3hive

Golden Void are a 4-piece band out of San Francisco. Their style is a throwback to the heavier rock bands of the 70′s, and they bring everything from that genre to the table, soaring vocals, heavy rhythms, huge riffs, plenty of hooks, and lots of organ. They are set to release their debut self-titled album with Thrill Jockey in November. Check out “The Curve” below, it’s four minutes and forty-six seconds of super heavy riffs, psychedelic swirled organs, and racing guitar solos that slows down for a bit in the middle, to let you catch your breath, before they pummel you into the ground for a solid minute and a half and leave you for dead. Enjoy.

Golden Void – The Curve from S/T (2012)

Golden Void

Thrill Jockey

Nashville native Luke Roberts released his sophomore album, The Iron Gates At Throop And Newport, with Thrill Jockey a little over a month ago. It’s a warm, stripped-down, folk record with most of the songs featuring only Roberts and his guitar. However, on “His Song” provided below, Roberts employs the use of drums, and some electric guitar which adds even more warm goodness. Enjoy.

Luke Roberts – His Song from The Iron Gates At Throop And Newport (2012)

Thrill Jockey

Pontiak is a trio out of Virginia. They are set to release their newest album Echo Ono with Thrill Jockey on February 21st. Their style is a blend of several different genres. No matter how you try to clasify them, psych, stoner rock, prog rock, they are simply a great rock band.

“Lions of Least”, the song provided below for your listening/downloading pleasure, has everything that makes a great rock ‘n’ roll song. Loud guitar, loud vocals, pounding drums, and a great driving bass line. This song is just a taste of  how good this entire album is, I highly recommend going out and picking it up.

Pontiak – Lions of Least from Echo Ono (2012)

Thrill Jockey

Pontiak

After their sophomore album, Tones of Town, the band Field Music called it quits, in a sense, momentarily, but not really. They didn’t break up, but instead kept working, individually, trying to be as productive and creative as they always wanted to be. I assume they have plans to make music as Field Music again. In the meantime, School of Language is the first product to surface from the hiatus. The first single, “Rockist Part 1″ (there are four parts of the song on the album) finds David Brewis taking his School of Language moniker seriously as a barrage of looped and layered vowel sounds stream through the song, but thankfully not the album, in its entirety. By part 3 of “Rockist” the looped vocals take a backseat and sound like a more traditional instrument. Working by himself, the similarities between Brewis and Andy Partridge seem more prominent. If “Rockist” tickles your proverbial fancy, take a gander at the album stream. Brewis tours the States beginning in March, fleshing out his one man band with Doug McCombs (Tortoise) and Ryan Rapsys (Euphone).

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So, the photo here might not do Angela Desveaux justice. Then again, if you see country girl instead of modern Lizzie Borden, maybe this does work. Montreal-based Desveaux’s layered country-pop calls to mind fellow countrywoman Kathleen Edwards, or fellow North American Lucinda Williams. (Yeah! Go continent!) (If you can’t tell, I need a holiday break right about NOW.) Angela’s debut album Wandering Eyes is likewise avaliable NOW. Peace for the season.

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Brokeback — a.k.a. Douglas McCombs from Tortoise and Eleventh Day Dream, and a few friends — offers dreamy release in this lovely track. Let’s see, how many soft and cushy adjectives can be piled up on “Name’s Winston…”? Ethereal, soothing, idyllic, pensive. There’s four, at least.

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Many artists have offered up the requisite anti-Bush song this summer; Trans Am opted for an entire album’s worth with Liberation. Not every track holds its own: “Uninvited Guest” is unoriginal B-side material, based on the well-circulated “Bushwhacked” MP3s. But the other two cuts featured here prove that Trans Am can make their point quite effectively by speaking softly and carrying a big bassline.

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Mouse on Mars have mastered many genres by showing allegiance to none; rather, they rely on sound songwriting to make even their most adventurous work feel just right. This cut off their eighth LP, Radical Connector, is a case in point: a breathy vocal pop track sliced ‘n’ diced in a vocoder-stutter-funk stylee without once losing sight its memorable tune.

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Tortoise’s latest track cuts to the chase with a tight, driving dose of spacial jazz. While you still won’t hear them on commercial alternative radio anytime soon, it’s as close to a “single” as you’ll ever get from these cats.

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