Nastavi, Caliope, the latest from Maya Bon’s Babehoven, is a must listen. Written in the wake of twin upheavals – the death of her dog and the reunion with her estranged father, the EP captures the sadness, anger, isolation, and monotony of these moments, transforming them into a musically and emotionally compelling seven tracks.
HEY WHAT, Low’s stunning third album with BJ Burton, refines its predecessor’s approach, sculpting its slabs of noise into something more defined and accessible without losing any of the impact. It’s an album that grapples with the questioning of faith and the acknowledgement that the answers sought may never appear.
Life, and Another is a fourteen-track, 44-minute affair, transmitted with the descriptor, Sci-Fi Pop, and yes, with James Krivchenia of Big Thief producing the sound palette is ripe of the sort. If there is a novum for what Mega Bog is currently accomplishing, then it is found within that synthesis of Birgy’s lyricism and sonic arrangements.
Bachelor, the musical project of Palehound’s Ellen Kempner and Jay Som’s Melina Duterte, combine fuzzy guitars, pop hooks, and introspective words on their debut, Doomin’ Sun. Holed up for two weeks in Topanga, California in January 2020, Kempner and Duterte spent their days sleeping in, drinking iced tea, and writing songs.
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.
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