Omni – Deluxe
About the album via Trouble In Mind…
Omni – the band, not the hotel – are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late ‘70s and early ‘80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of “Morning in America.” Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It’s still the summer of ’78, and pushing the roots of rock & roll to its limits remains in vogue. “Deluxe” serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who’ve never asked: “’Sister Midnight’ or ‘Red Money’?”…read more
Higher Authorities – Neptune
About the album via Domino…
Neptune, [is] a collection of warped psychedelic dub and electronic explorations…The release date – 4/20, a day of huge significance in cannabis culture – is no coincidence. Neptune is proper head music, an old-fashioned headphones album where the devil is in the lo-fi details.
Produced by the Higher Authorities, the album was augmented by legendary dub producer Adrian Sherwood, who brought his mad box of sound effects to proceedings.
For Higher Authorities, visual identity is important. There is symbolism at work here, the pineapples on the album artwork possibly refer to Liverpool’s wealthy merchant’s houses who had pineapples on the gateposts. One of the pineapples is smoking, it all ties in…read more
Angel Olsen – MY WOMAN
About the album via Jagjaguwar…
The disarming, cool poise with which Angel Olsen both exceeds and defies expectations on MY WOMAN is simply stunning. And just about anywhere you turn, someone new is telling you so. She’s delivered a masterpiece. Her singular, timeless voice is more front-and-center than ever before, the production lighter than previous efforts. Yet the strange, raw power and slowly unspooling incantations of her earlier catalog remain.
So anyone attempting to pin down Olsen as either an elliptical outsider or a pop personality is going to be wrong either way. Olsen continues to reign over the land between the two with a haunting obliqueness and sophisticated grace. Sparkling wig or no, Olsen is in charge here. She’s defining herself and evading definition. She’s daring you to try and pigeonhole her as an artist. But if I were you, I’d just enjoy it. Okay, no more blabbing. Just go listen…read more
Magic Potion – Pink Gum
About the album via Bandcamp…
Punk Slime Recordings proudly present Pink Gum, the long awaited debut album from Stockholm’s Magic Potion, for a May 27th release. Formed by Gustaf Montelius, Andreas Sandberg and Kristoffer Byström and now joined by Johan Harrius, Magic Potion burst out of nowhere in the spring of 2015 with the debut single ”Deep Web”, a home-recorded gem that brought the attention of bloggers all around the world.
Soon the debut EP Melt, including the single ”Booored”, was released via PNKSLM Recordings and Beech Coma to acclaim from the likes of NME, KEXP, The Line of Best Fit and Noisey – warped out slacker pop of the best kind, recorded on an old reel-to-reel, it instantly wormed its way into the ears and hearts of its listeners. …read more
Doug Tuttle – It Calls On Me
About the album via Trouble In Mind…
New Hampshire-native Doug Tuttle (ex-MMOSS) presents the follow-up to his acclaimed 2013 solo debut self-titled album with “It Calls On Me.”
Eschewing the jittery, love-lorn anxiety of his first solo outing, “It Calls On Me” presents a decidedly more dreamy journey through softer, sun-burnt landscapes, while still showcasing Tuttle’s trademark masterful guitar-work and his very own brand of impeccably-crafted, fractured psychedelic pop.
Written in 2014-2015 in Somerville, MA, ”It Calls On Me” hints at the skewed, wide-eyed ‘60s folk-pop of Lazy Smoke or Ithaca’s, mysterious, fulgent Brit-folk rock, and the zoned ‘70s soft-rock of 10cc and Bread, neatly winding in and out through Tuttle’s panoply of hallucinatory effects, buzzes, and unshakeably haunting harmonics to create a richly-textured album of sonic jewels…read more
Reverend Baron – Dust Anthem
Drugdealer – The End of Comedy
About the album via Weird World Record Co…
The End of Comedy is the debut album by Drugdealer, a new project conceived and conducted by Los Angeles artist Michael Collins (formerly of Run DMT, Salvia Plath) who guides a group of Angelenos including Ariel Pink and Natalie Mering (Weyes Blood) through a whimsical world informed by Jean Baudrillard, social media perception, Sergio Leone’s spaghetti western vistas and Collins’s endless travels…
The End of Comedy…is a collection of vignettes – lucid, lysergic and organic – featuring homespun explorations of Carole King-esque piano ballads, Bacharach-ian orchestration, the psych-folk of Ultimate Spinach and Hendrickson Road House and even New York City subway jazz, all pulled together by Collins’s deft AOR auteurship and keen sense of humour…read more
Kane Strang – Blue Cheese
About the album via Ba Da Bing…
Kane Strang’s first proper album, Blue Cheese, picks up on the rough disaffection of his earlier demo collection, A Pebble and a Paper Crane, which he recorded in a WWII bomb shelter in Germany. Back in his hometown of Dunedin, New Zealand, Strang spent two curious months alone, housesitting for his parents. Re-nested, yet still isolated, Strang composed all of Blue Cheese over those quiet days. Lead-off track “The Web” channels pummeling bass lines punctuated by a twinkling synth that calls upon microscopic pop principalities of restlessness (“Yeah, I met someone else / Without leaving my little house / No, I haven’t held her yet / I met her on the internet”)…read more
The Lemon Twigs – Do Hollywood
About the album via 4AD…
Once or twice every generation, Long Island introduces the world to artists of such singular originality that they change the very nature of their art: Lou Reed; Jim Brown; Robert Mapplethorpe; Andy Kaufman. With their debut album for 4AD, Do Hollywood, The Lemon Twigs have earned themselves a spot on that list.
Fusing tightly constructed pop, sophisticated orchestration, and British invasion melodies into a ten-song masterpiece, the D’Addario brothers—Brian (19) and Michael (17)—are whipping fans and critics alike into an utter frenzy. NPR hailed them as “fabulously weird,” Brooklyn Vegan raved that “they need to be seen to be believed,” and The Line Of Best Fit dubbed their music “near perfect…the best lo-fi rock & roll anthem you’ll hear this decade.” The Guardian, meanwhile, crowned the album “a triumph of detailed richness and sumptuous melody.”…read more
Tracy Bryant – Subterranean
About the album via Allmusic…
Emerging from some sonic netherworld where ’60s garage rock and early psychedelia dance cheek to cheek as if the year 1966 represented the peak of human evolution, Corners frontman Tracy Bryant lets the guitars, reverb, and echo do much of the talking on his first full-length solo project, 2016’s Subterranean. Sounding nearly as swampy as the Cramps in their heyday, but with a guitar tone that owes more to surf and garage than mutant rockabilly, Subterranean has a decidedly retro attack, but at the same time these songs feel contemporary, with Bryant bringing a touch of 21st century moodiness and up-to-date melodic bite to music that could have otherwise seemed like an exercise in misplaced nostalgia…read more