• Earl Scioneaux III

    Human After All: Brassft Punk Rethink Daft Punk Hits With Rollicking New Orleans Brass

    Brassft Punk is digital love turned analog, a project that reimagines Daft Punk's greatest hits as rollicking numbers for blatting New Orleans brass. The project — the brainchild of Earl Scioneaux III, the recording engineer for the legendary traditionalists Preservation Hall Jazz Band — started as a modest side hustle funded by Kickstarter, but soon became a full-scale phenomenon when the group released a record with Chicago's pioneering Trax Records. To keep pace with the sudden popularity, Scioneaux has developed a frenetic live show that blends electronic and acoustic improvisation. On May 18, Brassft Punk will take their biggest stage yet with their early slot at Alabama's Hangout Music Fest.

  • Mount Kimbie / Photo by Chris Rhodes

    Mount Kimbie Big Up the Chili Peppers, Afro-Psych, and Tokyo

    In 2010, Dominic Maker and Kai Campos — known as Mount Kimbie — burst out of London as the progenitors of post-dubstep. (A label of which they're not particularly fond.) The duo's acclaimed debut Crooks & Lovers was an impressionistic collage of jittery synths and muted soundscapes, at once introspective and rhythmically inspiring.Three years later, they're ready for round two. And while the new record, Cold Spring Fault Less Youth (out May 28 on Warp), maintains a sense of understated complexity, it's very different from its predecessor — more the work of a band rather than a bedroom duo. The increased presence of live percussion has created a larger, more organic sound, one now oriented towards the dance floor.

  • Purson / Photo by Ester Segarra

    Stream Purson's Retro-Minded Beatles-Metal Brew 'The Circle and the Blue Door' LP

    Retro-minded psych-metal carnival Purson are a British five-piece who explore the world of witches and Wurlitzers on their debut album, The Circle and the Blue Door, out next week via Rise Above/Metal Blade. Led by 22-year-old vocalist Rosie Cunningham, they're heavily indebted to the guitar-and-organ maelstroms of early prog; take melodic inspiration from the Beatles during their post-India freak-out phase; and of course toke tremendously on the fringe-jacket era of Deep Purple. Their songs reveal a predilection for fantasy — "Sailor's Wife's Lament," "Mavericks and Mystics" that puts them in line with the Class of 2012 witch-metal bands like Royal Thunder and Christian Mistress — but Cunningham insists that her lyrics are rooted in the events of her own life.

  • King Buzzo

    Stream Melvins Covers Album 'Everybody Loves Sausages' With King Buzzo Commentary

    The Melvins aren't exactly paragons of continuity. Over 30 years they've released 21-or-so albums and are constantly exploring the winding alleyways that go far beyond their trademark Beefheartian sludge — free-form noise, dark-ambient drone, hardcore punk, cartoon country, and moody jazz-rock for starters. So it's only fitting that their upcoming covers album, Everybody Loves Sausages (out April 30 on Ipecac), pairs acts like Throbbing Gristle and Venom with unlikely bedfellows like Queen and Roxy Music. Featuring a similarly incongruous collection of guest appearances (Dead Kennedys' Jello Biafra, industrial pioneer J.G.

  • Charles Bradley

    God's Dictionary: A Chat With Soul Survivor Charles Bradley

    Charles Bradley's story is the stuff of a pulp novel. Alone and homeless by the time he was 14, Bradley drifted from his native Gainesville, Florida, to New York City to the West Coast and back, taking jobs as a cook and gigging as a James Brown impersonator under the name Black Velvet. After moving back to Brooklyn to live with his mother in 1996, he nearly died from a penicillin allergy and bore witness to the tragic shooting death of his brother. Eventually his luck changed and he caught the eye of Daptones Records founder Gabe Roth, who set him up with Tom Brenneck of the Menahan Street Band. Brenneck and Bradley went on to record Bradley's 2011 breakout debut, No Time For Dreaming. His second album for Daptone, Victim of Love, out April 2, is a heartfelt soul storm marked by the singer's intimate familiarity with defeat, despair, and, ultimately, triumph.

  • Phosphorescent's Matthew Houck / Photo by Dusdin Condren

    Phosphorescent Sheds Light on the Beautifully Dark 'Muchacho'

    Matthew Houck, known to fans as Phosphorescent, makes woozy folk rock propelled by his singular, beleaguered warble. But that's not to say he's another shapeless Neil Young disciple. Houck's never been afraid to breach the confines of his form, frequently unleashing squalling horn lines and toying with dense Beatles-esque overdubs. Yet the Brooklyn-based singer-songwriter is at home with more traditional sounds, too, as he made clear with his 2009 Willie Nelson homage, To Willie. His new record, Muchacho, out March 19 on Dead Oceans, deploys a paradoxically successful blend of exalted aspiration and deep despair.The reticent, soft-spoken Houck talked to SPIN about his musical growth, gift for melancholy, and getting his gear stolen. Muchacho, and your music in general, is so much about the divide between dark lyrics and more upbeat, playful arrangements.

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