Light in the Attic and Modern Classics Recordings have gone about completing their vinyl reissue of the band’s discography, which has now come to lesser-known discs that include a comp of Peel Sessions, live performances and an extended play of two dirge-like remixes. They present the band’s work in a new light, radically disconnected from the political protest music of their more celebrated recordings and showcase the band’s ability to articulate pure sonic assault.
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.
Flagland manage to show their musical acumen throughout Two Brothers and a Ghost and although the emotional exploration gets a bit heavy at time, there’s always a little reminder that light and humor still have a role to play.
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.
Lyrically engaging and instrumentally driven, Wide Awake is an artistic statement which brings the audience to focus on the big picture— finding ‘tenderness’ and the groove within a nation, as we know it, decaying.
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.
Lyrically and musically Baby Grand is disinterested in the sonic dysphoria that willed the band’s previous albums into existence due to the distraction of McLamb’s manifest destiny and the obvious, flashy impact of his ultimate destination: Los Angeles.
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.
The three piece band consisting of Theo Hartlett (Ovlov), Jesse Weiss (Palehound, Grass Is Green) and Morgan Luzzi (Ovlov) have crafted a fantastic collection of tight, frothy songs that simmer on the edge of eruption like a tea pot perpetually ready to whistle.
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.
Welcome to FUZZY MEADOWS, where we recap the past week in music. We're sharing our favorite releases of the week in the form of albums, singles, and music videos along with the "further listening" section of new and notable releases from around the web.
Chances are, that if you spend time reading a website such as this, then music is something you actively consume. The podcasting landscape is vast and bloated, but there are plenty of shows out there centered around DIY. Here’s a guide to a few that are doing it right.
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.
Balancing attitude with bubbling distortion, sweeping washes of effected chord progressions, and piercing attack, it's shoegaze dragged through the mud and left crackling with the energy of an electrical storm.
The record unravels like the sensation of room-invading sunlight burning out and being replaced by the twist of a lamp switch on. It’s like catching a glimpse of shadow on the wall and chuckling at how close your form’s been captured.
Nopes stretch their noise to its boundaries and even though there are moments you think you might be able to pinpoint as a grounding point, the band proves to be able to change course at the drop of a dime.
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.