What was most surprising about White Chalk on its original release was its sound. Harvey’s guitar and classic vocal style are almost completely absent from the album. A shift to piano, an instrument that was relatively new to her, as her main compositional tool seemed to reset her compositional style.
Deradoorian's work in Find The Sun is an exploration beyond this cognizance, planted firmly in the earth, and an organically divine consciousness. This is evergreen energy, coniferous and long-standing, albeit far beyond the relative pinball of deciduousness - live, die, live again - stands emitting from the celestial sphere
Sunday Music For An Overpass is subtly beautiful, possessed of a quiet power. These lo-fi dream pop tracks have the potential to bypass one’s senses yet they don’t: instead they remove you from your anxieties and worries in a wave of hazy comfort. The album unfolds at a languorous pace, unrushed by external forces.
Angus Andrews has essentially helmed the last few Liars records himself, from 2017’s TFCF to this month’s latest release, The Apple Drop. He does recruit the aid of drummer Laurence Pike and multi-instrumentalist Cameron Deyell, though, and they do help enhance the expansive and cinematic sound of the album.
Don’t Know What I Am, the band’s latest LP, is another perfect name. The record holds Sonia Weber’s established perspective throughout, affirming the confession of the title; but in a testament to the love we receive from others, it embraces gratitude and sunshine in ways that lead to the band’s strongest proclamation yet.
Here come Rose, Water, Fountain, somewhere from the outskirts of Boston to actually hit that nineties indie rock sound right on the nail's head, and not only that. The duo somehow make sure that it perfectly fits into all that is going on now in music, as if Olivia Tremor Control or Dressy Bessy never went away.
Their fifth release (and fourth from Relapse Records), Arrows, finally sees the group match their colorful personality with a bright, psychedelic aesthetic. Chugging tracks like “Unreal Estate” and “Anodyne” will please the old fist-pumping fans, and the punk-adjacent “My Disaster” and “Rabbits in Hives” show they can still kick it into high gear.
THE FVCKHEAѫTED LVNG is the latest full-length studio album from Sunk Heaven. Standing at around 38 minutes, this release breezes by considering how layered and intricate it feels. Pulling from industrial, no-wave, and even occasionally IDM and harsh noise, this release never stays in the corner of one particular sub-genre.
Perfect Angels is Zach Phillips on any instrument you can think of together with a lead singer Olia Eichenbaum, as well as a cast of revolving collaborators. Musically, the project creates exquisite off-kilter soft pop, with bossa nova as some sort of a base, with Phillips, Eichenbaum and their cohorts going off in every direction.
Valdez, the most recent release by Philadelphia's psychedelic rock masters/champions Birds Of Maya, represents the shared momentary humanistic expressions of creative freedom aesthetic to absolute perfection; an exiled memory in the apocalyptic nightmare - one which has the ability to awaken a drifting consciousness from its haze.
A classically-amalgamated DIY project from Melbourne, the five-piece comes from several other bands, including Future Suck, Kosmetika, Blonde Revolver, and The Vacant Smiles. Yes We Do, was released via the always reliable Spoilsport Records, using post-punk as a mere base to build new wave synths, pop flourishes, and garage guitars.
Melbourne’s The Murlocs return with their fifth album to provide some much-needed bluesy brightness to listener’s lives. Bittersweet Demons, again released by the excellent Flightless Records, courses on a long and winding path, each turn infectious and melodious. It’s a soulful and rowdy record, rollicking and ballsy.
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