Over the course of the few years they’ve been together, Brooklyn duo Washer have become a dependable source of smart songwriting and sharp hooks. At the very beginning of last year, they put out their debut album, Here Comes Washer, and they’re following it up in the fall with a new full-length, All Aboard, which finds them just as nervy and wresting but a little bit more self-assured. Lead single “Your Guess Is As Bad As Mine” is grounded by Kieran McShane’s drumming and Mike Quigley’s pinched vocals as he sings about feeling defeated but refusing to retreat: “I won’t back down/ Take a look around/ I hold my ear to the ground,” he sings. It’s simple but effective, like most of Washer’s songs, and you can listen to it and get all the album details below.
07/22 Brooklyn, NY @ Joy Palace (solo) w/ Montana Elliot & Nicholas Cummins
07/28 Brooklyn, NY @ Alphaville w/ Grass Is Green & Lady Pills
08/10 Brooklyn, NY @ Silent Barn w/ Stove, Rick Rude & Human People
08/11 Cambridge, MA @ Marsh Post #422 w/ Ovlov, Rick Rude & Lina Tullgren
08/12 Rollinsford, NH @ Sue’s w/ Ovlov, Rick Rude & Greed Island
All Aboard is out 9/15 via Exploding In Sound. Pre-order it here.
Exploding In Sound Records has had quite an eventful year thus far, between Pile having a song premiered on NPR, to their EIS Tape Club. The second installment of this year’s tape club is from the Chicago-based band Milked, with their first “official” album, Death On Mars, up for pre-order now.
After Geronimo! (Kelly Johnson’s former band) split up in 2015, he began Milked, resulting in him self-releasing basement demos and garage rock experiments on his Bandcamp page. Death On Mars was written back in 2015, in the wake of the Geronimo! split, and was recorded from the summer of 2015 to the fall of 2016. Recording with Nicholas Papaleo, he also worked with Matt Schwerin, one of his former bandmates, along with Troubled Hubble’s Andrew and Nate Lantrhum.
Death On Mars is set to be released this Friday, June 30th. It’s full of fuzzy indie rock that revolves around a loose theme: searching for a new home in the vastness of outer space, with all the exciting feelings that come alongside that. Feelings of loneliness, nostalgia, reflection, as well as melancholy contentment are explored in this truly cosmic piece, which we’re excited to premiere today.
This summer, Philadelphia indie-pop trio Tall Friend will put out their first album. Called Safely Nobody's, the record finds primary songwriter Charlie Pfaff working through childhood trauma with vulnerability, curiosity, and strength. "This album is a documentation of me packing up and unboxing many, many years of hurt," they wrote on Bandcamp.
Today, The FADER is debuting a video for "Small Space," an unassuming lo-fi earworm full of too-real misfit poetry like I can run fast, but not fast enough and my cells are dark but they are a part of me. It'll resonate with anyone who's ever felt unsteady on their own two feet, and it nicely reflects the album's underlying narrative of survival amidst instability.
"'Small Space' is a song about growing up in an environment that rejects and suppresses you, then coming out on the other side alive and new," Pfaff told The FADER in an email. "Apoptosis is the death and rebirth of cells, which allows the body to heal, while photosynthesis lets an organism absorb light and grow. I just wanted to document how wild it is that my physical self keeps surviving and wanting to, even if my brain gives up. My body carries me into unknown terrain, and I continue to live, even if I'm not sure why/how."
Safely Nobody's drops August 11 on Exploding in Sound.
Punk life has become a cliche; we all know it, Chicago’s Kelly Johnson (formerly of Geronimo!) knows it all too well. But we keep at it anyway, probably because we don’t know any other way. Johnson’s new project, Milked, attempts to practice what they preach, or at least talk about it, in their new single, “White Punks,” a track off their debut album, Death On Mars. Amidst a maelstrom of fuzz-tinged, melodic bass and beyond pounding drums, Johnson explores the inner turmoil of living in DIY culture, failing to live up to the activistic forward thinking that might come with the territory, and being self-aware.
Accompanying visuals, directed by Johnson himself, depict lewd scenes of partying and playing music in red-lit rooms. It’s a satire, for certain, masks and disguises being worn to display a cool perhaps not always there behind closed doors. The song opens, “think I’m gonna quit my job, ‘cause I got practice with the band,” a most impractical, yet all too common facet of music communities everywhere. It feels like a crucifixion, but it’s rooted in good intentions. Johnson knows he’s as guilty as anyone, just conscious enough to mention it. He notes about the track, “It’s kind of tantrum-y and self- deprecating. The song isn’t supposed to be critical; it’s more self-reflective and examining how easy it is to lose perspective. I wanted to paint a picture of some circumstances I noticed and let people digest them however they will.”