IN THE PRESS

Noisey: Debut Of Harlem’s “Queen Of Mosquitos”

“Queen of Mosquitoes,” the third single from the record, is the sweetest and least hurried of the lot, floating along on a placid Hammond organ, peppered with little literary references from Coomers. It’s charming without seeming naive, self-effacing without seeming disingenuous, and calming without sending the listener into a coma.

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Tiny Mix Tapes: Termination Dust Tour Announce (With Modest Mouse) And Debut Of “White Walls Video”

the band — a duo which consists of songwriters Jaybird Parkhurst and Stefanie Vigoren, by the way — have just announced that they’ll be marking the end of summer NOT with silence and frigidity, but by throwing on their brightest fall jackets and stepping-out for a series of dates with another little “propulsive indie rock band” you might have heard of called Modest the fuck Mouse!

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Noisey: Interview With Sexy Dex And The Fresh And Debut Of The Video For “Play Me Birdie”

SDTF aren’t necessarily the “typical” sort of band you might imagine would come out of New Orleans … On the one hand, they sound like all the most palatable, pure pop-funk sounds from the 80s (think Prince, Rick Astley etc). But on the other, they’re almost… nightmarish. Theirs is a warped, chaotic, DIY nostalgia, brought to life by a series of freaky homemade videos. Maybe it’s horrid. Maybe it’s amazing. Maybe it’s both at once.

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Bust: Miss Eaves’ New Music Video Is Pure Black Girl Magic

“Kiss Kiss I’m Fabulous,” celebrates black girl magic. The video features people dancing joyfully in different New York City locations, while Miss Eaves encourages everyone to ignore haters and let their lights shine. “Hating is so tragic / I know I am fantastic / I got that Black girl magic,” she sings.

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Bandcamp: Guts Club’s Dark, Violent Country Fantasy

Trench Foot’s mud-caked arrangements range from the plucky, bluesy smolder of “Skin Dryer” to the garage Johnny Cash shuffle of “Pansy From The Hills,” which rounds itself out with a fireside group sing-along. Baker feels that her interpretation of country music doesn’t necessarily fit with modern iterations of the genre. “It feels like I’m writing a country song based on these elements of country music that I think are the elements of country music, but they’re identifiers that probably aren’t as obvious to other people,” she explains.

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