On a list of great ideas, a charity compilation to benefit RAICES comprised entirely of Neil Young covers, is up toward the top. Compiled by Yeehaw Junction’s Shayla Riggs, the compilation, Look Out For My Love: A Neil Young Covers Album is built on their idea that “at the core of Neil Young's catalog is the belief that art has the power to transform the world around us.”
Having released their debut EP and a stand-alone single in 2018 and 2019 respectively, the band are set to share the full length debut, Change Is Bad, on April 3rd via Born Yesterday Records. The band swerve between slurred aggression, blaring attacks, and tightly coiled post-punk; unhinged one moment and snapping into place the next.
Following up 2017’s Melt To You EP, Sleepies returns with a new full length, their first in four years. Time v Pleasure, due out February 28th, is an eclectic offering, bringing you both the Sleepies you know and love, and much like it’s predecessor, pushing their sound to unknown territories, experimenting along the way.
The Bay Area’s Sour Widows have been trickling out singles since last August but the wait for their upcoming self-titled EP is nearly over. Due out on February 28th, the young band show a great deal of promise as they mix bedroom pop, post-hardcore, and a penchant for big melodies and wayward structures.
Indy500 part 1, the first (obviously) of the four releases planned for 2020, is preceded by single “Trackstar,” a driving track filled with subtle electronics that accentuate The Human Fly’s already eclectic sound. Mathis’ pop vocal chops are in full swing here, but there are also plenty of instrumental sections.
Mary Vision make that shimmery, humid, taking-a-break-from-roofing-inside-the-barn kind of psych. It's slow burning and crunchy as it mixes it's blues rock tones with the drawn out proselytizing of the psych jams of yore. The vocals are always a little behind in the mix, with the three guitars really putting in work to keep things sonically wacky.
His music tends to take a more somber and subdued look into introspection, searching for meaning from his childhood and all that has resulted since. Set to release his latest album, Youth Pastoral, on February 28th via Whatever’s Clever, the album is a reflection on growing up a Christian teenager and the rebellion that emerged.
Brooklyn’s Tetchy are carrying their own combustible energy on “Quitter,” the band’s second single and the first to come from their upcoming debut EP, Hounds. The record follows months spent playing live throughout Brooklyn, and their energy is ever apparent on “Quitter,” a perfect introduction to their creeping and blistering grunge inspired sound.
Flexing his experimental inclinations, The Cradle will release new album, Sense Stats, on January 30th, an album seemingly constructed on dissonant loops, waves of thumb piano, compressed electronics, and hypnotic avant-garde compositions. Everything feels manipulated, bent, and reshaped with alien aplomb.
The experimental Montreal based solo project of Catherine Debard is set to release their latest album, Interplay, on January 31st via Crash Symbols, a gorgeous and serene look into the self by way of the outside world. By using elements of jazz, new age, psych, and ethereal pop music, Debard is album to create something that feels beamed down from another plain on existence.
After releasing a self-titled EP, the trio are set to share their full length debut, Self Help, out January 31st on Don Giovanni Records. The album feels like a breath of fresh air, a reinvigorating listen after heaps of stale indie rock. “Sacred Scales” begins with a somber piano lead, a red herring that evaporates once the groove slinks its way in.
Following the demise of Brooklyn’s Doubting Thomas Cruise Control, vocalist/guitarist Bobby Cardos wasted little time before embarking on a new project. Out came bcc: (who you may remember from our podcast) and now the band are set to release their ambitious debut, A New Theory of Nothing and A New Theory of Nowhere, on 2/22.
Their latest single, “Fielder,” opens with a wonky and warped bit of dialogue (I think), slowed to an unintelligible pace that kinda sounds like adults talking in Peanuts. From their the tape runs and the band’s fried jangle comes seeping in, sounding as though the band are practicing in the floor below you.
