MMBLR is the solo project of Snowmine drummer Alex Breckmann. For MMBLR Breckmann filters his obviously well-tuned ear for pop hooks through blown-out, ambient-adjacent sound palate – constructed through subtle layering of guitars in various stages of processing, vintage synths, dismantled drum kits and household objects. “That Breeze” sounds perfectly cloistered in a self-contained room where this song lives in. The fullest expression of what a solo project is.


This solo project by Jeff VanNieulande pairs exploratory, clean guitar picking with a gentle, softly rising and falling synth line to create a revolving, ever-circling song cycle that never seems to perch in one place for too long. A perpetual motion machine set to lovingly rock you to sleep. It’s an easy motion to get lost in.


Through pairing field recordings of familiar – bus doors opening,a noise floor created by wind blowing around autumn leaves – with tension-filled guitar passages and doomy slides into lap-steel pensiveness, the Polish sound artist and guitarist forces us to reexamine our relationship to these sounds.  As the track descends into a maelstrom harsh tones and precise guitar freakouts the familiar bus sounds takes on a new meaning. Instead of promising traveling away from trouble, it’s a bullet train straight into its heart.


“Norra Udden” was recorded by these Swedish musicians while on the island of Adelso in the middle of Malaren lake. This pastoral setting translates nicely onto the recording. Two guitars, light percussive melodies, circling and intertwining themselves with the sound of water and the natural world rushing in. The simple repetitions and easy pacing in which this track ambles along at gives way to some darker instrumental flourishes but remains very much frozen in the amber of an eternal summer afternoon.


The latest single from the Italian shoegaze band is a rumbling from the forest-blanketed Adriatic coast. Deep percussive hits with cavernous reverb tether the track’s ethereal proclivities – high register keys mimicking the insect drone of a still afternoon and Constanza Delle Rose’s disembodied, maudlin vocals – to the earthy loam of this track’s bedrock, those shimmering, tremolo-rich guitars splitting the difference between Slowdive and Mogwai.


Recalling the unhinged tunefulness of Pity Sex with the lo-fi charm and shaggy dog affability of Sebadoh, Body Vox swing for the fences with a sense of urgency born out of being equal parts crushed by existence and a clawing need for reconciliation. Buried under sheets of fuzz and distortion, this galloping, snarling post-punk blazer strikes the match against the effigy of individuals we love not living up to their professed ideals.


The Cincinnati-based Lush-punk trio are known for layering nuance-heavy instrumentation and songwriting beneath torchbearing, uptempo rock anthems. “Eden”, their latest single from their upcoming full-length Let Me Know Your Moon, capitalizes on those tendencies to push the song into zones that feel perfectly lived in and articulated. Leggy has been crafting this blend of roaring guitar leads and woven in and out of knotty song compositions centered around Véronique Allaer and Kerstin Bladh’s intersecting guitar and bass lines, for some time. Lyrically, Allaer narrates the anxiety and ecstasy that come with starting new relationships. Worries of “dropping the payout” before last call and seeking validation through social media interactions find their completion in regenerative moments and the ambiguous promise of astrologically fated love.

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