The duo of Sean Ahern (bass) and Chris Gervais (drums) make a unique brand of doom rooted in improvisational jams. There’s no long bong-hit riddled writing sessions, just a sludgy sense of adventure that pushes them forward into the darkness.
“We Are Taking You Home,” the second single from The Mall, The Country, is a tender and reflective companion to the record’s first single, “Score Heal Score.” Where the latter was discordant and tangled in its own looped progression, “We Are Taking You Home” is a more serene and tranquil meditation.
Our latest episode explodes the wide world of music festivals. With SXSW quickly approaching we talk about memories from other festivals, though oddly don’t talk about SXSW at all. There’s some good stories and chatter, plus even better new music from Big Business, Shady Bug, Parsnip, Buck Gooter, and Grim Streaker.
Seth Engel, a multi-instrumentalist and musical mastermind who has contributed to too many projects to name here, shines his brightest in Options. His music hits just the right spot for any mood, a fluctuation he can achieve even within one track.
Come Back to Life is the debut solo venture from Dan Francia, but by far from his first appearance in the ‘indie rock’ universe as he’s had a hand in some very good records over the past few years. Francia has enlisted a bunch of musicians from those bands he’s worked with on this record and has managed to blend all the elements into something exciting and very alive.
“Naps” is a single from Moon, the follow up to the recent The Sun Shines From Very Far Away. “Naps” begins with echoes of Modest Mouse with its slightly off kilter vocals, banjo and pinging guitar, but veers completely into the nonsensical melody realm of Jack Stauber in the second half of the short song.
Set to release their debut single Do Yeah on February 15th, their sound is a psychedelic trip down the rabbit hole, a vision of the past swirling in every direction. Melbourne’s Bananagun (featuring members of Parnsip and Frowning Clouds) let it rip with a freaky groove from the start, there’s a hit of the gong and it’s all hypnotic from there.
Boon’s art-pop sound is in fine form on the kaleidoscopic “Jasmine Seeds,” a deeply layered effort that plays with repetition and looped vocals just beneath the song’s concurrent verses. It’s psychedelic pop with a lot to take in, but an easy atmosphere in which to do so, the effect nearly sounding like two songs played together in unison.