On “The Grass Begins to Eat Itself,” Hamilton creates a swaggering alt-rock atmosphere, though it’s quickly distorted by an avant-pop whirlwind — imagine Tori Amos and PJ Harvey covering early Queens of the Stone Age and you’re getting close.
Channeling the moody atmospherics of New Order and the negative pop spaces inhabiting the work of DIIV, PLAZA builds a haunting landscape where emotion and experience blend into a blurred streak of expressive tones and textures on “BOLOSTITCHER.”
“Where Love Will Grow” is filled with a variety of buoyant pop impulses, the kind that ricochet around in your head for days and refuse to be ignored — Mosfet possesses that rare ability to perfectly balance exuberant rhythmic arrangements with emotionally resonant lyrics.
Mike Riley’s latest single, “Marriage,” is a folksy pop ramble that delves into themes of commitment and personal fulfillment, with spacious acoustic guitar, shuffled percussion and his weary voice keeping watch over everything.
Equal parts warning, balm and call-to-arms, “She’s Sensitive” is punctuated by Neckam’s clear and persuasive voice, atmospheric synths and glowing brass. It’s a gorgeous bit of minimal pop wonder and will linger in your head for hours.
Spiked with chiming guitars, vocals beamed in from some place outside our solar system and the brevity of a great short story, “She is real” quickly pulls you into its churning power pop depths and instantly reminds you why you loved bands like Big Star and Teenage Fanclub so much to begin with.
Reminiscent of the meticulously groovy indie-R&B movements of artists like serpentwithfeet and How to Dress Well, “Immortals,” the new single from Andrew Michael Meador, is framed by its distinctive jazz and electronic impulses and is a welcome call for harmony and social awareness.
On recent single, “Apples in the Fall,” she paints a vivid portrait of wistful nostalgia and comfort – all backed by plaintive acoustic guitar, a bit of slide guitar and some shuffled percussion which recalls the country ache and rhythmic locomotion of Johnny Cash and Wille Nelson’s music in the ‘60s.
Blending languid country arrangements with heartfelt lyrics about the ache of a dissolving relationship, “Someone Else Will” feels pained and aware of this drawn-out devastation; there’s an old-school Americana euphoria winding its way through each verse and chorus.
With their latest single, “Still Gushing,” Nocturnal Blonde offers a bruising acoustic account of the ache that occurs in the wake of a splintered relationship — one that ends not with screams and anger but with emotional resignation and mutual, though not painless, understanding.
On recent single, “Tonight,” The Late Innings build a considerable jangle pop weight from a wide range of inspirations, rummaging through such influences as REM, Devo and England Dan and John Ford Coley.
On their recent single, “Flavor Packets,” My Golden Calf explores a dreamlike indie rock sound which brings to mind artists like Deerhunter and Grizzly Bear, and uses its perspective to decry the political hate which has so thoroughly invaded our social landscape.
With new single, “Again,” Jaco mixes electronic squiggles, barreling percussion, crunchy guitars and a bassline that feels directly influenced by Tom Petty’s “Wildflowers” into a unique and cohesive expression of musical ingenuity.
Recently, Martin shared the video for “Dharma Blues,” a particularly ramshackle stomp of folksy temperament, and it’s a suitably odd collage of grainy video clips superimposed on Martin singing while a woman occasionally dances in the background.
Within the borders of her recent single, “Endless Seconds,” she creates a world where artists like David Lynch, Dirty Three and PJ Harvey can dance until the moon loses its nightly struggle, revealing her technical prowess with a guitar as well as a preternatural understanding of how to effectively build such a hypnotic musical landscape.
Steeped in the echo of summer experiences and the shiver of resonant piano lines, “Summers Edge” is gently wrapped in warbling synth embellishments and languid percussive elements as it evokes the expressive work of artists like Rufus Wainwright and Tobias Jesso Jr.
Dinho Almeida and Pedro Bonifrate of Guaxe recently sat down with The Southern Sounding to discuss some of the records which have influenced their own paths as musicians and how those same records have inspired the tone of their forthcoming debut album.
Parsnip bassist and main lyricist Paris Rebel Richens sat down with The Southern Sounding recently to discuss some of the records which have influenced her own trajectory as a musician and how those same records have inspired the tone of Parsnip’s upcoming debut album.
On her new single, “Deserve,” Hailey Miller recounts the end of an especially damaging relationship — backed by churning guitars and a propulsive drumbeat (reminiscent of something you might find on a record by The Bangles or The Go-Go’s), her voice catches fire as she paints a vivid portrait of defiance and newfound freedom.
Throughout his new record, “Sagiquarius,” Twone Fari has constructed a time capsule of sorts, with sounds harkening back to early ‘90s East Coast rap, late ‘90s Southern hip-hop and even touching upon the musical impertinence of artists like De La Soul and Digital Underground.
Sleazy Sleazy’s new EP, “Greatest Hits, Vol. 1,” is a 3-track collection that further cements their position as a band capable of adjusting their manic rock impulses in such a way as to evoke bands from across multiple decades and different musical histories.
Mike Crowder’s new album, “My Permanent Record,” is an 11-track collection which finds him tackling familial connections, ache and the joy of common, everyday moments within the musical spheres of Americana, heartland rock and the blues.
Jimmy Allgood’s cover of the Hall & Oates classic “Sara Smile” deftly conveys the longing and emotional resonance that Hall & Oates so easily tapped into, matching the vocal theatrics of the original perfectly.
Recently, Lyles shared the video for “Eton, GA,” a highlight from his recent record, “The Undersea Acoustic Spree,” which features a host of captivating strings, persuasive vocal harmonies and Lyles’ observant lyricism.
On the band’s latest release, “Redeemer of Illusion,” they blend chunky techno eruptions with noisy electro-clash outbursts, offering a dense but curiously welcoming atmosphere where their collective creativities can exist and roam without restriction.
With the release of “Garage Tapes Vol. I” and “Garage Tapes Vol. II,” The Bardos architect Abe Houck has built an immense arena of gothic melodies and bare-bones arrangements which collide with punkish neo-folk ramblers in a wash of lo-fi brilliance and unrestrained creativity.
Built around Oyer’s voice, an acoustic guitar and some gorgeous stringwork, “I Can’t Help but Feeling” is a testament to the affecting minimalism that has become a trademark of his work in recent years, and is re-releasing the song today as a one-off single to coincide with an especially important anniversary.