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Program – “Memory”

Melbourne’s Program hit back quickly with a second single from their upcoming Anti-Fade debut Show Me. Slashing their strums with staccato stabs of guitar, the band’s still running down the edges of post-punk and punk and dousing their driving rhythms in a kind of detached delivery that suits them well. “Memory” coils slightly before unfurling into a cozy chorus, but the band’s quick not to linger in the sun too long, diving right back into those driving chords and gnarled twang. The way this one’s shaping up, if you don’t already have Program on your radar, this ought to seal it. The video is a simple setup, feeling very ‘public access TV’ but they don’t need any flash to make this one stick. The album’s out October 18th.

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Dire Wolves – “I Control The Weather”

If, for some reason I couldn’t possibly fathom, you haven’t already slid a copy of Dire Wolves essential LP from earlier this year onto your shelf, perhaps this disorienting new video for the band’s standout “I Control The Weather” might sway ya. Their verdant collection of cosmic psychedelia is one of the year’s best and the otherworldly croon of Gerogia Carbone and the guitar drip of Jeffery Alexander might just be more convincing than I could ever hope to be. Check the Sheila Bosco directed video above and don’t hesitate to nab that LP from the Beyond folks.

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Gong Gong Gong – “Ride A Horse”

An absolute pounder from Chinese rhythm merchants Gong Gong Gong up today. The band’s debut for Wharf Cat is on the way next week and “Ride Your Horse” is a prime argument as to why it should be on your radar. The band’s stripped-down sound – just guitar and bass – is as primal as ever here, pulsing with menace and urgency. The song is split into sections take startling turns, based on Chinese classical structures, but feeling far from buttoned up or traditional. The pair are always riding the sharpened edge of groove, using it to slice through the dense morning air. Despite the breathless beat of the song, the accompanying video, co-directed by bassist Joshua Frank, is calm – featuring swordplay, but purely in an exercise setting alongside other forms of meditative sport. The contrast adds to the tension of the throbbing beat and the ozone charged air that wafts around the band. Check the clip above.



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Allah Las – “Prazer Em Te Chnhecer”

Been a good week for hazed psychedelia and ever new trickle out of this Allah Las album marks it as one of their best. The lackadaisical, sunny swing of “Prazer Em Te Chnhecer” slings a set of Portuguese vocals onto a sun waxed surf slider that’s baked in the afternoon sun. There’s not a worry in the bones of the song, instead marinating the days last rays in Mezcal and contented sighs. The song’s title translates to “Nice To Meet You” and that cheerful veneer and welcoming spirit buoys the track throughout its three-minute ramble. I’ve said it before, but it bears repeating. Keep your ears out for the Las new one on October 11th.

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Saariselka – “Into The Wind”

Temp Res debuts a new collaboration between guitarist Chuck Johnson and composer Marielle Jakobsons and it’s the sparse, mossy valley western you’ve been looking for this whole year. Jakobsons had an excellent solo release on Thrill Jockey back in 2016 that was boiled in cosmic wonder and ethereal synth, and prior to that she’d been the primary force behind Date Palms, long a favorite around here with their own high plains ache. Johnson’s works on guitar have knotted outposts from Three Lobed, Scissor Tail, Strange Attractors, and Trouble in Mind. Here the pair leverage their respective strengths, washing Jakobsons’ synths in amber strokes of slide guitar, yawning the track out with a mournful grace. Marielle’s vocals complete the track, haunting “Into the Wind” with an almost overwhelming sadness, lost in their own sense of sorrow and rebirth. The album is out October 18th on Temporary Residence, LTD. Anticipation is high.



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Triptides – “See Her Light”

A shot of sunshine from L.A. psych-pop group Triptides lands via a new single on Greenway Records. The psych vets have been carving out their fuzz-pop niche for years and their songs always blow in on a breeze of gooey nostalgia and easy vibes. “See Her Light” kicks in initially as a hard driver until the midway point when it kicks into a baroque bridge and then just lays back into the surf to let the sun wash all over us. The accompanying video is stacked with beachside home video that leans right into the song’s Kodachrome kitsch. Not a bad way to enjoy the door to autumn as the weekend ekes open.



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Omni – “Skeleton Key”

Haven’t discussed the new OMNI here yet, but its good to see the Atlanta post-punks make good with a jump to Sub Pop for their latest, Networker. “Skeleton Key” is tightly wound, maybe a bit more sanded than the band sounded the last I left ‘em, but they’re still bending the strings through the wringer. They’re as tight as ever, though, stop-starting their way through the song like studio rats with a penchant for pop preening. The Robert Quine shadow looms large here – a foot in crunched punk and a foot in the sweater set. Oh, but don’t let the smooth taste fool ya, OMNI are still from the streets, and sometimes they find themselves waking up there. The video is simple and saturated and fits the band’s minimal design modes fairly well. Check the clip and line on up for the new platter when it lands in November.



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Robert Sotelo – “Mister”

‘Nother good one from Upset the Rhythm runs down the line. Robert Sotelo follows up his 2017 skewed-pop album Cusp with the equally beguiling Infinite Sprawling. The second single from the set, “Mister,” is a fuzz-beset pop-skimmer, slinging twang and jangle in equal helpings. Sotelo plays it straight, but the song’s got a bit of the curdled crowd in its DNA, picking up crumbs from the Deep Freeze Mice and The Soft Boys on the way through the wires. He’s paired the track up with a simple, yet unsettling video that’s cryptic as it is crazy.

Sotelo gives a bit of background behind the meaning of the clip, offering ”The video was made by Iain McCall and translates the lyrics for the song into Bliss Symbols. Iain himself stars in the vid. The song features Joan Sweeney from Current Affairs on vocals also and is about how constant online organisation around your creativity starts to take up more time than the creativity itself (well it kind of is haha)” His sophomore LP is out September 14th, and it’s a jittery shaker well worth your time.



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EXEK – “Unetiquetted”

Aussie noisemakers EXEK are back with a new LP and a move from Superior Viaduct subsidiery W.25th Records to French post-punk outpost SDZ in Europe, Digital Regress in the US and Anti-Fade at home in Australia. The slinking “Unetiquetted” finds the band haunting the halls of a greasier vision of post-punk — dark, damaged, but still riding a groove that’s hard to ignore. The track is shrouded in a detached debauchery, exhaling cold confidence and oozing bile. The accompanying video in turn looks like staging a freaky dance party in the post-credits of ’90 first person players like DOOM. It’s a hypnotic pairing with the band’s strange magic. The new LP lands September 6th.

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Bonnacons of Doom – “Esus”

Liverpool heavies Bonnacons of Doom return to the fold with a new EP that reworks previuos tracks from their debut, with edits by JD Twitch, Liars and, Capac. Also included is a new track, “Esus,” that proves once again why the band is such a stunner in Rocket’s roster. Making good on their name, the track gathers clouds of doom under a megaton blast of guitar and the soaring incantations of Kate Smith. Her vocals push the track towards oblivion as the track growls behind her. The band’s debut was a welcome surprise last year and they’ve apparently been working up some devastating live shows, more of which are on the way. The band embarks on a short UK tour starting on the 30th of August. The EP is out September 13th digital and on limited cassette.



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