Doused in syrupy synths, harmonized vocals and prog-y pop machinations, the track’s musical elasticity and innovative arrangements might have been overshadowed by its lighthearted lyricism if not for Pikes’ attention to detail and the unbelievable way in which he is able to draw honest emotion from such a curious topic.
For their new single, “Pictures in the Hall,” Diesel Park West evokes the spirits of artists such as The Kinks and Big Star, finding a way to envelope their audience in a bit of jangling pop theatricality – the kind that doesn’t fade way the second the track ends but stays with you, echoing around in your head for hours.
The band’s new single, “Royal Pigs,” is a breathlessly electric burst of garage-pop rapture, mixing singer Amber Bollinger’s punk snarl with whiplash rhythms that recall the atmospheric noise of New York in the late ‘70s.
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.
With new single, “All I Wanna Do Is Laugh,” The March Divide creates an acoustic landscape filled hooky rhythms, beautifully odd vocal turns and breezy harmonica — a product of loosely corralled inspiration and unpredictable melodic movements.
On recent single, “Jet Blue,” LaRoche combines a series of wiry guitar riffs and burnished pop melodies which he binds together in a landscape built upon a mix of malleable ‘80s-influenced rock rhythms and spirited indie rock arrangements.
On recent single, “Tamp ‘Em Up Solid,” a traditional railroad song that dates to the ‘30s, Winship filters that dust-swept past through the lens of ‘70s country, although the inclusion of tuba and tabla keeps the arrangement feeling slightly more unique than might be expected.
In the lead up to a new reissue, Harvey has released a demo version of “Piggyback Ride,” and it finds him bounding and pinging from one influence to the next in a mesmerizing whir of tones and mutated pop theatrics.
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.
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.
Recently, Westfall shared a new single called “Nicotine,” and it’s a gorgeous track filled with mournful strings, Kelsi Westfall’s fiercely persuasive voice and vivid folk-rock arrangements, which are all assembled around a chugging blues framework.
“Watch It Burn” is carefully constructed but also evinces a loosely improvisational nature, and it’s within this musical dichotomy that Monday Night Social find a miraculous resolution of all their collective experiences and emotions.
Fults has created a collection of songs which speaks to both individual and universal truths regarding the often-unbalanced nature of our interactions with those we care about, regardless of how unknowingly poisonous those affections can sometimes be.