The Brooklyn boys from Woods must have spent their time in someone’s dense rooftop garden, because At Echo Lake offers up an honest-to-goodness–if not pleasantly surprising–backwoods, homespun sound. Isolating themselves from the bustling New York cityscape the album was conceived in, the tracks are thick with a haze drifting over from the Portland folk scene and mellow, surfer coastlines.
The Reverend Peyton’s Big Damn Band is one of those acts that’s great when you’re wasted. Their sound is grating, the words indecipherable, the vocals bizarre and the topics undeniably hick – but give me some booze and a live show and I am totally there.
Rhode Island’s Deer Tick has always been a personal favorite. Their rootsy revival of southern rock, paired with John McCauley’s irreplaceable vocals has been an impressive machine of endless touring and a terrific discography. With the addition of Titus Andronicus guitarist Ian O’Neil, their latest album The Black Dirt Sessions came with some serious possibilities…
Earl Greyhound first came onto my radar during their face-melting performance on Saul Williams’ Afro-Punk tour last year. Captivating the stage with their unwavering spin on 70s rock and roll, the Brooklyn threesome’s sophomore album Suspicious Package, out two days ago on their own label Hawk Race Records, only ups the ante.
“The Fresh & Onlys deserve to be Bay Area darlings. After making waves at San Francisco’s Noise Pop Festival and Austin’s epic SXSW – look no further than our Imposition – it won’t be long until the rest of the country adores the F&Os. Last year the band defined prolific with two full lengths, a double disc solo from Tim Cohen and various 7″s. With an upcoming studio album and a national tour with King Khan & the Shrines, the psychedelic freak-outs and gritty melodies of this garage-rocking quintet are proving its tireless schedule is not a one-off explosion, but an extended takeover…”
“Walking into San Francisco’s Great American Music Hall this night was transformative. Performing in white haze so thick that A Place To Bury Strangers was barely decipherable onstage, it seemed only appropriate that their heavy, psychedelic sound was equally as dense…”