One More From Reptaliens

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.

Obligatory Chris Cohen Post

Every time we get a new one from Chris Cohen, you know I have to share it! He’s well on his way to the release of his new album,Chris Cohen, which is his third record out on his own and is out this Friday 3/29. “No Time To Say Goodbye,” may be my favorite that has been released so far from the gentleman for this album.What I’m most impressed by with this song is how Chris Cohen tackles a classic pop song structure with choral hook in such a Cohen-fashion. The title of the track is sung as a ‘chorus,’ in perfect falsetto gets lodged into your head. Lucky for us in Austin, Cohen is stopping by the Mohawk to play a set next week! The show is Thursday, April 4 and tickets are hella cheap. Scoop yours so you get the chance to hear these gorgeous new tracks live.

 

 

Chilled Out Pop & Video From Reptaliens

We love Reptaliens here on the ATH crew and I know we are all excited for their new album VALIS coming new month. Prior to the upcoming release date, the band has shared yet another single called “Venetian Blinds”. Once again we are treated to some beautiful, chill pop music and an amazing tour video to go along with the song. Now I’m looking even more forward to the release of the new album on April 26th.

Reptaliens Announce Valis

I knew this new Reptaliens LP was right around the corner, so I’m glad the secret is out, as I adored FM-2030. Our first listen from the forthcoming LP offers up a woozy dreampop sound. Synths float in heavily, often seeming as if they’re in and out of tune; they get matched up with these grooving bass lines that will certainly have you bobbing your head. It’s all spliced up by layered synths and sharp guitar parts; it’s short and sweet, easily consumable. Look for their new album Valis to drop via Captured Tracks on April 26th, as well as huge Spring tour that brings them to SXSW.

Delightful Soft Pop From Chris Cohen

We here at ATH are pretty big fans of Chris Cohen, so it’s safe to say we’re stoked for the upcoming release of another LP from him, which is coming out on 3/29. From that record, he’s shared another perfect soft pop track for us with “Sweet William,” which is accompanied by a silly and entertaining video. The song bounces along with a twee synth / distorted keyboard riff, killer bass line and barely-there percussion. Cohen’s mellow vocals come in like a wave of warm sunlight and the track pulses forward shifting at the two minute mark when the electric guitar rips through to a great solo. The video also escalates along with the music, as Cohen’s fever dream / sleepwalking / trip is pushed to its climax, with his spirit guide handing him a notebook with what appears to be lyrics to a song–perhaps this one. Take a peek below and then go pre-order his new self titled album, which will be out in about a month on Captured Tracks.

 

Chris Cohen Announces New Album

We all had hints that a new Chris Cohen record was on the horizon, and I’m just grateful that it’s closer on the horizon than I expected. I’ve been infatuated with Chris since Overgrown Path (2012), and this new single strikes a similar chord. Chris writes with such simplicity, or seemingly so, that you end up being caught up in the song’s emotional pull rather than focus on the instrumentation. We have that here, though the melodies Cohen pulls from his voice are so sublime that they pull you in like tractor beams. The next album is self-titled and it will be released by Chris’ longtime label Captured Tracks on March 29th.

New Track from Wild Nothing

It’s always nice to imagine an album with this or that song included, though I don’t think Wild Nothing‘sIndigo really needed any additional flourishes. Although, with that said, this leftover definitely has that shimmering pop that gets right with me. That murky chord that opens before the wash of keyboards coat it, struck me immediately; it’s great how Jack plays between elements of light and dark in his sonic textures. Still, his latest LP showed great control of the hooks that are central to this song, so it would have been nice to see where you would have slid this one into the mix. Who knows, right? At least now we have this new version to enjoy.

Chris Cohen Pens New Single

We haven’t heard from Chris Cohen since 2016’s As If Apart, so I’m scrambling to reabsorb all those old songs from his first two LPs. Today we’ve got a brand new single from Chris, and what a special gem it is. It walks that fine line between NPR-core (the indie rock your dad thinks is cool) and artfully branded pop music. It’s got a nice little sax solo that adds texture to the track, wrapping itself around Cohen’s mellowed vocal tones. The percussive element gives the track a jazz club vibe…and while I’m laughing in my head at the inclusion of the instrumentation, it’s what makes Chris’ work so intriguing; he captures this curmudgeon with his songwriting like so few ever do. Let’s hope there’s more to come from Chris in 2019.

Juan Wauters Returns with New LP

It’s been a hot minute since we’ve heard from Juan Wauters; his last release was back in 2015 with Who Me. But, worry no more, as he’s finished up some traveling through Latin America and will return with La Onda de Juan Pablo. His travels began in Puerto Rico, where the following tune was begun; he was struck by a couple of characters playing boleros, thus crafting his own. It immediately has this almost traditional light-hearted vibe, particularly in the supporting vocals. You’ll also note that Wauters is singing entirely in Spanish, something that continues through the whole of the new album. I know I’m fond of the style, and if you find yourself in the same boat, look for the new album on January 25th via Captured Tracks.

Wild Nothing – Indigo

Rating: ★★★★ ·

Indigo marks the fourth full-length studio release of Wild Nothing, the moniker for Jack Tatum’s sonic explorations in the realm of shimmery indie rock. We’ve seen Tatum’s style change with each release; a devotee to growth and expansion, Tatum is not one to rest on the early success of the band, but has pushed himself in entirely different directions. Indigo sees yet another direction, but one that functions essentially as a patchwork quilt of past soundsyou can hear elements of prior albums, but Tatum has reimagined them into an album that burns brighter and bigger than the past.

 

Opener and lead single, “Letting Go,” positions Tatum to soar higher on this release than before. The guitars, ever jangly and bright, ease past fans into the sound. While familiar to Nocturne at first, the track then surges into infectious pop with the choral hook. Tatums vocals are high and resonate starkly at the top of the mix, cueing us into the glossy production that is present all over Indigo.Here is a more proto-typical pop song than weve heard from the dark and simmering Wild Nothing and it’s refreshingly glorious. Not to be outdone by sultry, “Partners in Motion,” whose echo-y percussion and vocal effects make for a 80s synth banger. When Tatum sings lines like, “I had a temper/but now I’m delicate,” the vocals are doubled over and drenched with reverb, urging you to join along. A toe-tapping bass line, playful and snappy guitar licks, and saxophone flesh out the tune into something great.

 

While the production on this album is glossy and clean, were not so far away from the humble beginnings of Geminithat we feel alienated by Tatum’s new sound. On the contrary, at a cursory listening this record is very easy to cling to with its catchy choruses, danceable synths. You get swoon worthy moments all across the eleven tracks, but probably the most sincere chunk of is the combination of “Shallow Water” and “Through Windows.” Both songs dive into what it means to be in a loving relationship through life on the road, the former a sweeping ode and the latter a tightly wound jam. With lines like “When I’m home/ there’s nothing I’m looking for/ that you havent already found,” Tatum crafts the wonderfully genuine “Shallow Water” as a number about being off the road and completely comfortable with another, the kind of love that people yearn for. Conversely, you get “Through Windows,” about being on the road and not wanting to give it up, but recognizing at some point Tatum will give it up, but that wont be entirely a loss: “Quit this circus life/ and take off my shoes/ I’m still paying what I owe/ to be noticed by you.”

 

It’s not all sunny pop though–the brightest gem, for me, is “Canyon on Fire,” which is a guitar heavy track that you are immersed in for its five-minute duration and then immediately play again. A brief moment of pause between the previous instrumental interlude of “Dollhouse” washes over you before the squall of electric guitar announces itself with a roar. Soon, you’re hit with dueling riffs that perfectly compliment each other while an even bass line chugs away and airy percussion keeps everything just on the verge of chaos. Tatum weaves us a picture of Los Angeles through his eyes, each line hitting with a soothing cadence that provides lovely juxtaposition to the snarling guitars. He asks, “Who would I be without you?” addressing a love or potentially the city itself, and then answers the question with “Someone I dont know,” acknowledging that Tatum is married to the subject–be it LA or a significant other. That kind of bond has made it impossible to imagine life otherwise. This all takes places within a simmering bridge before the track surges once more into full volume for a glorious victory lap. “Canyon on Fire” merges Tatum’s impeccable songwriting with the infectious guitar riffs from Nocturne-era to make for the best track on this album.

 

In the end, Indigo, is a well written record about love and being deep in the waters of it. Unencumbered by irony and disdain in an otherwise bitter world, the soaring pop of this album makes for a sincere feel-good (and just damn good) eleven tracks of escape, though far from devoid of introspection. Tatum has found his stride, crafting a collection of songs that youll find hard to turn from. Indigo is both intimate and lofty, hoisting you up with each track as it flies to new heights for dream pop.

 

 

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