Best New Music
Nathan Williams just can’t seem to get out of his own way. After nearly derailing his career early on with a disastrous, highly publicized meltdown at the 2009 Pitchfork Festival in Barcelona, Wavves’ reputation took a sour turn that lingers as a nasty taste in the mouths of Williams’ detractors. Shortly after, however, he found himself redeemed with the 2010 release of King of the Beach, an exceedingly catchy album greeted with enthusiasm for its poppy garage take on the Beach B
I'm a Lazy Son... But I'm the Only Son [EP]
Lower began as a more coherent version of what their fellow countrymen and oft-compared peers Iceage were essentially doing, with a raucous mix of squealing, '80s-era American hardcore and the morosity of post-punk that paralleled it at the time. Their Walk on Heads EP was a sterling example of that, but it was natural to assume the band would clean up some as time passed. This happened sooner than expected on a followup single, "Someone's Got in for Me," a drawn-out, tortured act of p
With the release of their previous album, The Life and Times of a Paperclip, The Garden faced an issue that many unique and eccentric young bands face. Paperclip was a sort of “perfect” album in that it had a core theme- two twin brothers blasting out hyper short songs with just a drum and bass- and it executed that theme to its fullest potential without overstaying its welcome. Bizarre tracks like “I am a woman” and “Apple,” which, who can say what they were about,
Eradicator is a Chicago-based band that is made up of members of Direct Hit! and Galactic Cannibal. Some might call their new self-titled EP a pop-punk release and some might call it a hardcore release. Honestly, there is so much of both subgenres in these songs that it falls right in the middle of the two.
The title track is a perfect example of the pop punk and hardcore amalgamation this is Eradicator’s overall sound. The guitar parts consist of short, but heavy power chord-driven
Dust and Disquiet
Caspian have a formula to them, not as rigid, but still a lot of their songs pan out the same. But being that technically sound, it really doesn't matter because there's a degree of dynamism and flexibility to each track, which leaves you in awe. Dust and Disquiet isn't their best but it definitely stands up as another firm statement of intent from a band that really elevates what you think post-rock really is.
"Rioseco" warrants a couple listens by itself because it really
Tell Homeland Security: We Are the Bomb [Book]
You’d be hard pressed to find a more complex figure in music than Boots Riley. He came up in the Oakland Hip Hop scene, rubbing elbows with Tupac and E-40 But, instead making major label “club music” or noir-style gangsta dramas, he took a page or two from the communist manifesto and formed the Coup, a collective that is rooted in Hip Hop.. sometimes… but is also kinda-sorta-maybe a rock band… that also is well-maybe-probably a funk band… that sometimes-also-once-in-a-while is an
The World is a Beautiful Place and I Am No Longer Afraid to Die
The World is a Beautiful Place and I am No Longer Afraid to Die.
That band name never gets old. Not a bad philosophy either. I can distinctly remember becoming acquainted and subsequently falling in love with Whenever, If Ever. "Getting Sodas" was the optimistic battle cry against depression. It painted mental illness (as seen on the acoustic "Mental Health" on this record) as an ingrate and fit perfectly for an unrepentant admirer of indie-emo such as myself. That record packe
Alaska have a pretty interesting dynamic to them. As throaty and shouty as their post-hardcore/screamo brand gets (which really throws back to Leer), their guitar-intricate style shapes a beautiful musical canopy. Shimmery, dream-like and very evocative. Shrine marks their return after two years of traveling, writing and recalibrating their bearings. And it's a great stroke because they paint the album with broad strokes of what made them appeal early on in their careers while adding n
Trophy Lungs express so much on Day Jobs and in doing so, they convey why Boston's punk scene is alive and kicking by marrying a lot of sub-genres. Melodic, skate and pop-punk all find a place on the record, shredding from life on the road to life back home to life, well, in general. One of the strongest features of the album is their take on American politics which is passive-aggressive but laced with enough messages to prod instead of provoking. Think of Red City Radio meeting Blink 182