Sleep Sinatra’s work is fascinating, full of precision cut lyrics that present the grimy and philosophical in equal measure. “Intuition,” the single from Shadowself, a full-length, Carl Jung-inspired collaboration with Richmond beat shaman Ohbliv, beautifully illustrates his particular set of skills.
While the project’s last full length, Remember The Future? Vol. 2 & 1, was full of futuristic sheen, there’s something special about their upcoming “mixtape” BUBBLE, due out April 14th via Marthouse Records (Gut Health, Bench Press, Heir Traffic). Recorded solo by Dougal Shaw, the record leans on programmed drums and heavy synths.
Too Much To Ask, which packed with the trademarked “talk-singing” of the band, as well as incredibly danceable beats and fun instrumental breakdowns, turned out to have a few b-sides that didn’t make the cut of the final album. Don’t Ask (b-sides) is just the extra dose of Cheekface fun that any indie rock, power-pop punk fan will enjoy.
The New Country Sounds of Ryan Wong really says it all with the title. Best known for Cool Ghouls and Supreme Joy, Wong has carved a niche in the world of garage psych, flipping between twang and fuzz. With his second solo effort, he’s embraced that twang and filtered out most everything else, opting for earnest DIY country tunes.
Recorded live in five days amidst beer and BBQ (according to the liner notes), the songs and characters populating Poole’s latest are full, well-thought and well-executed. His voice sounds better than ever, and though much of the psych tinge of his previous work is gone, he finds himself grounded in a fresh spin on classic Americana.
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.
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.
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.
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.
