deutsche bands 2018

It takes art to another level, and in a lot of ways, it was the most unpredictable and incredible 15 minutes of the year. –James, Wheels don’t always need to be reinvented. The Chicago trio play bright, energetic, relentlessly hooky pop-punk, but their debut album Somewhat Literate is as much a product of frontwoman Avery Springer’s restless mind as anything. Maybe it’s this brevity — the immediate payoff — that makes her music so rewarding. It fucking rocks, full stop. –Chris, LOCATION: Los Angeles, CA / Baltimore, MD, Veteran is hardly JPEGMAFIA’s first release, but it is his first one that sounds fully-formed. –James, Camila Cabello put out one of the catchiest and most memorable Top 40 pop songs in recent memory. So although these ladies aren’t technically “new artists,” their supergroup is new, and music in 2018 is better for it. After more than a year of musical experimentation via Skype, they signed with Domino last September, eventually resulting in one of 2018’s most bizarre and fun records. Then “Confirmation” arrived, a revelation for him and us alike. Every single song on this record arrives with as many contagious hooks and honest confessions as on the sparkly, frank “Little Death” and the toe-tap-inducing examination of overthinking “Future Me Hates Me.” Indie rock is alive and well in Oceania—The Beths, like their Australian neighbors Rolling Blackouts Coastal Fever, hit it out of the park in crafting one of the sturdiest rock debuts of the year. There are traces of early Deftones and Incubus in the Boston band’s recent Errorzone, but also far less critically rehabilitated sludge monsters like Mudvayne and Static-X. But mostly they feel like supernatural events — mirages where spiritual turmoil plays out in the space between this world and one unseen. “I am never anywhere / Anywhere I go,” they sing in unison. Lala Lala’s strength lies in West’s voice and the glitchy melodies she writes make what could just be another indie rock project sound fresh and exciting. As subgenres bloomed and bloomed, it seemed a greater number of more diverse identities were spotlighted than ever before. –James, Lillie West picked the perfect band name. Rico recently released her major-label debut, Nasty, after years of sharing mixtapes with her growing audience. This year, however, she made an excellent album of her own, with some help from “a rotating selection of her bffs,” per the Illuminati Hotties Facebook page. So it should come as no surprise, then, that the debut album from New Zealand-based rockers The Beths, Future Me Hates Me, is sharply self-aware. You never quite know where Hogue is going to go next, and that’s part of what makes her great: This is the sound of someone emerging, shaking loose old hang-ups and anchors, to seize life and make art that reflects it in all its messiness. These people come from all backgrounds and make music of all styles—from rap to power-pop, folk to art-rock—but they all had something to say in 2018, and they said it well. It’s lavish. Can’t drink that image out of my head.” Maltese, forever the horny smartass, more than delivered on the hype from all of those British publications saying he’s “The UK’s answer to Father John Misty,” one schmaltzy lounge-rock Morrissey-influenced song at a time. Others, like Tierra Whack, seemingly fell out the sky and created art so profound and different and important, we’ll be ruminating on their genius for years to come. Throughout the album’s 14 tracks, you’re met with blaring and sharp instrumentals paired with laugh-out-loud observational quips (“Your playlist knows you better than a closest lover”) that fit the common gripes of 2018 like a glove. Though Parcels have since relocated to Germany, they got their start in the same continent that’s supplied us with some of 2018’s best music. Its flames just happen to be extremely catchy. McBryde namechecks Townes Van Zandt on the very first song and then spends the rest of the album living up to his example. Her debut LP, Lush, is a collection of 10 lucid guitar-pop songs that show off her classically trained guitar skills, structural know-how and an ability to express the inquisitiveness and confident insecurity of youth with a surprising sophistication. Her hyper-analytical gaze focuses inwards, on her own anxiety and depression and self-doubt, but even at its darkest, her navel-gazing never sounds anything but fun. All Rights Reserved. Stereogum has been putting this list together since 2010, and we pride ourselves on doing a pretty good job of sussing out talented artists as they reach their crest. Matty Fasano would invite his friends to come DJ, dance, and escape their workaday lives for a few hours, and he, Joe Fassler, and Dale Eisinger apply the same liberating everyone-is-welcome ethos to their music, bringing in guests from the indie scene to bare their hearts over an infectious disco-house thump. Pop/Rock, International, Alternative Pop/Rock, Alternative/Indie Rock, Central European Traditions, German Bethlehem 1990s - 2010s Sir Babygirl, as a project, is overflowing with ideas and influences, colliding into an idiosyncratic, colorful, and often overwhelming sound. —Ellen Johnson, It’s not often that a singer has such a powerful voice that they transcend whatever genre they’re unwillingly lumped into. The Beths, from Auckland, aren’t doing anything new. Her whispered lullabies waft in like a cool mist through an open window, swirls of synth, piano, and guitar twinkling as they catch the moonlight and receding back into the night. She’s been around for a while, singing in Frontier Ruckus and Failed Flowers and playing with people like Fred Thomas and Minihorse. “A Little Dive Bar In Dahlonega” is a hard-luck ballad about ending the worst day of your life amidst a bunch of other sad sacks in a place where the drinks are cheap. When their first single, “Something For Your M.I.N.D.” hit Soundcloud last year, Japanese-born lead singer Orono was a senior at a boarding school in Maine, while her bandmates—who had never all been in the same room before—were scattered between London and Australia. The beats are off-kilter, and her vocals are both delicately and aggressively manipulated in a range of ways to fit the scene. The trio’s self-titled debut EP is an airtight collection of wiry and shimmering tracks that manages a string of delightful surprises, melodies and little touches that sneak up on you but make perfect sense once they’ve settled in. Her whisper, now deliberate and adventurous, is guided by an acknowledgment of decay. Some of West’s fears manifested in songs about the apocalypse (“When You Die”) while others nestled into lyrics about inner balances gone awry (“Destroyer”). Best New Bands October 29, 2018 10:02 AM By Stereogum This fall, an artist found her voice. On a bad day, you might be the “bitch bleedin’ out” while Rico “still got the speakers loud.” The SoundCloud-bred rapper doesn’t deal in subtlety. Words like “angry,” “energetic” and “explosive” have been thrown around in discussions of their debut album Songs of Praise, but the adjectives don’t really do them justice. It’s stunning. Booji Boys have clearly made plenty of it. Formed by members of All Dogs and Perfect Pussy, the band of schooled DIY punks quietly released their two-song debut CRYSTAL REALITY way back in 2016, but it wasn’t until this year that they were able to commit to the project more seriously. Femme Florale is a towering quartet, each song epic in its own right. But on Will This Do?, the project’s full-length full-band debut, she’s looking outward for answers — from the cosmos, from her ancestry and hometown, from her friends and potential partners. –Peter, An album is like a garden in a way: all these little creations grown from seed, carefully tended until they bloom together into a collective whole more beautiful than the sum of its parts. Her debut album, At Weddings, is made up of 10 personal ceremonies, quiet hymns of introspection. Instead, they’re operating within grand continuums — of New Zealand indie romantics, of ‘90s-besotted power-poppers, of hook-happy slackers with fuzz pedals and big hearts. They’ve each released a critically-adored solo LP in the last year or so and have thusly been swamped with promotional duties and live performances. The world is rough on them. There’s always glimmer. Over the years, how many bands have come and gone who could create enveloping atmospheres but didn’t have the songwriting to guarantee the kind of dream you remember when you wake up? The members of the Beths all studied jazz in college, and yet they play with all the giddy gusto of a group of teenagers who just heard the Blue Album for the first time. Others, like “Pressed 2 Death” and “Shape Of My Hands,” are hilariously scathing. In the grand Bay Area tradition, they’ve got bounce, they’ve got swagger, and they’re a hell of a lot of fun. And yet he remains grounded to his own dark realities; he calls his music “emo for gangbangers.” Throughout the first half of 2018, Greedo pumped out an insane amount of music, and we’re going to need all of it. –Peter, The very foundation of Empath is enough to guarantee some buzz. Sugar & Spice is essentially a perfect EP. On the R&B cloaked trap-rap “Lavish Lullaby,” he raps in auto-tune at one point, before playing sax and crooning silky stacked vocal loops at the other. Some, like “For Cheez (My Friend, Not The Food),” are touching. Booji Boys are named for a Devo reference, but they offer messy catharsis instead of twitchy and precise theory. And at the center of all of it is singer-artist-poet Ryann Slauson and their drum kit and throat-shredding roar, bashing feelings straight into your skull. It’s surreal. Brianna Hunt’s songs seem to materialize out of nothing and hover gracefully over barren wastelands, like God leading the Israelites as a pillar of fire. With a practiced kick-and-pump motion, the Memphis rapper set off a chain reaction that would eventually lead to children and video game characters performing his signature move. The Wonka-esque visual release from the Philadelphia rapper sees 15 tracks spread across 15 minutes, each with a unique theme, and there’s a distinct sense of evolving maturity from Whack as the tracks unfold. Normally a band emerges with a signature sound and branches out from there, but the UK four-piece have made it a point not to be pigeonholed. “Upon realizing I don’t know anything, there’s a lazy sense of glee,” Gish sighs, adopting the perspective of a city rat. Thanks to “Boo’d Up,” Ella Mai became a star almost overnight, and with her self-titled debut album, she’s surrounded it with a whole constellation of sexy, retro R&B executive produced with a steady hand by Mustard. The LP finds Sallee reflecting on her Alabama hometown, where she recorded her first album. Gentle fingerpicking and reverb-laden electric keys conjure a holy presence as Tomberlin meditates on relationship patterns, self-worth, loneliness, faith, and growth. Plenty of rappers have taken the weird early days of Young Thug as blueprints, but Greedo is the only one who has pushed Thug’s style further out into the ether. January 3 – Josiah Boyd, former bassist of A Hill to Die Upon, died after a car accident at the age of 32. Sometimes they sound like demos captured in a closet, weighed down by heavy burdens. It’s millennial. Each year brings a new onslaught of luminaries and thinkers, and 2018—hectic as it was—was no different. It sways with a jangly guitar, breathing new perspective into familiar indie rock. It’s escapist. Lots of rappers claim to be God, but few approach the beat with such a still, small voice. This list, which we purposefully run a bit removed from the year-end list onslaught, is meant as recognition for artists that have had a great year and as an investment in them for the future. –Gabriela Tully Claymore, Mother Of My Children by Black Belt Eagle Scout, Black Dresses is the collaborative effort of the artists known as Dei Genetrix (formerly Girls Rituals) and Rook, and we named their debut album WASTEISOLATION one of the best albums of 2018 so far. If nothing quite matches the sheer wattage of “Boo’d Up” or its winning follow-up single “Trip,” it’s still a pleasure to sink into the sumptuous atmosphere and the fluid power of her voice. And on lead-off track “Soft Stud,” a marvelously fuzzed-out rock lean-in, Paul goes for the personal, singing “Need you, want you” over and over, perfectly summing up the desperate feelings surrounding new, perhaps forbidden, love. The band has been releasing music since 2016, but they really picked up steam with Weekend Rocker, a beery rush of an album full of muddy guitar tones and adrenalized hooks. The 50 best albums of 2018: the full list ... You can hear the drug’s perspective-expanding effects on rock bands ranging from the Beatles to Tame Impala, while the word acid got added to … —Eric R. Danton, Read Paste’s 2018 interview with Renata Zeiguer, Veteran producer and engineer Sarah Tudzin has worked on albums for major players like Slowdive, Amen Dunes and Macklemore (oh, and the Hamilton soundtrack, nbd). I’ll Sing is plenty aware of the traditions from which it draws, and Moser’s songwriting is so sharp that all the dusty guitars and winsome melodies make a convincing argument that she should soon be inducted into a long lineage of American songwriters born from endless wandering through this nation’s highways and countrysides. In 2018, the cycle continued. Australian singer-songwriter Julia Jacklin is in the midst of releasing new songs and prepping for the release of her second full-length album Crushing, out in February 2019, and the words “Phantastic Ferniture” appear only once on her Wikipedia entry as an “associated act.” The band’s official description, meanwhile, pegs it as a side project for all three people involved: “Phantastic Ferniture is the project of old friends Julia Jacklin, Elizabeth Hughes, and Ryan K. Brennan, who wanted to shake the shackles of their meticulously crafted solo work to experience a second, giddy adolescence.” That rather makes the band sound like a calculated escape from the individual careers they’ve been pouring their hearts and souls into for years, but not one with a lot of stakes or future—if their solo work is meant to be taken as “meticulously crafted,” Phantastic Ferniture’s songs are implied to be raw or spontaneous by comparison. Neighbor Lady, also consisting of Jack Blauvelt, Merideth Hanscom and Andrew McFarland, have the power to bring honor to both the steel guitar and the reverb pedal. That’s a huge accomplishment in itself, considering the broken dam of music constantly rushing our way through channels both digital and natural. If so, the dynamic runs directly contrary to the celebratory spirit that courses through their music. They sound like the genuine article — raw, passionate, and urgent, building from twinklingly pretty atmospheric post-rock valleys to headrush screamo-assault peaks. It’s an intoxicating, glitchy, often abrasive mix of textural ingenuity. And when they truly find their voices, look out. It’s an old sound, and yet it’s a sound that never gets old. But the Detroit rocker’s debut solo album Quit The Curse still feels like a real coming-out party. It’s vibrant. She likens the arid setting to her aging body: “I used to love this town…I was born and will be buried.” Time passes and she remains an “Old Fool,” but wise in understanding her naiveté. On tracks like “Prone” and “Queen Tings” he proves a singular force behind elegant contemporary productions. Now forget that. / You couldn’t just laugh and walk away?” —Ellen Johnson, Watch Hatchie’s 2018 session in the Paste Studio, Sarah Beth Tomberlin’s debut album, At Weddings, is an ode to the uncertainty and overall dishevelment of your late teens and early twenties: bogged down by self-doubt, seeking validation from others, rebelling against unsolicited religious beliefs that were pressed upon you as a child (the 23-year-old singer/songwriter was born to strict Baptist parents) and longing for someone even though you know they’re a bad influence. Songs like “Confirmation” don’t come along too often — instantly alluring, infectious yet still enigmatic even after dozens of listens. Bat Fangs relishes in excess, with slick riffs and a charismatically goofy sense of fun that still manages to get to the heart of some pretty deep issues. is an album about learning to make space for yourself, unmatchable in both its earnestness and ferocity. them. She grew up on a tiny Indian reservation in Washington, and her indigenous identity is perhaps what informs her musings on nature and our relationship to it. “But then I sit down and I qualitatively analyze my acute sense of awareness for my environmental surroundings.” And sometimes, she does it over some breathless shredding. “I don’t think it was until I started singing as more of a form of expression that I realized the capabilities of my voice.” While her debut album, Premonitions, came out Oct. 26, she’s already released two EP’s—2015’s Strange Darling and 2017’s Give It To Me. Here are the freshest, most exciting new artists from the year, as voted on by the Paste music staff: The story of music in 2018 was actually made up of a bunch of different stories. –Tom, There have been other bands like Thyla, groups looking to decades past and mining the impressionistic soundscapes of shoegaze. The most important stories and least important memes, every Friday. The Boston singer-songwriter imbues items and ideas with confession and insight. Depending on your mood and general disposition, you could very well be “the bitch with the long hair and her top off” like Rico. At a time when zonked-out, robotic trap music has gone from an innovation to a cliché, the group’s pair of Gangin albums represent some of the most vibrant and inviting hip-hop on the market. If every trend must recirculate two decades later, Vein represent close to a best-case scenario for reliving this much-maligned moment in rock history. This may be a band that was assembled without concrete plans for the future, but we’re hoping the reaction Phantastic Ferniture has received thus far convinces them to re-invest in what could become rock’s next great three-piece. —Ellen Johnson, Portland, Ore., singer-songwriter Haley Heynderickx, already oft-compared to the likes of Joan Baez and Joni Mitchell, offers an imaginative, mystical sort of folk music—“doom folk,” she calls it—concerned with both the heavens above our heads and the dirt beneath our feet, from which her garden grows. And that song, it turns out, wasn’t a fluke. While Shannen Moser might be based in Philadelphia now, she hails from nearby Berks County, more of a small-town rural area. She no longer identifies as Christian, and instead practices a sort of self-communion, writing and recording music as Tomberlin. It’s trendy. “They don’t love you, do they?” she asks during the magic-hour-esque “Intro,” her clear and comfortingly relatable voice singing the first of many questions she poses throughout the album. Their debut is tremendous fun, and it truly doesn’t sound like anything else happening in music today. The debut from rock supergroup boygenius has only one real flaw: it’s much too short. Not long after that, Black Dresses put out the HELL IS REAL EP. –Julia, A couple months ago, Sir Babygirl seemed to appear out of nowhere with the single “Heels.” As an introduction to Kelsie Hogue the songwriter, you couldn’t ask for a more effective or attention-grabbing track. Their mutual experiences are what unite them, and that bond bleeds through this music in every buzzing, beautiful bar. In a place like Halifax, you have to make your own fun. –James Rettig, An American original. Los Angeles pop singer/songwriter Miya Folick is a rare, welcome example. There isn’t enough detail for you to know exactly what she’s talking about, but you understand the mood. What’s more, they’re a supremely dope nu-metal band making the genre sound vital in the year of our lord 2018. His voice is an expressive wonder, a tangle of yips and cackles and sudden, overwhelming bursts of energy. In the same way that Drake labors to keep up with BlocBoy’s moves in the “Look Alive” video, the rest of Simi’s featured artists can’t help but adhere to BlocBoy’s style and pace. The 15 Chicago Bands You Need To Know in 2018 By Lizzie Manno & Justin Kamp November 8, 2018 | 10:50am 15 Washington D.C. Bands You Need To Know in 2018 By Lizzie Manno September 20, 2018 | 9:40am But the Jamaican-born, Virginia-raised Masego and his “trap house jazz” do this well. (Or not, if her debut was more “Why Did You Do That?” and less “Always Remember Us This Way.”). Her music is laid-back, gently hooky, and complements the poetic vagueness of her lyrics. –Ryan, This time next year, Vallejo quartet SOB x RBE might not still be rapping together. “Sometimes I think I’m doing fine / I think I’m pretty smart,” she sings on the album’s title track before, later, completing the thought: “Oh then the walls become thin / And somebody gets in / I’m defenseless.” On dizzying love song “Little Death,” she captures and tames all the butterflies swarming around in her stomach: “And the red spreads to my cheeks / You make me feel three glasses in.” The Beths sound as if they’re already three albums in, playing with the musical and lyrical finesse of a much older and more experienced band. The band’s debut, Kiss Yr Frenemies, is a really fun and smart indie-rock album—one of the year’s best, for that matter. More please. Signs of internal turmoil are spilling over into the public, and solo careers beckon. Tudzin’s fan base is small and fervent at the moment — a secret society, you might call it — but if there’s any justice in the music industry, she’ll be a star someday. In other words: It sounds like Anna Burch. –Gabriela, Gia Margaret’s debut album is called There’s Always Glimmer, and that’s as apt a description of her music as any. No one. The daughter of an Argentine father and Filipina mother, Zeiguer has described Old Ghost as an album of self-discovery, and the idea of music-as-catharsis has worked out well for her. Enjoy! Even when she sings of aching sadness, she does it with the kind of hushed, intimate beauty that sounds like a soft glow in the darkness. She’s also making a very strong case for short songs. “Why did you do it? Featuring only an acoustic guitar and various keyboards and effects, the record centers on Tomberlin’s Joni Mitchell-esque pipes, loud in their softness and tenderness and unsuspectedly moving you to your absolute core. –Chris DeVille, I Need to Start a Garden by HALEY HEYNDERICKX, Haru Nemuri doesn’t make pop music, but she’s doesn’t not make pop music either. The songs on Future Me Hates Me, their instantly lovable debut album, all shoot straight for the pleasure centers of anyone who has ever enjoyed, say, a Lemonheads record. Deaths. —Lizzie Manno, Read Paste’s list of the 15 Young NYC Bands You Need to Know in 2018, If you haven’t seen it yet, Tierra Whack’s Whack World video/album will instantly blow you away. We won’t hear anyone like him anytime soon. The lot of them are clever, winsome, and richly conceived. Since then, she’s graduated high school, toured with the likes of Waxahatchee and Girlpool, and was featured in a roundtable of female rock musicians for the New York Times. But all three rappers, especially YBN Cordae, are almost frighteningly talented. Parcels feels miraculously out-of-place, conjuring ghosts of music movements past. Old Ghost features a bounty of taut, deceptively robust arrangements that mix airy synths with bursts of guitar and Zeiguer’s voice, which is a perfect balance between sweetness and sinew. Veteran paints a portrait of someone that’s above it, told through hazy sporadic beats and samples and a scatter-brained energy that only adds to its appeal. Submerged in padded synth, it sounds weathered and knowing. —Ellen Johnson, Watch Illuminati Hotties’ 2018 Daytrotter session, Atlanta-based Neighbor Lady quietly released one of the most charming, earnestly good indie-rock debuts of the year. Taking cues from Gang of Four and the B-52’s, co-lead vocalists Ben Hozie and Nikki Belfiglio possess an infectious art-punk spirit and spit out droll lines left and right while guitarist Madison Velding-VanDam plays like a chugging, post-punk version of Wilko Johnson. “Look Alive” underscored and amplified BlocBoy’s effortless flow, his words hitting with the same ease and intensity as his jerky gyrations. Opener “Never Be The Same,” with its chorus delivered like a bird song, rolls out the red carpet for Cabello to sashay her way down. It’s mundane. –Chris, Retirement Party are just getting started. But might we suggest that’s a good thing? Last year, artists like SZA, Sampha and Phoebe Bridgers were the noteworthy thieves—they released slam-dunk albums that engaged with our pathos and our minds alike, leaving us wondering how it was possible that we’d never heard them before. –Julia, Dream-pop can be such a slippery slope. Each member contributes vocals—guitarist Taylor Mulitz (formerly of Priests) is playful and self-assured, bassist Danny Saperstein’s vocals are snotty and eccentric and drummer Emma Baker lends gorgeous vocal harmonies. Many of these names will be familiar to regular Stereogum readers, present in our daily music posts and Band To Watch column. In “Sure,” the verse and chorus and refrain are in open war for which part can be the catchiest, while “Sleep” boasts a synth riff that is incredibly, giddily addictive.

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