Favorite Waitress is set for a June 17th release date, check www.thefelicebrothers.com/tour for upcoming tour dates!
Wednesday, April 16, 2014
Monday, April 14, 2014
The precedent for Mess is unmistakably set with album opener “Mask Maker”, where the warped vocals of Angus Andrews beg to be at-first depantsed (that’s right) before they ultimately demand the listener’s face (again, that’s right) all while set against a thunderous 4x4 beat. The song does everything but froth at the mouth. Then seemingly without pause, we are thrust into the pulsating cacophony that is “Vox Turned D.E.D.” (come to think of it, you could just lump these two together into one big, off-the wall, bonkers electro-floorstomper). Suffice to say, Liars have always straddled the line of novelty; yet the self-awareness of Mess plays to their strengths more so than any album in the band’s growing catalogue. Calling to mind the Knife's early-era goth-camp (think: their self-titled debut LP and Deep Cuts), Mess is unabashedly goofy in all the ways that WIXIW was obtuse- while still maintaing the band's darker, more experimental core (see: “Can’t Hear Well”, the Thom Yorkian “Darkslide” and the devilish “Perpetual Village”). Even if Mess threatens to recklessly derail itself from one moment to the next, the album boasts an unbridled clarity absent from earlier Liars offerings; the band has never sounded this confident before on record. Tracks like “Pro Anti Anti” and the explosive highlight “Mess on a Mission” expertly create a happy medium of tasteful adrenaline-junkie pop that distract from the rare moments of overblown indulgence, such as the endless album closer "Left Speaker Blown". Far from an elegant affair, Mess finds Liars deeply embedded in their own breakneck comfort zone- not only an exciting place to be, but one worth returning to as well.
Thursday, April 10, 2014
Animal Collective's Avey Tare released Enter the Slasher House this week, the full-length debut of Tare's current side project, Avey Tare's Slasher Flicks. Experience what Enter the Slasher House has to offer with the music video for lead single "Little Fang"- a dizzying puppet-laden tumble down a psychedelic rabbit hole. It's also pretty awesome.
Tuesday, April 8, 2014
Merrill Garbus has been in full form this past month, laying the groundwork for the May 6 release of Tune-Yards' third LP, Nikki Nack. "Wait for a Minute" is the second single from the album, following up the deliciously dizzying "Water Fountain" with a relatively more laid back vibe. Tune-Yards has always had a pronounced soulful streak, and this new track isn't afraid to flaunt an electro-motown groove that could be mistaken for a Little Dragon b-side.
Thursday, April 3, 2014
Few bands are better than Future Islands at straddling the line between elegant pathos and overwrought ridiculousness. And while Samuel Herring and company have been working their signature brand of grandiose synthpop for years now, the overall consensus seems to dictate that 2014 is the year Future Islands “comes into their own”. Arriving on the tide of frontman Herring’s confoundingly magnetic Letterman performance is Singles, the band’s fourth full-length release. Not quite as powerful or arresting as 2011’s On the Water, the appropriately-titled Singles finds Future Islands at their most hook-laden and assured with the band exuding a newfound confidence that more than matches the album’s pop accessibility.
Singles breezes along almost effortlessly for the first half. Tracks like “Seasons (Waiting on You)” and “Sun in the Morning” coast along evoking a world in bloom- paradoxical imagery to be sure once you take into account the tough-lipped melancholy of Herring’s vocals. The album devotes its midpoint to hazy reflection with the nostalgic “Back in the Tall Glass” and the slowly thunderous “A Song For Our Grandfathers” (Herring crooning a tune with this title is everything you’d expect, just short of becoming a full-blown Irish drinking song). Yet, Future Islands reserves the most compelling material on Singles for its back half with “Like the Moon” and “Light House”- tracks that would have fit in seamlessly among On the Water’s more poignant moments. All of this, of course, depending on the temperment of the listener, may register as completely overblown and even farcical. Herring’s manic vocal presence, which can be described as Morrisey by way of an unnerving David Bowie/Tom Jones hybrid, is an acquired taste to be sure. Yet for those attuned to the approach, his is an undeniably exciting guiding hand- efficiently juggling the album’s poppier elements with a tendency for unhinged histrionics (see: the sporadic death metal wail in “Fall From Grace”). Let us all rest assured that, if Singles is indeed the album that pushes Future Islands closer to the stratosphere, an anarchic follow-up is most likely not far behind.