Constant Smiles Share Gold Like Water

This new Constant Smiles stuff is sounding pretty spot on, in terms of where my listening brain is at currently. It’s just really subtle, well-executed pop songwriting, just a bit left of the dial. That light keyboard bounce that trickles in atop the bubbling beat is perfect; it creates this realm of relaxation, allowing me to sit back and let the song wash over “like water.” When the vocals cruise in, they’re lapping at your toes as you stand ashore, nipping at you with little twinkling melodies. A little percussive mix-up offers just enough differentiation to keep the song rolling interestingly along, particularly as more accompaniment pieces flutter in from the background. The band release Kenneth Anger on March 3rd via Sacred Bones, with some dates throughout March, including a stop at SXSW.

Constant Smiles Complete Divine Cycle Trilogy with Kenneth Anger

Constant Smiles began the “Divine Cycle” trilogy back in 2017 with the release of Divine, followed by John Waters in 2019; today we get the news that the trilogy will be complete with the release of Kenneth Anger. Whereas previous releases have mostly been categorized as indie folk, the new single presents new themes, as the narrative of this record seems to be run through a synth pop lens. When pressing play, propulsive drum work thrusts you right into the core of the song; the vocals have this pleasant calm to them, contrasting the edgier musical bits, all of it tied together. It blends with the album’s themes of ritual and community and collaboration as a process of healing. Kenneth Anger is out on March 3rd via Sacred Bones Records.

Fawns of Love Share Taboo Daydreaming

I know it’s Monday, but I’m not sure you’re ready for this new Fawns of Love tune; the video from Kenneth Anger’s Inauguration of the Pleasure Dome alone is enough to captivate. The wife and husband duo of Jenny and Joseph Andreotti recent announced Innocence of Protection, and below you’ve not got the striking second single from the LP. For me, I was really drawn to the synth work, which is the band’s trademark, but here it sounds both propulsive and spacious, almost as if the stabbing looped beats punctuate the song’s negative space as it swirls about our ears. Even more intriguing for my ears was the way the band put some guitar notes too in the little interlude moments, almost faint, but just enough in the mix to really deliver this subtle emotion. If you like what you hear, the new LP is out at the end of the week via Sunday Records and Kingfisher Bluez.

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