"Feed" b/w "St. Pete" is the band's second two-song single, a surefooted introduction into both their blunt post-punk minimalism and their expanded grooves.
"Some People Have All The Luck," the album's third single features Elizabeth Skadden (formerly of WALL, Finally Punk) on lead vocals, a natural collaboration choice pairing together two of the post-punk resurgence's best and brightest.
They've spent the past five years releasing increasingly great albums, perfecting their vision of tattered indie rock with sharp stabs of post-punk, psych, twangy hardcore, and their own unique go at jangly art pop. Over Everything, due out February 23rd via the ever reliable Sad Cactus Records, is a sweeping collision of opposing forces, a menacing blend of explosive dynamics and infectious melodies.
The song’s hazy textures and synesthetic lyrics will be familiar to anyone who has heard TWSF before, but Cohn has added a major textural element in the form of an analog synth
The Chicago based trio are set to release their latest album, Drown, on March 8th via Sooper Records, a dark and noisy record that blends post-punk, sludgy shoegaze, and doom pop in its own sinister howl.
“Sleepy Song” from Ann Arbor’s Johanna Baumann is a carefully calculated effort to invoke the dreaminess of childhood that never falls into the trappings of vapid sentimentality.
On the band's sophomore album, Garner Cardinals, due out February 16th via Sophomore Lounge, the band's ramshackle punk is, intentionally, coming apart at the seems, and it's exactly what makes them a great band.
Sean Morales' "Call It In" video, directed by Bud Campbell & Morales, is a dark and blurry visual that follows a shadowy figure through the night streets.
Providence, Rhode Island's Twin Foxes are getting ready to release Sleeping On The Attic Floor, their full length debut, on February 9th via Tor Johnson / Midnight Werewolf Records. Built on sharp angles, crushing rhythms, and sharp vocal melodies, the band's bark doesn't quite justify the ferocious bite.
The haphazard nature of the clip is a welcome accompaniment to the song's own reckless groove, a hard nosed pop song rooted in good natured raw punk.
"When I Get Home," the album's penultimate reflection, slowly crawls like a hymnal from the woodsiest of church processions. Weaving together wilting guitar melodies with gorgeous yet subtle vocal harmonies, it's a blessed composition of meditative beauty and the grace of nature's majesty.
Fusing together hip-hop beats with fluid synth lines, Filthy Four Track Machine I + II, doesn’t exactly sound like the kind of self-indulgence of a man lost in his basement studio, but on one level that is exactly what springs to mind when thinking about the meticulous creation of these melodic experiments.
Rick Maguire from Pile stopped by the living room late last year, and the Cuttlefish folks captured a powerful rendition of “Work,” a track from 2009’s Jerk Routine. Rick is joined by Elisabeth Fuchsia on violin, making the performance all the more affecting.
"In Colour," the EP's lead single is both quaint and explosive, delicate one moment and pummeling the next, an erratic journey revolving around the "wish to talk in technicolor" and the idea of your thoughts having their own feelings.
Grief wafts off of new single "Cody". Beavers can only make it about 30 seconds before words escape him, something felt beyond words wanting to express itself.
an abrasive new album of blown out carnage, distorted noise, and under the most unlikely of circumstances, mesmerizing pop songs.
Set to release Better Luck Next Year Vol. 3 on February 16th via the excellent Good Cheer Records, the band's annual collection of home recordings and demos, the latest features the band's songs written between last year's Infinite Hiatus album and whatever it is that comes next.