Pet Fox’s admission of impatience is telling, “Swerving” is less than 90 seconds long. However, in that minute-and-a-half, the band are able to squeeze in a lot: several different musical phrases, one of their strongest vocal melodies to date, a metaphorical narrative, a lead guitar solo/outro, and a killer leaning chord progression.
All of God's Money / A Tribute to Wilco’s Yankee Hotel Foxtrot features contributions from Slow Mass, Bethlehem Steel, Ratboys, etc, with all proceeds to AIDS Foundation of Chicago. We’re excited to premiere Meat Wave’s “War on War,” adapting the original’s jangly space-age boogie into something more muscular and driving.
The first new album in eight years from beloved MA band Cave In should be a cause for celebration and in a way Final Transmission is still a chance to celebrate. Only, with the passing of Caleb Scofield who was tragically killed in an auto accident in 2018 the album has become the celebration of a life, an honoring and a goodbye instead of a return.
Boston’s Zip-Tie Handcuffs have been making stoney garage punk for over a decade now, earning a reputation as one of the city’s most reliable live acts. Set to release their fifth album, Warm Shadows, the record is a culmination of everything they’ve built over the last years from heavy fuzz rock to retro surf pop and hazy, shreddy, psych punk.
“The Post-Trash 60” is a guide to some (60) of our favorite releases so far with a diverse range of rock music’s many sub-genres and hip-hop, from extreme metal to lo-fi bedroom pop and all that falls between. We’ve got “buzz bands” worth the buzz, self-released hidden-gems, all the weird international post-punk and noise rock you could ever want, and of course all the artistic punk influenced indie we know and love.
Act Surprised is the latest in the lengthy travails of beloved ‘indie’ punk trio Sebadoh, that has seen the band go through countless ups and downs in a myriad of ways. Sebadoh have had quite an eclectic career from the early ‘lo-fi’ albums of fractured folk and collages of noise, to a period of punk blasts and heart on the sleeve songcraft that garnered some acclaim
For a debut album, it’s a doomy fist pump for those who wander and eat berries and work too damn hard just to get nowhere but the place you started. And already with two tours in their mullets, Gilliver is living their days out fixing up a school bus and farming up a dangerous cord of kindling for the next heart-shaker.
Battery Park, NYC: July 4, 2008 is exactly what you can expect from a band that had recorded in 1987’s Sister and 1988’s Daydream Nation. In fact there are the characteristic evolutions of the noise that make Sonic Youth so lovable. Redundancies of melancholic feedback that tell of humanity in its highest poetic form of poverty and essentiality.
Due out digitally on June 28th, with the tape release to follow, each band are offering a pair of noisy tracks, displaying a disparity in their otherwise similar approaches, one dense and overdriven, the other nuanced and prolonged. It’s a great balance between their sounds, complimenting each other as they in turn highlight each other’s differences.
New York City-based Jeanines are a duo comprised of Alicia Jeanine and Jed Smith who, together, make music that is equal parts wistfully nostalgic and strikingly present. Their self-titled, debut album for Slumberland - which follows the release of a few demo tracks, a standalone single and two covers - is a collection of razor sharp, 60s influenced indie pop.
