Simon Fisher Turner and Edmund de Waa "A Quiet Corner In Time (Mute)"
From Mute Records:
A Quiet Corner In Time is a meditative drama, poised between action and stasis, mischief and grace. Some sounds are drawn out, combed into finely textured drones, while others remain starkly literal. We hear the creaks of rattling doors slamming shut; echoing steps of people moving through long corridors; cups and chatter in Viennese tearooms. The trapped harmonics in a vocal loop fall in, but lift before landing, and the small melodic chiming of porcelain shards resist syncing with the sounds of horses hooves, made percussive like castanets. Wooden coat hangers collide in the cloakroom of the Secession Building and a stolen glimpse of Rossini from the Opera House foyer appears, as does Ryuichi Sakamoto’s recordings of Mr Raku’s fine coffee and tea ceramics. In the background the house’s scent of soil and foliage is represented in recordings of bamboo from the house’s garden, while crashes of unprepared piano punctuate the work. Porcelain objects click and rattle throughout, in rhythms that accelerate as they come to rest. “I wanted it to be beautiful,” says Fisher Turner, who has vivid memories of the intensity of scent and light in the house.
Check out “Breaking Emptiness.”
Cable Ties "Far Enough (Merge)"
From Merge Records:
The second album from Melbourne, Australia’s Cable Ties brings a towering wall of ’70s hard rock and proto-punk to songs that explore hope, despair, and anger but offer no easy answers. Cable Ties’ fundamental elements—a driving rhythm section, anxious and emotive guitar playing, defiant, passionate songwriting, and Jenny McKechnie’s earthshaking voice—are complicated on Far Enough by nuance and ambivalence.
Check out “Sandcastles.”
Waxahatchee "Saint Cloud (Merge)"
From Merge Records:
Waxhatchee’s Saint Cloud is an unflinching self-examination whose raw, exposed narrative terrain is aided by a shift in sonic arrangements. While her last two records (Out in the Storm and Ivy Tripp) featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloudstrips back those layers to create space for Katie Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time.
Check out “Lilacs.”
Grumpy "Loser (Acrophase)"
It’s Grumpy‘s debut album on Acrophase Records! Loser is a candy-coated collection of alt-pop gems. A little like ’90s college radio, a even more like the current youth rock that obviously leans on that sound but has updated it to the current times. This is a head-bopping, jangle good time rock record. So get ready to bounce along to “Davy Jones”!