Back in January of 2019, Wild Nothing shared “Blue Wings,” a standalone track left over from the sessions for their 2018 album Indigo. It would turn out to be the only music Jack Tatum’s project released last year. But just as the ball dropped, Tatum unveiled another new song plus plans for a new EP coming soon ...
So his debut, X100PRE, at first seems like an odd concession to the old-school from an artist who made old-school look thoroughly obsolete — if singles are enough to get you into the studio with Drake, why bother with a full-length?
Denver duo (and real life husband and wife) Tennis are releasing a new album, Swimmer, on February 14 via their own Mutually Detrimental label. Now they have shared another song from it, “Need Your Love,” via a video for it ...
Here’s something weird! Billie Eilish is a 17-year-old pop singer with weirdo aspirations and with a massive online fanbase. Roma, on the other hand, is a slow, lyrical, beautiful Mexican art film about the life of a domestic worker who lives with a relatively wealthy family in Mexico City in 1970 and 1971.
Believe it or not, Chromatics released a new album last year, Closer To Grey. It wasn’t their long-anticipated (and missing in action) Dear Tommy, but it was very good, and the Los Angeles group is back with another very good new track today.
The incantation that begins Octo Octa’s “I Need You,” 30 seconds of euphoric moaning, could introduce any number of songs. A post-yoga chant could develop with layers of blissed-out voices and the hum of a harmonium. A ’90s house sound might emerge, with a diva calling the shots over groovy drums.
Few artists are as openly honest and introspective as Sir Sly: The Los Angeles trio of Landon Jacobs, Hayden Coplen, and Jason Suwito care deeply about the meaning and authenticity of their work, as well they should: Their breathtaking debut album You Haunt Me (September 2014 via Interscope Records) set the bar higher than most.
Alex Cameron – Candy May A while back, after having caught Australian musician Alex Cameron as an opener for Angel Olsen, I was pretty enamored of his performance, and the assuredness of its shtickyness (and yes, it is shticky). If you can appreciate Lana Del Rey for her mellifluous lists of hollowed signifiers and decoupaged images of millennial-imagined withering Americana, you might likewise find it easy to appreciate elements of Cameron’s aesthetic (though perhaps there’s some withering Austral..iana there, too).