven with social, racial and political unrest, that the Specials have made this album of Protest Songs and are once again reflecting the society we live in and taking a stand against all forms of injustice. Released on August 27th through their new label Island Records, the album features twelve singular takes on specially chosen protest songs across an almost 100-year span and shows The Specials still care, are still protesting and are still pissed off!The Specials emerged in the late 1970s as the multiracial flagship of the 2 Tone movement, and sang of racism, unemployment and injustice making a very clear political statement every time they stepped on stage.
The Dixie Jubilee Singers first recorded the spiritual Ain’t Gonna Let Nobody Turn Us Around in 1924 but it was the civil rights movement that tweaked the lyrics and made it an anthem. Spending months combing YouTube and books for songs they had never heard before, they discovered or rediscovered Big Bill Broonzy’s angry 1938 blues Black, Brown and White and the Staple Singers’ stirring Freedom Highway, written for the marches from Selma to Montgomery in 1965. Other favourites included Talking Heads’ Listening Wind and “Trouble Every Day” which was about the Watts riots in 1965. The Mothers of Invention’s Trouble Every Day (Horace), Leonard Cohen’s Everybody Knows (Terry) while Lynval was keen to sing Bob Marley’s classic rebel song Get Up, Stand Up. During the first lockdown and following the murder of George Floyd and the waves of protest that grew around the world, Terry suggested that they make a different kind of record as a response to recent events.The trio started by picking some personal favourites. Then Covid hit and plans were put on hold.
“We all sat there open-mouthed.”The album was recorded in a studio in West London in May of this year with regular bandmates Nikolaj Torp Larsen on keyboards, Kenrick Rowe on drums and Steve Cradock on guitar. “Terry said, ‘I’ve found this song, listen to this,’” Horace remembers. Written by the poet Rod McKuen in 1963, it was rerecorded three years later, during the dog days of the Vietnam war.Folk singer Malvina Reynolds, best known for Little Boxes, provides two spiky odes to the contributions of ordinary people: I Live in a City and I Don’t Mind Failing in This World: And because the Specials have always had a taste for black comedy, they’ve chosen two songs by bluesman Jerry McCain (My Next Door Neighbor) and Wild Thing writer Chip Taylor (Fuck All the Perfect People).
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