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The Gourds played their final show in Austin, Texas on October 27th, 2013 after nearly two decades. Listen to a recording of that show here. Since then, co-frontman Kevin Russell and drummer Keith Langford have ridden a wave of success with their Gulf Coast boogie-woogie soul outfit Shinyribs while other members have been involved in various projects. The 2025 reunion will mark the first time since 2013 that the original lineup has performed together. Earlier this year, a partial lineup of the band reunited onstage to play Gourds tunes at the Old Settler’s Music Festival outside of Austin. Check out video of that performance below. At this point, there is no talk of a full tour or additional shows for The Gourds, so the upcoming Austin show may be the only opportunity in the foreseeable future to catch the cult favorites.

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The band’s signature take on hypnotic psych-rock gets a touch of shoegaze on “Frankie.” Martin’s vocals subtly creek out from behind the hazy guitar melodies, and loose drum patterns add an ethereal touch to the band’s already otherworldly sound. Along with tapping into the lush tones of shoegaze, Meagre Martin employs the subtle undertones of pop as the vocal melodies whirl around infectiously and familiarly. This performance radiates a palpable warmth as the band strikes the middle ground between familiar and alien. The beauty is in the simplicity of “Frankie.” Meagre Martin’s new single is a refreshing and loose take on modern rock with cloud-like tones that interact with soaring vocals to create a welcoming atmosphere.

The post LISTEN: Meagre Martin’s “Frankie” Is Lush Indie Rock With Hypnotic Melodies appeared first on Glide Magazine.

In addition to a few sporadic live performances, Notre Noise has released a handful of singles, most recently including 2024’s “The Apostle Paul” and “Swordsh.” Tully is currently in the studio working on new material slated for release in early 2025.

Notre Noise’s new single, “Swordfish,” finds the band throwing caution to the wind and running head-first into a brick wall of distortion. The artsy and noisy single sees the band fearlessly crafting complex melodies that crash into each other in a stunning demolition derby fashion, touching on nostalgic noise rock without falling victim to relying on tropes. The frantic yet hazy vocals perform lo-fi acrobatic stunts as they nuzzle themselves next to the searing guitars and neck-breaking drums. Upon pressing play, you feel like you are being swooped up in a tornado of noise. A chugging intro welcomes us but doesn’t prepare us for the off-kilter on-slaught of “Swordfish” as the unpredictable arrangement grows throughout the head-spinning journey. Notre Noise finds the middle ground between art rock and punk on “Swordfish,” an unforgettable single that reveals new layers with every listen. 

“The melody for ‘Swordsh’ was written in an airport- a toddler was screaming at his mother, who’d just taken away his iPad. I was listening to some drum demos on headphones- 90s UK big beat style stuff I’d been working on- and the notes of the kid’s crying formed a perfect melody over top. The lyrics came a couple of nights later in a dream,” explains Tully. “When recording the track at the studio, in lieu of a traditional drum kit, we utilized scraps of sheet metal, vintage circus drums, and a giant WW2 artillery shell. It was a meticulous production and a challenging mix, but it was a really fun track to work on.”

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We could’ve gone with several Hip-hop Holiday classics for this Golden Age Thursday. Death Row released an entire album of holiday songs in 1996. Outkast’s “Player’s Ball” (the Die Hard of Hip-hop holiday songs) would’ve sufficed, but it felt like an even better time to dig up a Hip-hop-holiday tune that might be the very first one that comes to mind for most Hip-hop heads. Run-DMC’s “Christmas in Hollis” is a hip-hop classic even outside the realm of holiday-themed rap. Initially released in 1987, the single landed on two Christmas compilation CDs. It officially found a home in the group’s discography as a bonus song on the deluxe version of their 1988 Tougher Than Leather LP. This “Christmas in Hollis” performance is from 1987 and features a brief interview with the trio about their inspiration behind the tune. You can watch the full performance below. Happy holidays from Glide Mag! 

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Is there anything weirder than an awkward pairing? Probably (as evidenced by some of the selections from this column over the past year), but nonetheless, today we have one of the more notorious examples of odd holiday bedfellows, courtesy of David Bowie and Bing Crosby, who collaborated on a peculiar duet of “Little Drummer Boy” back in 1977. It’s a remarkable segment, considering the two legends couldn’t have been more different in terms of background/style/etc., which probably explains their subtly tense (albeit polite) exchange before partaking in a somewhat surreal and cringy duet together. Check it out in all its awkward glory below.  And, as a special holiday bonus, we’re including a parody of the infamous exchange by Will Ferrell and John C. Reily, which really plays up the passive-aggressive vibes to hilarious affect. Enjoy:

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Jaewon’s hypnotic new single, “Til’ You Don’t,” finds the artist crafting hypnotic melodies that melt over swaying simplicity. The artist’s croons come in like a soft gust of wind with a slight spine-tingling chill elevated by the longing in Jaewon’s stretched-out syllables. The sea-shanty-style ballad allows the artist to explore a pain most would attempt to numb. “Til’ You Don’t” grabs hold of those heavy emotions and spins them into a stunningly soothing single that allows the artist to express their feelings and detail their nuanced approach. Jaewon’s one-man-band approach to modern indie rock will enable him to explore the deepest corners of the genre and emerge with something entirely new. The jazzy undertones of the arrangement, courtesy of the nimble drums and blaring horns, give Jaewon’s vocals an individuality that is simply infectious. Jaewon’s “Til’ You Don’t” is a moving ballad that introduces the artist as a fearless producer and sentimental songwriter. 

“‘’Til’ You Don’t’ is a song about the trials and tribulations of heartache overseas, unrequited love, and walking nightmares,” explains Jaewon.

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Pressing play on Little Furry Things’s “Marmite” is a dense piece of noise rock that shines a light on the band’s refreshing approach to the genre. The band’s new single features all the familiar traits of noise rock: Searing distortion touches gloves with thudding drums as fuzzy vocals cut through it all with surgical precision. However, there is a clear distinction between Little Furry Things’s approach to the genre that draws a clear line in the sand between this band and their peers. There is a subtle jovial whimsy that makes it through the complex guitar melodies courtesy of the nuanced vocal harmonies, giving “Marmite” a distinct infectiousness. Just as you’re floating away on the vocals, a scorching guitar solo brings you back into the band’s noise rock prowess. “Marmite” is a refreshing take on noise-rock as Little Furry Things blends their influences with their unique perspective via familiar distortion and otherworldly melodies. 

“‘Marmite’ tells the story of when I was seven and rushed to hospital due to smashing my face against the school fence,” explains the band. “It resulted in me requiring stitches near my left temple and eye, and the song wistfully recalls holding my mum’s hand when the needle was going in and out of my face.”

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