I’m an absolute sucker for springing indiepop, and though they’ve been away for a minute, there haven’t been too many acts of late bouncing about like Rhode Island’s Strawberry Generation. This one’s a rushing number, with those guitars jangling away with such speed that’s its almost impossible to catch your breath. Playful and carefree, this is the sort of breezy pop that sets us up perfectly for Spring in the sunshine. Turn it up, rock on out, and keep your fingers crossed we get more pop tunes from this duo!
As we get closer and closer, the anticipation grows more and more for the upcoming SXSW festival right here in Austin. Preview coverage will continue to ramp up in the days ensuing as we receive more preview materials from participating bands. Today we are pleased to share our third peek into the life of a musician with a piece from Brighton based Tigercub. Hit the jump for fill interview, dates, tunes, and more.
I missed out on the first single from the new Klaus Johann Grobe LP, but I’m definitely on board with what they’re putting down on this new single. In a sense, it’s an entirely different feel than their earlier stuff, as the press release alludes to. But, if you trace back their sounds, it feels like an elevated version of bossa-nova fused with sort of a twist on French pop; I think for all intents and purposes, it feels like an adult version of Phoenix. It’s subtly playful in all the right spots, but has this sublime sophistication that warrants head turns every step of the way. Really looking forward to hearing how the whole of lo tu il loro sounds like when it hits via Trouble in Mind on March 22nd.
If you follow the Oakland scene or Slumberland or just good pop music, then you’ve likely already penciled in the release of Torrey‘s new LP. Today we get another addition to their story, with “Moving” dropping a bit more dissonance into the picture. Just spending time with the guitar sounds might have you a bit uneasy; they seem to reverberate in the speakers, but almost as if they’re stuck, leaving you in a bit of a disoriented listening state. Still, there’s textured layers of atmospheric melody that allow you focus on the band’s pop sensibility once you’ve returned to your senses. The band drop their self-titled LP via Slumberland on March 8th.
RayRay and I are DJing an emo night over at our favorite spot Oddwood this week, and over the last several weeks I’ve been diving through my own collection, digging for the hits. It’s brought me back to some certain styles that may even be considered emo-adjacent, but I feel like this tune from Daniel Brouns slides right in, particularly when you put it alongside acts like Pedro or early Good Life. The beat is sampled, with guitars carefully woven into the tapestry, as Brouns distinctively croons atop the mixture. It definitely feels like early Saddle Creek with bits of home recordings sampled within the song’s confines, adding to the personal narrative being woven. He’ll be releasing Stock Music for the Cosmos via Anxiety Blanket Records on May 17th.
We are here and in full force now with some SXSW band previews coming at you several times a week leading up to the festival. Today we are thrilled to share a preview with one of our favorite up and coming acts, Cincinnati based outfit The Ophelias. We get into some great discussions about new music along with a debate about who would be the best dual threat rhythm guitar player to have in your all time band. All that plus show details and a brand new song(!) after the jump.
When DJ On put out the first Non La LP, it was filled with poppy guitar hooks and constant energy. But, as they prepare for the release of Like Before, it’s becoming clearer that DJ has really changed up the approach to songwriting. Upon pressing play, there’s nearly a minute of building, courtesy of DJ’s voice softly walking through your speakers. Then, drums tap and the song takes a march into a slow swing of light guitar pop; there’s something more pensive in the craft, perhaps owed to On’s reflective mood through the new LP. It’s changed my own perspective in the way I hear the music, but I’m looking forward to digesting the personal narrative and experiences the LP will offer; it drops via Mint Records on March 29th.
When I first got into Rosie Tucker, there was something insanely catchy about the way they played with the vocal notes in their songwriting. A few years later, I feel like “Paper Maximizer” immediately puts that on display; there is a dynamism to each note, always falling between sharp and playful, which inevitably ties my joy to their work. That doesn’t even get me started on the wordplay and craft; I even learned about “paperclip maximizer,” which in short, discusses the possible dangers of AI and the end of humanity. Learning and catchy, and all of it leading me to think that you’ll be singing along to every track on Utopia Now…out March 22nd via Sentimental Records.
I know he’s gotten lots of praise, and we’ve certainly lauded all his work, but listening to the latest single from his forthcoming LP, I want to make sure we don’t undervalue the work of Mo Troper. For starters, I don’t think I’ve ever gotten a record from Mo where I think “yeah, this is exactly like the last LP.” Each time, he seems to channel different influences and recording techniques to really work on his craft. On this one, he alludes to late 60s era Paul McCartney work, but in my ears, and maybe I’m weird, I immediately felt like he was channeling a bit of the Zombies, at least when that first vocal bounces into the picture. Sure, his voice is distinctive, but he just keeps challenging himself, and we get to sit back and reap the rewards. Svengali is out May 3rd via Lame-O Records.
Portland’s The Macks have been flexing their psychedelic garage rock for years, and with The Macks are a Knife coming down the pipeline real soon, it’s time we give a nod to their latest single. On this first single, it’s also a stomping mantra of sorts, with the guitar work ringing, rolling, then returning to the starting position to go at it again; they lock into that groove, allowing the vocals to really offer up the exuberant discord via shouts and emphatic vocal punches. The continuous build of tension is finally unleashed around 2:26ish in the tune, giving a nice little guitar ride that punches through your speakers before the song wraps up and calls it a day. The Macks are a Knife is out on May 17th via DevilDuck Records.