Fit for a King – Disaesthetic

Music Wire #8

Summer and hopefully its heat wave are coming to a close. We’re approaching the end of the year at light speed with only a few weeks until Christmas. The music industry at all levels traditionally packs the final fiscal quarter with high profile releases in time for the holidays; however, the streaming era modernized the album cycle. Artists and labels possess the autonomy release projects on their terms.

Last century Drake’s Scorpion would have come out closer to Christmas or after the new year. Today he’s the king of summer. There’s an abundance of newly released and imminent records ready across most platforms.

Nearing My God by Foxing

Release: August 10, 2018

Highly regarded in the OG emo community, Foxing’s Nearing My God shows their evolution as musicians beyond a subculture. The arrangements exercise more synths with doubled high octave vocals, much like Mew’s And the Glass Handed Kites, especially the album titled track.

“Slapstick” gazes into the night stars too with tender guitar tones followed by detuned twangy rhythms. There’s a reminder of Brand New’s most recent work Science Fiction on “Grand Paradise” and “Gameshark” but again with a Jonas Bjerre or Jónsi (Sigur Rós) type singer.

When we look back in December this one will make many indie publication’s end of the year lists. More than any of their previous albums Near My God will take their live show to another level as well. See them if they come through.

USGS by USGS

Release: August 14, 2018

Since Roomrunner hung it up I’ve followed along with whatever projects each member pursued next. Earlier this year Bret Lanahan’s band Bested put out their first album. Denny Bowen has since played with Future Islands, Retired, and recently uploaded this electro album.

In his own words it “sounds like a car alarm with a Baltimore club beat.” I’m not as familiar with this type of music however there’s still recognizable troupes from a Bowen project. Many of the beats and samples sound like a track from an MS DOS game. Bowen litters each song with noisy bits and high pitch screeches.

I’m brought back to scrolling through some annoying level while “BaseMap” bumping along. The latter half of “NAD 1983” will get you boogieing if you’re brave enough with yourself.

Belmont by Belmont

Release: August 17, 2018

Young, brash, and stacked with talented musicians it’s surprising Belmont only formed 4 years ago. It takes most bands years of touring and trials in the studio to understand how to make a coherent record. Yet they mostly articulated their debut well, excluding one odd Post-Malonish interlude

Personally, songs should strike their purpose quickly and pounce the money riff/melody often. These songs flow smoothly together, don’t overstay their welcome, and offer heaps of diverse song structures in brief bursts of 3 minutes or less. Belmont hit most of the marks that would earn them high scores on some imaginary report card.

“Hollowed Out” engages classically infectious pop-punk chorus with sprinkles of busy guitar fretting. Even deep cuts like “Convalescence” rock catchy licks and “BMC” slam down creative breakdowns. Steller debut from a band just finding its stride.

Be the Cowboy by Mitski

Release: August 17, 2018

Mitski continues to produce gloriously anomalous records for sad and lonely people everywhere. Be the Cowboy is her most accessible album yet, sure to invite new fans onto the growing bandwagon. This is best enjoyed start to finish. Yes there are singles to pick and choose; however, I encourage you just to press play.

There’s a such a cohesion between each track sounding like one movement rather than a single song. Mitski builds upon each song strategically to climax into a moment like on “Nobody” with its beautiful disco funk section and abruptly retires into a dreary bedroom recording.

Be the Cowboy arrives at these peaks in such a fashion the record has already sadly ended. It’s one of the best records you’ll hear the rest of the year.

Boy from My Dream by Field Medic

Release: August 21, 2018

Fiercely independent and uncompromising, Kevin Sullivan calls his music freak folk and post-country (we’re inventing sub-genres everyday). Sullivan started out in 2009 recording on his Radioshack CTR-111 and amassed a massive archive over last decade.

Run For Cover Records signed him last years and released his new EP this week. Despite being recorded in a studio “Retail Therapy” retains its airy cassette tape noise while melting Sullivan’s malaise over you.

The title track caresses with warmth until the lyrics turn gloomy. Like most dreams this EP starts off adventurous and ends abruptly leaving you wanting more. Follow Sullivan on most social media platforms.

We Can Pretend Like by Ogikubo Station

Release: October 24, 2018

Asian Man Records owner Mike Park and Mixtapes’ Laura Weaver teamed up a few years ago to form Ogikubo Station. Comparably very similar to The Evens in it’s sound and ethics. “We have no hype machine, no publicist, no radio, no booking agent. This is 100% DIY and that’s the way it should be” say Park and Weaver.

We Can Pretend Like shines gingerly like a morning sunrise. It’s a nice break from the serious albums I’m usually drawn to. My favorite track “Rest Before We Go to War” has these tender sing-along moments that remind me of this Headroom song. I can imagine repeating back the lyrics back if I see them live.

There are echos of R.E.M. on “Weak Souls Walk Around Here” through its low end tone. It’s one of the few tracks Park duels a bit with Weaver. The pair work so well together in bringing their joy through the album. Such a mellow listening experience sure to brighten up your day.

Fixed Ideals by Muncie Girls

Release: August 31, 2018

There’s a new surge in female lead punk bands coming to the forefront in recent years. In the states, Downtown Boys, Sheer Mag, and Kim and The Created represent us well. It’s not just their added diversity that’s exciting but also their ideas about good song writing and how to conceive them.

All of this leads up to the Muncie Girls from across the pond who bring serious heat on their new record Fixed Ideals. “Locked Up” is as perfect a punk song comes with its shredding intro, push up bra jabs, and a contagious chorus. I wish they’d play that intro some more, damn that’s a hook!

“Picture of Health” follows a robust dose of catchy verses leading into a feverish choruses, which I aggressive yell in my car. Look out for Fixed Ideals out on the usual services via Specialist Subject Records. Check out label mates Fresh who post a solid debut last year alongside Caves.

Dark Skies by Fit for a King

Release: September 14, 2018

I’ve been eagerly anticipating Fit for a King’s follow-up to Deathgrip since “Tower of Pain” dropped earlier this year. They’ve always had a pinch of accessibility with their cleans and on Dark Skies I’m anticipating an interstellar jump from mid-sized metalcore band to seizing the world’s biggest stages.

Watch the above video yourself. Those are huge riffs, hinged with an epic solo, book ended by their bread and butter breakdown. If “The Price of Agony” isn’t mainstream friendly metal then it’s just hopeless man. It can’t just be the Keystone Light of metal Five Finger Kitty Punch on the radio.

Dark Skies will demonstrate the group’s progression as song writers too. “Every record we focused so hard on parts but this time we’re focusing on the whole of the song” says vocalist Ryan Kirby. “When Everything Means Nothing” proves their new prowess in utilizing a super heavy “part” repeatedly in a calculated coordination with the song.

Million Dollars to Kill Me by Joyce Manor

Release: September 21, 2018

It’s been an interesting ride with Joyce Manor over the last seven years. They started like most punk bands in LA County playing DIY house shows methodically climbing to big clubs and festivals like Coachella. Since signing with Epitaph Records four years ago their music began reflecting this trajectory too.

Like many before them, see Japandroids, punks don’t die they just kind of… Go to bed at a more reasonable time. Joyce similarly to the aforementioned band slowly morphed into a rock band. Less distorting feedback, fast chords, and yelping. You’re probably waiting for the “they suck now” take. Yeah no, in my So Cal voice.

Instead Joyce developed more bombastically anthemic songs with gigantic riffs and rousing vocals choruses. “Think I’m Still in Love with You” utilizes all of these ingredients: easy call and response lyrics, a memorable guitar motif, done in nimbly timely fashion. I expect more of the same with the rest of Million Dollars to Kill Me.

Photo Credit: Bao Ngo and Joey Tobin

Halfway 2018

I’m sad to say since starting my new job I don’t think about music as much as last year. At least not in the same way. I had more time on my hands before. Since transitioning to my new employer I spend most of my time working and the remaining hours planning how to use the rest of my time effectively.

Listing a top 10 right now would be difficult. I could rustle up a great list of singles. Beyonce and Jay Z’s “APESHIT” will remind me of this summer forever, reveling in my life accomplishments. Drake’s Scorpion had several memorable singles, most of which came out before its release. Nas and Kanye made a banger out of “Cop Shot The Kid” despite its timely subject.

Code Orange’s singles have feed off Forever’s continued success. Incredibly clever to give fans little bites of new music while they’re having their moment. They’ll face tall expectations on their follow-up.

Hundredth did the same thing with Ultrarare, a dark new wave remix album. I could get away with playing tracks off of it at Blonde Bar (SD reference). Oso Oso’s new single fits nicely on my summer playlist. I’d kind of forgotten about them, but a good single can serve as a great reminder.

Most of the albums I held expectations for entering this year I never got to or were just disappointing. Dance Gavin Dance’s Artificial Selection didn’t grab me like Mothership. I realize they have a style, constant throughout their discography, but this one didn’t stand part enough. Perhaps with time it’ll catch my fancy.

Parkway Drive’s Reverence alienates me further from the band. They still look incredibly energetic live and the audience still responds emphatically, but I feel nothing for their latest project. I could say the same for The Plot in You’s DISPOSE and Kurt Travis’s new band Royal Coda.

Still haven’t heard new albums from oOoOO, Turnstile, or Turbonegro, yet. Frankly I haven’t been in the mood to listen to those records.

Electrum Photography

I’m more excited for what’s to come this fall. Uniform’s third LP The Long Walk drops August 17th. “The Walk” smashes atoms like nuclear fission. Wake in Fright made my top ten last year and I expect similar quality this year. There’s more material for them to attack with everything that’s gone on in America. Gun violence is soooo last year.

In September, Fit for a King and Revocation embark on headlining tours to support their new albums.

Two years ago Deathgrip nearly topped my annual list. “The Price of Agony” and “Tower of Pain” singles offer both blackening brutality and uncompromising radio metal. These are the best elements FFAK offer: savage pit inspiring breakdowns and moments of festival level callbacks. I’m looking forward to working out when Dark Skies comes out September 14th.

In back to back years Revocation had two of the best albums of those years. David Davidson’s reputation as a generational guitarist keeps building with each release. For me, he’s emerging into James Hetfield/Dimebag level kick ass riffs.

I didn’t enjoy their last outing as much but my intuition says The Outer Ones contends for a spot on my list this year, which drops on September 27th.

Perhaps the release I’m anticipating most is Fiends’ debut album Me Time. I reached out to the band but there’s no set date yet. They’re probably waiting for their unannounced label. Check out their singles “Keep Me in The Dark” and “700 Club” on YouTube.

Metalsucks perfectly described Fiends as a Lamb of God and Tool hybrid. Bassist/singer James Hyde sings a bit like Maynard James Keenan and screamer Garrett Moore reminisces of Randy Blythe; however, in bridges and outros the band stylistically shifts to Rise Records post-hardcore. Those singles have a great mix of “pop” heavy music and universally accepted metal.

As I acclimate to my new job my mood should shift back into exploring new albums. I look forward to the rest of this year and hope you’ll enjoy some of these releases.

Tower of Pain

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Fit For a King dropped their new single “Tower of Pain” last night. Nothing officially announced yet however a new album seems imminent. They recently started playing it in their live set.

On the surface, its trademark heavy. This track channels more deathcore than usual for this band. There’s a tinge of more recent Whitechapel in tone. This helps adding more weigh to an already cumbersome sound. Interestingly there’s really only one breakdown and it’s not a memorable one, i.e. “Warpath” or “Disease” but that’s not a demerit.

“Tower of Pain” intentionally aims to wreak havoc at its conclusion, ending very much like “Deathgrip” but with choir backing. It’s equally satisfying as a contemporary breakdown letting the open notes hang and the high-hat keep the right pace in the empty spaces.

It’s hard to predict what kind of clue this gives for their fifth studio album. This track is nice as an appetizer, but not as the main course. In 2016 they took their place as my second favorite album of the year. Expectations are high.