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Posts Tagged ‘Little Joy’
 
 
 
Dream-Pop + Shoegaze
 

Black Partridge

Black Partridge comprises two brothers from Illinois. The duo have a unique sound that fuses lo-fi rock and pop with caressing sentiments of shoegaze and dream-pop. The older brother, Vito, plays the bass guitar while Mick take...
 
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Groopease + The Salvadors

Regular readers know this by now: the aim of Obscure Sound is to expose quality artists that, for whatever reason, have yet to achieve substantial recognition despite their excellent material and prevalent talent. I believe tha...
 
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Let’s Play Tennis!

Instead of coming across like decorating a Christmas tree in July, the summer-friendly pop of Tennis is a refreshing and apt reminder of anticipatory feelings that would usually take months to arrive from January. Tennis are on...
 
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Best Indie Albums










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  • The impressive “The Silence” is the latest from @bathemusic, the dream-pop project of Bailey Crone. Based out of Atlanta, Crone performs everything on the song — drums, guitar, bass, vocals, etc. The recording was done at Standard Electric Recorders Co. with producer and mixing engineer Damon Moon, and mastered by Joe Lambert. Crone strives to create songs you can “lay on the floor and stare at the ceiling to.” “The Silence” certainly achieves that. A hypnotic feel is established immediately, with a lulling rhythm section and an occasional key-laden flicker caressing alongside Crone’s serene vocals. The key twinkles around 01:50 do well in readying for the beautiful twangy guitar highlighting about 30 seconds later. In these moments, the track builds majestically to a satisfying conclusion, at which point the song’s hypnotic charm and Crone’s vocal presence are perfectly evident. Lyrically, the track is “about the feeling of being alone and how it relates to her past history with panic attacks and grieving the loss of friends and loved ones. Written in a mixolydian key, the song’s mood is supposed to be neither happy nor sad … Thematically the song and the album are about loss and the concept of absence that follows it.” “The Silence” comes from Bathe’s debut LP, Last Looks, releasing in 2020. — link to listen in bio
  • Fondly producing a sound reminiscent of The Arctic Monkeys, “Blame” is a stellar track from Louis and the Shakes, the London-based act previously known as Louis Antoniou. Last year saw the band highlighted on BBC Introducing, with the frontman playing two tracks live on air. They also performed at The Crypt Sessions and the OnBlackheath Festival. Louis And The Shakes cite Jesse Jo Stark, Queens of the Stone Age, and Alexandra Savior among their influences. Suave guitar licks adorn “Blame” from the get-go, with the Alex Turner-esque vocals emitting a sly presence. The first hook arrives at the 51-second mark — “the joke you’re not letting me in on,” — as a melodic twist is successfully maneuvered. Past the two-minute mark, the guitars pick up in stride alongside the vocals: “I’ve only got myself to blame / Lady Envy has got a hold on me.” A melodic guitar solo wraps up this catchy gem. {Link to listen in bio}
  • “The Sparkling Black” is another success from Aura Blaze, the New Jersey-based rock project of Rhode Rachel that impressed with the track “Good While It Lasted” in June. Merging psych-pop and power-pop sentiments, Aura Blaze is a project with a knack for catchy melodies and a supremely accessible aesthetic, evidenced throughout the album The Sparkling Black. The release’s self-titled track showcases more distorted guitars and ’70s-friendly synth/organ tones, compared to “Good While It Lasted.” The vocals reach some deep, low pitch ranges amidst collapsing guitar distortion, contrasting the more power-pop-friendly approach of “Good While It Lasted.” Certainly, the album’s self-titled track is more of a showcase in brooding, psych-friendly soundscapes. {Link to listen in bio}
  • “Easy” is a lush, grooving track released today from Union City Nights, based in Leeds (UK). The project records throughout bedrooms and basements in the Hyde Park area, emphasizing crooning vocals alongside dreamy guitar lines, nocturnal synths, and funk-tinged rhythms. “Easy” succeeds aesthetically and melodically, effectively combining a dream-pop arsenal with hints of nocturnal R&B. A soaring guitar solo emerges just past the two-minute mark, adding a scorching feeling of emotion to the murky nighttime remnants. “Easy” is an atmospheric, successful release from Union City Nights. — Link to listen in bio

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