Staten Island's Death Makes Brothers Of Us All is a multi-media project started by AJ Pantaleo (Baked, APMD) and D’Andre Tyre (A Wake in Providence) that came together in the studio as the musicians bonded over a shared love for both music and film.
The video for album standout “Tru” is an occasionally grotesque and often jarring collection of tape in the found-footage-bricolage style. As far as visual accompaniments go, the video is a fitting visual pairing with the song’s lyrical and sonic structure.
With The Dwelling, Bonzo builds contemplative shelters in these trudges through the mud with the thread of one voice that always rings the clearest through the grime and fuzz that builds on itself, eventually building enough endurance to burst forward.
Due out October 26th via Help Yourself Records, Matt Berry recorded the record during a gloomy Washington winter, but you'd never know from the heartfelt alt/country and dusty folk songs that sound one part Neil Young and one part Meat Puppets.
The band, who share members with many Chicago DIY mainstays, still sparkle with an unpredictable yet eager force, and they've really found their footing over sinewy guitars and elastic melodies that dart between Kissinger's vocals and the sea of tangled riffs.
Just months after their superb full-length Tower of Ten Thousand Miles, Doffing maintain momentum on a dense EP that serves as an excellent inter-album sampler for the Montreal quartet. The songs on Memory Vault establish and sustain a similar ferocity, naturally developing through the band’s gripping arrangements and melodic instinct.
The music video for “The Grudge”, which premieres below, perfectly captures the experience of having a good time while knowing that something isn’t quite right. The song itself is pretty great too, a catchy jangle-pop number that would have fit in well on the legendary C86 cassette compilation.
Every Day It Feels Like I'm Dying... is full of artful detours and hidden textural gems, a record that is undeniably immediate but even more enjoyable the further you dig in.
"America In A Blender" is the first single and a mission statement, coming on like an alarm as the record spits and contorts into its deviant free-jazz destruction.
Lead single "Waste" finds Jimmie Atchley and co. in full on fuzzy shred mode, a low burning melody buried under a shimmering blast of overdriven guitar noise and raw atmosphere. It's loud and ragged, and damn if it doesn't feel pretty good.
Across four songs they ricochet between ramshackle garage-rock and bug-eyed punk, sending razor-edged melodies hurtling into traffic. It’s a short, sharp, wild ride that feels like it could end in triumph or disaster at any second.
The trio have been playing a swampy blend of post-hardcore and abrasive dirge pop for a few years, but on their latest album they are expanding their palette into wider sonic terrain, experimenting with unknown structures and wonky phrasing
With Theo Hartlett on guitar and vocals, Morgan Luzzi on bass and keys, and Jesse Weiss on drums, the trio's self-titled full length debut is as sure as they come, a painstakingly nuanced mixture of AM radio gold and post-hardcore undertones (think Jawbox with a sunnier, more gentle disposition).
There can be but one Railings, and one is a gift. Seventeen months later and (surprise!) the band is back with Sects With The Sheeple, a new EP that has the band expanding on old tricks and employing an ever majestic collection of new ones.
Today the band share their video for "Hypnotoad," one of the many sunspots of their album, burning an impression in your head, but most definitely leaving you in a better place.
The now solo project, of the man simply known as Bone to most, will self-release their latest, A Sweet Thing Turns Sour on August 24th. Raw and immediate, the new Dust record could just be Bone's best effort yet, an album that combines earthy textures and gravely voiced depression with dynamic arrangements
Their take on Ever Ending Kicks' 2013 single celebrates "being outside again," a fitting sentiment when surrounded by this level of splendor. Media Jeweler's cover is just as disorienting as the original, but while the original is built on electronic beats and synths, they go for a raw approach.