“Almost Everybody” is the record’s second single, one of the album’s most laid back moments, embracing fuzzy pop and hooky alternative rock. The band move from one hook to the next, with the kind of energy to land every big rock ‘n’ roll moment. The video, directed by Shannon Wiedemeyer, is where it really comes together.
Set to release the third Golden Apples album today, via Lame-O Records, Russell Edling continues to turn tension and resolve into artful indie pop on the self-titled record. In celebration of the release, we’re sharing both the band’s Live at the Bunk session and a track-by-track guide to the album, courtesy of Edling.
On his third full length release Boat Songs, Lenderman shows off a strong wit, mixing in pop culture references to his songs, adding a strength and tenderness when called for. This record has a ramshackle and loose feel to it that is warm and welcoming with a bunch of enchanting twists, revealing a bountiful of pleasures within each song.
Fievel is Glauque recently released an astounding record called Aérodynes EP, a wild batch of expansive and groovy tracks that showcases the band’s melodic and compositional virtuosity. Post-Trash’s Joe Gutierrez reached out to Zach Phillips and Ma Clément, chatted a bit, and explored their genesis, influences, process, and more.
While the sound of Jeanines - the duo of Alicia Jeanine and Jed Smith - goes deeper than just an emulation of the Sarah Records sound, with Don't Wait For A Sign, the pair latches on to that deep running vein of wistful, melodic pop. It’s the type of music where you have to say what you have to say in two minutes or less.
The duo, comprised of Violetta Del Conte-Race (Primo!) and Jake Robertson (Alien Nosejob, Ausmuteants), are set to release their self-titled full length debut on May 13th via Anti Fade Records, a triumph of slow dripped disco and mutated synth pop. It’s a gorgeous record, avoiding pastiche to slink along with their own unique vision.
Together is new slowcore: heavy, gritty, and more nuanced than its modest low-fidelity predecessors. In today’s musical landscape, recordings like those that first established the genre in the 90s are tired appropriation, and the members of Duster are just too busy to put energy to that. Only a pointed update to form is meaningful.
Their 35th full length record Crystal Nuns Cathedral relies on their modern brand of rock and roll with some added quirks as a nod towards their more experimental history. Much like many of their recent albums, the instrumental quality is clearer and more fleshed out. Pollard’s sugary melodies are the centerpoint of each track.
Bunny challenges its listeners to rethink their view of the world. The album touches on how mundane life can be, how sad missing loved ones can be, and how frustrating everything around us can feel. Yet it choses instead to focus on how you can address these feelings as a way of finding hope within them.
Chicago’s Babe Report return with their debut EP, The Future of Teeth, out April 22nd. The band, led by former FCKR JR members Ben Grigg (Geronimo!) and Emily Bernstein, recently expanded their line-up to include Peter Reale (Yeesh) and Mech, building on the thick fuzz and syrupy melodies with burly distortion and pop simplicity.
The accompanying music video follows Krystal Maynard through a bungalow with the band members individually appearing in random locations of the home. The camera glides through the house in a single shot, and as Maynard goes about her daily activities, she sings to the camera with an expressive performance.
The quartet return with their second album, the appropriately titled, II, due out once again via Feel It Records on May 13th. Stretching out with nearly eighteen minutes of music this time around, the band keep the formula the same, but expand with exaggerated immediacy, the occasional harmony, and maybe a bit more force.
Maida Vale Sessions is a collection of four live sets recorded at the Maida Vale studios at BBC, truly capturing the magic that was the Birmingham band. A mesmerizing compilation of live songs for veterans and new fans alike, this live record showcases songs all pre-Tender Buttons, showing their progress as a band between 1996 – 2003.
Battle Ave are still the mature band they have always been, still making the soothing yet exciting music they are known for. There’s a lot subtlety, but if you listen closely you’ll be amazed by what can be found on I Saw The Egg. They create a welcoming atmosphere of delicacy with the perfect album to relax, brood, or think introspectively to.
How Is It That I Should Look at The Stars thrives on its construction: played in three days in an uninterrupted jam, it gives back the naturalness of a live show, accompanied by lyrics edited in detail. We are accustomed through contemporary culture to seriality, and The Weather Station succeeds to be a point of coherence of her works.
Naomi Alligator’s gentle folk music is beautifully composed, wrought with feeling but a calming presence. There’s a maturity ingrained in Alligator’s songwriting, even when her sense of humor comes shinning through as playful. It’s in that ability to mix absurdity into her poignant music that separates her from the endless pack of singer/songwriters.
