By: Music Journalism Club

Every week, our Music Director, Allison, chooses new releases to add to our music library. Here are some recent highlights, presented to you by WSUM’s Music Journalism Club.

Militarie Gun, God Save The Gun

HIGHLIGHT TRACKS: “God Owes Me Money”, “Laugh At Me”

GENRE: Post-Hardcore, Alt-Rock, Indie Punk

RIYL: Glitterer, Die Spitz, Joyce Manor

California outfit Militarie Gun is back and blazing with their third full-length album, God Save The Gun. By the numbers, they’re still the same throat-punching punks they’ve always been—frontman Ian Shelton’s signature hoarse vocals laid over blocky, distorted guitar leave no room for argument on that front—but the happy-go-lucky synth lines (“God Owes Me Money”, ”Wake Up and Smile”) and introspective, quasi-suicidal interludes (“Daydream”, “I Won’t Murder Your Friend”) that pepper the album represent a careful olive branch towards the emo revivalists that have been keeping this band on their radar. With a Joyce Manor supporting slot on the horizon, God Save The Gun tumbles headfirst into this new realm of influences. “Laugh At Me” calls to mind some of the sappier tunes from the 2000’s pop punk boom, and “Kick” steps in with some mellowed spoken vocals that are far from Shelton’s powerviolence roots. On “Isaac’s Song,” the titular Isaac is, in fact, Isaac Brock of Modest Mouse, an instantly recognizable and shockingly indie feature that somehow sets a perfect stage for their arena-ready single, “Thought You Were Waving”. On the title track, the cleanest guitar solo on the record pairs with some suspiciously drawn out vowels, and Militarie Gun closes out a record that walks a line—slipping undetected past the emo subreddits (what wave are in, anyway?), but a solid and satisfyingly varied departure from their usual hardcore sound.

— Adriana Mathiason

Sudan Archives, The BPM

HIGHLIGHT TRACKS: “A BUG’S LIFE”, “COME AND FIND YOU”, “DEAD”

GENRE: Alternative R&B, Electronic Dance Music

RIYL: Yves Tumor, Solange, Fka Twigs

The third studio album from Sudan Archives, real name Brittney Parks, is a truly unique listening experience with a blend of influences from across the musical spectrum. The BPM cohesively mixes R&B, EDM, and hip-hop, tied together with the orchestral arrangements that underscore each song. The introspective lead single and opening track of the album, “DEAD”, sets the tone: the song builds on itself, starting with a minute-long string instrumental and adding a racing kick before introducing the heavier electronic elements that can be heard throughout the album. The album is full of four-on-the-floor dance beats with songs like “YEA YEA YEA”, “THE NATURE OF POWER”, and “MY TYPE”, songs like “SHE’S GOT PAIN” and “COME AND FIND YOU” feature violin solos that tie the songs together, and if you’re looking for songs that have more complicated textures, “DAVID & GOLIATH” and “A COMPUTER LOVE” feature breakbeat drums that contrast well with the vocals and strings without overpowering them. The BPM ends with a three track run that reminds you of the album’s emotional core: “LOS CINCI”, named for her hometown of Cincinnati, “NOIRE” is about losing yourself in a relationship, and the albums closer “HEAVEN KNOWS”, is full of lyrics about falling that suggest Parks’ is out of control but accepting of it. Altogether, The BPM is a showcase of Sudan Archives’ talent in all aspects of musical creation, telling a story about breakup and self discovery in an avant combination of genres that only Parks could weave together.

— Henry Wolfe

Not For Radio, Melt

HIGHLIGHT TRACKS: “Magnet”, “Vueltas”

GENRE: Alternative, Indie

RIYL: The Marías, The Two Lips

The uniquely beautiful voice of María Zardoya, the lead singer of The Marías, is on display in her debut solo project, Melt. The tracklist is filled with melancholy and romantic melodies, and is perfect for a walk on a gloomy fall or winter day. Melt is an enchanting continuation of both her distinguished sound with The Marías and an exploration of Zardoya’s own personal tone and self identity. She incorporates elements of synth, keyboard, and other chilling instrumentals into the themes of longing, love, loss, and vulnerability. The combination of her voice and artistry within the instruments and production creates a beautiful and powerful artwork. The opening of the album, “Puddles,” starts with a very Marías-esque sound, and as the album continues, she progresses further and further away from her band. “Vueltas” is another exploration of her uniqueness, sung entirely in Spanish and incorporating a beat unlike the rest of the project. The ending track, “Slip,” concludes the album with a slow, enchanting instrumental melody, leaving listeners wanting to hear more of her stunning voice. Melt is a testament to the capabilities of Zardoya’s artistry, and is definitely one to add to your rotation.

— Evie Swenson

Living Hour, Internal Drone Infinity

HIGHLIGHT TRACKS: “Wheel”, “Waiter”, “Big Shadow”, “Texting”

GENRE: Alternative, Indie, Shoegaze

RIYL: Wednesday, Slow Pulp

Delightfully atmospheric, Living Hour’s newest album Internal Drone Infinity feels simultaneously intimate and fun. Lead singer Sam Sarty’s soft vocals pair nicely with layered instrumentals to create a dream-like ambiance. Some tracks, like “Texting”, carry the intimacy of a bedroom conversation. Meanwhile, the guitar riffs on “Waiter” pack a punch. Overall, the new album is a tastefully assembled set of stories, suggesting both the beauty and pain of human memory. As the colder months near, Living Hour’s new album might be the perfect soundtrack for those in need of a warm-up. 

— Joely Emerson

Skullcrusher, And Your Song is Like a Circle

HIGHLIGHT TRACKS: “Maelstrom”, “Periphery”, “Red Car”, “Vessel”

GENRE: Alternative Indie, Indie Folk, Atmospheric Dream Pop

RIYL: Squirrel Flower, Florist, Grouper, Julie Byrne

Skullcrusher’s And Your Song is Like a Circle is a beautifully haunting album. It was written after Ballantine (Skullcrusher) moved back home to New York, leaving LA to return to a different familiarity. It was written mostly while Ballantine was living in isolation and undergoing a lot, including addiction, struggling with her beloved cat’s health, and a moth infestation that trapped her in her home for weeks. Part of what makes this album so beautiful is that when listening, you can feel how these events shaped this album and left an impression on the music without Ballantine having to directly reference it in any of the songs. The isolation is definitely also reflected in this album, creating such a unique atmosphere with a dreamlike sound containing undertones of pressure and tension. The opening and closing lines really do set the scene for the entire album, starting with ‘What do I live for’ in “March” and rounding it out by ending with ‘Because the burden lives within us’ in “The Emptying”. It explores themes of purpose and identity, among many other nuanced things. Ballantine does a great job of allowing her music to transcend and evoke emotion. There is a soft yet heavy reverberation of feeling, solemn and contemplative but not necessarily sad. We can feel the dissociation sonically and lyrically, which helps contribute to realizing the title. Each song does feel like a circle, an almost cycle of fleeting feelings and deep breaths, circling in and out. You can so easily get lost in this beautiful album and I definitely recommend it. Each and every song is truly amazing, which makes the album as a whole so solidly beautiful. After listening to this album I hope you’ll be just as entranced as I am!

— Julia Klima