We Never Asked For This

We Never Asked For This is our short reviews of the best releases that showed up in our inbox unsolicited this week.

Headed off to a little vacay to get some sun and give the ears a little break, but before we do here’s the best of what came through the inbox recently. New music from Mouth Washington, Nathaniel Paul, Drelli, New Wales, Scores, Matthew Leger, Said Sara, Wes Hoffman and Colourmusic.

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Mouth Washington – “Statue”
Kinetic, frenetic and impassioned, “Statue” is a raging storm of a song. It thrashes, gnashes and tears at the seams but holds together in a ragged beauty. In an indie scene overflowing with detached chillwave and overly calculated attempts at The Killers style radio domination Mouth Washington come correct like a much needed fresh air.
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Nathaniel Paul – “Silence”
Icy synths used with the utmost restraint decorate and accent this indie pop number which marries a Vampire Weekend style groove with Ben Gibbard-esque songwriting. It’s light, it’s easy, it’s catchy, everything you want in a smart pop song.
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Drelli – “Forreal”
We’re well established as a blog that leans toward socially conscious hip-hop that pushes positivity and talking about big cultural issues. That’s all fine and good but sometimes you just want a trunk rattling number that is swaggery as fuck and Drelli delivers that perfectly with “Forreal.” Turn it up and feel invincible.
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New Wales – “;)”
When you listen to hundreds of new songs a week all vying for only 25 weekly spots, it doesn’t take much for us to eliminate a song from consideration. So how good is this one? Well, considering we hate the fact the song title is an emoji and we also think two white guys having themselves represented as Japanese anime characters is at best a questionable move and we still included it. This is an absolutely perfect mid-tempo indie rock number with sophisticated hooks and a tastefulness throughout, and good enough to make us overlook the other unfortunate elements associated with it.
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Scores – “Over / Under”
Publicists say some wild shit. It’s not uncommon to get a song sent to us that talks about what a gritty, authentic punk song it is and then we play it and it’s basically “Shake It Off” with a slightly distorted rhythm guitar. So imagine our skepticism when “Over / Under” was sent to us as “for fans of Queens of the Stone Age, Foals and Tame Impala.” Yeah dawg, one of those is not the like the other two, not even remotely. But damned if that ain’t exactly what we have here. Underneath the Foals-esque production is indeed a Josh Homme style driving groove, just with all of the edges softened and buried under a high gloss sheen. Worth a listen just to see how they thread this particular needle.
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Matthew Leger – “Butterflies”
There’s more than a healthy dose of Sparklehorse running through “Butterflies,” the vintage keys and progression are very much in the style of the late great Mark Linkous, but we ain’t mad at it. Gone 11 years now we’re happy to see Linkous’ legacy live on in any artists he influenced and honestly wish it was more common. Where some would see this as a straight up homage we choose to see it as a young artist carrying the torch, one we hope burns for a long time.
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Said Sara – “Bleedways”
What a wonderfully little odd duck of a song this is. The vocals are pure folk-punk and the guitar playing is classic 70’s singer-songwriter. Banjo and piano come in on the choruses and shove it over into the folk-punk realm and then out of nowhere a boomy drum loop leads you into a Zeppelin III esque bridge that morphs into a synth wood flute part. And yet, it all works somehow for what we’re calling prog-folk-punk.
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Wes Hoffman – “Far From Yesterday”
Some songs make you miss live shows more than others. This is one of those. Just a perfect rocker that walks the line between punk and emo perfectly that was built to be sung along to in a sweaty group of strangers doing the same. Turn it up and feel 18 again.
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Colourmusic – “Everyone’s Got My Stomach”
A fuzzed out, dirty, downright nasty wall of sound. This song is fucking great. The title weirds us out, but the song is great.
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