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dec0mposing · 4 months

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#Permission #SRSQ #music #Unreality #favourite #2010s #2018 #synth pop #indie #Dais Records #Spotify

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gonetoheaven · 1 year

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#uniform #the body #srsq #everything that dies someday comes back #music #noise #Bandcamp #this album has me in a chokehold forever

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ourladyofomega · 2 years

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🔥🔥🔥

#SRSQ #dreampop #ethereal #omega #our lady omega

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musicmakesyousmart · 2 years

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#music #SRSQ #dream pop #shoegaze #favorites

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musicbyrikm · 2 years

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SRSQ, live at Velvet Underground in Toronto, March 2019

#SRSQ #Velvet Underground #Toronto #2019 #live music #concert photography #Unreality

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omegaradiowusb · 1 year

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DECEMBER 17, 2022 (#338)

Spread Joy: “Ow” + “Contrition” (II) Pinch Points: “Reasons to Be Anxious” (Process) Unschooling: “Shopping On The Left Bank” (orphan track) Cheekface: “Pledge Drive” (Too Much To Ask) Bench Press: “More Than That” (A Split Between Friends 7") Foyer Red: “Pickles” (Zigzag Wombat) Body Type: “Bouyancy” (Everything Is Dangerous But Nothing’s Surprising) Class: “Pills On A Dish” (self-titled) Mind Shrine: “Pocket Change” (Is It You?) Fake Palms: “Visions” (Lemons) Dry Cleaning: “Anna Calls From The Attic” + “Gary Ashby” (Stumpwork) Palm: “Feathers” (Nicks And Grazes) Emma Ruth Rundle: “Pump Organ Song” (Orpheus Looking Back) My Idea: “Breathe You” (Cry MFER) Khruangbin & Leon Bridges: “Chocolate Hills” (Texas Moon) Fontaines D.C.: “I Love You” (Skinty Fia) Antonio Sanchez f. Trent Reznor & Atticus Ross: “I Think We’re Past That Now” (Shift: Bad Hombre Vol. II) Wet Leg: “Material Girl” (orphan track) Tess Parks: “Brexit At Tiffany’s” (And Those Who Were Seen Dancing) Camp Cope: “Blue” (Running With The Hurricane) Girlpool: “Faultline” (Forgiveness) Sinead O'Brien: “Like Culture” (Time Bend And Break The Bower) Drug Church: “Someday I Suppose” (Pure Noise Dead Formats compilation) Preoccupations: “Ricochet” (Arrangements) Rolling Blackouts Coastal Fever: “The Way It Shatters” (Endless Rooms) Fusilier: “No Words” (Treason) Caroline Polachek: “Billions” (Desire, I Want to Turn Into You) Erasers: “Easy To See” (Easy To See) Kite: “Bocelli” (single) SRSQ: “Used To Love” (Ever Crashing)

With three more shows to go in the calendar year, Omega WUSB holds its annual end-of-the-year Winners broadcasts: two nights showcasing the best, notable, and most talked-about sounds of 2022. On our way of saying good-bye forever to 2022, Night One showcases our best and favorite plays in indie, d.i.y., and other sounds in these past twelve months.

We continue our Winners Of… series in two weeks on New Year’s Eve, 2022 as we play our favorites of the year in hardcore, noise rock, metalcore, hip-hop, and darkness. Stay tuned.

December 27, 2022 (4PM New York City): bonus Omega

December 31, 2022 (10PM New York City): Winners of 2022 II

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kimkimberhelen · 2 years

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youtube

UNOFFICIAL SUMMER ANTHEM OF 2023

"Too much information has made us dumb and confused,"... "Too many ways to connect have inadvertently led to isolation. And too much expectation has forced everyone to become a celebrity. Predictable primal dangers have given way to newer social ones. And the result is a world that is confounding and terrifying — but ultimately still beautiful." The Armed

Unofficial Summer Anthems of Yesteryear (2008-2022)

Unofficial Summer Anthem of 2022 - Saved For Summer by SRSQ

Unofficial Summer Anthem of 2021 - The Gnashing by Deafheaven

Unofficial Summer Anthem of 2020 - Up From A Dream by Haim

Unofficial Summer Anthem of 2019 - What Goes In And Comes Out by Wreck and Reference

Unofficial Summer Anthem of 2018 - Last Lion of Albion by Neko Case

Unofficial Summer Anthem of 2017 - Holy Ghost by Bent Knee

Unofficial Summer Anthem of 2016 - Night Owl by Metronomy

Unofficial Summer Anthem of 2015 - Heavy Metal Detox by Wavves

Unofficial Summer Anthem of 2014 - All the Rage Back Home by Interpol

Unofficial Summer Anthem of 2013 - Graceless by The National

Unofficial Summer Anthem 2012 - The House that Heaven Built by Japandroids

Unofficial Summer Anthem of 2011 - Midnight City by M83

Unofficial Summer Anthem of 2010 - Sprawl II (Mountains Beyond Mountains) by Arcade Fire

Unofficial Summer Anthem of 2009 - The Reeling by Passion Pit

Unofficial Summer Anthem of 2008 - Je Veux Te Voir by Yelle

BONUS TRACK!!!!! Unofficial Summer Anthem of 2099 - 2099 by Charli XCX (Feat. Troye Sivan)

*post is pinned for the summer :)

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lovejustforaday · 2 years

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Underrated Gems - Amends by Them Are Us Too

Amends - Them Are Us Too

Main Genres: Ethereal Wave, Dream Pop, Minimal Wave

A decent sampling of: Goth Rock, Art Rock, Ambient Pop, Shoegaze, Synth Pop

Covering the Cocteau Twins’ discography recently got me thinking about writing a review for this record.

Them Are Us Too were a dream pop / ethereal wave duo in the 2010s, comprised of vocalist Kennedy Ashlyn and the late guitarist Cash Askew, both of whom also programmed and played synthesizers.

Ashlyn and Askew were active members of both the goth scene and the prominent queer arts culture of the San Francisco Bay Area. The band had a modest following of fans, mostly immersed in those aforementioned niches, along with some online dream pop enthusiasts like myself (though I was sadly late to the discovery).

While the band wore their influences on their sleeves (particularly Cocteau Twins), the duo set themselves apart by the out-of-body magnitude of their sound, and Ashlyn’s powerful, soaring falsetto, making their voice a more resonant counterpart to the wispy soprano vocals of their idol Elizabeth Fraser.

While I never got the chance to see them live, the videos that are up on YouTube demonstrate just how exceptional Them Are Us Too were as a band when it came to reproducing their studio sound in a live performance setting. Suffice to say, Them Are Us Too were truly one of the few acts breathing new life into the mostly out-of-fashion ethereal wave sound.

All of this came to an end, however, when Cash Askew’s life was cut tragically short by the horrible 2016 Ghost Ship Warehouse fire. Cash Askew would go on to join the ranks of other musical and queer legends who were unfortunately taken all too soon from this life.

In the aftermath of Askew’s tragic death, Kennedy Ashlyn took the material they had been working on together and finished the project. This would become their sophomore album and final record released under the band’s name. This was their farewell tribute, beautifully titled Amends.

Amends is a delicate undertaking. An album bedridden by its grief, while also restless from its own waking nightmares. And yet, despite its ghostly apparitions and perpetual darkness, the music is tender, soothing, and utterly human. There is a profound contrast between the warm reminder of a loved one, and the cold emptiness left in their absence, that permeates throughout this record.

The album’s lyrical processing of grief is beautifully mirrored by its musical accompaniment. Iridescent synthesizers create echoing soundscapes with minimalist accents that are then painted over by electric guitar reverb, like crashing waves that wash over painful broken shards of glass bottles to produce smooth, refined sea glass.

“Grey Water” is a dream pop ballad submerged in an ocean of tears. With a heavy heart, this track sways back and forth until eventually spilling over into an unforgettable outro, featuring the grief-striken vocalization from Kennedy Ashlyn reaching impossible highs. As the song closes, it feels as though an entire lifetime of memories has dissipated, dissolving into the sea.

The album takes on a more intense and bitter tone for “Floor”, a relentless ethereal goth rave filled with sorrowful regret, as Ashlyn laments “I should have asked for more” again and again. The drum machine on this track feels as if it’s grinding everything in its path into dust, which becomes the hazy atmosphere that obscures Ashlyn’s vocals as they practically shout into the void.

The nine minute penultimate piece “Could Deepen” is Amend’s most heavenly offering, providing a sense of deliverance from the despair that permeates other songs on the record. The song is in two distinct movements: the opening part is an ambient ascent through what feels like trials of the soul, while the closing part is a dreamy free fall through descending synthesizer scales and a monsoon of echo effects.

The record finishes with the immaculate title track “Amends”, the song most explicitly written to be about Cash Askew. A delicate square wave synthesizer motif repeats in little intervals, pitter-pattering over glossy dream pop guitars, synthesizers, and dejected drum machine kicks and snares. The artistic expression of emotional loss on this song (and record) is already breath-taking as is, but nearly everything that needed to be said is conveyed perfectly in just that final verse where it is made agonizingly clear through lyric and through performance that Askew truly meant the entire world to Ashlyn.

I’d call it heart-wrenching, but that doesn’t really do it justice. What “Amends” does to the listener is it uses a musical tourniquet to squeeze the entirety of the human soul. It captures the immense vulnerability you would feel if someone you loved deeply, someone who emotionally anchors you, was suddenly gone in an instant. The lyrics also brilliantly deconstruct themselves, with Ashlyn openly questioning how it is even possible to write a tribute to someone so important to them as part of lyrics written for their tribute song. “Amends” was my song of the year at the end of 2018, and quite possibly still is my choice for that year.

I think that now is a good time to acknowledge that albums with a primary subject matter of grief are most often exceptionally personal works of art, and should therefore be approached with higher degrees of tact and sensitivity by anyone planning to write a review or assign a rating to such albums.

Likewise I should also say that, while I find this album very beautiful and moving, and have even used it to process my own feelings of grief in the past, that this album ultimately belongs to Kennedy Ashlyn. I never personally met or knew Cash Askew, nor did I even know who she was until after she had already passed away and the album was written.

We may be invited to remember Cash Askew through this wonderful record, and feel some of the weight of her departure in the music, but the many of us who didn’t know her personally will never be able to fully appreciate its depths, and my ability to write a review of the album is inherently limited to an outsider’s perspective. Such is the nature of listening to projects like Amends, Psychopomp, A Crow Looked At Me, and Carrie and Lowell that are primarily focused on the death of a loved one.

But for what it’s worth, I love and cherish this record. Amends is a far too unknown and underappreciated modern classic of the dream pop and ethereal wave genres. Hopefully a day will come when this gets properly rediscovered by the alternative music sphere at large, and Cash Askew will be rightfully honoured as having been one of the most dedicated architects of her craft.

Highlights: “Amends”, “Grey Water”, “Could Deepen”, “Floor”

Note: Kennedy Ashlyn still makes music in a similar genre under the name “SRSQ”, and you should definitely check them out!

#them are us too #cash askew #kennedy ashlyn #amends #ethereal wave #dream pop #darkwave #minimal wave #grief #underrated #album review #music review #2018 #underrated gems #underappreciated #srsq

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silverfrapp · 2 years

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SRSQ – Ever Crashing

#srsq #ever crashing #musicrelatedtag #i think that was the tag i used? years ago

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yellowsnow77 · 2 years

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SRSQ - Ever Crashing

SRSQ – Ever Crashing

Supongo que unos cuantos os acordareis de Them Are Us Too, un dúo californiano formado por Kennedy Ashlyn y Cash Askew que fusionaba con bastante soltura el dream-pop y sonidos más oscuros, como el darkwave. Llegaron a publicar un par de EPs y un álbum a mediados de la década pasada, pero lo cierto es que no supimos nada más de ellos. Hasta que en 2018 Ashlyn publicó un álbum de debut en…

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#Dream-Pop #Indie-Pop #Shoegaze #SRSQ

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beneaththebrim · 1 year

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Brim’s favorite albums of 2022

In reverse order. First EPs, then LPs.

EPs:

10. A Sterling Murmuration | Zoon

Hazy shoegaze, nostalgic and soothing.

9. My Bestfriend’s House | Blue Hawaii

Dance-worthy! Was pleasantly surprised by the disco track at the beginning.

8. graves | Purity Ring

Standard Purity Ring fare, squealing croons atop haunting, euphoric synths.

7. SICK! | Earl Sweatshirt

A return of the meandering depressedcore hip hop we love. Dizzy and ephemeral soundscapes flit in and out like thoughts through an anxious mind.

6. La Ciudad de Dejamos | Fin del Mundo

Liquid guitars against balmy drumwork make for some really nice 90s-nostalgia shoegaze. Music like a cool summer night.

4 & 5. Kris, Perfect Order | KÅRP

Good ole dark Scandinavian synthpop. What would we do without you.

3. Ninety Three | Taylar Elizza Beth

Low key, lush hip-hop featuring Taylar Elizza Beth’s whispery vocals that float between rap and croon.

2. Raving Dahlia | Sevdaliza

Sevdaliza’s back with her signature inexorable smoky ballads. These tracks are a little dancier, a little heavier than those of her most recent album, though, while retaining her unique style.

1. Bloodline | Gabriels

(December 2021) Gabriels singlehandedly bringing back The Blues in the year of our lord 2021, why not? Meticulously vintage, with the agonized, raw-yet-finely-tuned vocal stylings of Jacob Lusk—one of the absolute best vocalists of our age, seriously. Southern gothic sin, baby.

Full albums:

27. Arkhon | Zola Jesus

It’s a Zola Jesus record, which means I like it. But I find myself never getting into any particular moment. Maybe it’ll take more time to sink in, maybe it’s just lacking stand-out tracks to anchor the album. Music like spelunking.

26. Entropy is the Mainline to God | The Veldt

The Veldt comes back rocking and rolling. I was hoping for something more shoegazy like their old stuff rather than the psychedelia-tinged 80’s metal sound they’ve got going here, but hell, it’s groovy!

25. Arrangements | Preoccupations

Previous album was a little one-note, but this one veers into some interesting spaces as it pushes and pulls with the distortion. Jaunty.

24. The Silence in Between | Bob Moses

Bouncin introspective dance music. It’s not original but it’s full of bops!

23. Loom | Uèle Lamore

Earthy yet ethereal blooms of instrumentation. Lovely to listen to, but for some reason lacks memorability.

22. Black Radio III | Robert Glasper

An eclectic tour de force featuring a stellar variety of guest spots atop Glasper’s production. Although a lot of tracks are fantastic, the album doesn’t quite cohere as a whole for me.

21. Once Twice Melody | Beach House

Beach House made a Beach House record, and it’s great. The same subdued, affectionate, dreamy sound we love.

20. 11 | Sault

The only Sault album I liked of the six they released this year ¯\_(ツ)_/¯ It’s excellent though, love the down-tempo jamminess of the instrumentation and the thoughtful, murmuring vocals.

19. Broken Hearts Club | Syd

Vaped torch songs for your local lesbian fuckboy to play in the background while getting down. Syd comes through once again.

18. Only After You Have Suffered | Jamire Williams

(December 2021) Contemplative, choppy jazz with phenomenal hip hop and operatic interludes. “Pause in His Presence” in particular is something else.

17. Kanawha Black | Nechochwen

Indigenous-made atmospheric folk/black metal. Expansive melodies invoking the Appalachian forests meld with the harsh vocal texture to create a space of reverence and awe.

16. EBM | Editors

Delivering on that punchy aughts-nostalgia stadium rock. Head boppin rhythms and gushy pop-punk hooks.

15. Laurel Hell | Mitski

Mellow sounds that swirl around the main maelstroms of the album, cracking at the seams and letting the rawness soak through.

14. Plastic Estate | Plastic Estate

Slick and infectious 80s-nostalgia new wave that you just gotta sing along to. Very special when the singer sinks into a baritone.

13. Cool It Down | Yeah Yeah Yeahs High-energy-yet-dreamy punky indiepop. Some great anthems on this one.

12. Too Much to Ask | Cheekface Cheeky pop-punk that’s like scrolling through a quality twitter funnyman’s feed. Hilarious and full of bops.

11. Exister | The Soft Moon

A cold counterpoint from the California goth scene, starts off slow before cranking up an onslaught of noise that thrums between industrial and darkwave. Angry and cathartic.

10. Ravage | Emilie Levienaise-Farrouch

Haunting and disturbed sounds from the French pianist/composer. A melding of dark ambient that wouldn’t be out of place in a horror movie, with crashing, harsh piano work.

9. Twenty Twenty Twenty Twenty One | Spencer Krug One of the best lyricists of the day, imo, reminiscent of Leonard Cohen. Every tug of Krug’s voice strains with emotion, and every turn he takes with the instrumentation on different albums is a welcome surprise, finding different ways to express his agonized sentimentality.

8. Giving the World Away | Hatchie Earnestly saccharine power-dreampop. Great album with some real bangers.

7. We’ve Been Going About This All Wrong | Sharon Van Etten Warm and husky, sad and poignant folk songs. Van Etten’s voice soars with transcendant emotion.

6. The Runner (Original Soundtrack) | Boy Harsher

Spooky and sleek darkwave, punctuated by a sparkly disco banger. Boy Harsher at the top of their form.

5. Angels & Queens - Part 1 | Gabriels

Jacob Lusk delivering that wonderful vintage, Nina Simone-esque vocal quality, with the opening tracks fast-forwarded from last year’s bluesy EP to some funky 70’s soul. Gorgeous and blue.

4. Ever Crashing | SRSQ

Gushy dark California gothy dreampop. Infectiously synthy, powerful vocals. Lush songs for a heart that’s itching for summers long past.

3. Stay Close to Music | Mykki Blanco

A humble confessional, at times diving back into the idiosyncratic rapping style of Blanco’s more dance-y earlier releases, at times plunging into an ethereal wash of sound.

2. Semblance | MorMor

There is something magical about MorMor’s tissue-paper-delicate voice. Gentle, sensitive, cathartic. Music for letting go when you so want to hold on.

1. Pigments | Dawn Richard & Spencer Zahn

Lovely. Sublime. Spacey. Sprawling. Meandering and melancholy pockets of plaintive yearning. Music that takes you on a journey and leaves your heart aching for more.