No Age – Everything In Between [2010]
Recorded in Los Angeles from the end of 2009 and into 2010, Everything in Between is the new album from No Age, the duo of Dean Spunt and Randy Randall. They emerged from former band Wives in 2005, to become No Age, worldwide glowing talismans for the DIY art-punk scene in LA […] And Everything in Between is a bold step in their creative evolution. It is a culmination of reflecting upon life’s ruptures and triumphs; the process of moving through these moments banged and bruised, yet better off for the wear and tear. They’ve pushed themselves in challenging and different directions, deconstructing their weird-out pop songs while still maintaining their original aesthetic and intent. Everything in Between sees No Age expand on the emotional force at the core of their catchy song-writing through tone, structure, noise, and samples. And, it’s their best record yet.
Swans – My Father Will Guide Me Up a Rope to the Sky [2010]
Michael Gira has “re-activated” Swans for their first U.S. shows in more than a decade. […] the band’s releasing My Father Will Guide Me Up A Rope To The Sky, the first album of new material since 1997’s Soundtracks For The Blind. It was recorded by Jason LeFarge at Seizure’s Palace in Brooklyn and […] mixed by Gira with Bryce Goggin at Trout Recordings. -stereogum
(you should know by now where to look for the goods)
Liars – Sisterworld [2010]
Liars is a three-piece band formed in 2000 consisting of Australian-born Angus Andrew (vocals/guitar), Aaron Hemphill (percussion, guitar, synth), and Julian Gross (drums). Although initially lumped into the New York dance-punk scene of the early 21st century, they have come to be categorized by their dramatic stylistic shifts between albums, while retaining a consistent interest in rhythm and sound texture. Liars are one of the many contemporary bands to draw from the late 1970’s British post-punk movement. Their first album, 2002’s They Threw Us All in a Trench and Stuck a Monument on Top, bore some resemblance to the work of Delta 5 and Gang of Four, accenting their angular, acerbic punk with modern synths and drum machines. Liar’s second album, 2004’s They Were Wrong, So We Drowned, eschewed their debut’s trendy post-punk aesthetic in favor of dissonant atmospherics and electronic soundscapes more akin to the sound of This Heat. That album stratified fans and critics alike, especially chafing with those who took to They Threw Us All for the clear dance/punk leanings of a number of that album’s tracks (e.g. “We Live Northeast of Compton”). 2006 saw the release of Drum’s Not Dead., which continued the direction they had taken with They Were Wrong but was met with a much more favorable critical reaction. 2007’s self-tited LP, Liars, found the band once again shifting styles, this time towards 60’s style garage rock and 70’s proto-punk, all through the dark, effects-driven prism that Liars began channeling on They Were Wrong. While more straight-forward than their previous 2 LPs, the record contained the same focus on rhythm and experimentation with the deconstruction of traditional sounds. Similar to Drum’s Not Dead, Liars was critically praised and found its way on to Best of 2007 lists.
Screaming Females – Power Move [2009]
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///deek_media 