|Add Date:||2018-06-18|| ||Pull Date:||2018-08-20|| |
|Week Ending:||15 Jul||8 Jul||1 Jul||24 Jun|
The Other / King Tuff|
Label: Sub Pop
Fourth Studio album from King Tuff. Lots of great spaceship sounds and ethereal psych 70's cop show theme SFX on top of solid songwriting and performance. This is a great Summer Jam, from start to finish that will have you singing along pretty quickly. Put the top down and crank it down US 1.
RIYL: Ty Segall, Thee Oh Sees, King Gizzard, 70's Cop Show Themes...
Play all but #5 (FCC)
Particular favorites are:1,2,9
1. * "The Other" 6:09 - Down-tempo acoustic with spacey effects and accompaniment. Starts with chiming little bells and church organ. Breathy quiet and excellent lyrics, throughout.
2. *** "Raindrop Blue" 4:37 - Mid-tempo funky steady rocker. Starts with a killer bass riff, maintains that with sax, driving beat, falsetto choruses and spacey accompaniments. Booty shaker. Current favorite track.
3. "Thru the Cracks" 3:36 - Mid-tempo strummy jangle psych-pop with Phil Spector style backing vocals. Nice theremin-style guitar, throughout.
4. *"Psycho Star" 4:41 - Great shuffling beat on this mid tempo dance number. Clean clear lyrics. Builds to a great crescendo of backing v
5. FCC! "shit" "Infinite Mile" 3:12 - Great thumping acoustic rocker with harmonica accomp. Too bad it's FCC. Great tune.
6. "Birds of Paradise" 4:27 - Up tempo with a 70's cop show flare.
7. "Circuits in the Sand" 2:59 - Mid to uptempo acoustic strumming ballad-ey lament of modern tech world. Might have ripped the melody from Gloria Gaynor's "I Will Survive." Might not have, but you'll never unhear it, now.
8. "Ultraviolet" 4:22 - Killer fuzzy riff starts off this mid tempo foot stomper. Howls and languid rhythms give this a spooky feel.
9. **"Neverending Sunshine" 3:40 - Spaceship taking off SFX and a killer beat with more 70's cop keyboard work. This is the summer hit. Danceable and great.
10. "No Man's Land" 5:53 - Languid arcing guitar solo starts this low to mid tempo closer. Stays mellow all the way to the end, though it builds a bit of crescendo at the end, fading to an autoharp outro.