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best-emerging-bands-artists





Mother Feather returns with "Red Hot Metal" single + show at BK Bazaar on 09.29

The project of glamorous alt rock vocalist Ann Courtney and keyboardist/singer Elizabeth Carena, Mother Feather is a band born to be on a stage. Active since 2009, the group is approaching their ten year anniversary with a new single entitled "Red Hot Metal" (streaming below) and a show at Brooklyn Bazaar on September 29th. The song, a tense yet sparse post-grunge track resting on Ann Courtney's solid alto, is among the best material the band has released so far, and will hopefully be followed by a full album (no mention of it at this stage). The band will perform live at Brooklyn Bazaar on September 29th.





New Waxahatchee EP Available for Streaming & Purchase

Named after a previous project that Katie Crutchfield had started with former Swearin’ bassist Keith Spencer, Great Thunder, the new EP from Waxahatchee, is out now via Merge Records. The sparse, piano-anchored instrumentation directs the light onto the sincerity of Crutchfield’s vocals/lyrics. One is comforted by the familiar folk setting, as a thoughtful, meditative solace the whirlwind of news from the outside world. Waxahatchee is set to perform at World Café Live on Friday, September 28, as part of Philly Music Fest.





Noname “Room 25”

Details on the forthcoming debut full-length album, Room 25, from Noname have surfaced. The album will be dropping this Friday, September 14th. The cover art for the album is by the amazing Bryant Giles, and the tracklist is below.

1.Self
2. Blaxploitation
3. Prayer Song
4. Window
5. Don't Forget About Me
6. Regal
7. Montego Bae
8. Ace
9. Part of Me
10. With You
11. no name





Sister Sparrow releases "Gold" from upcoming LP, tours the US

A staple of the NYC resurging soul scene, Sister Sparrow and the Dirty Birds have been churning out soul music in all its possible variations for almost two decades now. After two live albums that are a testament to the group's fierce live performances, the group returns with a shortened moniker (just Sister Sparrow) and a new sound that takes their nu-soul in a more produced and sophisticated direction. Single Gold (streaming) is a preview of the artist's upcoming album, scheduled for an October 12th release, and it makes the most of Arleigh Kincheloe's larger than life vocals, carving space around them with shrewdly sparse production by Carter Matschullat.
In support of "Gold," Sister Sparrow is currently on a major U.S. tour, including several festivals and an appearance supporting Nathaniel Rateliff. New Yorkers will have a chance to see them live at Irving Plaza on December 1st. 





Record of the Month: Conduit - "Drowning World"

The sheer volume of this album is bound to be a deal-breaker for some listeners; it may even serve to deflect some of the musical variety on offer for those seeking simple guitar rock. Yet for the thoughtful listener there is much to appreciate here. “Saturn,” its opening track,” flutters and screeches, hanging in suspension as any good intro might. “Hypnagog” is the album's full-scale launch, however, pitched somewhere between the muscular metal of the Melvins and the more orthodox hardcore-punk from which this band is clearly spawned. The hybridity is escalated by the song's modulating sections, which shift in rhythm and intensity throughout (and revel in acid-laced deviations of noise and lyrics). “End Times” is built on a minor chord guitar dirge and pounding rhythm, each taken from the Black Sabbath playbook, yet juxtaposed by screamed vocals meant more to confront than to articulate. “Gille de Rais,” a song one assumes is about the French hero of the Hundred Years' War (15th Century), is the closest Conduit comes to modern psychedelic music. Its menacing rhythm gives rise to a thick wall of guitar pedal distortion which skirts the line between post-rock and metal. (The album cover even looks like one by Godspeed! You Black Emperor.) “Parasites” is the closest to straight-up hardcore; yet even here the tension felt in its combination of instruments seems less message-driven, more about the experience. “Zero Days” finishes the LP with a clear almost direct incantation—an oddity in terms of strategy (yet not out of place in the greater context). Shouts of “We cannibalize ourselves!” and “Nature breeds in a vacuum!” seem like surmising statements in what has become, by the end, a visceral expression of the world as it tumbles towards apocalypse. It can be taken as topical—the depressing state of politics; the system as bubonic plague. Yet that would limit the message to politicians and people in power, whereas this seems generally more bleak to me, as if to say: the heart of darkness is an endless well. And if such thoughts make you shudder then be forewarned. Drowning World is not for the faint of heart. But if straight-up truth is your poison then here's the antidote. - Brian Chidester

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