April Listening Station & Social Media Titles Released This Week:
Cavetown – Sleepyhead CD/LP (Sire)
Cavetown’s major-label debut album, Sleepyhead, was recorded, produced, mixed and mastered by Robin Skinner himself in the bedroom of his London apartment. The 11-song collection is set to prove to the world why he’s become not just a cornerstone of the bedroom pop community, but a torchbearer for the next generation of his genre. By focusing less on the more imperceptible aspects of his productions, Skinner’s distilled his energy on Sleepyhead into what really moves fans: the songs themselves, occasionally lighthearted, largely poignant – but always authentically him. The album is awash in ambient indie-rock nuance, creaking acoustic guitars and Skinner’s poetic lyricism, all steadied by his tranquil melodies and reassuring timbre. [Indie store exclusive colored vinyl pressing available.]
The Chats – High Risk Behavior CD/LP (Bargain Bin)
“‘I just want people to have a good time,’ says The Chats frontman Eamon Sandwith of their debut album High Risk Behaviour. ‘I want them to dance around and have a beer and enjoy it. We don’t make songs for people to look at in a fucking emotional or intellectual way. We just make songs for people to jump around and have fun to.’ At a time of deep uncertainty and anxiety across the globe, this unruly, Australian punk rock trio may have stumbled upon the ideal cure, or at least a very noisy and very welcome distraction. This is the band’s first full-length offering after 2016’s self-titled EP and second one Get This In Ya from 2017, the latter spawning viral hit ‘Smoko’ upon which their recent success has partly been built. High Risk Behaviour lists 14 tracks but none come in longer than the 2:50 it takes to rattle through penultimate number ‘Do What I Want’.” – Gigwise [Limited indie store exclusive colored vinyl pressing also available.]
Clem Snide – Forever Just Beyond CD/LP (Ramseur)
The road to Forever Just Beyond, Eef Barzelay’s stunning new album under the Clem Snide moniker, was an unlikely one, to say the least. Produced by Scott Avett of The Avett Brothers, the record is a work of exquisite beauty and profound questioning, a reckoning with faith and reality that rushes headlong into the unknown and the unknowable. The songs here grapple with hope and depression, identity and perception, God and the afterlife, all captured through Barzelay’s uniquely off-kilter lens and rendered with an intimate, understated air that suggests the tender comfort of a late-night conversation between old friends. Avett’s production is similarly warm and inviting, and the careful, spacious arrangement of gentle guitars and spare percussion carves a wide path for Barzelay’s insightful lyrics and idiosyncratic delivery.