Minneapolis label Forged Artifacts mined the Twin Cities for an awesome compilation of 18 unreleased tracks, showing the strength of the scene there and giving fans the opportunity to support both the ACLU and North Minneapolis’ Hopewell Music education program.
The trio will release 2015 - 2016, the band's full length debut on May 9th, a long overdue record of heartbreaking beauty and turbulent emotions. Their sound is loose and the lyrics are fragile, but Du Vide's music is taught with shifting dynamics and lo-fi bliss.
Sweet Baby Jesus put the soul back into Brooklyn's underground with songs that resonate upon a ramshackle jangle and a sure footed rock 'n' roll swagger.
"Lord of Garbage" welcomes you to "a world of filth, a world where dirty children run wild" before The Mad Doctors dive into a tornado riff and tight interlocked rhythms like the soundtrack to a brutal shark attack
the song’s tension builds starting with heavy drums and a deep bass tone before a guitar solo erupts like Mount Vesuvius giving Spence permission to really let it rip with an impassioned vocal performance.
The music video for “Breathing Thaw”- the closing track on Tim Woulfe’s latest EP The Thaw- was shot at Land’s End Park in San Francisco, taking advantage of the shore flooded with foam.
The quartet teamed up with local film collective, Good Day RVA, for a performance in Swannanoa Palace, a massive Italian Renaissance Villa built in 1912 in Virginia's Shenandoah Valley. The room... well, it ain't too shabby.
Originally recorded solo on the Fall Becomes Winter EP, "Half Step Back" is given new life as a full-band arrangement, a song as immediate as they come and inescapably endearing.
Just as the song comes together, so it comes apart, embracing devolution and collapsing at a whim, bending chords into oblivion and shifting rhythms without warning... and then right back together again.
The trio of Jazz Adam, Nina Ryser (Palberta) and Ricardo Balmaseda, play with the deconstructed, disoriented, and unpredictable nature of perception, contorting reality to its strangest form.
The band have come a long way since the release of Cherry Blossom, dipping their mopey sound into disorienting shoegaze and unwieldy slacker punk, creating a new record that is brilliantly weird and gloriously detached.
Pasko's music may stem from loss, but the sound is reminiscent to watching a flower bloom (rather than decay) after a harsh winter. This is merely the beginning of the next chapter.
It all gives off a feeling of hearing something from a distance. Disconcerting the listener while at the same time driving them to want to hear more, to strive to find the source.
Drastic times call for drastic measures, a sentiment that can be felt throughout the new record as the trio dial back the artier aspects of their sound while embracing the agitated and reckless elements.
Their vintage Southern-rock twang sung over loud electric guitars is a throwback to 1970s rock days, with guitar riffs aplenty, layered vocals, and a touch of pedal steel.
“Kids” sets itself apart from the average twee pop song off the bat. Its drums, bass and tambourine can writhe together in an unholy communion that evokes the slow-motion groove of a car dashboard dog’s effortless nod and the hazy trance of Madchester.
Veiny Hand's debut is packed with both adrenaline and sluggish crashes, a scuzzy trip down the rabbithole. We're excited to share the premiere of their record ahead of the band's tour dates with La Luz.
