BIG|BRAVE didn’t set out to be one of the world’s most riveting experimental metal bands, but you wouldn’t know it by listening to them. Each release has absolutely radiated discomfort. Vital appears to push their approach to its limit, leaning into their well-oiled combination of sinewy vocals, slow rhythms, and twin-guitar sheets of sound.
Constellations is the sophomore album from Vermont quartet Clever Girls who combine dusty Americana influences with bursts of psychedelic noise mixed in. Their songs have a deep-rooted bounciness in them that combines with a spiky lyrical bent to produce ecstatic moments that have real emotional depth.
It’s not often a band gets harder and lower-fi with time--not without sounding contrived, anyway--but on their new LP II, Japanese post-punk band M.A.Z.E. tap into their hardcore influence with unqualified success. II is faster, furiouser, and more fun, filling in singer Eriko’s vocals with fuzz and throwing some real punch behind guitarist Tatsuya’s oscillating riffs and scorching chord swipes.
Through its twelve tracks and 39 minutes, ULTRAPOP offers nothing more than the absolute best. It’s a fantastic, futuristic, and forward-thinking emulsion of “what we know pop to be” and “what pop can be” from the heavy side of the aisle. It’s simultaneously grandiose, gruesome and glamorous while never evoking notions of elitism.
Carnage is contemplative. Lyrically it is the reflections of a prominent artist reacting to our suddenly changed lives. It soundtracks our failing world. Thoughts come and go and recurring themes build and connect from song to song. It would feel like a stream of consciousness record if it weren’t so refined.
Hanson sets his sights towards a sound inspired by locales both arid and vast. Songs move at a patient pace, often glacial and restrained, though always with the feeling that there’s always something up his sleeve. These are songs that evoke desolate environs; high deserts, each song a rest-stop at the edge of civilization.
Bodies of Water introduces a band that have a well-crafted vision of what they want to achieve and the ability to execute that vision almost immaculately. Margaret McCarthy’s brand of no holds barred songwriting is striking on so many levels and the way with words displayed on this record leaves quite an impression.
Silicone Prairie is the solo outlet for Kansas City artist Ian Teeple (of Warm Bodies and the Natural Man Band). Their first full-length release My Life on the Silicone Prairie is accidentally a perfect record for the lockdown era. Recorded at his home on 4-track over the last couple years, it would have been a solitary effort regardless.
Gulch and Sunami put out a split on Triple B Records. The pairing is the perfect summation of where hardcore is at in 2021. Those divisions that existed in the 90’s look really stupid in retrospect. It's all just glorified caveman music at the end of the day. All the different iterations on the genre are welcomed and even more so encouraged now.
While making their new album Plastic Flag while traveling around Europe in 2017, Cal Fish spent a lot of time listening to the 2004 Arthur Russell compilation Calling Out of Context, and a similar experimental spirit is alive in their record. Cal gathered loops from cassettes found on the streets and fused them with beats.
Melbourne quintet Spiritual Mafia boast members gathered from some of that city’s best underground outfits (Ausmuteants, EXEK). Alfresco is their debut album but it was a fractured journey with their members all based around the far reaches of Australia. Spiritual Mafia’s music constantly arrives at a confluence.
Growing up surrounded by Creole musicians, she might have been primed to follow in their footsteps. Renée Reed has broadened her palette, taking inspiration from a wide range of folk and popular musicians. Her self-titled debut album is a surprising, subtle joy to listen to, showcasing both her roots and a path forward.
There’s feckless Royals on the prowl again in the international scene, and for those of us terrified of the press, here comes Dry Cleaning to redeem us with a tram-rhythmed, chugging, pulsing, effortless groove-that-just-don’t-won’t-stop. Above all there’s Florence Shaw, whose cool, low Sprechstimme makes it all work.
Floatie operated in a constant state of unfinalized growth for the better part of their existence, becoming a sharper band, a better-every-time-you-see-them band. Voyage Out is the culmination of these pursuits, an excellent and cohesive collection of skittering “frog rock” enveloped by the quartet’s clever arrangements of balmy bass and twin guitars.
Brigid Dawson & The Mothers Network offer sanctuary from the trials of the greater storm; an analogous warmth, forthright honesty, & familiar newness, which lull one into a sense of comfort & calm amidst our swirling chaoses. Ballet Of Apes is that ice cold beverage on a scorching summer high noon; a retro-tomorrow frequency.
