Dreamy, driving, wistful, and nostalgic, “Dark Days” is both a gloomy reflection on pandemic life and the civil unrest of the past year, and a hopeful forecast of brighter days ahead. Written during the first lockdown in May of 2020, the song illustrates empty live-streamed shots of Times Square, riots erupting in Minnesota in the days after the murder of George Floyd, and the widespread appreciation for the “superhero medicine man.”
‘The breezy looseness of Built to Spill’s earliest releases, Herman Dune’s ingeniousness, or the late St. Thomas’ cracked folk… Nicholas Faraone’s delivery suggests we might expect intimate confessionals in the manner of Bill Callaghan.’ UNCUT
"In a sunny and falsely nonchalant tone with a bit of sarcasm, this song evokes the relationship that some people can have on social networks: a love-hate relationship. It is easy to connect with complete strangers and difficult to keep in touch with friends from one's non-virtual life, to be spied on or harassed as well as to be ignored." The Green Flamingos
Right before Halloween, another great indie-rock artist, Stef Chura, released her version of “How to Rent a Room,” a Silver Jews classic from 1996’s The Natural Bridge.
Mordantly funny and shabbily pretty, it’s a message from the victim of a suicide (or maybe a botched suicide), opening with the indelible line, “Now, I don’t really want to die/I only want to die in your eyes/I’m still here below the chandelier where they always used to read us our rights.” RS
Bill Callahan and Bonnie ‘Prince’ Billy shared a cover of the Silver Jews’ song “The Wild Kindness,” which was written by the group’s late frontman David Berman. The recording features the Silver Jews bassist and Berman’s widow, Cassie Berman.
Also contributing to the track were guitarist David Pajo, Lambchop keyboardist Tony Crow and Silver Jews drummer Brian Kotzur. Several others were part of a choir of backing vocalists “swimming in a river of voices” including Pajo, Meg Baird, Bill MacKay, Cory Hanson, Cassie, David Grubbs, Matt Kinsey, Haley Fohr, Emmett Kelly, Todd Rittmann, Alasdair Roberts, Matt Sweeney, George Xylouris, Azita Youssefi, Sean O’Hagan, Ben Chasny and Elisa Ambrogio. jambase
"Expansive...they're from nashville but you're going to get a vintage version of Brit pop." – NPR World Cafe
“Certainly a welcome slice of escapism.” – American Songwriter
“Gripping indie rock radiance” – EARMILK
“The Brummies possess a rare combination of instrumental mastery, vocal proficiency, and a boldness and confidence to make work that’s untethered to anyone else, while still paying homage to those that came before them.” – Atwood Magazine
“Deep and powerful” – PopWrapped
“An irresistible listen, effortlessly riding a wave between shiny pop and rock 'n' roll.” – Variance
“Polished, rhythmic rock” – AL.com (Alabama)
“A fluffy hug of indie rock touched with soulful harmonies, funk rockish guitar licks and blessed by a synth wave softness. The production feels like the all inclusive hybrid funk rock jams of the 70's with a twist of big pop making it timeless.” – American Pancake
“Home” is the latest single from Los Angeles based singer-songwriter, Specific Coast. Originally a voice memo sent to his long distance girlfriend, ”Home” is featured twice in the penultimate episode of the Netflix Original series Ginny and Georgia, premiering February 24th.
mpostor addresses Miss Grit's life-long navigation through the racial impostor syndrome she experienced as a half-Korean girl "trying to fit into the white space" of the Michigan suburbs where she grew up.
"Much like a dealer will place themselves on the fringes of social graces, Soft Kill operates outside of the industry laws with no care for opinions of genre cops. They run their business like rappers, tour with hardcore bands, and sound like a rock bottom Morrissey. If you are unfamiliar or curious about the seedy underbelly of post-punk, [Soft Kill] is your gateway drug." - Clint Gee, Outburn Online
“Do U Mind? (Leave the Light On)” is about temporary love. A commentary on Grindr and hookup culture, presented on a beautiful bed of reverb and indie pop goodness. Discussing, songwriter/vocalist Matt Rogers stated, "It's about meeting up with someone and pretending like you're in love for the night, even though you both know you're not. It's a little wink to all the people out there who feel the same way, and want to feel that sense of belonging for just a moment. I feel like hookup culture has made it really hard to be vulnerable with each-other. This song is my attempt at explaining the intersection of love, isolation, and frustration that apps like Grindr make me feel."
William The Conqueror first began teasing new music last year with the lead single "Wake Up," a gorgeous slice of laissez-faire college rock that sits somewhere in a disorganized melee between Pavement, Speedy Ortiz, and Built to Spill. The Times named it an Essential Track and called it an "agreeably low-slung piece of alt-rock." It was followed by "Jesus Died A Young Man," a song the band described as "far from being a dig at religion or Christianity, is more about bad teachers and good faith." Clash Music called it "guitar pop of real depth and nuance." Their previous single "Quiet Life" is also out now, a charming, slow-building lament that broadens out like a rolling landscape. The accompanying video shows the band wandering around a deserted Venice Beach boardwalk right before fleeing the US ahead of the pandemic lockdown last March.
