The revival of beloved emo label Count Your Lucky Stars has been great to watch, and with their recent signing of Florida’s Camp Trash, it looks like the label’s got a bright future again. The four-piece is a bit of an outlier for the label, however; their style of emo is far from the sad, twinkling sort the label made its name on. Instead, Camp Trash draws on the poppier stylings of bands like The Get Up Kids and Saves the Day, but with a modern edge, similar to Oso Oso’s basking in the glow. Downtiming, the band’s debut EP, doesn’t feel like a rehash, though, or a relic. It feels like a statement entirely Camp Trash’s own.Read More “Camp Trash – Downtiming”
Goings have signed to the ever-underappreciated Know Hope Records ahead of the release of their new album, It’s For You. The band’s brand of indie-rock, which mixes the math energy of heavyweights like Dryjacket with the quirky pop of a band like Motion City Soundtrack, is sure to warm up your autumn. We’re excited to premiere the band’s latest single, “Trying Dying,” which is a delightful taste of what to expect from their debut LP.Read More “Goings – “Trying Dying” (Video Premiere)”
There aren’t many bands like The Injured List anymore. The Michigan two-piece’s style of pop rock is nearly totally alien in 2020; a listen through the band’s third LP The Difference Between Giving Up & Losing calls to mind giants of yesteryear like The Audition or Valencia (or even the original incarnation of The Injured List themselves). Perhaps that’s the quality that makes it so replayable.Read More “The Injured List – The Difference Between Giving Up & Losing”
Convenient, Trash surprise released their third album, N*VY BLUE, last week through We’re Trying Records. I caught up with vocalist Logan Boyle to discuss N*VY BLUE a little bit – how the writing was different from the previous LPs, the various locales name-dropped throughout, and why the title’s censored. You can check that out below, and be sure to give N*VY BLUE a listen when you do.
Pooch, the sophomore LP by Convenient, Trash, has only been out a little over a year, but the Lansing, MI, indie rock troupe are already back with a new single, which we’re excited to premiere for you today. “Lylas House” is the lead single from the band’s upcoming N*VY BLUE, due out September 6th via We’re Trying Records. It’s a good taste of the album – catchy enough to sing along to, but unpolished enough to still feel raw.
It’s the kind of song that would be all over those “best songs of the emo revival” lists half a decade ago. If that sounds appealing to you, be sure to preorder N*VY BLUE, and stream the song below.
“Where does my brain wander, and where does it party?” asks Kevin Tully of Telethon on “How Long Do I Let It Go For?,” the lead single from his band’s latest record Hard Pop. I caught up with Tully recently to figure out exactly where his brain wandered in the writing of Hard Pop. Our conversation ranged from the scrapped concept record that became Hard Pop, to the miseries of working in fast food. Check out the interview below while you listen along to Hard Pop, which is out now on Take This to Heart Records.
Sun Cycles, the solo project of Jessica Hottman of The Hottman Sisters, released her latest single “Bang Bang” last week. Today we’re excited to premiere the track’s video. “Bang Bang” is, if you’ll excuse the pun, something of a banger, and I think fans of artists like Betty Who or Halsey would find a lot to love in the indie pop song. Hottman describes the song as:
A song about falling fast in love. It tells the tale of how we often play youthful games, in an attempt to ignore how we really feel. The bridge of the song is that moment when we let go and dive headfirst into those feelings we have, which are often inescapable anyway.
US Highball’s Think Again EP, from last year, had a timeless quality to it. It felt like a leftover demo from a long-forgotten K Records band, somewhat twee and dreamy and jangly. And at three tracks and ten minutes, it’s short, sweet, and – importantly – very replayable.
Philly indie rockers twentythreenineteen just released their debut full-length on Know Hope Records. It’d be easy to call XXIIIXIX an emo album, but that’d sell the band short. They pull from pop, electronic, and even ambient as much as they do emo and emo-adjacent music, and it makes for one of the genre’s most creative and refreshing albums in a long time. I recently had the pleasure of speaking to bandleader Sean McCall about the writing of the record, which is currently available for streaming and purchase.
Moss Jaw dropped their debut Embody this past April, and it’s one of the more unique albums I’ve heard this year. An ambitious blend of emo, punk, dream pop, and slowcore, it’s the sort of genre roulette LP bands don’t usually attempt until they’ve established themselves a bit more, but it pays off in spades for the Kalamazoo, MI, four-piece. Case in point is “What Is Your Composition?,” the band’s latest single, the J Ludeker-directed video for which we’re excited to bring you today. Check that out below and be sure to give Embody a listen if you like what you hear.
You Swear It’s Getting Better Every Day feels to me like the sort of album that, were it released two decades ago, would net Kayak Jones the legacy of a band like Name Taken. Perhaps not appreciated in their time, but considered a classic in retrospect. Like Name Taken, Kayak Jones is ultimately a pop-punk band, although with a heavy dose of emo influence. While they aren’t the first to play the style, and won’t be the last, they do so in a way that feels refreshing.
Three years ago, when I reviewed Ceres’ sophomore album Drag It Down on You, I said “Tom Lanyon sounds pissed.” But that isn’t the case on We Are a Team. Lanyon sounds happy. Hell, the first line of the record is “I’m gonna get happy.”
That isn’t the case when talking to him, either. He’s quick to laugh, quick to joke, and seemingly eternally grateful to be able to make music that connects with people. I got the chance to talk to Tom about the band’s upcoming We Are a Team, out next week.
Back in February, on this very website, I predicted that Owel’s then-upcoming third album would be “just as vibrant, expansive, and gorgeous as its namesake” Paris. A single listen through reveals that to be true. Paris is a truly beautiful record, and, though it hasn’t even been out a week, it’s not inconceivable that it might be the band’s best yet.
Every Owel album feels like a cinematic experience, and Paris is no exception. Their last album, Dear Me, began the band’s slide towards the more symphonic end of the post-rock spectrum, and Paris pushes even further in that direction. There remains a heavy emphasis on crescendos and orchestral swells, but there seems to be less of a straightforward rock influence on Paris than there was on Dear Me. There are few moments like the catchy chorus of “Annabel” or the belted bridge of “I Am Not Yours” on Paris; instead, the climax of “A Message” is a whirlwind of strings and horns, and violin and piano take center stage on “Get Out Stay Out.” Jay Sakong is still a clear presence – thankfully, as he turns in perhaps his best vocal performance yet – but he doesn’t feel like the focal point of much of the record, giving every member of Owel equal weight.