This is fine.
As if you were thinking that we had no more interviews left… Silly you! We’ve got tons more coming your way and today I have a featured one from L.A. based, synth heavy group Habits. The brains behind the band, Dustin Krapes, was kind enough to offer his opinion on our pressing questions. Follow the jump to see what he has to say. Read more
Spending some time with Mixed Blessings, the forthcoming LP from Beaty Heart, I’m coming to the decision that there aren’t too many bands creating the music these London lads are crafting. There’s tribal elements throughout the record, with some songs promoting more energy, while others, like the one below, are a little bit more subdued. Those of you who are in love with the creative world that goes on beneath the upper-echelon of indie bands will surely find yourself attached to what’s being put in front of you here before the band’s May 12th release.
Download: Beaty Heart – Yadwigha’s Theme [MP3]
One of our favorite acts from 2013 aims to kill it again in 2014. Boston’s Bent Shapes play energetic rock n’ roll, making their album Feels Weird (Father Daughter Records) an exceptionally rewarding listen. We haven’t been able to catch them on tour yet, so we’re excited that they’re making it all the way down to Austin this year. Catch up with the band by reading our interview below with Ben. Read more
The last month or so has seen a slew of excellent Ghetto Ghouls tracks come our way, and I’ll happily keep harping on about the Austin four-piece. This track will be featured on the group’s self-titled album, being released by Monofonuss Press on April 8th. It’s a quick jaunt, but a reminder of the pleasant abrasiveness offered up by the band. There’s a sharpness to the musicianship, yet a rough quality that embodies the live aspect of the group. Get yourself another taste of one of our cities great exports, and catch them at one of their 5 SXSW shows.
Download: Ghetto Ghouls – Living Alone [MP3]
Among the great stable of bands on Captured Tracks is Blouse, who changed things up on the release of their second album, Imperium. They got rid of the synthesizers and other electronica elements, crafting a more powerful sound. I’ve always enjoyed watching their sets, and I look forward to seeing the live version of these newer tunes when they make it down to SXSW. Here’s how they answered our interview questions while on the road to Austin. Read more
I’m really digging the broader band approach from Of Montreal, in comparison to some of the electronically driven stuff I feel like Kevin Barnes was working on in his own bedroom. This brand new track will come on a 7″ that arrives with the remastered Satanic Panic in the Attic LP, which hits on Record Store Day. And just in case you forgot, that’s my favorite OM record, so it only seems fitting that they offer up this track. If this song is any indicator, it’s clear that the band is back on the up and up, perhaps bringing them back into the realm of my favorite bands.
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Back in 2012, Eternal Summers made my radar with their wonderful sophomore record, Correct Behavior, as it was one of those that maintained not only the sunny punk-pop that seems to be all the rage these days, but brought sophistication to the genre with its detailed song writing and variety. Such elements made me excited for their next release, and The Drop Beneath far from disappoints.
While the previous album brought a bit of weight and substance to the usually light punk-pop tunes, this album continues to bring the darkness in a controlled manner. Even if you simply take a look at the song titles as well as the album artwork, you can see a streak of sinister cutting through titles like “A Burial,” or in the dark swirling image on the cover. “100” transfers this darkness into their sound quality. While the slightly fuzzy guitar, tinny percussion, and of course Nicole Yun’s sugary vocals make their way back, the mix seems closer to the ground than that of before. The vocals are more of a part of the instrumentation than sitting high above them. Next you have aforementioned “A Burial,” which, forget sunny pop, is a straight up rock’ n ’roll track, with Yun lowering her voice for the verses to build up to a bright chorus. This second song is mature, yet not overly refined, complete with a nicely timed jam session at the close.
Just when you think the band has moved away from their poppier sounding tunes, you come across a track like “Never Enough,” that takes you back to sunshine and warm breezes; the track sounds like a late 80’s pop song, with its driving bass line rocking away and some infectious arcs that will have you singing and dancing along. A new side to Eternal Summers also comes on “Not For This One,” with male vocals and acoustic guitar. The softness of this track serves as a perfectly timed reprieve from the thusfar stony garage rock. Though, the group hasn’t gone completely soft on you; they still manage to build the track up into a jam, albeit gentler.
The Drop Beneath is exactly what its title entails—a drop deeper into the sea of heavier tracks with the occasional surfacing for air in a pop tune. I find it to be an apt sound for this transition from winter to spring, and perhaps later on it will be good for those dog days of summer. Eternal Summers have done it again, why they aren’t a bigger name in the indie-sphere is a mystery to me.
As we pump out more interviews leading up to SXSW, let us not forget our local friends who will be working hard all over town just like everyone else. One of our favorite up and comers in Austin has be garage/blues band Ghost Wolves. Drummer and multi-instrumentalist Jonathan Konya was kind enough to offer up his opinion on all things SXSW. Follow the jump to read his responses.
It’s been almost six complete years since we last heard the music of Pattern Is Movement, but we’re all welcoming their triumphant return. When I listen to this song, I hear a lot of similarities between what the group is doing and what’s been done by Dirty Projectors. That being said, the edges here are softer, not nearly as angular. That doesn’t mean that you’re not going to find yourself enthralled by the world the band has created on their new self-titled effort. It’s being released on April 1st by Hometapes, and they’ve got several great shows lined up for SXSW.
Ah, yes, it’s time for the Suicide Squeeze Singles to start rolling out, and they’re starting with a bang. Their new series begins with a split between ATH favorites Shannon and the Clams and Guantanamo Baywatch. Last time I heard from GB, they were rocking a sweaty punk style, but this new jam seems like the perfect fit for a shared 7″ with Shannon. It’s a country-tied garage jam with a slow pace and lyrics that will allow you optimal sing-a-long fun. This single will hit stores on April 29th, but you can catch the band playing throughout Austin during SXSW, including the SS Party with our friends at Hardly Art on March 14th.
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