THE GRAND – Incapacitated, Ill Fated and In Love

THE GRANDThe Grand’s 2015 full-length debut ‘Incapacitated, Ill-Fated and In Love’ pushes the band’s brand of indie rock into the dusty corners of the psyche, often setting out as much to unnerve as entertain. Such an appropriately named album: the ten tracks take the listener through states of confusion, denial, anger, spite, heartbreak and more general upset in about forty minutes than most could ever manage. From a musical standpoint, experiencing this album is like hearing Arcade Fire dropping in on some of the bleaker themes from John Grant and Richard Thompson’s lyric books…and it’s bloody great.

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NORMAL FOX – The Boy Who Couldn’t Change Anything EP

normal fox epWisconsin’s Normal Fox bill themselves as sounding like “the best summer you ever had”. The music doesn’t always instantly have a summery feel, but there are times throughout their 2013 EP release ‘The Boy Who Couldn’t Change Anything’ where the four musicians sound like they’re having a fantastic time playing music – and that in itself is probably enough to justify such claims, no matter how you’d personally choose to soundtrack your own (hopefully) sun-filled vacation time. On the surface, they sound like just another alt-rock/emo band, but as these five songs clearly demonstrate, at least one member of the band has broader musical interests than first appears.

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PLASTIC RHINO – Recondition EP

plastic rhinoUS alt-rockers Plastic Rhino mean business on their second release ‘Recondition’, as they celebrate a trashy hard rock sound with a nineties slant. Bringing back riffs from a (mostly) pre-grunge world, there’s a retro quality, though surprisingly, given the potentially disposable feel of some of the material, there’s a defiant steering away from the more obvious glam roots. Each track is loaded with a tough riff and often a strongly suitable melody, but those riffs are rarely pivotal in making Plastic Rhino’s material hit with a sizable punch, it’s never really Jack Glazer’s guitar playing that leaves an indelible mark. His playing is rhythmically solid without any hint of flashiness, for it doesn’t need an overt flair; the winning factor throughout these seven songs is frontwoman Atara Gottschalk (ex-Luxx), a performer who approaches each performance with consummate ease, whether called upon for something gritty, slightly unnerving or a more obvious rock wail.

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