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Through her latest, Titanic Rising, Weyes Blood, a.k.a. Natalie Mering, has designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she plays the role of melodic, sometimes melancholic, anthropologist. Tellingly, Mering classifies Titanic Rising – which was written and recorded during the first half of 2018, after three albums and years of touring - as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.” The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.” As a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that The Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans. But Weyes Blood isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. 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But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trade's Album of the Year. With that release, Pitchfork wrote that the band \"are learning what it means to get bigger and better.\" This is Devaney's calling: soulfully translating individual despair into a comforting, collective mourning. The single \"Now That You're Gone,\" which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfather's tragic death from ALS, and his parents' role as caretakers for this ailing friend. At it's heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart. On Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). \"What's so great about Nick is his ability to make us feel like we don't need to do what might be expected of us,\" says synth player Aidan Noell, who, along with bassist Alex MacKay, rounds out the Nation of Language lineup. They imbued Dance Called Memory with a shifted palette - sampling chopped-up drum breaks on \"I'm Not Ready for the Change\" for a touch of Loveless-era My Bloody Valentine, or smashing all of the percussion of \"In Another Life\" through a synthesizer to cast a shade of early-2000s electronic music. Ultimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. \"There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I've been drawn to at different points. 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Singer Kurt Cobain had the pipes to belt out such power trash as \"Mr. Moustache\" and the Shocking Blue's \"Love Buzz,\" but considering the sheer volume of frustrated tuneage coming out of Seattle in 1989, it was easy to miss Bleach's subtler textures. In retrospect, \"Negative Creep\" and \"About a Girl\" are the obvious standouts that point toward the strum and bang attack that would catapult Nevermind to the top of the charts. But this is also a band without drummer Dave Grohl; his predecessor, Chad Channing (and also the Melvins' Dale Crover), while competent, is no Grohl. 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The New York Times said: “This joyous, wide-ranging account of a New Orleans jazz band's 2015 visit to Cuba is crammed with fascinating facts and toe-tickling tunes.” And, from the LA Times: “Jaunty, at times poetic chats and drop-ins with many Big Easy and Cuban jazz artists, discussion of their music’s African lineage (the Atlantic slave trade factored in), stirring examples of native instrumentation, and pulsating performances combine with colorful, travelogue-type shots (love those old Cuban theaters) and vivid archival footage to create a vibrant and joyous portrait.” Preservation Hall Jazz Band’s Ben Jaffe said of “Kreyol,” the lead single from the soundtrack: “Every evening in Havana people gather along the waterfront to socialize. I’ve always been taken by the tempo at which people stroll, like New Orleans, there’s a very particular rhythm to their walk. 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Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history. Preservation Hall Jazz Band recently signed with Sub Pop Records, who are re-releasing the band’s 2013 album That’s It! (over 39,000 copies sold) and 2017’s So It Is on June 28th, with new music to follow.\u003c\/span\u003e\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eYesteryear\u003c\/li\u003e\n\u003cli\u003eTumba\u003c\/li\u003e\n\u003cli\u003eI Am\u003c\/li\u003e\n\u003cli\u003eDescarga Del Son\u003c\/li\u003e\n\u003cli\u003eKeep Your Head Up (Feat. 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Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting\/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor \u0026amp; Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. 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Formed by Cleveland in 2012, La Luz is beloved for their ability to balance bedlam and bliss, each new record another fine-tuning of the band's mix of swaggering riffs with angelic vocals borrowed from doo-wop and folk; a band so reliably great that it makes the huge step forward in confidence and sheer musicality that is News of the Universe all the more formidable. Cleveland, also a writer and painter, has developed into a truly original songwriter with her own canon of haunted psychedelia. Yet if Cleveland has spent years writing songs about ghosts, what lurks in the shadows of News of the Universe is nothing less than death itself. \"There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth,\" says Cleveland. The powerful sense of openness that permeates News of the Universe is at least partially due to the fact that it is a record made entirely by women-from the performing, writing, and producing all the way through to the recording, engineering, and mastering. Working with producer Maryam Qudos (Spacemoth), the all-female environment allowed Cleveland to feel safe tapping into difficult places and expressing hard emotions women are socialized to suppress. Unashamedly vulnerable, unabashedly feminine, and undeniably triumphant, News of the Universe is another knockout record from a band so reliably great that it has perhaps led people to overlook how pioneering La Luz really are: women of color in indie music forging their own path by following their own artistic star into galaxies beyond current musical trends, always led by an earnest belief in the cosmic power of love and a great riff. 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Engineer Bryce Goggin, who has worked with Malkmus since Crooked Rain, Crooked Rain, and Ben Collette, Phish’s longtime engineer at The Barn, were also part of the crew.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile the idea of the guy from Phish and the guy from Pavement sitting around with Guerilla Toss, congenially assembling sandwiches from random foodstuffs dug up from the depths of a studio fridge, might seem absurd, it also makes total sense. Because really, if there’s any band that serves as the natural bridge between slacker punks who saw Pavement way before you did, wild\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e-eyed wooks who’ve seen Phish more times than you ever will, and even the eccentrics in ’90s drip following former GT tourmates Primus—it’s Guerilla Toss. A band so imaginative and unapologetically themselves, they’re basically the real-life manifestation of a utopian, post-snob world where all musical ideas are worthy of expression and everyone is welcome.\u003cbr\u003e\u003cbr\u003eYou’re Weird Now powers this message. Guerilla Toss’ fifth album and second for Sub Pop is a hugely creative and joyful statement about the joy of creativity. With You’re Weird Now Guerilla Toss reclaim the word “weird” for everyone brave enough to let their freak flag fly and stay true to their artistic vision no matter what—a way riskier act than it’s ever given credit for, and one that requires a certain amount of serene self-confidence that it takes time and effort to cultivate and sustain.\u003cbr\u003e\u003cbr\u003eSerene self-confidence defines You’re Weird Now. In many ways, it’s Guerilla Toss at their most quintessential. The energy is still high, but there’s a new clarity behind it, with each musical choice crafted for maximum impact. Drummer Peter Negroponte half-jokingly calls the album “Guerilla Toss’s Greatest Hits that didn’t exist until now”, and honestly, it rings true. “As a band, we’re always trying to reinvent ourselves,' he says. “But with this record, instead of asking what we haven’t tried, because we’ve done a lot of crazy stuff, we asked, what have we done that’s the strongest? And how can we build on that? Let’s dig into our own musical history and try to make the best parts even better.”\u003cbr\u003e\u003cbr\u003eThe record opens with 'Krystal Ball,' a charging, feel-good pop anthem featuring an industrial breakdown and a boingy-sproingy hook so catchy, it feels impossible you haven’t already lost your mind to it at some DIY festival, shouting along with Carlson as she declares, 'I’m so sorry! I came to party!' 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Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There's B-52's call-and-response fun mixed with AC\/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo \"War Movies\" and \"Quality Pints\" sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. \"Quality Pints\" deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R's as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. 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It was a world of house shows, booking DIY tours on MySpace, and writing funny, deliriously catchy feminist pop-punk songs when feminism was the quickest way to alienate yourself from the then-en vogue garage-rock bros. Their lyrical honesty, humor, and hit-making sensibilities have built the band a fiercely devoted fanbase over the years, one that has followed them from basements to dive bars to sold-out shows at the Showbox. Every step along the way has been a seamless progression—from silly songs about Tonya Harding and psychic cats to calling out catcallers and poking fun at entitled weekend-warrior tech jerks on their last two records on Hardly Art, 2014’s NVM and 2016’s Lost Time. 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It means swapping lines about bottles on ice and getting freaky on the dance floor with Detroit techno prodigies HiTech on \"In The Club\"-while admitting that she is, in fact, \"barely on the dance floor these days.\" It's the sound of discovering what comes after the kind of success most artists only dream about-how to burn brightly without burning out. Across 11 songs, The Starrr Of The Queen Of Life showcases Friday's chameleonic vocals. From the sparse, gossamer beauty of the lovelorn \"Leave.\" to the locomotive post-punk of \"Darker The Better.\"Winning the Polaris Prize in 2023 for her debut LP, GOOD LUCK, only made Debby Friday want to grind harder: \"I'm tryna see more\/ Man, I want the payoff\" she raps over laser-like synths on the effortless copycat kiss-off \"Lipsync.\" But life on the razor's edge can only be sustainable for so long: During a nonstop tour schedule in support of the album, she fell violently ill. The diagnosis? Stress-induced shingles. 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It reads like a manifestation of Friday's pursuit of an experimental pop sound that still feels distinctively hers. \"This album is about the idea of reaching towards something,\" she says. \"It's about seeing the signs and following that impulse, always with the potential of either flying into the sun or falling back to earth.\" On The Starrr Of The Queen Of Life, Debby Friday takes flight, fastening her wings, following the sound of her own voice.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e1\/17\u003c\/li\u003e\n\u003cli\u003eAll I Wanna Do Is Party\u003c\/li\u003e\n\u003cli\u003eIn the Club Featuring Hitech\u003c\/li\u003e\n\u003cli\u003eLipsync\u003c\/li\u003e\n\u003cli\u003eAlberta\u003c\/li\u003e\n\u003cli\u003eHigher\u003c\/li\u003e\n\u003cli\u003ePPP (Interlude)\u003c\/li\u003e\n\u003cli\u003eArcadia\u003c\/li\u003e\n\u003cli\u003eLeave\u003c\/li\u003e\n\u003cli\u003eBet on Me\u003c\/li\u003e\n\u003cli\u003eDarker the Better\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 098787165425\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sub Pop\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.1.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Debby Friday","offers":[{"title":"Default Title","offer_id":58253843693649,"sku":"86202","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/4425824-3390029.jpg?v=1759466914"},{"product_id":"washed-out-notes-from-a-quiet-life-honeydew-melon-lp","title":"Notes From A Quiet Life [Honeydew-Melon LP]","description":"\u003cp\u003eNotes From a Quiet Life is the new album by chillwave pioneer Washed Out. 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Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm's raw yawp and his bandmates' long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker. \"My sense of humor is dark, and these are dark times,\" says Arm. \"I suppose it’s only getting darker.\" Digital Garbage opens with the swaggering \"Nerve Attack,\" which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album's title comes from the outro of \"Kill Yourself Live,\" which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Arm says: \"people really seem to find validation in the likes—and then there's Facebook Live, where people have streamed torture and murder, or, in the case of Philando Castile, getting murdered by a cop. In the course of writing that song, I thought about how, once you put something out there online, you can’t wipe it away. It’s always going to be there—even if no one digs it up, it’s still out there floating somewhere.\" Appropriately enough, bits of recent news events float through the record: “Please Mr. Gunman,\" on which Arm bellows \"We'd rather die in church!\" over his bandmates' careening charge, was inspired by a TV-news bubblehead's response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of \"Next Mass Extinction\" calls back to last summer's clashes in Charlottesville. Mudhoney's core sound—steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm's hazardous-chemical voice—remains on Digital Garbage, which the band recorded with longtime collaborator (and Digital Garbage pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy \"21st Century Pharisees\" builds its case with Maddison's woozy synths, which Arm says “add a really nice touch to the proceedings.” Digital Garbage closes with \"Oh Yeah,\" a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. \"I would’ve really just loved to write songs about just hanging out on the beach, and going on a nice vacation,\" says Arm. \"But, you know, that probably doesn’t make for great rock.\" Mudhoney, however, know what does make great rock—and the riffs and fury of Digital Garbage will stand the test of time, even if the particulars fade away. \"I've tried to keep things somewhat universal, so that this album doesn’t just seem like of this time—hopefully some of this stuff will go away,\" Arm laughs. \"You don’t want to say in the future, 'Hey, those lyrics are still relevant. 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It's is the sound of a band growing up and out. Mercer's infectious, indelible melodic style is still at the core, and unfaltering. But anything can happen around it - and in this case, it does. Channeling a Morrissey vibe, 'Sea Legs' pairs a hip-hop (yes, hip-hop) beat with lush melodic lines and searing guitars. Elsewhere the band toys with tweaked-out piano steeped in psychedelic strings ('Red Rabbit'); fractured synth samples ('Silt Needles')' gauzy, arpeggiated keyboards cloaking thunderous anthems (Sleeping Lessons')' and, taking cues from early Jesus and Mary Chain albums - Seeping, fuzztoned epics ('Phantom Limb'). 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From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eGod's Favorite Customer was produced by Tillman and recorded with Jonathan Rado (Foxygen), Dave Cerminara (Jonathan Wilson, Foster the People, Conor Oberst), and Trevor Spencer (FJM). 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There's one thing Forth Wanderers want to make clear as they prepare to release their third album The Longer This Goes On: \"We're not back,\" guitarist Ben Guterl says emphatically. It's perhaps an unexpected sentiment to pair with the band's first album since they parted ways seven years ago, but the band insists it's an honest answer-they came together to record the ten intricately constructed gems that make up this new record, and they're still figuring out what being in Forth Wanderers means to them. Listening to these songs, each a glittering celebration of vocalist Ava Trilling's urgent and intuitive lyrics and the band's natural musical chemistry, though, it's hard to feel like there's much of anything left unsaid. Filled with spit-shined melodies, chiming vocal harmonies, and slinky, slanted rhythms, the album is more expansive than just a return to form. The band isn't afraid to take the scenic route to a hook, layering instrumental flourishes to fill in the empty spaces, creating room for Trilling's haunting range, or repeating a riff or a lyric until it becomes a Zen koan. On The Longer This Goes On, Forth Wanderers sound more self-aware and self-assured than ever before. Just don't call it a comeback. The road to The Longer This Goes On began in a Brooklyn coffee shop in the summer of 2021. There, Guterl and Trilling met for the first time since Forth Wanderers' dissolution in 2018. The three years they'd been apart had deflated some of the pressures the band felt when they were touring their previous music: \"We all felt free to mess around and have fun,\" Guterl says. Reconnecting with bassist Noah Schifrin, guitarist Duke Greene, and drummer Zach Lorelli made playing feel \"the best it had between us since we had started the band. It felt like we were in high school again.\" The band reimagined the way they were used to working. \"This is the first time where a lot of the music was formed organically,\" Schifrin explained. \"All five of us really contributed to the writing process in ways that we hadn't before in the past,\" Guterl added. The resulting album, produced under the watchful eye of Dan Howard, captures the band at their most present and unburdened, creating their sound in real time for the very first time. The lyrics are packed with confessionals broad enough to make anyone lost in the mess of an uncertain romantic limbo feel understood, yet so precisely written that it must have clearly come from lived experience. This is exactly what made Forth Wanderers both so universally relatable and specifically felt. On The Longer This Goes On, they've deepened that ability to pull at potent threads of romantic ennui with minimalist lyrics and lush instrumentation. Forth Wanderers aren't sure what's next-they're not sure if they'll continue to record new music or if they'll ever perform these songs live. These recordings, then, are ten fleeting yet invaluable impressions of the time spent as a band; rekindling of friendships between high school buddies whose dreams catapulted them into the spotlight before they were old enough to drive; songs that capture the uncertainty of the future as much as their music cements their own self-confidence in the present. 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The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability.Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, \"Blest,\" the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, \"True,\" in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of \"Gimme Ocean,\" he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to.All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. 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The stark and reverberant title track opens the album with “a fighting spirit,” says Hoop, serving as an anthem to push through any obstacle and put forth your very best work. And she has unequivocally done that here, with an album of stunningly original songs--minimalist yet brimming with energy, emerging from a wealth of life experience, great emotional depth, and years of honing the craft of singing. As riveting as it is reflective, the album, produced by Blake Mills (Fiona Apple, Alabama Shakes), is a fresh debut of sorts for Hoop, as the first of her solo records made outside of Tony Berg’s Zeitgeist Studios where she and Mills were mentored. Says Hoop, “Blake is so utterly musical and emotionally intelligent in his expression. I wanted to see what we could do, just he and I out from under Tony’s wing.” Mills pushed her to strip away layers, keeping it as close to the live experience as possible, using whole live takes and working very quickly. “It's still covered in embryonic fluid, for lack of a better way to put it,” says Hoop. However fast the work, Memories Are Now covers a great deal of ground, showcasing every edge and curve of Hoop’s captivating voice, with sounds and themes ranging from the mythic to the deeply intimate. She sings of the religion that weighs heavily on her past and the world, of the imagination of myth, of the cruel nature of life and love. The defiance that permeates Memories Are Now is both a product and necessity of a career that has been independently driven and self-funded from the beginning. “All of my successes have been won on the grassroots level, with handshakes and hugs from great people who believe in me,” says Hoop, more than a decade into her career and with new paths to forge. As she sings in the title track, “I've lived enough life, I've earned my stripes. 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That record saw the band continue their love affair with BBC Radio 6, start up a new one with KEXP thanks to a session with them, and crop up in the pages of the NME. Anything else from the bucket list? Oh yeah, festival slots including packing home ground Green Man's Walled Garden to it's non-existent rafters. Then shows across the US in those venues us Brits tend to only hear about. This record - a new batch of typically playful, riff-laden, smart Bug Club tunes - gives the band an excuse to continue their never-ending tour and feed their baying fans, engorged and expectant thanks to this band's relentless record-releasing hot streak.\"Have you ever been to Wales?\", asks the band in the album's lead single, \"Have U Ever Been 2 Wales.\" If not, why not? It's good. A new, discordant national anthem, if they didn't already have a decent harmonious one. Oh, to be from a country where national pride is something other than the mark of a tosser. Starting as a classic, chugging chantalong, it's interrupted by what sounds like an alien choir before they let rip. Think Dinosaur Jr. With a job at the tourist board. And Welsh. Definitely Welsh.On Very Human Features The Bug Club have continued in their habit of presenting as a collective mind. Two-in-one. Rarely do you find a band with two creative forces that have such a singular, shared perspective, sense of humour and knack for a pop melody. In \"Beep Boop Computers\" vocalists Sam (also on guitar) and Tilly (on bass) swap between \"I\"s, \"my\"s and \"we\"s as if there isn't any difference between the lot, all the while skewering interpersonal relationships and experiences in a glorious, glam rock dismantling of the human aspects the album's title references. Staying on topic, \"How to Be a Confidante\" does that-thing-The-Bug-Club-really-know-how-to-do where they, again speaking as two voices from the same mind, pluck out common aspects of how we all live and make them sound ridiculous. The surreal is in the familiar, not in ignoring the familiar - The Bug Club know this and that understanding joins an unrelenting bassline in forming the backbone of this garage rock-infused belter.Having gained an appropriately beefed-up stateside following thanks to the beefy slab of garage-punk on On the Intricate Inner Workings of the System, and the band's subsequent US tour, The Bug Club's fruitful partnership with Sup Pop gets even tastier with Very Human Features. An assured and endlessly witty whirlwind of literary, self-referential, good-humoured rock 'n' roll, the new record sees the band riding their ever-swelling wave of popularity as if it's a quick whizz around the Caldicot Aldi carpark on a pair of rollerskates. 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It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Stella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Stella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She wasn't ready yet, or in a rush. Stella, after all, grew up in a slow place. During her youth in a relatively rural suburb of Athens, Greece, she and her friends played unfettered in empty streets, not worried about cars or permission, and living felt easy. But in the last decade life has steadily become busier for Stella, now based in the heart of Athens. She has become one of modern Greece's most popular musical exports, with three sophisticated, playful pop albums rendered with international élan. After her Sub Pop debut, Up and Away, in 2022, she catapulted beyond three million monthly Spotify listeners. That success was a blessing, but Stella sometimes found herself pining for the slower pace of her youth. That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing it's name from the term for music that's meant to be played slowly, Adagio is a pop record that feels like a very warm blanket, it's nylon-string guitars and featherlight percussion swaddling it's listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!'s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is a 27-minute meditation on love and desire, rest and time. 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Her songwriting has always found her as a keen-eyed observer, a deeply empathetic and thoughtful storyteller with a skill for probing memory, heartbreak, and unhealed trauma, a shroud of syncopation or off-kilter guitar taking a song somewhere quietly prodigious. Her last solo album, the critically-lauded Head of Roses, took on heartbreak from a dualistic perspective, following a winding thread of intuition into the unknown and into healing. Her new album, The Life You Save, takes that a step further; put simply, it's the most honest, intimate and personally revealing record of Wasner's career. As heart-wrenching as they are hopeful, it's twelve tracks delve the depths of addiction and codependency, inherited and experienced trauma, and the process of finding peace in the face of others' suffering. The Life You Save is resonant, unflinchingly exposed - like a missive from the eye of a storm. But while it somehow manages to feel both viscerally raw and vulnerable, above it floats a sense of quiet peace, a sheen of hindsight, or perhaps of acceptance. It is the story of how it feels to be trapped between two worlds-the one you came from, and the one you've escaped to; about the belief that somehow, you can take the ones you love with you to this place; about the grief of realizing that the only person you can save is yourself.The Life You Save was produced by Jenn Wasner and recorded at Betty's in Chapel Hill, NC, and Montrose Recording in Los Angeles, CA, with additional production from Nick Sanborn. 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Standard jacket with custom dust sleeve. In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment.An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. \"It sounded really great,\" James recalls. \"We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member.\" After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. \"That added to the intensity of the album,\" James says about the frenzied creative process overseen by producer Burke Reid. \"I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head.\"Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. \"I've struggled with mental health for a lot of my life,\" he explains, \"and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.\"\"This record is about an individual who's too far in their head, trying to get out,\" James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of it's creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. 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Afraid of falling into a predictable rut, though, the band bravely pushed its range of expression into more personal, subdued, and cerebral territory on The Hot Rock. That means the record isn't quite as immediately satisfying as its two brilliant predecessors, but it does reward those willing to spend time absorbing its nervy introspection and moodiness. Corin Tucker and Carrie Brownstein push relentlessly for more complex interplay, both in their vocal and instrumental work; even the gentlest songs might break into unexpected dissonance or take an angular, off-kilter melodic direction. As such, there's never an obvious, gut-level anthem that jumps out at the listener in the manner of an \"I Wanna Be Your Joey Ramone\" or \"Words and Guitar,\" but the intensity simmering under the surface does bubble over often, thanks to the group's greater use of dynamic shifts. 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These ten pieces—each built around their own instantaneous, undeniable hook—are turbocharged by the vivid textures that surround them. The ineable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered. There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks FORWARD, with teeth. 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The world is filling up with trash. Humanity remains addicted to pollution. People are downing horse dewormer because some goober on television told them it cured COVID. The apocalypse is stupider than anyone could've predicted.Fortunately, the absurdities of modern life have always been prime subject matter for Seattle-based foursome Mudhoney, and the band take aim at all of them with typical barbed humor and muck-encrusted riffs on on 11th studio album, Plastic Eternity, which was recorded over nine days at Crackle \u0026amp; Pop! In Seattle with longtime producer Johnny Sangster.From taking on climate change from the perspective of the climate if the climate tried to play guitar like Jimi Hendrix (\"Cry Me An Atmospheric River\") to a driving rock and roll song about taking drugs meant for livestock (\"Here Comes the Flood\") to a classic punk attack on treating humans like livestock (\"Human Stock Capital\"), Plastic Eternity is a run through all the proto-genres of guitar rock with a keen eye on the inanities of the world in the 2020's. It also contains a genuine love song in closing track \"Little Dogs,\" an ode to the simple joys of hanging out with tiny canines.Mudhoney (vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters) remain the ur underground group, their gnarly primordial punk stew and Arm's sharply funny lyrics as potent a combination as they've been since the band's formation in the late 1980s. 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