New Releases for June 24th (6/24/22)
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"There’s nothing two-dimensional about pain; you can’t capture sadness with an algorithmic playlist, though many have tried. You’ll find Soccer Mommy on a lot of them. Sophie Allison broke out aged only 20 with her brilliant studio debut, Clean, in 2018. She wrote sharply and memorably about breakups and doomed love in the midst of depression; yet her raw guitar songwriting couldn’t fully illustrate the depth of darkness bubbling beneath it.
She now releases her third album, Sometimes, Forever, on which she was produced by electronic innovator Oneohtrix Point Never, aka Daniel Lopatin, for the first time. Here, she delves further into the shadows; into futility, masochism, and morbidity. This time around, Allison’s songwriting and Lopatin’s production are on a scale that captures those complexities.
Whether she’s exorcising demons or shaking hands with them, Allison explores in ever more depth how to channel that most potently. The reductive tags that may have previously been assigned to Soccer Mommy – sad, chill, nostalgic – have no foothold here. This is nuanced, purposeful songwriting from an artist growing in power."
Read the full review over at NME |
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"Things are moving along fast for Goose. Since emerging on the jamband scene as a metaphorical gosling a handful of years ago, the group’s following and body of work have grown exponentially and they’ve now become an arena-level act.
Goose cements its status as one of the marquee bands in the genre with Dripfield, its fourth LP. On it, the band covers an eclectic range of styles and influences across 10 solid studio tracks that also fit in nicely as vehicles for their live performances."
Scope the full review at No Depression |
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“... if Regina Spektor’s new album is any indication, then the music of the twee era may be in for a renaissance, too. Spektor’s latest is laced with whimsical indie-pop stylings that wouldn’t sound out of place on the records of twee artists like Belle and Sebastian, Feist or Spektor herself. But where What We Saw from the Cheap Seats (Spektor’s 2012 offering) was pink and sticky-sweet, Home, before and after, her long-awaited eighth studio album, is a more sophisticated delicacy, perhaps something creamy dusted with espresso. It’s Spektor at both her most serious and her most adventurous.
Swinging feverishly between elevated pop and bombastic tales, Home once again finds Spektor working in a dimension where genre doesn’t exist. Whether she’s swimming around in theories about space and time, or just riffing on a few scales to make a love song, Spektor’s words and melodies on Home, before and after are a dazzling delight. Twee or not, she remains one of the great musical treasures of the Empire State, and therefore a treasure to us all."
Check out the full write-up at Paste Magazine |
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| "Call Me If You Get Lost is Tyler’s most masterful album yet. Whereas Igor is deeply personal and explores bravely intimate themes, Call Me If You Get Lost demonstrates Tyler’s command of just about every aspect of the creation process. And he knows it, too — with the help of mixtape-aficionado DJ Drama as his hype-man sidekick, Tyler takes on the persona of “Tyler Baudelaire,” a suave, well-traveled gentleman with a sophisticated taste for high art. From start to finish, Tyler is flaunting everything about his life — and he’s having a good time doing it, managing to create a unique portrait of the rich life without leaning on stereotypical rap lyrics about money, sex and fame."
Check out the full Dartmouth review HERE |
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“Caamp is still working out what kind of band it wants to be. The Ohio foursome’s self-titled 2016 debut offered the propulsive, crowd-pleasing brand of folk that does well on AAA radio. The follow-up, 2019’s By and By, incorporated indie rock influences for a set that was both breezier and more varied. Now, Lavender Days — their third album overall and second since signing to Mom + Pop in 2019 — continues to find the group scattered across different sonic lanes.
Caamp spent much of the spring touring with The Lumineers, an obvious influence and certainly one of the most imitated folk bands of the last decade. Like their tour mates, Caamp’s tendency toward the anthemic can occasionally lead them into twee territory. They’re at their best at their least affected, as on 'Believe,' a laid-back rocker that’s buoyant but never cloying. 'I believe in you, baby,' Meier sings repeatedly, a phrase that’s effective precisely because it doesn’t feel contrived."
Read all about the album at No Depression |
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