Brooklyn indie rock band the Loom will release 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.
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PURSES (including members of bands like District Attorneys, Party Dolls, Modern Skirts, Grand Vapids, Blue Blood, Crooked Fingers, and more) made a catchy debut with their “Hitchhiker/Wheels on the Run” double-single. Newest single “Clementine” offers further proof that their debut record should contain equal parts jangle, indie pop guitars, noise, harmonies, and anything else in between. “Clementine” offers a new facet of the band’s sound, as they explore some push-and-pull dynamics. Guitars stab through the song’s quiet vibe, building up to walls of sound and ebbing again before coalescing into an insistent lead line to close things out. B-side “White Wire Handle” feels more down-home, with a lo-fi treatment on the vocals and a four-to-the-floor arrangement that lands just on this side of IRS-era R.E.M.
Defining itself as “a collective of musicians with backgrounds in contemporary classical, metal, jazz, and folk music, all who happen to play rock music [sic]”, Brooklyn outfit Emanuel and the Fear (led by Emanuel Ayvas) proved to be an incredibly eclectic, skillful, and striving troupe on its previous two LPs, Listen (2010) and The Janus Mirror (2013). Channeling the instrumental prowess and/or symphonic melodic grip of ELO, Frank Zappa, and the Dear Hunter (among many other diverse acts), the group always takes its listeners to unexpected places while also maintaining certain distinctive traits. Fortunately, both expectations are met on “Meredith”, the first single from their upcoming third studio album, Primitive Smile.
With its 2014 debut LP, The Fall, “dark, alternative, new-wave duo [sic]” Se Delan (English multi-instrumentalist Justin Greaves and Swedish singer Belinda Kordic) proved itself as one of the most distinctive and auspicious new acts on Kscope. Brimming with ghostly vocals, gritty atmospheres, and a gregarious balance of chaotic density and moody sparsity, the collection was a haunting opus that left fans eager for a studio follow-up. Fortunately, the twosome’s sophomore effort, Drifter, will be arriving on April 29th, and to assuage the wait a bit, they’ve just issued the first single from the record, “Going Home”.
Parlor Walls is a “trash jazz” trio comprising of Alyse Lamb of post-punk outfit EULA, avant—saxophonist Kate Mohanty, and multi-instrumentalist Chris Mulligan, Lamb’s partner in the multi-media art collective Famous Swords. We were fortunate enough to have Parlor Walls open our CMJ showcase with a totally transformational performance. The dexterity of each member, from Mulligan’s multi-tasking drumming and keyboard tapping to Mohanty’s beautifully interwoven sax playing, as well as Lamb’s full throttle command of the stage, made for as memorable a CMJ performance as any given by better known acts on the festival’s roster.