Phoenix by-way-of Tempe, Arizona’s Twin Ponies have returned with their sophomore full length, Body On Credit. Due out Friday, October 11th, the band continue to flex their knack for knotted post-hardcore and sleepy slacker-pop charm, creating something that feels warm and familiar, but unpredictable and slightly on-edge.
Beijing-based duo Gong Gong Gong are exporting their stoic strain of hypnotizing punk through none other than Brooklyn’s Wharf Cat Records. The band relays their hammering psychedelic blues from the back of a tireless nag, rhythmically blurring borders between styles and scenes across their excellent full length debut Phantom Rhythm.
The album’s success hinges on its open embrace of experimentation, vulnerability, and the creation of art for art’s sake; those are the places where the work shines the brightest, in a perfect blend of form and function. From start to finish, Chastity Belt is both a reclamation of the artistic process and a damn good record.
Curse Word, a new band comprised of Matt Powell (Bulletin, Trespasser, a stint in Grass Is Green), Darl Ferm (Speedy Ortiz), and Jake Waldman, are a scrappy trio that have warped and bent the sound of bands like Polvo, Jawbox, and Faraquet adapting it into their own, opting for accessibility in the face of complex progressions.
On Where Does the Time Come From, the third full length from Sweet Williams, Thomas House primarily forgoes his elongated blues-y dirges of previous releases, for a tighter almost claustrophobic feel. House still uses his space wisely with well placed guitar lines knifing through pounding drums and insistent throbbing bass.
Kal Marks know how to stir up a racket, to put it mildly. Never has that been more apparent than on their latest EP, aptly titled Let the Shit House Burn Down. Impossibly rivaling the intensity of their heralded tinnitus-inducing live shows, the recording finds the trio fully exploring the enormous range of their established sound.
Melbourne’s Program are set to release Show Me on October 18th via Anti Fade Records, an album that has been several years coming for a pair of musicians that have been grinding away since their earliest days. Recorded and mixed by Anti Fade’s own Billy Gardner, they find a sweet spot between 90’s “college rock” and motorik post-punk.
Mayer & Mayer is the new brother and sister duo of Atlanta’s Mick Mayer (of Red Sea) and Elle Mayer. While Elle contributor guest vocals to the last Red Sea record, the pair have decided to start their own project with their debut album set to arrive sometime in November, a record dedicated to their families Golden Retriever, Tulsi.
The four-piece’s third full-length record, Patience, is an effortless display of femme power, unbridled rage, and candid introspection. Despite its short 26-minute runtime, the album is a diary of sorts that sees guitarist and vocalist Marisa Dabice explore past memories and possible futures in a bid to figure this shit called life out.
Listening to Seattle’s The Berries for the first time will place you in an intersection of nostalgia, mood, and genre. Their latest ten-track LP Berryland, released via Run For Cover, continues with the band’s bending of orthodox spheres of music, hinting at mid-1990s alternative rock, a touch of southern twang and Americana.
Can’t Talk, Being Chased is densely layered, complete with tasty country flourishes like fiddle, lap steel, and horns, but still feels appropriately rough around the edges. You could imagine the band honing the album highlight “Mute ‘Em All” in a Philadelphia basement, adding every possible overdub to try and make it sound like it wasn’t honed in a Philadelphia basement.
With a new video for “Hydraulic Saint," directed by Larry Bovick, the band breath new life into the record, a stirring reminder of the band’s deranged charm and caterwauling minimalism. For all the insanity and experimental nature of their sound, the construction remains fairly simple, an elastic riff that rings hard as warped rhythms.
Freezing Cold’s debut album, Glimmer, sounds like a lot of things: muscular art-rock, power-house emo, refined post-punk, and even mid-90’s alternative rock. One thing the album doesn’t sound like, however, is a debut. Glimmer comes to us confident & perfectly realized; the trio’s chemistry could not be more complementary.
