Aunty Social will release her debut EP, “The Day My Brain Broke”. The bedroom pop artist has been teasing the release for months, sharing “Trying” last summer, followed by “Traveling Circus” and “Crack a Deal” in the fall. Just two days away from the full effort’s March 6th due date, she’s back today with a final sample in “Thinking About Thinking About Thinking”.

Though fizzing with dream-like guitar, the songs on The Day My Brain Broke have all tackled the somber aspects of Aunty Social mastermind Daniela Gitto’s personality. “Thinking About Thinking About Thinking” is no different, a woozy slice of indie pop that reads like a lover’s comforting embrace. However, Gitto’s lyrics reveal that comfort is coming from a place more severe than romance, but rather deep concern. “Behave my love, we’ll never make it past the clouds,” she sings. “We’ll fix our brains/ And promise that we’ll try the next day.”

In a statement, Aunty Social has said the song is meant to “depict depression as a child-like fear that can root from the imagination.” She continued, “It attaches itself to outside sources like being scared of the dark, but deep down it is an internal issue. The only remedy being a figure of strength that can drag us out of our heads.”

Listen to “Thinking About Thinking About Thinking” via its lyric video below, and find out what else inspired the song by reading Aunty Social’s Origins breakdown ahead.

Image may contain: one or more people, child and closeup

Lauren Auder’s Byronic take on the King Krule template washes away the ooz and replaces it with a breezy romanticism and just the right amount of snarl. It’s hackneyed to juxtapose an artist’s age with the maturity of their music, but when it comes to Lauren Auder, the disconnect is almost startling. At first glance, the 19-year-old London producer and singer-songwriter seems indubitably of the moment: his waif-like appearance, gender-fluid fashion sense and close relationships with some of the U.K.’s hottest underground rappers—including slowthai and Jeshi—feel custom-built for youth culture ubiquity. Modeling spreads in Another Man and Dazed alongside a glowing Vogue profile have established him as a rising darling in the fashion world, and his signing to True Panther Sounds,.

The sonics of Auder’s debut EP, Who Carry’s You, place him in an entirely different universe. The five tracks on the record, driven by his resonant, Scott Walker-like baritone, evoke a primal darkness utterly at odds with his visual aesthetic—long hair, painted nails, gender-bending outfits and the occasional bit of eyeshadow. In his music, Auder creates an immersive world where Christian iconography jostles with pagan mysticism, and classical strings fade into menacing trap percussion and frenetic electronic maximalism. Beautiful and harrowing by turn, the music on Who Carry’s You is a cathartic expression of raw emotion imbued with a lyricism closer to romantic poetry than pop.

The new EP ‘two caves in,’ is out March 5th:

Image may contain: text

The growing notoriety and the conception of Beach Bunny’s debut album, “Honeymoon” this Bunny is a Chicago based pop band led by Lili Trifilio, who just graduated from DePaul University. After recently being signed to Mom+Pop Records, whose roster includes Courtney Barnett and Flume, the band released their first studio album, Honeymoon, on Valentine’s Day. During these years she has recorded several projects, found bandmates, toured and played Riot Fest and Lollapalooza, become verified on social media, signed to a major label and gained almost two million monthly listeners on Spotify – yet she remains incredibly humble. Although her bright purple hair and permanent warm smile stand out in a crowd, unless she’s on DePaul’s campus, one wouldn’t know that she is about to blow up into a major pop star.

This cover of a 100 gecs crossover status update: Their songs are being covered in whimsical fashion by pop-punk bands. This is a great thing.

From start to finish, Honeymoon is the bookends to a relationship – the highs of a new beginning and the lows of an unwanted end. But with each song there is a chapter filled with words any lover could highlight, with enough margin space to attach our own memories and feelings.

The album opens up with “Promises” – a song about the lack of closure post-break up. In the following track, “Cuffing Season,” themes smoothly form from these unresolved problems, resulting in the idea of commitment sounding impossible after heartbreak. Even with Trifilio’s trust issues, a motif listeners have heard before in her older tracks, Honeymoon comes with a new sense of ressaurance. Trifilio experiments with new vocal melodies and sounds confident. She is validating her own feelings and sings about setting boundaries.

Halfway through the album, “Rearview” slows things down and focuses on Trifilio’s voice and solo guitar. The band enters at the back end of the song with a thematic build up into the drums emphasizing her lyric, “I hate it when you catch me crying.” “Racetrack” is another minimal track that tugs on nostalgia with its music box-esque piano. The album ends on a high note with  “Cloud 9” – a pop banger that reveals the freedom and euphoria that can come from a happy and healthy relationship. The final words are, “You will always be my favorite form of loving.”

Image may contain: 5 people, people standing, mountain, outdoor and nature

Well I’m sure I’m not the first to tell you about this one, but its not every day that Woods give word of a new record on the way. The band’s been working on this one for a comfortable stretch, coming in as their eleventh album after 2017’s Love Is Love, with only a collaboration with Dungen sneaking in between. Their last was a response to political shift following the upsets of 2016, but now the feelings have had a bit more time to simmer. The first single “Where Do You Go When You Dream?” continues to act as balm, but this is also a decidedly mature and elegiac Woods. The song floats on a breeze of keys, drifting away from some of the sunny strums that have marked their past works. Its a melancholy track, steeped in memory, family, and friendship. Ochre-hued harmonies, full-fleshed production, and Jeremy Earl’s wistful vocals herald an album that moves the band into a new phase of their career with grace and ease. The record is out May 22nd on Woodsist.

First single from the new Woods album out May 22, 2020 on Woodsist Records.

No photo description available.

Aussie janglers The Stroppies return in fine form today with a new mini-album that wraps up their recording work from the last year. Vaulting off of their excellent album from last year, the band continues to capture the overcast sway of kiwipop from days past, calling back echoes of The Clean, Able Tasmans, and Tall Dwarfs. They buoy their sunny strums with heavy-sighed harmonies and a hummable heft of organ that gives the song staying power.

The band’s sticks to your ribs more than some of their peers with an ability to let angst and insecurity bask in the sun of their strums – giving their songs a more substantial kick then some of their cohorts. They continue their run at UK label Tough Love and while this might be another short one (something the band seems adept at) these eight songs still feel like a vital part of The Stroppies’ path. The LP descends to the decks on May 1st.

Taken from the record, Look Alive, out 1st May 2020 via Tough Love Records.

Pottery

If you caught Pottery live at any point in the last year, you know they had already become quite a different band than the one glimpsed on their 2019 debut EP No. 1. Approximating some middle ground between Devo and Talking Heads, Pottery were growing into a weirdo art-rock band reliant on frantically clipped guitar grooves and propulsive arrangements. Their shows were quirky dance parties, with lots of catchy melodies blared out in all-hands-on-deck vocal chants.

“Texas Drums” is the first preview of what happened when that iteration of Pottery made it into the studio, and it manages to capture the sweaty, unrelenting energy the band wields onstage. There is a lot going on here, all kinds of guitar blurts and vocal ad-libs and bonus percussion instruments. But it all works towards this bug-eyed intensity, a song that rushes out the gate and never lets up even as it crash lands into its extended Part 2 coda, a melted psychedelic comedown. A lot of young guitar bands are coming up in some kind of mold you could put under the broad umbrella of “post-punk.” But nobody’s playing with those tropes with the sort of joyful abandon that Pottery are.

“Texas Drums Pt I & II” from ‘Welcome to Bobby’s Motel’ out April 10th on Partisan Records and Royal Mountain Records. 

No photo description available.

Car Seat Headrest return with ‘Making a Door Less Open’ on Matador Records this 1st May! Limited pink vinyl available! . The band Car Seat Headrest has announced his new album. The follow up to 2016’s Teens of Denial, Alongside the news, Car Seat Headrest, aka Will Toledo, has shared the album’s lead single “Can’t Cool Me Down”. The album sees Toledo adopt a new persona, known as ‘Trait.’

The new Car Seat Headrest album sounds like quite the trip. Will Toledo recorded it twice — once as Car Seat Headrest and again as his alter ego, an electronic musician named “Trait.” “Can’t Cool Me Down” is the first taste and it’s immediately clear things are a little different to normal. Gone are the epic rock landscapes crafted with guitars and endless drums and in their place is a sparse but magnetic ‘80s electro-pop tune.

The 20 best rock songs right now

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she’d caught the ear of Ryan Adams, who listened to her perform her song “Killer” and invited her to record it in his studio the next day. The session grew into the three-song ‘Killer’ EP, and she hasn’t looked back.

http://

“When I grow up, I’m gonna look up from my phone and see my life,” Phoebe Bridgers making the endless scroll sound like a welcome escape. It’s an artful return for Bridgers who, despite many collaborative projects, hasn’t released new solo material since 2017.

Seven minutes and fifty five seconds of Heaven for the ears

No photo description available.

You might recognize Joe Agius as a member and co-writer of Hatchie, the dreampop project of Harriette Pilbeam. But for the better part of the last decade, the Brisbane (Australia) artist has been slowly and steadily chipping away on his own material. Today, he’s ready to share it with the world. His debut single as Rinse, “Tell Me Tell Me Tell Me,” is a shimmering and soaring post-punk plea for sanity.

Agius explained how the song, and its Nick Maguire video, came together:

‘Tell Me Tell Me Tell Me’ was recorded late last year at Airlock Studios in Brisbane and sonically sits in the middle of a lot of the music I’ve been getting ready in RINSE so felt like the right place to begin in. The song talks about a time in my life when I was wrapped up in a lifestyle that wasn’t doing great things for my mental health and I lived in a place that only really encouraged that behavior. While I still have many things to figure out, I realized leaving this period of my life that a lot of what I was doing to make myself feel better was really making myself feel a lot worse.

I wanted the video for ‘Tell Me Tell Me Tell Me’ to be a simple performance video as there was a lot of energy within the song I felt best conveyed live with a band with no bells and whistles. Black Bear Lodge kindly allowed us to setup and bash through the song for a couple hours one rainy afternoon before the bar opened and I had my friend Nick Maguire who I’ve worked on a number of videos with previously shoot it.”

Image may contain: one or more people

For Sophie Allison, aka Soccer Mommy, “color theory” is a distillation of hard-won catharsis. The album confronts the ongoing mental health and familial trials that have plagued the 22-year-old artist since pre-pubescence, presenting listeners with an uncompromisingly honest self-portrait, and reminding us exactly why her critically-acclaimed debut, 2018’s Clean, made her a hero to many. Wise beyond her years, Allison is a songwriter capable of capturing the fleeting moments of bliss that make an embattled existence temporarily beautiful. With color theory, Allison’s fraught past becomes a lens through which we might begin to understand what it means to be resilient.

color theory is awash with a lush landscape of guitar strums and rustled distortion and Alison’s down to earth vocals. It’s part 90’s pop, contemporary songwriters like Sasami and Weyes Blood and Alison’s pop-punk past.

Soccer Mommy is the project of 22 year old Sophie Allison. The Nashville native hit the music scene in the mid-2010’s when she was still a high school student. Now, on her second album, we are excited to welcome her to KCRW ahead of the release of her new record Color Theory.

From the old soul/honest human department, meet Soccer Mommy. Her sound grazes the bottom edge of upbeat on occasion but her words are about deep emotions – fear, anxiety, sickness and darkness. I was taken by her willingness to sit in those feelings, talk about them openly and share them with a smile. Her sense of humor through the intensity made me love her new songs even more! Check out her standout performance of “Crawling In My Skin.” 

Musicians:
Sophie Allison – Lead Vocals, Guitar
Graeme Goetz – Bass
Julian Powell – Guitar, Background Vocals
Rollum Haas – Drums, Background Vocals
Rodrigo Avendano – Keyboardist, Guitar

Soccer Mommy performs the song “Circle the Drain” on Jimmy Kimmel Live.

Soccer Mommy performs the song “Lucy” on Jimmy Kimmel Live