David Bevan


Manhattan, NY


    CHVRCHES: Scottish Synth Romantics Maintain a Refined Human Touch

    Who: Iain Cook and Martin Doherty, the production duo behind Scottish synth-pop upstarts CHVRCHES, met in the right place: a "computer music" class at the University of Glasgow. Having long played in separate but intersecting indie-rock outfits, the two set time aside to finally collaborate without guitars or a "roadmap" in August of 2011. Once they had some demos in hand, Cook, 38, approached Blue Sky Archives frontdynamo Lauren Mayberry to come by the studio and sing over them. "It was immediately a great fit," Cook says. "The thing that attracted me to her voice was how idiosyncratic it was: it's unmistakably unique and it didn't sound in any way like a generic electronic artist's might. Her accent comes across really strongly but it's quite natural.

  • Tunng / Photo by Paul Heartfield

    Hear Tunng's Staggering 'So Far From Here'

    It's been nearly a decade since Tunng co-founders Sam Genders and Mike Lindsay, former softcore porn score composers, decided to pour their creative energies into a project some might find equally unconventional. Because over the past seven years, the U.K. collective has crafted a steady, astonishing, often unclassifiable stream of pastoral pop that's integrated elements of both folk and electronic music in constantly surprising ways. And on June 18, they'll do it again with the release of Turbines, their fifth studio album and an outing of staggering beauty, as evidenced by first listen "So Far From Here." 

  • Casket Girls

    See Casket Girls' Bewitching 'Heartless' Clip

    The last time we saw the Casket Girls, they were bathed in darkness. That was November and the Georgia trio had just released their Sleepwalking full-length, a haunting debut of Ryan Graveface-penned compositions met with vocals by relative newcomers Elsa and Phaedra Greene. Months later, they're back with a relatively sunny, cable access-ready clip for "Heartless," a bewitching cut from said LP that'd either make Ariel Pink really proud or really grouchy. 

  • William Tyler / Photo by Hunter Armistead

    William Tyler, 'Impossible Truth' (Merge)

    In a recent video trailer for Impossible Truth— William Tyler's second LP under his own name and first for Merge — the Nashville guitar virtuoso waxes poetic about Christmas and air-conditioning, Elvis and Reagan, the end of the world and the frailty of borders. "Our country, like any other country, is an imagined community, a country of illusion," he says, his voice lilting. "We've mutually agreed on terms of geography, history, and identity. But those can change."That's more of a mouthful than you'll ever hear from the guy in his music, but his instrumental meditations speak to his influences in much the same way: Whether he's channeling John Fahey, Jimmy Page, Sandy Bull, South Asia, or slack-tuned Hawaii, Tyler does so in a way that suggests they're are all of the same transportive, six- to 12-stringed fabric. There are no divisions. We are all islands, but we will all erode.

  • Nick Jaina / Photo by Talia Gordon

    Hear Nick Jaina's Unshakeable 'Don't Come to Me'

    Portland, Oregon-based popsmith Nick Jaina has quite a CV. He's written for the ballet in Brooklyn, composed scores for both the theater in New Orleans and the silver screen in L.A. He's worked on archaeological digs in Northern California, been rescued by a minister in Indiana, and contributed to the mid-'00s folk revival in Portland. But Jaina's also completed work on Primary Perception, a generous new full-length due April 16 on Fluff and Gravy that includes the head-spinning, harmony-soaked hooks of "Don't Come to Me." 111564:song:Don't Come To Me:

  • No BS! Brass Band / Photo by Adam Ewing

    Hear No BS! Brass Band's Sternum-Rattling 'RVA All Day'

    No BS! Brass Band is a beloved 10-piece horns-and-drums band from Richmond, Virginia that was assembled and founded by drummer Lance Koehler and trombonist/Bon Iver member Reggie Pace. They've collaborated with and enhanced releases by Sharon Van Etten, Matthew E. White, Megafaun, and Feist, but on June 14, they'll uncage RVA All Day, a hot, irrepressible blast of brass and canyon-like grooves whose saucy title track you can hear below: 

  • Kisses / Photo by Viktor Vauthier

    Listen to Splashh's Radiant 'Sun Kissed Bliss'

    "The extra 'h,'" Splashh told Line of Best Fit last December, "was to avoid a lawsuit." But the London-based alt-rock revivalists actually took their name from a water park in their native Australia. And "Sun Kissed Bliss," an appropriately titled standout from their forthcoming debut full-length, Comfort, due June 4 via Kanine, is just that: a tidal pool of yawning guitars and frizzled pedal effects that would have also felt right at home on Smith Westerns' 2011 breakout LP, Dye It Blonde.

  • Liam Hayes / Photo by Jim Newberry

    Hear Liam Hayes' Soulful Soundtrack Contribution 'So Much Music'

    You may know Liam Hayes for his work under his 20-year-old Plush pseudonym or his involvement with Will Oldham' Palace. You may also remember his cameo in 2000's High Fidelity, as a lounge singer providing sparse accompaniment to Cusack's "I am a fuckin' asshole" realization. Most recently, Hayes contributed his talents to Roman Coppola's A Glimpse Inside the Mind of Charles Swan III, a Bill Murray and Charlie Sheen-enriched comedy whose soundtrack is comprised of Plush songs both old and new. "So Much Music," from 2009's Bright Penny, is one such track, a soulful, 1970s period piece that also called for another on-screen performance during the film. 111505:song:So Much Music:


    Hear MMOSS' Sylvan Psych Beauty 'Nothing Left'

    Next month, MMOSS and Quilt will combine their considerable psychedelic gifts on New Hampshire Freaks, a split 10-inch that both honors the former's home state and features a wealth of new material. On the A-side, you will encounter "Nothing Left," a sylvan, mostly acoustic cut that, at just two-and-a-half altogether striking minutes, feels relatively tidy beside it's B-Side. (That would be "Sandy," a collaborative jam with Quilt — also on the A, on their own — that stretches out over 14 hallucinatory minutes.) It's all landing on April 23 by way of Beyond Beyond is Beyond. 

  • Phoenix / Photo by Arnaud Potier

    Hear Dinosaur Jr. Tranquilize Phoenix's 'Entertainment'

    "My brother David took me to see Dinosaur Jr. live in Paris around the time when [1991's] Green Mind was released," says Phoenix frontman Thomas Mars. "I have been a fan since then." That's usually how it goes: whether you're bulldozed by the total volume or J Mascis' tear-jerking solos and staggering songcraft, a Dinosaur Jr. live experience — particularly of late — can feel like an unusually loud baptism. It's with great excitement then that we help present the trio's unexpectedly sedate cover-slash-"remix" of "Entertainment," the zippy first single from Phoenix's much anticipated fifth studio full-length, due April 23 on Glassnote. 

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