“the latest single from the band’s imminent Easy Listening, is more like regular-sized power-pop, but it’s a gem nonetheless. There’s some serious jangle on this one, as well as hooks galore and some low-key shredding on the bridge.”


Hear “Proof Of Life” & “Something On Your Mind” (Karen Dalton Cover) from Gold Dust!

Today, the Easthampton, MA-based musician Gold Dust is announcing a new album called The Late Great Gold Dust. He’s introducing it with “Proof Of Life,” an expansive track that boasts a dulcimer and some wonderful textures. It’s accompanied by a cover of Karen Dalton’s “Something On Your Mind,” which is available as a lathe cut 7″.


“Brian Chase spotlights the pioneering artists that defined the vibrant Brooklyn music scene between 2000-2009. Featuring Oneida, Ex Models, TV On The Radio, Sightings and more. The Yeah Yeah Yeahs drummer shares personal memories of New York as a pregentrified playground for artists and the music that would later influence his band’s sound and attitude.”


“The Corner” takes on a more metaphorical quality, representing any time or place someone has felt lost, scared, or alone. Balancing this against the fresh morning vibe of the instrumental means neither side feels heavily weighted; “The Corner” just floats.


Derwin Dicker has announced The Work—his first new album as Gold Panda in more than six years—with a video for its second single “The Corner.” The Work is set to drop November 11 via City Slang


CLAMM grapple with uncomfortable things throughout Care, many of which tie back to mental health taking a hit every time civilization creeps ever closer to full-blown dystopia. And in response, the group offers a purge of similarly uncomfortable sounds and textures, feedback and atonal saxophone, aggressive barks and heaps of distortion. But sometimes that’s the best therapy there is.


“The Canadian band’s third album is a wistful and familiar soundtrack to winter malaise.”


“NO MORE METAPHOR” is “seven and a half minutes of terse, vulnerable and verbose vocals, the distant thrum of percussion, and a muted chorus of horns and flutes. It all recalls mid-aughts baroque pop greats like Owen Pallett, Sufjan Stevens, Grizzly Bear and Beirut.”