The Brooklyn via New Haven based trio are set to return with the release of their next record, Heaven’s Gate, next Spring, but the time has come to get “Globbed.” The band’s latest single is here and it’s once again proof that Michael Falcone and co. have a better understanding of big, punchy, grunge-tinged alternative rock than most.
Following a digital split single with Bad History Month earlier this summer, Ruah returns with Dead Friends/Feeding Demons, a new lathe cut 8” vinyl single (yeah, one more inch than a measly 7”), due out November 12th via BLIGHT. Records. The single’s a-side is a baroque rock song with Schurr’s main melody played on Marxophone.
After six records, Keith Harman is taking a rare pause from The Cowboys to introduce his solo project, Good Looking Son. Set to release Fantasy Weekend, the project’s debut EP on November 18th via Feel It Records (Qlowski, Alien Nosejob, The Cowboy), Harman has never sounded quite so radiant as he does amid these silky AM psych-pop tunes.
Set to release Playing The Bug on November 19th, the latest effort finds David Settle joined by his former EXBX bandmate, Adam Berkowitz, on drums, and the pair have shifted Big Heet’s sound once again. Scaling back a degree of the aggression, this one is still full of intensity, textured distortion, and Settle’s knack for memorable songwriting.
Back in 2019, Brooklyn’s The Rizzos brought us all on Spring Break, and now the trio take us back to How It Was, a time when little mattered more than listening to music you love. Due out November 12th via King Pizza Records (Teen Mortgage, Daddies, Milk For The Angry), the record isn’t bogged down with modern anxieties or despair.
The densely layered album features a host of key collaborations from artists that Nikolas Soelter has worked with over the years, featuring production from Melina Duterte (Jay Som) and various instrumental and vocal contributions from like-minded artists like Taylor Vick, Chris Adams, and Pascal Stevenson.
Silt feels every bit as introspective as Ben Curratto’s former collective, Cold Clod, and yet dials up the heaviness while retaining a sort of woodsy good nature. Recorded together with Jesse Moy (formerly of Giants) on drums, the duo have been working out their first batch of songs, with “This Feeling” marking their official debut.
Taking Radar b/w Loose Cricket, due out October 29th via Chunklet (Man or Astro-Man?, Honey Radar, Spodee Boy), comes with the resilience and technicality of Unwound in their youth, built on dynamics and tension. It doesn’t even need to be said that the band are in their teens, but it does make it all the more impressive.
Chicago’s Courtesy have been doing their own thing for a decade now, making indie rock that’s both electronic and experimental, but also draws from key elements of lo-fi production and slacker punk songwriting. The band return with their latest full length, Check The Milk, due out November 19th via Seasick Records.
Nolan Potter is an exceptional musician and an exceptional songwriter, and the wide expanses of his progressive psych come into view repeatedly on Music Is Dead as he shifts from movement to movement. Darting between ethereal moments of progressive beauty and tension to cosmic pop, there’s a heavy dose of psych coating it all.
Celebrating their 20th (!!) year making music together, NOATS are making the most of it with the release of their latest album, Ceasefire Violations, due out 11/8. The record marks their first new release since 2015’s split LP with Palberta, but as the six year draught comes to an end, it becomes immediately clear that it was worth the wait.
Los Angeles’ I’m Into Life Records is getting ready to release Creepy Covers, a compilation of well… creepy covers. With submissions from Sad13, Helvetia, Kal Marks, 100 Watt Horse, and more, the proceeds from the record will be donated to Trans Defense Fund LA, providing safety kits for trans women across the city and general mutual aid.
A.D. Flowers are ready for their self-titled sophomore EP, due out October 15th via Infinite Weed Records. The band make pop-infused music in the classic sense of the word, naming The Beatles as a core influence, but their sound skews closer to 90’s alternative rock with maybe a pinch of early punk swagger.
Alien Nosejob already released the blistering HC45-2 and now he’s back with his next full length, Paint It Clear. Due out November 12th via the excellent team of Anti Fade and Feel It Records, the album continues Alien Nosejob’s streak of never releasing the same record twice, warping Robertson’s signature punk with new-wave.
Full or snarky, anti-establishment, society skewering, oft political bite, Hadley’s Stoner Will & The Narks are set to return with their sophomore album, A Narxist Critique. Due out 10/15 via Tiny Radars, the band’s sardonic post-punk is razor sharp in intellect and sense of humor, appealing to fans of both Cheekface and The Cool Greenhouse.
For the past few years, Scranton’s Great Wave have been crafting a unique style of psychedelic dream-pop, but it leans a bit more toward the experimental than the “pop” tag might suggest. It’s relaxed and accessible, but the band don’t always play to common song structures, instead enacting overall feeling.
Having already shared the album’s first two singles, “Dark Months” and “Weight / Chemicals,” Grass Jaw bring us their latest, “Displacement,” a song heavily rooted in the album’s themes of navigating depression. Grass Jaw has a knack for making songs that are intimate and personal but feel relatable to anyone listening.
