Here’s a piece of wordy, nerdy, and perturbed-y piece of art punk that’s been growing on me lately: Big Ups‘ Eighteen Hours of Static. “Goes Black” is one of the couple songs the band is letting people stream from their new album, which is out now via Dead Labour Records.
The tracks on this thing really check a lot of boxes for me. It’s well-read, aggressive, emotive, and plenty of skilled guitar play with a punk edge. Enjoy!
Stream the new Black Lips album if ya know what’s good for ya! The band seems to live up to grimy and catchy expectations with this new set of tracks, which will be out officially on the 18th of this month. Enjoy!
Evian Christ’s typically dark, moody production sounds like it’s been infused with power electronics or industrial on this new track titled “Waterfall.” The massive drops of bass sound fantastic against the really eerie, atmospheric synth leads playing throughout this track. He progressively builds the track into this mountain of low-end mayhem that’s both frightening and cathartic.
Check a review for the compilation he dropped a few years ago below:
Some dark, fiery R&B from this new, collaborative track from Shlohmo & Jeremih. The vocals on this track are emotive, pained, and featured a splash of reverb a la the Weeknd. While I do see some obvious stylistic similarities, this song really separates itself form that with the beat. The distorted bass, trap-style hi-hats, and eerie “clinks” hanging in the background.
I love the way the vocals are so closely mashed together when they’re multi-tracked, layered on top of one another. The whole track just feels so moody, intimate, and enveloping. It’s like a forbidden sexy embrace of some sort.
Enjoy this and hang tight for a forthcoming EP of collaborative tracks from Shlohmo & Jeremih. Here’s to hoping they’re all as great as this one!
Wolfe and Dude find themselves in the midst of an atmospheric, tortured duet that calls out to the likes of Nick Cave or Michael Gira. If you like your folk with a gothic edge, then hop on this quickly.
The song streaming above is a part of a forthcoming 7″ titled Sing More Songs Together…, which is dropping on March 25th via Not Just Religious Music. There’s only gonna be a thousand copies of this thing, too
This isn’t the first time Wolfe and Dude appeared on the same 7″ together, and it’s great to see the collaborative element of this second go-around runs even deeper. Enjoy!
Over the course of running my YouTube channel, I don’t think I’ve reviewed any one band more times than I have Woods. Though I’ve thought their discography has had its ups and downs, it’s been interesting to watch this band’s approach to folk rock go from spectral to sunny. “Moving To The Left” is the latest installment of that transition, and it’s one of their catchiest and most feel-good results yet. The vocal melody on the chorus here is absolutely killer, and the sharp guitar leads twanging away in the background are a nice touch as well. Plus, Wood’s production hits a perfect pocket, finding a harmonious balance between rickety and punchy. I’m digging this one a lot!
The band’s next album, With Light And With Love, is dropping April 15th. Also, check out this song from the forthcoming record as well.
Music production has come a long way since the 80s, and it’s sometimes hard to imagine how so many beloved joints were produced on such rudimentary equipment. Case in point: The SP-1200. Of course, this drum machine and sampler that was more advanced than the hardware that preceded it, but it’s funny to think this thing had only about ten seconds of sampling time at its disposal. These days, we can sample anything for as long as we’d like. The limitations seem to be endless, and advancements like this tend to make us forget what things were like prior. Despite obvious limitations, the buttons on the SP-1200 were smashed by too many legendary producers to name, and its abilities were put to use in a variety of different genres, too.
This is how all of this is relevant: What’s been embedded above is a new album of instrumentals from up-and-coming producer Surock, and he stuck faithfully to the 1200 for every single track here. As a result, the beats here have a warm, gritty tone. The dude’s sampling is tight as well, and there’s a variety of vibes that come across in these beats, too. Give ‘em a stream, and enjoy!