Corridor has crafted the ultimate ode to the brute on Junior. The Montreal band’s third album, and Sub Pop debut, was recorded quickly in the spring to meet a deadline. Unlike the rock quartet’s previous, indulgently recorded releases, Junior captures an urgent spirit.
Pacific Notion, released back in 2017, found Seth Engel reinventing a selection of Options’ songs with a synthetic and electronic beauty, void of his usual rock band formation. Two years later, he’s at it again with Pacific Notion II, a project that finds Engel diving headfirst into the digital world with blissful results.
The madness that is Lightning Bolt have returned with another LP titled Sonic Citadel. The noise-rock duo from Providence, Rhode Island have a signature sound that accompanies their performance style. On Sonic Citadel, they continue to do their thing with a little bit of a higher production quality.
For Brooklyn’s Franklin Ligh, better known musically as Karaoke Mood Killer, he’s not into Stranger Things and he’d like you to stop trying to change his mind. Set to release (the fittingly titled) Demos on November 8th via Spirit Lust (Should’ve), the eight songs were captured in his Bushwick basement studio on a Tascam digital 8 track.
“You Fall Away” combines two of Henry’s songwriting instincts, the melody-forward songwriting of Bob Pollard/Guided by Voices and the effortless grace of Big Star, into a pitch-perfect rock ballad. Tthe guitars and vocals capture the restless youth of mid-90s, crackling with a coiled energy that erupts in a final-minute solo.
Sun Organ has managed to churn out yet another magnetically creepy, satisfyingly chunky stew of tracks with their latest self-titled release. What sets this release apart from the rest of their catalog is its ability to juxtapose heavy darkness and ethereal beauty, a contradiction that nullifies either extreme discomfort or overt ease.
Full Body have never heard of the sophomore slump as evident on their album, Always There. The twisting and turning post-hardcore band have sharpened the edges of their attack, the vicious parts are more vicious and their emo pop influences as sticky sweet as they come. It’s the contusion of them that they’ve been welding together.
The duo’s volatile punk uneasily clamors like Shimmer and Brainiac, but aesthetically revels in the wake of Pill’s malaise and the radiant aura of No Age. ESSi mimic the latter-most group’s ability to sound much more than a two-person group, as Jessica Ackerley’s bottom heavy guitars flesh out ESSi’s strikingly atmospheric low end.
Post-Grunge Revival, the trio’s first release since 2017’s Die Alone Pt. 2, is a big step forward sonically, an enormous and primal EP full of buzzing riffs and left-field shifts. Chelsea Ursin's songs come to life with an added heaviness, digging into monstrous riffs with a quirky charm on songs about cow’s giving birth, graceful weirdness, and beyond.
Deserted stakes up easily against its predecessor in the band’s discography, 2016’s Sonoran Depravation in both mastery of form and devastating impact of execution. The most distinguishing factor between the two is the slightly clearer production on Deserted, which is not surprising given who was involved in the post-production.
On her fourth album and fourth great evolution, Angel Olsen accompanies an instantly classic outpouring of artistic expression with gothic-synthesizers, some horns, and a colossal assembly of strings. An immense, dramatic, and shattering retrospective on feeling, All Mirrors is massive in both its presentation and statement.
The duo of Greg Jaime (O’Death) and Joey Weiss have been making stunning folk-inspired music for near a decade, creating natural landscapes and lush acoustics with gentle resolve. “Half Crazy” is a gorgeous finger picked and meditative song, brightened with magnificent harmonies and sweeping strings over otherwise dimly lit gothic folk progressions.
Cloud Rat, after 10 years, still finds ways to make music that is instant and familiar. If you were to listen to their S/T record in 2010 and then to Polinator, it wouldn’t feel too dissimilar. There is still that chugging low end guitar sludge, barreling up against frantic drums that anyone would call grindcore.