This track from Whirr is really something. The quiet opening sets the perfect stage for the outfit to crash into your ears with a heavy-handed bit of drumming surrounded by a wall of atmospheric noise that bends and shapes its way around the soft vocal. The recording is one of the better versions I’ve heard from the modern shoegaze-ish era, building this remarkable balance between the vocals and the instrumentation; it makes the song seem more cohesive, as if it was all one thought, rather than someone lumping in one or the other for effect. Their album, Sway, will be released on September 23rd via Graveface Records. Austinites can check them out on Sept. 6th over at Red 7.
Slow Magic is building a hefty rep around these parts with beauty’s like this slow builder that is filled with texture and replicated organics posted a few months back. The band is back again with another streamable slice of synth goodness with emphasis on the synth this time. The track, “Waited 4 U”, has one lyric, take a guess. It is in the mid-song crescendo that will hopefully include a key-tar solo in the live setting. *cough* holy mountain 9/17 *cough*
How To Run Away is out Sept. 9th on Downtown Records. I recommend you get it.
Due to ATH regulations, I’m only able to offer up one Slumberland Records related piece a day, which is why I’m a few hours late with this new Terry Malts jam. Musically, this is perhaps the heaviest I’ve heard the band sound; I think it’s one of their greatest attributes, as there’s so many touches and nods to other acts that you can’t entirely pigeon-hole the group. This is the second tune off their forthcoming Insides EP, which you’ll be able to pick up from the aforementioned label on September 23rd.
After giving us a new 7″ in April, Portland based The Shivas will be dropping a much anticipated new LP this fall. To preview their upcoming album, the band is offering up this new single called “Manson Girls”. This one is a short and sweet rocking tune that will be over before it’s even started if you’re not paying attention. We rather enjoy it.
Pick up new album entitled You Know What to Do on October 28th via K Recs.
“What’s you motherfuckin’ problem?” Yeah, I’m going to steal that lyric, especially if you tell me that you don’t love this song from Foreign/National almost immediately. Once that cymbal work kicks and the pulsing from the rest of the group kicks in, I got hooked. Then the smooth vocal delivery came in all hidden behind a bit of reverb, and I couldn’t turn it off. They’ve been working on a brand new EP that’s due to come out in September; if it sounds this good, it’s going to be hard not to rave about it all year long.
Every blue moon, or perhaps more often, I just want to find this huge expansive piece of music to get lost inside. This nearly 8 minute track from The Ukiah Drag is just the piece for me, with sprawling movements of rolling guitar riffs melding with these semi-preached vocals. It’s amazing how one just gets tossed up into their dark mess, then finds themselves tumbling all the way out. Getting lost inside the realm of this band is sure to happen quite frequently for those who choose to pick up their newest release, In the Reaper’s Quarters, via Wharf Cat on September 9th. Come on, just check the art work…something wicked this way comes.
If you frequent our website on the regular, you are well aware that we are big fans of the new material we are hearing from White Arrows. The style of the band has seemingly grown up in leaps in bounds when compared to their last effort as I’m hearing some darker tendencies in their once glowing pop sound. Here’s another new song called “Nobody Cares” that’s sure to get you just as excited for this release as we are.
Pick up the new album, In Bardo, on September 16th via Votiv.
We’re just a short distance away from the release of Exi (September 9th), the newest album from Austin’s Love Inks. I’ve always appreciated the group’s work, but I really enjoy their use of space on this latest single. Sherry’s voice is the dominant focal point, while there’s very light bass movement in the distance, accented by little guitar pieces and synthesized beats. The song walks this fine line of feeling huge and empty at the same time, which is quite an accomplishment in and of itself. Those living outside of Austin will again get a chance to see the band perform live, as they’ll be touring the States throughout September.
I’m really glad that Phil Wilson came back to music; I’ve enjoyed his solo work quite a bit since that triumphant return, but I’m really excited for his music with The June Brides too. Seems like the old band is back together, and finding themselves on the only home that’s fitting, Slumberland Records. This feels like listening to the guitar playing that spawned a revolution of wandering indiepop fans. They’ll be releasing their new She Seems Quite Free 7″ on September 1st; it’ll probably be the best thing you can get yourself as a post-Labor Day treat. Feels too good to listen to this track. Must stop. Your turn.
When it comes to indie rock super groups, you really can’t beat the likes of The New Pornographers. Making music together since 1999, this Canadian band consists of the best of the best, each of which have their own successful career be it alone or with another band. There’s Carl “A.C” Newman, Dan Bejar, Neko Case, and Kathryn Calder, just to name off a few, but let’s be honest: you should probably know who this band is as they’ve been around for longer than a decade and Brill Bruisers makes for their sixth full length release. Though it is sixth in a line of solid releases, by no means does it feel trite or banal—The New Pornographers have managed to do it once again.
With a band that is a culmination of so many great individual artists, I’m always flummoxed as to how this group can create a cohesive sound for their group. Sure, different artists take the lead on a track-to-track basis, incorporating their own styles, but Brill Bruisers manages to come together fairly easily. From opening title track to the last and glittering “You Tell Me Where,” the group hits their stride multiple times and gives you some great tunes.
I think it partially depends on which lead vocalist you like the best that will leads you to your favorite numbers. There’s Newman’s opening “Brill Bruisers,” which kicks the album off en medias res with the groups shimmery indie rock; the percussion is essentially all cymbal, the guitars’ blend in with the mix, synthesizers wander around through the song and the vocals of Newman lead you fearlessly through these airy walls of sound. Of course, he’s not alone, you get a lot of gang vocals singing back up through the whole song, which gives it an even lighter, poppier feeling. Later on you get Bejar’s unmistakable warbling vocals up to bat on “War On The East Coast,” which happens to be my favorite track on the record. The track seemingly makes comment on today’s general feeling of chaos and disarray—“look what we’re living in.” While the track rages on in full fury of to a build at the end, the choral hook has Bejar crooning “Oh, I don’t care, I don’t care,” making you want to scream right along with him, even if the sentiment is apathy, it’s still relatable. However, it’s not just the tracks with an outright lead vocal that will get you falling for them. On the contrary, “Fantasy Fools,” has a shared lead vocal that elbows its way into your list of highlights as well.
Though there’s a lot to love on Brill Bruisers, for me the album doesn’t go above and beyond to give you a sound that you want to sing to the world about. Sure, you’ll come back and jam with this group of lovable indie-poppers now and again, but there’s just a little bit missing from this release to push it to the next level.