mui zyu – Rotten Bun for an Eggless Century
Eva Liu got her start in music as the front person of UK art rock trio Dama Scout, but when the pandemic threw the world into disarray she began working on solo material. Her first album under the name mui zyu, Rotten Bun for an Eggless Century, uses everything from squiggly synths to traditional Chinese instruments to build surreal dreamscapes where odes to friendship coexist with tales about ghosts and witches. Liu stated she intended the album’s narrative to unfold almost like an RPG, and it’s something that comes through clearly; much like fellow musical sorceress Spellling, Liu’s music transports you into a fantastical world of its own making.
Nicholas Merz – American Classic
As someone who was raised on country music, it’s been exciting to see the indie world’s embrace of the genre over the past few years; look around and you’ll see everything from relatively straightforward interpretations (Dougie Poole, MJ Lenderman) to out there interpolations (Jordan Reyes, SUSS). Nicholas Merz, perhaps best known for his work in the Seattle band Darto, is carving out a lane all his own in this trend. His latest album, American Classic, sounds like the love child of Daughn Gibson and Scott Walker. Merz twists steel guitars and harmonicas into haunting ambiance, his distinctive baritone echoing over them. It’s the rare combination of adventurous and accessible, building novel shapes out of familiar sounds.
et at it – et at it Archives
On Repeat Recordings seemingly popped up out of nowhere a few weeks ago; I saw on Twitter that the label is affiliated with Astral Spirits, but can’t find this anywhere official. Hearing their inaugural releases, that connection would make sense. Documenting the experimental music coming out of the DC punk scene at the turn of the century, these archival releases have the same sense of compositional experimentation and whimsy as many of the label’s other releases. Of the three albums released so far, et at it Archives is the one I’ve spent the most time with. Reconfiguring the rock trio into a chamber music ensemble, the band veer from breathless rounds to tightly wound, pulsating compositions built from repetition. It’s mesmerizing and surprising stuff.
Sluice – Radial Gate
Sluice craft gentle folk songs that will quietly creep up on you. Centered around Durham’s Justin Morris, their sophomore album boasts a long list of contributors from his local scene and beyond. The album’s understated instrumentals allow Morris’ lyrics to sit front and center, which mix universal truths with the minutiae of everyday life; one moment he’ll be singing about the humor of just being alive, the next will be about eating a cheap pastry in a motel room. Funny, contemplative and heartbreaking in equal measure, it’s music that slowly winds its way to profundity.
Cel Rey – Cellular Raymond
In many ways, punk music feels most suited to a live setting; a huge part of its power is the electric energy it creates in a room, performers and audiences feeding off one another and propelling each other to greater heights. My favorite punk albums are the ones that try to replicate this feeling on record, careening forward without giving you a second to breathe. On their debut recording, Cel Ray do just that. Sonically, they remind me of Chicago peers like Negative Scanner; both play wiry, angular punk at breakneck speed with a wicked sense of humor. Though you get a sense Cel Ray may be best experienced live, Cellular Raymond is the most fun I’ve had with an album this year.
BrokenTeeth – 추락은 천천히
Korean shoegaze has exploded over the past few years. Parannoul has obviously gotten the most attention here in the States, but he is surrounded by a group of likeminded musicians (Asian Glow, Della Zyr) who are each pushing the genre in a different direction. BrokenTeeth is one of my favorite artists in this scene, and their sophomore album doesn’t disappoint. Their music sounds like a mix of slowcore and shoegaze; they build shimmering walls of sound like Parannoul, but the melodies poking through are more delicate and languorous. Delicate is the opportune world here: it’s music that feels like it could dissolve at any moment, threatening to float off into a gauzy ether.