Hi! Hello! Here we are with some bite sized goodies and a taste of a some new things that we dug that came out in the last week (ish), quick fire responses to some great new music we think you should check out. This week lots of the crew—Chantal, Kate B, Kate H, Kevin, Mike and Ray—weighed in on some killer songs and have the scoop on plenty of new tunes, give ’em a listen!
79.5– Our Hearts Didn’t Go That Way (feat. Durand Jones). The minute this song starts, you’ll be ready to groove and won’t be able to stop bopping the whole way through. From their upcoming self-titled second album, due out 5/5 via Razor-N-Tape, it arrives just in time to shake off the winter cold and usher in the warm promise of a dance filled summer just around the corner. [KH]
The Antibuddies– Like, Ya Know, Whatever. Our favorite Detroit grungy snark punks have a brand new single out, “LYKW,” which is also their first with their new drummer. It comes on the heals of the two excellent EPs they released in 2022, Oh My Goodness! (read our review) and that’s what I said (read our review). This dishes up some major Bleach era vibes and their trademark sarcastic lens is laser focused here lyrically too for a fun romp of a song that was inspired by none other than the timeless 90s queen, Lisa Simpson.
The band shares in a statement:
“Like, Ya Know, Whatever” was inspired by the infamous 1996 Simpsons episode “Summer of 4 ft 2” where Lisa learns her worst fear of being uncovered as a nerd is actually what allows her to experience authentic friendships.
It’s also the episode where Lisa wears an absolutely peak grunge outfit and practices a catchphrase she thinks will demonstrate the epitome of social coolness, “Like, you know, whatever.”
LYKW the song is about experiencing our worst social fears but finding defiant joy instead of shame in putting your imperfect self on display.
They have some tour dates throughout the Midwest for the spring, though nothing on the East Coast as of yet—come to NYC plz and thx! Follow them on Instagram to keep up with their happenings. [KH]
Bully– Days Move Slow. I loved Bully’s recent collab with Soccer Mommy, “Lose You,” which was the first taste of Lucky For You, which has just been announced with a single released alongside it. Musically, this new song sees Alicia Bognanno staying firmly in the scratchy 1994 era Veruca Salt/Belly territory explored on the previous single, and while I love Bully’s spitfire faster paced older material, I’m all for this new, more introspective pop grunge direction. This song deals with the heartbreaking loss of a pet, in this case her beloved dog, Mezzi, which is a pain that many of us can empathize with and know stings like no other. (Having lost two cats six weeks apart in 2021, this song struck a deep emotional chord with me and I found great comfort in it.)
“As someone who has spent the majority of my life feeling agonisingly misunderstood, there is no greater gift than experiencing true unconditional love and acceptance. I waited my whole life for the bond and irreplaceable companionship I had with Mezzi. She was my best friend and my only constant through some of the most pivotal moments and phases of my life. I was a stranger to the level of love I now know exists because of Mezzi. Love you forever; I’m lucky for you.”
Lucky For You releases in full on 6/2 via SubPop. [KH]
Chalk– Asking. This song from the Belfast post-punk group feels like it’s going to burst at the seams and fly apart at any moment. It’s part of their upcoming EP, Conditions, and each track feels tied together yet somehow different from the last, touching on noise, dark wave and dance punk for an intriguing collection. Only one song remains to be released to complete the EP, the title track, and that will arrive on 5/5. [KH]
Chat Pile– Cut. The Oklahoma City noise band has just announced a brand new split with the likeminded Nerver and shared the first song, “Cut,” a slow building tome that singer Raygun Busch says was inspired by the short fiction of Steven King. “‘Cut’ is an homage to the short fiction of King, particularly ‘The Man Who Loved Flowers,’ ‘Strawberry Spring,’ and ‘The Jaunt.’”
Bassist Stin also shares:
“These tracks were written and recorded after we tracked God’s Country. We wanted to use this release as a deliberate excuse to switch gears and fully lean into our more indie and alt-rock tendencies. Slint, Sonic Youth, Guided By Voices, and Starfish’s Stellar Sonic Solutions were certainly on our minds at the time.”
_Corvallis– Union. This is the first single from the instrumental post rock/shoegaze project of songwriter Matt Irving, who shares he is “all about spreading joy and inspiring music.” At times sweeping and more contemplative at others, it hits all the high notes of the genre and will definitely appeal to fans of bands like Caspian or Red Sparowes. I’m certainly excited to see where this project goes. [KH]
Dead Tooth– Electric Earth. It’s hard to argue against the point that Dead Tooth is one of the most engaging and singular bands coming out of Brooklyn right now. This is particularly true when the quintet/sextet (who knows anymore?) somehow keeps churning out quirky banger after quirky banger. The equitable distribution of artistic stagemanship divided amongst its members in itself is a unique occurrence and makes for one helluva live show. It also never hurts to have a saxophone player in tearing into the lead lines of a noisey post-punk project.
“Electric Earth” picks up right where “Sporty Boy” left off (read our review), with a tension in the guitar/vocal dance that allows us to boil and then drop at frontman Zach James’s command. What starts as a thumpy bass n’drum toe-tapper, by the end has you punching your whole foot right through the floor. Playing off concepts and complexities of emotional capitalism, it exposes us within a universe that feels very much like the Pink Panther on heroin. They will soon embark on tour supporting Bass Drum of Death which will hit Music Hall of Williamsburg on 3/31. Check out pics from their Market Hotel show together in 2022. [MB]
Dorthia Cotrell– Harvester. Dorthia Cotrell’s haunting new single, “Harvester,” weaves a disarming but mesmerizing atmosphere around you from its early surging chords awash with wind chime sounds. But it’s Dorthia’s beautiful and rich alto voice that draws you in and hyponotizes. There’s something upside down about the natural way of things in this song, and perhaps in our world, as Cotrell is pointing out. It’s cool in the summer, warm in the snow,” she sings, “Enough for my children’s, to keep them from coal.” This is the first single from her new solo release, Death Folk Country, due out on April 21 via Relapse Records. Cotrell already spreads dread with renowned stoner doom band Windhand, but “Harvester” demonstrates the creepy and more quiet beauty she can spread solo. [KB]
Erica Dawn Lyle– Sympoiesis/War Pigs (Black Sabbath cover). Erica Dawn Lyle has most recently been known as the touring guitarist of Bikini Kill from 2019-2022, but she has been making punk and experimental music as well as writing zines since the early 1990s. She recently announced a brand new solo album, Sympoiesis, which she shares on Bandcamp was “Recorded and edited at home from New Moon 1/21/23 to the Full Moon 2/5/23 mix of live improv and composition made from improv loops.” These songs see her in deeply experimental territory, the emotions of the songs very clearly communicated even without words, and the Sabbath cover in particular is as trippy as it is primal.
The album is being released in response to, and in support of, the protests in the Atlanta Forest which has been ongoing since 2021 and has seen cops ruthlessly escalating their violent tactics in recent months, leading to the murder of a protestor, Tortuguita, in January of this year. Lyle shared a lengthy statement on her Bandcamp page about the album and the protests which you can read here. Sympoiesis will release in full on 4/26 and all proceeds from pre-orders will go to the Atlanta Forest Defenders. [KH]
Fruit Bats– We Used To Live Here. Nostalgia of place is one of my weaknesses, and this song sent me into a bit of an emotional spiral. An ode to dwellings past, “We Used To Live Here” is a stripped down, acoustic tale that recalls the odd feeling of seeing a home you once occupied with your feelings, possessions, and lives, now empty — or perhaps worse, occupied by someone else. This is the final advance single before A River Running to Your Heart releases in April. [CW]
Geese– 3D Country. Geese return this week with new single “3D Country’ and accompanying seven minute hallucinatory video. And it’s a trip in every sense, as singer Cameron Winter envisioned a cowboy on psychedelics making his way through the backwoods. Winter shows his full range as he starts with a lower baritone before moving to the more full throated raspy mid-range section which blends well with the almost 70’s Steely Dan jazz-tinged female background vocals. It’s an upbeat jam that throws country, rock and honky tonk piano into the mix and you can just imagine them letting loose when they play this one live. [KM]
Handcuff– The Judge. The third single from the brand new London no wavey noise punkers who describe themselves as a band who make “short songs for bored people” that “[came] together from different corners of the South East’s [England] DIY punk and indie scenes, they find a home somewhere between noisy indie rock and fast punk and hardcore.” Their debut self titled EP comes out in full on 4/14 and will contain one more track that has yet to be released. Read our review of their previous single “El Ganso,” a very fun punk rock bop. [KH]
Hills To Height– Expired Benzos. The latest from the Brooklyn indie band, I’m a big fan of the soaring vocals here and the solid 90s vibe. (A leopard can’t change her spots and as a teenager of the 1990s, I’m always down for the vibes/sounds of that era.) This makes me think that it could be members of Catherine Wheel and Hum getting together to make a side project and you’ll hear no complaints from me on that (see previous parenthetical insert).
The group has been around since 2010, first as the solo project of songwriter Mike Dautner along with a rotating cast of characters, and which has since expanded to include the permanent membership of Joe McCaffrey, Casey Rabito and Jay Bernard. This was my first taste of their music but I look forward to digging back into what they have done in the past. [KH]
Immortal– War Against All. I’ve always preferred the “underproduced” albums of black metal to cleaner sounding ones, and Immortal’s newest is in the latter camp. And I’m not sure they are a “band” anymore, with original member Demonaz Doom Occulta being the only member listed on the release. Still, if you’re a fan of Immortal and their demon filled realm of Blashyrkh, this should satisfy, with rapid-fire percussion and guitars running to catch up to Demonaz’ tale of fantasy warfare (“strong is the hordes thunderous march / rise from the shadowlands / the power of northern darkness, wrath rides / into the unleashed Fimbulwinter.”) War Against All will be out via Nuclear Blast Records on May 26th. [CW]
The Japanese House– Boyhood. Brand new music from London based singer songwriter, Amber Bain, this is her first release since her 2020 EP, Chewing Cotton Wool, and it’s a nice slice of effervescent indie pop.
“When my best friend Katie and I were young and in love, we dreamed of riding off into the distance on her horse Bam Bam, away from all the problems that came from being gay and in love back then. This song talks about how sometimes, however hard you try, you can’t help but be a product of the things that happened to you or held you back earlier on in life. But also, and more importantly, it’s about hope for overcoming those things. And look at us now. Not riding away, but towards… something. This horse was very lovely to us, but I think deep down Bam Bam was the horse we were riding all along, and wherever I’m recklessly galloping off to in my life, Katie will be riding bareback behind me like a lunatic, arms around me, like we’d always planned. Rip Bam Bam xxx.”
The single has been released as a standalone for now but hopefully more new music is on the way. [KH]
Jeromes Dream– South By Isolation. I don’t tend to be a big screamo person in general, but there are a few bands of the genre I really dig and Jeromes Dream is definitely one of them. I love that this song starts out with their signature feedback before kicking into some sick blast beats paired with Jeff Smith’s wailing scream and pounding bass riffs. This is the second single from the upcoming album, The Grey In Between, which follows their 2019 reunion album, LP. (If FTA had existed then, that album absolutely would have been on my favorites of the year list.) The new record is due out 5/5 via Iodine Recordings and the band will hit NYC on 6/2 at TV Eye. [KH]
Josie Cotton– Disco Ball. “What would James Brown do?” Josie Cotton asks at the beginning of the video for her newest single “Disco Ball.” If the answer is croon over a funky beat, Cotton has the question answered. The groovy guitars and organ synths add a nostalgic tinge to the song, which has a rather cinematic feel. The video is wacky and wild (are those… crab yetis?) and brings the 60’s and 70’s vibes. Day Of The Gun will be out May 2nd on Kitten Robot Records. [CW]
Mesheel Ndegeocello– Virgo (feat. Brandee Younger, Julius Rodriguez). The legendary bassist/singer/composer has announced her 13th studio album, The Omnichord Real Book, and shared the first single which features harpist, Brandee Younger, and Julius Rodriguez. The song is an eight minute epic that touches on soulful jazz, electro, trippy futuristic pop, funk and more with Ndegeocello excellently leading the charge, tying it all together with her collaborators.
Ndegeocello shared in a statement:
It’s a little bit of all of me, my travels, my life. My first record I made at 22, and it’s over 30 years from then, so I have a lot of stored information to share… This album is about the way we see old things in new ways. Everything moved so quickly when my parents died. Changed my view of everything and myself in the blink of an eye. As I sifted through the remains of their life together, I found my first Real Book, the one my father gave me. I took their records, the ones I grew up hearing, learning, remembering. My mother gifted me with her ache, I carry the melancholy that defined her experience and, in turn, my experience of this thing called life calls me to disappear into my imagination and to hear the music.
The Omnichord Real Book is out June 16 via Blue Note and is her first release on the label. [KH]
The Murlocs– Initiative. The Melbourne, Australia based band recently announced they have a new album, Calm Ya Farm, due out on May 19 (ATO Records) and released new single “Initiative” this week. It’s a big departure from their more garage/psych rock sound from previous albums as they introduce a brighter, cleaner, country rock sound. It’s a fun rollicking jam that finds Ambrose Kenny-Smith acknowledging he’s “mad as a hatter, officially off my rocker” but he’s ready to take some initiative and make a commitment, provided he’s taken back. By the time the la-la-la-la’s kick in you’ll be clapping your hands and singing along. Check out our live coverage of their last NYC show. [KM]
Pink Mexico– Dungeonhead. It’s only been a couple years since we’ve heard from Robert Preston Collum and the crew, but either way it feels like way too long. “Dungeonhead” is the lead single off their upcoming record Mirrorhead (out May 2023 via Quiet Panic Records) and feels like a slightly new direction for the band. There’s a sleepy element here that works wonderfully with their heavy components that are still present, but buried just below the surface. It’s almost Dandy Warhols in nature, which is a really cool turn for Pink Mexico and we are really curious to hear how the rest of the new record unfolds. [MB]
Romi O– M2M. You know Romi Hanoch as the front-and-center, bundle of energy goofball singer/guitarist of garage-punk trio, Powersnap. You also know Hanoch as the sultry voice among the ensemble cast of Ghost Funk Orchestra. But you may not know (yet) the Shakespearen-influenced Romi O, who just dropped her second single from her upcoming debut album expected to be released later this year.
Accompanied by a bare-bones but beautiful and simple music video, the song wonderfully marries electronic components and indie-rock sensibility to explore the complexity of one’s own identity and the ways in which different paths of expression can play out in how we approach choices we make as a person. [MB]
RVG– Squid. The Melbourne-based post-punk band plunges into deep waters with their single, “Squid,” where guitarist/singer/lyricist Romy Vager steps on something on a beach and morphs into a squid-like form. From there, RVG reveal that squid are time travelers. Under the water, Romy is trapped in the past. “Don’t go back in time,” her raspy voice sings, “it’s not worth it.” Her vocals, like her lyrics, are raw and brilliant, and the lush and urgent music behind her from guitarist Rueben Bloxham, drummer Marc Nolte, and bassist Isabele Wallace spin a gorgeous goth soundscape reminiscent of the best of Siouxsie and the Banshees. “Squid” is the second single (following “Nothing Really Changes”) off of the forthcoming album, Brain Worms, due for release on Fire Records on June 2. [KB]
Shiverboard– Amphibian Fruit Punch/Stain Remover. A nice double blast from the Brooklyn punk/metal/noise doomsters. Despite them both being short, there’s a lot going on in these tracks with a wild and rapid shifting through genres from one moment to the next. But these guys never end up flailing blindly and make it all work seamlessly despite the at times seemingly disparate genre mashing. I’m more partial to the quick punk attack of “Stain Remover,” but both songs are solid and show off their chops as a band and as denizens of all things heavy. They’ll next hit the stage on 3/27 at Saint Vitus. Check out our coverage of one of their recent shows. [KH]
Wednesday– TV In The Gas Pump. Wednesday released their last album, Twin Plagues, a bit of a breakout album for the Ashville, NC band, back in April of 2021. It didn’t take long however for lead singer, guitarist and principal songwriter Karly Hartzman to start writing the material for their upcoming album, Rat Saw God (out April 7th on Dead Oceans). “TV In The Gas Pump” is not only the 4th single released so far from the new LP, but also the last track on the album itself. “TV,” unlike the previous three singles released thus far is a very soft, almost delicate dream pop ballad. If it weren’t for the repetitive guitar feedback which is omnipresent throughout (and even this is buried way down in the mix) you’d be hard pressed to recognize this as a Wednesday tune.
That being said, “TV In The Gas Pump,” is a gorgeous song from a musical flow perspective. Lyrically, we are treated to what feels like a band’s eye view of touring through the American hinterlands and the mundaneness of the life it begets. But as I said, it’s the closing track on the LP and I have to imagine that Hartzman purposely wanted a soft tender lilting ballad to finish it off. The bottom line is that while this new single is quite a departure from the self described country-gaze which we’ve grown accustomed to from Wednesday, Hartzman and their amazing band has a winner with this one which makes me super excited to hear the complete LP when it drops. [RR]
Worriers– Never Quite Kicks In. I’m a big fan of Worriers, the Los Angeles-based (but formerly Brooklyn-based) project of singer/songwriter/guitarist Lauren Denitzio. “Never Quite Kicks In” delivers a whole new sound and vibe that is much more “chillwave” than the Worriers records I’ve heard in the past. The brief but withering song clearly demonstrates the 90s throwback vibe and critique that Denitzio is going for throughout the forthcoming record, Warm Blanket (to be released by Ernest Jenning Record Co. on April 7).
Denitzio shared in a statement:
“I’m all for a good nostalgia trip but nothing gets me twitchy like apathy and a too-cool-for-school attitude. I wanted to make something that reminded me of the indie songs I grew up on that could talk about something more significant while sounding fun and maybe a little bit silly.”
Clocking in under two minutes, the song shows Denitzio flexing their lyrical prowess with more irony than the earnest honesty I’m used to from them, and their signature guitar-driven hooks are toned down for more synth-driven pop here. But I’m happy with the unique vibe of this song and this record; I’ll follow Denitzio and Worriers wherever they want to go. [KB]