Week in Pop: Chains of Love, Happy Noose, Indyns

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Presenting all the goodies this Halloween season didn't treat you with, Impose's Week in Pop has got you covered. Loaded with some of the freshest sounds and visions from today's hottest headliners, we first give you a quick look at the top stories from the pop culture journal hubs. As we continue to mourn Lou Reed in our own respective ways, we had Kim Kardashian and Kanye West taking out a lawsuit against the co-founder of YouTube for posting the power couple's over-the-top AT&T Park proposal in San Francisco, Dave Grohl, Jack Black, and uh, Val Kilmer made their own joke band called Sweetriver and the Huckleberry Dogs, while The Killers frontman Brandon Flowers told the Sun that “America is retarded musically”. Amazing as all this is, let us introduce you to some of the week's top artists, premieres, discussions, and media, in no particular order.

(Chains of Love's Nathalia Margot Pizarro, courtesy of Michelle Ford)

Vancouver by LA's Chains of Love have anchored their sound through their passions in the modernist pop songbook hymnal. Lead by Nathalia Pizarro, she is joined by Felix Fung, Richard Gottehrer, and Alonzo Vargas they make music like ghosts of LA past and present with a world spanning palate. With a first listen to their upcoming Misery Makers Vol. 1 EP, invitations of love and hate are played out in a musical soap opera set on the Sunset Strip. Opener “Come And Play” keeps the alive the spirit of when the brass belt was all around LA. The ska sceness from the frat housed hordes, legends from the LBC, and the beginnings of the Gwen Stefani cult, to numerous indie upstarts have contributed to the current state of everything between Sunset, Echo Park and almost everywhere else in LA. “Pretend” moves in these similar ways, in a manner that brings to mind thoughts of smoke filled night clubs held over from the other century. Departing from those previous conventions, “Enough For Tonight” pushes through with an ambition that seeks new structures, and to shatter the ceilings of limitation with parting glances and doorstep pecks.

“Follow Me” takes off on a quick footed rhythm, that turns the table on the causers of misery with an upper hand. As Felix Fung's guitars turn into an assemble of metallic forged weapons, Nathalia goes into the memorable offense with the chorus repetition of, “you don't see me, but I see you, and you don't know me, but I know you”. Bathed with the feeling of a restless Sunday morning, “Sugar” tosses and turns with desire and the immediacy of reiterations of, “I don't want to sit around and wait, anymore”.

We had the opportunity to talk to both front woman Nathalia Pizarro and Felix Fung about the new Misery Makers Vol. 1 EP song for song, and their creative fondnesses for The Jesus and Mary Chain, Serge Gainsbourg, The Velvet Undeground, and more from the modern western musical canon.

“Come And Play” feels like an indie LA take on the 80s underground. What were some of the playful creative experiences that contributed to this opening number?

Felix: Actually not much to do with the 80's or LA. The song itself was an ode to the Velvet Underground's Loaded as well as 60's British freak beat. It's about seeing how all these various genres and eras actually have so much in common. The intro was a take on A Hard Days Night, which then led to the repeated solos a la 'Taxman'. We steal.

Love the horn section on “Pretend”, was this a conscious decision to bring in the big brass guns as a way to create something visceral and knock out the superficial.

F: I'm not sure if it was that hi-brow. The last record the horns were done with fuzz guitars. This time around we wanted a wider range of tones. We're not afraid of horns. If the part sounded like horns we tried to use horns. If it sounded like strings we used strings. It was fun an different. Just trying to change it up.

What are the virtues of say knowing your limits on everything from consumption and excess planning. like on “Enough For Tonight”?

Nathalia: 'Enough For Tonight' was a weird one. We never plan for anything- I watched the band write the music in about an hour and tried to keep up. It was a very complex song to put melody against because there really isn’t a chorus or verse structure. It’s safe to say It’s a little bit of an excessive song in terms of chord structures and instrumentation- we kind of went to town on that one. It’s probably my favorite on the album.

How did the rave-up of “Follow Me” become such a dense and massive production?

F: I like big dense productions. The end seemed perfect for layering. We wanted it to swirl. It's very shoegaze as is the rest of the album. Any chance we got to make it bend and swirl and go psych, we took. That's a perfect example of our 60's influences smashing up against 40 yrs of rock and roll. It has elements of JMC a well as Psych. The big strings were inspired by Serge Gainsbourg. The whole album is an ode to the things we loved. We realized pretty quick that there is a direct thread from Specter to VU to JMC etc.

And then how do you balance your upbeat dancer and rocker tracks with the xylophone toned closer, “Sugar”?

N: Hahaha we didn’t plan on balancing anything. We just wrote it. Felix started playing the guitar and I started singing.

What can you tell us about the March slated release for the follow-up EP, Misery Makers Vol. 2?

N: Vol. 2 will feature 6 songs. It goes into some uncharted territory for us sonically. For example songs like 'It’s A Shame', and 'Won’t Be Mine', are referencing some early Stones and Rundgren, which were a very big influence on this record. A lot of those songs are very personal to me and for a while battled the idea of even putting them out. So we’ll see I guess…

Will there be a Misery Makers Vol. 3?

F: Nah. We're at a different place now. There will be new stuff. But As Nat mentioned it was a time in our lives. We're always changing an moving forward. We get bored easily. We want to change for every album.

Why Misery Makers and not say, Happiness Makers? Is it because makers of happy feelings are not as interesting as they misery causers?

N: Misery Makers was originally a poem that Aileen Bryant, a long time collaborator wrote, that we turned into the title track. After we wrote the song, it kind of turned into a theme song for me. I thought that titling the album Misery Makers was evocative of that period in my life.

Favorite things about Vancouver as of late?

N: I am not too sure…… I’ve been spending a lot of time in LA. We’ve been on a very hectic tour schedule for the past 2 years so I have been taking a much need break in the California sun. I will be returning to rain city in December to meet up with my guys and start gearing up for the Misery Makers tour. Did I mention I love my band?

Misery Makers Vol. 1 will be available November 5 from MANIMAL / Light Organ.

Happy Noose takes on an unreleased nugget from Joy Division's Mancunian vault of unreleased songs, with “Pictures in My Mind”. Having just released their album Amagosa, Olympia's Timothy, Ryan and John bring some grizzly Warsaw era vibes with an inspired cover from Manchester's classic gloom cloaked reapers of influence. Brought while the Halloween 2013 vibes are still fresh, the mental pictures that HN bring are birthed from the nocturnal, “night time is the right time” ethos, with the sneering “take it down, take it down” chant with flannel shredding guitar saws.

Taking the song down to it's core as the dreams fade away, “Pictures” rearranges the audio albums from the post-punk that informs us why we still continue to care about that late 70s epoch. The three chord approach always taught us how rock and roll symphonies can be created by the fine-tuned art of projecting low brow sentiments of dissent, disaffection and dystrophy. As Joy Division and others have shown us beforeand again, the inner menaces of alienation, isolation and more are best tamed by the might of minor chords. And while these styles have certainly evolved, every artist who pays homage to these past sound portraits applies their own unique mark and signature.

Timothy Grisham of Happy Noose talked with a few days ago about getting introduced to Joy Division in diner booths by 'clove cigarette smoking goths', the adaptation process, and the nature of how various music informs the creative process by happenstance.

Given the Washington weather gloom we hear about, what inspired you all to roll with the Happy Noose moniker?

You know, the funny thing is I don't really think of Washington as a particularly gloomy place. As we speak I've been experiencing one of the most beautiful falls I have ever experienced, be it in New York, Los Angeles or Olympia.

When we were thinking of band names we made this big list of names and the only real criteria is that we didn't want the name to be a clear 'genre' name, a good example would be Thee Blah blah blah for garage, or whatever, every member of the band had a certain number of nixes that they could make and somehow, out of that process Happy Noose never got eliminated. Looking back were there better names on the list, in my opinion? Yes! But we set out to have a very deliberate and democratic process for the name. How the name
got on the list is a whole different story.

John is a fan of the midwestern-by-the-way-of-Scandanavian brand of pun humor; and I used to have this milk carton for Hopalong Cassidy's “Hoppy Favorite Milk” that the lettering was in this beautiful lasso lettering. Sitting there one day I just put Happy Noose on the list as a nod to the two, Happy News, Happy Noose. In the end the name simply made it through a level of group censorship and floated up.

Everyone enters through the Joy Division gate through their own unique and individual experience. How did you all first discover the joys of Joy Division?

I remember seeing 'Love Will Tear Us Apart' on MTV late one night probably in 1989 and the stark video was etched in my mind. A couple of years later I went down the Joy Division rabbit hole how a lot of people of my age have; by hanging out with clove cigarette smoking goths in the back booth of a diner. This is all pre-internet – so that sort of interaction was kind of this odd 'handing down of knowledge' sort of thing, very exclusive and judgmental in a way; much less democratic than teens these days. As a punk the band spoke to me at the time in a way that the more aesthetically nihilistic punk bands seemed to no longer be capable of, although that sort of dialog ebbs and flows.

How did you come across the lesser known “Pictures in My Mind” track?

I had the track on a Warsaw, the early version of Joy Division, bootleg. The original is really jammy and ramshackled, but I loved the lyrics and the real dark tones of the recording.

What was the process like in adapting, “Pictures in My Mind” to fit the Happy Noose sound and treatment?

It is much different than writing your own material, and frankly it is the only cover this band has tackled to date. We wanted a more jarring song. One where certain friends and music fans would know from name or even lyrical content, but not really be clearly able to pinpoint, a song that you could discovers something wonderful and new about something you already fell in love with.

We didn't want it to be too close to the Warsaw track because it was so jammy and way outside of what we were. I also didn't want to arrange it with any real bridge. So it is a simple jagged song, verse/chorus, verse/chorus, outro. Also, I really didn't want the lead guitar woven through the song, and just in the end in a fit of noise and discordance – a little closer to what I imagined would be a good fit for the origin of the song. The original is very hard to follow so we took the main riff from the rhythm section and lifted the clearest idea of the lyrics we could get out of it. Incidentally around the same time we were working on this Peter Hook rerecorded the song for his project The Light.

Apart from Joy Division, what things do you feel were heavily informing the recording of the Amagosa EP?

The main thing that informs the recording of Amagosa is our shared love of music. I am a music writer myself, and have thousands of LPs – no hyperbole. Both John and I worked in record stores, and Ryan is a huge collector as well. So you have this really great shared language to work with and a lot of the process because very unconscious in the decision making. Another thing that shaped the recording of Amagosa was working with a producer with a very unique sound of his own, Tim Green.

I think there is a big push to ask bands about influences, which is why I am very glad you used the word inform – it is more part of the process. I really don't thing we set out to have a particular influence; and to a large
extent I think that that sort of conscious decision making is a myth for bands not concerned with music as commerce. If we did have influences in the music journalist sense I don't think it would be someone like Joy Division. A lot of that is happenstance. Yes I love the band, but it isn't like Ryan sings low because of that, it is his natural voice – he never sang in a band before so this is what is in his comfort zone. Of course it is an easy
target to point to, we cover their song, and are a darker version of pop -but for the most part I can't cite them. I can't play guitar like Bernard Sumner nor would I want to.

I can only really speak to my abilities as a guitar play and a songwriter, and not Ryan or John. But the things I love musically: guitar players like Rowland S. Howard or Richard Lloyd, I don't think I could ever replicate. Nor do I think I can write lyrics like Lou Reed [R.I.P.]. So I don't try, the one real good thing I have learned being in bands in the last two decades is to not care about being something I'm not and to follow my own exploration. It is much less frustrating and more gratifying that way, and maybe that's why we don't do very many covers – I don't know.

What can you all report from the indie scene frontlines of Olympia, as of lately?

You know Olympia has changed a lot over the last decade. I am sure that perception will differ; it's kind of in the eye of the beholder. But I can say that there are SOOOOOOO many bands. You got to think the city of Olympia only has about 50,000 people. Think about how small that is compared to the musical output – the good musical output that gets attention on a global scale, it's astonishing. The thing about contemporary Olympia is there are so many little “mini-scenes”. The K Records scene is entirely different than the Perennial Records scene, or the Rvivr bands, or the garage bands. They are all these tiny pockets of resistance that make up a bigger identity as a hole. This is nothing novel to someone in a big city – but take that formula in a town like, say Medford, Ore. or Troy, NY it's kind of intense.

What's the next move for Happy Noose?

Happy Noose has a second EP from the same session as Amagosa, “Haunted” which will come out early next year. We are currently working on a full-length with frequent collaborators and friends like Derek M. Johnson, You Are Plural's Jen Grady, and Jon Hanna from Broken Water. We are recording with Matt Buscher in Olympia. In Feb. we are doing a mini tour of Canada and the northwest. In March more west coast dates leading up to SXSW. So it really is a good winter for us to focus on the recording end of things before we start hitting touring more.

Amagosa is available now via Bandcamp.

Brooklyn's Indyns are the creative duo of Billy Muncy and Ron Boling, who are proud to bring you the premiere of their new single “How Did We Get From Sex to Gambling”. Fresh from a CMJ appearance at Passenger Bar, the group has found themselves tightening up as a two piece that makes music for midnight conversations and aimless, endless car rides into the thick of night. The drum machine begins first, thus propelling the first wave of synths and looping guitar riffs. As more keyboards join in on the action, Billy adds vocals moaning with utterances of urgency to the electronic aura that him and Ron keep in a state of constant dynamic tension.

The lustful hormones of “HDWGFSTG” are bridged by the 80s dance night leanings and bedroom ballets. The percussive rhythm cuts up the carpet down to the ballroom wooden floors by the key to chord companionship. The vocals steal the song away from the dance floor's soft ear whispers to the far off corners of the club, or clandestine destinations of undisclosed locations that involve the utmost discretion of undisclosed loverly pairs.

This week we caught up with Billy and Ron to talk about their new single, “How Did We Go From Sex to Gambling”, sex and floor poker, band histories, bonding over Deftones, and more.

First, how did you two meet?

Me and Billy met in high school. I had just gotten heavy into napster music downloads and found all these Deftones B-Sides and Team Sleep demos and had made a cd of it. I didnt know anyone else in my shitty
little high school in rural Arkansas liked the Deftones. Then I see Billy in a Deftones shirt and I gave him the cd. We have been friends ever since.

How did Indyns become an audio thing?

Indyns has been an ever changing organism for a long time. We have finally found the right line up of songcraft and also live support that we need to make the music we want to make.

What inspired the combinations of indy and Indians amalgamated together?

The name was coined by a bygone member but it just stuck.

What drove the synth-scapes of Teen Night?

Teen Night is the product of a big line up change in the band. Me and Billy had been uphappy with the direction of a lot of new material and started writing demos in my bedroom. We had to figure out how we would tackle new material with only two members. So the synth made that easy. I also bought a loop pedal that can read the midi clock from a master device. So our stage show looks simple but there are a lot of complications that could happen with relying on a pedal as a full fledged member.

So we got to know the story behind the song, “How Did We Get From Sex To Gambling” and the story about the song's name.

'How Did We Get from Sex to Gambling' is about a relationship that has been going on for too long. About needing to break it off and being too timid to do so. Billy came up with the name after he and his girlfriend had sex and then almost instantly started playing poker on the floor. He brought the title to me and it fit.

What is the connection between sex and gambling? Are these problems in the group? Histories of these problems?

Sex and gambling are both fun. Thats all I have to say on that.

Thoughts on the current affairs and state of the Brooklyn scene?

Brooklyn is awesome. Brooklyn is also in a bubble right now. There are sitcoms on TV about police precincts in Brooklyn, and an HBO series about being young in Brooklyn. It's a great and creative place, but as the scene goes here I think its like anywhere else, just juiced to the maximum. I'm just scared the bubble will pop.

What are Indyns forecast for 2014?

Indyns in 2014? Release some music. Play some shows. Make some money.

Listen to more from Indyns via their Bandcamp.

The Landing made it safely along the course of our privately operated tarmac, launchpad and heliport to give us some pleasant piano alliterations with the single, “Strange Charm”. One of the strangest charms on this song is how the piano on it's own natural note progressions proves to be one of the secret weapons on this track. The percussion is minimal, and sometimes almost seems to disappear into the dense sky sphere of the piano to vocal air that is created like the conditioning machines that are fastened to Brooklyn windows, leaking an audio coolant onto the pavements and gutters. This track is yet another testament to the expanses from the apartment crafted music that is representative of that Fatboy Slim dubbed adage, Halfway Between the Gutter and the Stars. And you will be hard pressed to find this kind of organic made vehicle to explore space-bound sounds that maintains a reflection of our own cycles of existence, “a star is born, and then it dies”, from interstellar song craft made from an asteroid piano rain of keys. Keep an ear out for more coming soon from The Landing.

We were able to track down the elusive, and semi-mysterious individual behind The Landing, where we discussed the music in terms of 'geeky subatomic particles', while our flight metaphors were only somewhat tolerated.

What were the events that brought you to the cool, sound coasting descent into the jet sailing project, The Landing?

The Landing is a platform for me to get outside of the acoustic and orchestral world I spend most of my days writing in. This along with my interest, and the recent resurgence of public interest, in the sciences and the study of the universe is where I look to for inspiration.

How has Brooklyn inspired your approach to recording, and surrounding sound influences, if applicable?

Just that Brooklyn harbors a culture of people doing, acting, and creating in the way they see fit. Only when people feel free to express themselves without inhibition do they create real inspiring work.

But why The Landing, and not The Takeoff? Why does the landing mean more than the ascension do you think, if you don't mind this flight metaphor?

I don't mind the metaphor, but The Landing is not really about flight or space or whatever. It is not meant as a fan club for the universe. Rather I'd like to write songs about how incredible the human being really is. Space and space exploration are the best exemplifiers of that, and where we find ourselves at our most innovative and audacious. Yes there are lyrics about stars and a lot of space imagery, but The Landing is grounded in humanity first and foremost.

So let's talk about “Strange Charm”, and the beautiful piano scales that bridge your mellow percussion together. What were the strange charms of it's inspiration?

'Strange' and 'charm' are two 'flavors' of quarks, geeky subatomic particles. Considering the song touches on the themes of ambition and what we're made of, I thought it fitting.

And why that baby grand acoustic piano sound when you could have all the most bleeping synth settings? What is more evocative about the classic piano sound than anything else?

The piano is only 300 years old, when you consider that humans have been around for nearly 200,000 years the piano is just as new as any synth sounds being used today. Okay fine, in all 'seriousness”, and in complete contradiction to the previous sentence, the fact that a track can feature an instrument almost as old as the tradition of western music itself and still sound modern or 'spacey' means the piano has a long way to go before it sounds tired or dated.

Watch this site for more sounds coming soon from The Landing.

Helping out the Southeast Indian kids, The Everything Is New Project consists of Jarvis Cocker, Irvine Welsh, Owen Pallett, Jamie Stewart, High Places, Deerhoof, Gang Gang Dance, Four Tet, Califone, Capybara, Taken By Trees, Marram, Rustie, Alexander McCall Smith, Margaret Bennett, Julian Lynch, White Hinterland, amongst others. Voices from Light of Love Children's Home are on the discs Sun Choir, and Boats, helping to inspire and uplift the next generation through audio and visual arts in the face of numerous uphill struggles. Check out the site for more info.

FLASH/LIGHTS just dropped the new track “Haunt Me Forever” in honor of Halloween, where Ethan Converse gave us the full warning of, ” it's a bit darker…” The best cult films of the 80s are brought to new synth jumping spirits, where sinister dance sequences from gymnasiums to derelict clubs become lit up in an array of halogens flashing in the most neon cadence glow of colors.

In time for the Halloween season, your Florida favorites the Raider Klan dropped a stream of their new album, Tales from The Undeground, available now from iTunes. Get ready for the crew that includes the notorious SpaceGhostPurrp rolling deep with Amber London, Yung Simmie, Ethelwulf, Denzel Curry, Key Nyata, Jay Green and Chris Travis.

Magik Markers draw a furious ball of primal rage in the video for “Bonfire” off the album, Surrender to the Fantasy, available November 19 from Drag City.

Typefighter dropped their video for “Much”, that takes off on adventures of young imaginitive heroics in the land of suburbia. Find this on their upcoming album, The End of Everything.

San Fermin gave us a look and listen at “Sonsick” performed live From the Advent Lutheran Church in NYC. Captured here by Fortune Films, the orignal can be found on San Fermin's self-titled available now.

MondreM.A.N. of Main Attrakionz is going to release his solo album They Say I Struggle Rap November 12 from SWTBRDS, and this week he dropped the Tim Jieh video for the Al Jieh produced cut, “Intro Sh*t”. Keeping the candle glowing, hear and see why Mondre remains one of the best in the next level rap game. Big ups to North Oakland, always.

Fresh from the Joyful Noise release Lanterns, Son Lux dropped the Jessie Ryan video for “Lost It To Trying” where the dance duo of Frances Chiaverini and Will Johnston enact the lyrics and beat abstractions with swift, interpretive motions of decisive and quick body-work.

A Million Billion Dying Suns covers the Shuggie Otis eternal classic, “Strawberry Letter 23”, that wraps it in washes of beautiful, unrelenting, but reigned in noise; glorious noise. Check out AMBDS in SF, Sunday November 3 at 1428 Fulton Street at 1pm for some backyard heavy shredding and a river of beer.

Courtesy of Circle into Square and Rickolus, get an exclusive listen to his brand new double disc Troubadour. Begin first with the Towns disc, that takes you through the eclectic city.

The second disc Roads from Rickolus's Troubadour double header brings the connecting channels concocting what seems like a wellspring of infinite inspirations and excitement.

Listen to YACHT's remix of “Right Home”, originally found on The Julie Ruin's new album Run Fast. Listen as your favorite riot gal Kathleen Hanna gets backed up by some extra dance beats, just in time for the weekend.

Kye Kye dropped the Salomon Ligthelm video for the electro pop honesty of, “Honest Affection”, from their January 2014 slated album, Fantasize.

Quelle Chris ghosts it to the finishing marker with extra analogue keys on the Mello Music bouncy single, “Ghost At The Finish Line”.

Get a look and listen into the dance pop serenities of endless sky from My Midnight Heart's “Chest of Hearts”. The waters that reflect the evening sky are provided by Puerto Rican talent Angelica Allen that crafts synth hooks that hinge on late night vocals. Catch her November 4 at Glasslands for My Midnight Heart's EP release show, and November 10 at NYC's Ace Hotel.

Say and see what's happening with Lyrics Born and Lateef of Layrx with their new track, “Watershed Moment” that features The Gift of Gab and production from tUnE-yArDs. Find this and more on the long awaited The Second Album available November 5.

HTRK will release the Poison 10″ that features a remix from Mika Vainio November 4 from Ghostly International, with word of a third album to come in 2014. Check out the video from Laure Prouvost, that presents fish swimming in a pool of sparse and haunting beats.

Factory Floor remixes Worlds End Press cut in a blistering blend of beats, “To Send Our Love”, originally from their Liberation Music self-titled.

Let Beachwood Sparks tale you into the psych-beach-party-happening of, “Watery Moonlight”, from their forthcoming album Desert Skies available November 26 from Alive Naturalsound.

Check out the Strike Anywhere video for Islands' “Wave Forms” off their new album Ski Mask, where you get to root for rollerskater Cory Zacharia as he skates his way through Lancaster, California.

Snakadaktal's Sleep in the Water is available now, and they dropped the full bod workout video for “Fall Underneath” directed by Dimitri Basi. We're talking the slickest bathing suits, cat fights, and more beauty to accompany the hot and smooth audio grooves.

Check out the performance video from Heath Franco for Yes I'm Leaving's “Four Chorder”, that chugs off their recent album Mission Bulb album from Tenzenmen Records.

L'Orange & Stik Figa dropped their Billie Holiday remix of “Before Midnight” that features Rapsody & Castle. Fresh off the release of The City Under The City from Mello Music Group, unpeel your ears as echoing past you are fragments of the past blasted forward at a lazer's speed of light.

Wax Fang covers The Misfits “Halloween” in the spirit of the pumpkin carving season, as they prepare to release The Astronaut sometime soon in 2014.

Off Total Slacker's LP Slip Away available February 2014, the Slackers bring the Halloween horror flick camp in their Norris Guncheon video for “Sometimes You Gotta Die”.Get heavy, and keep your Halloween celebration rolling.

Costume up with Tele Novella and their Jack D. Fleischer video for “Don't Be a Stranger” that goes trick or treating around Austin.

Connan Mockasin shares one of the first listens to his Mexican Summer album Caramel, available next week, November 5. Let everything from the title track surround you like an underwater, lo-fi universe of endless possibilities. Read our interview with Connan here.

Also fresh off their Mexican Summer self-titled release, Happy Jawbone Family Band keeps it happy and kinda hilarious with their Army of Kids video for “Everybody Knows About Daddy”.

Shot in Paris, France by the FlowMotion Production AudioVisuelle; Detroit's Clear Soul Forces dropped the video for “Continue” off their new album GoldPP7's available now from Fat Beats. Big up yourselves, CSF, and the whole Detroit massive. Much respect.

Peep the ghost dances, neu-tribal pop interludes in Tierney Gearon's video for Lucy Schwartz's “Ghost in My House”.

Le Trouble's debut EP Reality Strikes will be available November 5 from Lava Records, and this week they rang the earth shaking reverberations with “Mission Bell”.

Topshelf Records just signed Gainesville, FL frame-smashers Frameworks who are preparing their first full-length for release in 2014. In the meantime, get weird and wild to Small Victories.

Painted Palms dropped the synth spinning indie pop of “Spinning Signs” ahead of their forthcoming album Forever, available January 14 from Polyvinyl Records.

If you haven't already, grab a listen to NYC's Black Black Black who bring the darkness with their self-titled that chases away the sunshine.

Fresh from Yancey Boys' Sunset Blvd album from Delicious Vinyl, with Illa J keeping his fallen bro Dilla J's legacy alive and well with reconstructed tracks, with some help from Common and Dezi Paige on the track and video,”Quicksand”.

We were late to this Swedish cello pop party, but I have to admit that I've been smitten by Linnea Olsson's punchy piece, “All 4 You”, off her January 21, 2014 slated album AH! from Götterfunk Productions. Spastic and sparse, whimsical and witty.

Before hitting up the East Coast, Far-Out Fangtooth goes “Beyond Your Bones,” in the visual taken from their Siltbreeze album, Borrowed Time. Read their Selector feature here.

Check out Obliterations obliterate everything in the intense stock footage-fatale from Rick Charnoski in the video for “Wage Slaves” from their Outer Battery Records self-titled 7″.

Hit play on the cassette player, and a get a listen to Sore Eros & Kurt Vile's “Jamaica Plain” off the EP of the same name available November 4 from Care In The Community Recordings. The sentimental guitars match and meet the beats for a therapeutic experience.

Angus Borsos directs Julia Holter's video for “Horns Surrounding Me”, conceptualized by Holter's buddy Nite Jewel and taken from the new Domino disc, Loud City Song. Let the horns and surrealistic spirits surround you here.

Woods' Kevin Morby will release his solo album Harlem River on November 26 from Woodsist Records, and we got the trailer with plenty of river flowing vibrations.

With the CSFLY Remixes out now on Warp Records, get into the tenured tempos of DJ Koze's remix of Mount Kimbie's “Made To Stray”.

The Entrance Band brought the rock and crawl of “Spider” off their forthcoming Face The Sun available November 19 from Beyond Beyond is Beyond. Look them on tour with Mazzy Star through November 10.

Blanche Blanche Blanche brought the killer cut, “Grey Pet” from their November 5 slated album Breaking Mirrors from Wharf Cat Records.

Butcher Knives are hitting up Pianos, NYC December 21 and brought their old timey hootenanny of, “Tell Me Why”, off their forthcoming disc Misery available February 18, 2014.

Andre Nickatina dropped “The Banger” and slapper that features J. Stalin, Lil Blood, and June. Bump this to get the trunk rattling now, found of Nickatina's recently released self-titled.

The Golden Furs dropped the track runner, “Run Back”, that kicks it in four-quarter beat time off their debut EP, Strand.

LA Font brings the tile track of “Diving Man” from their upcoming November 19 slated album of the same name, from New Professor Music. “Pass the cheap tequila” to frontman Danny Bobbe, as he keeps the daring and diving attitudes howling at the moon, with memorable lines such as, “I've got a job that pays me if I show up clean shaven with two strong arms and a thoroughly bitten tongue”.

Juana Molina dropped the alchemistic Mario Caporali music video for “Eras”, from Buenos Aires with love off the album Wed 21 available now from Crammed Discs.

And from our friends at Sensual Harassment, get a look at their archival film video pastiche for “Creature Feature”. The possessed keys get caught up with images of the frightening and suspenseful that keep the electric dance mode in the tune of strange. Upon reception of the new SH video, Todd harassment explained the visual treatment to us in the following words:

“It’s an old school monster-mash-up with some great B-rate ghouls from back in the day, accompanied by an eerie dark disco tune that sounds like an icy Giorgio Moroder under demonic possession.”