When Standard Fare called it a day, Emma Kupa moved on to from Mammoth Penguins. I’ve been a huge fan from day one, and There’s No Fight We Can’t Both Win was one of my favorite LPs last year. All that said, I’ve never caught the band live, so I’m more than excited to finally get to see them at SXSW this year. We caught up with the group real quick to grab some answers to our little interview.
Oh…and if you’re so inclined…it’s tough to get bands from the UK to the US, so you can help by buying some Mammoth Penguins merch HERE.
When you drop names like the Sea Urchins and the Clean in your reference points, I promise you I’m going to listen (and I’ll be pissed if you’re lying!). So this is where I get to meet the Great Divides, the newest Australian export with an EP on the way shortly. In this tune, the band’s classic jangling sounds get balanced out by the heavy throb of the bass work; they mix in the trade of male and female vocals like only the best pop purveyors can. Seriously, I’m super into this song right now and just want you all to listen to it with me! This track appears on the group’s new Face the World, Again EP, which is being handled graciously by Spoilsport Records…out Friday!
Thanks to my on-going infatuation with Australia’s Chapter Music, I’ve had Sweet Whirl on my radar for a hot minute, but today she announces How Much Works, her debut LP…and she does so in striking fashion. I remarked last time I covered a tune from the project how powerful Esther Edquist’s voice was, and here, it sounds even more assured than a year ago; it’s bolder somehow, carrying the weight of the song as piano and atmospherics collide into one another. The sparseness of the song allows the emotion to tear through your speakers and hits you across the face. This new LP will be out on March 29th.
When listening through the entirety of Spinning Coin‘s new Hyacinth LP, I found myself gravitating towards this tune quite a bit. Sure, there’s these uplifting guitar riffs that seem poppy and jittery, but the vocals had this gruffness that sort of offered up a rough edge from the band; they splice in a sort of operatic backing vocal that breaks up the weight of the lead too, which adds the faintest hint of musical texture. It’s the sort of little details that makes the whole of the LP enduring, bridging the gaps between various genres and styles, crafting a hodgepodge of sounds that rewards time and time again. Hyacinth should be picked up from your local shoppe on Friday, or buy it from Domino!
Isn’t it exciting when you find a new band that just draws you in immediately and yearns for repeated plays? For me, it’s one of my favorite feelings and I’m always happy to share it with all of you. Today my “new band smell” comes by way of Danish group Yune, and their brand new single “Odd One Out”. This one blends some lovely bits of bedroom pop with some darker, heavier bass elements to create a truly mesmerizing single.
This song appears on the Yune debut album AGOG which is due out April 24th.
Another week, another week closer to our favorite week of the year as music fans… SXSW. We’ve still got some time to prepare, but as usual, we are going to get the previews going super early so we can fit them in prior to the festival. Today I have another interview from Brooklyn based artist James Wilson and his project known as Paisley Fields. Please hit the jump for responses.
Lisbon’s Ditch Days have primarily spent their time dabbling in the dream pop arena, but on their newest single, you can hear the band pushing their sonic inclinations, letting loose on the volume as it tears through your speakers. Distorted riffs and pummeling drums greet you at the start, pushing the song frantically forward; the vocals keep the band’s dreamy tendencies intact, though they do seem just a bit noisier this round. I really got a lot of joy after the 2 minute mark when the song seemed to take on a very nostalgic post-punk vibe before jetting off into pure exuberant noise. You can grab this tune on the group’s forthcoming Office Space EP, dropping in March!
I’ve shared this before, but Eef Barzelay’s voice really feels like home to me; I spent so much time in the early 00s sort of obsessing over his songwriting and distinct voice. I’m grateful he’s returned with Clem Snide‘s first new album in a bit, and thus far, he’s not let me down with the singles shared from the LP. This one definitely fits the mold of that wayward Americana, using light little vocal flourishes deep in the mix to really buoy the natural melody of the track. I loved the performance from the get-go, but for me, it’s always about uncovering those little moments that live forever in your ear; that moment happens for me right at the 1.29 mark, so be sure to stop by and listen there. Forever Just Beyond is out March 27th.
I’m not typically one to revel in the joys of demos and remixes and all that. But, I really really love the Oilies, and I really really really love this new track…even in a demo version. There’s something in its simplicity that’s supremely rewarding; it almost feels like the song is just on repeat for much of the track…careful ears will hear slight changes. Vocals subtly change the presentation, but if you’re like me, you might have been so entranced you didn’t notice on the first run though…so go back and listen to this all again. Honestly, I just want to hang out in a world where this track is on repeat forever.
One of our favorite ATX acts dropped this delicious tune last Friday, and since we’re back in full force, it only seems natural that I’d get this Ringo Deathstarr tune out there for you. I love how the song starts off with this ominous mood, like you’re descending into the depths of the Earth with no return in sight. But, once the vocals come in, the song peels back and allows the guitars to swirl around the more crystalline feel of the vocals. The rhythm section keeps harnessing that darkness, building in the perfect balancing act between dark and light on the wondrous first single off the band’s forthcoming self-titled LP; it drops on March 27th via Club AC30.