Rough-around-the edges punk from Sweet John Bloom gives us today’s #onegoodthing.
The driving, pop-tinted punk-rock of Moving Target – out on Tiny Engines – is the toe-tapping choice for a Tuesday; combining jumpy vocals and angular guitars to create a sweat-dripping-off-your-back indie dancefloor filler.
*And don’t forget to check out our picks of 2015.*
It’s a change of pace from the usual fare on these pages, as we look to West Africa.
Abba Gargando is from Mali, near Timbuktu and this track – Mategh Id Chat Megh (which I’ve not even dared trying to put into Google Translate) – epitomises the lo-fi Tuareg sound that he applies to original and traditional songs.
It’s utterly hypnotic, transporting you to the campfires and wedding celebrations that Gargando performs at.
A nod of thanks goes to Sahelsounds for seeking out music in some of the more far-flung corners of the map.
The anthemic, direct rock of Glasgow’s United Fruit gives us today’s #onegoodthing.
Nightmare, Recovery is akin to Sunshine Underground without the dance undertones, with United Fruit unabashed in their strident sound that drives on with no care for those in its path.
Dreamy, near-ethereal indie-pop to transport us chilly Brits to climes much more inviting is the order of the day today.
Tiger Waves‘ enlist the silky vocals of Jana Horn on In Retrograde and the combination is a wistful, hazy production that has a pared-back quality to it; ‘quality’ in the sense that you know some bands would’ve opted for more strident vocals, which would’ve undone the track’s shimmering appeal.
With more than a modicum of foreboding, today’s #onegoodthing comes from New York four-piece Grassfight.
The dark, rumbling post-punk of Please Don’t Tell unveils a tale of a couple struggling along in an unsatisfying and unloving relationship, giving us a portentous sound and look through a suburban home’s curtains.
The sublime pastoral jangle of Baltimore’s Expert Alterations give us today’s #onegoodthing.
You Can’t Always Be Liked is the title track from their debut album and perfectly updates the the 80’s indie-pop / C86 sound, managing to make it their own.
Out in the summer, this track from Ohio four-piece Raw Pony is a dazzling, visceral slab of garage.
Bo Diddley is the final track on the band’s Demo Tape EP and features raw, howled vocals atop a fuzzy, scuzzy garage riff that only relents from its 100mph marginally, before finishing with a crash, bang and wallop.
It’s been a while since Juice were last featured upon these pages, but it’s good to see that the band have spent that time well.
Acid Kids updates their Peace-meets-Arctics sound, refining the psychedelic elements to much more than a pastiche, while the rolling guitars and vocals elevate this above their earlier tracks.
It’s a sound that’s ripe for an indie disco and a hot n’ sweaty club gig.
Shaping up to deliver one of my albums of the year, today’s #onegoodthing comes from The Foetals.
Maintaining the sumptuous recipe of 60’s sun-kissed Americana thrown together with a pop-rock jangle that harks back to the same era, but on this side of the Pond, The World Isn’t That Big might just be Jolan Lewis’s biggest marker yet under his latest moniker.
The debut album – Meet The Foetals – is out in a few weeks (4th December, to be more precise) and it’s certainly one of my most eagerly anticipated LPs of the year.
New Yorkers The Britanys give us today’s #onegoodthing and will undoubtedly be peppered with plenty of comparisons to The Strokes, but while that may be lazy, it’s also in part accurate.
Offering a similar take on that sound to Public Access TV, on City Boys, the band add a more accessible jangle to their scuzzy garage – fiddling with FIDLAR, if you will…