Pop 'stache

TRAAMS’ debut release, Grin, kicks into gear with the hypnotic “Swimming Pool.” The driving beat, a staple of the band’s sound, runs alongside an aggressive note hammered out on the guitar. As this note gives way to the melody and melodicas and soft vocals rise around it, the aggression seems to retain a calming effect.

“Swimming Pool” remains on this wavelength, never leaving the safety of the singular riff until the end of the song, which leaves a chill in the wake of the somehow aggressive calmness.

Grin has a notable punk influence. “Flowers” jumps in like a Sex Pistols song, with crunchy chords played over the thumping bass line, and tagged on the end of each section is a simple and violent riff.

It seems like TRAAMS crammed its post-punk peg through a pop music-shaped hole, and out came Grin.

Stu Hopkins’ vocals are wailed and warbly, like a British Isaac Brock. When he sings, “I don’t even know your number, you don’t even know my name,” the moment feels poached from Modest Mouse’s This Is a Long Drive for Someone With Nothing to Think About.

Each song on Grin is a nugget – a tiny peek into the artist’s mind. Most of the songs on Grin never break pace, but songs like “Demons” defy this safety and break pace in perfect ways. TRAAMS has carved a distinct sound from some rudimentary elements, and it doesn’t waste any time putting these sounds and feelings on display. No song lasts longer than three minutes, except for the outliers of Grin, “Head Roll” and “Klaus.”

“Head Roll” moves into much sweeter territory than the majority of Grin, though the distinctly more melodic song still retains the edge found on the rest of the album. It also contains Grin‘s only guitar solo, which has a neatly fitting, Neil Young-esque feel. There is a relatable feeling to “Head Roll,” and the entire album, for that matter.

“Klaus” may also reach seven minutes, and contain an “I’m only going to hit five notes” style solo, but its a tour de force that wraps up Grin in a killer way. It’s a song that deserves to be played as a show-ender.

A heavy, rock-n-roll type riff dominates the song and the distinctive vocals follow it exactly, serving to thoroughly drive the riff into listeners’ brains. Thusly does TRAAMS elicit the Kraut-rock title.

TRAAMS’ groovy/angry feel is sure to attract attention, especially with its debut coming through Fat Cat records. Grin has its own touch, and even with the basic guitar, bass, and drums setup, it stands out.

However, a second album of the same ilk may not be as exciting. On “Hands,” Hopkins asks, again and again, “How long? How long?” Our question is this: How long will TRAAMS remain on this wavelength? What sort of lasting power does Grin have beyond its feel-good merits?

TRAAMS – Grin tracklist:

1. “Swimming Pool”
2. “Demons”
3. “Flowers”
4. “Head Roll”
5. “Fibbist”
6. “Reds”
7. “Sleep”
8. “Grin”
9. “Hands”
10. “Loose”
11. “Klaus”

Post-hardcore powerhouse Touché Amoré is at the forefront of the screamo revival with its third studio LP, Is Survived By, one of the most anticipated post-hardcore releases of the year.

The influential quintet has high expectations to live up to with this release, but quickly proves that the buzz surrounding Is Survived By is well deserved.

The band stands out thanks to Jeremy Bolm’s honest, passionate lyrics and vocals, as well as the group’s unique instrumentals. The focus on the melodic elements of the music makes up for Bolm’s monotone yelling, giving the band a more complete sound than other post-hardcore groups.

Touché Amoré’s approach is much more carefully crafted than the litany of bands that focus solely on the energy of the music, puking out a clash of bad noise and mumbled, indiscernible words.

While the band’s energy is at an all-time high, Is Survived By sounds put together and methodical in its approach.

Touché Amoré has a definite stranglehold on the post-hardcore scene, bringing incredible songwriting and talent to a genre that, when done well, excels in originality. This newest addition to the band’s catalog is by far its best work, and promises to make some waves in the music world.

The excitement for new material from the band was heightened after it released a split EP with Pianos Become the Teeth earlier this year. “Gravity, Metaphorically” was proof of growth and mastery, which brought some newfound attention and piqued listeners’ interest. It also served as a good hint of what was to come from Touché Amoré on Is Survived By.

The group experiments with new styles and lengthier, more developed songs. Typically, its songs last only one to two minutes, which doesn’t leave much room for the progression of a song, but Is Survived By features mostly two- to three-minute tracks. This allows for some variation within each song, and sets this album apart from earlier releases.

For example, on the lone single for the LP, “Just Exist,” there are multiple transitions between distinct factions of the song. The contrasting parts range from controlled to tumultuous, although it sounds fluid as a whole.

It’s also a great example of Bolm’s perpetual lack of lyrical restraint. He’s become increasingly raw as the band progresses, and Is Survived By boasts his most sincere material yet. “Just Exist” is based on Bolm’s memory of being asked how he would like to be remembered in the future. The track explores his thoughts about the question and his ultimate response: “I’d rather stay forever.”

Touché Amoré shows a lot of growth stylistically on songs like “Non Fiction,” which starts as a delicate instrumental piece, but builds up to an epic clamor of emotion.

The music behind Bolm’s ardent vocals mirrors his coarse passion, tying the song together beautifully. This musical experiment is new for the band, but is pulled off perfectly.

Other examples of change include the short, but powerful, “Praise/Love,” which consists of only Bolm and one guitar. His brutal yelling is intensified by the illusion that he’s standing far from the mic, forcing out every line even more powerfully than usual.

The closer and title track is an epic finale that takes the listener through multiple dynamic scene changes, leading up to a compelling ending. The song talks about what gets us through the days, despite what the past holds. It serves as a satisfying ending to one of the best releases of the year.

Touché Amoré has paved its own road in a budding genre, breaking down countless borders and influencing many other post-hardcore bands along the way. Is Survived By is the strongest release from the genre in the past few years. The thoughtful, masterfully constructed album has officially put Touché Amoré on the map.

Touché Amoré – Is Survived By tracklist:

1. “Just Exist”
2. “To Write Content”
3. “Praise / Love”
4. “Anyone / Anything”
5. “DNA”
6. “Harbor”
7. “Kerosene”
8. “Blue Angels”
9. “Social Caterpillar”
10. “Non Fiction”
11. “Step”
12. “Is Survived By”

A predicament of our current decade (the post-information age, the Apple era, the epoch of tweeting and twerking alike) is the assumed “futurismo”of the present, while in regards to some of the most fundamental issues of human equality, we’re stuck in the past. Sure, the last couple of years have yielded great strides for the outsider, but doesn’t the imagined utopia of 2113 seem better than the reality of 2013?

Arctic Monkeys: a name that needs no introduction. Its first album, Whatever People Say I Am, That’s What I’m Not, became the fastest-selling debut in the history of the UK charts. Arctic Monkeys has since had an impeccable career of immense success and fame, becoming one of England’s most well-known modern rock artists worldwide.

Now, with its sixth studio release AM, Arctic Monkeys proves once again that its recognition is well deserved.

The band has gradually eased into a new style, just as it has with all of its previous releases. Each album sits alone as an individual entity with a bit of influence from former albums scattered throughout. With this strategy, Arctic Monkeys has grown from heavy punk rockers to a suave, mature group that has mastered its sound.

To describe Arctic Monkeys’ new sound in one word: sexy.

With everything from its guitar licks, to Alex Turner’s voice, to the don’t-give-a-fuck attitude the band has given off since day one, this album is the epitome of suave. Arctic Monkeys is still the energy-heavy, gritty band it used to be, but with a lot of added experience and style that allow it to express that mood in a more mature way.

Two big factors in the transformation are new influences and a change of scenery for the band. The album was recorded in two different studios in California, which makes sense, given the inspiration for the album. Turner cites influences like west coast hip-hop, old-school R&B, and metal gods Black Sabbath. Despite how wrong and jumbled this sounds, Arctic Monkeys has managed to play off of each of these to make something original and lucid.

The hip-hop influence is apparent in album intro “Do I Wanna Know?” The synthesized kick-clap combo is alien to the band’s previous music, which often focused on the drummer Matt Helders’ energy, but goes well with the new material. Helders is much tamer on AM, a characteristic that may surprise old fans, but he is still as prominent as ever.

One of the other most noticeable differences is in the background falsetto, courtesy of Helders and bassist Nick O’Malley. It adds freshness to the album, contributing a new element to the band’s sound. Although it wasn’t present on the rest of Arctic Monkeys’ music, it feels completely natural—so much so that it’s hard to imagine the band without it.

Arctic Monkeys has carried over some of the distinctive elements of its most recent album Suck It and See in songs like the cleverly titled “No. 1 Party Anthem” and album closer “I Wanna Be Yours.” Both tracks, as well as a few others on the release, are much more mellowed out than the band’s earlier work. Arctic Monkeys does a stellar job of transitioning from the faster, heavier songs like “R U Mine?” to those subdued jams.

It’s obvious that the band was trying to give off a certain feel with AM, one of cocky self-assurance that fits so well with Turner’s voice and new style.

In “Arabella,” which has a somewhat foreign groove in the verse and reeks of Black Sabbath during the chorus, he sings about an erotic woman who drives him crazy, and entertains listeners with one of the best solos on the album.

AM is a combination of everything Arctic Monkeys fans have come to love: the fuzzy punk rock; the soothing, emotional slow tracks; the justifiably-arrogant nature of Turner; and the newfound savviness the band has mastered with AM.

The initial shock of the band’s new style will take a little time to get used to, but AM will please every type of Arctic Monkeys fan, and those who haven’t heard of them yet. After this gargantuan album and the subsequent worldwide tour, no one will be asking, “Who the fuck are Arctic Monkeys?”

Arctic Monkeys – AM tracklist:

1. “Do I Wanna Know?”
2. “R U Mine?”
3. “One for the Road”
4. “Arabella”
5. “I Want It All”
6. “No. 1 Party Anthem”
7. “Mad Sounds”
8. “Fireside”
9. “Why’d You Only Call Me When You’re High?”
10. “Snap Out of It”
11. “Knee Socks”
12. “I Wanna Be Yours”

Quiet, synth-y chords and a series of guitar picks are a quick breath before the music picks up and distorted vocals come in on Era. It’s the fourth album from Chicago band Disappears, and its opening track “Girl” is an explosive start to an otherwise dark, hypnotic album.

Era is full of lengthy tracks, most of which have minimal lyrics. This album is full of ambient aggression. Most of the instrumentation is distorted and eerie, creating a particular atmosphere full of gnarly guitars and creepy sounds under the main rhythms.

The songs on Era are very well mixed and constructed. No drum beat, synth, or shriek sounds out of place. Drummer Noah Leger makes a solid addition to Disappears after the departure of Sonic Youth drummer Steve Shelley.

The focal point of Era is the nine-and-a-half minute long track “Ultra.” Lead singer Brian Case repeats, “If you go, I go,” in a voice suitable for a vampire. He bellows with power. Halfway through the track, a sound like a terrifying vacuum cleaner sweeps into the soundscape; industrial, metallic sounds make an appearance as well before the earlier drum and guitar rhythms kick back in.

None of the tracks on Era are concise by any means, but it’s fitting. They meander with intention, like a walk in dark woods, with breaks and surprises making it all the more interesting.

The lyrical repetition is also fitting; it enhances the supernatural feel of the album, as though a spell is being cast. Disappears becomes a little more upbeat on “Elite Typical,” which sounds like it has dancing potential, but is still roughly the antithesis of any peppy club beat.

“New House” pulsates the album to a close; its softer quality highlights the essence of Era. Case repeats, “A new house in a new town,” and even though the initial meaning is minimal, it gains significance with repetition.

Disappears seems to have found a more solid sound for itself with Era, in contrast to its previous work. The band now inhabits a much darker, murkier space that is very interesting in contrast. With the exception of “Kone,” a 15-minute psychedelic instrumental released earlier this year, Disappears never basked in its own melodies in the past, which is what makes Era so entrancing.

The fourth album from Disappears somehow sits between bone-chilling and danceable. The rhythms maintain the consistency of the album, while the vocals, shrills, and echoes haunt it like ghosts.

Disappears – Era tracklist:

1. “Girl “
2. “Power”
3. “Ultra”
4. “Era”
5. “Weird House”
6. “Elite Typical”
7. “New House”

Neko Case, who has led a fulfilling solo career since the mid-’90s and is a member of Canadian indie rock group The New Pornographers, presents us with some soulful new material, which blends her passionate voice with a handful of different genres to create the unique sound listeners have come to expect.

The long-winded title to her sixth studio release, The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You, isn’t mentioned on the album, but is a common theme carried throughout.

What Case does best is compile a myriad of different visions and spin them into one coherent image. She grabs influences from all across the board and incorporates them seamlessly into one product that shows both versatility and expert songwriting.

Covering styles inspired by alternative rock to folk, gospel to country, bluegrass to experimental, The Worse Things Get… has everything to offer.

The other thing that Case brings, of course, is her incredible voice. It’s powerful, smooth, amorous, and  carries the music. Though the instrumentals are extremely well-written as well, the centerpiece of every song is that beautiful voice and her genius lyrics.

This is apparent in “Wild Creatures,” which opens the album. The song has a calm, waltzy feel to it that is full of sound and dissonance. She has some strong lines in there, like the repeated, “Hey little girl, would you like to be the king’s pet or the king?/I’d choose odorless and invisible, but otherwise I would choose the king.” It’s one of the many glimpses of Case’s introspective side.

In addition to her collage of styles, she explores widely varying subject matter, as well. In a later song, “Bracing For Sunday,” she tells the story of a “Friday night girl” who lives a scandalous life on the weekend and braces for her judgement on Sunday. The song is catchy, with a lot of rich instrumentation, which goes well with the mood she is trying to capture with the story, expressing the carelessness with which the character lives her life.

One of the most unique tracks is “Nearly Midnight, Honolulu,” which is a sad a cappella song about an interaction Case witnessed at a bus stop between a mother and child. She shows off her warm voice without any other distractions, and captures the emotional encounter vividly. The layers she stacks up are alluring, and the stripped-down nature of the song allows listeners to focus on nothing other than the scarring event that Case witnessed.

The quirky end to The Worse Things Get… is a joyous, loud burst of energy from every angle.

On closing track “Ragtime,” there is a chorus of trumpets and a ball of sound on top of an enormous drum solo, a gorgeous mixture of noise and words that ends in graceful chaos. After a bit of silence once the final note has been hit, we hear a bit of strange noise and Case accurately states, “That was awesome,” to sum up both the song and the album as a whole.

What we have here is somewhat of a masterpiece. Case was able to draw inspiration from a dozen genres and infuse them all to make a fantastic record, full of originality and skillful execution. She’s continually gaining popularity as her career moves on, simply because she has been perfecting her already incredible work. The Worse Things Get… is no exception to Case’s upward trajectory, and is clearly her best work thus far.

Neko Case – The Worse Things Get… tracklisting:

1. “Wild Creatures”
2. “Night Still Comes”
3. “Man”
4. “I’m From Nowhere”
5. “Bracing For Sunday”
6. “Nearly Midnight, Honolulu”
7. “Calling Cards”
8. “City Swan”
9. “Afraid”
10. “Local Girl”
11. “Where Did I Leave That Fire”
12. “Ragtime”

In The Land Of Giants marks the second album for Vincent Cacchione’s new band, Caged Animals. Out on September 3, In The Land takes a turn toward a gentler, electronically quirkier sound than his previous release as Caged Animals, as well as with his former rock band, Soft Black.

Cacchione lives in Brooklyn, the breeding ground and sister city to LA’s shoegaze indie pop scene. In The Land Of Giants dives away from the Future Islands wistfulness exhibited by previous releases, landing closer to soft electronic trials, most of which fall substantially short of special attention.

“Too Much Dark” is a promising opener for In The Land Of Giants, immediately identifying itself as a contender in the soft summer sounds craze.

Fantastic, throbbing bass and white ’80s noise lay the track’s course for Cacchione’s introductory vision, “There’s too much dark/Not enough light to see/But I want to run to you/I want to hold you beside me.” Sadly, though, this is almost as big as the album gets.

Surgeless melodies comb through innocent lyrics and the result is G-rated pleasantry, stock music for an indie-rock beginner.

Cacchione’s music in past singles (“The NJ Turnpike”; “Eat Your Own”) and on previous album Eat Their Own contained significant passion and promised that the listeners consistently feel throughout, a crucial composite that is unfortunately lost in In The Land Of Giants.

Chimes and gazing synths fail to brighten the overcast that is In The Land Of Giants’ monotone lifeline. The album is too light and easy to adequately contain the depth and gravity that inspired its creation.

Cacchione drew from his experiences working as an oxygen tank courier on Staten Island, interacting with introspective elders and critical situations on a regular basis. He also notes the influence of a recent peace felt within his family since the death of his father. In The Land Of Giants is meant to be his welcoming expression of these difficulties while actively avoiding too much darkness. Although this intention is kind, the absence of dark carries with it any real, permeable substance.

“Stop Hurting Each Other,” besides being one of the most straightforward titles in songwriting history, sounds like Vampire Weekend after a long stint of partying, squeezing out only sedated energy for one more Sunday night show.

Its attempts for perk are met with an underlying bleakness—a combination that results in a muddled, confusing fusion of both. Neither element quite latches onto an emotional string; both only passively express a sentiment that could have been more deeply composed and explored.

“Tiny Sounds” stands out among its In The Land counterparts, containing an authentic arrangement of irregular, building sounds. It’s a refreshing bite of ingenuity, something too noticeably lacking on the album’s preceding dainty generics, “U + Yr Rocketship” and “The Mute + The Mindreader.”

Title track “In The Land Of Giants” and closing track “What You’re Looking For” are smooth and melodic throwbacks to Caged Animals’ dreamier, honest sounds. They’ve suspended the contextually gawky glitches found on “A Psychic Lasso” for sincerity that matches the album’s themes.

A void of enthusiasm still exists, though; even where sadness should embody screams and cracks, a digital clarity and straight vocal tone take a dull and achingly simple route. In The Land of Giants is Caged Animals’ empty sophomore slump.

Caged Animals – In The Land Of Giants tracklist:

1. “Too Much Dark”
2. “Stop Hurting Each Other”
3. “Cindy + Me”
4. “The Sound Of Thunder”
5. “U + Yr Rocketship”
6. “The Mute + The Mindreader”
7. “Tiny Sounds”
8. “We’re Playing With Fire”
9. “A Psychic Lasso”
10. “In The Land Of Giants”
11. “(you’re a giant now)”
12. “What You’re Looking For”

In a recent interview with Stereogum, Potty Mouth’s own Ally Einbinder boldly declares, “GENDER DOES NOT EQUAL GENRE.” It seems like an obvious statement, but in reality, gender has historically bordered many music sub-genres and styles.

Whether we box female indie songstresses in the same playlist or assign the riot grrrl label to any all female punk band, gender does indeed placate how we think and talk about music—a concern to Einbinder and her bandmates. Why can’t four women rock the fuck out just as hard as Japandroids or Titus Andronicus?

It is no surprise, then, that Potty Mouth’s own reluctance with the riot grrrl label has caught the attention of many. This, along with its tireless touring of the Northeast and beyond, has gained the group a hardened reputation in many punk circles dotting the East and the South.

Now, on the precipice of its first full length album, Hell Bent, Potty Mouth looks to take its well-oiled touring machine into our headphones.

Catchy harmonized vocals and surf punk strumming are the calling card of Potty Mouth, who roll through Hell Bent with a fervor thought to be long lost in the basements of ’90s suburban punk shows.

There’s “The Spins,” which sounds like the best conflation of deep cuts from those record label samples you got at Warped Tour in 2003 (looking at you, Vagrant) and the daze-y lo-fi of today (repurposed from 1991-1996), complete with the prediction, “It’s hard to say no, ’cause you think we’ll be ok till you’re lying on the floor.”

“Damage,” the lead single on Hell Bent, drives with the fervor of angsty punk in one of the most vulnerable, honest moments in the genre this year. Over a trudging guitar line and fuzzy drums, the unfiltered Einbinder sings, “I’m too young to help someone who’s grown.”

As young as the group members may be (they formed in 2011 through their interactions in and around Smith College and the surrounding punk scene), there is a definite comfort and confidence in their own skins.

The album has its good moments, like the snotty strut of “Shithead” and the dreamy guitars in “Black and Studs,” but mainly runs along the same course, with the same formula.

Hell Bent’s main issue is its slight monotony. There are definitely moments of brilliance, but sometimes the album just doesn’t seem bent on hell enough; still, it’s nothing to detract significantly from the overall product and Potty Mouth’s own aura.

It will be interesting to see how Potty Mouth will come out upon the release of its debut full length. Hell Bent is a clinic in DIY rock, complete with less than extraordinary musicality, suburban lyrics, and hazy production.

But that’s the point, really. The recording, the music, the attitude, is all deliberate. It is supposed sound like you’re standing in one of the many basements and empty warehouses that Potty Mouth has championed on weekends for the past couple of years, and that’s what makes these four girls worth the listen. There is potential for a very wide appeal, but certainly Potty Mouth will be happy to hand the DIY kids something they’ll love.

Potty Mouth  – Hell Bent tracklist:

1. “The Gap”
2. “Rusted Shut”
3. “Black and Studs”
4. “Sleep Talk”
5. “The Spins”
6. “Damage”
7. “Wishlist”
8. “Bullseye”
9. “Shithead”
10. “The Bitter End”

Foy Vance’s second album, Joy Of Nothing, is quite mature; it sounds like the release of a seasoned musician.

His poetic songwriting is what stands out the most, accented by his unique voice. Joy Of Nothing is Vance’s debut album after releasing several EPs and single tracks since 2006. It features high-profile appearances from Ed Sheeran and Bonnie Raitt on two beautiful tracks, but even when Vance is working on his own, he creates an album full of emotional and sentimental songs.

All of the tracks pick up in one way or another instrumentally, such as on the title track, “Joy Of Nothing.” It starts simply with minimal guitar and drums, but ultimately includes strings and ambient echoes.

The strings on “Regarding Your Lover” enhance the track, and contrast wonderfully with Vance’s voice, while the drums and guitar create a powerful backdrop. The instrumentation is gorgeous, but it’s never is the focal point of the track. The vocals tend to come front and center.

Vance does have the perfect type of voice for his style of songwriting and instrumentation. His tracks are beautiful and he sings with a tenderness that pulls at one’s heartstrings as he strums his guitar.

While his voice has a rough edge, it fits both the airy melodic sentiments and the powerful, punchy folk present on Joy of Nothing.

The strings and guitar make “You and I” with Bonnie Raitt sound delicate, but the two singers’ vocal harmonies are lovely and powerful. The songwriting is simple, as well; Raitt and Vance repeat, “But you and I we are hard as stone,” with intermittent moments of Vance singing alone. It is perhaps one of the less intricately written tracks on Joy Of Nothing, but it sounds appropriate.

Simplicity is key for Foy Vance. “Feel For Me” is a gorgeous, soulful track that shows how far his basic songwriting can go. It is simply written, with, “Feel for me babe/Feel for me baby/I’m on fire babe/I’m on fire baby” repeated as the main lyrics. Even though the song is perhaps too simple, it is beautifully sung and nowhere near boring.

Though the minimalistic approach often works well on Joy of Nothing, it’s a bit disappointing.

Even though there is a solid distinction between tracks, they blend together in a way that makes the album a sort of sentimental blob.

Vance employs similar songwriting, singing, and composition styles on each track, and never breaks his own formula. He had numerous opportunities to throw a curveball into the album’s flow, yet he played it safe the entire time.

The most interesting parts of Joy Of Nothing come in the first few tracks. The opening song, “Closed Hand, Full of Friends,” has the most interesting lyrics on the whole album: “Yeah, well, I was alright but I was dead in the water/Could see it slide, I couldn’t kneel in its altar/All I wanted was a turn right down to the promising/Through this fleeting culture/And hide away from wolves and the vultures.”

“Guiding Light” brings Joy Of Nothing to a close. As the track slowly fades out, it sounds as though the album drifted away.

Foy Vance’s first full-length album is definitely a strong release. While he could, and probably should, experiment further in the future, it is clear that he has established a beautiful sound for himself.

Foy Vance – Joy Of Nothing tracklist:

1. “Closed Hand, Full Of Friends “
2. “Joy Of Nothing”
3. “At Least My Heart Was Open”
4. “You And I (feat. Bonnie Raitt)”
5. “Feel For Me”
6. “Janey”
7. “Paper Prince”
8. “It Was Good”
9. “Regarding Your Lover”
10. “Guiding Light (feat. Ed Sheeran)”

Joanna Gruesome, a five-piece group out of Cardiff, trudges through the lo-fi chasm to bring about Weird Sister, an effort of ’90s style noise-pop fitting right along in the side streams of indie and underground. The album, while drowning in guitar fuzz, has a surprising tendency for pop hooks and tasty melodies.

There is little variance in the album, though, whose main drive can become a bit lackluster after half an album. Still, the Welsh group confidently strums about, and in the process has given us some amiable pieces of textbook noise-pop.

Both “Lemonade Grrrl” and “Madison,” two standout tracks from the middle of the album, have Joanna Gruesome doing what it does best. There are driving, fuzzy guitars inlaid with angry drum patters. There are suburban, angsty lyrics wrapped in pretty melodies and vocals.

Dichotomous male and female vocals play an underappreciated part in Weird Sister. They bring some of the most enjoyable moments of the album, recalling contemporaries like The Pains of Being Pure at Heart (see: “Sugarcrush”). At many points in the record, there is a sense of unabridged enjoyment that exudes; apperently, the album is more fun for the band to play than for someone to listen to. This isn’t a bad thing, as it allows for the listener to be absorbed in the frankness Joanna Gruesome’s members provide.

Joanna Gruesome’s attempts to be snotty come off as less than genuine, though, and seem forced. This is most evident in “Secret Surprise,” whose juxtaposed verse-choruses feel abrasive. This is unlike standout “Wussy Void,” which is Pixian in its loud-and-soft, giving the most satisfying moment on Weird Sister. In addition, there are only a few moments of sonic variability in the album.

Almost sweet and tender moments like “Candy” and “Satan” show that the band has a variable palette of sound, but unfortunately, one that it doesn’t take full advantage of.

When you hear that Joanna Gruesome all met while attending anger management classes, and that the actual band itself is the result of a group project on expressing emotion through music, you really wouldn’t be surprised. Not to say that the new album Weird Sister is a clinic in fury, but there is certainly a base catharsis that the group is putting on display.

Weird Sister is an album dipped in reverb and pop and snot, yet has moments of tranquility and delicacy. Still, the album’s schizophrenic nature brings about a conflict of identity; are we gazing at our shoes or are we rioting in the pit?

There are certainly allusions to almost every group to reverb and crunch their way into the spotlight, from My Bloody Valentine to Dum Dum Girls, but is the lack of novelty enough to fuzz out Joanna Gruesome from heavy rotation? Whether this keeps you up at night or not, the fact that Joanna Gruesome has put its love of buzz in its back pocket and run with it is something worth looking into.

Joanna Gruesome  – Weird Sister tracklist:

1. “Anti Parent Cowboy Killers”
2. “Sugarcrush”
3. “Wussy Void”
4. “Madison”
5. “Lemonade Grrrl”
6. “Secret Surprise”
7. “Do You Really Wanna Know Why Yr Still In Love With”
8. “Candy”
9. “Graveyard”
10. “Satan”

Caught in a Summer Swell, the first full-length from the band in Heaven, isn’t lamenting being trapped in an endless summer; it is wholly accepting it. Each repetitive, glowing progression is another step deeper into a sun-soaked, psychedelic landscape. These summer anthems of Caught in a Summer Swell are decorated with fun synths glossed with dreamy effects and sweet harmonies on guitar and vocals alike.

The album opener, “Dandelion Wine,” is a jovial first step into The Band in Heaven’s summer swell. It’s catchy, and each soaring riff builds into the next in the shoegaziest of fashions. The two singers plead that “the summer sun will set, won’t stay too long,” and as the song dies, the guitarist holds onto the main riff, as if to never let go of that setting sun.

The soft hum of an accordion sets the pace for one of the calmer tunes on this album, “Tunnel Into Your Dreams.” Though delayed guitars again take their important place, this track stands out among the rest with a higher level of maturity. Violins vibrate along with the melody, and even when the beat picks up, the song remains peaceful. “Tunnel Into Your Dreams” is the most original track on Caught in a Summer Swell.

The band in Heaven has a sound weaved out of the classic sounds of the last three decades.

On “Fairweather Friends,” the clean guitar and vibrato vocals elicit an R.E.M. vibe, and as the chorus bursts with joy from the morose verse, one can see the huge influence of bands like My Bloody Valentine and Modest Mouse.

On the track “Does it Show,” classic reverbed-out guitars and shimmering ’80s sound effects mingle with a distorted guitar and phased-out noises. “Does It Show” is exemplary of the band in Heaven’s sound, and its over-attachment to this sound. If the band asking, “Does it show?” then the answer is yes: this patchwork of classic sounds is clearly derivative.

It’s no fault of The Band’s that it has perfected its own collage of sound, though it leaves Caught in a Summer Swell feeling stale and caught in its own humid air. On the track “Music Television,” the band garners a particularly palatable sound that would be fitting on the channel it is ostensibly referencing. The drum fills are predictable and the youthful lament is trite (see: “Young and Dumb”).

For some, this sound comes at the perfect time and is the perfect blend of what a 30-something is looking for in music. For others, it’s standard, even in light of the talented songwriting.

The band in Heaven tagged itself on Bandcamp as Shitgaze, which sounds like just another uber-specific sub-genre to be lost in a sea of music snobbery, but somehow, it fits. It has the keenest of pop sensibilities, and every track has its own golden moment or melody that harps back to the sunnier days of the early ’90s. It’s perfect for its context, though this comes at the expense of original sound.

the band in Heaven – Caught in a Summer Swell tracklist:

1. “Dandelion Wine”
2. “Does It Show”
3. “Summer Swell”
4. “Fairweather Friends”
5. “Tunnel Into Your Dreams”
6. “Music Television”
7. “Breaths”
8. “Young and Dumb”
9. “Disappear Here”
10. “Farewell Summer”

Foxygen co-leader Jonathan Rado has taken some time to record his debut solo LP Law & Order, which hits stores Sept. 3. He stays true to his roots as the keyboardist and guitarist for his main project with Sam France, dishing out a beautiful, minimalistic psychedelic rock record.

The album has all the features fans of the genre fans have come to love, complete with overdriven guitars, fuzzy vocals, and stoner jams across the board. While the album conforms to the stereotypes of the style, it brings novel ideas as well, and keeps a comfortable distance from Rado’s work in Foxygen.

The album has a warm, personal feel that listeners will welcome with open arms. It’s simple, yet very enjoyable and intriguing.

Law & Order opens up with its third single, “Seven Horses.” It’s a fun track with some catchy synth as the lead instrument and only a few repeated lines. Rado’s voice is doubled by a female vocalist that will become familiar over the course of the LP; the two make a great couple for the homey feel he is trying to accomplish with this simple song.

Tracks like “Looking 4a Girl Like U” are where Rado really shines. Although the lyrics are indiscernible for the most part, his vocals really stand out next to his groovy guitar and synth. The distortion-heavy melody he sings acts almost as another instrument that drips pure emotion. The passion is audible in his voice as he sings about the type of girl he’s been looking to find, and finally has.

The whole album sounds like one big experiment for Rado. He goes back and forth between fast, chaotic songs and slower, soothing tracks.

For example, “Dance Away Your Ego” is a cheery instrumental interlude that brightens up the mood after the epic preceding song. The track sounds like it’s been taken straight from the ’60s, and is sure to make listeners move their feet, as the title hints.

Rado also makes colorful combinations of sounds as he drags listeners along on his crazy acid trip of an album. In the entrancing ballad “Oh, Suzanna!,” he starts the track with an acoustic guitar and clean vocals, then kicks into a captivating collage of synth, bass, and drums under his distorted vocals. The extended song has a Doors-esque solo to bring it to a close, which ends on a wonderfully deranged clash of noise.

At no point on Law & Order can you grasp any sort of pattern or predict what will come next. This is perfectly expressed in the final track “Pot of Gold,” which sounds like an ’80s pop song. It’s completely alien to the rest of the album, but is still written well, although it doesn’t fit very well as the album closer. Instead of concluding on a magnificent note like it easily could have, Law & Order comes to a blundering end as the music decays and falls apart.

As a whole, this is an excellent album. It has everything one would assume it would, coming from half of Foxygen, yet so much more than one would expect. Rado has proven himself a formidable solo artist who could stand on his own if he ever wanted, but let’s hope that’s not the case.

Jonathan Rado – Law & Order tracklist:

1. “Seven Horses”
2. “Hand in Mine”
3. “Looking 4a Girl Like U”
4. “Dance Your Ego Away”
5. “I Wood”
6. “Faces”
7. “Oh, Suzanna!”
8. “All the Lights Went Out in Georgia”
9. “I Wanna Feel it Now!!!”
10. “Would You Always Be At Home?”
11. “Law and Order”
12. “Pot of Gold”