Onward into the second half of 2016! July was no stranger to more goldmines for metalheads and indie-rockers. Take a looks at some of these le gems I picked out just for you! ❤ ❤ xoxo
All Your Sisters – Uncomfortable Skin
Few have mastered or even attempted the mastery that garnered Have A Nice Life’s Deathconciousness so much acclaim back in the day, but funny enough, another duo capture some of the same magic. All Your Sisters are actually just two dudes, and Uncomfortable Skin is just a more upfront doom and gloom take on post-punk. Nonetheless, it’s straightforward, but also so good.
ColdWorld – Autumn
Yeah, I got my hands on some metal. Therefore, it must be good, right? Autumn in a nutshell is guitar heavy black metal, so be prepared not only for Georg Börner’s echoing screams adding all the more power to these epics, but take in the lush interludes, complete with more classical instrumentation that has pervaded his previous works (violin, keyboard).
Emily Jane White – They Moved In Shadow All Together
Multi-layered soundscapes and the spacey double-tracked vocals of Emily Jane White peruse the lovely and dark They Moved In Shadow All Together. The baroque compositions utilize a myriad of instruments, and built together with a choir of voices (her own), White shows that singer/songwriters such as herself are capable of striking heart chords as they always have.
Frameworks – Smother
Screamo in 2016…maybe seems like a movement gasping for air, but in spite of public perception, Frameworks come though with Smother, a swift but compelling burst of anger, passion, and talent. Bands like these always seem to make a name in the underground of today’s musical world, even amidst those in the metal genres. Are these groups for little kids? Maybe, but don’t come crying to me like one when they take over. Rise up youth!
Johnny Foreigner – Mono No Aware
British punks with a party flavor, Birmingham-based Johnny Foreigner are here for a good time, and they have the attitude and charm to show for. Boasting a pop-punk flair in the mature themes explored, Mono No Aware is a quick listen, full of fun hooks, buzzing bass guitar, and two vocalists sharing duties on the malaise and overarching beauty of life.
Kemba – Negus
Back under a new moniker, yet boasting an album title named after one of his songs on then YC The Cynic’s GNK, Kemba has labored three years over his newest project here, and the results pay off as a call to thought-provoking accounts of race, largely stemming from the current events on police brutality and relations with the black community. “Please don’t call me conscious, don’t call it political, don’t deem this lyrical”.
Omni – Deluxe
Trouble In Mind Records
Deluxe is a neat little package of jangly post-punk, but it certainly boasts a bigger resume than it exudes. Consisting of former Deerhunter guitarist Frankie Broyles, quircky little guitar/bass tradeoffs mark a recipe for most of the songs here. While it’s hard to decipher if anything stands out at that rate, the record is still a fun little homage to a more lo-fi brand of rock. Oh, and the album art is a splitting image of the Violator artwork.
Silent Planet – Everything Was Sound
Solid State Records
Creatures of habit would be prone to assume that Underoath is a huge influence on Silent Planet’s sound. Heck, the screams and emphasis on vocals on Everything Was Sound sound like Spencer Chamberlain as it is. Give this a spin if you long for the metalcore tendencies of Christian screamers for Jesus of yesteryear (Underoath re-formed by the way).
TTNG – Disappointment Island
A fitting summary of newer TTNG is as follows: pretty good, nothing revolutionary. If you like the direction the band took on 18.104.22.168.0, pick up Disappointment Island. The math guitar and emo vocals elude to midwest-inspired bands of the nineties, and musicianship is still a highlight of the record. For an album title that destined TTNG to ridicule among anyone who isn’t a fan, Disappointment Island actually proves the opposite. HOW IRONIC!
VATS – Green Glass Room
End of Time Records
VATS seem to share plenty in common with fellow Seattle band So Pitted. While neo comes off a little more aggressive, Green Glass Room is equally noisy and abrasive, yet much more playful. The riffs are catchy, the bass is nice and muddy, and the vocals are busrting with energy. Combine all of that with veteran producer Jack Shirley’s experience (Loma Prieta, Deafheaven, Laura Stevenson), and you have a tight listening experience in VATS’s latest effort.
lol, i didn’t write anything else this month…