Alunawolf worked with producer HyperXa on the sultry hyper-pop inflected single “Like You Hate Me.” The singer’s vocals sound swim in dark atmospheres shimmering with light motes of tone and swells of luminous melody as she relates hours spent yearning for her lover. The lyrics express a certain kind of tension and desire where we hear how she’s reluctant to let herself feel such a heightened level of desire for someone. And thus the lyric “Love you like you hate me” makes a certain kind of sense contrasting those feelings that for many people are two sides of the same coin of emotional intensity. And in lines like “Love you like an animal/eat you like a cannibal” we hear that base level of attraction that can take you by surprise in a way you can resist because it’s not rational or go with it. Alunawolf in this song decides to go with instinct and pleasure. HyperXa’s beats and layers of atmosphere give the song a futuristic feel like it’s from a time and place that should have come to pass had our civilization taken a different path the past few decades and a club hit for a time that should have been now in a world free of austerity. And it’s that spirit the song delivers. Fans of Dua Lipa and Charli XCX may find some of that emotional and sonic kinship here. Listen to “Like You Hate Me” on Spotify and follow Alunawolf on Instagram.
With the soft shimmer of crystalline chimes and an enigmatic, mechanical beat and melancholic strings to usher in Lost Ark’s “A Fallen Angel Weeping,” the song feels more like a cinematic experience than one more musical. The percussive details convey a depth and distance like what you’re hearing is the sound of a gallery for sound generating sculptures with its own soundtrack so that the assembled sounds create their own complementary orchestra of noise. When the beat stops a little more than three and a half minutes into the song it’s like some essential feature has left the gallery and the sounds wind down with a descending drone, a single bell tone seeming to count down on notes on a scale and in the distance we hear a voice repeating the words “falling down” before it too disappears and later on a voice with an aspect like words put through a reverse delay signals the end of the song. In retrospect its a bit like a spooky and haunted Art of Noise song and one not attached to any particular genre of music that demands and commands attention on its own terms. Listen to “A Fallen Angel Weeping” on Spotify. The Lost Ark compilation Primus Impunctus from which the song is drawn became available on November 6, 2023.
Jack Quinn’s ambient composition “Poppies” draws your attention immediate by evoking a sense of something mysterious yet calming coming into your consciousness perhaps unnoticed in your everyday life for some time. The crystalline piano echoes of melody hang in the cloudy drone like faint rays of sunshine through a springtime fog but experienced on a rare warm day in late winter. It sounds like something opening up in your brain after a long period of feeling like you’ve been coasting through moods of being adrift in your own life. It is the sound of a manifesting clarity found in a stretch of tranquility in a time of daily disruptions and angst. The drawn out sounds trailing into the distance and the swells of guitar meshing effortlessly through the piano is like a calm awakening. Fans of Eno’s early 80s period in particular his collaborations with avant-garde pianist Harold Budd will resonate deeply with this song. Listen to “Poppies” on Spotify and follow Jack Quinn at the links below. Look for Quinn’s new album Music For Painting due out on December 8, 2023.
In titling the song “Pornography” Hunter Prueger of Middle Sattre references a couple of instances of adults sexualizing a child in the name of modesty or chastity. Setting the these stories against a backdrop of acoustic wall of sound gives it a gentle yet intense quality that conveys a sense of compassion for the victim of that kind of attention. We hear melodic drones that sit in the background and give an evolving emotional undercurrent to the music but when it combines with the horns at the end it is starkly chilling playing over the recording of a middle aged man lecturing young women about the way they dress and how it can attract unwanted attention, the sort he is giving out. It’s a haunting yet poignant telling of a small sampling of the sorts of situations Prueger saw coming up queer and Mormon. That tension informs the forthcoming Middle Sattre album Tendencies due out on February 9, 2024. Fans of Elliott Smith’s fragile and emotionally refined songwriting and Microphones’ fusion of avant-garde folk and ambient soundscapes will surely find “Pornography” fascinating as well as the rest of Tendencies. Listen to “Pornography” on Spotify and follow Middle Sattre at the links below.
Elena Ross begins “With You” like a walk in the forest with the sounds of birds and the sounds of twigs breaking underfoot and a brush of bell sounds. When her clear and melodious vocals come in with a spare piano figure underneath it’s like coming into a clearing and having a moment to take in a moment of absolute tranquility and the time to indulge reliving a memory, a cherished moment like a living daydream. The piano melody expands and strings enter with a touch of synth tone to lend the song a touch of heartbreak at simply having to remember a fond time with someone you love but holding onto that yearning. The song was inspired by Slavic folk fairy tales and sonically dwells in dark, haunted woods minus a sense of menace. But it does retain a sense of tragic romance and the cinematic. Listen to “With You” on Spotify and follow Elena Ross at the links below.
After eight years of no obvious new music issued into the world Cincinnati, Ohio-based indie-pop band Bad Veins gives us “Wendy” from its new album Imposter (released on December 1, 2023 via Dynamite Music). The visual concept of the video (as directed by Cat Rider) for song seems to be one of a man watching old VHS camcorder footage of the titular character to whom the yearning and melancholic lyrics are directed. He stands against the screen singing as the images wash over him as the memories swirl in his mind and break his heart. It sounds like the relationship was one currently on a break because our narrator had a bit of an emotional disruption. The lines “One thing I know/If I hang around/The undertow will take me down/Wendy I grow more afraid of drifting further everyday/I never meant to come undone/I never thought I’d miss someone like I miss you, Wendy” pack a lot of meaning into such a small space. The song has that kind of energy like John Waite had on his 1982 hit “Change” but the sounds are the more hazy synthpop of that era and it perfectly suits the mood of regret and hope that songwriter Benjamin Davis captures so poignantly in this song. Has the narrator ruined things in that bond forever with his mental health issues or is there a more positive resolution? Who can say but the heartache is palpable and immediate and that’s what makes the song so compelling because so many of us have been there at some point in our lives. Watch the video for “Wendy” on YouTube and follow Bad Veins at the links below.
Former The Manhattan Love Suicides drummer Rachel Barker returns with a new project A Door and debut single “Do You Want Me To Come In Your Feed?” During the peak early pandemic Barker started making visual art the likes of which can be seen in the cover art for the single. Barker has a hole in her spinal cord which affects her ability to play guitar and the automatic expressionist figure work of her visual art she believes is her body’s attempt to correct her proprioception and spinal alignment. The artwork is a bit reminiscent of the work of Edvard Munch, Picasso and Chagall but very much her own style. The song is a noisy, chaotic affair with flairs of distorted atmospheres and hovering guitar shimmer like a menacing shoegaze-y post-punk song akin to the likes of her old band but not pop and much more pointed. Its lyrics are a critical and incisive examination of what might be described as a mechanization of culture and the monetization of curiosity and serendipity through the harnessing of algorithms on the internet and especially in social media to connect your supposed interests with how they can be marketed to in an overall attempt to manipulate behavior for an insidiously automated revenue stream for corporations that have no interest in or insight into what might actually peak your curiosity or spark your imagination. The refrain of “get out of my head” speaks to the uncanny yet gross and predictable “recommendations” that stem from clicking on anything or following a thread or a stream of content or doing a simple internet search using Google or other essentially data mining tools that also serve as a method of routing your path to sponsored websites. In the 80s and even early 90s the dystopian future looked maybe even a little bit desirable and in the Terminator films Skynet was a conglomeration that could be defeated. But when the dystopian future involves feedback loops that give you a massive dopamine hit for only giving attention to what you already know and already know you love or mildly like, culture can end up being one, gigantic, bland mess. And this writhing, buzzsaw melody and fracturing rhythm of the song with scathing words for the headlong slide into a bland monoculture is more of the kind of thing we should want to hear and not be so drawn to playlists that cater to background noise comfort rather than challenging or at least idiosyncratically human expressions that aren’t so easily slotted into a marketing campaign. Fans of A Place to Bury Strangers and Firefriend will find a good deal to like here. Listen to “Do You Want Me To Come In Your Feed?” on Soundcloud and connect with A Door at the links below. Maybe the band will “raid” your Twitch channel while you’re streaming Diablo IV, Black Desert Online or Baldur’s Gate 3 but probably not. They, and you, have better stuff to do.
The music box sound introduction to Tashi Delay’s “Blue” is a recurring device like a companion to the main rhythm line running through the song and one that introduces a whimsical element in a song about how one processes trauma. Sometimes the event hits you and you spend some moments trying to figure out how it could happen. Those music box tones are like those moments. The rest of the song has some crunch to it and a loping, menacing yet sinuous bass line and in the music video Emily Seabroke looks slightly shell shocked with a blue light partially washing out her image as her vocals follow the melodic line up and down her wide register. The image then fragments into crystalline chunks that fall way as all the sounds converge and a bluesy and noisy guitar solo burns through and fades giving way to an introspective outro that suggests that even if you overcome this immediate trauma response the mind has a way of submerging that pain only to return at a later date when you may or may not be ready to take it on from some emotional distance. Watch the video for “Blue” on YouTube and follow Tashi Delay at the links provided. Tashi Delay’s self-titled debut album became available on November 10, 2023 on Spotify.
London-based post-punk band Beige Banquet is set to release its debut album in 2024 as a full band and its first recorded in a studio to capture its full live forcefulness and sonics beyond the limitations of the bedroom recordings of its earlier releases. The first single of the album is the frenetic and headlong “Animals.” The song creates a powerful emotional resonance with its propulsive bass line and urgent, noisy, searing guitar shimmer, splayed and finely accented drums with Tom Brierley’s vocal lines as descriptive statements about how at our base all humans are animals that respond to environmental pressures and stimuli in a similar fashion especially under pressure and in a state of stress and discomfort. Fans of the more discordant end of shame and the angular side of JOHN (TIMES TWO) will likely find some musical spiritual kindred here. Listen to “Animals” on Spotify and follow Beige Banquet at the links below.
In the writing of its new album A Lump of Death: A Chaos of Dead Lovers, Greek experimental metal band Unverkalt took its cues from events of the 1970s involving cults, criminal acts and serial killers that seemed to be in the news on the regular in that decade. The songs have a darkly haunted quality and its atmospheric parts have a distorted and gritty quality that lends a menacing air of the macabre to every track with vocals that are part epic and melodic and at times reminiscent of Cranes. It’s truly a different kind of record in the world of heavy music and doesn’t fit in the usual subgenres. The single “Mr. Monster” begins with a buzzing, hovering sound that might be a synth or a looped guitar part. But then hanging guitar chords come in with softly pounding drums and vocals delivering a story that seems to be that of a person who feels conflicted and yet eerily accepting of someone who commits unspeakable acts against others and feels compelled against their will to engage in lethal behavior. The pulsing synth sound in the song hits like a flickering light in a dark room illuminating the activities with the starkness of a strobe imposing a visual sense of slow motion. And the song does sit suspended like that for moments before it floods with all the guitars, vocals, drums and electronic sounds in a dramatic denouement. Fans of SubRosa/The Keening/The Otolith, Faetooth and Windhand will greatly appreciate Unverkalt’s unorthodox and creative approach to crafting evocative heavy music. Listen to “Mr. Monster” on Spotify and follow Unverkalt at the links below. A Lump of Death: A Chaos of Dead Lovers was released on October 20, 2023 via Argonautica Records on digtal download, streaming, vinyl and CD.
Queen City Sounds and Art 
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