Shiny Toy Guns | III
Welcome back, Carah Faye.
On their newest studio album, Shiny Toy Guns plays off their signature style with a new feel, one that’s more melancholy and fantastic. The opening two tracks (“Somewhere to Hide” and “Waiting Alone”) are full of futuristic synths, and frontwoman Carah Faye’s influence back in the group shows through reflective lyrics and vocals.
What makes Shiny Toy Guns so versatile and magical is the otherworldly feeling one gets when listening.
The more one listens, the more intriguing the sound becomes. A perfect example: “Wait For Me,” begins with Faye’s whispers and evolves by incorporating of screams, mysterious sounds, some string undertones and beautiful vocal harmonizing.
This album is different, it’s more of an adventure: more modern but still synonymous with what we love about Shiny Toy Guns.
Recommended If You Like: The Killers, Nine Inch Nails, CSS
By Molly Pfeffer
Black Moth Super Rainbow | Cobra Juicy
A new cart soundtrack for your N64.
Do you remember the song for Rainbow Road on Mario Kart 64? Do you think it would be improved by layered female vocals and hard-hitting backbeats?
Black Moth Super Rainbow’s latest release implements a psychedelic sensibility in combination with Sleigh Bells percussion and Daft Punk breakdowns.
No, really. Take the first track “Windshield Smasher.” Beginning with power chords and drums full of attack, a vocal enters with the synth, then the whole theme begins to revolve around a “Thriller” electronic sequence.
It’s an unusual combination to be sure. Yet on the first listen, the sound is actually very appealing. The ghostly vocals may get old at times, but the sheer originality of the instrumentation is so striking that Cobra Juicy could just be your new walking-around music for a while.
Maybe we should book Black Moth Super Rainbow for the new Mario Kart…
RIYL: The Flaming Lips, Daft Punk
By Spencer Swan - “Traveling west on swans” Mondays. 8-10 p.m.
Why | Mumps, etc.
Why? returns to their unique, upbeat, downtrodden sound.
Why? has always played a strange mix of indie rock and alternative hip hop, glued together with the half spoken, half sung vocal work by Yoni Wolf.
Much of their appeal comes from a grab bag of appeal: cheery indie rock licks, witty, often hilariously detailed lyricism and bizarre philosophical musings.
“Mumps, etc.” is a bit more methodical than previous releases. Lines are immediately apparent and Wolf’s rapping has moved closer to spoken poetry, leaving nothing lost in a flurry of rapid-fire quips that the band used to rely on. This style allows Wolf to make his point more concisely, but sacrifices the surprise of an off-time punch line.
When other instruments make their cameos, they really shine. “Mumps, etc.” will still leave you chuckling and pondering Wolf’s psyche, but with a slight nostalgia for the band’s quicker, nonchalant days.
RIYL: Dan Deacon, Themselves, The Front Bottoms
By Cameron Stewart - “Sultry red feedback” Saturdays 3-4 a.m.
P.O.S. | We Don't Even Live Here
Blending punk and hip-hop aesthetics.
Before joining the Minneapolis hip-hop collective Doomtree, P.O.S. was in a punk band, something that has shown, for better or for worse, on his first few albums.
On his latest, “We Don’t Even Live Here,” that punk aesthetic is still present, just toned down.
Stefon Alexander’s flow is not particularly interesting, but he makes up for it with his passionate delivery. He often sounds angry while he’s rapping, especially on tracks like “Lockpicks, Knives, Bricks, and Bats.”
Despite this, the first few tracks are pretty catchy, though. Justin Vernon’s feature on “How We Land” in particular makes for a pretty singable hook. The album does seem to drop off toward the middle, but overall there are some really cool tracks on this album.
RIYL: Doomtree, Common, The Roots
By Bill Oldham - “Kerwin's Korner” Tuesdays 10 p.m.-midnight
