{"id":97915,"date":"2025-01-17T10:00:16","date_gmt":"2025-01-17T10:00:16","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=97915"},"modified":"2025-01-21T20:27:09","modified_gmt":"2025-01-21T20:27:09","slug":"newmusicfriday-january-17th-2024","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/newmusicfriday-january-17th-2024\/","title":{"rendered":"#NewMusicFriday: January 17th 2024"},"content":{"rendered":"
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Content Breakdown<\/h3>\n

What is out on this #NewMusicFriday?<\/a>
\nTake me to the Playlist<\/a><\/p>\n<\/div>\n

While last week’s round-up<\/a> saw a handful of notable releases, today’s #NewMusicFriday<\/strong> is a quieter with just a few noteworthy releases. Amongst them are the new releases from Aussie melodic indie-rockers Dear Seattle<\/strong> and the dynamic return of prog-metallers\u00a0Eidola<\/strong>.<\/p>\n

Elsewhere, UK rockers Tigress<\/strong> continue to soldier on with their second album\u00a0‘Are You B-O-R-E-D?’<\/em>. North Carolina’s\u00a0Never Home<\/strong> returns with a hook-filled collection of pop-punk with ‘Beautiful Years’<\/em>, and German rockers\u00a0Emil Bulls<\/strong> expand last year’s ‘Love Will Fix It’<\/em> record.<\/p>\n

If you’re looking for a fill of hardcore, you can check out new releases from\u00a0Day By Day<\/strong> and\u00a0Shutdown<\/strong>. While Drop It First<\/strong>‘s ‘Fundamentals’<\/em> thrives with an abundance of skate-punk energy.<\/p>\n

\"dear<\/p>\n

Dear Seattle – Toy<\/h2>\n

Having made a splash in their homeland of Australia with 2022’s ‘Someday’,<\/em> Sydney outfit\u00a0Dear Seattle\u00a0<\/strong>goes through creative maturity on their third outing – ‘Toy’<\/em>. However, that doesn’t mean their knack for delivering anthemic Aussie indie-rock has disappeared. Far from it, the quartet have paired a reliable sound with introspective lyricism.<\/p>\n

Thoughtful songs on themes such as self-doubt, grief, loss, personal recovery, and being honest thread\u00a0‘Toy’<\/em> together.\u00a0Early on,\u00a0‘Promise’<\/em> hones in on the constant theme of navigating relationships. Here vocalist Brae Fisher is guilt-riddled, taking the blame for making his relationship hit rock bottom. It’s supported by an uplifting brand of emo-rock, with big harmonies. Likewise, ‘Counting Hours’<\/em> ruminates on the harsh realities of love and the complexities of being in a relationship can have. It’s aided by a distinct hook of “love’s so sweet and I’m so sour”<\/em>. Songs such as the introspective pairing of ‘Courtney Love’\u00a0<\/em>and\u00a0‘Evergreen’<\/em> maintain the momentum with energetic and vibrant instrumentation.<\/p>\n

While\u00a0‘We Were So Close’<\/em> is drenched in nostalgia and regret as Fisher reflects on a friend who he’s grown apart from. It’s a relatable theme. We’ve all had that friend who we’d thought be by our side for years to come, yet as Fisher realises friendships become a victim of time.<\/p>\n

Even though the lyrical narration is concise, it’s not always executed effectively. Tracks such as ‘Sungazer’<\/em> and ‘Cut My Hair’<\/em> shine with anthemic quality on the surface but struggle to expand the themes of personal frustrations, coming off as repetitive. However the latter, along with ‘Elastic’ <\/em>and ‘Idc’,<\/em> allows Dear Seattle<\/strong> to lean into 90s alt-rock territory with a carefree approach.<\/p>\n

Despite Fisher’s songwriting being somewhat restricted by the introspective approach, it doesn’t hinder Dear Seattle<\/strong> from producing a satisfying collection. It flourishes through a persistent melodic vigour. While Fisher delivers plenty of hooks, he’s aided by his bandmates. Jeremy Baker\u2019s basslines provide a steady foundation, while Lewis Armstrong\u2019s drumming injects energy. Furthermore, Lachlan Simpson\u2019s lead guitar work elevates the melodies with texture and vibrancy.<\/p>\n

As songwriters,\u00a0Dear Seattle<\/strong> have matured organically. By pairing it with a driving and bright sound, ‘TOY’\u00a0<\/em>gives the quartet a strong foundation to build on, delivering a record with longevity and relevance.<\/p>\n

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\"Eidola\"<\/p>\n

Eidola – Mend<\/h2>\n

The idea of doing double albums always seems ambitious, no matter how diverse or grandiose a band’s sound is. However, Utah outfit Eidola<\/strong> seem to have the confidence to pull it off. After all, their back catalogue is littered with complex compositions. Add to that a tendency to use philosophy, theology, history, and literature as thematic influences in their dynamic brand of progressive metalcore.<\/p>\n

‘Mend’\u00a0<\/em>is the second part of a two-album arc. Part one,\u00a0‘Eviscerate’<\/em>, was released last year and emphasised Eidola<\/strong>‘s heavier sound, ultimately serving as the “darker” side with\u00a0‘Mend’<\/em> to be considered as its “light” counterpart. If you delve a little deeper into\u00a0‘Mend’<\/em>s themes, you’ll explore a deep-rooted lore that stretches back to the beginning of their discography. This conceptual depth is reflected in the band’s sonic landscape. Yet, newcomers won’t feel alienated by the colourful sounds that sees Eidola<\/strong> deliver on the promise of being “light”.<\/p>\n

‘Prodigy’<\/em> is breezy and spacious with a carefree groove that allows accessible melodies to shine, giving it a plucky trap R&B tone. Throughout frontman Andrew Michael Well displays silky vocals that are complemented by kaleidoscopic instrumentation. Tracks such as\u00a0‘Empire of Light’<\/em> benefit from the frantic fretwork of guitarist Sergio Medina and Skylar Caporicci, and Matthew Hansen’s vivid percussion.\u00a0‘My Father’s House’<\/em> contains a sturdy chorus that elevates\u00a0Eidola<\/strong>‘s layered sound. While\u00a0‘Kaleidoscope’<\/em> guitars twist and turn around with dense urgency.<\/p>\n

For the most part, it makes for an admirable yet unspectacular first half to\u00a0‘Mend’<\/em>. Undoubtedly, Wells has the vocal chops to carry the soaring melodies on show. Whereas as a collective, there’s vigour and an abundance of talent involved. However, you can’t help but feel\u00a0Eidola<\/strong> lack a unique trait to stand out from their peers. Considerably, and somewhat purposely, ‘Mend’<\/em> suffers from the heavy punch that its processor thrived on.\u00a0‘The Faustian Spirit’<\/em> is one of a few moments where they thrive in bouncing heaviness, with\u00a0‘Godhead: First Temple’<\/em> also tethering to ignite.\u00a0In contrast, there are moments such as the\u00a0synth pulsating ‘What It Means To Be Alone’\u00a0<\/em>and the melodically soaring\u00a0‘Restore Me’<\/em> which prove to be ineffective.<\/p>\n

Despite their lore and lyrical and musical depth,\u00a0‘Mend’<\/em> is positioned to be Eidola<\/strong>‘s yin to ‘Eviscerate’<\/em>s\u00a0<\/em>yang yet lacks consistency. It questionably suffers from lightweight production that lacks a punch, and a tendency to explore clean, soaring melodies. However, the handful of noteworthy tracks have enough about them to make ‘Mend’<\/em> more than an epilogue to ‘Eviscerate’<\/em>.\u00a0<\/em><\/p>\n

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\u00a0What is out on #NewMusicFriday?<\/h2>\n

The Maine – Dyed
\nDear Seattle – Toy
\nEidola – Mend
\nTigress – Are You B-O-R-E-D?
\nNever Home – Beautiful Years
\nPitter Patter – Kraken at The Seams
\nEmil Bulls – Love Will Fix It (Deluxe Edition)
\nColdstate – The Heinous
\nDay By Day – Dust and Ashes EP
\nShutdown – By Your Side
\nDrop It First – Fundamentals
\nShedfromthebody – Whisper And Wane
\nSarcator – Swarming Angels & Flies
\nLilac Kings – The Weight Of Things
\nGrave Digger – Bone Collector
\nBlood Lemon – Petite Deaths
\nCKRAFT – Uncommon Grounds
\nDecultivate – Decultivate
\nMarlaena Moore – Because You Love Everything
\nPigeon Pit – Crazy Arms
\nThe Aurora – Dalton Minimum
\nH\u00e4xkapell – Om jordens blod och urgravens grepp<\/p>\n

If you think I’ve missed something or have a new album\/EP\/song to tell us about, tell us about it here<\/a>.<\/em><\/p>\n