As remarkably prolific (and badass) garage rock deity Ty Segall prepares the release of his third (repeat: third) album of 2012, his new single ought to tide us over for the next month — like you weren’t already content with the plethora of awesomeness the guy’s put out this year. “The Hill” is vintage Segall — featuring a timeless vocal hook and some raucous hard rock riffage — but really, it just fucking rocks; offering further evidence that this ever-budding San Francisco prodigy might actually be incapable of wrongdoing.
From Twins; out September 4th via Drag City.
Ty Segall and Thee Oh Sees are playing September 4th at ACM @ UCO in Oklahoma City. Buy tickets here.
Some songs just move you in ways that others can’t. There’s a certain level of music that pierces your ear canals, falls through a trap door and sinks into your soul, essence, being, whatever. Pleasure centers become overwhelmed with joyful exultation, and we are moved in ways that other art forms are simply incapable of employing. All eight songs on Celebration Rock — the triumphant, life-affirming blockbuster from Vancouver duo Japandroids — hit this target with penetrating accuracy; And “The House That Heaven Built” is perhaps the most adept embodiment of Japandroids’ abilities. Musically, it’s an uproarious fist-pumper, one in which you can actually hear the fervent desperation oozing from each guitar strum, each percussive strike. But Brian King’s lyrics — the underutilized punk rock weaponry that he bears from head to toe — carry this already invigorating anthem into rock ‘n’ roll nirvana. It all amounts to an unrelenting conglomeration of fire and passion that, ultimately, feels as uniquely human as the blood pumping through our veins — blood that pumps harder and harder with each subsequent listen.
From Celebration Rock; out now via Polyvinyl.
Japandroids are playing November 5th with Bleached at Trees in Dallas.
Earlier today, Stereogum premiered the new video for Eternal Summers’ “You Kill” — a gloriously upbeat power pop anthem from the band’s latest, Correct Behavior — an album chock-full of gloriously upbeat power pop anthems. Like their music, the video touches on themes of youth and nostalgia, and from the looks of it, the band sure knows how to throw a party. It all makes for a sweetly sentimental fun-loving affair, just as we’ve come to expect from the budding Virginia-based three-piece.
From Correct Behavior; out now via Kanine.
Peace have apparently been making some serious noise in the UK circuit — one listen to “California Daze” and it’s incredibly easy to see why. The song is somewhat of a cross between “The Funeral” and “You Never Give Me Your Money,” with a devastatingly familiar guitar lick and impassioned vocal harmony that progressively builds toward guitar pop euphoria. Even for the most experienced songwriting veterans, songwriting just isn’t supposed to sound this easy. And the thought of these guys having barely scratched the surface just makes it all the more exciting.
From Delicious EP; out September 9th via the band’s website.
Toward the end of last year, we pointed out that Brooklyn electronic duo Beacon were doing things with R&B that few others had before. They brought melody to the forefront of their songs rather than hiding them beneath a cloud of reverb, cherry picking elements of 90s nostalgia and filtering them through a machine. “Feelings Gone,” the lead track from their second EP (and first for Ghostly), offers even more resistance to the idea of classification; It features a progressive, almost dance-worthy house rhythm, but it retains the same muted, sensual vulnerability that made No Body so exciting.
From For Now EP; out October 2nd via Ghostly.
Panabrite is the moniker of Norm Chambers, a Seattle-based synth enthusiast with a faculty for mind-bending soundscapes. It’s music that’s often mischaracterized as cold and foreboding, yet “Spetses,” like much of The Baroque Atrium, is as warm and welcoming as the radiant Greek isle of the same name. This is music that shines light on the deepest corner of nature’s grotto, with a not-so-subtle organic aura that embraces the primal sounds of wildlife. Yet despite his fondness of the natural world, the fluttery arpeggios and bellowing, drone-heavy backbone found in Chambers’ music is often just as cerebral and dramatic as it is earthly and equatorial.
From The Baroque Atrium; out now via Preservation.
Somewhere in the last few years, new Grizzly Bear material became an earth-shattering event. Four soft-spoken dudes from Brooklyn somehow managed to gradually ascend to the top of the musical ladder without some gimmicky marketing scheme or one-off successes. Rather, Grizzly Bear have gotten where they because of uncommonly remarkable and consistent songwriting, displaying the ability to adapt and evolve without ever abandoning their strengths. With the impending, sure-to-be-blockbuster release of Shields, eager music nerds (like myself) have a tendency to latch onto any shred of news they can to quench their ever-enduring thirst for new material. With a band of this magnitude, it just comes with the territory.
"Yet Again" is the second cog in Shields' unwavering hype machine, and it takes on a completely different shape from its predecessor. Where “Sleeping Ute” was fidgety, complex and true to Daniel Rossen's cavernous songwriting technique, “Yet Again” feels like a completely different animal. There are overtly tangible, yet relatively new comparisons to be drawn here: the song's elegiac sophistication would sound right at home in an Other Lives set, and the sly, almost manic tension felt beneath Ed Droste's urbane vocal melody hits the same brooding pleasure centers as some of the finest Radiohead material (think “Knives Out” if Scott Walker had been in the studio). But ultimately, “Yet Again” sounds like quintessential Grizzly Bear — winking and nodding at the past while marching resolutely forward into uncharted waters.
From Shields; Out September 18th via Warp.
Le Galaxie are four Dublin-based electro-pop purists with an affinity for big beats and glittery, sky-gazing synthesizers. Kraftwerk-inspired space warbles are often at the forefront of their songs — some coming courtesy of traditional synths, others fancy guitar work. And the group’s clear standout, “Love System,” boasts a compact, hard hitting vocal hook with a buoyant barrage of keyboards, making for an infectious throwback tune just as danceable as it is charming. Check out the video, and stream the EP in its entirety below.
From Fade 2 Forever EP; Out now via Delphi.
Directed by Mark Duggan.