REVIEWS
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tUnE-yArDs Nikki Nack
TWEENS Tweens
Frenchkiss (2014)
Hummus Records (2014)
Nikki Nack, the third album from tUnE-yArDs marks the latest stage of Merrill Garbus artistic statement. Like so many electronic indie-pop artists, Merrill Garbus is always looking for that perfect sound, that perfect beat or element that totally could define her artistic statement. The tribal vibe of Nikki Nack blends that retro synthpop, almost as if Garbus was Vampire Weekend’s on ecstasy bastard sister. Exquisite and sometimes wicked, Nikki Nack is so rich and detailed, well combined with Garbus’ distinct and loud yelling vocals, once again the primal force in her music. tUnEyArDs new effort is an astoundingly loose, it’s a record that opens a new perception of what pop music future could sound like.
It’s not always that a new band gets a fan as The Breeders’ Kim Deal and I guess is no surprise at all, because of the great mood of this Cincinnati trio. The first track I heard was the energetic “Be Mean” showing this badass attitude with catchy, noisy riffs and it’s well shown the trash-pop tag they have. Tweens sure know how to write a song that gets stuck in your head. As the band’s name suggests, they write about teenage topics like bad relationships and boredom, that we can all relate too and this album is no exception. The only slow song on this album is “Want You”, where Bridget opens up her heart. This first album of Tweens could the soundtrack for our days in high school, trying to figure out life and ourselves.
What to make of a record that is pushing is way through what seems endless periods of repetition, an atmosphere that is fuckin’ bleak and puts the listener on his knees, that has no concerns whatsoever for rhythm or any type of vocalizations? Well, that’s exactly what Twinesuns, the Swiss duo, have done on their debut album. With names like Sunn O))), Earth and GY!BE working as influences, the duo accomplishes with The Leaving an incredible piece that not only sets the listener into this rollercoaster of emotions and contrasts but also proves how essential is the drone music. It’s all about finding a new language to express what is missing and be enlightened by every little detail that comes to our understating throughout our speakers. An amazing journey!
FOR FANS OF:
FOR FANS OF:
FOR FANS OF:
4AD (2014)
FAUSTO CASAIS
Vampire Weekend, Goldfrapp, Oh Land
TWINESUNS The Leaving
ANDREIA ALVES
Buzzcocks, Tacocat, Upset
TIAGO MOREIRA
Earth, Goodspeed You! Black Emperor
7 7 THE USED Imaginary Enemy
WYE OAK Shriek
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City Slang (2014)
Imaginary Enemy is the band’s sixth studio full-length, and also a manifesto of total independence of a band that over the years always seem to have more to offer than actually gave us. The Used were always a political band, even in the more emotional lows of Bert McCracken there was always by their lyrics evoking some kind of political conversation. Imaginary Enemy shows a band’s commitment, where feelings of frustration and optimism for a better future are the key elements of what this album stands for. Tracks like “Revolution”, “Cry” and “Generation Throwaway” are some of the highlights of the most complete and strong record from these Sacramento guys. The world needs a change, that’s a fact, let’s start the revolution...
Give Wye Oak credit, they are trying to find their way to a larger context. Does it work in its entirety on Shriek? To some degree. I’ve argued for years that the canvas was blank for artists like Hendrix, Dylan, and the Airplane. How do we contextualize music made as the canvas was being filled in? Music created by luminous figures, such as Nirvana and Portishead, litter the playing field. Their efforts established the totality of limited space. Does the new Wye Oak fill some of that space? Absolutely. In the same manner that Azure Ray deconstructed the conventional model of emotional expression, Wye Oak expands upon that premise. Jenn Wesner is the real deal. The perfect lilt during the chorus of “Glory”, the insouciance of the title track, the confluence of originality and supplication that is “The Logic of Color”. Highly recommended.
FOR FANS OF:
FOR FANS OF:
Hopeless Records (2014)
FAUSTO CASAIS
Taking Back Sunday, Chiodos, Aiden
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music&riots
May
ELLERY TWINING
Hospitality, Shearwater, Angel Olsen
YOUNG AND IN THE WAY When Life Comes to Death
Deathwish (2014)
Young and in the Way is a blackened crust band from Charlotte, North Carolina. When Life Comes to Death, is faithfully represented by its cover-art – greyish and fucking cold. It’s like a razor: the sonic punishment is cold-blooded and inflicted with all asperity. Closer than ever to Black Metal, this might leave some of those who surrendered themselves to the previous record, I Am Not What I Am, slightly uncomfortable. Nevertheless, we’re before a sharp and outstanding record. Among all the fast riffage, screaming, and sonic violence, the song “Shadow of a Murder” outshines with its neurosiesque semi-acoustic aesthetic.
FOR FANS OF:
RICARDO ALMEIDA
Dead In The Dirt, Early Graves, Nails