34 Great Records You May Have Missed: Spring/Summer 2022 – Pitchfork

Listen: Bandcamp | Amazon | Apple Music | Spotify | Tidal

S.G. Goodmans songs make urgent, messy shapes in air. On Work Until I Die, the Kentucky-bred singer-songwriter yelps about gutted unions and wage slavery while her band pushes the downbeat like a golden retriever straining its leash. On When You Say It, she mutters "don't call me honey, it dont mean nothing when you say it" as if she were trying to bite through the song itself. Goodman may come from roots rock, but her music's live-wire unpredictability means she's at home nowhere: in her best and most vivid moments, she leaps across the yearning distance separating Waxahatchee from Lucinda Williams.Jayson Greene

Listen: Amazon | Apple Music | Spotify | Tidal

S.G. Goodman: Teeth Marks

Japanese city pop was more than a decade old by 1991, when Shoko Igarashi was born, but the 31-year-old Berklee graduates music is so faithful to the recently revived genre that itd be easy to mistake it for the real thing. Her solo debut, Simple Sentences, is a cheerful tour of vintage sounds that sparkle as if they just came out of shrink wrap: glassy FM synths, rubbery slap bass, cryogenic faux woodwinds. Dreamy downbeat jams like Comfy Place find a halfway spot between Flat Earth-era Thomas Dolby and Detroit techno, and while the albums release on Tigersushi places it in dialogue with a broad swath of contemporary electronic dance music, her jazz training shines through in her dazzlingly unpredictable chord changes, which are less Berghain than Burt Bacharach. Philip Sherburne

Listen: Bandcamp | Amazon | Spotify | Tidal

Shoko Igarashi: Simple Sentences

On her 2020 album Mi specchio e rifletto, Italian violinist and composer Silvia Tarozzi explored motherhood and uncertainty through the poetry of Alda Merini. For Junes Canti di Guerra, di lavoro e damore, she linked with cellist Deborah Walker to reinterpret the traditional work songs of women rice planters in rural Italy. They sing in joyful, dense layers and dive into open spaces; it often sounds like theyre on an infinite feedback loop, each finding thrill and inspiration from the other. Walker and Tarozzi highlight the under-acknowledged creativity and virtuosity of women working together. Allison Hussey

Listen: Bandcamp | Amazon | Apple Music | Spotify | Tidal

Silvia Tarozzi / Deborah Walker: Canti di guerra, di lavoro e damore

Skullshitter, a New York-based trio that plays vicious, full-speed grindcore, are here to challenge your assumptions about hallucinogenic drugs. Forget blissful jamming, swirling colors,and the interconnectedness of the universe: their debut album, Goat Claw, represents the darker side of the experience. A 16-song, 35-minute blast that samples liberally from the 1987 supernatural horror film The Gate, the music bursts with broken-motor riffs, Satanic imagery, and gory, surrealist visions of death. And while song titles like Doing Drugs With the Devil seem to embody the whole story, Goat Claw is the type of bad trip you need to experience yourself, all the way through, to fully understand. Sam Sodomsky

See the original post:

34 Great Records You May Have Missed: Spring/Summer 2022 - Pitchfork