Aaron Maine's Porches follows the release of this year's acclaimed Pool with the Water EP – a new standalone insight into the music that formed the melodic skeleton of Pool, alongside a pair of previously unreleased songs in 'Black Dress' and 'Black Budweiser T-Shirt'. Recorded solo in his adopted home of New York City, the Water EP strips Maine's work down to its core, opening the curtain on his musical metamorphosis from previous releases Slow Dance In The Cosmos and those of his alias, Ronald Paris, into the Porches of today.
Thursday, August 25, 2016
I was home with my parents in New Jersey when I heard of the shooting at the nightclub in Florida. Hate, violence, and intolerance has always upset me, but I haven't been this overwhelmed with sadness and disbelief in a long time. The victims were only trying to be themselves and be comfortable and safe in their surroundings. That safety was violated out of fear and with a gun.
I originally wanted to raise money for the victims and their families, but I knew the issue was bigger than this. I wrote "Not Myself" for the victims of this horrific event, but I chose to support the research and awareness work of Everytown for Gun Safety Support Fund: a movement of Americans working together to end gun violence and build safer communities.
In the memory of those trying to be safe and be themselves, I hope we can all come together to help prevent another massacre like this and end gun violence.
Sharon Van Etten
Sunday, August 21, 2016
Pascal Pinon's third album is the Icelandic duo's rawest and yet most diverse musical statement within the frame of their Folk-influenced, minimalistic sound. Produced only by themselves, "Sundur" comprises material written over the course of 1 ½ years. While most parts of the album are sparsely orchestrated and follow the experimental lo-fi-leaning aesthetics of the duo's previous two records, the overall tone has become rawer with its metronome-like rhythms, occasional synth lines and driving piano melodies.
"Projection is a song about feeling unqualified to be the way you see yourself because of the way other people see you, and how other people's perception of your identity can warp your sense of self. It's about being exhausted with the pressure of fitting in and throwing a shiny, glorious middle finger to those who doubt you." - Ben Hopkins, PWR BTTM
"It's a song about greener grass. I wrote it during a period of time where I hated where I lived and who I was there, and I just felt so helpless that like I figured whenever I did inevitably wither away the parties that be could ship me somewhere better. Reflecting on it, the hopelessness I felt was actually in me, and the place I was in or where I wanted to be couldn't help things if I wasn't willing to help myself first." - Ben Hopkins, PWR BTTM
Friday, August 19, 2016
From his tenure in legendary hardcore bands like Gorilla Biscuits and Youth Of Today to his work in the pioneering post-hardcore act Quicksand and cult favorites like Rival Schools, Schreifels has proved himself to be one of the most talented and diverse song- writers of his generation. Over two decades after GB released their landmark album Start Today, Schreifels transcended his hardcore roots and showed another side of his constantly shifting skin with his solo debut An Open Letter To The Scene.
From stripped-down acoustic meditations like the album’s title track to Schreifels’ psy- chedelic-tinged cover of Agnostic Front’s “Society’s Sucker” and an intricately arranged version of his CIV Classic “Don’t Gotta Prove It,” An Open Letter To The Scene is arguably the first project Schreifels has ever recorded that manages to incorporate all of his diverse influences and recontextualize them into a cohesive whole.