Part Cocteau Twins, part For Against, Norfolk, Virginia trio Wyteshayds mine the best aspects of late-1980s dream pop. It’s lean, sharp at times as guitar lines slice left and right, but the sumptuous quality of the music creates an undeniable feeling of warmth, which is accentuated even more in the layered, slightly indecipherable vocal harmonies led by bassist Jacki Paolella.
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It’s only a few more sleeps until Coheed and Cambria‘s eighth—and PopMatters-approved—album The Color Before the Sun is released, but in the meantime the band has posted a cool behind-the-scenes preview of “The Audience”. One of the most intriguing tracks on the record, it’s the heaviest as well, drifting toward the prog metal side while still retaining that nimble sense of melody the band are so adept at.
Best known for their surprise 1996 alt-rock smash “Not an Addict”, Belgian band K’s Choice have steadily put together a very strong career over the course of the past two decades. Led by sister and brother Sarah and Gert Bettens the band has been off and on over the past decade, with Sarah pursuing a solo career and even spending a year as a firefighter in her home of Johnson City, Tennessee. K’s Choice have been back on the go since 2013, however, and last month they released their sixth album The Phantom Cowboy in America.
Autodrone last released a full length in 2008, when debut Strike a Match turned heads thanks to a heavy shoegaze palette and powerful live shows. The band’s latest offering, This Sea Is Killing Me, paints in darker hues while also playing up the band’s way with contrasting keyboard lines and atmospheric guitars that cascade over Katherine Kennedy’s vocals. Songs like “Exit Ghost” bring to mind misty graveyards on moonlit nights and pack plenty of eerie fall thrills.
It’s easy to label Oxford band Co-Pilgrim as “twee”, but dig a little deeper and you’ll find that the band has more classic American rock, folk, and country influences than, say, anything C86-related. With its rich vocal harmonies, new album Slows to Go beautifully evokes the Byrds, Crosby, Stills, Nash & Young, and Big Star. The specter of Gram Parsons and Alex Chilton loom over the record as well, as singer-songwriter Mike Gale comes through with gem after gem, often augmented by rich folk rock guitar and swooning pedal steel. And for good measure, the band’s never hesitant to throw in a little shoegazey distortion for effect, as on the Teenage Fanclub-esque “Flood of Tears”.