New Jersey indie rockers Screaming Females have a new “EP”–it’s kind of a single, really–out via Don Giovanni Recs titled “Wishing Well.” Rather than delivering their usual deluge of shrill screams and wild guitar licks, the band is toning things down to deliver a pretty sweet tune. You could probably show your grandmamma this one, and then you could ease her into “Boyfriend.”
I’m loving some of the lyrics frontwoman Marissa Paternoster is bringing to the track, too. With the line about all of her “change going to hell,” this ranks as one of her most clever choruses yet. While I haven’t loved much of what the Scremales have been doing lately, this track is bringing them back on my good side.
This Paula Temple track is about to make me lose it! Seriously!
This electronic music producer currently hails from Berlin, and the track embedded above is the first cut off her new EP on R&S Records. It’s a primal presentation of techno and industrial rhythms. These beats are encased in some distorted, shrill synth leads and monolithic vocal manipulations. It sounds too primeval to be new, but too synthetic to come from the stone age. A sonic anachronism!
I can vibe with any producer who can successfully conjure some raw, visceral rhythms, and Paula is showing a real knack for that already! Try out the b-side of the EP right here.
If you remember my favorite albums of 2013 list, then you know the last Black Milk album made the cut. No Poison, No Paradise was easily one of the most conceptual and gritty releases in Milk’s discog so far, so it’s gonna be interesting to see him follow it up.
Surprisingly, the Detroit rapper-producer is doing that sooner rather than later, setting his next full-length release date for October 28th. The title of this upcoming album: If There’s A Hell Below. This lead single from it features verses from Random Axe, which is the name of Black Milk’s collaborative rap trio with Guilty Simpson and Sean Price. Each of them bring a verse to the table on this track, but the beat switches up every time a new MC hops on the song. While it kinda hurts the cohesion of “Scum,” it certainly keeps things interesting. It’s sort of like a medley, I suppose.
Price and Simpson are on their best lyrical behavior–even with lines like “I dislike the dude that said I dislike you.” While it’s not the best I’ve heard from Milk, it’s got the potential to sound better in the context of an album.
Top Dawg Entertainment figurehead and Black Hippy Member Jay Rock might have had the least hyped debut of everyone in his crew, but his followup is gonna carry some serious heat with tracks like “Parental Advisory” on it.
This West Coast rapper is sounding absolutely hungry and aggressive on this new single. The beat’s loaded with synths, and sounds like an eerie, modernized take on 90s gangsta rap. Very nocturnal. This thing is the ideal soundtrack to some late-night antics.
Lyrically, Jay Rock isn’t delving into anything altogether new, but his junkyard dog delivery is enough to make these grimy, violent tales worth hearing again–not to mention the hook on this thing is killer, too. Rock carries the track on his own, forgoing a feature, which I think was a smart move. The track is short & sweet, and sounds best that way.
Ever since the sudden breakup of Canadian noise rock band Women, and the untimely passing of member Chris Reimer, there’s been a lo-fi-shaped hole in my heart few bands have been able to fill. Many have tried, but no group has successfully balanced catchy and subversive in the way Women has.
Enter Viet Cong: This new band not only features a similar aesthetic, but ex-Women members Matt Flegel as well and Michael Wallace. Scott Munro of Chad VanGaalen‘s band also works his way into the mix–if you didn’t know, Chad produced both of Women’s two full-lengths. And let’s not leave out bandmate Daniel Christiansen and.
Viet Cong started to test out the waters last year with a cassette that ended up on Mexican Summer, and now the band is gearing up to release a self-titled debut via Jagjaguwar in January 2015. Considering the quality of this lead single, I’m psyched.
The howling, haunting melodies on this track are fantastic! The galloping beat is a nice touch, and the vocals remind me of an early Wolf Parade record. It’s lo-fi, catchy, noisy, and there’s a touch of goth rock somewhere in there as well. January can’t come soon enough!
Teaming up with fellow Chicago rapper Supa BWE, Mick Jenkins lands on this socially relevant and very necessary cut titled “Treat Me.”
If you wanna hear this track in its greater context, it comes from Supa’s new EP, which is titled Hurt Everybody. Personally, I didn’t dig it, but if you’re into this song, it’s definitely worth giving a shot. Enjoy!
This past summer, I caught on to an epic and somewhat progressive Boston band by the name of Bent Knee. Apparently, a lot of other people did as well, and the unforeseen buzz caused the band to push the release date of their sophomore album back a bit in order to promote the record properly.
Well, November is around the corner now, which means the release of Shiny Eyed Babies is as well, and the band is reminding us with the track “Battle Creek,” which is embedded above.
The song starts off with a Floyd-esque guitar lick, and quickly drifts into an ominous drone punctuated with forlorn vocals and plucked strings. It’s a gripping start, and the song only gets bigger from there, conjuring grand musical passages that should captivate Sigur Rós and Björk fans alike. The ending is quite whimsical, too.
Keep an ear out for Shiny Eyed Babies on Nov 11th!
Idiosyncratic indie rock band Deerhoof drops yet another cut from their forthcoming album, La Isla Bonita, and the track features one of the most nasty, dizzying, and dissonant guitar leads to ever make it into one of their songs–and that’s saying something.
Look for La Isla Bonita on November 4th via Polyvinyl Records.
tUnE-yArDs drops visuals for the track “Real Thing,” which features loads of imagery dealing with being “real.” It’s a cool concept, and executed well. The color scheme of the video is especially pleasing, and gets incredibly vibrant toward the very end. Props to Tom Jobbins on the direction here, and check out Nikki Nack if you haven’t already.