New Music, Emerging from your Local Scene
Twin Peaks released a re-recorded version of their single “Natural Villain” last week to coincide with the release of the collaborative Garage Lager with Goose Island. This version of the song features Ohmme on backing vocals and was recorded at Treehouse Records. All proceeds from the sale of the single are going to Chicago Abortion Fund.
Twin Peaks is currently on a Spring Tour with Post Animal and you can find all of their tour dates here.
And now, for something completely different. Lights of Marfa share the Nashville alt-rock scene with colleagues like The Ivins; their thunderous sound shakes stages around town. Recently, the band have pushed themselves to put out a new single each month; last month’s single, an original called "Live To Forget", had a ballad-like quality to it, and February’s "Run To You" was a straightforward rock cover of the Bryan Adams original. This month, Lights of Marfa have again chosen to go for a cover, this time giving their alt treatment to Billy Joel’s 1978 single "Big Shot". Joel’s version laid heavy on the rock elements, making it a timeless track that any modern rock band could tackle with ease. Lights of Marfa do it justice without stripping the original of its fire; take a listen for yourself down below. – Will Sisskind
Bruce Jazz trio Poplife released a new single last month called “Bad Attitude”. This is the funky yacht rock of Ben McFadden (Keys, Vocals, Guitar) (aka McFabulous) along with Foul Tip’s Adam Luksetich (Bass) and Ed Bornstein (Drums). For this single, their first in a year, the trio recruited the talented Vivian McConnell (aka V.V. Lightbody) on backing vocals.
Moor Mother & Zonal combined forces for the 37th chapter in the Adult Swim Singles series. Honing in via static system, a quaking beat spawns an ominous urgency in “On The Range”. As noise consumes on the periphery, an internal fire maintains and propels one’s focus. Climb over the obstacles and individuals that lie along your path, and prosper.
“Thin Wire” (streaming) is the uber-charged debut single of Brooklyn punk rockers Trash TV. A sonic surge of distorted guitars and eruptive drums, this is the kind of tune that jolts you to the front of the crowd. Since late last year, this quartet has been fermenting music they call “scuzzy punk,” distinguished by upbeat tempo, fuzzy guitar licks and the graphic verses of lead singer Habiba Warren, who at one point mentions grease, numb hands, and bleeding eyes—get the picture? The band is revving up for a rooftop party show at Our Wicked Lady on May 22nd. The song serves as a sizzling preview of things to come from the Brooklyn natives, check it out below. – Rene Cobar
The Burst and Bloom seems to be on a mission to release a new song each month this year, and May’s track is called “Winter”. This is the amped-up Emo Rock of Adrian Serrano, Juan Santiago, Tyler Leninger, and Vincent Depierro.
It was only a couple of week’s ago that the group released an introspective track called “Dead Dads Club” that can also be streamed below.
You can catch The Burst and Bloom at Record Breakers on May 18th with Aunt Kelly and The Weekend Run Club.
Dominic Angelella recently shared a new single, “Little Light,” via Lame-O Records. As the charming guitar progression strolls along, the minimal bass & drum keeps in time, providing bright accents. Angelella’s vocal melody brings a delicate vulnerability to the recording, while the lyrics play out like part letter/part stream of consciousness. This track simply makes us feel good inside, and we hope that it does the same for you this morning.
Sporting the “melodic punk rock” tag on Bandcamp, six year old American Television provides a satisfying mix of punk and sentimentality on their latest release, Death Defier. A mere two tracks, the release’s size reflects the character of the band’s songs, simple, to the point, and effective. There is emotion in the music, something that is always welcome as many amateur groups are only willing to grapple with emotions superficially. The hooks are nice, the lyrics are relatable, and the chord changes are twinged with a hint of emotion. In short, there is honesty and a decent amount of work put into the music, can’t ask for much more.
-Mike Dranove
Up for a dose of new music? There is a new group roaming the concrete jungle, wielding a debut single that demands attention.“Fake” has a luring quality to it, with its glaze of post-punk and Southern rock it immediately recalls the panache that catapulted Kings of Leon to the top of the charts. The single of NYC’s Nicotine Dolls is smooth in its delivery of flexible tempos, intricate harmonies, and gritty lead vocals that make way for a ripping guitar solo which culminates the song. The band is debuting with a solid entry and will be undoubtedly playing the single at their next show at Connolly’s NYC on June 28. We have the release here for you below. – Rene Cobar
Town Criers have released a new single called “It Ain’t Love”. This is the first new music we’ve had from the rock trio since their 2018 self-titled debut.
You can catch Town Criers at Empty Bottle on May 6th with Modern Vices and Kachi.
Kyd the Band have only called Nashville home for a couple of years, but the California native has started to make a name for himself in the city’s pop scene. After working with artists like Bone Thugs-N-Harmony and NF, Kyd the Band set to work on his debut single "Human", which dropped last week. The reflective track blends hip-hop and pop elements together in ways that will delight fans of artists like Shawn Mendes, Sam Smith, or Frank Ocean. Kyd signed to Sony/Four Music to release new tracks, so "Human" looks like the beginning of something much bigger for the up-and-coming artist. Watch the music video for "Human" below. – Will Sisskind
Covert Contracts, the debut LP from Ali Carter, Al Creedon (I IM EYE MY, Bleeding Rainbow), and Alex Lichtenauer (HIRS), a.k.a. Control Top, is out via Get Better Records. An anticipatory aggression jumpstarts album opener, “Type A”. For those who think that they control society, Carter suggests, “Why don’t you get out/Get out of my way!” A contagious backend thump, stressed with finely shredded, guitar exclamations, creates a catchy, assertive tone, invigorating one’s extremities.
With “Office Rage,” the power trio taps into the internal turmoil that one experiences while being perpetually unhappy at a desk job. As the guitar rattles and the percussion barrels ahead, its protagonist laments “…Service with a smile, eat shit,” before coming to the conclusive resolution. “Office rage digging your own grave/don’t you dare delay quit your job today!” (And start a kick-ass band.) “Chain Reaction” engulfs the listener as the domino effects of deeds is exposed in contagious couplets. The impactful consequences of one’s ego-driven actions races ahead as the initial flame increases in size.
“Unapologetic” builds in jarring fashion as frustration is voiced: “I’m sorry but… doesn’t count, weak excuses start to mount. It wasn’t your intention you say to make me feel this goddamn way.” And with the refrain – “Who’s the bull in the china shop now?” – that release of emotion amid fuzzy, noise-laced instrumentation exudes strength as Carter calmly delivers, “Unapologetic cold and apathetic/ Unapologetic never said it like you meant it.” The power has switched hands – “Who’s the bull in the china shop now?!”
Title track, “Covert Contracts,” pushes the pace, addressing addiction to technology and its ramifications. “First step is to give up your attention; next step is to give up your intention. Then one day, you’re locked up for dissension. It was all built into the invention.” We’ve turned over free will for the convenience of endless information at our fingertips. “Everything looks like a commercial; it’s a brand to be controversial,” while feelings of isolation encircle as “Betrayed” touches on the disappointments of betrayal across a litany of individuals and concepts. “What do you do when you’re all alone?”
Embracing personal evolution and accepting one’s individuality, “Prism” simply exudes confidence. “You can be many things and still be whole. You don’t owe anyone an explanation.” The song reaches out in its anthemic chorus, before “Black Hole” rockets into the void, closing out the album. As a dichotomy of ideas bounce off each other, “Nothing is given, and we’re always taking.” With their first full-length album, Control Top break loose from societal conventions, with self-confidence, determination and personal acceptance, allowing nothing and no one to stand in their way. (Photo by Chris Sikich) – Michael Colavita
