“Pain Without a Touch” is just one product of a year-long writing session they say yielded sixty or so songs in total. Following the release, the two spoke to Post-Trash about engineering their signature sound, embarking on the first Sweeping Promises tour, and joining Twitter as social media skeptics.
Battle Ave are back and so is their obvious love for the music of the nineties, the good stuff that came up during that decade, that is. That good stuff usually came from independent alternative bands - intricate guitar arrangements, subtle arrangements and as much melody coming through the vocals as possible.
Solely, is the sophomore album from Natalie Jane Hill and its possessed of rolling folky guitar and an abundance of the most beautiful melodies and vocals one could imagine. Hill creates beauty of all different types on these ten tracks, each composition delivering something different in intensity and technique.
It’s easy to tell when one group’s effort ends and the other begins as both artists have distinct styles. Bad History Month has lyric laden tracks versus the more drawn out vocalizations of Nyxy Nyx. Yet a strong, cohesive project is delivered on this split album. This is likely due to mutual admiration both artists have for each another.
Jason Albertini of Helvetia used the early-pandemic energy of loneliness and dread to habitually create one song a day, when he wasn’t homeschooling his daughter. Albertini’s resulting collection of distorted experimental rock songs, Sudden Hex, quietly came out through a Joyful Noise project, the Gray Area Cassette Series.
On a bed of rollicking indie rock that straddles post-punk precision with bright, slacker-forward riffs, the quartet takes rhetorical aim and shoots. The bullets here are long, vivid vocal lines laid on beds of lush harmonies: clever burns, snapshots of outrage and absurdity, quips, and catalogues of social, political, economic contradictions.
After remastering, expanding, and re-releasing their back catalog, they proffer the fourth entry in the Switched On series, a sprawling omnium-gatherum of rarities recorded between 1999 and 2008. Electrically Possessed is full of agreeable eccentricity: buoyant beats and blubbering synthesizers; enchanting vocal utterances and bass lines that fit together like Sudoku puzzles.
Whereas Lindsey Jordan’s guitar playing might have taken center stage in the past, and rightfully so, the new release sees her singing voice commanding more attention. Over subtle guitars, Jordan’s voice stands at the forefront of closer “Mia,” and matches the grandiosity of a string section that nearly envelopes the guitar.
Post-Trash caught up with Satomi Matsuzaki to discuss the process of recording while the world was social distancing, her favorite tracks off Actually, You Can, and how the band is weighing touring concerns ahead of a live set taping at Ed Rodriguez’s house that will air on December 12th via Bandcamp.
On her latest album I Want The Door To Open, Lillie West, the songwriter behind Lala Lala, tackles the challenging task of articulating what it feels like to lose a sense of one’s real self, particularly familiar to the many of us who spend time creating a variety of alternate selves on the internet.
Brooklyn’s King of Nowhere are set to release their self-titled album in January, their first new set of music in about two years. Comprised of Jesse French, Dylan LaPointe (both of Tetchy), and Vicente Hansen Atria, they play a unique blend of knotted post-hardcore, art rock with a sense of intimacy, and a touch of midwestern emo.
On their self-titled album, La Luz show us why they are one the best bands surf and psychedelic rock have to offer. Produced by Adrian Younge, La Luz proves that there are still plenty of places to explore in this type of music. The way they allow you to drift in and out of such fuzzy, dreamy, and mesmerizing music is astounding.
Evans has released music spanning emo, doom metal, and post-rock, but always with a focus on experimental noise. 13 Necklace started as a solo project in conjunction with his not-for-profit label Metaphorest, and left to his own devices, Evans leans more toward slacker rock in the lineage of Alex G, only taken to a hazier, gazier place.
What can you expect from an artist that goes under the name Strawberry Guy, giving his new album a title like Sun Outside My Window? Some modern variation of sunshine pop? Something that usually comes from places like the California or Liverpool? If that is what you would expect, that is exactly what you will get from this artist and album.
