Just as the song comes together, so it comes apart, embracing devolution and collapsing at a whim, bending chords into oblivion and shifting rhythms without warning... and then right back together again.
The trio of Jazz Adam, Nina Ryser (Palberta) and Ricardo Balmaseda, play with the deconstructed, disoriented, and unpredictable nature of perception, contorting reality to its strangest form.
The band have come a long way since the release of Cherry Blossom, dipping their mopey sound into disorienting shoegaze and unwieldy slacker punk, creating a new record that is brilliantly weird and gloriously detached.
Pasko's music may stem from loss, but the sound is reminiscent to watching a flower bloom (rather than decay) after a harsh winter. This is merely the beginning of the next chapter.
It all gives off a feeling of hearing something from a distance. Disconcerting the listener while at the same time driving them to want to hear more, to strive to find the source.
"Worn," the album's second single is captivating post-punk with a deep appreciation of art-pop and Talking Heads' skewed whimsy.
Drastic times call for drastic measures, a sentiment that can be felt throughout the new record as the trio dial back the artier aspects of their sound while embracing the agitated and reckless elements.
Their vintage Southern-rock twang sung over loud electric guitars is a throwback to 1970s rock days, with guitar riffs aplenty, layered vocals, and a touch of pedal steel.
“Kids” sets itself apart from the average twee pop song off the bat. Its drums, bass and tambourine can writhe together in an unholy communion that evokes the slow-motion groove of a car dashboard dog’s effortless nod and the hazy trance of Madchester.
You just don't hear a lot of songs about holdings hands these days, but allow Dehd to remedy that with new single, "Holding".
Veiny Hand's debut is packed with both adrenaline and sluggish crashes, a scuzzy trip down the rabbithole. We're excited to share the premiere of their record ahead of the band's tour dates with La Luz.
Rhode Island quartet Edgar Clinks often blend odd song structures with distinctive affability, and the video for “Algal Bloom,” off of their most recent full length reinforces this idea with gusto.
The Boston based duo combines two of the city's finest DIY-minded musicians, Jesse Weiss (Palehound, Grass Is Green, Spook The Herd) and Jack Pombriant (We Can All Be Sorry), a pairing as natural as milk and cereal.
Footings are back and headed out on the road in support of their upcoming Spring Tape EP, a collection of new songs and one very gorgeous Fugazi cover.
Whimpers is described as "twisted country" but Dimples' music is cerebral and cinematic, cosmically experimental, and utterly leisure.
Wild Pink is a band that sounds like someone you know but you can’t remember who. A mash-up of all the things you love about all your favorite bands. They’re simply a rock band putting out cleverly titled rock songs about all the seemingly mundane things that rule most of our lives.
Spew's debut is unrelenting and thoroughly abrasive. Built on dizzying menace and jagged opposition, the duo's technical ability is unquestionably phenomenal but it's their destructive spirit that really shines in only the worst of ways.
The video for Amy Klein’s “Parallels” utilizes shifting, prismatic, visualizer-esque, graphics to match the sonic angularity of the track, with the end result being a hauntingly rendered visual companion.
Excellent Boston rockers Halfsour are releasing Land of Discarded Ideas, an album that was previously released exclusively as a tour tape. This re-release, via Disposable America, is accompanied by an incredible album-length video (albeit, it’s an 11 minute album) in high bricolage style.
The sophistication of Railings’ jazzy progressions is rare in a climate of DIY music so widely indebted to twee and punk music.