Cartalk, the project of Los Angeles songwriter and musician Chuck Moore, have been teasing out their debut album, the immaculate Pass Like Pollen, for the better part of a year. The nine tracks that form Pollen are each vulnerable, exuberant, and gripping in a way that makes their power known mere seconds after pressing play.
Haunted Painting sees a return to accessible hooks and abundant instrumentation but with much more focus, and refinement. Written and recorded during 2019, the record finds Dupuis chewing on some bitter pills of that year, both political and personal, and it unknowingly resonates very strongly amidst 2020’s glum backdrop.
Partners inside and outside of music, Sorrell and A.G.’s chemistry is apparent from the start of the album. Sonically, the album meanders from the ethereal to the severe all while synthesizing a wide range of influences derived from jazzy samples, electronic textures, soulful vocal melodies, and glitchy percussion.
The record is an extremely well polished transformation for the band. It is a power house of hooky guitar melodies and bright 80s synth sounds, rounded out perfectly with the definitive baritone of Canning. They also seamlessly incorporate brass instrumentation on the album, harkening back to their Australian predecessors, INXS.
Along with its catchy classic rock melodies, the sophomore record from Slight Of - the project of New York indie rocker Jim Hill - sets itself apart in its outward-looking stance. That said, Other People’s lyrics may be character-driven, but what makes it such an interesting study isn’t necessarily the subjects.
Hannah Read is not interested in diaristic revelations, even as she embraces Hannah over Lomelda. Many of the best records find a way to show rather than tell, but Hannah finds a way to feel without explanation and in turn, pass that feeling onto us, in all its disjointed, nonsensical, and wonderful complexities, as revelatory as you can get.
The songs on LITE have already been released on previous albums by Kal Marks with the clarity of full studio production. LITE is a collection of demos made on what the band describes as a “shitty tascam 4 track cassette” performed by front-man Carl Shane, singing, and playing guitar with his songwriting prowess on full display.
Motherhood, the first full-length LP from No Joy in five years, is genre-mixing ear candy. Still here are the shoegaze influences, but they are sweetly complimented by everything from nu-metal to chamber pop. Now appearing as a solo endeavor, Jasamine White-Gluz seems to expand the project's horizons.
Reverse of Mastery is the first full length release from NYC trio Dig Nitty, and it is one that shows a band willing to wholeheartedly explore sonic and melodic territories with extraordinarily little apprehension. The exploratory feeling allows for a wide-ranging aural trip from loping folk blues to the occasional psych-punk freak outs.
The Octagonal Stairway brilliantly captures the decadent stream of contemporary consciousness. Whether it is by shredding eardrums with jigsaw riffs or making you feel awkwardly self-aware through cinematic noise, these tracks are essential if you’re looking to dwell in a vast maze of primal and visceral sonic freedom.
