greg gonzalez’ perennial sighs echo throughout the cavernous soundscape collectively culled and maintained by the brooklyn quartet cigarettes after sex. though lyrical intimacy is often at its forefront, the sheer depth of the band’s sonic architecture allows for other, more complex emotions to often permeate through each track’s aesthetic as well, a dual-strength collage of wistfulness capable of settling in for the long haul.
after releasing an impulsive collection of sparse, affecting songs in 2012, cigarettes after sex worked sporadically, putting out one-off singles here and there while retaining a captive, patient audience. the advent of their latest single, “k.,” tosses any sense of uncertainty and ambiguity about forthcoming material out the window; a full-length album is due out next year via the band’s new home, partisan records.
“k.” is a lush, expansive primer for those experiencing cigarettes after sex for the first time; gonzalez’ lead vocal sits, as always, squarely in the foreground, longing for a lost love while his bandmates create a meditative pulse underneath. jacob tomsky’s work on the trap set is the unsung glue holding the track together, an adamant kick-snare combination juxtaposed by a whispered ride cymbal pattern that embodies the band’s dichotomy in rhythmic form.
gonzalez’ guitar interludes, when locked in with randy miller’s plaintive bass lines and phillip tubbs’ warm keyboard pads, are the epitome of dream pop’s fluid tendencies, but it’s when those elements largely drop out that “k.” transcends expectations and becomes a masterful exercise in restraint. take a listen below.
portland duo pure bathing culture impressed with their 2013 debut moon tides, an effervescent body of work that straddled a line between contemporaries like beach house and tennis. the pair are back with their sophomore effort, pray for rain, out october 23rd via partisan records. the album’s title track was teased as its lead single last week, and it has a newfound momentum that needs to be reckoned with. pure bathing culture still retains a slight balearic aura, but it seems as if they’re progressing strongly towards becoming a formidable pop band. listen to “pray for rain” below.
phox has been a staple of the indie music diet in wisconsin for the past two years, but it’s taken the rest of the world a bit longer to catch on. armed with two eps and a full-length of varying production qualities, phox won over audiences with the combination of monica martin’s powerful voice and the fastidious arrangements that supported it. by the time last year’s confetti ep dropped, it was clear that phox was a force that deserved to be reckoned with on a larger scale; sure enough, the baraboo sextet started receiving attention from npr for their well-crafted indie folk jaunts and eventually got picked up by partisan records, who have backed the band’s self-titled major-label debut. if the twelve songs on phox sound familiar to steadfast listeners, that’s because many of them are re-recorded centerpieces of previous releases.
of course, there are two sides to this apparent problem. the not-so-good side is that only five new tunes turn up on phox and that they pad the beginning and end of the album, perhaps suggesting that they were written out of necessity and not creativity. the songs that have long defined phox are bookended by “slow motion” and “shrinking violets” – two of the best tracks in the band’s arsenal – while “noble heart” functions as an outlier. the other side of the coin is that all songs, both new and old, benefit immensely from pristine studio treatment; while the overall structures of the established songs don’t change, they are enhanced greatly by subtle adjustments and changes to the arrangements, like the more insistent percussion on “slow motion” and the guitar lines that cut more clearly on “laura.”
in the long run, it’s better to focus on the latter of those two sides. phox is an unquestionably talented young band finally getting the stage they deserve, so it only makes sense that they would choose to showcase a distillation of the best work they’ve already created. besides, it turns out that the new tunes on phox are more than just padding; “raspberry seed” is the most sprawling cut on the album and effortlessly details nearly every timbral trope associated with the band, and “in due time” is a succinct closing number that finds martin singing completely unabashed and with earnest. for first-time listeners, phox will prove to be a whirlwind experience of sounds and emotions, one that only occasionally drags or becomes too self-involved. for long-time patrons, this is the collection of high fidelity phox recordings that you’ve probably been waiting for.
we’re less than three weeks away from the arrival of phox’s self-titled debut album for partisan records, and today the band has treated the internet to “1936,” a wonderful new song. as is to be expected, “1936” highlights monica martin’s wandering, smoky voice while intertwining acoustic guitars and banjos deeper into the texture. be on the lookout for phox come june 24th and take a listen or three to “1936” in the meantime, found below courtesy of the band’s soundcloud page.
maybe “reworked song” would be a more apt description in the title. oh well. it’s been a treat to watch the rest of the world slowly catch on to the true gem that is phox. there’s traffic here on almost a daily basis looking for the band’s 2013 ep confetti (sorry, they took it down), and the baraboo sextet have been picking up steam, playing sxsw and receiving coverage from npr all while working on their self-titled album, their first for partisan records. the album is due out june 24th, and the band put up a bunch of pre-order information on their website today. along with the pre-order comes “slow motion,” a re-recorded version of the opening track off confetti. the overall structure of the song remains fairly consistent, but subtle nuances like organ swells and a greater presence of percussion make “slow motion” even sharper, building tons of anticipation for the rest of the album. take a listen below, courtesy of the band’s soundcloud page, and look for phox to come to a city near you this summer.
one of my favorite things to do on weekends is catch up on any music news that may have slipped by me. a glaring omission from the last couple weeks of dimestore saints material has been “coffee,” the hook-laden single from duo sylvan esso. amelia meath from mountain man handles the vocals while nick sanborn, who also plays bass in megafaun, takes care of production, meaning there are some cool, somewhat-distant ties to wisconsin in this project.
“coffee” will be released as a 12″ single along with b-side “dress” via partisan records on march 25th, and expect the band’s debut album to drop sometime in may. for now, check out the track below, courtesy of sylvan esso’s soundcloud page.