In Formal Growth in the Desert, Protomartyr have subtly evolved their sound into something not as claustrophobically volatile as previous efforts.
The Cure’s ebulliently eclectic masterpiece ‘Wild Mood Swings’ is misguidedly maligned. What is more tantalizing than music that exalts eclecticism to such stupefying heights?
Post-punk bands Twin Tribes and Black Swan Lane hail from the sunny climes of the southwestern and southeastern US, and yet sonically mirror the late ’70s/early ’80s post-punk from the rain-sodden UK.
Poet Laureate Tongo Eisen Martin’s words snake their way into one’s consciousness and viciously bite at the tragic absurdity of American racism.
Dublin's the Murder Capital and Detroit's Protomartyr both delve into murky existential lyrical terrain as riotous riffs reverberate and drums pound militantly, infusing the atmosphere with ominous sonic shadows.
Every Day We Get More Illegal, seems to foretell a diatribe vibe, but threaded throughout Herrera's verse is the musicality--the calming, invigorating melodies that remind us, ever so sweetly, if insistently: Latino lives are beloved.
Bright Eyes may not technically be emo, but they are transcendently expressive, beatifically melancholic. Down in the Weeds is just the statement of grounding that we need as a respite from the churning chaos around us.
Both Bertoglio's Downtown 81 and Linklater's Slacker showcase characters who are blissfully aimless, anarchic souls discretely or overtly spurning a predictable, soulless society.
The vocals on Fontaines D.C. debut, Dogrel, are megaphonic, more shouty than croony. Indeed, Fontaines D.C. is spoken-word, white-boy rap at its most vociferous and off-kilter.