The Tubs rattle via a set of anarchic jangle-pop in a brisk half hour on second album Cotton Crown. The Welsh quartet’s Useless Meat follow-up takes DNA from the Smiths’ melancholy exuberance, the Go-Betweens’ windswept gusto, and gung-ho London punk fervor to formulate a disempowered power-pop that spins insecurity and grief into bundles of melodic pleasure.
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Sasami: Blood on the Silver Display [Domino]
Sasami is the conservatory-trained singer, songwriter, composer, and producer who got here to prominence with a shoegaze-indebted, synth-and-guitar powerhouse of a debut in 2019. Her third album, against this, is an avowed pop flip, taking cues from Britney Spears’ Femme Fatale and Girl Gaga’s Born This Means; the only “In Love With a Reminiscence,” that includes Clairo, integrates the chart chops of latter-day Muse and the Strokes. “I used to be all the time a weirdo outsider and I didn’t really feel like pop music spoke to me,” she mentioned in press supplies. “Being a lady of colour, I’ve all the time felt this strain or have to make one thing that’s mysterious or progressive, and all the time shied away from lightheartedness.” Blood on the Silver Display corrects the report.
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Tobacco Metropolis: Horses [Scissor Tail]
On their second album, Horses, Chicago cosmic-country band Tobacco Metropolis sprint wit and levity into the swamp of small-town life. Vocalists Chris Coleslaw and Lexi Goddard duet throughout an album depicting a model of America that, writes Linnie Greene in Pitchfork’s assessment, “smells like diner grease and low-cost weed, and it seems like hope on minimal wage.”
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