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We’ve  partnered with Counterpoint to give away a grand prize package to the mid-May festival, which includes a pair of 3-day passes along with three nights of camping. Tune in and check out our Facebook and Twitter pages throughout this week for chances to enter our drawing for the passes. We will announce the winner Friday afternoon!

For more about Counterpoint and the full lineup, check out http://bit.ly/1K2OQAp


We decided to do some spring cleaning with our website and may have gone a little overboard. With this fresh new start, the goal was to make the site simpler and easier to navigate (and hey, a bit easier on the eyes). There are several issues that still need to be fixed — with the Listen Live button being top priority — but we couldn’t wait any longer to show off the makeover!

Expect a lot more things now that we have our new site going: more content on the music blog, more video and media, a mobile-friendly version, and more interaction with you guys, our listeners and readers. We hope you enjoy our new look, and a sincere thank you in advance for being patient as we work out the kinks!

Edit: The Listen Live button is now working. Tune in!

In the Red

Although the new self-titled release from Fuzz features Ty Segall on drums on vocals, his role on this album is far different than other releases. Instead of playing lead guitar, he’s playing drums and his vocals are buried far deeper in the mix than his other full band record (2012’s stellar Slaughterhouse). In fact, there are very few vocals on this record at all, with the songs themselves feeling far more improvisational and loose compared to many of Ty’s other records, with each track sounding like a demonic jam session. While Slaughterhouse covers much the same thematic material, Fuzz at times sounds far more menacing and more like an actual band just jamming around and having a blast rather than playing the tightest, most composed song possible. This leads to a lot of interesting, intense fuzz-rock songs and a solid start to a new project. – Andy Tabeling

Into It. Over It.
Triple Crown Records

This is Into It. Over It.’s second full-length record and the first one this reviewer has heard. Simply put, Intersections shows a man (by the name of Evan Weiss) who has fully mastered his instrument – the guitar. At many times I was reminded of Television’s Marquee Moon – I’d hear three guitar lines that I thought would never come together sonically, and be astounded as Weiss spun an equally intricate vocal melody over that, creating some of the most complex-sounding music I’ve ever heard. This record falls more on the indie rock side of things, but there’s a lot more to it than that. Underneath the (occasionally) screaming electric guitars is an acoustic guitar quietly laying the basis for the whole track. It certainly feels like a very personal album. – Dan C.

Edited by: Nathan Kerce


Now, usually, I don’t do this but uh, let’s go ahead and break ‘em off with a little preview of the live version. And let’s be honest, this pretty much had to be the song of the day with the picture of a hospitalized, bed-ridden Madeline Hassett (lead singer of TONDA) making its rounds on Facebook (89 likes and counting) and being touted by the band’s Facebook page as an official album cover leak. And what if I told you this was a recording from that very hospital room, and will be released later in 2014 under the name Emergency Jams (I would be lying).

In an Athens scene where the principal songwriter usually helms vocal duties, for better or worse, you notice when vocal talent becomes emotionally relevant. Vocals in “Untitled” that initially provide something humid and muggy to pair with a bass line striking in the way it hangs its head in resignation. Progressing into a shouting match of vocal chord tearing thrash and shattered cymbals, that passes through and leaves the ground cracked and barren. So soulful and pained sounding are Hassett’s vocals it’s hard to not to picture a savage outpouring of physicality – tearing away the rubber covering of a mic cord with nails ground deep.

Check out the aforementioned track below and head on over to the band’s Bandcamp and Facebook pages if you’re lusting for more.
-Will Guerin

Chris Baio (no relation to Scott Baio*) of Vampire Weekend-fame has been making thumping electronic music under his last name for a good while now. He has a new EP coming out called Mira and has just released a single of the same name. It’s a pulsing house track with a patient groove and creative sample use that gives the song its title. If there ever comes a time when Vampy Weeks no longer needs a bass player for some reason, Baio should be just fine all alone. Listen to “Mira” here and check out the Mira EP when it releases on 10/28 via Future Classic.

By: Nathan Kerce

*I assume, I didn’t do any research into this claim at all.

532a41c7It’s so unfair to draw comparisons between the music of sisters Allison and Katie Crutchfield like we’re all involved in some grand, public sibling rivalry. The most recent single from Allison’s band Swearin’ does recall the same sort of fuzzy 90’s indie rock Katie channeled in her second Waxahatchee LP though, I just hate to say that. This is a hooky, emotional track that you should listen to now. Check it out here and look for Surfin Strange out 11/5 via Salinas.

By: JJ Posway

The Bones of What You Believe

CHVRCHES (pronounced “churches”) have finally released their hotly anticipated album The Bones of What Your Believe after months of hype and a few quality singles and EPs. One of the most popular singles from this album “The Mother We Share” opens the record and effectively displays what CHVRCHES’ sound is all about: big synths and drums, combined with Lauren Mayberry’s dazzling voice. The songs on The Bones of What You Believe are usually simple pop songs with an extra pinch of heartbreak but their scope, quality production, instrumentation and song craft put them into a level all on their own. Like their recent tour-mates Depeche Mode, CHVRCHES have recorded a collection of songs that are smart, catchy and sound ready to fill arenas all around the world. This strong debut is just the start. – Andy Tabeling

Oneohtrix Point Never
R Plus Seven

This is Brooklyn drone/experimental artist Daniel Lopatin’s fifth album under the Oneohtrix Point Never moniker. It’s easy to see some denouncing this for sounding like radio static interspersed with a jumble of disjointed sounds while others see it as sheer genius. As challenging as it is commanding, R Plus Seven seems to suck all life from the room; whether it be with harshly minimal tracks like “Inside World” or the daring fractured glitch panic of “Zebra.” There is an array of sounds- from soundscapey haze to dizzying synths to “someone dabbling with the choral setting on keyboards in Guitar Center while they wait for their dad to finish shopping.” But this collision of elements sounds carefully orchestrated, an insanity that was obviously mulled over. It is an album that doesn’t care what you think of it, but its stark, noisy intensity pretty much guarantees that you will listen to it. Dazzlingly avant-garde, it evokes a perplexed and morbidly intrigued reaction. It’s not an overtly dark album but there is something sinister weaving its way through. – Brett Bennett

Bill Callahan
Dream River
Drag City

The singer-songwriter, more than any other genre of music, has the power to establish an immediate emotional connection with the audience. So, the most masterful of musical storytellers will not only elicit a certain feeling, but will make you experience emotions on the furthest edges of the spectrum and make them feel entirely familiar. Bill Callahan achieves this with a straightforward narrative delivery comparable to the likes of Paul Williams or Leonard Cohen. Every song is slow and deliberate, with every word holding weight and every note reinforcing it. Bill has come a long way from the lo-fi days of Smog, and he’s only grown in both musical expertise and worldliness. He experiments with various forms of instrumentation on Dream River: to western string sections (“The Sing”) to North African percussion and woodwinds (“Javelin Unlanding”, “Summer Painter”). Despite the wide range of styles, though, the album’s tone is entirely cohesive due to Bill Callahan’s unflinching baritone, which speaks volumes with the subtlest difference of line delivery. Dream River invites you to stare wistfully out a window, raindrops slowly creeping down the pane; the world outside is so big, and there’s so much to see, yet you’re content with staying where you are – listening to the stories of others, and living a life vicarious. – Lawson Chambers

Edited by: Nathan Kerce

Sun Kil Moon (aka Mark Kozelek) is really talented at making songs that rip your heart out and stomp on it with the power of a five ton weight. This song doesn’t do that (unless you’re really sensitive I guess). This is a stream-of-consciousness epic that’s overall theme addresses how murder coverage on the evening news can effect the psyche of a child all the way into adulthood. However, given it’s long rambling style, it strays pretty far from the topic and the killer that gives the song its namesake eventually reaching as far away as Kozelek’s prostate issues and his thoughts on the recent death of James Gandolfini. It’s absolutely stunning, one of the best songs of the year. Listen to “Richard Ramirez Died Today of Natural Causes” below and check out the new Sun Kil Moon album Benji when it releases next February via Caldo Verde.


By: Nathan Kerce


Drone master Tim Hecker released a foggy video today featuring a track off his upcoming LP, Virgins. As Hecker’s press releases have stated, he has dropped most of his signature fuzziness in exchange for a cleaner, crisper sound on his seventh album. “Black Refraction” perfectly demonstrates this stylistic change, sounding less like a continuation of Ravedeath, 1972 and more like an unreleased track from Deaf Center’s Pale Ravine. Centered around a woozy, looped piano line, the song builds slowly and subtly until it stutters to a jarring halt. Check it out below. Virgins is out October 14th via Kranky/Paper Bag.

By: JJ Posway


Tales of Us
Those used to Goldfrapp’s dancey disco-synth pop will be surprised by their sixth album, Tales of Us. For a band that, in their 14 year career, has been jumping from trip-hop to glam synth to downtempo, perhaps changes in pace aren’t all that surprising. This London electronic duo has put together a wistful collection of songs with Alison Goldfrapp’s soulful voice shining through like it belongs on a french pop album. In fact, the track “Stranger” may as well be on a lounge-y, heavy-lidded French film soundtrack. They’ve got an Air-channeling trip-hop vibe going on, the track “Awar” comes close to sounding like the Cocteau Twins, complete with dazed dream-poppy guitar lines. “Thea” is probably the synthiest track, though it’s too filled with yearning to make anyone want to dance. There’s nothing akin to the sexy electroclashy “Strict Machine” days here. You don’t play this on the dance floor, you play this in the smoky clubs of neo-noir films. – Brett Bennett

The Reptilian
Low Health
Count Your Lucky Stars Records
This Michigan band brings us a treat of an album that’s likely to resonate with many a college student. Instrumentally, this album largely falls under math rock, with the characteristically airy guitars strumming along with the drums to atypical rhythms. The vocals however are more intense, with heavy-shouted lyrics. It’s very melodic and really hypnotizes you into rocking along to the tune. The first track, “Pan (Sucks),” and the fourth track, “Sam Haircut,” start easy and grow into an energetic punk sound. Track six, “Kief Puck,” is a rollicking track with an atmospheric, ethereal touch and the ninth track, “Cooler by the Lake,” is pleasantly fast-paced and edgy. Low Health is brimming with nostalgia and the solidarity between friends. It’s visible in the collage of friends that makes up the album cover and it’s audible in the simultaneously exultant and frustrated tone of the music. At the same time, these songs reject and long for the feeling of a hometown, which is the kind of contradiction that tends to define this period of life in our early twenties. This album should be a joy for anyone in this transitory time, or who is just in the mood for a fun punk record. – Rafael Varela

John Wizards
John Wizards
Planet Mu
Cape Town-based John Wizards’ eponymous debut album opens with something reminiscent of a carnival melody for a reason, this album is a sonic funhouse. The influences here cover a remarkable swath of the global musical landscape. Sounds and styles from all over Africa are used but reggae, hip-hop and synth-pop tracks still dot the album’s landscape. There are tracks in both English and the Rwandan language of Kinyarwanda as John Withers and Emmanuel Nzaramba trade vocals back-and-forth. It’s a shame John Wizards wasn’t released earlier in the summer, the eclectic musical style and short length of the tracks really make it a fun and entertaining album. – Felix Jovel


Edited by: Nathan Kerce

It’s hard to imagine Clams Casino being the best choice to soundtrack a violent rampage but hey, when it works, it really works. Grand Theft Auto V released last week and has already become the fastest selling videogame of all time. Neon Indian, Twin Shadow, Hudson Mohawke, A$AP Rocky and tons of other people contributed original songs to be played over the in-game radio that were compiled into a soundtrack that was released this week. One notable exclusion was brand new Clams Casino track “Crystals” (that was included as a selection on the Flying Lotus-curated station Flylo FM). It appropriately goes a little bit harder than most of Clams moody, cloud beat tracks and has a sinister vibe that compliments the bad deeds of the game’s protagonists. Listen and download “Crystals” here or just go play the game, it’s amazing.

By: Nathan Kerce


Nobra Noma is Michael Jordan of Atlanta, GA. Not to be confused with the other MJ who is best known for his work as the Hitler-stached, Hanes lackey of Washington Wizards fame. The shorter, caucasian version (who probably hasn’t gambled away 12.6 million dollars) acts as our liaison to man’s struggle. A man whose daily life revolves around the shadow of slam dunks and jump shots and the endless spew of corny comments (and journalistic endeavors) that haunt him in the form of the remark “Oh wow, what a funny name!”

Unfortunately, ‘Loafergaze’ fails to make the abstract, forced connection between Air Jordan mania and the etymology of the compound loafer gaze – instead, starting with a numbed tingling that chimes against the garbled, jerky vocal loop. An electronic swaying that carries the song through it’s steady development of swirling shoegaze guitars and the steady rocking of Jordan’s drum machines. Most likely, the functionality of being a one man band imposed the bricklayer approach of adding and subtracting repeated samples but its fun to see the song fluctuate with a revolving cast of contributors that hold up Jordan’s strong vocal line as the centerpiece.

Check out Nobra Noma’s Bandcamp account for free downloads and why not head over to his Facebook page to really complete the social media experience! And Latest Disgrace may have beat us to the punch on this one, but just more proof that you should listen to ‘Loafergaze’ which you can find in the video below. Enjoy.

-Will Guerin


New Zealand psych-pop act Connan Mockasin has a new album coming out later this year entitled Caramel. The first single from that album “I’m The Man, That Will Find You” maintains the spirit of 2013’s giant summer singles “Blurred Lines” and “Get Lucky” by finding a thin but relatively stable balance between incredibly catchy and insanely creepy. The song is mainly just Connan repeating the titular phrase over and over in different pitch-shifts over a groovy as all hell bassline but it’s more than enough to embed itself deep within your brain. You’ll be humming this one for the rest of the year, just avoid putting it on mixtapes for your girlfriend. Listen to “I’m The Man, That Will Find You” here and check out Caramel out November 4th via Phantasy/Mexican Summer.

By: Nathan Kerce

Instrumental post-metal gods Pelican have a new album coming out October 15th entitled Forever Becoming. The most recent single off that album is called “The Cliff” and while it start’s off as a brooding and defiantly hard battle march it eventually peaks into a bright and hopeful climax before fading away into a soothing guitar piece that could soundtrack a sunrise. I always feel weird posting about metal because inevitably I say something that pisses off the most toxic and annoying of the genre purists out there. I hope I did nothing to offend you people this time, the song is great, let’s all be friends. Listen to “The Cliff” here and check out Forever Becoming out October 15th via Southern Lord.

By: Nathan Kerce


If it didn’t work and flow so well, it’d be easy to criticize Macon, GA-based sunDollars for pulling a flower from pretty much every pasture in the indie-rock meadow. In their five-minute allotment, they cover the dazed and woozy wavering of a psychedelic opening, before briefly moving on to a folky bridge that leads into the summery, guitar-driven indie-rock land of sugary harmonies, Clap Your Hands Say Yeah-esque vocals and cherry-on-top horn accompaniments.

Instead of sounding generic, confused or forced, sunDollars manages to hop along unscathed. Listen to “Fine Art” in the video below and feel free to check out their Bandcamp (where you can download their EP for free) and Facebook pages.

-Will Guerin

True Panther/Mushroom Pillow
Following 2010’s highly acclaimed Subiza, Spanish dance-pop group Delorean returns with their new LP Apar. Glistening synths and bright, reverberated guitars sprinkled with outstanding female vocal features (specifically those of Caroline Polachek and Erika Springs) result in distinct, groove-worthy tracks that coruscate and gently tarnish. Though Delorean’s ear for sampling and electronic composition can be likened to that of Small Black or Washed Out, they are hardly derivative—transcending commonplace dance beats into something more resplendent.  Standout tracks like “Spirit”, “Unhold” and “You Know It’s Right” reiterate Delorean’s ability to organically grow simple beats into a climax of booming, production-heavy euphoria. Apar as a whole is pretenseless, yet invokes an extraordinary sense of enrapturing youth—a defining characteristic of any great Summer album. – Magnolia Triplett

Shaheed and DJ Supreme
Knowledge, Rhythm and Understanding
Communicating Vessels

Shaheed and DJ Supreme are an old school hip-hop inspired act from Alabama. They’ve been working together since 2000 releasing two previous albums, Health Wealth & Knowledge of Self and Scholar Warrior (The Remix Album). As you can probably guess from these album titles, their lyrics are very positive, unoffensive and almost insufferably polite [saying at one point, no joke, “I don’t really like the police”]. But they don’t come off like the cringeworthy music played at elementary school assemblies. And even with the occasional mentions of their Muslim faith they lack all the embarrassing connotations of ‘religious rap’. The lyrics are strong, passionate, clever and DJ Supreme lays down just the right mix of soul and boom bap. “Right Now” is pretty catchy even if the whole chorus revolves around the apparently important difference between “now” and “right now”. “Take it Back” name drops all their classic hip-hop influences, further emphasizing the musical knowledge that makes this a compelling album. – Brett Bennett

Edited by: Nathan Kerce

It’s safe to say that Lorde is about to blow up. “Royals” (and its Weeknd) remix have been getting a lot of blog coverage and radio play. So this is the first and probably the last time she’ll get any coverage on this blog before she’s out of WUOG’s station philosophy. Her newest single “Team” is an understated and mature take on the current pop landscape. It’s all about the listener experience of hearing club anthem after club anthem while in the real world they live in a small, unremarkable town with quiet nights and humble personalities. It’s a sort of celebration of normal life, with no hints at cliche aspirations for fame or fortune. This is anti-radio pop but not delivered in a cynical, condescending way that aims to shock. This feels honest and that’s something that’s hard to find in pop these days. Listen to “Team” below and check out Lorde’s debut album Pure Heroine out 9/27 via Universal.


By: Nathan Kerce

1234873_536309143109240_1279337020_nFrench producer Canblaster’s “I Think About U” spells slow, sexy doom. “But I know,” a muffled voice announces and a jaunty piano line quickly turns dour. It’s now that you realize you are slowly descending in an elevator to hell. Fortunately for you, “I Think About U” is pretty exceptional music for an elevator and this isn’t just any hell – it’s ~Sexy Hell~. The hook slides in and fades away in just under a minute but man can Satan dish up an addictive R&B chorus. Maybe we had him figured out all wrong.

Listen to the song here and watch out for Infinite out 9/16 via Marble Music.

By: JJ Posway

Mount Kimbie’s King Krule collab-song “You Took Your Time” has been getting a ton of play on WUOG lately, so it’s only fitting to honor UK producer Oneman’s recent remix. Oneman adds another layer of hard percussion and generally moves the song around to closer resemble the hip-hop inspirations that lie deep in its roots. He also gets weird and wacked out lo-fi rapper Jeremiah Jae to throw a few verses on the track. There are a lot of elements in this song to draw fans of both minimal electronic and hip-hop into the fray, Oneman’s remix perfectly expounds upon these elements and brings them to the forefront. When you wash away the white noise, you could almost imagine hearing this in the club. Listen to the remix below.


By: Nathan Kerce


Google Images and I have the same idea when it comes to a band name like The Manticores: five tattooed dudes, postured just so, with long black hair and satanic imagery flowing. The Manticores have opted out of this stereotype and instead fulfill a more Fleetwood Mac oriented tradition – a beautiful, young married couple with what appears to be a penchant for L7-esque 90’s alternative pop.

‘Lulls’ is gritty and dreamy – spacey vocals playing off the hazy, key lime green synth line that ricochets and skips along. Shoving it’s catchy hook in your face right off the bat, ‘Lulls’ meanders around till it reaches the counter-melody that closes out the song – the alluring breaths of Sarah Atchison’s reserved response to the initial, sugary framework.

If you’re in the mood for some more lush, lo-fi pop out of Atlanta, feel free to check out The Manticore’s Bandcamp and Facebook page where you can further marvel at the lovely album artwork for Petaltails. Listen to “Lulls” below.

-Will Guerin[youtube]http://www.youtube.com/watch?v=fwDgZedTSTA[/youtube]


Julianna Barwick
Dead Oceans

Julianna Barwicks second full-length LP, Nepenthe, is able to convey the complex emotions of the human soul with such grace and empathy that you will feel tears start to run down your cheeks. An album this emotional has not been released since Sigur Rós’ Von or The Antler’s classic dream folk masterpiece Hospice. The album is an aural symphony of sonic perfection which manifests itself in the beautiful melodies and loops of Barwick’s voice. To single out one track as best would be a grave mistake on the part of the listener as they all speak their own distinct languages, but the overall feel of the album is best heard on “Pyrrhic”, whose arias and harmonies echo complexly as they work their way throughout the human soul. This album is a masterpiece of ambient post-rock not to be missed whatsoever. – Lucas Carver

So So Glos
Votiv/Shea Stadium

Like their friends and recent tour mates Titus Andronicus, the So So Glos come from a background of punk and DIY ideals yet their sound branches far beyond the sometimes-rigid adherence to a certain style that punk is often associated with. The songs on their new album Blowout are full with interesting sounds, random bursts of strange guitar tones and catchy synths. Songs like “Lost Weekend” have big choruses that are clearly meant to be shouted-along to in rock clubs across the country. The songs themselves are also very diverse with varying tempos, moods and sounds that are often found in genres outside of punk. All of these factors, plus Alex Levine’s memorable yell make Blowout one of the most fun, exciting, diverse and memorable rock albums of the year. – Andy Tabeling

Edited by: Nathan Kerce

It’s been two years since Active Child released his debut album You Are All I See and he’s been relatively quite ever since outside contributing to the Adult Swim singles series. Now he’s announced a new EP called Rapor along with its new single “Subtle” featuring Rihanna’s pal, Mikky Ekko. It’s more reminiscent of some of the more mega-pop grabs off of the album especially with the addition of Mikky Ekko who is just one big solo single away from becoming the next pop superstar. It feels lazy to compare any poppy R&B song to Michael Jackson at this point but the glove still fits and damn if this doesn’t sound like something MJ could have grooved on in the early 90’s. Listen to “Subtle” here and check out the Rapor EP out October 22nd via Vagrant.

By: Nathan Kerce

Oneohtrix-Point-Never-7701On OPN’s third single off the upcoming R Plus Seven, Daniel Lopatin acknowledges his role in forming the roots of vaporwave without succumbing to the micro-genre’s limitations. The jarring, repetitive phrases in “Zebra” reflect those used heavily in his proto-vapor masterpiece Replica, without evoking images of a crowded food court. Those percussive synth stabs are too sharp to even be allowed inside the perimeter of the mall. Though I was a little concerned when the press release claimed R Plus Seven “comes as close as Lopatin has ever gotten to anything resembling traditional song structure,” I don’t think we’ve got anything to worry about. “Zebra” and the previous singles indicate that OPN plans on staying weird. Listen below and check out R Plus Seven out 10/1 via Warp.


By: JJ Posway

Hey! We normally don’t do posts on school holidays but I was in the office today anyway and we have a ton of great albums coming into rotation this week so why not? Here’s staff write-ups for new albums from Volcano Choir and AlunaGeorge. – Nathan Kerce, blog director.

Volcano Choir
Hearing Justin Vernon’s voice enter when I listened to Repave for the first time, I was a little nervous that this would sound like a re-hash of his work as Bon Iver; the only difference this time being he actually doesn’t play any of the instruments on this album. However, upon giving the album a listen, my fears were gently allayed. With a rumbling electronic undercurrent, this album sounds very of-a-piece. There are no brash synths or wailing guitars. Everything fits together with a sound akin to what I imagine crushed velvet to sound like. Sequencers and arpeggiators sit comfortably with gentle acoustic and electric guitars. The communal sensibilities of the compositions lend the album a very Broken Social Scene-y vibe, however they never seem to be derivative. No, these songs create a distinct atmosphere that many may try to imitate, but they will probably never get it this right. – Sebastian Marquez

Body Music
The sound of Body Music is that of sultry electronic pop with a groovy R&B feel. Aluna’s luscious, sugary-sweet female vocals are gracefully layered and morphed over George’s experimental dance beats. The result is a provocative combination of 90’s nostalgia and intriguing futuristic explorations. The clear standouts from this album include “Attracting Flies” “Just a Touch” and “Your Drums, Your Love.” I also gotta give them bonus points for their cover of Montell Jordan’s notorious “This Is How We Do It.” – Lee Turner

Featured album posts are back! Each week we will feature four of our favorite albums going into rotation complete with reviews written by members of our music staff. Our first two selections from this week are Ty Segall and No Age. Enjoy! – Nathan Kerce, blog director.

Ty Segall
Drag City
Losing someone close to you is hard.  Losing a parent is worse. Coping with death is a hard thing for anyone to do. Most of us mope around, inconsolable for months, years even. Prior to writing this Sleeper, Ty Segall lost his father to a battle with cancer. This sad fact shaped the album to be unlike anything that Segall has released thus far. Gone are the spastic fuzzed out guitar licks; Gone are almost all of the psychedelic flourishes that colored many of his songs. The tragic loss of his father (and subsequent cessation of contact with his mother) has caused a dramatic shift in tone for Segall. This mostly acoustic album is drenched in the pensive loneliness that most likely dominated Segall’s life during its conception with lyrical themes of loss, sadness and longing. However, do not write this album off as a simple sob story. This is some of the most engaging music that Segall has ever written, his rock-solid song craft taking center stage with his acoustic guitar, trademark voice and even some strings. While the album thoroughly rocks, this is not the same Ty Segall that made Twins or Melted. This melancholy gem will stick in your mind like a sad yet sweet memory of the past that you could just leave alone, but you don’t really want to. – Sebastian Marquez

No Age
An Object
Sub Pop

Sub-Pop’s noisy LA duo is back with a garishly packaged neon green and orange album cover that screams An Object with every bit of punctuation they felt like rounding up. It’s a harsh haphazard combination of elements that shouldn’t look so fantastic together. Yet it’s bold and blinding and somehow completely compelling. The music is precisely the same, in it’s “Why do I like this, I love this, I could see people not liking this-” way. The album art is an integral part of An Object’s messy, abstract DIY aesthetic. If the cover looks like it was made from askew type and scraps found on the floor of a graphic design studio its because the album itself sounds like odd bits and pieces of melody and samples scraped together into songs. If the colours seem harsh yet coherent, its because the album itself is a held together cacophony. An Object An Object? An Object is homemade eccentric punk with a heavy avant-garde twist. They are weird but not willfully. They are noisy and fuzzy but not because they are trying to emulate anyone. Genre defying only because they come so close, just not close enough, to fitting in anywhere. They are fuzzy oddball little misfits, but they are confident in their sound, whatever it is. The album is as uncertain and pieced together as the album art but like the cover art it totally, totally works. – Brett Bennett

Editor: Nathan Kerce

It’s about damn time. After months of hearsay and pushbacks, Danny Brown’s Old is finally seeing release. The first real step in Fool’s Gold’s promotional push is the release of absolutely bone-crushing new single “ODB.” Danny shoots off his rapid-fire pervert raps over a disorienting, sinister beat that should instantly stick to your brain. The lyrics on “ODB” (it should be noted that this was originally the title for his album before some light reservations were expressed by members of the Wu Tang Clan) exemplifies Danny’s wild and varied persona, he compares himself to both David Ruffin and George Carlin before finally settling on “dirty old man.” Listen to “ODB” below and check out Old when it releases on September 30th via Fool’s Gold.

By: Nathan Kerce


The video for The So So Glos newest Breakout single “Lost Weekend” is little more than the members of the band walking around New York looking really cool. They eat hot dogs from a street stand, skateboard, visit the corner liquor store and generally inhabit every possible New York stereotype you could think of (all in slow motion of course). It even ends up with them performing their song on a city rooftop as the sun is still rising, as if that’s just a thing people do right when they wake up. Still, in the world of music videos sometimes looking good is good enough and in this case the artistic choices of this simple video are fitting of the band’s overwhelming sense of style and carefully crafted aesthetic. Very cool indeed.

By: Nathan Kerce


When I saw the new Death Grips track I figured it would be my pick but alas, weak lyricism and delivery despite the killer beat. Instead, today’s Song of the Day goes to “Your Girl’s Here Part II,” the first single from World’s Fair since signing to Fool’s Gold. The Queens, NY collective wants you to know just how “wonderful” your girl feels around them and they’re not afraid to compare themselves to beloved characters. Not only is she spending the day with TMNT leader Leonardo (Jeff Donna) but she’s riding around with Dora the Explorer/Danny Zuko hybrid Prince SAMO. What’s beautiful is that the whole thing, minus the childhood callbacks, could be a Purity Ring song. Check it out here and look for upcoming album Bastards Of The Party out 9/3 via Fool’s Gold.

By: JJ Posway

Brooklyn synth-pop duo Holy Ghost! have just released the second single off their upcoming album Dynamics. It’s called “Okay” and it’s just as catchy and danceable as any of their past singles. Holy Ghost! don’t always hit the nail on the head but when they do, they absolutely destroy the dancefloor with their smart and crowd-friendly jams. “Okay” is another win for them, their best song since the simultaneously heartbreaking and funky “Jam for Jerry.” Listen to “Okay” here and check out Dynamics out 9/10 via DFA Records.

By: Nathan Kerce

Popular Montreal-based house producer Jacques Greene has just uploaded his remix of Ciara’s most recent hit and arguable R&B song of the year “Body Party.” By isolating and emphasizing the small touches of the original (Ciara’s near-breathless moans, Future’s quick cameo, etc.) and not trying to take any focus away from the song’s sticky-sweet hook, Greene captures and intensifies the sexual sentiment of Ciara’s best song to date. Listen to and download a free copy of the remix here.

By: Nathan Kerce