Lars Gotrich
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On "Dogma," Haley Fohr collects and redistributes the sounds of a few cult genres – spaghetti western, avant-garde funk – and projects a modern mysticism for an uncertain age.
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Kississippi articulates the overwhelming rush and nonsensical whims of a new crush.
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"Letting Go" is a slow burn, glowing auburn against pedal steel, synths and Pedigo's loping guitar as if the song's got nowhere to go, yet is compelled by unseen forces to move on.
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Here the clipped guitars and tight drumming of the original Strokes' song are exploded into the kind of Replacements-y thrust of Touché Amoré's finest moments.
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Headbanging riffs, symphonic keys and blast beats heave from the "yawning abyss," but counter with honest-to-Gaia hooks.
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Recorded outdoors on a four-track, Canary Room's Maddy Heide thinks out loud about the way seasons change in a person, and how you love them anyway.
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Tobacco City's debut album out today — Tobacco City, USA — mixes cosmic country with psychedelic choogle, but "Never On My Mind" ... well, that's where the honky tonk meets the soul revue.
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Liz Harris returns with the first single from Grouper's upcoming full-length album, Shade.
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Like her 2014 debut, Gendron imbues this traditional French song with a somber, sepia-toned smoke that summons the past with affection and ache.
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On "Disappearing," Alan Sparhawk and Mimi Parker of Low sing in harmonies that quell the deepest doubts and soothe the savage heart.