Clearly we’re enamored with the playful sounds of Rolling Blackouts Coastal Fever (I even wrote about them HERE for SXSW). They definitely have an Australian sound, and it’s super apparent here…filled with that breathy vocal and guitars that ring circles in your head. Personally, I love how the band has this attitude of indifference, yet they survive by offering up an inherent joyousness; it’s even evident in the celebratory attitude of the accompanying video. These guys are one of the highlights of my upcoming SXSW plans, and if you won’t be here, that’s okay because you can grab The French Press EP on March 10th via Sub Pop.
So maybe I’m a day late and a dollar short on sharing this new track from longtime ATH faves, Rolling Blackouts Coastal Fever, but it’s a right jam, so I had to. These Australian gentlemen, if you’ve somehow managed to miss out on the plethora of great songs that they’ve been tossing your way, have signed to Sub Pop and will be putting out an EP later in the spring. They’ve just released the title track from that release, called “French Press,” and it shows the band really tearing up the jangly rock scene; they remind me of a tightly-wound Real Estate. Crisp electric guitar riffs frolic through the whole tune while the vocals are tight and quick lipped. These folks are doing indie rock right, and it’s time for you to dive in headfirst. Take a listen below and don’t forget about their French Press EP, which is due out March 10th via Sub Pop. Pick it up here.
Melbourne’s Rolling Blackouts Coastal Fever have made my short list for acts to watch in 2017 after each single they’ve dropped up to this point has been another pop masterpiece. “Julie’s Place,” is no exception, and the video below will let you take a listen to the track while watching a slice of life at high speed. The track has got infectious guitars that ferociously tear through the track at high speeds, and the vocals are a mellow compliment to the instrumentation. Take a listen and look out for their Sub Pop debut EP, which will be out sometime this spring.
Man, I love it when we’re right. Not to be those snobs, but when a band that we’ve been digging from the start catches a break and signs to a label as big as Sub Pop, it feels right that the band is gaining proper recognition. Such is the case with Melbourne’sRolling Blackouts Coastal Fever, who have just signed to Sub Pop and released another single to add to their myriad of hits. This new single, “Julie’s Place,” comes from their forthcoming EP which is due out next spring, and while it has some polish to it the mix, it still retains that 70s pop vibe that we first fell for. Be sure to turn this one up loud and rejoice with the band.
LVL UP have been at the game of crafting emotionally accessible and equally fuzzy tracks for some time now and are approaching the release of their third album, albeit their first on the Sub Pop label. The track below, “Hidden Driver,” is slated to be the first track onReturn To Love, and it’s a good example of how well this band does fuzzy rock. The song opens with a general layer of haze over everything–vocals, percussion, guitars– but this really makes the sound stand out. Take a listen below, and then pre-orderReturn To Love, which is out on September 23rd via Sub Pop.
Admittedly, I wasn’t into The Gotobeds until 12XU released the rad Poor People are Revolting in 2014; it’s a must have if you’re inclined to have a better record collection than your friends (and if you generally like rad music). In signing up with Sub Pop for the release of Blood/Sugar/Secs/Traffic, they’re not changing things up, churning out gritty riffs, raspy vocals wrapped inside a cocoon of pop sensibility. In listening to their first few singles, including this one, the sounds they’re crafting are destined to remain with listeners throughout the rest of the year…and longer; it’s no bullshit rock n’ roll of the best sort. Stoked to hear the entirety of this album, which is being released on June 10th.
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I met up with Brian, our photographer just after 8 on Tuesday night, a little anxious and a little weary. Low, since the late 90s has been a consistent part of my listening experience, not to mention one that I’ve often had trouble explaining my fandom. But, if anything, I left the venue that night with an expression of gratitude, to the band and the many fans that filled the Parish; it was one of those musical encounters few will understand…but those that do will cherish.
I’ll always be a sucker for quality singer songwriters and Kyle Craft is a new artist on the scene who write some great tunes. Today I’ve got this one called “Lady of the Ark” to share with you peoples out there. Craft will be the first one to tell you who gets compared to Dylan frequently, which should be considered and honor, but I think the lad offers more than just some lazy comparison. The song is heartfelt and you can hear the passion in his voice. I suggest you check it out.
Craft will release Dolls of Highlandon April 29th via Sub Pop.
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Twenty years on and Low are still making some of the most important tunes of the indie rock genre. Their evolution since I Could Live in Hope and Long Division up until last year’s drastically overlooked Ones & Sixes illustrates the work the group has done to build their own sound and stretch the limits of expectations. Luckily for all of us, the band will be playing the whole night on their own, so there’s no telling what treats we will be given by the band. Tickets from the Parish are still available HERE, and the doors will open up at 8 PM…so you can expect a long evening of the most glorious music, and still make it home in time for proper rest.
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Beach House and Dream Pop have become essentially synonymous these days, and rightly so; Alex Scally and Victoria Legrand have been cranking out the dreamiest tunes for a little more than a decade and Depression Cherry marks their fifth full-length release. 2010’s crescendoing and huge Teen Dream solidified their place as Dream Pop masters while 2012’s Bloom showed them exploring choppy percussion’s effect on their hazy and soaring tunes. So what does Depression Cherry have in store for us? In a press release written by the band, they called it “a return to simplicity,” but later mentioned their disdain for uttering those words. While they may not think fondly of this sentiment, it was a prematurely apt descriptor for the album.
Starting off with, “Levitation,” Beach House doubles down on this sentiment right off the bat. The familiar synth sound, fluttering guitar and Legrand’s whispery yet substantive vocals declare: “I go anywhere you want to” while the track warms up, making it feel like the band is reintroducing themselves to us. It’s far from a ‘simple’ song, but it’s mild in that each element seems to share the limelight with the others, soloing when appropriate and then blending back in. Near the end, Legrand urges us to follow her and Scally into the rabbit hole of Depression Cherry, repeating, “There’s a place I want to take you,” before the track slowly dissolves and folds in on itself and into the next song, “Sparks.” From this first song, what’s noticeably different is the smoothness and warmth of the sound here. The guitar is a little buzzier than before, filling the space with yet another hazy texture; Legrand’s vocals are there-and-not-there, fog illuminated by headlights, simultaneously lush and hollow; the drums are even and tempered, the synths ubiquitous. It’s the kind of track that makes you want to close your eyes and just listen to the subtle magic unfolding and its subtlety marks the rest of the album.
As I mentioned before, the last two albums from this band took definitively clear paths, so what may seem unsettling to listeners at first is the lack of this strong inclination as to where we’re going. Sure, there are strong numbers that you’ll immediately latch on to, but it may take a little while for some of the numbers to really hit you. For me, these initial winners were “Space Song,” and “Bluebird.” “Space Song” is third up, and it features sharp and emotionally cutting guitar riffs that just slice and float through the mix, screaming through the hypnotizing haze of synth and vocal. Later, “Bluebird” is a bit more of a groove, still sleek and simmering, but the guitar is tight and close to the rhythm in a darker fashion.
Even though this album doesn’t seem to strike a clear directional path like their last two albums, this seems to be part of the allure for fans of Beach House. Depression Cherry doesn’t aim to be anything other than dream pop and at the end of the album, you can’t fault Beach House for doing more of what they do so well. Upon first listen it may seem underwhelming, but over time it trickles in to your psyche song by song akin to waves lapping against the shore—instead of choosing a direction, it seems this album is bent on getting lost and not wanting to be found, suiting the dreamy genre perfectly. Spend some time with this album and you’ll find yourself in the same position.