The colorful and zany sounds from the Very Jazzed crew have sprouted a new wacky and wobbly tune with Get a Life‘s “Get A Job.” The slacker garage jaunt winds up with a ricochet of percussion and snaps to life with some perfectly playful guitar chords and leisurely lyrics. “Get a Job” arrives at the perfect time of year. With summer in full swing, it operates as a rally for all uninhibited youth looking to validate their decision to relinquish responsibility and cherish fleeting moments. Sometimes a simple summer tune is all we need to remind ourselves that the finest human experiences are derived from the simplest pleasures.
George Clanton’s Mirror Kisses made a bold statement with the release of last year’s impressive album Heartbeats. The album featured Clanton’s ability to harness a variety of pop influences, boil away the fluff, and extract shimmering glints of pure conviction worthy of display. Each song was delivered as naked, vulnerable, and full of unabashed passion. “Bleed” is Mirror Kisses’ latest and ups the ante in every way. The production is buoyant and allows Clanton’s Bowie-esque voice to howl longingly at a haunting summer moon, finally giving way to an explosive release of agitated digital blips and a front of sweeping synths.
“Bleed” is available now via his Bandcamp page.
Zeno Pitarelli, a.k.a. Bad Cello, follows up last year’s Finna 7″ with the explosive ballad “Cover Your Smiling.” Pitarelli orchestrates a heavy arsenal of arena-sized drums rocketing across waves of distortion and frenzied guitar melody. Everything feels uninhibited and in glorious slow motion. You can almost feel the energy igniting just inches from your face. And with a few poignant closing piano chords, Pitarelli’s words remain as a powerful declaration of vulnerability.
London producer Jamies Bea‘s latest “New Year Beat” quietly shuffles into focus amid curtains of radio static and a steady pulse. Bea’s track is a self-assured slice of new wave soul with androgynous vocal hushes and a pulsating backbeat, like an approaching stealth helicopter on a midnight mission. With its sudden stops and wobbled starts, “New Year Beat” is an intriguing juggling stunt that wouldn’t sound too far removed from a Jai Paul B-side.
Las Robertas, a rock trio from Costa Rica, have been in the business of fuzzed-out garage anthems for nearly four years now. The group crafts a pleasant blend of sunburnt melodies, splashes of distortion, and a dollop of sweet vocals to melt your ears. Their latest track, “Marlene,” grinds ruthlessly through waves of fuzz, feedback, and cymbal crunches. With a female vocal lead at the helm, “Marlene” lures you in with some deceptive reverb and rounds the finish line with a smack across the face. In just under two-and-a-half minutes, Las Robertas manage to relieve your sweet tooth symptoms and give you something to live for with not much more than three guitar chords.
Late ’90s alternative rock was having difficulty finding its footing in the twilight hours of the grunge movement. However, the sound, unmistakably influenced by the skyward melodies forged by alternative pioneers the Replacements, seems to have thrived beyond those days of tape players and mixtapes. Beach Slang, a guitar, bass, and drum trio from Philadelphia, are waving their heart-on-sleeve alternative rock flag proudly. “Filthy Luck” harnesses the sweet melancholic rasp of the Replacements’ “Answering Machine” and cranks up the intensity with some solid snap punches, palm muted pauses, and rampant earworm distortion. Beach Slang should be on every reckless summer adventure playlist.
“Filthy Luck” is the opening track from Beach Slang’s forthcoming 7″, Who Would Ever Want Anything So Broken—out this summer via Dead Broke Rekerds.
Last year, George Clanton, a.k.a. Mirror Kisses, released a collection of lean and powerful tracks reminiscent of the gloss and shine of ’80s radio pop acts. With Heartbeats, Clanton’s trademark voice is felt soaring over 8 laser-sharp productions. Album highlight “Genius” was molded into a music video with live footage shot from a recent house party. Clanton’s emotionally wrenched performance is spliced with the construction and deconstruction of an art piece titled “40 seconds before the bomb or What Is and should never be.” The video captures the glowing conviction and frantic air of a Mirror Kisses performance, complementing the free-flowing style of the artwork.
Heartbeats is available now via Mirror Kisses’ Bandcamp page.
THEMAYS are a rather large collective of “dronologists” from San Francisco. More intriguing than exactly how a collaboration in drone escapism actually takes place is their latest ambient long-form piece “KNOWHERE.” For this track, the group manages to progressively focus in on the subtleties of varying sonic textures, exploring themes of blissful innocence that quickly dissolve into brooding despair. “KNOWHERE” forgoes the harsh assault of similarly-minded artists like The Haxan Cloak or Oneohtrix Point Never and draws inspiration from the traditional sounds of Brian Eno’s Ambient 1: Music For Airports or the contemporary classics of Stars of the Lid.
You can grab a dual-sided copy of “KNOWHERE” on tape via Otherworldly Mystics, which will surely lend itself to an even more distinguished listening experience.
Like a mechanized beast birthed from the bowels of a suburban junkyard, Cousins‘ “Mess” whirs to life with rusted teeth and antifreeze in its veins. The Halifax-based garage outfit yields a mangled hybrid guitar sound (clean coupled with tasteful fuzz, akin to the cavalier sounds of Japandroids) that quickly succumbs to a bluesy wail and grinding wall of distortion. And if you squint your ears enough, I swear you can hear the ghost of a young Walkmen frontman tackling a head-banging proclamation of internal struggle and motivation.
“Mess” is from Cousins’ upcoming release The Halls Of Wickwire, out May 13th via Hand Drawn Dracula.