Chicago’s Cougar Island peddle a catchy Beatles-inflected take on surf-rock.
This track – from an upcoming album – bounces along with sun-kissed garage-rock, akin to the tunes of Harlem, but with sweeter melodies.
It took me a while to be convinced by today’s #onegoodthing, but I’m glad I persevered as this album is melancholic bedroom pop at its finest.
Some tracks – like Deep Deep Problem – have a greater immediacy and perkiness that soon make way for the overarching gloom that engulfs the music.
But don’t think this is going to send you into a deep well of depression; Dignan Porch produce top-notch DIY pop that deserves your patience, with that patience rewarded by a totally engrossing collection of songs.
As far as I can tell, The Light Sleepers are no more, which just adds a further smidge of melancholy to what is a cracking concoction of subtle shoegaze, noisepop and general yearning.
The album rolls across you like the waves of the sea, equally perfect for listening on late-night public transport, in a bedroom late at night before things get ‘interesting’ or peering out at the vastness of the sea from the comfort of a bar on shore. (Or, y’know, just listen to it online while you’re at work. Whatever floats your boat, really…)
Tee-Tahs sound like a band out of time, as their take on garage could be right out of the halcyon 60’s era of Nuggets psych and surf-tinged rock.
More surf, garage-rock than the psych end of the spectrum, Thrill is a breezy 2mins33secs that would sound perfect playing as the sun goes down over California. Or Alberta, Edmonton, as it’s the hometown of Tee-Tahs, but that doesn’t get as much coverage in films and TV, does it…?
Beginning with doom-inducing keyboard strokes that transforms into a rattle of post-punk, Ohh (Yeah) by White Reaper is one of those tunes that deserves to be more popular than it will probably end up being.
There’s enough lo-fi, rough around the edges charm that it’ll appeal to the hipsters, but also enough damn catchiness that those whose tastes lay on the edges of the genre will also be taken in by it.
If you put The Orwells, early Strokes and The Black Lips into a melting pot and added a dash of FIDLAR’s youthful vim, White Reaper is what would come out. But that’s some weird science…
There’s a subtle funk to Last Cab From Tunis by Hundred Visions that almost harks back to some LCD Soundsystem’s more ‘indie’ moments.
The Texan rockers may have found more of a rhythm now, but this track from a few years back is a storming effort – combining a dancey vibe to a more traditional indie-rock sound.
Sydney’s Straight Arrows do a great line in Black Lips-esque, psych-tinged garage and that’s none better seen in Two Timer.
Rattling drums, a laconic drawl and with a 60’s fuzz atop it, this cover of a Tempos track has a nagging quality to it that makes it hard to shift from your brain. But in a good way…
Harnessing the blues and psych influences, Qasar have cooked up quite the racket.
While this is good time rock ‘n’ roll, there’s still enough subtlety and fine touches to make Qasar stand out from the crowd.
The two tracks on their most recent release showcase that perfectly, and I’ve opted for the driving rhythms of Find My Babe over the 70’s-tinged melodies of Havin’ A Good Time.
While it was tough to pick out just one track from the insanely priced £2 for 56 songs album courtesy of Indietracks Festival, I eventually plumped for the synth-inflected noise-pop of Mega Emotion‘s Brains.
Channelling the likes of New Order (if they had Frank Black on guitar and La Roux on vocals), it’s an assault on the senses, but one that has you wanting to cut some rug at the same time.
It’s been a while since I’ve gone for a whole album as the #onegoodthing, which underlines how good one must be for it to be deigned worthy of such an accolade.
And Torch Song by Radiator Hospital is very much worthy; a mesh of pop-punk and Pavement-style indie that creates one of the most perfect albums I’ve heard in some time.
The band is more or less (from what I can gather) the brainchild of Sam Cook-Parrot whose links to the Crutchfield sisters (Swearin’ and Waxahatchee) shouldn’t come as a surprise given this is almost the midpoint between those two bands’ sounds.