Paula Mejia



  • Plague Vendor

    Hear Plague Vendor's Raucous 'Breakdance On Broken Glass'

    Los Angeles' Plague Vendor sure know how to make a memorable entrance. On the band's piledriving single "Breakdance on Broken Glass," shards fly and headbangers' hair flys as the group squeals and proceeds to smash everything in sight. Although the song is a short burst of activity — it clocks in at well below two minutes — the punk-driven number is resonant long after it whirs to a stop. "'Breakdance on Broken Glass' is about the kind of stuff older kids would tell me when I was younger about growing up," says drummer Luke Perine. "Their advice, for better or for worse, definitely made you learn something."The band's forthcoming record Free To Eat is out April 15th on Epitaph Records. Preorder the album over at Kings Road Merch and listen to "Breakdance on Broken Glass" below.

  • Perfect Pussy Revel in Their Hardcore Fury on 'Say Yes to Love'

    Perfect Pussy Revel in Their Hardcore Fury on 'Say Yes to Love'

    "Why do we say yes to love?" demands Meredith Graves, frontwoman for hardcore shredders Perfect Pussy. This bold question frames the Syracuse-based band's Captured Tracks debut, urging us to think twice about everything we accept — perhaps blindly. Through sacrificial hardcore throbs and a DIY ethos echoing Fugazi's call for social justice, Perfect Pussy dispel the life-affirming abstraction of love, positing that we don't have to eat what we're fed in order to be fulfilled. Say Yes to Love is a terse, pile-driving response to societal expectations of happiness, and especially femininity.Female empowerment has long been dismissed as misaligned anger within rock music and beyond — men relish their fury, whereas women have long had to suppress theirs, instead expected to maintain a façade of delicacy, a notion that this band shatters entirely.

  • ingMob

    Stream Meta-Instrumentalist ingMob's Kaleidoscopic 'mmm'

    Raymond Weitekamp, an organic chemist who produces music as ingMob, is the type of guy who could easily impress both DJ nerds and computer geeks at the same time. Not only is the producer a CalTech PhD student, but he's also an alum of Princeton's Laptop Orchestra, a self-described "ensemble of computer-based meta-instruments" at Princeton University.As ingMob, Weitekamp's mixing skills extend far beyond Bunsen burners and Erlenmeyer flasks to the meticulous formulas from his beat laboratory. His new single "mmm" is a glimpse into the kaleidoscopic blend of bleeps, warbling keys, and echoing vocals that will appear on his debut Marrow, due February 10 on his own Rawwerks imprint.

  • Black Lips in the studio, May 2013

    The Black Lips Revisit Their Southern Roots on 'Underneath the Rainbow'

    It's hard to believe that the garage-punk rogues in Black Lips have been forging shit-kicking, ramshackle tunes for this long. They’re rightfully famous for their outrageous live shows, where the theatrics range from moshing to making out with each other onstage, and even today, a decade after they first started, Atlanta's finest guitar-wielding gang continues to challenge and provoke their audiences from Kansas City to Kuala Lumpur. Contrary to popular belief, though, trouble isn't the only thing they're after, or that's after them."I think we're misunderstood a lot," admits the band’s bassist, Jared Swilley. "People say, ‘Oh, they must do tons of acid all day.’ It's not like that. It's stuff we've experienced in the past. We write about what we know — we write sad songs.

  • Quilt / Photo by Allison Pharmakis

    Quilt's 'Held in Splendor' Is a Frayed, Captivating Psych-Pop Odyssey

    American folk music is often held as sacred, bound by hallowed traditions both acoustic and spiritual. So it seems almost too easy to name your ragtag 21st-century-folk band Quilt, but it's difficult to describe this Boston-bred trio any other way, their cloth cut from equal parts the Byrds, Mazzy Star, and the Mamas and the Papas, though the stitches threading their sophomore record together are far from linear. Alternating psych-pop textures, radiant Eastern rhythms, and acoustic licks, Held in Splendor defies what we typically talk about when we talk about "folk" music.Given the varied musical backgrounds here — Anna Fox Rochinski grew up singing in a classical choir, while fellow multi-instrumentalist Shane Butler's spiritual upbringing apparently involved lots of chanting — the record's 13 tracks weather mystic terrains, musically and otherwise.

  • The Head and the Heart (L-R) Chris Zasche, Kenny Hensley, Jonathan Russell, Charity Rose Thielen, Tyler Williams, Josiah Johnson

    Jack White and Whiskey: The Head and the Heart's Must-Haves

    Only a couple years ago, the Head and the Heart were struggling to capture the attention of passersby while busking on Seattle street corners. Now, following the left-field success of the band's 2011's self-titled album, the sextet no longer has to worry about passing around the hat.On October 15, the group returns with Let's Be Still, a sumptuous folk-rock effort punctuated by gorgeous string arrangements and sharp vocal harmonies. "We're more confident and trust ourselves more now," says vocalist Jon Russell about the sophomore LP. "The headspace for this record was, 'Let's not figure out what this sounds like — let's just write the best songs we possibly can.'"In advance of the new album's release, Russell and drummer Tyler Williams chatted with us about some of their favorite things.MILES DAVISRussell: I've been listening to a ton of jazz, mostly Miles Davis.

  • Fuzz

    Ty Segall and Friends 'Insanely Stoked' About New Band Fuzz's Debut Album

    Early last January, Chicago's Trouble in Mind Records released an unexpected seven-inch, "This Time I Got a Reason" b/w "Fuzz's Fourth Dream"; curiously, the label claimed it had no idea who deserved the credit.Whoever they were, the music recalled both the free-wheeling blooze-grooves of Blue Cheer and the devil-horned groans of Black Sabbath. And it didn't take long for garage rock enthusiasts to detect a distinct vocal element, courtesy of SPIN cover star Ty Segall.

  • Zola Jesus

    Zola Jesus on Mariah Carey's Oversinging and the Guggenheim's Inspiring Weirdness

    Since her 2011 breakthrough Conatus, Zola Jesus' has built a stirring catalog on the strength of her dramatically keening vocals and icy synthesizers. She's up to something different on her new Versions (Sacred Bones). For the album, the woman born Nika Roza Danilova enlisted a full string quartet to back her most most naked songwriting to date.Shortly befor Versions' August 20 release, Danilova chatted with SPIN about some of her favorite things. '90s R&B"I've been listening to a lot of soul, gospel and R&B, music where the vocals are really up front, and there's a lot of movement in the vocals. That inspired me to make a recording that's very up front and very intimate sounding. Groups like En Vogue and Brandy, and Mariah Carey, earlier to mid-'90s R&B acts, are really into over-singing vocal acrobatics.

  • The Royal We: 36 Hours in San Francisco with King Tuff

    The Royal We: 36 Hours in San Francisco with King Tuff

    Even after months on the road in support of the reissue of his rediscovered classic

  • Pop 1280

    Pop. 1280 Stop Banging Their Heads Against the Wall on 'Imps of Perversion'

    The saloon-like Capri Social Club rests on the corner of Calyer and Lorimer in Brooklyn's Greenpoint neighborhood; inside, Pop. 1280 guitarist Ivan Lip and vocalist Chris Bug are nursing beers in one of the bar's corner booths, passively watching the rain trickle outside the window. They wish to go by their pseudonyms.Bands often develop from the spontaneity of jamming with other musicians, yet the process has been backward for these guys. On their latest, Imps of Perversion, out this week on Sacred Bones, the shadowy pigfuck project is discovering what it means to collaborate and grow organically as a whole. Their previous effort, 2011's The Horror, was marked by a polarizing lack of communication within the band, an issue that, as the pair now laments, forced them to carry the weight of the band on their shoulders."The Horror was like beating your head against a wall," Bug says.

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