We finally received an answer to Jet’s (RIP) (my personal favorite moment in their illustrious history) 2003 single “Are You Gonna Be My Girl.” The smart answer is in the form of this understated single from similarly named, drastically dissimilar musically: Wet’s “Don’t Wanna Be Your Girl.” Playing with silence, gentle synths and astounding vocals in a way that James Blake’s eponymous debut album was praised for, Wet’s EP is one of my favorites to be released recently.
The cover of Wet’s EP is a deformed rock in the shape of a face in its hands, a shiny, unfeeling sculpture. The symbolism for Wet is the way these songs feel formed in-time, as lead singer Kelly Zutrau weaves a story throughout, much like a sculptor slowly feels out an unmolded piece of clay into a less unmolded piece of clay. Wet’s EP was released on October 15, and can be streamed (and bought) on their Bandcamp page.
Oh My Goodness’ single “OMG OMG” starts off gleefully enough before lead singer Therese Workman starts rapping as fast as she can to make sure she won’t be left off the next list of rappers Kendrick plans on murdering. And then, the whimsical whistling comes back as quickly as it left as if nothing ever happened. It’s the musical equivalent of falling down the stairs, and then looking around to make sure no was looking before getting the hell out of there.
The sound that the Brooklyn based duo (a would-be shocking fact if the link to the video wasn’t right there simply because there’s just so much going on) has come up with is uniquely their own. Oh My Goodness seem to get bored of staying in one place–very much represented in their video where, even if they are just standing in one place, they’re being cut into jagged pieces of themselves. The band rushes between indie pop, rap, and ends with a chaotic, swarming guitar. The distorted guitars, ability to play with space, constantly filling it up to a bursting point before popping the balloon to let it all rush out, and ooohs and aaaahs all remind me vaguely of Grizzly Bear if Edward Droste would do what we have all been waiting for and start rapping his lyrics.
“OMG OMG” is the first video to come from Oh My Goodness’ debut self-titled EP, which you can download here.
Listening to Gold Lake’s single “We Already Exist,” it noticeably comes without much of the grainy lo-fi sound that accompanies many a band’s very first output. “We Already Exist” completely bypasses a band’s awkward, still-finding-their-way-and-working-out-the-kinks phase and immediately enters a song that would perfectly soundtrack one of those gorgeous city time lapses (particularly a Seattle one). If you’ve ever seen one of these, you know its a huge compliment; the song feels expansive and beautiful in this same way. And there’s good reason for this, as Gold Lake’s story is enviable enough to leave me a little mad wondering if my invite to Spain got lost in the mail. Gold Lake was initially formed by duo Carlos del Amo and Lua Rios, who met abroad in Europe and were successful musicians under the moniker We are Balboa in Spain (the trio was completed by drummer Dave Burnett once the band rooted in Brooklyn). And, oh, yeah, Carlos just happens to have opened up a club in Madrid so that they would always have a place to celebrate. So, we have: meet cool European, check; form successful band together, check; and open up hip Spanish club, check. The product is Gold Lake, who have already worked with producer Phil Ek (The Shins, Fleet Foxes, Father John Misty) on their anticipated LP Years, expected out this year.
As you would expect after all their worldly experience, Gold Lake’s single is a polished piece of shimmering pop music. A futuristic take on Fleet Foxes’ first album, featuring similar sparse and tangible guitar strums, and gorgeous layered background vocals. For a band trying to replicate their Spanish successes, their first step has them taking them lead. I only hope that I get invited to Carlos’ cool Brooklyn club when he decides to repeat that success.
Brooklyn’s The Loom’s debut album Teeth is coming out November 1st on Crossbill Records and their single “For The Hooves That Gallop, and the Heels That March” has this pretty video that was premiered on NPR. It’s visually stunning and the song is an eerie folk track with a sultry sax melody, jazz percussion that moves the the falsetto group vocals like a spoon through molasses, and an accosting and powerful driving guitar. I’m not sure I entirely understand the concept for the video, but try to watch it and just absorb beauty. Tour dates for these guys below the break.
Loving this! Don’t have too long to write but wanted to share a great track today…
“Their music has been infiltrating the web since early 2010 & already garnered fans around the globe, but MNDR a.k.a. Amanda Warner & co-producer/co-writer Peter Wade 1st came together 1 year ago when Warner moved to New York from Oakland, CA. Warner’s melodic sense & underground noise/art influences coupled with Wade’s interest in merging non-traditional sounds with polished songs has proven to be a perfect marriage of minds. In less than 6 months, MNDR has toured the world opening for acts including Miike Snow, & Massive Attack. MNDR continues to be a band member with Mark Ronson & The Business INTL.” (WeLikeItIndie)
“As MNDR’s single “Cut Me Out” has continued to work its way onto dance floors around the world, the Brooklyn-based DJ, Kingdom, decided to work his notorious remix magic on the track. His remix focuses on one simple melody line on which he builds Amanda’s vocal layers from the original track. Kingdom, who has released some hyped mixtapes and a single through Fool’s Gold records, earned his dance cred through unique remixes like this one. So download this official Green Label Sound remix for free right now along with “Cut Me Out” remixes from Drop the Lime, Hervé, and MNDR.” (Green Label Sound)
The Antlers by Ernest A. Jasmin (weeklyvolcano.com)
One performance I thought was one of the best-kept secrets at Sasquatch was The Antlers. While the majority people where at Iron & Wine, I stuck around the Bigfoot Stage to see what this Brooklyn indie rock group had to offer.
The Antlers brought the heat with incredible instrumentals especially from Darby Cicci on the keyboards. The organ-like sounds flowed perfectly with Peter Silberman’s vocals creating the perfect mood. The set was a great way to start the night performances. Performing their single “Two” for their final song was the cherry on top of the sundae for me. Overall, I loved every second of the Antlers’ set.