Along with its catchy classic rock melodies, the sophomore record from Slight Of - the project of New York indie rocker Jim Hill - sets itself apart in its outward-looking stance. That said, Other People’s lyrics may be character-driven, but what makes it such an interesting study isn’t necessarily the subjects.
MEH, the fantastic lo-fi fuzz pop band comprised of members of Nopes, are getting ready to release their latest, Big Soft. Due out October 2nd via Chicago’s Maximum Pelt, it’s another warm and welcoming record of warbling tunes and folk inspired slacker rock, built on the gentle moments but still pushing into the red every now and then.
Sometimes everything you need is within sight. Sometimes the best decisions are the ones that come without overthinking. Both of the sentiments rings true on Tang’s upcoming album The Quiet Earth. Due September 29th, the collection finds Peter Connelly once again taking a solo approach to his band, and they’ve never sounded better.
Hannah Read is not interested in diaristic revelations, even as she embraces Hannah over Lomelda. Many of the best records find a way to show rather than tell, but Hannah finds a way to feel without explanation and in turn, pass that feeling onto us, in all its disjointed, nonsensical, and wonderful complexities, as revelatory as you can get.
The songs on LITE have already been released on previous albums by Kal Marks with the clarity of full studio production. LITE is a collection of demos made on what the band describes as a “shitty tascam 4 track cassette” performed by front-man Carl Shane, singing, and playing guitar with his songwriting prowess on full display.
Motherhood, the first full-length LP from No Joy in five years, is genre-mixing ear candy. Still here are the shoegaze influences, but they are sweetly complimented by everything from nu-metal to chamber pop. Now appearing as a solo endeavor, Jasamine White-Gluz seems to expand the project's horizons.
Reverse of Mastery is the first full length release from NYC trio Dig Nitty, and it is one that shows a band willing to wholeheartedly explore sonic and melodic territories with extraordinarily little apprehension. The exploratory feeling allows for a wide-ranging aural trip from loping folk blues to the occasional psych-punk freak outs.
New Orleans duo Lawn released their second album, Johnny, less than two weeks ago via Community Records and Muscle Beach, an incredible album that stands among the best we’ve heard this Summer. The album covers a wide range of musical inspiration from hard wired post-punk to jangly indie-pop, excelling at it all.
Profligate has been serving up goth-inspired dark pop for several years, and the musician’s upcoming album Too Numb to Know is a shining example of his refined songwriting abilities. The latest single “No Clear Way” is a standout offering with richly textured arpeggiating synths that drip with melancholic atmosphere.
The Octagonal Stairway brilliantly captures the decadent stream of contemporary consciousness. Whether it is by shredding eardrums with jigsaw riffs or making you feel awkwardly self-aware through cinematic noise, these tracks are essential if you’re looking to dwell in a vast maze of primal and visceral sonic freedom.
The album’s centerpiece, “Kissing Under Some Bats,” is the prime example of Mekbelly’s melodic destruction gone haywire, harnessed at times and unhinged at others. For two and half minutes we’re given a punishing dose of the band’s signature post-hardcore dexterity and noise pop charm, and then, it all comes unglued.
In the words of Wire, 10:20 is a “collection of strays“ featuring brand new songs alongside re-envisioned previously-released material which spans from 1978 to present day. However, these eight tracks come together to create one solid piece of work that feels too cohesive and purposeful to be dismissed as a mixed bag of B-sides.
I’m Doing This to Myself – Alright’s first full length after a series of EPs – is a strong, spunky statement of fuzzy indie punk that’s chock-full of hooks. For this record, the band connected with producer Kyle Pulley (Thin Lips, Kississippi) and cut the album up north in Philadelphia at Headroom Studios.
