Look, we’re excited for the new Reptaliens album alright? As if you couldn’t tell from our previous two posts about the album and singles, here’s yet another one with the album’s last single “Give Me Your Love”. Yet again, you will find some intriguing lo-fi, bedroom pop sounds equal to anyone currently in the genre. This is sure to be one of our top albums of the year.
Reptaliens release VALIS on April 26th via Captured Tracks.
Today’s one of those days when I’m just blown over by all the great songs popping off in my direction; I’ll always take another Soccer Cousins song. The New York trio crafts hook-infected indie rock, and here they’re giving us the same, while toying with typical song structures. This song stays steady for the most part, just until about the 1.5 minute mark where it unfolds into this sort of indiepop jangle breakdown that works itself into this sort of math/prog moment that twists into this soaring blast of distortion and “oohs.” I also always get stuck on the Hutch Harris vocal resemblance, and I mean that in the best way possible. Check the latest single (Gentle Reminder Records), and fingers crossed for an LP!
You need that perfect midweek dance track? Have you tried on this new Lust for Youth single? It’s only in the first ten seconds, but look at how much fun the dancer in the video is having! On a more serious note, the band’s slimmed down, forcing them to really focus on their craft, and if I might toss my hat into the ring, this feels like some of the best work they’ve done. They’ve got this sort of Eastern angular electronic feel that kicks the rhythm into gear, and while the vocals during the verses are about where they always are, it’s the way the chorus is delivered this round, with a kick up in the percussive element pulsing through. And is that a harmonica after the 2 minute mark? Seriously, these dang songs are on fire today! Lust for Youth drops on June 7th via Sacred Bones Records.
Having already fallen in love with “Nina Segovia,” it only seems fitting we follow up our Infinites coverage with another stunning pop number from the ATX band. I was hooked by the opening sixteen seconds, starting with a wonky pop guitar that’s met by a fuzzy counterpoint around the 14 second mark…and this is just the start of the band’s pop sensibility. Singer Jared Leibowich drapes his vocals atop those feuding pop guitar lines, building this delicious layer of pop frosting that has your toes tapping and hips swinging. Speaking of Jared, he’s also responsible for the video, using archival footage to weave into the storyline of one Scott McMurray. Just listen through to the 2:18 mark, please. If that guitar solo doesn’t make your day INFINITEly better, then I’ll buy you coffee next time we meet. If you love this, and you should, go grab the self-titled record from First Human Records; it’s out April 26th.
I’ll be honest, Halfsour didn’t cross my radar until Jigsaw Records sent me Tuesday Night Live back in 2016, but I’ve been a huge huge fan since then, so it’s great that they’ve announced a new LP! I think the mix on this song is absolutely perfect; you get these huge heavy riffs and crashing cymbals, but they’re not imposing. It’s more like they’re clearing space, giving ample room for Zoe Wyner’s voice real-life commentary to strike listeners down. I love the chorus from all parts, from the scuzzy guitars to the pitch changes in Wyner’s voice, it all absolutely works to the max. Sticky will be out on May 24th via two of my favorite labels, Fire Talk and Disposable America. Please, if you’re not listening to this band, you’re not living right.
You’ve got to leave it up to Roque and Cloudberry Records to unearth some old indiepop gems we can all clamor about. He’s one of the few true indiepop fans still writing and unearthing acts all the time, and then putting his money behind it, as he’s now doing with Baby Lemonade. The Scottish outfits had a handful of singles and an album in the 80s (note: this is not Arthur Lee’s backing band!), but other than a few blips on some 2000s compilations, they went largely unnoticed and unremembered. That’s a sad thing, as you’ll hear below; this track sounds like it could fit perfectly into any lineup I’d dream up; it’s got that bouncing rhythm section and those sharply saccharine vocals that are destined to charm your socks off. Press play. Have fun. Look for a new compilation of music from the band this Spring!
A few years back, Ski Lodge was all the rage, but then things seemed to go quiet from Andrew Marr. Ever so often he pops up with a new single, just doing his own thing, writing for himself it seems..and me too. This new track is a bit of a move away from where he began, but it’s a beautiful place to find him, treading over that ground warmed by the likes of Hamilton Leithauser and other such powerful voices. Here things unfold gently, rising carefully, but never so far as to seem boisterous, crawling back beneath the mix. Lush arrangements abound, with sweeping strings, all of it building towards the cathartic release at the 2.5 minute mark. Not sure what the future holds here, or if there’s a planned release, but I’ll welcome a newly penned Marr tune any day.
Admittedly, I don’t know much about Aaron Rux, though I’m currently fascinated by his story (he left the States to work as an artist in Spain long ago), but I do know I’m in love with his newest single. It’s a gentle pop number, filled with all these little extemporaneous details that truly elevate it above your everytune. Honestly, I think if he sped it up and made it a little more ramshackle, he might get some Harlem comparisons, which notes the pop sensible roots of both Harlem and Aaron. Still, its those flourishes that really suck me in, like the organ grind or the simple hand claps; I’m a sucker for extra arrangements, what can I say? Crying Cowboys is Aaron’s next LP, out this Friday via El Volcan Music.
I think perhaps the greatest thing about the Internet is realizing that someone far away, in some distant land that I’ll never visit, is crafting music that I wish I’d created. Such is the case with Brunei’s Mirror Trash, but I feel like that makes sense, as the area around Indonesia are renown for their pop aficionados. On the recently released Reform EP, I’ve marveled at the joy in “Vacancies.” The song has this dangling guitar line that sort of meanders in and out of the vocals, occasionally spliced with a sharper version that knifes its way through. The aforementioned vocals hang out in the air, like a fog creeping into your subconscious. Definitely a good way to start your Tuesday!
This Tuesday night (4/9), we’ll be graced by the presence of Phoebe Bridgers and Conor Oberst in the form of the Better Oblivion Community Center as they take the stage at Stubb’s. Previously slated for the Mohawk, overwhelming support for the early 2019 self-titled album caused a move to a bigger venue; the hype is real and with good reason. Not only are both artists incredible on their own and in their various projects over the years, this new joint album is quite phenomenal. Tickets are still available and are a pretty sweet deal for the amount of talent you’re getting for the price. Openers are Lala Lala, who put out a great album last year, as well as Christian Lee Hutson. Some of our favorite locals, Being Dead will take the inside stage at Stubb’s Jr post-BOCC. Check out “Dylan Thomas” from Bridgers and Oberst (if somehow you haven’t already) and go scoop some tickets before they’re gone–it’s a great option for an early week night treat.