Singles Cruise 07.20.18

wolfelt - "loree lane" settling/unsettled

Creating fractured beatscapes out of samples recorded while moving houses/transitioning lives, Settling/Unsettled is a warm, organically pieced-together EP that lives and breathes in the dusty corners of empty rooms that contain the shadow of furniture that was never supposed to be moved, out of tune pianos in living rooms and creaking floorboards shifting under unsteady weight. The Baltimore native has created instrumental pastiches that recall Baths warm sound palate and is reminiscent of early 2000's .anticon/morr music.

anton kochergin - "home"

A gorgeous slice of minimalist piano work from this young Russian composer. An inherently nostalgic, reverbed-out piano line becomes more sparse and more profound as it hits and recedes as soon as the electronic percussion pushes the momentum of the track forward. A nice little dynamic shift that opens the entire track up making it a uniquely blissful listen. 

Tasmansea - "Lidded" 

Decaying synthesizers are transmitted from some underground bunker in a rapidly thawing tundra. the result, coming from this Canadian composer, is an elliptical, highly mutable track that runs through mountainous builds and deep crevasses of sound - never quite settling in one place for long.

Sreym Hctim - "Lint Roller"

Mitch Myers - formerly of Peace Arrow and Tome favorites Hear Hums - has embarked on a kaleidoscopic, noisy, highly lyrical and slightly terrifying solo project that turns erstwhile Brooklyn hypnagogic pop into a mutated, two-headed infant - gagging and lolling to a mathy time signature while coughing up glitter to the clinking, clanking auxiliary percussion. It's a trip you want to take. Sans airbags and rear view mirrors.

former lakes - "dream swamp" It's Fine

"Approximation rock" is what Former Lakes call their lo-fi, downcast songs. I would say that is a pretty accurate tag for 99% of all of the indie rock I am drawn to. Looking through my bandcamp collection, it strikes me that for first time we have a fossil record of all the mutations that almost gave us that evolutionary edge to adapt to our new surroundings. Those subtle changes that just about made the cut. These approximations, this cozying up to, but never fully embracing the forms of a genre are responsible for some of the most beautiful, sad and beautifully sad moments I've come across. "Dream Swamp's" lo-fi rattle, omnipresent distortion and buzz hold the feeling, but never the exact shape.

parrot dream - "light goes (in mines)"

Parrot Dream creates lush Dream Pop that hovers just below the red in everything but Christina Appel's full-throated delivery. Athletic synth and guitar lines lap each other in an ever-ascending builds towards bliss. Parrot Dream is very much in the canon of mid-2000's Dream Pop such as Beach House and Wild Nothing, and like those groups feel confident shading the gravitational pull to the ethereal with dark hues of crimson red.

talent show - "dead in the ground"

To rattle through your deepest existential fears and nameless angst armed with power chords and an ear for channeling all of that through the wailing power-pop whose sound references everything from the Small Faces to the Buzzcocks to...The Murder City Devils is a coping skill we should all aspire to. Hartlepool UK's James Leonard Hewiston takes us through a litany of fears and doubts with whiplash speed and whipcrack smarts. 

interpol - "the rover" marauder (matador)

16 years into a career requires some ritual cleansing. In this video directed by Gerardo Naranjo, Ebon Moss-Bachrach plays a burgeoning cult-leader who, newly imbued with cryptic powers, storms a press conference being live-streamed in Mexico City and has an encounter with Paul Banks that caught reporters unawares. Whatever happened there worked. A band that functions on equal parts exhaustion and wonder enters 2018 sounding re-energized and full of clarity of purpose. 

July 20th, 2018