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.
I can pretty much be guaranteed that anything coming out via WIAIWYA is going to be something I’ll enjoy; John seems to hand pick from my brain for his catalog…or so I like to think. His first release of 2019 is going to be the debut from Whoa Melodic, the project of Michael Wood who has played with the Hayman Kupa Band and Singing Adams. Our first listen has this almost stuttering mod feel to it, like if Elvis Costello hung out with a bunch of indiepop kids; there’s that sharpness in delivery contrasted with the natural warmth of Wood’s voice. Seems like a great way to start off 2019; the self-titled LP will drop on Februrary 1st.
There’s always tons of album streams at the end of a week, so I’d like to point you in a direction that might take you off the beaten path…but only go this road if you’re a fan of soft pop rock. The Last Detail is comprised of Mehdi Zannad and Erin Moran (A Girl Called Eddy), and together they’ve decided to give you a collection of swooning pop songs. Several tracks offer that airy introspection, while others have this understated elegance, like “Lazy.” If you’re looking for a hit, give a listen to “Fun Fair,” though I’ll admit I’m partial to “Talk to Me.” If you dig it, the self-titled LP is available today from Elefant.
We’ve shared a couple of tunes off this New Silver Girl LP, but now we can share the whole release in its entirety. The album kicks off with heavy, hook-laden riffs, though they’re spun in this atmospheric manner that allows the band to pull in some pop sensibility; it doesn’t hurt on some of the more exploratory tracks like “Phantom Ride.” Of course, a great LP never works if you’re not willing to differentiate, so you get softer numbers like “Tennessee” and “Alms,” or groovier rockers like “Starlight City.” It’s an album that’s all over the map, but in the best of ways, turning and exploring within the confines of these ten tracks; it sounds like a best of rock n’ roll soundtrack. You can get your hands on the self-titled LP from Soliti this Friday.
I always like the collective vibe; a bunch of different minds working to flesh out something unique together. This seems to be the story of Adam Hilton, who has rounded out his lineup, both live and in the studio, with some of our favorite musicians to bring his Linen Closet to life. Yesterday, the band dropped the lead single, and it’s quite remarkable, if you ask me. Hilton has these fragile vocals that sound a bit like early Wolf Parade, almost as if they could break apart at the fall of each syllable. The precision drumming helps keep the pace, allowing for some meandering through experimentalism by the rest of the band. I love the artful ring throughout the track, reminiscent of some Dirty Projectors vibes. All things point towards a collective piece of brilliant indie rock, but you’ll have to wait until October 19th to hear the band’s self-titled album for yourself.
I can always count on Bedroom Suck Records to keep me in the know when it comes to the Aussie music scene (among other labels of course). What I’ve grown to appreciate about the label, and come to think of it, most of the Australian labels is that they don’t seem too intent on always operating with the same musical styles. Take this brand new Cyanide Thornton tune that they just released; it spends almost two minutes exploring various sonic textures, building you a world where its safe for the lyrics to come into play. Once Sienna enters the fray, she controls the listener with ups and down in pitch, smoothed out notes follow. Musically, the landscape of the track has these folk motifs, but the latter half has the faintest hint of post-punk laying in wait. The self-titled album will drop on November 9th.
The self-titled album from The Color Forty Nine is only 7 songs long, but there’s so much depth to the recording that one is apt to find the record stretching beyond expectations. Their latest single has singer Phil Beaumont stretching operatic tones over the musical craft of his support. The rest of the band, particularly the violin work creates this forlorn Western vibe; it’s a brand of Americana that largely goes overlooked…somewhere between troubadour and sea-shanty. They’ll be releasing the s/t record on June 15th via Darla.
Saturday Night are starting off the cycle for their new record with this great tune. The DC group has this almost garage vibe, but there’s something from the vocals that’s making me invest deeply in the band. It’s a slight little inflection, like an uplift at the end of the notes, akin to the way Ted Leo operates. But, that vocal ploy isn’t enough, as they bring in a soulful female vocal counterpart to balance things out. It’s catchy and ballsy and really good; the band will be releasing their debut self-titled album via Gentle Reminder Records in August.
Chicago’s Deeper are just a few weeks away from dropping their debut album, and I’m anticipating heavy rotation around my household. On their latest single, it definitely has that arty post-punk vibe, akin to Omni. But, what the group uses that puts them slightly in their own realm is they brandish sparkling guitar lines; they’re not as sharp as one would hear in a jagged art punk style, giving a natural melody to the band’s sound. Maybe it’s just me, but I can’t get enough of this band. Their self-titled debut will be dropping on May 25th via Fire Talk.
Over the weekend Ryan Higgs, a fellow Texan, dropped his self-titled album, and we wanted to follow up by sharing one of the standout tracks with you. There’s something about this song that ingrains itself in your mind; I think, for me, it has something to do with the slight inflection turns with his vocal notes. The production is great, layering light handclaps and backing vocals to reinforce the song’s gravitational pull on your emotions. He’s not afraid to turn it up either, which is one of the reasons you’ll enjoy listening to his whole LP HERE.