Usually purveyor of bedroom fuzzbombs, the good Captain's latest self-fulfilled set in the Beat Nostalgia EP series features two splenic acoustic tracks and one that tips the hat towards the shoegazers. So obviously we've picked out the Robert Pollard-like lo-fi charge.
A collaborative effort combining most of Crystal Stilts and a few of Comet Gain (featuring members of Comet Gain, in fact. Old Indietracks joke there) Sounds like Comet Gain's new jangle-soul vision recorded in Crystal Stilts' echoey cellar
Like their newly reorganised name it's more straightforward than their blurry, baritone historically adept sound, nodding to the dark end of the post-punks - yes, again, but some distance from your White Lies histrionics. Melodramatic popular song, indeed.
We wrote about them yesterday, and this new single is all that we wrote about then in excelsis. Frankly.
Thing with Maybeshewill is their back catalogue has largely either been bucolic and unguardedly sweet or crashingly power chord full-on. Here, they do both together. The shifting drama suits them none more finely. The third album is currently in progress, this is merely a 7" taster.
On what we've heard, which might well be a lot more than you have, there's a lot more layered, looping noise deliberately messing around with he who otherwise is James Mabbett's second album Christiania, out November 8th. The charged ire-driven heart and desire to somehow remain melodic despite it all remain in perfect working order.
New 4AD signing produced by Chris Taylor of Grizzly Bear, which shows in the woozy, rattling backdrop and dreamily ambitious vocal at odds with the programmed B-movie synth languid clattering around it.
If chillwave sounded like what it said it was instead of setting 80s synths to spin wash, if Animal Collective could somehow be deprogrammed before being let into the LSD campfire, if cut and paste atmospherics could be glued to simple melodies, then you too might well be Under Alien Skies.
Not too far from modern MGMT, and like both that band and their forthcoming UK tour partners the Drums equipped with an appreciation of mid-80s UK indie, this being a Marine Girls cover.
Reliable old Pitchfork reckon it's their third truly great song, after The Rat and In The New Year. Will have to wait for time's progress to see if that evens out but it's a corker, the opening surf-rock drums insistent through the oft excited blizzard of purposefulness and Hamilton Leithauser emotes like few can.
Still making our minds up about the critically slobbered over Gemini, but for the time being we'll chance our arm with the title track from a forthcoming EP because it sounds a little like New Order circa Low-Life and quite a bit like the post-Washed Out bedroom producer hipster academy.
And to think that Kate Bush acolytes were up in arms when he put guitars in place of the orchestration on Hounds Of Love: