Bill MacKay "Esker (Drag City)"
It was quite an exciting day when Drag City announced the signing of legendary Chicago-based guitar experimenter Bill MacKay. It was an even more exciting day when we got to hear his first album for them, Esker. Full of the sweet, sweet sounds that Chicagoans had come to know and love intimately, his sound is simultaneously timeless and forward thinking (which is tough to do with predominantly just an acoustic guitar). Occasionally whimsical, at other times he is like combination of William Tyler and Brian Eno, as is evidenced by the first single from the album, “Aster.” Check it out!
Black Lips "Satan’s Graffiti Or God’s Art? (Vice)"
Atlanta’s scuzzy psych-garage rockers Black Lips are back and as swagger-y as ever. Also, as blissfully all over the place as ever. Maybe that has something to do with having Sean Lennon produce the album, and bringing mom Yoko around to contribute (and contribute she does). Satan’s Graffiti Or God’s Art? (VICE) if full of freak flags waving proudly; country shuffles while Yoko screams here, ‘60s stripper saxophones sounds there. This is a bawdy, distorted, reverb soaked time. Flip the collar on your jean jacket. You’re gonna need the extra cool, and also so it can protect your neck from rock vampires. Check out the Eric Burden meets Ellery Roberts sounds of the first single from the album, “Cant Hold On.”
Moon Duo "Occult Architecture Vol. 2"
It seems like it was just a few months ago that I was writing about a new Moon Duo album. Oh, right. That’s because I was. Occult Architecture Vol. 1 came to us in February of 2017, and here we are, 3 months later, and Occult Architecture Vol. 2 is already gracing our ears. Is what I said about the first album true for the second album? Let’s see… “Swirling psychedelia mixes with a minor key version of the Dandy Warhols (with all the pop bliss nods intact). Throw in some heady, spaced-out Thurston Moore-esque guitar experimenting, some two part harmony vocals, a little sinister synth work; and if you can figure out a way to stop yourself from nodding along then you are stronger than I am…” Well, sort of. The band considers Vol. 2 the light yang to Vol. 1’s darker Yin. So although most of my adjectives still hold true, this time around the effect is more airy, light. It’s like the last album was a head-y high, and this time around it’s a body high. Check out the driving synths of “Sevens.”
Nightlands "I Can Feel The Night Around Me"
I Can Feel The Night Around Me, the third album from War On Drugs’ bassist Dave Hartley’s band Nightlands, feels like the album where everything has clicked. Sure, his last two albums were great, but upon hearing his latest it feels like they were all building towards to this moment. His mature use of vocal stacking (chorus of one), combined with his obvious otherworldly grasp on music composition (be prepared to be lifted to places you didn’t even know existed simply by unexpected chord lifts), elevates these dream pop tunes into something more substantial. Think middle-era Beach Boys mixed with Philly soul R&B touches, and don’t forget the obvious War On Drugs connection, and you’ve arrived at Nightlands emotive sound. Check out the beautiful first song from the album, “Lost Moon.”