CFP: The Legacy of Radiohead's 'The Bends' 20 Years On [Deadlines: 29 Jan / 12 Feb]

 
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Tuesday, Mar 12, 2013
by PopMatters Staff
From rhythm and melody to voice shredding vocals and bubbling energy, this song is a slice of instant dance/rock perfection.

Underground Lovers hail from Australia even though they have often been mistaken for a British band, given that second album was released in the UK ahead of Australia. I get the confusion on an aural level as well, as Underground Lovers’s garagey pop has some serious dancey bass and drum beats. It’s an infectious sound one hears more in British rock than anywhere else. “Au Pair” is a case in point and it’s simply irresistible. From rhythm and melody to voice shredding vocals and bubbling energy, this song is a slice of instant dance/rock perfection. It’s got me sitting on the edge of my seat for the release of the group’s seventh album, Weekend, releasing 16 April (US) and 5 April (Australia) on Australia’s Rubber Records.





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Thursday, Mar 7, 2013
by PopMatters Staff
"LBS/End Titles" is an atmospheric piece that works just as well accompanying a film as it does a daydream in your head.

John Parish’s upcoming album Screenplay, which compiles some of his soundtrack work, seems like a natural project for the accomplished multi-instrumentalist producer, especially to anyone who has appreciated the vivid, visual quality of his collaborations with PJ Harvey. Originally appearing in the Dutch film Little Black Spiders, “LBS/End Titles”, premiering on PopMatters, is an atmospheric piece that works just as well accompanying a film as it does a daydream in your head. With steadily building synths interlaced with deliberate guitar patterns and touches of glockenspiel, it’s mood music that is equally well suited for paying close attention to or having on in the background.


John Parish’s Screenplay will be released on April 16, via Thrill Jockey.



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Friday, Mar 1, 2013
On "Let's Get Sick", young German shoegazers the History of Colour TV show they have a way with conjuring up trippy soundscapes.

You know that young German shoegazers the History of Colour TV have a way with conjuring up trippy soundscapes, considering how they seem to transform a plain old rehearsal space into what seems like another dimension. Just check out the video of the extended live version of “Let’s Get Sick”, the leadoff track from their recently released album Emerald Cures Chic Ills. Despite the no-nonsense performance, the band whips up enough reverb that it’s no optical illusion that they look as if they’re actually vibrating, the feedback rippling like heatwaves off asphalt.


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Wednesday, Feb 27, 2013
North Carolina's Kingsbury Manx returns in March with their sixth full-length, Bronze Age.

North Carolina’s Kingsbury Manx has oft been labeled a folk-pop act, and not without some reason. But as the band returns in March with their sixth full-length, Bronze Age, it’s clear that just folk-pop doesn’t fit anymore. The impressive new record expands their gauzy, shuffling melodies into fuzzier rock turns and edgy atmospherics, sometimes stretching out into layered fever dreams. Nowhere are the band’s strengths as clearly on display as they are on “Handsprings”, a swaying track that glides on cascading piano and perfectly understated melodies. When the chorus opens up in its triumphant close, you think the song has hit its high point. And then the bright sounds bottom out and you’re left with the shadowy negative of those sounds, everything bright and swelling turned dark and spacious. It’s a brilliant turn on an album full of them, and a sure sign that a long-unsung band who been at the top of their game for a long while has somehow found another level. This isn’t just their sound, it’s also the best version of it to date.




Bronze Age is out March 5 on Odessa Records.


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Thursday, Feb 21, 2013
"Stick To" offers a good sampling of Ace Reporter's sound, which recalls the moody drive of the National, just a little more immediate in its scale.

Ace Reporter is the brainchild of Brooklyn-based multi-instrumentalist Chris Snyder. Culled from what Snyder called a “threesixfive project”, which had him work on a track a day for a year is Ace Reporter’s debut album Yearling. “Stick To”, a track from the forthcoming full-length, offers a good sampling of Ace Reporter’s sound, which recalls the moody drive of the National, just a little more immediate in its scale. It helps, too, that Snyder’s melodic baritone brings Matt Berninger’s to mind and that Ace Reporter’s detailed, vignette-based songwriting flashes glimpses of the National.


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