‘Roll the Bones’ by Shakey Graves (June 4)
“Struggle all you like dear – Someday everybody dies alone”. I’m not quite sure if I wrote that down absolutely word for word, but the general sentiment is, what we call, a universal truth; a universal truth that most choose to avoid. It’s this brash sense of responsibility that puts the extra baggage on the Shakey Graves debut and gives it depth worth swimming in. Never losing the battle to the expected, ‘Roll the Bones’ controls itself, controls the album, controls, possibly, the band.
‘Rich Hands (Pumpkin Lover)’ by Porches (July 1, 2011)
I don’t think I’ve ever played a song on repeat more than “Rich Hands (pumpkin lover)” by PORCHES. Lead singer, Aaron Maine, is a “thick-headed boy” who has seemingly simple wishes that tend to hit a soft spot in this helpless listener. “I don’t want to hold your hand/ I just want my best friend.” Human quality is something that is sometimes overlooked with the production of music these days. But with the absence of a click track, Maine takes his time performing the song and hits the nail on the head. I would even possibly call it perfect, but nothing’s quite perfect in this world.
‘You Know What’ by Cloud (September 20, 2011)
‘You Know What’ is a steady rhythmic jam that opens itself up in an AnCo fashion, peeling away, layer by layer, until the most raw forms are exposed. Somehow similar to Lord Huron, Cloud leaves their most recent album off on this note.
‘Psychic Secret’ by Seabiscuit (September 12, 2011)
‘Psychich Secret’ is the exact reason why Sisters by Seabiscuit deserves the Best New Music title. Combining the amazing production talents with beautifully affected vocals, everything here is chilling, beautifully chilling.
‘Shelter Me’ by Peoples (October 7, 2011) *
Released off the first volume of Mama Coco’s Funky Kitchen’s compilation series, ‘Shelter Me’ was my introduction to Peoples, a memorable introduction, a pleasant introduction. It isn’t often that something comes out of Mama Coco’s we don’t like.
‘Rabbit Smile (I Need Love)’ by Honeydagger (October 1, 2011) *
Now, now, I know for all you hardcore Dingus readers, posting a Sunday’s Best without having previously reviewed the work, breaks the pattern, but I can’t help giving two parentheses to the new Honeydagger track ‘Rabbit Smile (I Need Love). Crossing the boundaries of Moby-esque vocal dedication and more minimal European dance tracks, the producers comes out on top with a track that litteraly makes me sing along with the Boom-Chicka Boom-Chicka Ba na na na na na. This is diy production at large.
‘Hamilton’ by GPSYMTH (September 13, 2011) *
‘Hamilton’, one of the two tracks off the recent GPSYMTH release is, as we said earlier, and overdose of dream pop. Using conflicting melodies and forcing resolution, there is an intelligent melodic structure that trumps most acts in the genre.
- Big Boss
‘See Through’ by Dead Soft (September 22, 2011) *
Aesthetically proclaiming itself an anthem while structural a slow dance sort of song, ‘See Through’ is the highlight, in my opinion of the recently released Dead Soft ep; simultaneously epic and warm.
‘Dolls’ by Kinski Elevator (April 21, 2011)
The second track off Inner Crab Dogs uses (sort of) spoken word in contrast with Stereolab type monotony to create an circus feeling single. Resolving itself completely, it’s the back and forth that gives the track its dynamics.