The Hudson Valley/Catskills based band are back with their strongest effort yet, a self-titled EP due out on October 8th. Known for a combination of ethereal folk, Americana, and lo-fi indie rock, there’s a “rural cabin in the trees” kind of feel to their music, one that should be of interest to fans of Big Thief and Trace Mountains.
HEY WHAT, Low’s stunning third album with BJ Burton, refines its predecessor’s approach, sculpting its slabs of noise into something more defined and accessible without losing any of the impact. It’s an album that grapples with the questioning of faith and the acknowledgement that the answers sought may never appear.
Best known for Seattle’s Dreamdecay, Justin R. Cruz Gallego aka J.R.C.G., is stepping out on his own with a solo debut. Due out November 8th via Castle Face Records, Gallego uses the opportunity to widen the experimental pallet previously explored by his band, starting with a hypnotic punk template and wandering from there.
Each song on Caution hits with memorable hooks and sharp melodic earworms, as evident on early singles “Buy My Life” and “Swallow”. Seven months later and the band remind you to keep listening to their record, over and over again until the song’s sound like second nature (which they will), courtesy of a new video for “Act Rich”.
Life, and Another is a fourteen-track, 44-minute affair, transmitted with the descriptor, Sci-Fi Pop, and yes, with James Krivchenia of Big Thief producing the sound palette is ripe of the sort. If there is a novum for what Mega Bog is currently accomplishing, then it is found within that synthesis of Birgy’s lyricism and sonic arrangements.
Best known for playing drums in Squitch, Boston’s Denzil Leach is also a great solo musician, with a few EPs and singles released thus far. Their latest EP, Hot Shot, is due out October 1st via Erased! Tapes, a wonderfully lo-fi and slightly blown out mix of fuzz punk and basement sludge. It’s brash and loud but filled with a radiant spirit,.
Bachelor, the musical project of Palehound’s Ellen Kempner and Jay Som’s Melina Duterte, combine fuzzy guitars, pop hooks, and introspective words on their debut, Doomin’ Sun. Holed up for two weeks in Topanga, California in January 2020, Kempner and Duterte spent their days sleeping in, drinking iced tea, and writing songs.
Black Beach have taken influence from 80s industrial, dub, film scores, and free jazz to create their upcoming EP, Giallo, due out October 25th. Their sound feels uniquely inspired, with a special kind of sonic violence. The tonality on “Traffic Jam” is 100% noise rock, heavy as a ton of bricks, and it’s clear that Black Beach aren’t messing around.
What was most surprising about White Chalk on its original release was its sound. Harvey’s guitar and classic vocal style are almost completely absent from the album. A shift to piano, an instrument that was relatively new to her, as her main compositional tool seemed to reset her compositional style.
Deradoorian's work in Find The Sun is an exploration beyond this cognizance, planted firmly in the earth, and an organically divine consciousness. This is evergreen energy, coniferous and long-standing, albeit far beyond the relative pinball of deciduousness - live, die, live again - stands emitting from the celestial sphere
His latest album, At Dust, is due out October 1st via Already Dead Tapes and Records, a fascinating album that layers glitchy electronics with dance grooves and a warped psychedelic flourish. It’s a great new addition to Robidoux’s generally unpredictable catalog. He’s pushing new ground, but there’s an accessibility to it.
Sunday Music For An Overpass is subtly beautiful, possessed of a quiet power. These lo-fi dream pop tracks have the potential to bypass one’s senses yet they don’t: instead they remove you from your anxieties and worries in a wave of hazy comfort. The album unfolds at a languorous pace, unrushed by external forces.
Angus Andrews has essentially helmed the last few Liars records himself, from 2017’s TFCF to this month’s latest release, The Apple Drop. He does recruit the aid of drummer Laurence Pike and multi-instrumentalist Cameron Deyell, though, and they do help enhance the expansive and cinematic sound of the album.
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