Brooklyn-based trio, Sister. have released their full-length debut, Abundance. Three years in the making, Abundance was largely self-recorded in a cabin up in Woodstock and overdubbed in Hannah Pruzinsky’s apartment closet, proving that Sister. capitalizes on the intimacy of home recording when in good company.
“Cannonball” became NME’s Single of the Year and, even thirty years later, has one of the most recognizable bass lines in indie rock history. What’s more iconic is the album it’s from. Last Splash celebrates its 30th anniversary with a new reissue that includes remastered versions of its original fifteen tracks and two previously unreleased songs.
We Buy Diabetic Test Strips is an intense listen at 53 minutes with psychedelic rewards. Most of the production puts the listener into a daze—instrumental transitions jump to and fro alongside snippets of telephone calls. If you’re dialed into the album enough, you may wonder how soon the apocalypse is arriving.
Marnie Stern's name remained stuck in the minds of modern rock fans. With a mention of Stern comes her always incredible guitar technique, never showing off, but always played with purpose. She’s back with another incredible offering, aptly titled The Comeback Kid, pushing forward without sacrificing her musical sense.
Teenage Halloween has been an unstoppable force within the New Jersey scene since 2014, playing non-stop energetic live shows and touring relentlessly. Now, almost ten years later, the most fun band in New Jersey is back with Till You Return, the highly anticipated follow up to their self titled debut record.
Oakland’s Feefawfum makes anxious math rock. They’re a five-piece helmed by the uber-talented Farley Miller and their latest release is the full length 100. The album is an unpredictable tour de force of nervous noise, technical musicianship, and startling hooks that taps into the musical chemistry of the five performers.
Infinite Hatch opens up a new realm in SPLLIT’s expanding galactic journey. The Baton Rouge duo dive into the deep end on their second full length, and they’ve created a masterpiece in the process. From songs that sound like bugged out pinball games to laser driven art punk odysseys, the layered eccentricities are tight yet discombobulated.
Over the past ten years, Cherry Glazerr has transitioned through many sounds, aesthetics, textures, and feelings. On their most recent offering, I Don’t Want You Anymore, they enter the realms of sugary indie rock, fuzzy garage rock, and shimmery electro pop, all with a distinctively femme underpinning.
What is experimental rock, anyways? I’m Into Life Records, the LA/Kingston based label, is hunting for an answer, exploring every -wave and no-wave at the same time, building community along the way. With every artist that stretches their limits, we’re closer to finding out. #1 is the cumulation of East Coast Weird contemporaries.
Following I Keep My Feet on the Fragile Plane, NYC based singer-songwriter Allegra Krieger returns with Fragile Plane: B-Sides, the extension to an album that was fortified in personal silence and atypical orchestration. Krieger expands on her poetic observations of humanity's shortcomings, told through her formidable presence in a passing world.
Objects Without Pain is a trick mirror in its aural attack on convention, appearing both flawed and flawless. Dissonant chords make songs sound out-of-tune, song structures writhe like trapped reptiles, vocals scream at the unhinged limit of the human larynx. Listening to the album is akin to watching trains collide in slow motion.
With her new record, Katie Von Schleicher's songs take a softer approach, full of luscious keyboards and a renewed comfort in the stripped down arrangements, punctuated with thoughtful strings by frequent collaborator Gabriel Birnbaum. Von Schleicher is in a reflective mood, touching on personal growth and strengths.
These Are Not Fall Colors lets its emotional power do a lot of the heavy lifting. Sam Jayne's songwriting is vague and occasionally impenetrable, but the execution is energizing and intense. He may have had a bit more success with Love as Laughter, but Lync brought together seemingly odd influences, pushing them in unexpected directions.
The hottest, driest place in America is a fitting reference point for prolific LA beatmaker DJ Muggs — whose trademark production is frequently dust-filled and eerie, with little room for frills. That approach is on display throughout Soul Assassins 3: Death Valley, a new installment in his decades-long series of region-hopping rap showcases.
