Take Me To The Disco
By: Johnny Cate
Anguish never sounded so good.
Meg Myers’ latest is a lush, immersive sonic voyage into shadowland.
Over 46 minutes, Myers delivers a grungy, volatile soundscape of mad pianos, shameless guitars, stadium beats, and breathless vocal work. It all gets warped into submission by electro glue production that smells vaguely like Nine Inch Nails.
The album’s energy is its desperation. Like an animal backed into a corner, Meg is lashing out. She is surrounded—death, heartbreak, creative deprivation threaten her relentlessly all album long.
But she turns salivating to face them. She absorbs them, becomes them, overwhelms them. This is a record for those who feel the barbarians are at the gates. This is a record for those who need reinforcements.
The record’s weakness is sonic similarity. Meg is working with a small range of emotions, and at times on the record it feels like they have (appropriately) translated into a song set that can seem repetitive. But in some ways it may be considered a strength as well. This shit is a fat black laser that doesn’t waver.
It’s dark, it’s lovely, it’s magic. Meg Myers took a shitload of Ls and made an incredible record with them. Lucky us.
By: Alex Horner
Alien Weaponry fuses old and new heavy metal styles to forge an impeccable album. AW pushes the envelope in an utterly new way, something not seen since the dawn of djent. Tū is AW’s first full-length and damn does this sucker rip. I found myself involuntarily head banging to almost every track, goose bumps on my arms. These kids are going to be big, as big as a self-proclaimed thrash metal band can be, if they keep this up. This album is heavy, really heavy, like breakdowns-heavy but somehow still accessible. The mix is rich and enormous. The bass tone cuts through the mix beautifully and is married to organic drum sounds to create a sonic onslaught of emotional discharge. AW expertly walks the thin line between clean vocals and satisfying hardcore vocals allowing both to shine in the appropriate spots. The choruses do come dangerously close to the worst parts of nu-metal.
Frontman Lewis de Jong (who is only 15) commands the Māori language with such emotion and power that the gravity of the meaning behind the lyrics transcends the language barrier. The lyrical themes provoke an interest in the indigenous culture of New Zealand, something that simply can’t be said for any other band. The aggressive mix of English and Māori lines weave together to present a front that is unabashedly critical of the world past and present. Lewis’s 7-string is backed by his brother Henry on drums and flanked by Ethan Trembath on a 5-string bass, the talent of this power trio is mind blowing.
Check out the music video for “Whispers” that dropped yesterday!
By: Rudy Dennis
Sundays can be very strange days. No matter where you are (mentally or geographically), what the weather is like, or who you’re spending a Sunday with, Sunday’s consistently elicit the same elusive atmosphere. I often feel exactly how Hannah van Loon looks like she feels on the cover of this album. Tired, puzzlingly peaceful, searching for something in my mind but never quite finding it. Hannah van Loon of Tanukichan elegantly captures the feelings that Sundays permeate into a bottle and corks it, allowing the listener to open it up, take a whiff and try to work through the feeling of Sunday any day of the week.
Complete with catchy and melancholy distortion soaked guitar riffs, harmonic bass lines, soft complimentary synth chords, and Hannah’s velvety vocals, Tanukichan’s Sundays has positioned itself as one of the best shoegaze rock releases of 2018.