![]() ![]() ![]() ![]() Smooth) | C.O.F.F.I.N “Factory Man” | CORKER “Molotov” | EARL SWEATSHIRT & THE ALCHEMIST “Sentry” (feat. SAVAGE “Elvis In The Army” | ABORTED TORTOISE & GHOULIES “EuroTour Split” EP | AL GREEN “Perfect Day” (Lou Reed cover) | ANNA MCCLELLAN “Off My Chest: 2012-2021” LP | BLU & REAL BAD MAN “The Golden Rule” (feat. There’s a sense of control to Hagerup’s voice and her words, tumbling through the world with a fixation that nothing truly matters, viewed like a bystander in a vivid fever dream of a corrupt world that isn’t too far from reality.įurther Listening: August 21 - August 27:ģ8 SPESH & CONWAY THE MACHINE “Latex Gloves” (feat. Prewn’s debut feels fully realized, a blend of chaotic folk, delivered with shaky resolve yet utter confidence on ruptured ground that isn’t afraid to tear apart at the seams. For the past months I’ve been trying to think of comparisons, and I can really only make them in “essence” and less in sound. Written and recorded over fits and starts over the years and eventually completed at Marcata Recording, every element of this album feels supported by the next, one decision that makes sense of the next, all the while leaving a trail of goosebumps from song to song. There’s something so very profound to Prewn’s debut album, Through The Window, and it all swarms around Izzy Hagerup’s songwriting, her distinct choices, her powerful vocals, and the rawness of her performance. The song evolves from start to finish, thudding and clawing between dreamy escapes and tangled mental gymnastics. One of those songs was “Scaling Walls,” a song with a rolling drum beat and a fractured melody, a brilliant progression that straddles the line between detached post-hardcore (think Blonde Redhead) and tension building art rock landscapes. While recording, the band wound up with a bounty of songs too great for a single LP, opting instead to pick the one’s that stood best on their own to release at a later date (something the band have excelled at for a very long time, case in point, Big Web). The Boston based trio pulled off the feet with nuance and grace, retaining their sound while leaving their sound, reshaping the elements to create something lush and immersive, with abrasion present, but downplayed for texture and immaculate songwriting maximalism. It would safe to call Pile’s most recent album, All Fiction, one of the year’s more ambitious records, an album that forgoes playing it safe in favor pf pushing their framework somewhere new. I can’t wait to hear the rest of this album (and hopefully some songs with Sarah Heyward on lead vocals). Lower Plenty have a knack for moving apart while staying in unison, the resulting effort creating a magical surrealist folk sound, one that’s lively and literate. No Poets, out in October, opens with the layered acoustic and syrupy melodies of “Back To The Foldout,” a song that finds the band in fine form, closely harmonizing and jangling in equal measure. When together however, Lower Plenty have an instantly engaging spark, mixing their brand of earnest folk, power-pop, and slacker punk to create something accessible but intricately crafted. They’ve kept busy with projects like Terry, Sleeper & Snake, Total Control, UV Race, Deaf Wish, Hot Tubs Time Machine, and somehow that’s still only scratching the surface. ![]() It’s been seven years since the Melbourne based quartet released the exceptional Sister Sister, but the members haven’t exactly been twiddling their thumbs. I was not expecting the return of Lower Plenty, but I sure am grateful for it. ![]()
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