Album of the Week: And So I Watch You from Afar – The Endless Shimmering

The Endless Shimmering by And So I Watch You from Afar

Pushing the musical envelope has always been part of And So I Watch You from Afar’s forte. The instrumental experimental progressive math rock act from Belfast, Northern Ireland, use an abundance of guitar shredding and rhythms that escape the inhibitions. It’s a sound that hits on multiple levels and never lets up. Their fifth full-length The Endless Shimmering released on Oct 20 by the indie label Sargent House shows the band moving forward while bringing back what made them great in the first place.

The main difference between The Endless Shimmering and the past couple of from And So I Watch You from Afar is that they stopped doing the group chanting and singing. They went back to purely instrumental jams, much like what’s in their initial releases. There’s also a different tone that keeps the band’s raw amplification intact along with having everything sounding clearer. It’s an album that pleases the senses. The variety of progressions within each song’s structure also makes for an interesting listening experience.

A band pushing their sound forward by harking back to their beginnings is unheard of these days. Usually they will keep going with whatever they discovered while making a successful album and riding the wave of its success, but musically it amounts to something that’s nothing like what they started out with. And So I Watch You from Afar reached back to their artistic origins in stunning fashion and made an album that’s brilliant. Check out my top tracks off of the Album of the Week:

“Mullally” is a scorcher that exudes energy and vigor; seismic breakdowns occur at many instances for a powerful structure that shocks the ears. And So I Watch You from Afar has a knack for making a track seamlessly transition into another and “All I Need Is Space” is a great example: There’s some hypnotic guitar work happening from start to finish, and then it goes into the title track with no stopping. The longest song in the album is “Dying Giants,” and it has a build-up that crushes everything in its musical path.

And So I Watch You from Afar are currently touring Europe with a handful of notable shows coming up. These include Lido in Berlin on Nov 9, Festival La Ferme in Louvain-La-Neuve, Belgium, on Nov 18 and Academy 2 in Manchester on Nov 24. They’ll also be spending New Year’s Eve at Roisin Dubh in Galway, Ireland. Hopefully they come back to the States next year and rip it up at a venue in the New England area. While we all wait for that to happen, grab a copy of The Endless Shimmering and get electrified.

Bandcamp: asiwyfa..com/album/the-endless-shimmering

Web site: asiwyfa.com

Album of the Week: Bully – Losing

Losing by Bully

When their debut album Feels Like came out during summer 2015, Bully instantly catapulted themselves into being one of the top independent acts of the decade. Alicia Bognanno screams honest and truthful lyrics while getting highly amplified with her guitar. The rest of the band has guitarist Clayton Parker backing up Bognanno while drummer Stewart Copeland (not the one from The Police) and bass guitarist Reece Lazarus make up a stellar rhythm section. This act from Nashville combines the raw grit of classic ‘70s era punk with the electrified coolness that came with ’s boom in the early ‘90s. Their sophomore release Losing, which hit record store shelves on Oct 20 via the legendary label Sub Pop, is a great continuation of a style that wears its heart on its sleeve.

Losing is a little less tame than the band’s debut: Bognanno gets more intense during the chorus of various songs. Each track also has a hard-hitting structure that musically breaks down while also maintaining a certain level of catchiness. Bully walks a fine line between being worthy of adoration by rock ‘n’ roll purists and accessibility by the casual music listener: not a lot of bands can pull that off these days and it’s definitely a special trait this band possesses.

Right from the first song, you can definitely experience an act of catharsis from Bognanno. She gets personal and straight to the point when she sings. It’s all done in a very unapologetic way. That certain aesthetic is inspiring and profound. The fearlessness has to be respected. Let’s delve into that fearlessness a bit more with my top tracks off of the Album of the Week:

“Kills to Be Resistant” begins in melodic fashion but, when the chorus hits, everything is unleashed: It gets louder and louder until it reaches a level equivalent to a jackhammer. “Guess There” starts out relaxed and groovy; Bognanno’s and Parker’s guitars have extraordinary and supercharged distortion. Another great example of that distortion is “Not The Way” along with an infectious amount of harmony.

Bully will be rolling through Great Scott in Allston, Mass., on Nov 12, but the show is reported sold out; hopefully you already have a ticket or you can grab one somehow. If you end up getting into the show, get yourself a copy of Losing. It’ll energize the senses with lyrics that make you think.

Spotify: open.spotify.com/album/0T5W8q4JXryl3iiogSJ0zC

Web site: bullythemusic.com

Album of the Week: + – Lotta Sea Lice

Lotta Sea Lice by Courtney Barnett + Kurt Vile

Songwriting collaborations have the ability to meld two distinct styles to create an astounding sound. When everything lines up correctly, there’s an experience of two artists riding on the same wavelength. Lo-fi Americana fuzz master Kurt Vile and upstart Courtney Barnett got together to put out an album titled Lotta Sea Lice that was released Oct 13 via Matador Records. It’s a great fusion of Vile’s eccentric melodies and Barnett’s deadpan pop sensibilities. Vile’s trademark twang also complements Barnett’s signature wit.

Barnett and Vile initially got together out of mutual admiration and it grew to them putting together an all-star band in Barnett’s home country of Australia that was met with wide acclaim. The music that comes out of both of them writing together is electrified folksy pop that incorporates noticeable characteristics from both musicians. There’s some quirkiness but there’s also a stunning amount of musical brilliance. It sounds like the product of two songwriters playing acoustic guitars while backed with a talented band. Lotta Sea Lice brings a lot to the senses for the listener to enjoy.

There have been countless collaborations in music over the decades, but what makes this one with Barnett and Vile different is how they fuse their weirdness together. Both of their artistic identities are present, but they both take a backs eat to the result. A few songs are low key and relaxed while others are amplified and hard-hitting. The harmony of Barnett and Vile leaves a lasting impression. Examine that impression and more with my top tracks off of the Album of the Week:

An anthem for isolation, “Fear Is Like A Forest” has more of a rock tone than the more stripped-down songs; the track has a blues tinge that throws love out the door and embraces being by yourself. “Continental Breakfast” is an adorable song about crushes and the importance of friendships from afar; there’s an acoustic base present while the steady, soft drums set a relaxing mood. Barnett also does a great version of Vile’s “Peeping Tomboy” and she nails a bit of his drawl.

Barnett and Vile are currently in the midst of a tour supporting Lotta Sea Lice, and New England fans can catch them at the Orpheum Theatre in on Nov 4. It’s bound to be a special experience with different versions of both of their songs being played along with the originals they wrote together. Don’t forget to grab a copy of the album while you’re there. This record is ideal for fans of either musician’s solo material, but it’s also ideal for anyone who likes great music.

“Continental Breakfast” music video: youtube.com/watch?v=wHCtH15dpmU

Stream Lotta Sea Lice: open.spotify.com/user/sleepingrobot/playlist/23Jsut3kmuQtdwCdLvEgm8

Web site: courtneybarnettandkurtvile.com

Album of the Week: Night Idea – Riverless With the originality and inventiveness seen in their 2016 debut Breathing Cold, Night Idea’s sophomore release had an immense amount of anticipation months before it came to be. The progressive rock act from Richmond, VA, unveiled Riverless to the masses on Oct 13 via the vinyl-only label Gigantic Noise, their hometown cassette-only label Hand to Mouth Tapes and their other hometown label JUJU. This new album pushes along their uncanny style of songwriting while incorporating electronic dimensions. It has more of a psychedelic vibe than their first album but it also keeps their trademark abstract style intact. There’s an abundance of variety with nothing sounding anything close to generic.

Guitarists Carter Burton and Reid LaPierre complement each other in wonderful ways with Burton taking the lead on vocals and LaPierre backing him up to provide harmony. LaPierre also brings electronic presence via his sampling and keyboard skills. Joey Anderson on bass guitar melds his talents with Ethan Johnstone’s multi-dimensional drumming to be the backbone for Night Idea’s sound. It’s a stellar display of music that has Night Idea tapping into various tones. The senses are bound to be intrigued once the play button is pressed.

Other than simply being a follow-up, a sophomore release has a distinct amount of importance to a band’s evolution. Some acts will keep things steady by relying on the sound of their first record in order to maintain the fan base that they originally had. Other acts will push themselves to move forward and discover new ways of playing their instruments. It goes without saying that Night Idea accomplished the latter. For a closer look, let’s check out my top tracks off of the Album of the Week:

“Gift Horse” starts off with a mix of smooth jazz and a hip-hop beat into a cavalcade of mellow and groovy tones; it’s both a prime example of Burton and LaPierre’s harmonies and of LaPierre’s including sampling into Night Idea’s music. Johnstone’s drumming shines during “Perfect Water,” the base for a track that goes all over the place with captivating riffs and numerous elements. There’s a bit of a stripped down vibe in “Wandering” along with a blissful feeling due to the subtle distortions.

Night Idea will be celebrating the release of Riverless at The Broadberry in their hometown of Richmond on Oct 20. Eric Slick (of Dr. Dog), Antiphons and Magnus Lush will be rounding out the bill for what should be a wild time. While you’re there you should obviously grab a copy of the new album. It’s a record that explores soundscapes and soothes the soul.

Bandcamp: nightidea.bandcamp.com/album/riverless Facebook: facebook.com/NightIdeaMusic

Album of the Week: Weaves – Wide Open

Wide Open by Weaves

Toronto alternative rock act Weaves have been giving independent music an eccentric jolt. They have an art-punk sound that incorporates jangle pop and abstract harmonies. Their second LP, Wide Open, came out Oct 6 on the Brooklyn indie label Kanine Records and it’s a stellar follow-up to their acclaimed self-titled debut that came out during the summer of 2016. The way Jasmyn Burke sings is tough to pin down with her unique delivery that exudes a screaming soul. Morgan Waters on guitar holds down particular progressions, and the rhythms supplied by drummer Spencer Cole and bass guitarist Zach Bines generate infectious energy.

The main difference between Wide Open and Weaves’ debut is the amount of fearlessness. On their debut, it was apparent that the band was still trying to shed their nerves. Their latest release pushes artistic boundaries and Burke finds a charismatic identity. She also confronts various issues in today’s society through her lyrics. Musically, the sound is more noisy and distorted than their previous material along with bringing a variety of tones.

Musical inventiveness is a rarity these days. Everyone wants to sound like their idols or, even worse, they sacrifice what they genuinely enjoy so they can get with what’s “popular.” It’s refreshing to see a band like Weaves doing whatever they want and making it sound good. The anticipation for their next release is bound to be mounting by the end of the year. Let’s take a closer look at this band’s inventiveness with my top tracks off of my Album of the Week:

“Slicked” has a sonic funk vibe that’s smooth as silk; Cole and Bines are vital to the way it sounds by serving as the anchor for the track’s structure. There’s a plethora of fuzz within “La La” along with the song being an excellent example of Burke’s soulful charisma. Stripped down a bit while still maintaining the energy exhibited in the rest of the album is “Gasoline,” where Waters’ guitar isn’t as amplified but Burke’s vocal presence makes up for it in more ways than one.

Weaves are currently embarking on a tour throughout North America and Europe until later in the fall. New England live music addicts have two chances to check them out at ArtsRiot in Burlington, VT, on Oct 12 and at the Middle East in Cambridge, MA, on the following night. There will be no excuses when it comes to multiple opportunities to see a really cool band live in person. If you’re at either show, grab a copy of Wide Open. This album is expansive and enjoyable – and all you have to do is press play.

Stream Wide Open via Bandcamp: weaves.bandcamp.com/album/wide-open-lp

Web site: weavesband.com

Album of the Week: J. Roddy Walston & The Business – Destroyers of the Soft Life

Destroyers of the Soft Life by J. Roddy Walston & The Business

For 15 years, Baltimore rock ‘n’ roll energizers J. Roddy Walston & The Business have been tearing up the independent music circuit. Walston brings a vintage flair with his talents on and guitar while guitarist Billy Gordon, drummer Steve Colmus and bassist Logan Davis round out a stellar sound. The band walks the line between a classic rock homage and contemporary alt-pop with their fourth studio album Destroyers of the Soft Life that came out on Sep 29 from ATO Records. It’s harmonious and emphatic with a heartfelt vibe. Walston gets soulful with his vocals in various songs while conveying a sense of longing.

The band’s latest release is a bit more refined than their previous releases. Walston & The Business maintain their trademark raw and fierce aesthetic, but this record definitely leans towards being more accessible to the casual music listener. There’s a solid rhythm from start to finish and there’s nothing about the album that’ll leave the ears feeling bored. It’s a testament to the band’s steady rock ‘n’ roll progression that also shows Walston’s fearless way of songwriting. Long time fans are sure to appreciate the new album, while people who are just getting introduced to them are bound to be impressed with what they hear.

Destroyers of the Soft Life is different from Walston & The Business’ previous releases: For anyone who loves the band, they love them because of their rambunctious style with Walston’s lyrics that give people the urge to party and bang their head, but this album departs from that with lyrics getting real about relationships and life while the sound is more driving and forceful. It’s not a bad thing, but it’s a bit unlike what they’re known for. To really get down to what makes a difference, let’s examine my top tracks off of the Album of the Week:

Colmus’ drums and Walston’s piano are the main musical focus of “You Know Me Better” – the chorus is hypnotic while the downbeats have a seismic presence. “Bad Habits” deals with personal demons, and both Walston’s and Gordon’s guitars have a dreamy sound; whatever pedal they got to make their riffs sound like that, I suggest any guitarist get immediately. With a wail and a holler, “Blade Of Truth” roars and is an example of that driving and forceful sound.

J. Roddy Walston & The Business started a tour of the southern United States at Duling Hall in Jackson, MS, on Oct 4. Unfortunately, they won’t be rolling through New England this time around but hopefully they’ll be coming sometime soon. For now, grab a copy of Destroyers of the Soft Life. It’s a record that’ll leave a lasting impression.

Destroyers of the Soft Life on Spotify: open.spotify.com/album/3BfVRMIfODB0EHBaIPZrVO

Web site: jroddywalstonandthebusiness.com

Album of the Week: Propagandhi – Victory Lap Victory Lap by Propagandhi

A president who looks like the human equivalent of a cheesy puff has made the United States the most divided it has been in decades. On both social and political levels, Americans are torn apart while racists and fascists parade in the streets, with some even getting positions in our country’s government. It’s a strange, scary and – at times – fascinating era in history. It’s only fitting that Canadian anarcho- punks Propagandhi are putting out their seventh album, Victory Lap, on Sep 29 via Epitaph Records. There’s a musical evolution taking place with more melody added to the prog-punk heavy riffs.

Victory Lap marks a few changes to Propagandhi’s roster. Founding members Chris Hannah and Jord Samolesky still remain on guitar and drums while bass guitarist Todd Kowalski has been with the band since 1997. David Guillas plays guitar on the album, but he ended up backing out of the band’s touring duties in 2015 with Sulynn Hago taking his place. There’s definitely an upbeat vibe to contrast with lyrics that examine misery and oppression. Maybe it’s done on purpose to provide a triumphant sense of perseverance? Most likely, but the band obviously would have to confirm that themselves.

One thing that I’ve observed this year in music has been the political stances made by numerous artists, especially unlikely ones. Nearly every live show I’ve been to where a national act headlined has provided a bit of discourse about equality and acceptance of everyone regardless of their race, religion, orientation and gender. Artists who might have been deemed “safe” or “apolitical” in the past have spoken up. It’s a wave of anti-bigotry that’s inspiring and we owe it to acts like Propagandhi who have been starting the conversation for decades. Anyways, let’s take a look at my top tracks off of the Album of the Week:

“Failed Imagineer” is one of those tracks that provide the upbeat vibe mentioned earlier, and the meaning behind it supports veterans who have been hardened by war, the chorus is a bit catchy as well. Analogizing the xenophobic anti-immigration stance of the current presidential administration to animals being kept in a zoo, “Adventures In Zoochosis” is an harmonious look at cognitive dissonance; when I say harmonious, I mean that Hannah’s and Samolesky’s voices merge together at multiple instances. With a thrashing tone, “In Flagrante Delicto” is a rager that’s a testament to Propagandhi’s trademark intensity.

As part of their upcoming North American tour, Propagandhi will be playing a stacked show at The Middle East in Cambridge, MA on Oct 21 with Iron Chic and Heartsounds. While you’re there, grab a copy of Victory Lap. It’s a raucous and clever record that’ll make you think about what’s happening beyond your doorstep.

Pre-order and purchase Victory Lap: kingsroadmerch.com/propagandhi

Propagandhi web site: propagandhi.com and official YouTube channel

Album of the Week: Lina Tullgren – Won

Won by Lina Tullgren

Lina Tullgren is putting a different spin on the singer-songwriter style. The 23 year-old from southern Maine strums an electric guitar with a deep tone that forms a signature sound. Ty Ueda contributes his talents on organ and guitar to compliment Tullgren in stellar fashion while Petey Mclaughlin provides the foundation via percussion. Tullgren’s debut LP Won is coming out Sep 22 via the indie label Captured Tracks, and it’s a wonderful representation of her artistry. There are ambient hints and sonic feedback that command the ear’s attention and never go overlooked.

The theme in Won is inspired by Tullgren’s love for New England in the summertime and her experiences from being raised in the region. There are infectious melodies and pleasant notes in each song on the record. Some songs are lo-fi rockers while others lean towards dream pop. Tullgren’s lyrics are very poetic and her songs convey harmonies that stick in the mind. It’s a fantastic introduction to a musician’s career that holds a lot of promise for the future. What’s really intriguing about Tullgren’s debut is how it releases emotion without depending on intensity to do so. The album gets messages across but it’s also not trying to shove them down the listener’s throat. It makes for a different musical experience that hits upon various thoughts and feelings. How does it evoke that experience exactly? Let’s try to uncover the answer to that question via my top tracks off of the Album of the Week:

There’s a downbeat that consistently provides a rhythm on “Fitchburg State,” and Ueda’s chords on lead guitar add a rising sonic dimension that leaves a lasting impression. “Summer Sleeper” is one of those tracks that has dream pop sensibilities in the way Tullgren’s guitar sound has a bit of an echo that makes it stand apart from the other songs. A lo-fi jam is “Static Burn” that has the vibe of a bedroom recording that’s organic and genuine.

Lina will be ringing in the release of Won at the Middle East in Cambridge, MA, on Sep 26 with Tredicci Bacci, Mega Bog, and Sitcom. She then has a bunch of shows happening over the next few weeks so make sure to keep your eyes peeled on when she’ll be coming to your neighborhood music venue. While you’re waiting, grab a copy of the album when it comes out on Sep 22. It’ll give your music taste buds a dose of originality.

Pre-order Won: linatullgren.bandcamp.com/album/won

Facebook: facebook.com/tullgrenlina

Web: lookclosercloserstill.com

Album of the Week: The Dream Syndicate – How Did I Find Myself Here? How Did I Find Myself Here? by The Dream Syndicate

Back in the early ‘80s, there was a unique music scene happening in Los Angeles. It wasn’t what was happening on the Sunset Strip and it had nothing to do with hair metal. This community was coined the “Paisley Underground” and it had bands fusing ‘60s psychedelica, classic power pop and early alt-rock to form a peculiar style. Acts like The Bangles and The Three O’Clock were in the forefront of this community along with an act from the 1980s that got back together a few years ago in 2012. The Dream Syndicate (the name an homage to the side project of the 1960s experimental band known as The Theatre of Eternal Music) put out their first album in nearly 30 years with How Did I Find Myself Here? Sep 8 via Anti- Records, and it’s a return to form for a band that can bring the noise. It’s a fantastic fusion of distorted, twangy guitars with a laid-back West Coast vibe.

This incarnation of the band has lead singer and guitarist Steve Wynn joined with longtime drummer Dennis Duck, bass guitarist Mark Walton and lead guitarist Jason Victor. Both Wynn and Victor absolutely shred on guitar while Duck and Walton create rhythms that provide the base for each song. There’s an abundance of energy and charisma from start to finish. There’s no rust either. The Dream Syndicate reintroduce themselves with genuine authority after such a long time away.

There’s always a sense of wonder when it comes to the eras of different music scenes. The ‘60s Haight- Ashbury community in San Francisco was the epicenter of the “Summer of Love” in 1967. Alternative rock found its promised land when the music of Seattle blew up in the early ‘90s. More recently, one could look at Brooklyn’s indie rock scene in the early 2000s, or what’s happening in places like Austin and Chicago in this decade. Where does the scene that The Dream Syndicate came from stand in music history? It’s all up to individual judgment. Feel free to judge and deliberate while checking out my top tracks off of the Album of the Week:

Walton starts “80 West” off with a low and raw bass line, and then a wall of riffs from Wynn and Victor take it all over; Wynn also gets intense when the chorus kicks in. “The Circle” has a progressive structure that lets Wynn and Victor’s guitar skills shine; it’s a driving song that’s up-front and unapologetic. An excellent example of the album’s psychedelic vibe is “Out of My Head” that’s accented by a fuzzed-out tone.

Wynn and the gang are going to be heading to Europe starting Oct 14 at the Rockefeller for an expedition across the Atlantic that’ll last a few weeks. New England music fans can look forward to checking them out at the Once Ballroom in Somerville, MA on Dec 1. Whether you’re seeing them in the United States or in a different country, grab a copy of the new album from The Dream Syndicate. It’ll mesmerize you into plugging in your headphones and it’ll hypnotize you into listening to it over and over again.

Stream How Did I Find Myself Here? by The Dream Syndicate on Spotify: open.spotify.com/album/49fLD6uCKN2ZUP5iyY05Mu

The Dream Syndicate web site: thedreamsyndicate.com

Album of the Week: Oh Sees – Orc

Orc by Oh Sees

Prolific artists often go underappreciated in the music industry. It’s strange to see bands that only have a handful of albums be celebrated more than acts who have released over 20 records. The latter can be said about San Francisco garage phenoms Oh Sees (formerly known as Thee Oh Sees) and their latest album Orc released Aug 25 by frontman ’s label, Castle Face Records. Orc is an excellent example of an already inventive band pushing artistic boundaries. Many elements are added to create a fresh sound that excites the senses.

Dwyer, who is a Providence native, delivers varied vocal ranges as each track goes along. He’ll at some points get velvety and soft while at other times get guttural and abrasive. He also plays synth on a few tracks that exude a ‘70s prog rock vibe. There’s also Joe Cueto adding his talents on violin. The dual drumming of Dan Rincon and Ryan Moutinho gives the entire album a resounding thud while bass guitarist Tim Hellman is the unsung glue keeping it all together.

Oh Sees are another example of the weird connection that Providence has to music all over the place. Do some research on a band and there will be at most a couple degrees of separation away from The Creative Capital. It’s fairly crazy for a small city like ours to have such a big impact on music, but it’s also pretty damn cool. It’s something that Providence natives should be very proud of. Anyway, enough of the humble brags and here are my top tracks off of the Album of the Week:

“Nite Expo” has got that vintage progressive space rock style happening with a quirky tone; then, when Dwyer’s guitar unleashes, all hell breaks loose. Capturing a righteous groove is “Jettison,” a prime example of Hellman’s presence on bass; there are downbeats galore and it holds down the classic loud- quiet-loud structure in fantastic fashion. Dwyer gets guttural on “Animated Violence,” and it’s heavy and emphatic. Oh Sees will be playing the Bowery Ballroom in Manhattan on Sep 11 with Providence drum-and-bass duo Olneyville Sound System. New Englanders will be able to rage with Dwyer and company at The Sinclair in Cambridge, MA a few days later on Sep 13, which is already sold out. Both shows are prime opportunities to check out a memorable live experience. Don’t forget to grab a copy of Orc from the merch table if you end up going: It’s a wild record that has a whole lot to offer the ears.

Buy Orc by Oh Sees: castlefacerecords.com/products/oh-sees-orc

Oh Sees web site: theeohsees.com