M(h)aol "Attachment Styles"
From the Guardian:
Seven years after their exciting, abrasive debut single Clementine, Irish post-punks M(h)aol (pronounced male) have finally released their debut album, Attachment Styles. It’s a series of fearless moments that centre on intersectional feminism and reclamation of power, underpinned by a soundtrack of clattering drums and jagged, dissonant guitars.
The result is a record that is equally vulnerable, triumphant and cathartic. “I’m just the dumb bitch that left the party with you,” vocalist Róisín Nic Ghearailt sing-speaks on spicky opener Asking for It, which unflinchingly tackles rape culture. As the track builds, the guitars become thick and gluey and Ghearailt’s voice rises to a roar: “My whole life won’t be defined by you.”
Les Imprimès "I’ll Never Leave"
Big Crown is proud to present the debut 45 from the newest band on the label, Les Imprimés. Based in Norway and led by producer and multi-instrumentalist Morten Martens, they blend a myriad of influences together to create their unique and soulful sound.The A side “I’ll Never Leave” has a chugging Doo Wop feel to it but with a heavy duty thump that brings it into the present. The production is lush yet simple with tasteful arrangement that doesn’t waste a note. Martens sings to his muse of fidelity and romance with melodies that are sure to be stuck in your head long after the track finishes.The B side “If I” leans into the slowie cannon. The track holds court with the best of the beat ballad B sides. But, when Martens starts singing, the charm of Les Imprimés comes front and center making it easy for a wide audience to love, but hard to put your finger on.
Joell Ortiz "Autograph (Mello Music Group)"
From Mello Music Group:
Joell’s (new) album Autograph features production from 9x Grammy Nominee Salaam Remi, the Grammy Winning Heatmakerz, Hesami, and Detroit legend Apollo Brown, along with features from Sheek Louch, Marc Scibilia, KXNG Crooked, Pastor LBS, and CyHi the Prynce.
Lambchop "The Bible"
The music on The Bible is more unpredictable than it’s ever been on a Lambchop record. Jazz careening into country, into disco, into funk, and back to country. Bandleader Kurt Wagner trusts his own voice—that he can tie all those sounds and styles together with his own words and phrasing, whether the lyrics are observing the dire headlines of racial strife from that summer in Minneapolis when he recorded The Bible, or just the graffiti outside the former paint factory where it was recorded, or the bumper stickers out on the highway, or his own feelings about his father confronting his mortality back home, or about him doing the same on his own wherever he may be in the world. This is Lambchop’s new album—born in a new place but out of a process that he first discovered back home at Nashville’s Springwater Supper Club, the one that helped him find his own voice in the first place. Amen. This is The Bible.