J. Graves: In between Marathon and Deathbed EP.

I remember to have accidentally stumbled into J. Graves debut full-length "Marathon" by late September 2019. It happened the same way just like when I discovered Joy Division "Closer", Siouxsie and The Banshees "Kiss in The Dreamhouse", The Cure "Pornography", The Psychedelic Furs "Talk, Talk, Talk", The Church "Heyday" or Husker Du "Candy Apple Grey" just to mention a few examples. I was struck by the front cover aesthetics before listening the music and that would later prove to be an absolute spot on intuition. 

"Marathon" still remains an excellent, angry, exercise of infectious, addictive, raw intensity from the opening track to the very end. A fantastic debut, a catharsis of anxieties through poetry, propulsive rhythm section and a soulful, impressive, hypnotic guitar. 

A year after "Marathon" was released, J. Graves shared with the world her "Deathbed" EP which turns out to be another exquisite gem. J. Graves brings back to mind the likes of the Au Pairs, the Gang of Four, Siouxsie and The Banshees but also Sleater Kinney, P. J. Harvey, Interpol or Metric. From a certain point of view J. Graves blends some of these more notorious influences and builds a sonic aesthetic that brings past and present together and manages to revisit revise and somehow contribute to reinvent post punk, a genre that always had a dancing seed glowing in the dark. 

In this new release J. Graves genuinely renews her invitation to dance, run and jump pushing the listener into the exorcism of the inner demons, a therapeutic healing of modern existential anxieties that go entirely in line with the sonic aesthetic displayed in her debut album. 

The four tracks that are part of the new EP not only reinforce the main features and influences that were already present on her previous work but perfect them in a way that undoubtedly makes the Deathbed EP one of the most hautingly breathtaking releases so far this year. 

The permanent call to dance, the restless strummed guitar always pushing forward like a locomotive accompanied by Aaron MacDonald's electrifying shuffling drums and some highly corrosive, vicious bass lines made by Kelly Clifton that give a sonic grandeur to the overall sound that work as the perfect support for Jessa's magnificent vocals song after song that make J. Graves one of the greatest and most stimulating artists one can find these days. 

INDIEVOTION RATING: 9/10

Funeral Lakes: Golden Season EP (2020) Review

I remember to have received a music submission in my e-mail on New Year's Eve 2019 from a Toronto-based duo Funeral Lakes consisting of Chris Hemer and Sam Mishos. I've found their submission quite a coincidence since I had them under the radar for sometime but due to reasons unknown ended up not reviewing their seductive, socially provocative, dreamy, dark and much acclaimed debut album. 

Funeral Lakes offer the listener a sonic aesthetic that ranges from indie-folk to indie-punk and folk rock which quite inevitably bring to mind Typhoon's "White Lighter" album as well as Arcade Fire namely their 2003 eponymous EP and "Funeral" album but one can also spot some Neil Young, Talking Heads, Bikini Kill and Airborne Toxic Event. 

Last month the band released their new album, a three song EP of electrifying, politically committed music wrapped up with some of the finest lyrics one can find.

The EP opens with the sophisticated indie folk piece that is Eternal Return. The song is some sort of slow burner that keeps a moderate pace until it grows into a final catharsis illustrative of the ongoing frustration of the state of contemporary politics which leads to Earth Falls the undeniable hit song the EP delivering some vicious keyboard retro sounds, steady rhythm section, addictive bass line and sweet vocals that blend awesomely with the collapse of the world as we supposedly know it along with the inevitable destruction of Earth's ecosystem but before we're irrevocably doomed and everything falls apart there is still time for the tempestuous, high energetic, undisguised anger of Power Trip the closing song of Golden Season EP. This is song could easily become a punk anthem fuelled by the great enraged vocals and the impassioned frenetic guitars. 

In overall Golden Season turns out to be one of the most enjoyable, relevant EPs of the year with three masterfully crafted songs. Very well done! 

INDIEVOTION RATING: 8/10 

Songs For Sabotage: "Night of Joy" Album Review (2020)

Some people say that the best things happen accidentally. That's what probably occurred to Lina Sophie and Richey Rose when they met out of the blue at a Brooklyn bar four years ago and connected through a mutual love for 80s post-punk, goth and 90s grunge but also their genuine interest for Swedish indie, alternative music scene. 

Songs for Sabotage officially formed in 2019 and are named after the New Museum 4th Triennial exhibition of the same name. A year later due to COVID spread, they moved to Lexington (KY) where their debut album was finished, and appropriately titled Night of Joy after the Brooklyn bar where their bond started. 

Night of Joy kicks in smoothly but once it kicks in it becomes infectiously addictive in a haze of the most modern classic 80s Post-Punk and Goth sonic aesthetic that one can come across and it works superbly with their Swedish crush that allow to perceive the presence of Acid House Kings, The Cardigans and Radio Dept. 

Night of Joy offers a pallette of masterfully crafted tunes with delightful bass lines, melodic guitar patterns that bring to mind Johnny Marr but also exploding guitar choruses bringing to mind the energy of The Joy Formidable and gorgeous, clean, pop vocals reminding Nina Persson. The outcome of SFS debut album is a handful of great songs such like Sabotage, Urgency, Metal or Drifting. The album closes with a stunning, vibrant, electrifying cover of Peter Murphy's "Cuts You Up" which highlights the idiosyncrasy of the whole album. 

In the middle of the COVID pandemic Songs for Sabotage should be highly praised for releasing a great album in these difficult, weird, challenging times we're living in and which can work out as gasoline for SFS future releases. 

INDIEVOTION RATING: 8/10 

SEPTEMBER BEST ALBUMS 2020 [#114]: Idles - Ultra Mono

INDIEVOTION RATING: 9/10