The quartet make sharp and witty post-punk that discusses the banality of everyday existence. They utilize repetitive rhythm to reflect the consistent monotony of their daily routines. What saves Global Charming – and their audience – from being subsumed by the emptiness are their sharp jolts of guitar licks and self-aware satire.
With three members relocated to Georgia, Mamalarky have adopted a new creative quarters, an open space for sustained musical bouts. We caught up with Mamalarkey in their fresh dental dwellings about their creative process, missing tour, being friends with your bandmates and Leonard Cohen’s “touring curtains.”
Th’Pig’Kiss’d Album is their second full-length and the chaotic lo-fi spirit remains intact. It was released by the new Dutch label Soft Office, started by members of the Lewsberg (as well as Cleta Patra). Chronophage share the same DIY and post-punk tendencies as their label bosses, but overall they skew to lighter and fuzzier jangle.
Welcome to Pop 40 Town, baby. The sights! The sounds! The, err, more sounds! Take it all in, because we’re only here for a few short tracks, but damn are those tracks gold. Despite releasing a pair of EPs and a healthy handful of loosies this year, Nate Amos is releasing another This is Lorelei EP, co-produced by Lily Konigsberg.
Emma Ruth Rundle’s music has always walked the edge of doom metal. Her dark lyrics and melancholic solo outputs have seemed likely to lead to an inclusion of doom metal. So it is no surprise that the folk singer has teamed up with Louisiana sludge/doom metal band Thou for the collaborative album May Our Chambers Be Full.
With two years having passed since their debut EP, the band are set to release their first full length, Ephemeral, on January 22nd. Having shared the singles “Half Wave” and the stunning Polish written “Daleko,” the band are offering another dynamic glimpse into the album, which is available for pre-order tomorrow on Bandcamp.
While best known as the bassist for Haybaby, Sam Yield is a most accomplished songwriter. His solo music takes a very different approach, built on lush acoustics and gentle reflections, part folk, part indie, and entirely consuming. He’s an impeccable guitar player and his compositions are stunning throughout Terra Australis.
It’s fairly well known that Tom Petty wrote his critically acclaimed 1994 record Wildflowers as a double album, but Warner Bros. nixed that plan, saying it would be too long. If you ask a lot of die-hard fans, though, Wildflowers is his best work. Wildflowers & All the Rest finally puts the remaining songs where he wanted them: in the same place.
On her debut, Tenci crafts an album that’s at once wistful, solitary, warm, and tender. Shoman weaves together tracks that encapsulate how people and environments stick to us, creating a place of vulnerability and entanglement forever frozen in time. My Heart Is An Open Field builds a sound worth staying in.
The quintet (Lucie Murphy, Sam Skinner, Mike Dvorscak, Stella Kortchmar, and Theo Munger) have recorded their full length debut but before that is unleashed into the world the band have been sharing the intimate Woods Sessions, recorded live together in a Vermont cabin this past August by Tonje Thilesen.
Who Needs Smarts, Anyway? Is the first full length from Australia’s Smarts, loaded with short bursts of jittery garage punk that comes at you full force. The band let you know what they are about instantly, and steamroll the listeners eardrums with skronking keyboard and sax blurts interspersed with cutting guitar that yields little ground.
Released in September, New York noise band Uniform’s fourth album on Sacred Bones Records is a masterclass in guilt and self-exorcism. Though keeping their tradition of fuzzed out guitars and glitchy, sinister noise elements, the recording quality of Shame is a departure from that of their previous albums.
