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Snuff Returns with 5-4-3-2-1 Perhaps?

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Snuff returns with 5-4-3-2-1 Perhaps? after almost a whole decade. The Snuff of days past is still here, mostly in spirit. The band has revamped their sound to such a degree that the resulting album is calculate and well-curated.

The band hits the ground running with the first five tracks, totally relentless and fresh. From “In the Stocks” to “Rat Run,” Snuff casts off the hints of pop-punk that ran rampant from 2001-2003, the right amount of brass peppering tracks here and there and harmonies that harkens back to late 70’s punk.

“EFL” is a nice foray into the 60’s bubblegum/psychedelic pop sound, a fun twist on genre. “Mary Poppins” is a standout of 5-4-3-2-1 Perhaps?, with a great melody and unusual but sense-making lyrics Imagination had the better of me/’cos it weren’t Mary Poppins/and it weren’t E.T.

“I Blame the Parents” and “All Good Things” bring the album to an intense close, the latter being another great display of memorable, building instrumentals. But that’s not all! Snuff provides the lovely gift of acoustic bonus tracks of “In the Stocks” and “EFL.” The stripped down take on the opening track adds harmonica in lieu of brass and a spotlight on the vocals, making “Stocks” a great alternate version. The acoustic rendering of “EFL” brings it to a folky level, but still keeps the 60’s bounce intact. The bonuses are a nice tease—Duncan Redmonds did some acoustic material for Don’t Wake Up the Kids—hopefully more comes from Snuff.

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Transistor-on Takes “The Way Back Down” on EP

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Transistor-on calls their goods “fuzzed out reverb music,” and in the spirit of post-rock, EP The Way Back Down is full of that melodious texture and sensation. Recorded at The Cottage with Damon Moon, The Way Back Down is a mere four tracks. But those songs make a satisfying sampling of a band with a big future ahead.

Atlanta duo Joey Piersante and Chris Armistead offer up a hazy fugue state that is the blueprint for this coming summer, showing that they can run with the best of the lo-fi crowd with their unique rhythms and finger-picking. The minimalist use of instruments that whip up the dream poppy wall of sound succeeds in taking the listener in a layered, chill journey.

Tracks like “Calling Out” and “Solar Flare” are so catchy (the former with its title refrain; the latter with its main guitar melody), that they etch onto your brain and trick you into thinking these are songs that have been around for maybe 20 years or so already.

Reviewers are throwing out comparisons—and they’ll continue to—of Transistor-on to Explosions in the Sky. The similarities are there for sure; both bands share a genre, after all. But saying only “they remind me of Explosions in the Sky” overlooks the fact that Transistor-on are stepping out in earnest on this EP, sounding comfortable in their skin without being jaded. Plus, having smoky vocals on the tracks adds to the spacey miasma and mystery that serves as the overarching feel of the record. The singing on “Empty Planet,” for example, highlights the track’s slow burn into its rocking guitar-driven crescendo.

Though the last piece on The Way Back Down is called “Exit,” by no means is that a harbinger of the band’s future. Transistor-on closes with a sure-footed tapestry of distortion and crisp rhythm, wrapping up a consistent and skillful release that definitely marks their arrival.

The Way Back Down is available to stream on SoundCloud or for purchase on iTunes. The gorgeous photo cover by Richard Casteel.

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Muse “Drones” Review

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Emily Hearn Saves Time in a Bottle on “Hourglass”

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Emily Hearn’s sonic journey on Hourglass shows that she is a woman coming into her own, figuring out the knots of past heartache, the bliss of newlywed life, and the passage of time.

Time acts as the overarching narrative on the record; Hourglass spans the two years following the Athens, GA native’s debut Red Balloon and 2013 EP Promises. “We fall in or out of love as time moves us,” she explains. “We learn life-changing lessons as time goes on. We figure out how to handle important relationships as time shapes us. We decide who we want to be and what we believe as time reveals our priorities. And ultimately, we grow older as time goes by.”

Hearn sings wistfully “Oh, to be young, and to have time” on the third track “Oak Tree,” longing for the naïve feeling that time would never move forward, or at least not so fast. She frets over seeing her parents age so quickly. The existential worries of a twenty-something come delivered in a package of a catchy, infectious chorus and clap-along-able melody.

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