Having grown up in the Fox River Valley region of Wisconsin, Amos Pitsch is certainly no stranger to the frigid temperatures and rural holiday traditions of the Midwest. It's the place he chose to reside, record, and draw inspiration from for his first solo album titled LAKE EFFECT.
Washington, DC's Dove Lady have already released one of the year's best albums in the form of One, but the band's alphabetical series of EPs must continue and we're thrilled to share the latest installment, E. The series allows the duo to create with complete freedom and without pressure, an ongoing voyage into the depths of their elastic post-punk and experimental creativity.
Their latest is a whole new beast, a vicious and clawing record full of incredible growth and dynamics. Its the type of album that makes a statement and the type of album that should take them beyond their "best kept secret" status.
Closing track "Love Is Something We Give Away For Free" is a warm meditation of jangly guitar, spindly chords that sputter throughout, LeCompte's slurred vocals, and haunting reverb so thick you'll feel lost in the woods just listening.
"Park Walker" is all burning intensity and rapid fire. With a tangled web of enormous guitar riffs courtesy of Bobby Hussy and Tyler Fassnacht, the song drives forward on a winding cliffside, forever threatening to careen off the road into dark beyond.
The Today/Tomorrow EP, comprised of "Waking Up On Time" and "Going To Sleep On Time," act as a parallel, a pair of heartbreaking songs that divide their sentiments between self-hate and self-improvement. Just as Fatato's lyrics slow drip depression on "Waking Up," there's an understanding that things will be better on "Going To Sleep," but it isn't any easier.
"Surfboard," the album's first single is the type of sticky lo-fi that resonates with each new layer, from the programmed beats and twinkling guitars to Gaudiana's enigmatic vocals (demented melodic skips and harmonic pops included).
Sleight Of Hand, the band's sophomore album is bold and glistening, shifting in divergent directions from swooning 60's pop and retro R&B to manipulated art rock with West African rhythms and fuzzy bedroom pop.
The Chicago trio play the kind of post-hardcore that requires "sea legs," it shakes and stumbles in every direction, warping queasy structures into dense bursts of tangled noise.
Led by Adrian Amador, the band's music is lush and personal, earnest and dynamic, with enormous harmonies and laid back country charm. Set to release Still, I Try, their official debut on November 17th, the songs are a warm blanket of self-reflection and layered emotions
That dusty charm remains, but the band rip harder than ever, bending their twangiest moments into walls of colossal riffs. It's still triumphantly weird at times, so no need to worry there.
Walter Etc. reintroduced itself to the world with Gloom Cruise, a record full of lighthearted pop sounds, but a darker lyrical focus undercutting it all. The video for “Lighthouse” strikes that balance well
The band rip and convulse like a wild animal, unleashed and rabid, scraping and gnashing it's teeth with ear-bleeding distortion and violent rhythmic shifts. At the center of their blistering attack is Natty Morrison, the band's charismatic frontman; part brilliant poet, part psychotic carnival barker.
On its supercharged single “Sugar High,” which stampedes through overdriven power chords as equipped for grooving out to as they are for smashing everything in sight, the band winks at the finances of touring
The animated video for "Machine," a highlight of the band's Another Land EP, is brilliantly hand-drawn, with an innocence in it's jagged lines and warm characters.
The record's second single, has an air of romance, getting sweeter with every passing sentiment. The band work together in tight harmony, adopting a sleek progressive flourish, gently grooving together with the shimmering guitars.
Peter Koenig, the band’s lead songwriter, cites the imagery in dreams and surrealism as the main inspiration behind the single and his art in general, as well as themes of change and personal discovery.
Washington, DC's Beware of the Dangers is a new project from Young Rapids' Dan Gleason and he's brought along some familiar faces for the ride. The record is billed as a "psychedelic protest record of sorts," focusing on the collective confusion and anger that stem from our current political climate.
“Sorrowful Seed,” the new video and single from Boston-based Dent, is a harrowing and beautiful track brought to life visually by the immense talent of animator and illustrator Qieer Wang.
Unique and highly capable musicians, their sophomore record is manic and free, both more spastic and polished than it's predecessor. A grandiose collision of brilliantly freaked out pop and unadorned noise, and they do it all simultaneously in a way all their own.