The self-described label of Minimal Ambient Drone artist is no joke – listening to this song is a wash of sound akin to the lulling sounds of traffic or the ocean. But it’s also an undersell because there are some very active portions of the music, a place to focus. The prior EP, 01a, is similar but embraces the Drone and Noise aspect more, it’s more aggressive and callous – which is nice at times as well but 私の桃の私の罪 just has a pleasant vibe.

Not gonna lie, the muddled, swirly, underwater sea vocals are what sold me on this driving track from Bravemaker. The lyrics are indiscernible but it’s a strangely alluring effect for me.

I hate to do this but as a child of the 90′s, I have a hard time hearing a lot of new music without instantly making comparisons to their grunge predecessors. It’s unfair but it’s my knee jerk insight. The debut EP from three-piece Reality Something feels alarmingly like a Juliana Hatfield release – somewhat languid (yet poppy) vocals over a sea of crunchy guitars. 

It’s not a bad thing and speaks more to my laziness as someone writing about music than anything about the music.

For those that remember Tetsuo, the name Ardis Redford may sound familiar as he was one of the primary members. This new EP, No Center, continues in a similar vein as that former project – rock with an emphasis on the harder side of things – but it’s softened a bit. There’s female vocals present on multiple songs, the vocals are as emphatic but less manic. The guitar tones are great and Redford’s growl is on point as always.

Did you know Murfreesboro has a record label entitled Third Ham Records? One of their latest releases is The Eggs from tomato face featuring tracks such as “Robo Swine”, “Fish Styx” and “Bananaroo.” It is awkward, ridiculous, silly and deserving a smirking grin of appreciation in their general direction. 

Oddly enough, if you listen to the Live Versions, they are even more appealing. I don’t know what’s happening to me here but that track “Lasagna” is really calling my name.

There’s a nice simplicity to this song that brings an extra allure to it through the slightly off center vocal stylings. It’s poppy, it’s nasal-y and it finds that sweet spot of melancholy introspective paired with upbeat pop styles. I kinda wish it took it even further and really exploded at the the end but I’ll take what I can get.

I’m ignorant to the prior works of Phil Stanley and Naughty Water but there’s something decidedly Brit-Rock to this Broadside release. Tracks like “It’s Not Alright, Alright” have that distinctive bass line, catchy gang vocal choruses and just the right amount of jangly. Granted, those ingredients describe a great deal of music but the production and presentation here seems to give a nod to the likes of The Stone Roses, Verve and their ilk.  

There’s a different vibe on this Wildfront song than the previous releases – namely, the buried vocals and somewhat muddier production. I don’t fault anyone for experimenting, particularly when it reveals that you can still hear all the good ideas making their way through.

Over the weekend, Jasmin Kaset released a collection of seven b-sides pruned from various recording sessions, album leftovers and misc collaborations. Even as b-sides, there’s a real pathos and emotion to these songs.. they certainly aren’t phoned in or performed haphazardly.

The latest installment from the monthly V to Z release series is a tension filled, anticipation building explosion of drum onslaught and swirling noise. Possibly my favorite from the whole batch.

Sometimes a collection of ideas and sketches can be a refreshing listen. This “pop” album from Murfreesboro’s Jackson Pollock Microphone has plenty of rough spots and goofiness but there are some great moments of shine. If you appreciate the works of Ween, I am safe in recommending this one. If you’re not, dive into “Girl is a Flavor” and judge for yourself.