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by PopMatters Staff

20 Apr 2016


Photo: Eric Peterson

As we mentioned back in March with the premiere of “Fire Makes”, Brooklyn indie rock band the Loom is releasing the sophomore album, Here in the Deadlights, on April 22nd via Crossbill/Stereocilia. It was a long hard road getting to this point for the band as frontman John Fanning went through an emotional storm in his personal life that had him examining everything, including his music, as he rebuilt his life. While that process was painful and difficult, it afforded Fanning the opportunity of a rebirth, something he channeled into the Loom’s new music. The Loom has always been interested in repetition and grooves, things that are the primary concern of electronic music and it’s interesting how Fanning and the Loom are able to borrow dance music aesthetic elements and make them seem completely organic to indie rock. Here in the Deadlights is the first of two records that the band has ready to release as they have found so much creative inspiration drawing from the drama inherent in every day life.

by Jedd Beaudoin

20 Apr 2016


At a time when little shocks or surprises comes Rïcïnn and the track “Uma” from the forthcoming LP Lïan. There could be no better track to introduce the world to this artist’s astonishingly beautiful album, a record destined to become one of 2016’s best. As a child Rïcïnn created her own language, believing that her musical utterances possessed healing properties. Perhaps it does. Standing on the outside of this nomenclature one can only feel the power of Rïcïnn’s expression and it is never less than deeply moving.

by PopMatters Staff

20 Apr 2016


North Carolina is close to Atlanta geographically, but not musically as its hip-hop shares far more in common with New York rap. Charlotte’s Rapper Shane is heavily influenced by ‘90s hip-hop, including Wu-Tang Clan, Jay Z and Nas. “Started” may as well be Rapper Shane’s manifesto as it feels like a statement of purpose, as he announces that “it ain’t over now / I’m just getting started”. In a way he is just getting started as Rapper Shane. given that he previously worked under the moniker Stranger Day. Shane‘s got a super confident flow bristling with energy and passion, rather like Nas. Meanwhile, the song’s groovy slow jam beats just kill with incredible production from Ducko McFli.

by PopMatters Staff

19 Apr 2016


Pryor Stroud: Tim Hecker’s dark-electro “Black Phase” purports to be part of a sequence, but it refuses to reveal what the rest of this sequence consists of: what is the phase that follows this “black phase”? Was there a preceding white phase that, due to some transformative event, darkened to its current color? The track doesn’t provide any answers, but through snatches of feedback and ethereal choral chants, it suggests a reality that teases transience—this will be over soon, don’t worry—while remaining stubbornly and ominously constant. [8/10]

by Sarah Zupko

19 Apr 2016


Photo: Neilson Hubbard

East Nashville’s Wild Ponies are a rockin’ Americana band with one hell of a lead singer. Telisha Williams has a powerful set of pipes with an instantly recognizable sound and she plays with a band that can rock the house on amps set to 11, starting a fire with twang-tastic riffs and killer harmonies. Wild Ponies have a new album, Radiant, coming down the pike May 13th via No Evil Records and we are sharing the new single “Graveyard Train” today. The tune is raucous and righteous, highlighted by monster heavy guitar riffs, a ton of attitude and that wondrous voice of Telisha Williams, who evokes Miranda Lambert at her best.

Doug Williams tells PopMatters that “this is one we wrote a while back. Some friends told us about a cemetery in Garland, Texas that is divided by a train track. The train just runs right through there seven times a day. How can you not write a song about that? They even sent us pictures. It’s just a lot of fun to play, in the studio and live. We just kick it off and let it go. Sometimes it gets kind of wild.”

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