Spacey Southington indie rockers Pale Space have released their debut EP, properly titled Debut EP. It only features three songs, but with each of them clocking over 5 minutes, the band covers a decent amount of intricate, offbeat guitar pop over it’s run time. Stream it below.
Pale Space will be playing their release show for their EP at Bleachers in Bristol on August 6th with Heavy Necker and The Forest Room. Event page here.
Connecticut art-punks Perennial have released their new album The Symmetry of the Autumn Leaves for streaming and free download on Bandcamp. It is their first release since 2015’s Early Sounds For Night Owls EP. Vinyl and cassettes are available at Howling Frequency Records here.
Stream The Symmetry of the Autumn Leaves below.
South Windsor, CT experimental hardcore punks Space Camp have released their new album Force Femmed for streaming, free download, and CD purchase via the group’s Bandcamp. Cassettes and limited edition vinyl are available through Howling Frequency Records page here.
Force Femmed was recorded, mixed and mastered by Seth Manchester at Machines with Magnets in Pawtucket, Rhode Island on April 1st & 8th, 2017. The album art is by Serena Bailey and SPACE CAMP.
View Space Camp Summer 2017 Tour Dates Here.
Listen to Force Femmed by Space Camp below:
Hartford, CT indie rock outfit Queen Moo have announced they are officially signed to San Diego’s Topshelf Records and have announced their sophomore record Mean Well, due out August 25th. It is their first record since their excellent 2015 self-titled debut. Topshelf and the band have issued the following teaser to announce the release via Facebook:
Queen Moo is currently gearing up for the release of Mean Well, including a tour beyond New England. The band will issue new music and more details in the not too distant future.
In the meantime, revisit Queen Moo’s self-titled record below.
By Danielle Capalbo – Contributor
The last time we heard from The Refectory, singer-songwriter Robbie Vozza was commanding a four-piece adept at indie rock earworms, uncommon rhythms and tricky instrumentals: an irresistible kind of prog-pop reminiscent of Pinback. Now as a three-piece, the band is poised to release its sophomore self-titled EP—and while they’re leaner as an outfit, Vozza and company have never hit so hard. Necessity, it turns out, is the mother of reinvention.
What hasn’t changed is The Refectory’s aptitude for uninhibited, unconventional and totally memorable songwriting, or their willingness to veer from heavy heavies to soft softs on a hairpin turn—a journey of gratifying twists in the capable hands of Vozza (guitar), Ben Stokes (bass) and Brian Dicrescenzo (drums). Yet a new dimension of propulsive angst makes itself apparent within the first thirty seconds of opening track “Three Towns Away,” which crushes forward in a catchy swell of sludge, feedback and stoner metal magic. The Refectory still shimmer as they did on Spiral Staircases, but when they pummel here, they pummel.
More likely they’re doing both on this substantial five-song collection of extremes in contrast, perhaps as a means to emulate and exorcise the emotions of self-reflection that underpin Vozza’s lyrics. The hypnotic “Bull in a Zoo,” for instance, begins with a single guitar plucked in sparse and pretty repetition before building incrementally, across seven minutes, toward a hardcore crescendo. “I’m tired, I’m tired of waiting, waiting for you,” Vozza sings in his clear, clean voice. “Pacing, pacing around like a bull a zoo.”
It’s not surprising that expanses of time and space—spent waiting, wondering and working out the riddles of life—are the focus of an EP that clocks in at a continuous 35 minutes. Yet The Refectory never feels longwinded. It feels deliberate, insistent and unhurried instead, awash in elevated details at the meticulous engineering hand of DeCarlo. (The band recorded its own EP live at Mother Brother Studios in Bethel, Conn.) Some of the most delicate moments occur between songs, in beautiful, spacious transitions: from “Three Towns Away” to “Bull in a Zoo,” or “Din” into the slow-grunge “Drove Back.”
Among this heavy collection, “Din” (written largely by DeCarlo) is the most bombastic and quick-changing, a headbanger with corrosive lead guitar that travels the band’s signature peaks and valleys, fueled on yearning, before it builds into a gorgeous, full-throttle ripper. In a powerful wish to the universe, Vozza issues forth: “If I come to find a nameless face that stares at me beyond the glass / Set me out into the woods and let me rest / And let me rest where I can find something real to know and love again / The things I’ve lost were never ever mine.”
“Pretty Rows” is another standout track, an exercise in tension and feeling that epitomizes the band’s overall efforts. “It’s all I’ve swam up stream for,” Vozza croons again and again, as the song struts forward. “A love that’s never felt so pure.” Not until we pass the three-minute mark does the levy burst on that stream, and then it’s not so much a matter of swimming as being swept away.
Listen to The Refectory EP below:
Ever since Dan Manning fastened together both organic and synthetic instruments to create music as Reduction Plan, he has also created a nameless void between its most human and mechanical elements. On his first lo-fi excursions, early standouts such as “An Act of Self-Preservation” dabbled in this moody isolation with sparse minimalism and simple but sturdy songwriting. Later, on 2016’s Child of Light EP, he branched by working with a band and creating sonic experiments. Despite the additional human heat to that music, it still sounded like Manning was singing from far away in some sunless land.
On Somewhere, Reduction Plan takes one step further into the abyss. Starting abruptly with “Without An End”, Manning is slips deeper into this exile, his mind running away over a robotic drum machine beat and turbulent layers of angular reverb. While past releases stylishly used reverb to create desolate atmosphere, an increase in production values slightly colorizes the band’s monochromatic sheen and better handles the near shoegaze level amount of guitarwork.
In addition to headier arrangements, the songs on Somewhere are stronger and more distinct than what has come before. Manning has always had a distinguished croon, but never has it sounded so melodious in its sorrow. On mid-album highlight “Julia” (and one of Reduction Plan’s best songs to date), he weaves a hypnotic vocal like an additional instrument in a wall of sound. Later, he channels the same aesthetics through a rare major key respite on probable new fan favorite “On Your Own” (a rework from 2015’s Paradise LP). Of course, on a Reduction Plan album, its apparent happiness is fleeting as the remainder of the record returns to its regular isolated gloom.
Overall, Somewhere is Reduction Plan’s most fully realized release to date. Looking back at the band’s earliest releases, it seems like the logical continuation of a journey throughout this strange somewhere that Manning has traversed. In other ways, it feels like Reduction Plan’s proper debut. What is less apparent though, is where Reduction Plan will go next when they return from this strange place, if they ever return at all.
Listen to Somewhere by Reduction Plan below:
Central CT indie rock outfit Crag Mask swung by Blind Moose Studios in Bloomfield to record a live session of a few songs from their recently released debut, Loom. In addition to playing some songs off that record, the group already has a new one thrown into the mix. Check it out below and read our review for Loom here.