It’s been said before and it’ll be said again but it is a damn pity when a band releases an album moments before Christmas break. The latest from Mama Would Be Proud came out on December 21st of 2018 and I imagine many folks never caught it simply because, well, it was December 21st.

It’s a shame because the album, Meet is Murder, is legitimately interesting. At first glance it would appear to be an earnest, lo-fi, indie pop undertaking. The strained, high strung, vocal style is akin to Daniel Johnston in some ways; both evoking an innocence and a surprising confidence that carries the songs along. However, upon further listening, you’ll notice that there’s a penchant for beats, samples and keyboard swirls throughout that you’d rarely get from a straightforward bedroom endeavor.

For example, lead track “Throwing in the Towel” eventually subsides into a long form, ambient, piece; eschewing the vocals entirely for the last two minutes. “Best Carpenter” becomes a meditative refrain of the title as it stretches out past the seven minute mark. The title track, “Meet is Murder,” is both drunken and tropical before, again, devolving into something entirely different for the last quarter of the song; hinting at entirely different capabilities of MWBP.

To call a record challenging feels like a pejorative. Meet is Murder isn’t always immediately grabbing with big hooks but it’s a worthwhile investment to catch the numerous synths at play, the layered vocals and for the discovery of where a song may end up; often in an unexpected destination.

If the makeup adorning the band members press photo didn’t clue you in, newcomers The Blam Blams are very into the glam scene. In fact, they’re a self-professed “next-generation Glam Rock band” according to their bio. Generally, citing David Bowie and Queen as major influences can set the expectations bar way too high or, even worse, allow listeners to pigeonhole what you’re capable of. Fortunately, the Roll On debut manages to fulfill the Glam Rock criteria and surpass being nothing but a musical stereotype.

With only three tracks to form an opinion on, the band wastes no time in launching into densely laden harmonies, rollicking pianos and searing guitar noodling. It is immediately familiar but not distinctively derivative. Even the ballad-y “Liquid Gold” manages to stylistically cite Queen without feeling like a ripoff.

By the time EP closer “A Pretty Face” kicked in, this listener was locked in. The epic guitar mixed with bellowing layered vocals is entirely undeniable. All and all, a phenomenal first release with a lot of promise for a future LP.

There’s an unfortunate thing about releasing music at the very end of a calendar year. Music journalists have likely wrapped up their Best Of lists and potential fans have packed up the habitual listening habits as they partake in various holiday and Not At Work activities. That being said, it’d be a real bummer to overlook the debut release from faster is faster, An Invisible Red Thread, which was released on December 21st, 2018 – smack dab in the middle of everyone tuning out of the Internet.

The ten song undertaking is an ambient affair; a lyric-less journey that works its way between the foreboding and the optimistic. “The Music as a Caterpillar” stretches out dark synths over interesting beats and loops, while “Mirabile Dictu” sprinkles a lively swirls in between 2001-esque tones. It’s meditative and transfixing to listen to but never reluctant to hold your attention or fade into the background.

Not to bury the lede but the mastermind behind the project is Dillon Smith, most typically known for his guitar work in Protomen. A rabid fan may claim they hear that influence seeping in but it stands on its own. In fact, it’s a more compelling offering because of how much it stands on its own.

Available now on Bandcamp or streaming services.

High Bias is the label name that John Davis (of Superdrag, Epic Ditch, The Lees of Memory) uses to release various recordings coming straight out of his Yamaha MT-4X four track. As he puts it, “No packaging, no mastering, straight out the back for your enjoyment.” While that’s not always true, it does set the tone for what to expect sonically.

Or does it? As with the latest release, a multi-layered country affair entitled “That Ain’t Fair,” there’s a complexity to these songs despite the simplicity of the recording technique. The age old adage that limitations breed creativity seems to prove true here.

But enough about the recording – what of the song itself? It does a wonderful job of showcasing Davis’ guitar prowess and his ability to leverage his voice in both vulnerable and lonesome ways. It’s stylistically Classic not only because of the slide guitar but in lyrical content. When he croons “I don’t care if I never go back there, cause there’s a lot to lose and lonesome blues everywhere” you believe it.

The releases from High Bias are never on a schedule and inconsistent in the genre they explore, which is exactly what makes them so enjoyable.

The 7″ split between B|_ank and R. Stevie Moore functions as an exercise in meditative practices, albeit from rather adverse approaches. It also serves as a nice primer introduction to the two outfits general styles.

The B|_ank track, “split|side|mono”, is a slow assault on the senses. That’s not meant offensive as that’s the intent of the track. It starts off silently and creeps along until an outburst of droning feedback hits; as if the sound equipment has gone awry and is bursting forth in ever-building waves of degradation. By the 7-minute mark, it’s devolved into near squelching modem sounds. The brutality can be transfixing and overwhelming but provides an odd clarity in forcing you to focus on only that.

“Walker Waltz” from R. Stevie Moore on the flip side is quite the opposite, as there’s a lulling quality to the combination of bass line, swirling keyboards and persistent, almost tropical, beat. When a handful of subtle conversational samples come in around the 3 minute mark, it feels like you’re just some observer of time and space along for the ride. All that is to say, it provides a wonderfully floaty feeling.