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Louder, sweatier, and sexier than ever – The Charms are back with a new
EP which combines their 60’s garage-pop roots with 80’s guitar-rock
bravado. The music is thick and nasty; the vocals are flirtatious and
arousing; the songwriting is infectious. |
Mixing music, style,
and attitude with what The Boston Globe calls “densely ringing electric
guitars, grand melodic gestures, and a panoramic sweep of space and
sound.” The Good North have taken their cues from old-school Britpop,
new-school indie-rock, and a dose of hardcore bravado.
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The best way to describe their sound is
that if a solid object it'd be a stealth bomber - heavy but fast and
dark and with way of sneaking up on you and dropping some sonic boom on
your unsuspecting brain. |
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Drawing
inspiration from 1960s vinyl, Mass. Hysteria have fused soul, British
invasion, and (yes, even) country FM radio staples with the raw,
danceable Jamaican import shellacs from the early days of Reggae.
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Setting themselves
apart from the recent crop of next-next-next-Strokes understudies,
Baby Strange seizes upon the sounds
of Motown and 1960's British arena-rock, creating a niche enigmatically
described by Earlash as, "Terse, trashy, ornate and refined." |
The Tint’s new EP
takes the catchy songwriting and punk-fuelled delivery which has
endeared them to critics and fans – and steers it to dark, dangerous
places. |
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The High Ceilings combine
down-and-dirty rock grooves, psychedelic tone, and enormous songwriting
architecture. The resulting mix is spacious, spacey, and impossible to
contain. |
Boston’s amphetamine-fuelled patron saints of hyperactive mod rock are
back with a new album which breaks into new sonic territory while
satisfying your need for unmistakeable Pills fifth-gear melody.
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On By June,
Heinegg takes on a sonic palette that evokes Nick Drake and
Joshua Tree-era U2: deceptively ambient with
subtle-but-unforgettable hooks. |
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