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@thestenog
“I WAS KISSING MY DAD AND I DIDN’T EVEN KNOW IT”
How can you not love a track that opens with an absurdist line like that? Lyrics aside, the up-beat guitar hook and gritty vocals ensure this scuzz number will sink deep deep into your brain. It’s best blasted far too loudly on the way to buy a big gulp cherry slurpee and a pack of Marlboros.
Although "Bleached Out" echoes more ominous than their first single--LSD--there is nothing low-spirited about The Gloomies. The band grounds their ambient, fuzzy melodies with a touch of gritty realism to create a sound that's nothing short of hypnotic. Andy Craig's warm vocals warn, "bleached-out women fade away into the blue." But, trust us, this song is nothing like a bleached-out woman and it'll stay with you all day.
This little gem of shoegaze track dropped into our inbox and we couldn’t be happier. On “Jobin” @theorielles balance a sugary surf-tinged melody with enough grit to keep the song grounded. That combo keeps us dreaming of a beach like Rockaway or Venice and craving a cheap beer. Give The Orielles a listen and check out their Facebook page for more music.
Things that suck: catching Pulp Fiction on TV only to realize it's the clean version. Gross.
Things that don't suck: this track "She Always Goes Down" from Havana Guns. The London-based four piece balances Durante's sugary vocals and Philippe Di Nero's low-humming guitar to create a sound with enough grit to straddle the line of dream pop and rock. They claim their influenced by the Velvet Underground, Blondie, Jesus & Mary Chain, and the Kills. You definitely hear them all in this track.
Ah 2004: Janet Jackson argued with the FCC over Nipplegate, people still wore Von Dutch trucker hats un-ironically, and Napoleon Dynamite gave high school outcasts everywhere hope. Also this fucking gem of a band released this fucking gem of a track.
Obviously we adore our artist. But we must admit that we listen to other bands too. So in the name of transparency, here are the acts that get us all tingly and excited for SXSW 2016. Listen. Let us know your feelings.
Grand Jury’s Favorites for SXSW 2016
The Kills
Track we can’t stop playing: Doing It To Death
Why we love them: The Kills have been creating bluesy bangers for over a decade but now they’re back in a big way with this slick-and-simple single. And not to be reductionist but we have a huge crush on Allison Mosshart.
Partybaby
Track we can’t stop playing: Everything’s Alright
Why we love them: The sound is angry and unclean and we adore it. How to listen? Turn the volume up. Then turn it up more.
John Moreland
Track we can’t stop playing: You Don’t Care Enough For Me To Cry
Why we love him: Like any good Americana album, High on Tulsa Heat boasts tight songwriting about love, longing, and guilt. What sets Moreland apart from his contemporaries is how he delivers those lyrics. Seriously, want to hear the sound of a heart shattering into a million pieces in slow motion? Just play this song.
Car Seat Headrest
Track we can’t stop playing: Vincent
Why we love them: The word prolific doesn’t do Will Toledo justice. Only a few short months after October’s Teens of Style, and dude is already back with a whole new record. “Vincent,” its lead single, is a manic vamp that twists and writhes for a thrilling eight minutes. Also, trumpets!
Lucy Dacus
Track we can’t stop playing: I Don’t Want Be Funny Anymore
Why we love her: She opened for Julien Baker earlier this year and floored us. Her lyrics are wry & knowing. Her voice is rich and warm. The rhythm section gallops and the boney guitar line insists. You’re going to be seeing this name a lot.
Porches
Track we can’t stop playing: Be Apart
Why we love them: The voices of Aaron Maine and Greta Kline were made for one another. To hear them intertwine across the ever-evolving catalog of Porches is a treat. Their interplay on the synth-driven “Be Apart” is no exception. And the brooding yet danceable Pool is the sound of Maine and Kline truly finding their groove.
Big Ups
Track we can’t stop playing: Goes Black
Why we love them: Because more bands should worship at the altar of Dischord.
Palm
Track we can’t stop playing: Ankles
Why we love them: When Stereogum named Palm a “band to watch” they said “Palm is a live band” with “a performance that’s a no-holds-barred interpretive exercise.” Then we saw them open for Mothers last month, and we said “Stereogum was right.”
Mitski
Track we can’t stop playing: Your Best American Girl
Why we love her: Everything important to say about Mitski has already been put into words. We fucking love Mitski.
Big Thief
Track we can’t stop playing: Real Love
Why we love them: Hey, Saddle Creek, you’re killing it. Between that remarkable Hop Along record last year, and the forthcoming LP from Big Thief, you’ve got two of our favorite female-fronted rock records in recent memory. The labyrinthine twists and turns of “Real Love” are uniquely unsettling. The damage of this track mirrors songwriter Adrianne Lenker words; listening is like, “having your face hit, having your lip split by the one you love.”
This song! It’s confused. It’s frustrated. It’s enraged. Kristine Lescher’s quavering vocal is somehow both powerful and fragile, broken and strong all at once. And the way it sits atop these chiming, clean guitars = marvelously unsettling. Be unsettled, people. Be unsettled.
Come for the lush 80s synths, stay for the lush 80s vocals.
Have never walked into a shitty sports bar during SXSW and been more blown away by a band than these Shreveport, LA blooze hounds. Seriously. The lead singer -- a five foot nothing spitfire with a voice from some bizarro history where Etta James replaced Craig Wedren in the original lineup of Shudder to Thnk -- jumped on the bar, in front of a bank of 10 TVs broadcasting the NCAA tourney, and delivered maybe our favorite moment of the entire festival last week. Seratones. Believe it now. Cause everyone else is going to be believing it very soon.
Could soak in the low end of this thing forever. Going to find someone to hold hands with while it plays and then happily jump off a cliff together.
Don't let the 2:14 run time on this track fool you. "Taboo Tattoo" -- the album-opener from Subtle Luxuries, the debut from Boston garage mallrats Midriffs -- is really only 78 seconds. But what a marvelous 78 second! Totally unhinged. Totally tuneful. All crash cymbals, snarling guitars and gang chorus.
2008, a far simpler time.
When we first heard Night Dials, their tunes came digitally packaged to resemble a nostalgic retrospective, with artwork that read "The Singles: 1958-1960." Listen to "I've Done More Things," and you'll understand why. A timeless nugget right here.
Remember Milwaukee? Remember power-pop? Yeah, us too.
Well this is pleasant as all hell, isn't it? Our boys in seoulmtl are supporting this pleasentness later this month. Go.
All you need is a girl and a gun. And a dog.
Every dude in this band plays an SG. Fuck you.