The duo's twangy debut trades off between Dunphe and McDonnell's vocals, countering each other with passioned howls and concise songwriting that never overstays its welcome. "Walkin' Out" is a prime example, a cloudy western ballad that captures McDonnell's folk inflected blues and longing, desperately attempting to hold on to a relationship already in shambles.
If their previous album revolved around a sense of loss and heartbreak, turns out the quartet are doing just fine... and they've never sounded better, go figure. Lead single "Benadryl" is a fantastic reintroduction to the quartet's art-rock glory, a song that blends power-pop and psych together in a gentle but just slightly off-kilter way.
While the band features Lubec's own Eddie Charlton (bass/vocals) and Matt Dressen (guitar/vocals), Wet Trident takes a decidedly more post-hardcore approach to their sound, orbiting in a world closer to late 90's bands like Recover, At The Drive-In, and a dash of Polvo for good measure. The trio's sound is dense and flailing, free of restraint and full of emotive energy.
Built upon punk scorn and raw yet catchy indie rock, a sound the have perfected over the years, the rest of the record expands outward, squirming in all directions. We mentioned they relied on sonic diversity, claiming "the band take four divergent paths, each as intriguing as the last" and now you can stream the album in full, ahead of tomorrow's release.
Brooklyn's Sodium Beast return with their sophomore EP and a new found aggression that rips from noise rock start to fuzzy pop finish. Night Club Tonite picks up the ragged post-punk sound of Hit Parade, blending the band's "college rock" influences with harsher elements, a reflective change of the year between releases.
The quintet, led by the songwriting duo of Taylor Batton and Jack Stansbury (ex-Princess Reason), create warm Americana and "slacker" pop with an effortless feel. Everything is natural. Everything is easy-going. Their songs feel like lost memories, experiences you've lived over and over, and yet, it all seems new.
Philadelphia's Cherry hit the sweet spot where power-pop and slacker fuzz-punk meet, blending together enormous guitar tones with even bigger melodies. Similar to the hometown DIY bands before them, the quintet create weary pop tunes with layers of hazy guitars, fuzzed out solos, and inescapable hooks of pure gold.
