Hailing from Boston, Little Musket started out as the songwriting vehicle for Catherine Conley but has expanded into a full-fledged four piece. You can expect a big sound with a direct, personal point-of-view. Little Musket’s upcoming debut record, Fever Blister, is being released by Dadstache Records (Calicoco, Fuzzrod).
The song’s slow and ominous introduction is paired perfectly with the video’s lighting, backing out into frame without any sense of urgency. The clip is fantastically off-centered which works together with the song, a dirge of psych tension that opens to primal drums and eventually the surfy bliss of Grace Wayne’s vocals and guitar.
In this video, Esterhammer-Fic’s powers of arrangement are on full display, as is his vulnerability as an untested artist that is stepping out as a songwriter, in many ways, for the first time. What better way to do that than by showcasing an orchestral reinterpretation of the Grammy Award Winning Certified R&B Banger “Boo’d Up” by Ella Mai.
Tempering aggression for something sweeter (but no less biting), “Shnuki” moves bassist Amy Hill (also of Terry) over to lead vocals, with Tom Ridgewell’s vocals closely snapped into place just beneath. The song opens with a razor sharp guitar line, still distorted and tightly wound, but it’s the vocals introduction that dives headfirst into pop uncharted pop-territory.
After a string of lead up singles, the band will release Chores, their full length debut via Make Believe on July 22nd. The release is wildly expansive, a post-punk marathon that twists and turns through uncommon structures and a variety of sonic temperaments, all drawn under the same lo-fi recordings.
The band’s debut EP, What?, clocks in at a lean six minutes and five tracks, an economical approach to noise punk that shines in its brevity. Divorce Cop, comprised of Brock Ginther (Royal Blood), Chris Gervais (Toothbrush), and Anthony Bitetti (Great Western Plain), each bring a little something of their own to the ramshackle recordings,
The band’s new full-length record, Holy Roller, reveals a more relaxed and reflective side. They’re still channeling the Stones, but this time around it’s much more like the country blues of the band’s late-60s era. While they stay true to their rebellious rock roots, they’ve tempered with a tinge of wistfulness — as if their living room guitars drank too much wine.
It’s been six sweaty years of fuzzy bliss for Brooklyn’s The Mad Doctors but it would appear all good things must come to end. The trio are calling it quits and we mourn the pending loss of a unique presence in Brooklyn’s punk circles, one that always remained a beacon for DIY, void of posturing and pretension.
This is an EP you can skate to. This is an EP you can bake and get baked to. This EP will ask for your number and then be cool with you if you turn it down, and eventually become a pretty cool friend. Dark Floral is France Camps fourth release overall, and their second on label extraordinaire Forged Artifacts.
The poetic verses of Claire Cronin’s gothic folk music unfolds with patience and haunting prose. Big Dread Moon, Cronin’s upcoming album on Orindal Records, is full of delicate compositions with lyrical themes that tend to stray into frightening worlds of beasts in the dark, fever dreams, and suspended reality.
