"The Hundred In The Hands, the New York duo of Eleanore Everdell and Jason Friedman, have a new album, called “Love In The Black Stack”, with a bunch of tracks produced by Brooklyn’s house duo Vito & Druzzi, aka The Rapture’s Vito Roccoforte and Gabriel Andruzzi. The 11-track record, described as a “swoony late-night soundtrack to the catastrophic present”, marks the pair’s first release since 2012’s LP “Red Night” on Warp. Our first taste comes in the form of the record’s closing track “I Follow”, a moody, slow burning affair. Give it a spin above, and drive slow." -La.Ga.Sta.
"The 6-track release balances future and melodic bass leanings, glitchy soundscapes, and a few diversions down the underground bass rabbit hole. “Arps of Revolución,” “Was Will Be” with longtime friend and powerful vocalist Mimi Page, and “Horizons” with Dorfex Bos skew towards the beautiful side of the low end spectrum. Ashton has been a fan of G Jones as long as we have, and the Santa Cruz roots run deep as these two reunite on the aptly named “Underground,” which is, as expected, the most adventurous track on the release. Longtime Bassnectar companion Gnar Gnar returns with Born I Music on “I'm Up,” and newcomer Macntaj pairs up on “Infrared” for the two most straightforward songs for bassheads that will get everyone's motor running." - The Untz
“Despite its conception (in the two years since his debut record, Fyfe experienced several personal loss) ‘The Space Between’ is not a sad album, and as it progresses through the passage of life into childhood and adolescence, the tone becomes almost celebrative. These experiences didn’t just teach Fyfe about death and despair, they also taught him about what it means to be alive. They ripped off a layer of self-consciousness –and liberated him to write candidly and use sound freely. He still writes and produces absolutely everything he makes, and found himself exploring the power of rich and well-crafted pop music, conveying his thoughts through the emotive potential of epic instrumentation and bone-shaking choruses.” - Kaltblut Magazine
"For the most part, Booker leaves behind the punk-inspired blues rock of his first LP. Sequels to the snarling “Have You Seen My Son” and the quick-hitting “Violent Shiver” can be found bookending Witness on the opening “Right On You” and less-than-two-minute closing “All Was Well.” But for the most part, Booker trades the yelping for melodic musings, offering a soulful, fearless record that castigates racial and social injustices today. Frequently, Booker seems to search for a reason behind the racism he grew up with in Virginia and Florida. As a brief string introduction hits its vibrato-laden peak in “Believe,” he sings, “I just want to believe in something/I don’t care if it’s right or wrong/I just want to believe in something/How can I make it on my own?” That doubt returns in “Overtime,” as Booker wonders, “When did you become such a faithless man?” But the highpoint of Witness is its title track, in which Booker collaborates with gospel legend Mavis Staples (even dropping the f-bomb in front of her, which is actually a pretty punk-rock move). Each narrative verse returns to the pre-chorus, quote obviously about Trayvon Martin. Booker switches back from his rasping half-rapping to his singing voice and describes, “See we thought that we saw that he had a gun/Thought that it looked like he started to run.” Each time, the maternal Staples interjects, “Am I gonna be a witness?” That line especially serves as a rallying point for the whole album. It’s rhetorical, but also pragmatic—a reminder that our greatest chances for success happen when we grow and change together." - Paste
The most compelling artists have always been able to find their singular truth and channel it for the world to savor, but The Rescues set themselves apart by combining each of their intrepid perspectives into one harmonious voice. The Los Angeles-based threesome have made a name for themselves as a powerful live act thanks to their flawless, transcendent harmonies. They’ve likewise earned a rep for being TV’s go-to soundtrackers with an uncanny ability to underscore drama on shows like One Tree Hill, Private Practice, and Grey’s Anatomy.
"There are many factors in play as to why the record is called ‘Silence’. The word itself conveys a maturity I liked for this since I think the vibe of the record is very much Ki:Theory, but perhaps more evolved from my last record in tone and production. Also, with the title I am putting forth an observation on the current political climate and the behavior and issues that lead to the situation we find ourselves in. And finally, there are two songs on the album with titles that contain the word “silence”…’Breaking The Silence’ and my version of ‘Enjoy The Silence’." - Ki:Theory in an interview with Soundfiction
"On their forthcoming eighth LP, Satan's graffiti or God's art?, they're better equipped than ever. Produced and recorded by Sean Lennon at his compound in upstate New York, the process saw the band cut off from the outside world, pushing themselves as songwriters and musicians. With new lineup in place—Cole Alexander and Jared Swilley are now joined by guitarist Jack Hines for the first time since 2004, saxophonist Zumi Rosow, and drummer Oakley Munson—there was a rejuvenating new dynamic, only aided by the presence of Fat White Family's Saul Adamczewski and, brilliantly, Yoko Ono, who guests on 'Occidental Front.'" - Noisey
"The swirling blue and deep red colors of the cover of Elliot Moss’ latest EP, Boomerang, sets the tone of the record, with warm and cool tones melting into one work of art. Opening song “Closedloop” highlights Moss’ neo-soul talent, with laid back synths and drum beats allowing his voice to stand out. Like the contrast of the red versus blue color, or the back and forth of a boomerang, the album is built the push and pull of opposing sides. Moss notes that the songwriting process of this album was about capturing “his ambivalence as he struggled between choosing to face the sometimes-unpleasant realities of the outside world or to withdraw inwards to a place of relative safety.” It’s a struggle we all face, especially in trying stressful political times. How much do we put ourselves out there? Should we just stay home? “Oh it would be better if the world slowed down,” he croons... " - Impose Magazine
"Beneath the Brine was a breakthrough LP for San Francisco indie/orchestral rock band The Family Crest, pushing the seven-piece assemblage into bigger venues and more prominent national music media. Their massive, orchestrally backed arrangements were a powerful, quixotic hook that is almost impossible to find elsewhere, vast sonic vistas that at times almost threaten to overwhelm the the listener. Spinning your way through Beneath the Brine with headphones, one can’t help but wonder at the enormity of a recording process that included hundreds of musicians and vocalists. It’s easy to picture frontman Liam McCormick as some kind of Brian Wilson-esque eccentric, slowly descending into madness while trying to fit in one more string section or choir. It’s a sound so big, it feels like it could collapse in on itself at any moment to form a black hole. The Family Crest’s new EP, Prelude to War, only accelerates toward that musical event horizon. It delivers a dose of both the familiar and the experimental: Huge, rollicking numbers with a few sparse moments of tenderness interspersed throughout. There’s material here that wouldn’t have sounded out of place on Beneath the Brine, but also several songs that hint at an evolution and embrace of even more seemingly disparate genres. One thing is certain: These guys are just as explosive as ever, and these songs are going to bring the house down in a live setting." - Paste
"When Taylor Kirk and his bandmates in Timber Timbre set out for France a year ago to record their newest record, Sincerely, Future Pollution, they envisioned a sound you could dance to, that was worthy of celebration. For more than a decade, the Montreal-based band — led by Kirk, who handles much of the writing and recording — has explored the gnarled and shadowy corners of rock, evolving from sun-bleached cabin beams to '70s country twang. None of it has exactly been the stuff that gets one shaking, outside of a narcotized sway in the corner of a plywood bar. Sincerely, Future Pollution isn't, either. But maybe it's not the time to dance. Instead, Sincerely, Future Pollution is another window into Kirk's sweetly darkened sensibility, this time filtered through holistic collaborations with Timber Timbre's supporting cast, keyboardist Mathieu Charbonneau and guitarist/bassist Simon Trottier. Along for the ride are a wealth of prototypical electronics the trio found in that French studio where they recorded their sixth album. "We were using a palette that I didn't feel was ours," said Kirk. Those unfamiliar instruments lend the album a patina of Reaganism, a vintage sound that feels all too relevant these days." - NPR