A recent press release describes #RICHAXXHAITIAN as the last of a “tetralogy” of Haiti-focused albums, starting with 2016’s HBO (Haitian Body Odor), Pray for Haiti, and Balens Cho (Hot Candles). Haiti’s struggle for self-determination has always been central to Mach’s mythos, but these four records explicitly use it as a framing device — and compared to its predecessors, #RICHAXXHAITIAN feels especially clear and distilled.
On the Spell Blanket demos, which were recorded after the release of Tender Buttons, it’s clear that the synthesis or contrast of different traditions of music was an overarching interest of this musical project. Unfortunately, with the untimely death of Trish Keenan, this aspect of Broadcast could not be fully appreciated until now.
The brilliant Workers Comp, a band that splits the differences between lo-fi punk, Americana, and folk in it’s rawest distillation, are set to release their upcoming self-titled album, out May 31st via ever/never records, collecting all of their EPs and singles, highlighting both the humanity and labor driven dissatisfaction that lies in their hearts.
On A Country Western’s new album Life on the Lawn they once again tweak their sound into something new and dial up the energy ever so much more. They keep the general vibe reflective of their namesake, but instead of using the stylings of slowcore, they opt for a more straight forward alternative country rock approach.
Objections has generated buzz around their debut, Optimistic Sizing. Part of that, if we're to believe the press release, is how the band engage genre. Specifically, that they free themselves from the "constraints" of their "Minutemen music-as-socialism blueprint" by each member overseeing "their own chunk of sonic landscape".
For Hunter Mockett, who makes hypnotic, closely held music as Aaberg, his first months in Philly offered a dichotomy: a chaotic city and a cozy domicile. On “Mouth,” the first single from Wishing Well (out August 2nd via Forged Artifacts), Mockett’s near-whisper vocals betray the sense of gratitude and perseverance.
Sunshy’s “Poison” is yet another blast of focused, hooky noise pop from the Chicago group, the final single off their upcoming album I don’t care what comes next, due out this summer via MakeOutMusic Records. Sunshy has quickly made a name for themselves by combining heavy guitars with pop influenced grooves.s
On Teeth, Magana gingerly universalizes her pandemic lockdown restlessness and forced self-reckoning. Airy synths perk up her anguish, while matter-of-fact lyrics bring her back down to the mortal plane. Giliann Karon caught up with her on Mitski tour to discuss her arsenal of skills and find out just exactly what a Worm Moon is.
The Cool Cloud of Okayness was written and recorded during a period when Tara Jane O’Neil suffered the devastation of her home being destroyed by a wildfire in California and the long process of subsequently building a new one. She also describes the LP as being defined by her recording ensemble’s shared queer identity.
The Buffalo rapper layers her past lessons, each brick building a vision of a sustainable future. Like her counterparts, Noir sands rough friction from her upbringing into a smoothed-over confidence. However, instead of attempting to fortify a defensive armor, Noir’s learned past allows for a more honest, vulnerable swagger.
Divine Sweater are a terminally amiable Boston act taking the concept album to a more chilled out place. This is the end of the world on soft rock. We’re not necessarily dealing in the twisting emotional drama of Fleetwood Mac or the sleazy pop-soul cheese of Hall and Oates. More Modelo-on-the-boardwalk than spritzes-on-the-yacht.
Magic Fig’s self-titled album is an ever shifting kaleidoscope, the shapes all recognizable yet refracted in mirrored splendor. It’s a decidedly pop odyssey that wanders deep into the woods of late 60’s prog, Moog altered psych, and dream pop at its most visionary, a lysergic trip into an unknown cosmic past.
After sharing “Endrados," "Drop-In," and “Would Be,” Las Nubes return with the veritable wrecking ball of “Pesada”. Fuzzy low-end and bright melodies recall both hometown heroes Torche as well as Tweak Bird, as Ale Campos and Emile Milgrim dig deep into the stoned core with a riff equal parts doom-soaked yet melodically syrupy.
Maya Bon has shown herself to be adept at heart-wrenching emotions and expressing the hidden beauty in daily life in a manner thats wholesomely gripping. With Water's Here in You, Babehoven have managed to push beyond guitar based folk songs, incorporating a denser atmosphere that moves through pain into contemplative peace.
Minneapolis’ Murf provide an all out assault on the senses, their brand of hardcore tinged noise rock is splattered with gore and unsettling fury. Celebrating ten years together as a band, the quintet are set to release Already Dead on May 28th via Learning Curve Records, a howling and vicious record prone to dense thuds and swarming atonality.
