They could be the harshest punk band or the most divergent metal band out there, but their force is undeniable. Their fourth full-length album, Weeping Choir, is proof that there a few other acts that can compare to their creative aggression.
The power of She Keeps Bees lies in the nuance, the understated. It’s Jessica Larrabee’s vocals moving like smoke over Andy LaPlant’s kindling crackling drum beats. It’s intimate music. A quiet rage that is intoxicating, inviting the listener in, leaving them unguarded for the jabs and barbs that come their way through the music.
2016’s Marked for Death was hard to follow, and Emma Ruth Rundle certainly rose to the challenge with her latest solo record, On Dark Horses. Out on Sargent House, the album is lyrically lighter and musically heavier than its predecessor, concerning itself with themes and symbols of racing, running, and the freedom of wide open spaces.
Salt bears many similarities to its predecessor, namely in its post punk sensibilities, experimental song structures and intricate instrumental passages. However, Salt utilizes a more diverse palette of sounds, reaching beyond distorted guitars to make use of synthesizers, clean textures and advanced harmony.
Jackie Mendoza’s debut EP is a powerful refusal to exist in any one box. The cleverly titled LuvHz, out now on Luminelle Records, effortlessly blends lo-fi synth pop sensibilities with reggaeton club beats to form songs that would feel just as much at home on the dancefloor as they would underwater.
The name The World Is A Mess sounds like an acknowledgement of defeat, a relaxation into political misery, a weary resignation familiar to any American in 2019 -- but the opening moments of the new Future Punx EP (and indeed the general attitudes of each of the six tracks) suggest quite the opposite vibe.