Looking for new music? DJs at WVAU share their thoughts on a range of recent releases.
Thee Oh Sees | Carrion Crawler/ The Dream
A combination of two separate EPs, this latest release from John Dwyer’s Thee Oh Sees is a relentless, no-frills collection of garage rock stompers, as opposed to the psych-pop tunes showcased on their earlier 2011 album, “Castlemania.”
While a few of the tracks feature short blasts of distortion and general madness, many of the songs have a raw, jam-like feel to them that capture the essence of the band’s renowned live shows. Most notably, the album’s title tracks (Note: I don’t know if an album can have two title tracks, but bear with me here) “Carrion Crawler” and “The Dream” are furious barnstormers that never feel like aimless noodling or guitar exercises, despite their lengthy running times. If you need a break from synth-dominated tunes or quiet folk ballads, this is the place to start.
Recommended If You Like: Jay Reatard, Ty Segall
By Cameron Meindl
Brite Futures | Dark Past
Brite Futures proves that the genre of alternative pop is more than just an oxymoron. This Seattle group uses their formidable songwriting skills, as evidenced on the brief and tantalizing electronic/classical/R&B “Winterlude,” in a unique way, given their dreary hometown, a place better known for, in the band’s words, “the whole grunge/beard folk thing.”
Instead, Brite Futures creates buzzy, euphoric tunes that are essentially a distillate of the better part of fun music; dance-punk (“Baby Rain”), pop punk (“Kissed Her Sister”), twee-pop (“Black Wedding”), funk (“Cosmic Horn”), top 40 pop (“Too Young To Kill”), ’90s rock (“Best Party Ever”) and indie rock (“Tell It To Me”).
The word “infectious” is an understatement here, as the synths hit the stratosphere and the vocal turns follow close behind over grooves that feel familiar but are actually brand new. The lyrics themselves are cutting and funny, a simultaneous spoof and celebration of the tired themes of popular music. Brite Futures is far from stardom right now but is propelled by the songwriting of a genius producer. The members are doing it themselves and getting by with pure talent.
RIYL: Weezer, Cults, The Rapture, Aquabats, fun
By Jesse Paller
Teebs | Collections 01
Teebs, a producer from Flying Lotus’ terminally laid-back Brainfeeder camp, follows up 2010’s “Ardour” with a mini-album that pretty much follows in its obscured footsteps, as well as the rest of Teebs’ hazy peers.
“Collections 01” is a classic L.A. beat scene trip-hop release, slurring sounds and burying loops in reverberant effects to create a thoroughly immersive listening experience. It languidly floats through exotic harp reveries, eerie waltzes and analog dreamscapes above clopping beats that feel more like suggestions than definite pulses.
The overall effect is one akin to contemplatively floating in a warm ocean. If you expect music to provide constant stimulation, stay away. If you want to reach higher levels of consciousness while tuning your headphones to the chillest zone on Earth, you’ve found your album.
RIYL:Flying Lotus, Telefon Tel Aviv, Bonobo, (chill) Four Tet
By Jesse Paller
The Gaslight Anthem | iTunes Sessions
An assortment of covers, unreleased material and new arrangements of older songs, this iTunes session from the New Jersey rockers might not seem essential to anyone outside of the band’s most devoted fans. Despite this, the performances are strong enough to earn a listen, with Brian Fallon’s raw vocals leading the way.
Covering artists like Pearl Jam, Tom Petty and The Who might seem like an undertaking, but Fallon proves that he’s up for the challenge, especially on “Baba O’ Riley,” wherein he admirably channels Roger Daltrey’s legendary delivery.
Despite this, performing that signature stadium-anthem in a high-tech studio session gives this version a strange, confined feel to it. The highlight of the sessions, however, is a slower, more soulful version of 2010 single “Boxer” that should tide fans over until The Gaslight Anthem’s next LP.
RIYL: Bruce Springsteen, The Replacements
By Cameron Meindl
