After the release of the doomgazy single “Julia” and the subdued [untitled] e.p., speculation was high as to what the forthcoming [Untitled] full-length would bring.
But the similarity of covers between the releases seemed to promise an explosion.
Across social media, that theory seemed to be confirmed. When drummer Rickie Mazzotta was asked if the full-length would be as quiet as the e.p., he said, “that’s porch-sittin’ music. The album is cliff-diving music.”
Few artists have as diverse and unpredictable a sonic palette as mewithoutYou. From the scorched-earth post-hardcore of [A–>B] Life to the ambient punk of Catch For Us the Foxes to the rambling quirkfolk of it’s all crazy! it’s all false! it’s all a dream! it’s alright, few bands have created more different-sounding music that still sounds distinctly like themselves.
And nowhere is that wide-ranging individuality as completely displayed as the twin untitled releases that came out this year.
In the years following Ten Stories, a few things happened to mewithoutYou.
They added Brandon Beaver, who was a session player on Ten Stories as a full-time member. Then, they went on a special tour to celebrate Catch For Us the Foxes. Finally, they signed to Run For Cover Records, a haven of post-hardcore and punk bands.
You could look at that set of datum and conclude that they were returning to their punkier roots. And you’d be right.
After the rambling folkiness of it’s all crazy! many mewithoutYou fans weren’t sure what to expect. Several friends washed their hands of the band, firmly deciding that their best days were behind them.
And even though I had liked it’s all crazy! I must admit that a part of me worried that it might be more than a one-off. When the first singles were released from Ten Stories, the fanbase was apprehensive. Continue reading
February of 2006, I saw mewithoutYou in the Kokomo Convention Center. They had wrapped up a tour a couple months before, had done some writing, and were driving to California to record their new record.
That night, they played some of songs from that record for the first time. And immediately, it was obvious that things would be different.
Continue reading
As much as I’ve looked forward to this section of my collection, I’m sitting here with “January 1979” blaring at a complete loss of what to say about this record.
Do I talk about the broad scope of Aaron’s lyrics as he dissects theology, philosophy, and his own mental state in a yelping shout? Do I talk about how the rest of the band broke the doors off of punk music to create some of the greatest soundscapes put to tape? Do I talk about how over the last fourteen years, no record has meant more to me?
Because this record is all that and more. And if I didn’t have work to do today, I could write about this record all day.
A few months ago, I realized that I had somehow never intentionally listened to indie rock legends Dinosaur Jr.
I was familiar with their legacy, of course. I had heard the name thrown around by most of my favorite bands as an influence. I knew J. Mascis’ reputation as a guitar icon. But I never spent any time with them myself.
That revelation was the impetus to a deep dive into their discography, and a purchase of their classic second album, You’re Living All Over Me. And now, the Dinosaur Jr. section of my record collection grows with the addition of their third, Bug. Continue reading
I’m not sure if there are many bands in the indiesphere with a more surprising career trajectory than Milwaukee’s Collections of Colonies of Bees.
Having started out as a bluegrass/electronica side-project (that’s not a typo) of math rock heroes Pele, they became bastions of intricately composed post rock before eventually forming the experimental pop supergroup Volcano Choir with Bon Iver’s Justin Vernon.
Hipster music snob that I am, the depths of my musical knowledge is riddled with blind spots. For example: until last week, I realized that I had never knowingly listened to Dinosaur Jr. Continue reading
If nothing else, no one can accuse Deerhunter of making the same album twice. Their discography has shifted between hypnotic shoegaze to abrasive garage rock to doo-wop informed dream pop. But their discography is even further augmented by Atlas Sound and Lotus Plaza, the twin solo projects of co-lead singers Bradford Cox and Locket Pundt.