The primary change on If I Knew How is the increase in resources—a cellist, a Rhodes pianist, a full-time drummer among them. The arrangements are grander, and more grounded in a uniform sound.
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.
Navy Gangs have shown their many sides and depth with Poach. Their catchy, distorted melodies hunker down inside you like plant roots taking refuge within the folds of your brain.
"Fog" is the upcoming record's second single, a tightly wound song that stutters brilliantly off course and back again, jerking around with a fluidity reminiscent of Pinback on a power-pop bender.
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.
Morning Flower is largely instrumental; she sings on only two of the nine songs. Cohen has an extensive background in classical music, and is shines through on this tape.
They possess the ability to take what other bands do best and make it their own. It’s especially exciting on At Your Leisure, as the group’s influence becomes increasingly ambiguous.
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.
Every Day It Feels Like I'm Dying... is full of artful detours and hidden textural gems, a record that is undeniably immediate but even more enjoyable the further you dig in.
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.
"America In A Blender" is the first single and a mission statement, coming on like an alarm as the record spits and contorts into its deviant free-jazz destruction.
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.
Despite the rumors, YOTS is able to meet, exceed, and break all of the skeins of hype fans swaddled the release in. It is everything a Death Grips fan would expect, which is music that dodges categorization and presupposition.
The trio have been playing a swampy blend of post-hardcore and abrasive dirge pop for a few years, but on their latest album they are expanding their palette into wider sonic terrain, experimenting with unknown structures and wonky phrasing
