Sore vocal cords, odd time signatures, and math-rock sonic corridors that lead to destructive instrumentals are all part of the norm for Chester, New Hampshire’s New Forms. The group’s latest album, I don’t want to live my life again, is a collection of post-hardcore tunes that are fast and furious. "Fortunato" viciously splits between thunderous noise and intricate electric guitar melodies in true Dr. Jekyll and Mr. Hyde fashion. "Spirals" descends with finesse into moshpit-fueling insanity that is as cathartic as you want it to be. Where tracks like "Ember Twin" embrace the mighty spirit of screamo, other songs like "[Redacted]" surprise with their tough-atmospheric sounds. New Forms embrace the type of crushing sound you are glad to get hit with at home, or inside the pit. Stream "Spirals" below and drop into the post-hardcore madness. – Rene Cobar, photo by Kyle Musser
Bay Babes: Tricycle Records Releases Compilation Vol. 9
Our friends at Tricycle Records released their 9th compilation album this month featuring a whole lotta women that we dig on. There’s Kendra McKinley, whose “Asleep in Winter” showcases her connective and empathetic lyrics in funky pop with looping pedal work (Performed by Kendra McKinley, recorded and mixed by Scott McDowell at the Henry Miller Memorial Library).
We dig on Micropixie’s “Dark Sight of the Moon,” with its Pink Floyd inspirations and the powerful push against modern day politics on the home front and beyond. It’s electro psych pop dripping with social justice narratives. If you haven’t caught it yet, check out her video for "Como Minimo," shot at our beloved Lovejoy’s Tea Room in San Francisco.
Another favorite is Beckylin and Her Druthers with “You Ain’t Woman Enough”…to take my man. Damn straight. A nice and exciting find for any country fans. Beckylin and Her Druthers are bluegrass and twangin’ and powerfully sassy. –Michelle Kicherer, Associate Editor
Mail the Horse ponder maturity in rock on “Gimme Gimme,” play The Saint 12.15
Rock revival rascals Mail the Horse have no problem acknowledging their classic roots while simultaneously thumbing their noses at the past. The band’s forthcoming self-titled record is explicitly influenced by Sticky Fingers-era Rolling Stones, but rather than embrace the youthful hedonism seemingly inherent to rock and roll, the New York quintet flip the script, both lyrically and instrumentally. Many of the songs off their upcoming self-titled effort explore maturity and self-reflection (as the band nears its decade in existence), with single “Gimme Gimme” starting off on a “Gloria” by Van Morrison romp before turning relaxed and introspective; driving riffs take a backseat to psychedelic, meandering strums midway through the track, imploring a moment of peace before diving headfirst back into the cacophony. Get amped (responsibly) when the album drops tomorrow, and during the 24 hour lead-up, stream "Gimme Gimme" below; plus, be sure to Mail the Horse later this year at The Saint in Asbury Park on December 15th. Photo by Shervin Lainez
Just A Mess
Just A Mess recently release visuals for the second single, "Imagine Drowning in a Pool of Your Own Blood”, from their 2019 album, Reservations.
This is the work of Tony Sarlo (Guitar/Vocals), Kyle Blais (Bass), and Cory Gray (Drums).
You can catch Just A Mess at Moe’s Tavern with Farseer and The Darkhorse Collective on December 14th.
Levitiation: Emma Ruth Rundle Bangs Heavy Folk at Empire
From one night to the other during Levitation, the scene at Empire tonight feels drastically different but also the same. It’s still dark but dark rock, instead of dark wave dance, as Empire hosts a ticket of Sargent House Presents.
Emma Ruth Rundle is the penultimate performance of the indoor stage. The psychedelic grayscale light illustrations blanket over her body and guitar while the autumn breeze blows in feathering her bangs. Her silhouette is reminiscent of a young Stevie Nicks but her sound is uniquely her own. While the other bands of the evening fall on the heavy side of the spectrum, Rundle finds herself between metal and ethereal. Her voice soars from her trachea like a free bird or prey as she plays the goth folk anthem, “Shadows of My Name.”
The vibe of the night pivots beneath an undercurrent of rock as the heavy pull of her guitar and the war drum cadence of “Fever Dreams” spellbinds the audience into an amorphous bobbing of heads and knocking of knees. The subsequent song “Darkhorse” from her 2018 album, On Dark Horses, closes the set and seals the venue in a new covenant. With fests every weekend in Austin, one might forget that this is fucking Levitation fest and not just a regular Friday night on 7th street. The covenant of Emma Ruth Rundle makes this evening at Empire a timeless place of memory blessed by the deities of goth folk n roll in which we can return. Levitation isn’t every weekend, but you can still levitate daily and harness the residual energy and adrenaline of the festival.
-Mel Green
Ryan Herrick “Heal Your Bones”
Folk Singer Ryan Herrick has released the lead single, “Heal Your Bones”, from his forthcoming EP, which is due out December 9th.
You can catch Ryan on December 13th at Bliss Wine & Gifts in Wauconda (201 S. Main).
Lightning Bug returns with sophomore LP “October Song,” plays Trans-Pecos 11.24
Audrey Kang made waves in 2015 with cult debut LP Floaters, a lush, indietronic project replete with tactile guitars, dissonant electronic keys, and lurid songwriting. Kang returned earlier this year with a full band for Lightning Bug’s sophomore effort, October Song, further delivering off-kilter earworms and killer experimental indie pop. Title track “October Song, pt. ii” is a cool demonstration of the outfit’s penchant for soft, melodious songwriting and synth-driven, easy-going grooves; stream it below, and catch Lightning Bug on November 24th at Trans-Pecos, supporting Bethlehem Steel, Ben Seretan, and Sinai Vessel. —Connor Beckett McInerney
Levitation: Kurt Vile Puts Austin in a Daze
Kurt Vile takes the stage at Stubbs casually and cool. His presence is always welcome in Austin, looking like someone you might bump into at the grocery store in Hyde Park with his long dark hair in his face and disheveled plaid shirt. His last show in town was December 2018 at Moody Theatre. The set list is similar to the last show here, playing mostly songs off his 2018 album Bottle It In, but it’s always refreshing to float along with his on and on lyricism and dreamy chord progressions.
The band opens the show with “Loading Zones.” Vile stakes his position as “a mayor of some godforsaken town.” The song’s story builds up to a repeated mantra: “I park for free,” because, yes, parking for free is the defining perk and achievement of political office. Imagine parking for free in Austin…I wonder if you can.
There’s not much chat between songs as the band mellowly eases into each song. Of course, the audience lost it and sang along when Vile played “Pretty Pimpin’,” the hit that earned him significant cred back in 2015.
“Wakin’ On a Pretty Day” – the 10 minute ballad of loafing and loving on a pretty day – would have been the highlight of the show if not for the encore featuring the guitar player of Dinosaur Jr. Clouds of smoke puff into the dark atmosphere above, and the audience bobs and sways as Vile’s mumbly articulation of the song draws you into a new state of day: “Wakin’ on a pretty day, don’t know why I ever go away. It’s hard to explain my love in this daze.” Try playing this song first thing in the morning and just see what happens – maybe you’ll have a pretty daze, whatever that looks like for you.
Vile and the band brought up J Mascis from Dinosaur Jr to encore with the song of “Hunchback,” from Vile’s 2009 album Childish Prodigy. It was a playful, dreamy song to close the weekend of shows at Stubbs, with both grown men singing about being hunchbacks “floppin an flippin around like fish on the street/floppin an flippin around like a fish along the sand.”
The band exits the stage, the stage lights come on and the crew starts breaking down. Some of the crowd will go off to the last of the Levitation shows, but some will go home and get ready for a return to their subjective reality. Levitation is its own reality for scenes and subcultures of Austin, and the Fest was an excuse to show up, look hot, and hear great music.
– Mel Green
Mega Low releases new single “Reminders,” play The Wayfarer on 11/25
On the video for their new single, "Reminders," Mega Low gives a different spin to the performance-based music video. At first, it seems ordinary enough: the Costa Mesa four-piece get ready to record another take inside a studio booth, led by the guidance of an unattached recording engineer. That is until we find what’s troubling said engineer, which leads to an eye-opening experience that causes him to pay attention. And as he should, given that the Spencer Askin-led band delivers a mini rock suite that nods to classic rock royalty like Queen and The Beatles with a modern stylistic approach.
Check out the David M. Helman video below, who’s worked in the past with artists like The Weeknd, Glass Animals, and Khalid. And if you want to see them live, they’re playing a local release show on November 25 at The Wayfarer. – Juan Rodríguez
Historian releases “Witchhazel” off forthcoming LP
The Deli is pleased to present “Witchhazel,” the new single off Historian’s forthcoming LP, Distractions. The Los Angeles-based psych rock band is always experimenting with sounds and distortions. “Witchhazel” grows and reverberates and glides through the room with some major Deerhunter moments. Chris Karman’s rich vocals call like an incantation and the tune is reminiscent of Magnetic Fields, with experimental realist pop vibes. Distractions will be released on January 17th 2020. –Michelle Kicherer, Associate Editor
A Million Rich Daughters
The Post-Punk Quartet A Million Rich Daughters recently released their debut album, Hidden Parents.
This is the work of Matt Clepper, Brett Grant, Jake Grant, and Joshua Paul Victor.
Copyslut’s latest video “Maker’s Mark”
Oakland-based queer band Copyslut released their video for "Maker’s Mark" this fall. The song is about "…inherited trauma, sparking its inspiration from one of the most famous oral legends in Mexican folklore: ‘La Llorona.’ Filled with healing pleasure and queer artistic celebration, the music video takes its audience from the streets of the trans district in San Francisco into a world and culture they push to make possible…" The sexified cabaret video is dark and captivating accompaniment to the song and we will leave it up to your viewing pleasure. -Lucille Faulkner