How did we get here so fast? It’s the final regularly schedule SubModern Report of 2018! Doesn’t it feel like we were all just down at SXSW? This year has flown by faster than any I can remember and maybe it was the fast and furious pace of great music that helped speed it along. But this isn’t a year-in-review yet. Our Year End charts will come on Friday. These are the final weekly charts of 2018, so let’s find out what everyone played this week in specialty-land.
It’s nice to end the year with some chart turnover and new #1’s rising to the occasion or appearing out of thin air. Such was the case with Broken Bells surprise-dropping a new single, “Shelter,” last week, which of course debuts at #1. On the album chart it’s Toro Y Moi, whose new record Outer Peace is coming in January, but a second song released gets them to the top o’ the heap.
Continuing down the singles chart, we find Polish artist Perfect Son at #2 with “It’s For Life,” followed by a tie at #3 between Grimes‘ “We Appreciate Power” and “Salvation” from The Strumbellas. There’s another tie at #5 between “Baby Blues” from Moving Panoramas (which has been in the top five since Halloween) and the #1 song of the last couple weeks, “Hollywood Ending” from Starcrawler. There’s a three-way tie for #7 between Bad Suns‘ “Away We Go,” Circa Waves‘ “Movies,” and the aforementioned Toro Y Moi’s “Ordinary Pleasure.” That leaves us with three more all tied at #10, from Ladytron, The Specials, and SWMRS.
There aren’t quite as many ties on the album chart with Elastic Days from J. Mascis climbing back up to #2 and The 1975 staying put at #3 with A Brief Inquiry Into Online Relationships. There is a tie at #4, and it is a three-way, between Jeff Tweedy of Wilco‘s new solo record Warm, Richard Ashcroft‘s Natural Rebel, and Swervedriver‘s forthcoming Future Ruins. Future Generations‘ Landscape and The New Tarot‘s Book of Promises both stand alone at #’s 7 and 8. Then we close up shop on the top ten with albums from Bob Mould, Metric, and Pedro The Lion all tied at #9.
You can find more single and album rankings (I mean a lot more because there’s a nineteen-way tie on the album chart) down below. You can also find a preview of new tunes to come in 2019 over on our Available For Airplay page. And finally, if you missed it last week, please scroll even further down to check out our most recent SubModern Session with the Australian band Castlecomer.
I want to send our best out to a former host on our panel – Emil “Boy Wonder” Richardson. We were holding out hope that his Test Department show at KFMA / Tucson would return from its hiatus, but alas it will not and Emil has exited the station. Should anyone out there have any employment tips or just want to say hi, Emil can be reached at firstname.lastname@example.org.
That’ll do it for today, but you will hear from me on Friday with our Year End charts for the top singles, albums, and labels of 2018. I’ll save my tidings of comfort and joy for then.
|1||BROKEN BELLS||SHELTER||30TH CENTURY / AURAL APOTHECARY|
|2||PERFECT SON||IT’S FOR LIFE||SUB POP|
|3t||GRIMES||WE APPRECIATE POWER||4AD|
|5t||MOVING PANORAMAS||BABY BLUES||MODERN OUTSIDER|
|STARCRAWLER||HOLLYWOOD ENDING||ROUGH TRADE|
|7t||BAD SUNS||AWAY WE GO||EPITAPH|
|CIRCA WAVES||MOVIES||PROLIFICA / PIAS|
|TORO Y MOI||ORDINARY PLEASURE||CARPARK|
|10t||LADYTRON||FAR FROM HOME||SELF-RELEASED|
|THE SPECIALS||VOTE FOR ME||ISLAND|
|SWMRS||APRIL IN HOUSTON||FUELED BY HOUSTON / EMG|
|13t||ALICE MERTON||FUNNY BUSINESS||MOM + POP|
|THE BETHS||HAVE YOURSELF A MERRY LITTLE CHRISTMAS||CARPARK|
|THE DANDY WARHOLS||BE ALRIGHT||DINE ALONE|
|ROYAL TRUX||EVERY DAY SWAN||FAT POSSUM|
|SHAED||TRAMPOLINE||PHOTO FINISH / CAROLINE|
|SWERVEDRIVER||THE LONELY CROWD FADES IN THE AIR||DANGERBIRD|
|JEFF TWEEDY||I KNOW WHAT IT’S LIKE||DBPM|
|MØ [FT. FOSTER THE PEOPLE]||BLUR||COLUMBIA|
|RICHARD ASHCROFT||SURPRISED BY THE JOY||BMG RIGHTS|
|SUNFLOWER BEAN||COME FOR ME||MOM + POP|
|24t||BOB MOULD||WHAT DO YOU WANT ME TO DO||MERGE|
|GUIDED BY VOICES||MY ANGEL||SELF-RELEASED|
|ROBERT DELONG||FIRST PERSON ON EARTH||GLASSNOTE|
|1||TORO Y MOI||OUTER PEACE||CARPARK|
|2||J. MASCIS||ELASTIC DAYS||SUB POP|
|3||THE 1975||A BRIEF INQUIRY INTO ONLINE RELATIONSHIPS||INTERSCOPE|
|RICHARD ASHCROFT||NATURAL REBEL||BMG RIGHTS|
|8||THE NEW TAROT||BOOK OF PROMISES||UNLEASHED|
|9t||BOB MOULD||SUNSHINE ROCK||MERGE|
|METRIC||ART OF DOUBT||MMI|
|PEDRO THE LION||PHOENIX||POLYVINYL|
|12t||A.F.I.||THE MISSING MAN||RISE|
|INDOOR PETS||BE CONTENT||WICHITA|
|15t||BADFLOWER||OK, I’M SICK||BIG MACHINE / JOHN VARVATOS|
|KYLE NICOLAIDES||NOW OR NOWHERE, VOL. 1||BRIGHT ANTENNA|
|LITTLE DRAGON||LOVER CHANTING||NINJA TUNE|
|MINI MANSIONS||WORKS EVERY TIME||FICTION|
|MOTHER MOTHER||DANCE AND CRY||UNIVERSAL|
|MY BRIGHTEST DIAMOND||A MILLION AND ONE||RHYME & REASON|
|SMASHING PUMPKINS||SHINY AND OH SO BRIGHT, VOL. 1||MARTHA’S / NAPALM|
|22t||BOB MOSES||BATTLE LINES||DOMINO|
|BOY GEORGE & CULTURE CLUB||LIFE||BMG RIGHTS|
|CHRISTINE & THE QUEENS||CHRIS||CAPITOL|
|DEATH CAB FOR CUTIE||THANK YOU FOR TODAY||ATLANTIC|
|THE FAINT||EGOWERK||SADDLE CREEK|
|FREE MONEY||THE FREE MONEY EP||COMMUNION|
|GOOD, THE BAD & THE QUEEN||MERRIE LAND||STUDIO 13 / ADA|
|JUST LOUD||JUST LOUD||FIVE SEVEN|
|MIKE KROL||POWER CHORDS||MERGE|
|MUSE||SIMULATION THEORY||WARNER BROS.|
|THE RECORD COMPANY||ALL OF THIS LIFE||CONCORD|
|SAM FENDER||DEAD BOYS||POLYDOR|
|SHARON VAN ETTEN||REMIND ME TOMORROW||JAGJAGUWAR|
|TOMORROWS TULIPS||HARNESSED TO FLESH||BURGER|
|TWENTY ONE PILOTS||TRENCH||FUELED BY RAMEN|
Castlecomer is a five-piece band from Sydney, Australia who recently released their self-titled debut album on Concord Records. On their recent U.S. tour, the band, including singer Bede Kennedy, keyboardist Joe Neely, guitarist
Tommy Kennedy, bassist Joe Kennedy, and drummer Patch Kennedy, joined us to chat and perform some acoustic renditions of songs from their album for another SubModern Session, which you can listen to below.
FMQB: I understand that your band name has some Irish origins, but you’re all Australian, so what’s the deal with that?
Bede Kennedy: It’s quite confusing. We’re all related and our sort of communal grandfather had a house called Castlecomer. We were all at the house one day and we saw the same, not knowing that it was the town in Ireland where he was born. And so we decided to name our band that. And then we found out that’s where his family was from. Y’know the pronunciation’s difficult, it’s all difficult, but we stuck with it and we’re still here. And then we called our album that, which was even more dumb.
FMQB: What are you all, cousins?
BK: Yeah, except for The D.H.D.D. (Joe Neely), we are all cousins. Our keyboardist Neely is our friend from Kindergarten through to what we call Year 12. We saw him every day. And then we started a band. There’s two brothers, two cousins, and a friend.
FMQB: But it’s like you’re related.
BK: Pretty much. He shows up at our family Christmases.
Joe Kennedy: My mom likes him better than me.
FMQB: So tell me, what was the impetus for all of you to start the band?
BK: We were just bored in Australia. We weren’t particularly good at music or writing songs, but we wanted to play shows because we heard you could get free beer at establishments. We didn’t have cash, but had instruments. So we thought let’s try to get a few gigs, pretend we’re good, show up, drink all the beer and get out of there before they realize. Boom. Next thing you know, you’re in America with a debut album and a record deal.
FMQB: And you got good!
BK: Thank you. We practiced a lot.
FMQB: Now I understand that you, Bede, were a lawyer. That’s a pretty big career change.
BK: Yes I was. We all had pretty big career changes. We have a chemical engineer in the band, a sports scientist, a business manager, a carpenter who can build houses, and we also had a yoga instructor. We have an array of half-baked gifts in strange fields.
FMQB: Probably all of those things at some point or another could come in handy in the band. Y’know if you ever want to build a band house, or sets for a tour.
BK: That’s exactly what Tommy does. He literally fixes everything! And Pat handles all the illicit substances and makes sure they are safe.
FMQB: And certainly when you’re getting into copyrights and royalties and things of that nature, your law expertise could…
BK: Not really, no no…
FMQB: What kind of law did you practice?
BK: I was working with the government before we sort of moved over here. I was investigating the banks. The banks are bad. They’ll steal your money!
FMQB: Yeah. So do you live in the states now?
BK: We have all moved here. We’re kind of like gypsies right now. We pretty much live in our van and we’re just touring as much as possible. So, we moved to Nashville and spent like two and half months there, then moved to L.A. and spent another two months there. But, in between that we’ve just been on tour, so we haven’t really got a house.
FMQB: Tommy’s gonna build the house when you do decide where to settle.
FMQB: I went your show and Bede you have a very commanding presence with the crowd, so tell me about how you connect with an audience and what their participation gives back to you
BK: You connect your eyeballs with their eyeballs and nothing can go wrong. That’s the approach of our band. I have the most fun as a fan when the band is into it and getting everyone else into it, and engaging. So, that’s our policy… give ’em a good time!
Find out more about Castlecomer at CastlecomerMusic.com or Concord.com. Listen to their acoustic SubModern Session performances of single "All of The Noise" and two more songs from the album here.
By Josh T. Landow
IN THE RING WITH KATE NASH
By Josh T. Landow & Joey Odorisio
British singer-songwriter Kate Nash made a splash back in 2007 with her debut album Made of Bricks, showcasing her sharp songwriting and witty lyrics. Since then, her sound has expanded and gotten more eclectic over the course of the past decade. The past year has seen her profile skyrocket, as she used Kickstarter to fund the release of her fourth album Yesterday Was Forever while also co-starring on the smash Netflix series GLOW. Recently, Kate sat down with Josh T. Landow & Joey Odorisio of FMQB to discuss her new record, feminism, mental health and pro wrestling.
How was your experience of working with Kickstarter?
I feel like it still is the experience because it’s still figuring it out as you go along. It was nerve-wracking doing the Kickstarter. I didn’t want to do it at first because I thought it might fail and I was nervous the entire time. But I was also pretty excited. The more time went on, I realized it made more sense for me to be doing that. I had terrible meetings with record labels that made me feel like crap.
You already had three albums out through bigger labels and that helped you build enough of a fan base that when you go off on your own with something like Kickstarter, they’ll follow you.
It was so stressful. You have to brace yourself for failure or you have to change how you measure success. It’s really easy to feel like “I’m falling because everything’s hard” or “Should it be easier? Should I keep going because it’s so hard?” But actually, we’re having amazing experiences on tour that are a constant reminder.
I met a girl the other night who was crying through “Nicest Thing,” so much so that Emma in my band wanted to run down and hug her during the show. We met her afterward and she said her and her sister had listened to my music together and they’d always talked about going to a show. Her sister died, and that was her sister’s favorite song. And she was from Alaska and we were in Denver, and her grandparents lived in Denver, so she decided it was a sign and came to the show on her own. That is so amazing and that’s how I want to measure success – just having a connection with people through music.
You can’t take it for granted. It’s easy to get caught up in that fast-paced lifestyle and what boxes you need to tick, but I’ll remember that for the rest of my life. When I look back on Made of Bricks and being on the charts and played on the radio, that’s not something I look back on and think, “Oh it was so moving being played on Radio 1, wow.” It was fine but I wasn’t happy then and I’m happier now as an artist and I still get to have these amazing, emotional moments with fans.