What’s so great about Upstate New York trio the Naturalists is that they’re so clearly students of indie rock back when indie rock actually meant something. When it was loud, irreverent, fun, and not elitist enough to be above a good guitar solo or two. Possessing a title that was probably coined during hysterical, weed-induced laughter, Home Honey, I’m Hi is a small joy of an EP, six songs’ worth of rock ‘n’ roll that’s equal parts Pavement and Guided By Voices.
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Wisconsin band the Millenium are coming off a successful summer that saw them win the Vans Warped Tour Battle of the Bands, and when you hear their new single “Stay”, you’ll understand why. Rooted in post-hardcore but diving shamelessly, gleefully into pop, “Stay” possesses a hook so explosive, you can’t help but give in. It is a ridiculous earworm on the level of New Radicals, Vertical Horizon, and other 1990s phenoms, full of verve and ebullience. Listen, and just give in.
Nashville singer-songwriter Phillip LaRue is set to release his third solo album You on 13 November, and listeners can get a taste of the record’s musical direction on the new track “Lighthouse”. Setting aside the usual folk-based sound for something more grandiose in the vein of Coldplay and Ed Sheeran, LaRue has his sights set on a broader audience with this track. Better yet, though, is the message he gets across in the song.
After making a name for himself as a punk rock guitarist, most notably for Dischord records band Iron Cross, Shadwick Wilde moved to Louisville, Kentucky and formed Quiet Hollers. Much like the way fellow Louisville band Coliseum meld different genres, Wilde incorporates Americana and classic indie rock with a strong post-hardcore influence, which makes for a wonderfully unique sound. The band’s second album Quiet Hollers is set to be released on 23 october, but in the meantime you can get a great little taste of the record via the fun new video for “Aviator Shades”.
“Performance” opens Bodega Bay’s sensational, 33-track debut release, Our Brand Could Be Your Life. The album is one of this year’s under the radar highlights and works as both an of the moment document of DIY culture in Brooklyn circa 2015, and also a funny, provocative lo-fi, art rock romp packed to the gills with dexterous wordplay and sub-three-minute blasts of perception that are surprisingly tuneful in spite of their non-production (all songs were recorded with an internal Mac mic in Garageband). “Performance” serves as the perfect opener for what is to come, throwing out observations on what it means to be a part of the “rock and pop apparatus” in this day and age, doing so in a way that is energetic, all-inclusive, slightly shambolic, and wholly entertaining.