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Tess: Superorganism by Superorganism

This debut, self-titled album from Superorganism is…. captivating/enchanting/outlandish/funky/far-out/and-FUN-as-heck. This album has everything: Frankie Cosmos-like vocals floating above EDM beats, Beck-like guitar riffs, ethereal synths, and drums worth grooving to.This band met via the interwebs, bonded over a love of memes, and decided they wanted to create uhhh dare-I-say the hottest new album of 2018? And now these musicians from Japan, South Korea, Australia, New Zealand and England live in a large house/recording studio in London (I envision the house from the Beatles movie Help!) and make beautiful tunes. The world has yet to designate a genre to the crazy fusion that is Superorganism, perhaps indie/pop/grunge/edm/techno/sadgirl/happyband. Led by seemingly timid but super badass vocalist Orono Noguchi, this band produces original & authentic tunes. This album is poppy but not obnoxious, consistent but not redundant, angsty but not despairing, and just really worth a listen. Tracks 1,2,3,4,5,6,7,8,9,10 are pretty good…. but in particular, 2,3,4 (i’ll stop there) are songs you shall dance to.

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Gardner: How to Socialize & Make Friends by Camp Cope

Three words to describe this album-raucous, real, refined. This sophomore album from Australian feminist punk trio Camp Cope preserves the DIY feel of their first release while moving into more sophisticated rock structures, and is a clear step forward in the music career of a group that has already sold out the Sydney Opera House. Emotionally, this album revolves around cycles of loss, growth, and resilience. Musically, their trademark lyrical honesty and raw vocals front big drums and absolutely ripping, evocative guitar throughout the record. The title track from this album is the most powerful track, a real banger, but other tracks like Sagan-Indiana artfully navigate the world of melancholy punk, wistful yet brash. All in all, this album is a compelling testament to the evolving artistic capacity of this group. And again, the guitar in this album really rips.

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My dear lord this record shakes the soul. Start with track one to know what Mellissa Laveaux is all about, but if that don’t tell you, Nan Fon Bwa (trak 2), Angeli-ko (traq 3), and Kouzen (trec 4) certainly will. Le Ma Monte Chewal Mwen starts off slow–& lemme juss call into the limelight the rich simplicity of the percussion on this album, and that track highlights sum mbaqanga-like pluckage sprinkled over top. I can’t do justice to Melissa Laveaux’s voice, nor should I have to–listen to the album folks. And look this woman up! if it’s somehow not accessible for u, before this, the vast majority of her releases have been in English. She is Canadian-born with Haitian heritage, and this album, she claims, is a tribute to her Haitian ancestors & relatives. The album is primarily sung in Haitian Creole (which is a French-based creole language wid Spanish, taíno, and west African influences) and the result of a trip she took to Haiti in 2016 to reconnect with that heritage. It features several artists from around the Carribean and begs a constant stream of listens. Too good for words :0

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This new release from Ed Schrader and bassist Devlin Rice shifts effortlessly between chaotic dance-punk songs and shimmering piano-and-synth-laden ballads. The duo enlisted oddball electronic producer Dan Deacon to help write the album, and his footprints are all over it. A lot of the songs skip verses and choruses and instead let the music build as Schrader chants the same melody again and again over hypnotic instrumentals, featuring strong basslines and pulsing polyrhythms. Check out the infectiously sinister opening track “Dunce“, or “Riddles” for some arena-ready synth-pop in the vein of Future Islands.

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What a way to come out kicking. This debut album has a wonderfully unique sound to it. The interesting noise spilling out of these insecure men made up of quirky midi-sounds, arcade game samples and little chimes grow and become a little more prominent as the album progresses, but never over-saturateS the core of this album. A gentle, weird, and quiet pop that just sorta floats. Don’t let the soft sounding songs confuse you tho, Saul Adamczewski sings about some really crazy stuff… the dude struggled/struggles with drug addiction and lets you know about his ups and downs (mostly downs). The dude sings about dying with Whitney Houston and for some reason, it’s not melancholic but almost joyous and relieving. The next and last track on the album does exude some sadness, but it wasn’t like sadboi music that sucks you in and makes you feel like a used cigarette butt. Anyways, please watch this video.

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Cory: Moaning by Moaning

The perfect balance between angst and atmosphere – Moaning’s debut finds a talented trio delivering a shockingly cohesive post-punk set, wavering from tense distorted riffs to shoegaze-y jams a la My Bloody Valentine. With the support of Sub Pop behind them, the songs are excellently recorded, sounding clear and soaring against the overall gritty dissonance. Opening track “Don’t Go” will be enough to hook you, but make it to the end for a rewarding final few tracks (including a few fun rockers like “Misheard” and “For Now”. Lyrically and musically mature, powerful, and hard-hitting, Moaning take classic cues from other post- bands like slowdive and amp up the intensity to give each track an extra, well-deserved push. Give some love to the new bands out there — this one will not dissappoint.

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