This London band was formed just in time to be prevented from playing together by pandemic lockdowns. After remotely swapping tracks and developing their sound from elements of new wave, soft rock, psych- and jangle-pop, they were finally able to get together, and began recording and playing gigs. This single comes to us ahead of their upcoming debut EP,
Stroud Green Stoop. Lead vocal/guitarist Seb Pettitt says “the song is a sort of meditation on social anxiety; how you can be excited for something and dread it simultaneously."
Three musician friends from St. Catherines, Ontario - Arih SK, Amanda Parker and Mark Hoerdt - "all love 80’s new wave music and thought it would be fun to plug in some synths and see what happens." So far, that's resulted in a couple of singles, including this brand-new track. Parker says it's "a song about being the bravest person in the room. Someone has to be willing to get to the light source in the dark.”
New to our ears is this San Diego trio that's preparing to release its fifth album - but its first since 2016.
Jaws of Life is due in February. This first single is based on "the concept of writing down the name of the person that you love as your emergency contact when you’re at the hospital. It's kind of a morbid form of romance. They are the one person who will be there for you when disaster strikes."
Alvvays: After the Earthquake
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| Photo by Norman Wong |
We've been taking advantage of the end-of-year slow-down in album releases to pull more plums from not-so-long-ago releases - such as this track from
Blue Rev, released in October. The band describes it as “a rapid fire recital of drive-thru breakdown, tectonic breakup and boyfriend in a coma brake failure.” Glad they cleared that up.
We nearly let the year go by without paying attention to
A Light for Attracting Attention, this year's release from the trio consisting of Radiohead's Thom Yorke and Jonny Greenwood along with drummer Tom Skinner from modern-jazz group Sons of Kemet.
AllMusic called this track "an elastic groover" that finds "the trio locked-in as a formidable unit, with Skinner's drumming building to head-rattling levels as Greenwood's guitar noodling and Yorke's detached falsetto push [it] to bewitching heights."
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