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When I first watched this new video from doubleVee, I was really struck by the video; it has some great artwork within its confines. But, if the song was awful, I could have easily ignored it, and that’s why we’re here after all, right? This tune in particular sort of reminds me of a certain innocent period in indie rock, when it was all about trading vocal duties, building the song into a swelling opus surrounded by huge melodies that were the perfect ear candy for your daily routines. Maybe that’s just me, but if it’s you, be sure to check out the group’s latest release, Songs for Birds and Bats.
As I mentioned in the preview, Wax Trax! had quite a bit of influence on my music in my late teens and early twenties. To that point, metal never flirted with my new wave. Industrial changed that. Wax Trax! was the conduit to the bands that had distribution in Europe, but no outlet in the states. That record store along with venues and musicians in Chicago invited over bands like Front 242, KMFDM, Laibach and others and then incubated new projects like Ministry and Revolting Cocks. 
Beauty Queen is the brainchild of San Francisco’s Katie Iannitello, who makes hazy and hooky bedroom pop with a hint of chillwave. Her project, produced by Daywave’s Henry Nowhere, has a new EP out calledOut Of Touch, and it’s filled with the kind of grooves reminiscent of U.S. Girls crossed with the likes of Cuco. It’s all at once dreamy and gritty, which you’ll understand on the title track, “Out Of Touch,” where you’re greeted with twangy riffs and then Iannitello’s whispery vocals coat the whole track in a bit of hazy fog. Then you’re struck by the disco-esque chorus that is catchy enough to secure its place in your brain for the rest of the day at the very least. Head over to 
This Friday you’ll all be treated to the brand new LP from 
I love writing about 
A little over a year after the excellent You Could Not Have Given the Slightest of Fucks, Glaswegian outfit, 
Over the last several years Ian McCuen has been releasing tunes from a series he’s titled Songs of Fleeting Permanence; these songs are said to be informed by reflection upon his own self-discovery between the ages of 16-24. You’ll need a careful ear when listening, as he’s got this soft voice, like a gentle whisper hanging on in the wind. The style will definitely draw in some Smith comparisons, especially considering the track’s focus on dependency and addiction. McCuen builds upon the simplicity by layering in light percussion and touches of banjo, with a haunting little vocal before the song drops out. Volume II of Songs of Fleeting Permanence will be out this Friday.