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The stellar follow-up to their excellent 2009 debut. Achingly personal, incredibly poignant and familiar all at once, Elizabeth Morris' songwriting has deepened and developed since their debut, serving only to enhance the band's ability to create sophisticated, intelligent pop music with an uplifting, joyous feel. Featuring the singles "Capricornia" and "Europe", this beautiful album is one of the finest, most complete pop records in recent memory.
Absolutely gorgeous pop from this Brooklyn three-piece whose music eludes classification, expertly blending percussive guitar work and silky harmonies in a way reminiscent of 90s sonic pop forebears like Pale Saints, Lush, McCarthy and The Chameleons. The lovely vocals on "Totally True" have an almost 60s feel; their debt to such soft-rock touchstones as The Association and Sagittarius is one of the many unique elements of Violens' sound. The non-album b-side "Something Falling" is a dreamy ballad marked by an effectively spare production, sweeping synths and the band's trademark harmonies.
The first new Veronica Falls tunes since their amazing debut album! My Heart Beats is packed with all the rhythmic verve and melodic power that we've come to expect from the band, sitting comfortably next to album tunes like "Right Side of My Brain" and "Come On Over." Fierce and immediate, it refines the band's melodic mystery with a new-found clarity. Their trademark vocal harmonies are pushed to the fore, marking this as their most perfectly potent bit of pop tune-smithery yet. On the flip, "Killing Time" is a minimal, dreamy tune enhanced by a mesmerizing organ line and gently thumping drums.
Totally fantastic power-pop from Ben Cook Aka Young Guv (Fucked Up, Marvelous Darlings, The Bitters) and Marvelous Mark Fosco (Marvelous Darlings). Four smash shits that wouldn't sound out of place on any great mix tape from 1977, 1987 or even 2012. Radio hits in some weird parallel universe where The Raspberries are on Midnight Special every week and Bram Tchaikovsky is still in The Records.
Evans The Death
This great young band draw as much from the lyrical dexterity of Morrissey and Jarvis Cocker as they do from the scuzzed-up melodic exuberance of early My Bloody Valentine and The Pixies. This great single is taken from their forthcoming album is a perfect introduction to their distinctively brash brand of smart, energetic pop. Includes a lovely non-LP b-side in the original version of "Morning Voice."
The first single from the eagerly anticipated second album from Allo Darlin’ entitled Europe, Capricornia is a lovely bit of jangle-pop that rides in with a country-inflected lilt and ends with an impressive bit of guitar squall. In between you get all the melodic beauty that we've come to expect from Allo Darlin', a master class in how to write a proper pop tune. "When You Were Mine" on the flip side is no mere b-side -- it's an excellent folky tune of love lost that's sure to pull the heartstrings.
The eagerly-awaited second album from Frankie Rose handily exceeds all expectations. Foregoing much of the fuzzy girl-group pop of previous releases, Interstellar is a gorgeous record marked by Frankie's very unique take on dream-pop, shoegaze and electronic pop. Stellar tunes combine with Le Chev's imaginative production to create something quite special.
Smashing chainsaw pop from this great San Francisco group. Smart, funny punk-pop with all the hooks, energy and attitude you could ask for. If you're into The Undertones, Buzzcocks and/or The Exploding Hearts you should definitely check out Terry Malts. Fourteen big tunes, including "Something About You," "Nauseous" and a slamming cover of Negative Approach's "Can't Tell No One."
The first single from Frankie's new album Interstellar. It's a gorgeous piece of widescreen pop, dreamy and driving at the same time. The clean, big hooks bring to mind the best of mid-80s pop -- Smiths, New Order -- without sacrificing any of Frankie's unique melodic style. Le Chev's remix on the flip side is pure 2012 - a slow-motion house burner with a tropical vibe and atmosphere to spare. Turn it up and drift away.
Fantastic new EP from this great LA band that mixes up classic pop influences like The Raspberries, Dwight Twilley and Phil Seymour, ELO, Kim Fowley, Fleetwood Mac, Big Star, Alvin Stardust and Sandy Salisbury with a thoroughly modern power-pop edge. Cut from the same classicist pop cloth at their debut album, on Shake-A-Baby Neverever sharpen their tunes, hone their hooks and brighten their palette.
Oakland's mysterious Manatee are back, following up their "Indecision" single with this sharp blast of punk energy. Where that last single flirted with power-pop and late Replacements melodic rock inflected with shoegaze sonics, this single is straight up punk rock. Two songs, three chords, four minutes.
Smashing DIY pop that fits into a long, storied lineage of earnest, urgent guitar bands, with nods to early K label, Subway Sect, Orange Juice, Television Personalities. Pop as made by punks with crazy-broad record collections, full of energy, spunk and great tunes.
The second single from Romantic Comedy. Featuring lead vocals from Ian, "She Smiles For Pictures" is a gorgeous piece of power-pop, fueled by ringing guitars, an earworm of a guitar lead and Luka & Sam's propulsive rhythm section. 2:53 of pop perfection. On The flip, "Polyommatus Blue" is a gem that recalls the lost mid-period Creation pop of groups like 18 Wheeler and pre-Screamadelica Primal Scream, and is exclusive to this single.
"Revelations" is the latest single from Devon Williams' excellent Euphoria album. A gorgeous piece of summertime soft pop, "Revelations" brings to mind a studio meeting of Brian Wilson and Curt Boettcher, with it's soaring harmonies, strings and woodwinds. The bonus track to this digital-only single is Violens' remix of "Tower of Thought," is a note-perfect slice of 1992-style breakbeat hardcore, sounding for all the world like a lost classic on XL or Moving Shadow.
A superb taster for Girls Names' forthcoming second album. Black Saturday is a great example of where the band is heading. The guitars are more subdued now, sharing sonic space with a gorgeously melodic bassline and subtle synths. Clearly in tune with contemporaries like Beach Fossils and Wild Nothing, Girls Names bring their own very distinctive song-writing vision to the forefront here.