#luke temple

[jazznoisehere]

Luke Temple And The Cascading Moms: Hungry Animal (Western Vinyl, 2026)

Art & Design: Studio Hirons.

[dustedmagazine]

Tim’s 2024: A Question of Focus

DIIV

The more time I spend listening to new music, the more I realize the extent to which my year-end list is largely dependent on the records I’ve chosen to focus on reviewing for Dusted. It takes time to listen to and digest music to the point where I find myself with something approaching insightful to say, which means I’m pretty discerning when it comes to choosing albums to review. There’s only so much time available to listen to new music, so it pays to focus the firehose of continuous new releases into a manageable stream. All of the following have necessitated repeat listens, not only in order to get my head around them, but also to get my head into them, to lose myself in their world. There’s been a hell of a lot of great music released this year; these are the records I kept returning to.

1. DIIV — Frog In Boiling Water (Fantasy)

DIIV’s third album, Deceiver, felt like a step up for the band, and Frog In Boiling Water is the band really hitting their stride, melding shoegaze, dream-pop and grunge into a heady, addictive brew that scratches the same itch that Loveless and Siamese Dream did when I was a teenager. Thick, complex guitarscapes such as “In Amber” and “Somber The Drums” characterize much of the album’s appeal, but it was the scouring, dread-soaked “Soul-net” that I replayed more than any song this year.

2. The Smile — Cutouts (XL)

It’s been a good year to be a Radiohead fan, with two albums from The Smile, a solo tour from Thom Yorke, and a book of photography from bassist Colin Greenwood. The Smile’s Cutouts, the second of the year’s two albums, balances head-nodding guitar intricacy with zone-out synth jams. Compared to January’s Wall Of Eyes, it feels like an embarrassment of riches on the songwriting side.

3. Loma — How Will I Live Without A Body? (Sub Pop)

Emily Cross, Jonathan Meiburg and Dan Duszynski took a bit of a left turn on their second album, Don’t Shy Away, veering into more synth-focused art-pop territories. It didn’t always cohere, so it’s a relief that Loma have returned to what they do best on album three: stark, haunted indie-rock with plenty of atmosphere and gorgeous songs.

4. Luke Temple and The Cascading Moms — Certain Limitations (Western Vinyl)

Following his diversion into Arthur Russell-esque beat-drift under the pseudonym Art Feynman, Luke Temple returns to releasing music under his given name and recruits new band The Cascading Moms. Their chops are razor-sharp and the songwriting swings between languid and impressively funky.

5. Jessica Pratt — Here In The Pitch (Mexican Summer)

I’d not paid much attention to Jessica Pratt before this year, but Here In The Pitch’s combination of classic 1960s wall-of-sound production and simple but affecting songwriting really won me over. In some ways it feels like a more digestible cousin of Cindy Lee’s colossal Diamond Jubilee. “World On A String” and “Empires Never Know” are especially stunning.

6. Jon Mckiel — Hex (You’ve Changed)

2020’s Bobby Joe Hope was Jon Mckiel’s low-key breakout with its combination of found-sound tape loops and affecting songwriting. Hex digs deeper into more abstract territories that feel dark and dejected yet sweetly hopeful.

7. Winged Wheel — Big Hotel (12XU)

To my mind, shoegaze is at its best when the whole surge of sound feels like it could collapse at any moment. What keeps Big Hotel on the rails and piledriving forward is the twin-drum attack of Fred Thomas and Steve Shelley. The swirl and burn of the music’s relentless momentum feels like trying to take refuge in a wildfire, cooled by the balm of Whitney Johnson’s airy vocals.

8. Rosali — Bite Down (Merge)

This one was a common pick on our mid-year lists, and for good reason. Bite Down strikes a sweet balance between the melodic songwriting of my personal Rosali favorite Trouble Anyway, and the shaggy jams of her backing band Mowed Sound.

9. Nilufer Yanya — My Method Actor (Ninja Tune)

Single “Mutations” pulled me in with its intricate guitar and bass work, the tumble of toms, and Yanya’s disaffected purr. My Method Actor mines this seam thoroughly, approaching mid-tempo indie-rock with an artisan’s attention to detail and some achingly beautiful arrangements.

10. Body Meπa — Prayer In Dub (Hausu Mountain)

Much like Winged Wheel’s Big Hotel, Prayer In Dub throws the listener into a dense, swirling guitar-bass-drums soundscape of intricately shifting layers. The playing is absolutely stellar, especially from drummer Greg Fox, and sounds amazing when loud.

10 more in alphabetical order:

Cindy Lee — Diamond Jubilee (self released)

Ned Collette — Our Other History (Sophomore Lounge)

Corridor — Mimi (Sub Pop)

English Teacher — This Could Be Texas (Island)

Horse Jumper Of Love — Disaster Trick (Run For Cover)

Itasca — Imitation of War (Paradise of Bachelors)

The Smile — Wall of Eyes

Svaneborg Kardyb — Superkilen (Gondwana)

Wand — Vertigo (Drag City)

Xiu Xiu — 13” Frank Beltrame Italian Stiletto with Bison Horn Grips (Polyvinyl)

[nofatclips]

symbol by Adrianne Lenker from the album abysskiss - Directed and Edited by Vanessa Haddad

[nofatclips-home]

Empty Promises by Luke Temple from the album Both-And

[falsestuff]

Art Feynman - Feeling Good About Feeling Good (2017)

[nigelgodrichproducer]

Photos taken by Steve Keros. 

From a few of Nigel’s recording sessions with Here We Go Magic, at Nigel’s old studio (The Hospital) at Covent Garden in London and Jonathan Wilson’s 5 Star Studios in Echo Park, CA. 

Notice the angles of the drum mics are all parallel to each other. 

[indigohunter7]

i’m searching up book series from my childhood on tumblr and it’s reminding how niche so many of them were 😭

[yellowsnow77]

Luke Temple and the Cascading Moms

Estoy un poco perdido con la carrera de Luke Temple y sus constantes transformaciones. Como ya sabréis, el de Boston empezó su aventura musical formando parte de Here We Go Magic, una de esas bandas neoyorquinas que apostó por darle un toque más étnico a su indie-pop. Pero en seguida comenzó a editar discos bajo su propio nombre. Y hasta ahí le tenía controlado. De hecho, en 2019 cayó por aquí el…

View On WordPress