ETC!ETC! X Brillz - "Callisto Final"
Chester Watson - Origami [Prod. Art Vandelay]
Vuvuvulteres here. Moody. Abrasive. “Approach with caution,” Harmony Bucher sings. I think you should approach with full-fledged confidence.
London’s indie rock punk stars VVV are releasing “Stay Still” sometime in March, with their first full-length release coming later in the year. Listen to a sneek peek below, and check out more from VVV at their website – which has a badass header (if you’re into that sort of thing).
This is good too.
THIS mix. I’m saying. Fire. Fred Falke. Yeah, incredible. Damn.
I thought I was listening to the opening of an Elliott Smith song. Then I thought, is this some indie Beatles cover I mindlessly grabbed off Hype Machine? No. Unknown Mortal Orchestra. From Portland. Holler.
Most of the time I’m listening to “Secret Xtians” I’m wishing it wasn’t on the verge of ending. So I hit the repeat button and practice various forms of shavasanah poses on my couch while it replays continuously.
All I can really make out of “Secret Xtians” is that Secret Christians are all the same, and that they probably are not too bright. Which doesn’t really make any sense because how do you even know if they are SECRET? So, yeah, food for your discussions on Christianity.
Happy Sunday night, hope y’all are having Fun.
Check out these smooth mashups from Scott Melker, five tracks that seamlessly mix some of Fleetwood Mac’s best songs with laid back rap spots.
Download Melker’s Skeetwood Mac collection, or listen below, and remember, players only love you when they’re playing. For real.
Do you think you’re enough, Ravens? #unrelatedsuperbowlreference. DYTYE, ironically, does have the right amount of dark, pop rock momentum to be a Super Bowl theme song. It should at least be on a soundtrack for the big game, which it is…now.
Enjoy the new Pyyramids track from laid back soul singer Drea Smith and OK Go’s Tim Norwind. Pyyramids is set to release their first full-length album Brightest Darkest Day on April 15th.
Dark Horses are cultish rock noir at its lowest-fi. Actually, their production is pretty solid, and the druggy brit-trash vibe only seems partially contrived.
I imagine listening to “Traps” at a Portland bar in the early 90s, on my dad’s shoulders with his leather jacket draped over the both of us. A distinct lack of color and moist concrete.
So many ponytails.
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