ALBUM OF THE WEEK: Deerhoof - "Miracle-Level"
Deerhoof are sparked by the power of imagination, picturing a better world and doing their part to bring the rest of us along. This is what Miracle-Level, their nineteenth album is about, focusing on the daily miracles of life, the small details, attempting to see the beauty of human life that operates in resistance to corporate control, war, and hatred.
Shame - "Food For Worms" | Album Review
Life In Vacuum - "Moving On" | Post-Trash Premiere
Striking a Balance with Michael Beach | Feature Interview
Dancer - "Dancer" | Album Review
Dancer, the jittery and groove filled eponymous EP for the Scotland based post-punk band, artfully shifts tempos as the band bounce around each other with energy. The band are unafraid to throw in winking humor with in-jokes and references, musically and lyrically, bringing more depth to their songs than is apparent on the surface.
Fred Cracklin - "The Rip Fence (Live at Sound Museum)" | Post-Trash Premiere
Fuzzy Meadows: The Week's Best New Music (March 20th - March 26th)
Unknown Mortal Orchestra - "V" | Album Review
UMO has an undeniable trademark, a yin and yang of experimental and accessible that rejects clout and idolatry while being primed for remixes and festivals. It may seem as though this trademark has been minimally changed. Upon first listen, V is an album that amalgamates the group’s previous inquiries into an hour of ascension.
Ovef Ow - "Fauxtography" | Post-Trash Premiere
Chicago’s Ovef Ow have been making synth heavy art punk for the better part of the last ten years, pulling influences that seem to range from B-52s and Devo to The Raincoats and Sleater-Kinney. Agitations is met with upbeat party anthems, paired together to create a swarm of new wave jangle and rough but friendly post-punk.
Terry - "Centuries" | Post-Trash Premiere
Quasi Return to "Telepathy Mode" with "Breaking The Balls of History" | Feature Interview
Tedward - "Floater" | Album Review
Goshupon - "D Boy" | Post-Trash Premiere
Kian Sorouri has played in a lot of great bands, contributing as a member and collaborator through the years to Loose Tooth, Golden Apples, and Cave People. With Goshupon, the Philadelphia based musician is moving into a lead role, bringing to live his own songs, recorded piecemeal with friends at home and in studios around town.
R. Ring - "War Poems, We Rested" | Album Review
Over a decade into their partnership, Kelley Deal (Breeders) and Mike Montgomery (Ampline) feel continuously in sync. The two have extensive history as friends, colleagues and musical partners. Pulling from their individual artistry, R. Ring represents a satisfying detour that allows for at will experimentation and forward-thinking jams.
ALBUM OF THE WEEK: Borzoi - "Neither The One Nor The Other, But A Mockery Of Both"
After five long years, the trio return with Neither The One Nor The Other, But A Mockery of Both, a new EP, surprise released without fanfare via 12XU. The title, a reference to the fact that the record was re-recorded several times over the past few years, is a gift of their debased sense of humor, a sign that the years haven’t left them embittered.
Meg Baird - "Furling" | Album Review
Furling is a work of pure artistry; A no gimmicks, straight-up gorgeous folk record that’s perfect for keeping you company on a long, contemplative drive. Meg Baird has always been a great artist, but this feels like a big leap forward for her sound. Her addicting style of psychedelic folk will have you constantly coming back for more.
Strobobean - "Kitchen" | Post-Trash Premiere
Cincinnati’s Strobobean are the very definition of electricity. Since forming in 2018 by Katrina Eresman and Jake Langknecht, they’ve wasted no time in introducing the world to their unique sound. Now, they welcome Rae Fisher into the fold as their new bassist and are ready to conquer the dance floor with their new single “Kitchen”.
The Enduring Legacy of Moss Icon: An Interview with Tonie Joy | Feature Interview
Tonie Joy, Moss Icon guitarist and the unofficial caretaker of the band’s story, has a grounded perspective on Moss Icon and the singular music they made. No, the band wasn’t trying to sound like anything, or invent anything. Rather, it was an escape for Joy and his bandmates, a way to cope with a world that felt volatile and chaotic.
