Monthly New Music Roundup
We like new music around here. Here are four emerging artists we can’t stop listening to right now.
“GIIIIIIRLS! LIVING OUTSIDE! SOCIETY’S SHIIIT!” So opens the visceral and spine-shattering Demo from G.L.O.S.S, a trans/ genderqueer/femme hardcore band from Olympia, Washington who love feedback. With song names like Outcast Stomp and Masculine Artifice you can see where this is going – G.L.O.S.S have had more than enough of patriarchal bullshit and none of us are going home without learning a lesson. The band shouts loud for their “outcasts of society” who haven’t found their place or never will. And G.L.O.S.S say that’s okay. They’ve got your back, with a self-admittedly “fucked up and from the heart” voice from the outliers that more than deserves to be centre stage.
Limp Wrist / Charles Bronson
Over the last couple of years, North America has spawned a network of bands that just ooze oddness. It might be a reaction to the straight-laced, Airfix rock music that’s dominated the country’s musical horizons for the best part of a decade. It might be the result of too much high-sugar cereal and dangerously fast-paced cartoons. Whatever it is, we like it. Palm hail from Brooklyn via the UK and they play slow, fast, tight and loose all at the same time. If that sounds like all kinds of wrong to you, just wait till you hear the record. They’re currently making their way along the East Coast supporting the equally weird Boston outfit Krill and apparently their live show makes their recorded output seem pitifully normal in comparison.
Ought / Krill
Mikael Seifu caught our attention by achieving something very few bedroom producers do – sounding brand new. His new single The Lost Drum Beat – released on the Washington DC based 1432 R imprint – is a perfect introduction. The A-side is a choppy cut with swollen vocal samples and
fluid production. That track is backed up by Brass, a 13-minute mini-opus folding Ethiopian folk influences in with UKG and the kind of murky, UK-centric beats that could find a home on Hyperdub. It’s part of a larger emerging scene called Ethiopiyawi electronic where artists mould street musician sounds and folk samples in to twitching, alien rhythms. Like we said, it sounds brand new.
Four Tet / Kode 9
There’s plenty of goodness to be found among the depths of Bandcamp, and though the sheer amount of releases can be overwhelming, meaning some get left on the ocean bed. Imre Kiss’ debut album Midnight Wave has been lurking on the DIY platform for some time now. It was quietly propped on the site in 2013, and after being found by Jimmy Asquith, founder of tastemaking label Lobster Theremin, he got Kiss on board for last year’s Raw Energy EP. The heavy lidded dancefloor fodder turned a few heads, but Asquith was clearly still enamored with the original work, so much so that he’s now reissuing Midnight Wave. Due out on Lobster Theremin in October, the album marries soft focus and sluggish techno with 80s industrial influences. Its foggy sprawl of dark sound might finally get the attention it’s deserving of.
Route 8 / Daze