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
His latest album, At Dust, is due out October 1st via Already Dead Tapes and Records, a fascinating album that layers glitchy electronics with dance grooves and a warped psychedelic flourish. It’s a great new addition to Robidoux’s generally unpredictable catalog. He’s pushing new ground, but there’s an accessibility to it.
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.
In the two years since Austin’s Spray Paint released their last album, the band members have stayed busy releasing others projects that include the great Spiritual Mafia and During. You can now add Rider/Horse to the list, the latest effort from Spray Paint’s Cory Plump together with Chris Turco (Les Savy Fav, Trans Am).
Following the release of their EP, Toronto trio Motorists are ready to release their full length debut, Surrounded, due out September 3rd via Bobo Integral, We Are Time, and Debt Offensive Records. Continuing down the path that their EP set upon, the band continue refine their blend of jangle pop, motorik rhythms, and power-pop sheen
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.
Due out via Super Wimpy Punch Records, the band have paired down to a power trio, with Seth Goldman handling both guitars and bass, in addition to the vocals. Recorded with Adam Reich and Nick Dooley, they bring out the best in the twin guitars of Goldman and Jay Fox, distorted fuzz riffs occupying a perfect sonic space.
Celestial Force, the sixth album under the Space Mountain moniker, finds Kinsler collaborating with Will Henriksen and Rachel Saltzman, lending violin and saxophone, respectively. Due out September 17th via Dust Etc label, there’s a wide expanse to the twang and rust of the songs, portraits of vast landscapes with a certain sense of stillness.
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.
