Something about short and catchy songs makes me fawn, as I’m doing for this brand new album from Ft. Worth’s Mouse Trap. In a certain sense, it reminds me a lot of early Coma Cinema, bedroom pop that’s been rounded out by a bunch of friends getting together. But, the more I spend time with this listen, I can also see similarities to various bits of Built to Spill in the way vocal syllables are stretched, and the guitars offer a slight playful ring. I feel like I’ve just discovered this wonderful new secret, and hopefully someone out there finds it as charming as I do. Stream the band’s self-titled LP below.
I’m not entirely sure where the grand prospect of 1-800-SUCCEED will end up as a whole, but the first single from Media Jeweler‘s new LP is pretty stellar. A ringing guitar seemingly sets you off, albeit for a momentary second before angular guitars cut in and a rolling rhythm section provides the central groove. Every musical note seems to be fighting against the other, like a group of children clamoring for the listener’s attention. There’s room for energy within the confines of this track, and they open up ever-so-slightly near the song’s end, only to deliver one last blast of lyrical content before wrapping up. They’ve got my attention for sure, and the new LP is slated for a release on March 30th via Fire Talk.
The impending joy/doom of SXSW is right around the corner folks! As of today, we are only a month away from the music portion of the festival, and even closer to interactive and film. Not to worry, ATH once again has you covered as your guide to all the best musical acts you need to check out during the week. Today seems like a great day to begin our onslaught of coverage with an interview from Tornoto indie-soul artist AHI. Like we did last year, we will be asking multiple artists similar sets of questions so you can see a variety of perspectives on the festival. Hit the jump for full interview.
I’m not sure if you listened to Drinks debut album, Hermits on Holiday, but it was a pretty special listen through and through. But, members Cate Le Bon and Tim Presley also have other projects going on, so figured there’d be a bit of time before we got something new. Well, that time is now, as the group have just announced Hippo Lite. The lyrical content doesn’t really enter the picture until after the one minute mark, with the duo primarily working with a simple bobbing bass and these jangling little guitar chords that seem to hang in the air. I also appreciate Cate’s vocal delivery; she’s got such a distinctive voice. Their new effort will be out on April 20th via Drag City.
Some tunes seem so out of place in the current landscape, that they fascinatingly draw you to their sound. This single from CMON definitely bares modern technological touches, but it also wears the pants of a very 80s sound. The steady percussion alone reminds me of any number of tunes I saw on MTV as kid; there’s also a spritely spirit it to it, something giving you an inherent bounce that you can’t ignore. Plus, the video for their new track is visually stimulating, so they’re hitting you on all fronts. They’ll be releasing their self-titled EP on February 23rd.
If you haven’t heard of Oli Deakin’s Lowpines project, then perhaps this a great introduction for you. He’s perched atop a rooftop somewhere in Brooklyn, backlit by the falling (or is rising) sun. You can hear the air flowing through his lips as he delivers the vocals, providing you with an immediate closeness. I love how the video pans into his picking on the guitar, as that adds to the ornate quality of his songwriting, giving each note deserved attention. If this is the sort of tune you’re looking for, you’ll find more like-minded tracks on the new album In Silver Halides; it’s being released on February 23rd.
High Rise Finale first came to my attention because it’s a new project from Matt Bailey of The Salient Braves, who I adore. Of course, this project has some similarities, especially in the lyrical styling, but it’s a much more electronic adventure. He’s collaborating with Neil Ritchie, who helped produce some of his other work, and together they’ve just released this rad new tune. I dig how the synth work seems to elaborate or emphasize the syllables delivered by Bailey. Plus, the middle section of instrumentals shows just how carefully the group have crafted their electronic sounds. It’s pop music from the future, brought back to warm you up today.
Don’t know what else I could say about Nap Eyes that I haven’t talked about in the last several years, or even the last several posts about the group. There’s something in the casual aspirations of the group that make them so endearing; they’re not out to breakdown musical barriers, they’re here to give you the best songs possible. On this new tune I love the sparkling little guitar, and the little guitar solos, charming as ever. They’ll be releasing I’m Bad Now on March 9th via Paradise of Bachelors.
Sophie Allison is out on the road in a well-attended tour with Phoebe Bridgers, but as we get more glimpse at her new album, we get to hear just how special Soccer Mommy is all on her own. This track begs you to bring your ear closer to the speaker, as it’s a quiet number, connecting intimately between listener and Allison. I love how gently she’s playing the guitar here, seemingly as an afterthought as she weaves her lyrics into the front of the mix. Her “debut” album, Clean, will be available on March 2nd via Fat Possum Records.
Seems like just yesterday that Ty Richards was releasing his debut Zillion, yet here he is this week with a brand new record on the way in April. This track is a synth driven pop number, with bleeps, bloops and electronic beats serving as the song’s background. What I really love is the way Ty switches up his vocal approach, at times its sharp and to the point, yet he’s able to draw it out to a round melody at other points. Even more impressive is the work on Welcome to Flat Earth was done all analog, sans computer invasion. Look for the new LP on Tremolo Records on April 20th.