Tony Molina makes records that sound like they’re coming from someone who consumes lots and lots of music himself. He’s staked his allegiance to the Beach Boys’ Friends and worn his love for hardcore with a pin on his jacket pocket.
Lrrr works experimental music into the dreamier realms, creating a record that is both mystifying and utterly gorgeous. Recorded in bedrooms in Hadley and Easthampton, Lloyd’s use of lo-fi textures actually work to bolster and unite the detached entries from his mind, providing cohesion to the lush acoustics and gentle vocals.
We’re back with an episode from the vaults, dating back nearly two months to early May! We explore the idea of heavy music and bands taking non-traditional approaches to all things heavy with new music from Cave In, Big|Brave, Lungbutter, Urochromes, and Deliluh. We shout out many things that have already happened in retrospect, but it’s still a heaping load of heavy music fun.
“Gravity” was the last track written (and ordered) on Zeiguer’s debut, Old Ghost. It’s a fantastic song, and it shows up again on Faraway Business in an alternate form. On first listen, it sounds stripped back, with much of the production and arrangements of the original removed to make the song even more intimate than it was before.
Black Midi’s sound on Schlagenheim is sophisticated, yet they surprise their listeners with their youth. They have studied the progression of rock through a different timeline. They are the prodigious and glitched studio musicians of the late Aughts who have ran amok over the annals of their country’s pervasive post-punk history.
One of the most impressive things about Bend is how nimble the songwriting is. Listen to the transitions; the band is able to get from points A to B in clever ways that never sound fussy or overly technical. Keys shift and time signatures change, and if you aren’t keeping a close watch, you won’t even notice.