Night continued taking guitar lessons, which incorporated singing and songwriting, throughout her childhood. The Regrettes have plans to continue to spread their pro-feelings message all over the world.
THE REGRETTES – The Regrettes Tickets Richmond Music Hall (At Capital Ale House) Richmond, VA July 28th, 2019
Special note: The Regrettes are no longer taking part in the tour mentioned in the interview. Gariano: It was cool to have those three little chunks, and I think the songs in each of those are a little different yet work together so well. Having recently contributed to one of the recent Hamildrops (a monthly release of music connected to the musical Hamilton), the band also revealed their shameless love of musicals.
Los Angeles garage pop band The Regrettes are back with an album even more raucous than before. Following a recent sold-out European tour, where they supported Twenty One Pilots, and a captivating performance at Reading and Leeds Festival, The Regrettes have now gifted us Christmas four months early.
The group’s playing is tight and sharp throughout, but Lenker is what makes Big Thief more than just a bar band. Her lyrics are spare and dark, with a poetic sensibility inspired by Anne Sexton and Raymond Carver. Her singing voice is as distinctive as her writing, with a tremulous warble that’s loaded with emotional resonance. Ranging from guttural yowling to barely contained explosiveness, Lenker’s voice is the perfect vehicle for Big Thief’s dark, pretty songs about personal and political wreckage.
With How Do You Love?” concluding the record, it sums up the aha moment Lydia experienced herself: That receiving love that is platonic, or self-love, is something that will never leave you lonely. We’re trying to convey more of the female-empowerment aspect and the very strong cautionary-tale theme was all kind of a choice to be on your own at the end of the album, which is expressed in a way at choosing yourself over the person,” she says.
There are so many but I think our tour with Twenty One Pilots might have to take the cake! Touring with a band on that scale is such a surreal and rare experience and I’m so grateful for it. We learned so much about what it means to be performers and about where that can take you.
For Olsen, accepting that change is a constant has required the acknowledgement that no two people experience change in identical directions. On All Mirrors, she lets go of those who’ve required her to privilege their desires over her own, finding peace in solitude. That this is, ironically, her loudest, densest album to date seems to speak to the liberation that came with that solitude. On the album’s opening track, Lark,” strings gather like clouds, only to burst in time with Olsen’s voice as her delivery shifts from low and restrained to loud and confrontational. There’s a kind of ecstasy in the enormity of moments like this and others—like the tense, trilling strings on Impasse” and the ebb and flow of the synths on All Mirrors”—that reflects the scope of the personal and professional place Olsen is seeking.
After watching The Regrettes perform a sold-out show last Thursday at the Bowery Ballroom in New York City, I feel truly confident in saying the future of punk rock and garage pop is in good hands. The female-fronted powerhouse group commands their audience with honest empathy and humble resilience. The loving relationship they have with their young fans is contagious and obvious.
Despite a few musical shortcomings, How Do You Love is an ambitious project for 18-year-old Night, and one she largely succeeds on. It’s a surprisingly deep understanding of the complexities and contradictions of relationships without ever falling into the clichés of depicting a young romance while those feelings are still extremely present.
By the closing title track, a rave-up with a shout-along chorus, Night has been through the darkness and come out the other side. When she asks, How do you love?,” her voice hitting a melismatic series of high notes on the word love,” the album’s emotional arc comes full circle. What began as a direct question, asked of the listener, is now almost—but not quite—out of the singer’s reach. The message seems to be that love is difficult, but not impossible, and the rewards are sublime. Throughout, these songs depict human connection in all its messy glory, making the case that the glory is worth the mess.
Gira reportedly approached the recording of Leaving Meaning differently than he did recent Swans efforts: Instead of having a set band, he recorded these songs with a collection of musicians picked to bring each to life as he envisioned it. But despite the shift in method, the album sounds much like the group’s last few outings. The songs fall somewhere between drone and folk, like standard ballads played by a band from hell. Rhythms plod and melodies buzz, affecting the listener physically like infrasound. In the band’s early days, Gira sang with a throat-shredding intensity that made him sound like an exploding demon, but here he’s adopted a different persona, singing without affect, like a grim archivist of the apocalypse.
Taking a cue from Liquid Liquid frontman Sal Principato’s ecstatic guest vocal, Titanium 2 Step” is a no-wave rave up with explosive percussion and synth parts that recreate the skronk-y, out-of-tune jazz horns that mark that band’s work. But the album’s pièce de résistance is Izm,” which matches a skeletal, skittering drum part and playful electronic flourishes with an icy guest vocal from Shabazz Palaces. The song’s rap-tronica is a promising new direction for Battles, evidence that there are still creative registers they’re only just beginning to explore.
Across much of Ghosteen, those synths expand and contract, seeming to leave Cave’s voice floating alone in the abyss. And yet, again and again, a choir rises out of the gloom to join him. Peace will come,” they sing on Spinning Song,” and it sounds like an assurance from those who’ve walked this path already, or a wish made by all the people left behind.
The Regrettes have plans to continue to spread their pro-feelings message all over the world. Feel Your Feelings Fool dropped on January 14th on Warner Bros. Records and now they’re gearing up to tour the world.
Prog-rock icon Jon Anderson and the Taiwanese psych band Prairie WWWW contribute to Sugar Foot,” a mile-a-minute frenzy of a song. Though Anderson’s singing is a tad anonymous, his vocals are smartly processed and buried in the mix. It evokes Nikola Tesla’s ghost watching the assembly line at a Foxconn plant, with ethereal chants duking it out with the synths for supremacy. The final section matches a breakneck drum part by Stanier with some incantatory singing by Anderson, like the Koyaanisqatsi soundtrack played at triple speed. The track is one of the better examples of Williams and Stanier’s compositional skills, as they blend a range of disparate sounds together into something truly ethereal.
Lydia: So I have my headphones, which we were given the other day. They’re amazing I actually have had those for two years now and they were stolen so it was really nice to have them back. And I think this is the newer version of the ones I had. I really, really missed those a lot so and it’s nice to have them. I also like using them before shows to listen to music and get in the mood.
New album ‘How Do You Love?’ Out Now. Night: Don’t let people treat you poorly. Love yourself enough to know that if someone doesn’t make you feel good a majority of the time, they really don’t deserve to be in your life.
The Bad: This has nothing to do with the album itself, but rather how it could be listened to. Part of the fun of listening to How Do You Love? is following the narrative that unfolds throughout, as so much of the album’s smartness lies within the precise evolution that occurs from one track to the other. Unfortunately, though, it is impossible to alert the world that the album is perhaps best listened to in order the first time around. How Do You Love? deserves to be listened to with the same level of gravity that it was created with, and this is something that could be partially lost without following its narrative from beginning to end. Of course, this is not to suggest that the tracks cannot be enjoyed out of order or on their own — they absolutely can be. However, the storytelling element of How Do You Love? is so strong that it would be a shame to miss out on entirely.
You’re welcome! Moving forward, you guys have had a wild ride as a band, from starting at a young age in a tough industry, to vocal rests, to lineup changes, and everything in between. Yet, with a fantastic sophomore album, your cover of Don’t Stop Me Now” being used in a Silk commercial, touring alongside Twenty One Pilots, and so much more, you always seem to come out on top. What keeps you and your bandmates going throughout everything? Personally, musically, all of it….
Perfectly imperfect – that’s one way to describe LA-based punk act, The Regrettes. Writing songs that proudly bear a brazen and unabashed attitude in the vein of acts Courtney Barnett or Karen – with a pop aesthetic reminiscent of ’50s and ’60s acts a la the Temptations or Buddy Holly – the Los Angeles-based four-piece create infectious, punk-driven tracks.
Vagabon serves as an inflection point for Tamko, who expands her sonic palette beyond the indie-rock of her past releases. The album also sees the former computer engineer tinkering with the central marker of her craft: her wafting vapor trail of a voice. Where her seemingly fragile instrument was sometimes pushed to its natural limits on 2017’s Infinite Worlds, here it’s given necessary breathing room, nested within synths and drifting R&B production. I want to make you a flood in my hands,” Tamko sings on Flood,” her vocals sending shockwaves through a dark, ebbing morass of synths, while the pulsing Waters Me Down” boasts a similarly strong vocal performance, laid over a jaunty synth-pop beat.
Night says her parents — her father runs the Hicksville Trailor Palace in Joshua Tree and her mother manages a sober-living facility — have been encouraging her musical ambitions since she was 6, when they bought her a guitar. She wanted the instrument after her parents took her to see punk group the Donnas when she was just 5.
Harum-scarum energy drowns out hand-wringing on the best songs, irresistibly sour-sweet as Tangfastics. I Dare You invokes fellow California girls Brody Dalle and Katy Perry amid shameless pop guitar licks. Fifteen tracks stretches them too far, though, and on the likes of Fog, their woahs sound tired, and it becomes apparent that these are pretty empty musical calories.
Led by outspoken frontwoman, Lydia Night, and comprised of Genessa Gariano on guitar and drummer Drew Thomsen, the group have left the LA rock scene floored, managing to capture the hearts of jaded rock critics while opening for acts like Sleigh Bells, Twin Peaks, Cold War Kids, The Breeders, Kate Nash, Bleached and more.
How Do You Love?” builds on those sounds with a slightly slicker production value. The rougher edges of Feel Your Feelings Fool!” fall away for what might have once been considered a more radio-friendly sound. The result reminds me most of The Strokes.
Yeah, I wrote that poem while we were in the studio. I don’t really remember exactly how it came about, because it happened really fast. I wrote it really quickly. I think I was planning on maybe writing a song with it, but then just decided to keep it as a poem, but now that I think more about it, I might have just been like ‘Oh, this should start with a poem, I’m going to write a poem for the album intro.’ It could have been intentional, but it is hard to remember because it came to me so fast and got turned over very quickly. Overall, the intention of it was because I really wanted—and want—people to listen to this album in order and truly focus on the lyrics. The best thing that could happen is that people listen to the album more than once and really grab onto different aspects of it, but I just thought that setting it up in that way makes the story a little bit more obvious. I feel like it is just an intriguing way to start something— especially a record that tells a story.