Archive for the ‘CLASSIC ALBUMS’ Category

Lomelda nails it with this album lots of killer melodies and harmonies linked to poignant lyrics, Just some of the most simple, gorgeous, heartbreaking — and shortest — songs I’ve heard in a long, long time. My new album ’M for Empathy’ is mostly things said or shoulda said, heard or shoulda. Much of it, and it’s just a lil, came to me, or outta me, outta a deepening silence. Something you can hear a lot of I hope. It let me voice again. It also let me not, and only sing as much as I wanted, which is important too. Making peace with the word in me, just a lil, all my might.

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at Lazybones Studio in Silsbee, TX
January 26-28, 2019

Performed and produced by Hannah Read, Tommy Read at Lazybones Studio in Silsbee, TX
January 26-28, 2019.

This is the third full release from Seattle’s Meagan Grandall, a project now 10 years old. A sweeping, symphonic expression of loss and the ache that comes with it, I have listened to this album this year at home, and in my car at the loudest possible volume while in the worst possible mood. Lemolo has been with me for many years now as a favorite, but Swansea was there for me this year. Another great collection of captivating dream pop from Meagan Grandall. The lush sounds and production are warm and welcoming, with intelligent arrangements full of varied instrumentation that never fails to impress..

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Meagan Grandall: Vocals, Guitar, Piano, Synth, Bass, Violin, and Vibraphone
Nathan Yaccino: Drums, Percussion, Guitar, Bass, Cello, and Vibraphone
Alex Guy: Violin and Viola
Maria Scherer Wilson: Cello
Jon Karschney: French Horn

released October 11th, 2019

All songs written by Meagan Grandall ,Lemolo is the Seattle dream pop project of songwriter and multi-instrumentalist.

Emo-adjacent indie-punk bands are having a moment right now, and Heart Attack Man are undeniably part of that. The Cleveland band’s second album, “Fake Blood”, dips into college rock, grunge, punk and power pop, but all you’ll be thinking about are their seething riffs and incisive hooks that leave it all out on the field. Their pumping melodies bleed profusely while their slower riffs are satisfyingly sedating. Throughout their eleven tracks, frontman Eric Egan uses lurid physical anguish as a metaphor for emotional agony. On “Cut My Losses,” they “paint the walls with your brain,” on “Blood Blister,” there’s talk of “dead skin and phantom limb memories,” and on “Rats in a Bucket,” they have “a corpse’s worth of bones to pick.” On one hand, Heart Attack Man embraces an us-against-the-world mentality with steam emanating from their nostrils, but they also have a self-destructive side which exposes them to friendly fire. This dichotomy is illustrated in the final track, “The Choking Game,” where their invincibility and insecurities meet (“Some days I walk on water / Some days I run on fumes”).

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If bloodthirsty angst and strapping power punk is your scene, go out and buy some Fake Blood.

Eric Egan,
Adam Paduch,
Tyler Sickels,
Seamus Groman

Released April 19th, 2019

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“Lilac” is a surrender to the uncertainty of love, and a reaffirmation that its messy realities are worth trying to parse. Against warbled guitars, ascendant strings and marching drums, Dana Margolin screams into the void, “I can never seem to find it,” with the kind of passionate exhaustion that sounds like she’s ready to throw herself into the sea. Despite feeling stuck, she ultimately reaches the conclusion that if kindness and love aren’t noble causes, then nothing is noble. “I don’t want to get bitter, I want us to get better,” Margoli sings as she sides with humans’ better nature and delivers one of the most intense vocal performances of the year. The strings and guitars cry out and match Margoli’s existential urgency, resulting in a late song of the year contender.

The album documents struggles with life, love and boredom – spelt out with sticky fingers by five idiot savants. The lyrics, title and artwork, as well as the group’s name, brings to mind a certain scrapbook absurdism at the core of Porridge Radio’s work. Faced with the dark abyss of existence, the band scrapes together some value from the nonsensical and the pointless, and then cling to it, giggling, for dear life.

All 27 minutes of Patio’s debut album “Essentials” are artful and purposeful. This Brooklyn three-piece ,Alice Suh, Lindsey-Paige McCloy and Loren DiBlasi aren’t the most adroit post-punk band going today, but what they create out of sparse sounds is impressive. The satisfying contrast between DiBlasi’s pointed deadpan and McCloy’s soft vocalizing is just one reason for their intrigue. The vocal interplay between DiBlasi and McCloy on “Boy Scout” is the best example, and it also displays the full range of their lyrical charm. Lines flicker between self-deprecating or violent to wry or just plain sad. DiBlasi sings, “I just feel like I always lose / I think I’m going to go home and listen to Washer / Instead of spending any more time with you.” McCloy’s delicate vocal harmonies on “End Game” are welcome pillows of melodic pop, and DiBlasi’s punky, disconsolate grandeur on “Open” struts slowly with grace.

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Inspired by classic British post-punk, the songwriting of Cate LeBon, and the close-knit Brooklyn DIY community from which the band first sprouted, Patio now release their long-awaited debut full-length Essentials, a fundamental collection of new music for 2019. Building upon the delicacy of the band’s prior work, Essentials presents fuller sounds, heightened emotions, and grander thematic complexity. Its 10 tracks are dark and introspective, yet hopeful, and often humorous—from rambling spoken word meditations to sparkling melodies and soaring riffs. Melodramatic and grotesque expressions abound, as do soft, subtle moments of quiet self-examination. Mixed by Amar Lal (Big Ups, Ovlov).

Released April 5th, 2019

Alice Suh – drums
Loren DiBlasi – bass, vocals
Lindsey-Paige McCloy – guitar, vocals

Bonnie’s sweet ethereal vocals sail over the polyrhythmic backgrounds created between her mandolin, percussion and vocal loops. Her imaginative lyrics tell stories of treehouses, mice, birds, flying and video games.
Described as “dreamy experimental indie folk” and compared to artists such as Bjork and Joanna Newsom, Bonniesongs is creating a unique sound in the Sydney songwriting scene.
 

A beautiful record of patient music. Layers of sound and rhythm creating atmospheres that sublimely match the lyrical content. “Ice Cream” is a near-perfect song

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Art-folk virtuoso Bonniesongs, aka Bonnie Stewart, and will release her debut album “Energetic Mind” on 6th September 2019, via Small Pond and Art As Catharsis.

Released September 6th, 2019

Bonnie Stewart: vocals, guitar, banjo, drums, percussion
Freya Schack– Arnott: cello
Thomas Botting: double and electric bass
Alyx Dennison and David Trumpmanis: guitar noodles, bass synth and zombie vocals

True to its title, “Emily Alone” was written and recorded by Emily Sprague during a few days last winter; after plans for a full-band Florist album were put on hold, she’d ended up with all these songs ruminating on loneliness that she didn’t know what to do with. It’s funny, though, because the songs that she wrote have the effect of making a listener feel less alone. Sprague creates a meditative, atmospheric blanket, her folky ramblings a comforting presence. It’s a guiding hand through the darkness that we fear so much.

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Her third album, Emily Sprague is sitting by the ocean, taking walks, tending to her plants, daydreaming. She’s feeling peaceful and existential and acutely aware of every source of light in the house. The previous two albums from her indie-pop outfit Florist were full-band affairs, but in these 12 songs, Sprague steps away from her collaborators for a spell, tasked with filling time alone. It’s a familiar reprieve for the Los Angeles-based artist, who has also released several excellent ambient collections under her own name. But while those long-form compositions have evoked solitude and the natural world using modular synthesizers, Emily Alone is built from simpler tools: double-tracked vocals, acoustic guitar, and the occasional birdsong leaking in from an open window.

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This is a very novel album, guitarist and with energetic choruses. The LP of the duo collects several singles published over several years, but that is why it is still a compact disc. Yawners’ music can be tremendously evocative and absolutely motivating and lively. “Big riffs, big feelings, big tunes. Yawners high energy indie rock feels like a crush.”

Fizzy power-pop duo Yawners are two hometown heroes crafting keen, thoughtful hooks in Madrid’s guitar rock renaissance. Elena Nieto writes her songs on her sleeve, matching earnest, hyper-self-aware lyrics with punched-up riffs and Martin Muñoz’s frenetic drumming. Yawners’ 2019 debut album Just Calm Down captured the manic energy and bone-tired comfort of long summer afternoons, as on “La Escalera,” the album’s only Spanish-language track, whose chorus Nieto wrote as her mom called her down the stairs for dinner. Yawners are the sugar high and the sugar crash and the limitless feeling of both.

“Please, Please, Please” appears on Yawners debut LP “Just Calm Down”, released by La Castanya on LP, CD, and Digital on March 22nd, 2019.

Band Members
Elena (guitar + vocals)
Martín (drums)

released March 22nd, 2019

This album has so much heart, so much sincerity behind it that you can’t help but love it. Beautiful lyrics, excellent guitar tones, just enough rhythmic complexity – it’s like a rich slice of pie you eat silently at a family gathering, waiting for the next big thing to happen.

With differing time zones and work hours separating the members of Great Grandpa, their follow-up to 2017’s grunge-influenced Plastic Cough had every reason to sound safe and familiar. Instead, without meaning to, the five-piece recorded an album of emo, alternative, and folk-rock hybrids. Four Of Arrows is an immediate listen; these songs are earnest and worried, seemingly always reaching for hope that’s just out of grasp. But they never sound defeated, at least not with friends by their sides. It’s as if by experiencing major changes individually, they saw all the ways in which Great Grandpa could blossom together.

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Four of Arrows, a creative turn toward introspection and Great Grandpa’s collective result of rest and solitude. Undoubtedly, the 11 songs comprising Four of Arrows are a departure from the playful nods to pizza and zombies on Plastic Cough. The writing and recording process had evolved – less Seattle garage jams and more vulnerable solo songwriting sessions. Most of the songs on Four of Arrows were written in isolation by Patrick and Carrie Goodwin while traveling and living in the Midwest.

The band instantly found common threads between their individual contributions, citing mutual love and admiration for vulnerable and emotionally resonate music. Four of Arrows embraces subtlety and pays close attention to the quiet. From the methodical dirge of “Dark Green Water” into the haunting and howling guitar of “Digger” – Great Grandpa try something new by letting the acoustic guitar and piano lay the foundation for many of the album’s tracks.

Released October 25th, 2019

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The Fleeting Joys are a shoegaze band from Sacramento, California, United States formed in 2005. Their sound is influenced heavily by classic shoegazers My Bloody Valentine , to whom they are often compared.

With “Swirling guitars… layers of noise… drugged out soft male and female vocals going back and forth… sounding like part love, part death, part hope, part sadness. It’s as if they’ve turned their instruments into liquid and poured them into your ears

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Band Members
John Loring,
Rorika Loring,
Matt McCord

Released July 12th, 2019

Written and produced by Fleeting Joys on only forever recordings