Sarah Tudzin, as Illuminati Hotties, has made deceptively complex pop record. The sound is all over the place. There are some places where Kiss Yr Frenemies sounds like a more twee record in the Cub or Tullycraft style. It’s got a deep, ambient vibe that reminds of trip hop in a weird way in other places. The record has really sparse and tender moments that smash almost without warning into noisy punk parts. It doesn’t sound too jarring unless you’re really thinking about it. Like how the delicate, piano driven “Declutter” comes immediately after a indie/punk jam like “Pressed 2 Death.” Or how the vibey “Cuff,” which honestly made me look up Portishead to prove I wasn’t crazy with that earlier trip hop reference, comes right after “Shape Of My Hand.”
The overwhelming vibe of the record is mid-20’s ennui. Songs about love, relationships going sideways, needing more money, and just general dissatisfaction are all over this thing. If I’m being honest, the line “I’m Spending all my money at 7-11 and sleeping through the weekend” made me laugh in a very knowing way. Same with “I could probably use a fourth job.” The record kind of has a bitterness to it that offsets the more sweet sounding music in a really cool way. Like, happy sounding songs about how everything is just being kind of dumb sometimes. I feel like that is something anyone can relate to.
The elevator pitch for this record would be “wry observations of a young adult told over energetic indie pop.” It’s a great record for the summer, and I can’t imagine anyone not finding something to connect to. Also, the horn flourish on “For Cheez (My Friend, Not The Food)” is fantastic.
I know I killed this blog back in September. I decided to bring it back. Because things are always better when they come back, right? There is a bit of housekeeping to take care of.
- I’ve spent the last eight months removing myself from all the PR lists I was on. I never intended to start this back up. That said, I don’t have access to advance stuff. It is what it is.
- The Tumblr I used to have as a mirror for this blog is gone. I deleted it a number of months ago and someone else scooped up the name almost immediately. I didn’t intend on bringing this shit back, so chalk that up to my own shortsightedness. There is a Team Reasonable on Tumblr, but it is not me anymore. I messaged them to get it back, but it probably won’t happen.
- I’m probably not going to be exclusively covering stuff on the greater punk spectrum. It will still make up the majority of posts, but me feeling limited and stuck was why I stopped to begin with. Don’t be surprised if you see a post outside those bounds.
- I’m sticking to just reviews again. Song of the week is on hold for now. I might bring it back once I get in the swing of things.
Other than that, updates occur when they occur. You know how I do.
Two Knights, the duo of Parker Lawson and Miles DeBruin, are the epitome of a duo that knows how to fucking go. Find me a stronger two piece that plays this kind of music. Effing is the kind of record that will get pigeonholed as an emo record, but that only accounts for a small portion of what it is. It is an energetic, mathy, punk rock record that knows how to get the point.
The songs on Effing are all pretty short. Save the closer, “Lex Loser,” all these song barely break the two minute mark. Even that song is just shy of 03:21. It’s remarkable because these aren’t simple, punk rock riffs. “Stoned Legends Of The Hidden Temple” and “Lex Loser” are pretty aggressive in the guitar department. A bunch of nerds would be yelling about “twinkling” if they were slower. “I Ate an Entire Pizza During One Episode of The West Wing” is on the other end. It’s way more straight forward, A to B type song.
Two Knights have basically nailed the gimmick. They are a great blend of indie, emo, math rock, and punk. Two Knights are the kind of band that knows exactly what they want to do, and they know exactly how to do it.
See Through Dresses – “Lucy’s Arm”
From Tiny Engines:
See Through Dresses released its Tiny Engines debut End of Days in the Fall of 2015, introducing a wider audience to a sound both intrinsic and environmental, with stark contrasts between its principal songwriters’ devastatingly riff-heavy jams and endearingly honest confessionals. It showcased what the band can do in spaces where guitars and rhythms rule the roost.
If End of Days is its rock record, Horse of the Other World, out June 14th, is See Through Dresses’ dreamy opus. Recorded in 2016 in two locations — ARC Studios with Ben Brodin (Pile, First Aid Kit, The Good Life) and at the band’s home studio, Little Machine, by Mathew Carroll — it signals a sonic leap into a more ethereal, soundscape-driven aesthetic.
Reverb-drenched and synth-laden, Horse of the Other World blends Carroll and Bertuldo’s masterful mood creation and technical prowess while further exploring the depths of the band’s dynamics. “Pretty Police” mixes sparkle and bounce with brood, while “Violet” cuts sharply via crystalline keys and arpeggiated chords. Bassist Alex Kirts pumps the album’s bleeding heart and drummer Nate Van Fleet is tactical and creative. Their playing shines as the foundation of songs like “Lucy’s Arm” and “Herbivore,” whose climaxes are textbook See Through Dresses.
See Through Dresses are one of the best examples of modern post-punk. They mix classic shoegaze and dream pop elements with driving punk rock. They make art without getting pretentious.
Horse of the Other World is an A+ record from front to back. “Lucy’s Arm” is a hell of a single. Those shared vocals on the verses are fantastic.
See Through Dresses
Sheer – “Stutter”
From The Native Sound:
A year and a half since the release of their debut album, and two member changes later, Sheer are back.
With their new EP Psychic Quarry, Sheer embrace a change that finds the band at their most relaxed and inspired. While their debut LP Uneasy introduced the band as one with a kinship for dreamy, reverb-induced soundscapes, Psychic Quarry is a much more catchy, and indie rock-informed affair.
The six songs on Psychic Quarry cover a lot of ground – feelings of anxiety and depression, the vulnerability of intimacy, and even the post-election shock many of found ourselves coping with.
Stutter isn’t a single. I don’t know that it’s really a thing to share here in this space. I really like this band. Psychic Quarry is a great record. It came out back in April, and I probably should have talked about it then.
Anyway, go grab the damn thing.
The Native Sound
Post Lovers – “Going Away”
From the inbox:
Athens based Post Lovers is a solo project created by Eleni Karageorgou. Post Lovers play short, indie folk tunes, blending a-bit-too personal songwriting with playful backing vocals, all set in a 90’s background. Their beneficiary musicians kindly contribute to both their rehearsals and live gigs. Post Lovers take a step at a time: girls, friends, lovers, post lovers.
Their first official release is the single “Melbourne/Going Anyway” coming out on August 1st through the 7-inch series “A Distant Victory Singles Club” via Inner Ear Records.
These indie pop songs always sound good in the summer. Is twee seasonal? Anyway, “Going Away” is the b-side on Post Lovers’ upcoming single. Both it and “Melbourne” are great songs. The 7″ will be out on August 1. It’s part of Inner Ears’ subscription series. You can check that out here.
Inner Ear Records
Perennial released their first EP back in 2015. Early Sounds For Night Owls was a quick four song record that I still don’t think got the attention it deserved. It had all the heart and intensity that you would want from a record, especially in a genre as driven as post-hardcore. It’s essential listening. Especially if you want to understand the artistic side of underground music. But that’s 2015, and it’s now two years later. Where do we stand?
The Symmetry Of Autumn Leaves is the new record, and it’s probably my favorite record of 2017 so far. I mean that with no hyperbole. Perennial have raised the bar. The Symmetry Of Autumn Leaves fucking goes. It’s one of those records where you can tell what songs are going to absolutely wreck the place live. “La Fugue Pour Béton brut” is definitely one of them. I feel like “Evergreen, un deux trois,” “Resolver,” and “Hippolyta” are definitely contenders too. Those songs are quick bursts of aggressive energy. Shit, the whole record is.
The evolution of Perennial’s sound is key to what makes everything work. First, the increased vocal presence of Chelsey Hahn adds a lot of depth. The way her vocals work with Chad Jewett’s is one of the many standouts on the records. Those two were the heart of Lion Cub, so it’s no surprise that they work so well together. To that point, the increased presence of the keyboards and sampling also change the dynamic a lot. That texture existed on Early Sounds For Night Owls, but that record still felt more guitar driven. The song that best shows that shift is “La Fugue Pour Béton brut.” That song appeared on the EP in 2015, and a reworked version shows up here. It’s the best.
The Symmetry Of Autumn Leaves is an amazing record from start to finish. It’s a perfect mix of art school punk and post-hardcore. The energy, the passion, everything.
Howling Frequency Records