Cave People’s Dave Tomaine remains helplessly captivated by the wind. On the band’s forthcoming album entitled Wind Burn, out May 20th via Disposable America, Tomaine and his band (mems Golden Apples, Marge, etc) reflect on the potential for wind to teach, guide, but also to simply not to care since it’s blowing wherever it’s going to, anyway.
Rip Room make post-hardcore music with an air of art pop exuberance. Their upcoming album, Alight and Resound, is tightly wound and serrated at the edges. While there’s nothing remotely “top 40” about their “pop” inclinations, there is an understated lightness, the kind you might associate with bands like Dismemberment Plan.
“Repetition is the mother of learning” and “the devil is in the details”. These are the maxims William Basinski and Janek Schaefer abide by here. Picking up on piano passages recorded anywhere between 2014 and 2022, the duo explore how weaving passages can create repetition, but small changes can make a big difference in sound.
Luke Csehak, writer, singer, instrumentalist, and producer of the album Budget Alchemy and the band The Lentils, seems to be having a crisis on the usefulness of language. His fondness for words and his troubles with them (“the words fail every time”) are articulated clearly and strangely throughout the album, proving his point.
Cal Fish’s upcoming album Less Than Three is an ambitious project, and yet it’s so much more. To call it an “album” feels like a bit of a misnomer, as the multi-media release does indeed include an album, but also encompasses a clothing line, a visual record, and a remix album, all released simultaneously by the Brooklyn based artist.
For Bandcamp Friday, Gardenhead Records is announcing a double-cassette release for their massive 47-track compilation May Day Music: A Benefit Compilation For Strike Funds & Artists. Featuring the likes of Radiator Hospital, Deerhoof, Pile, and Palberta, it’s the not-for-profit label’s fourth such release in the past two years.
Tijuana Panthers have been at it long enough to earn veteran status, and Halfway To Eighty, the band’s sixth full length record makes good on all that mileage. Due out June 24th via the band’s long-term home at Innovative Leisure, the band describe as the album as a dedication to a lifetime of making music.
Tomberlin has expanded her accompaniment with strings and a rhythm section to reach a new intensity that was not as present on previous recordings. She writes some of the most heart-rendering and emotionally vulnerable lyrics, her words imparted with a hushed tenderness and an underlying strength and determination.
Though Caution’s members are separated by many States, they’ve produced their first full length album Arcola, packed to the gills with fuzzy distortion and pop chops. The duo touch on their influences of mid-late 80’s noise-pop/shoegaze with a ton of respect while managing to throw in dashes of modern dream-pop.
From concept to recording, woods calls Aethiopes “one of more symbiotic, feedback-loop processes of making an album that I probably ever had.” He’s right. woods and Preservation’s collaboration is symbiotic in a way that feels ordained; it’s impossible to imagine this album produced in any other way.
“Almost Everybody” is the record’s second single, one of the album’s most laid back moments, embracing fuzzy pop and hooky alternative rock. The band move from one hook to the next, with the kind of energy to land every big rock ‘n’ roll moment. The video, directed by Shannon Wiedemeyer, is where it really comes together.
Set to release the third Golden Apples album today, via Lame-O Records, Russell Edling continues to turn tension and resolve into artful indie pop on the self-titled record. In celebration of the release, we’re sharing both the band’s Live at the Bunk session and a track-by-track guide to the album, courtesy of Edling.
On his third full length release Boat Songs, Lenderman shows off a strong wit, mixing in pop culture references to his songs, adding a strength and tenderness when called for. This record has a ramshackle and loose feel to it that is warm and welcoming with a bunch of enchanting twists, revealing a bountiful of pleasures within each song.
Fievel is Glauque recently released an astounding record called Aérodynes EP, a wild batch of expansive and groovy tracks that showcases the band’s melodic and compositional virtuosity. Post-Trash’s Joe Gutierrez reached out to Zach Phillips and Ma Clément, chatted a bit, and explored their genesis, influences, process, and more.
While the sound of Jeanines - the duo of Alicia Jeanine and Jed Smith - goes deeper than just an emulation of the Sarah Records sound, with Don't Wait For A Sign, the pair latches on to that deep running vein of wistful, melodic pop. It’s the type of music where you have to say what you have to say in two minutes or less.
The duo, comprised of Violetta Del Conte-Race (Primo!) and Jake Robertson (Alien Nosejob, Ausmuteants), are set to release their self-titled full length debut on May 13th via Anti Fade Records, a triumph of slow dripped disco and mutated synth pop. It’s a gorgeous record, avoiding pastiche to slink along with their own unique vision.
