Track Changes: Rabit, Here We Go Magic, and More

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“Track Changes” is a new weekly column here at ARTINFO that acts as a notepad for the staff to jot down what they’re listening to that’s new and exciting. This week, Craig Hubert, Anneliese Cooper, and Scott Indrisek pick songs from a variety of artists, including new work from Rabit, Here We Go Magic, and a haunting ballad from the search-engine-unfriendly group known simply as S.


Rabit, “Snow Leopard”

“Snow Leopard” is a moody, sparse track from Rabit, who has a new album coming out on Tri-Angle Records on October 30 called “Communion,” which is very, very good. Whatever you want to call it — grime, post-grime, just plain weird — there is certainly a lot happening in the song, despite its minimalism. Complex, shifting rhythmic patterns roll over a electronic loop that sounds like it’s being dipped in and out water, and the use of space within the musical frame is light years beyond whatever people are doing with guitars these days. —Craig Hubert
 


En, “Blonde is Back”

This slow moving, digitally distorted track from their new album “City of Brides” feels like it should be featured in the final scene of a very serious movie, when the main character puts all the pieces of the puzzle together and the answer is revealed. En is the duo of Maxwell August Croy and James Devane, who make music clearly influenced by the Godspeed/Stars of the Lid/Explosions in the Sky axis of atmosphere, add their own unique layers of static ambience to the sound. —CH

 


Here We Go Magic, “Ordinary Feeling”

This atmospheric track opens with a loping acoustic guitar riff, in no hurry to get anywhere fast, and front man Luke Temple’s always arresting folk lilt (“let’s not talk of love, who’s below and what’s above / You’re only in and out of one or the other”). The chorus fakes toward something explosive before dissolving upon itself, airy and diffuse as a cloud. This is off of the band’s latest full-length, “Be Small,” which drops tomorrow (in the meantime you can stream it in its entirety here). —Scott Indrisek

 


PWR BTTM, “1994”

In the video for “1994” (off their recent debut “Ugly Cherries”), PWR BTTM gets superimposed onto footage of boasting pro-wrestlers: “I’m, like, nothing” coos Macho Man Randy Savage through sparkly blue lips, as his neck veins bulge at the camera. It’s a high-camp move reflected in the band’s live shows: glitter applied like finger paint; stage banter set to slay; thrifted gowns in various states of disrepair. The music, meanwhile, proves achingly sincere — young and queer and confused and lovelorn. There are only four anxious lines in “1994” before its “ooh”s start to feel like “ew”s and all gives way to a face-melter of a guitar solo; it’s as much about unease as it is channeling that unease into a twirl and a tongue pop, spinning discomfort into something wonderful. Catch PWR BTTM during CMJ this afternoon at Cake Shop and on Sunday at Palisades — and then again on tour this November. (Full disclosure, in the interest of journalistic integrity: I know these two in real life. But I promise my appreciation for their music is pure, detached, and true — and if you won’t listen to me, ask Pitchfork or Rolling Stone.) —Anneliese Cooper

 


Palehound, “Healthier Folk”

And speaking of PWR BTTM, one would be way remiss not to point out their November touring companion Palehound, spearheaded by Ellen Kempner (protégé of Speedy Ortiz’s Sadie Dupuis). “Dry Food” is the band’s full-length follow-up to the “Bent Knee” EP (see: “Pet Carrot”), and though the whole thing is a chewy, brilliant listen, “Healthier Folk” was the first to hook me — a sludgy, “too stoned” jam that slides from amp fuzz to minor tinge, guitar gently weeping. “Mouth ajar, watching cuties hit the half-pipe” — crashing high- and low-brow together to end up somewhere halfway, soaking in Kempner’s tangled riffs. —AC

 

 


S, “Remember Love”

And speaking of break-ups, brace yourself for the new video from S, the admittedly un-Google-able project led by Seattle’s Jenn Champion (formerly Jenn Ghetto, formerly of Carissa’s Wierd). The stripped down piano lament “Remember Love” plays under footage of Champion going through the relationship motions — reading together, cuddling on the couch, taking Polaroids — with a beau dressed in a full-body skeleton suit, endearingly low-fi in execution and no less affecting for being clear-cut. “It’s you that I’ll remember when I think of love and awful things / how easily it goes away,” she croons quietly; when the developed Polaroids reveal Champion alone, the effect is less horror movie than it is, well, heartbreaking. To see S (including their more upbeat fare), head to The Knitting Factory this Saturday night. —AC

 


Stealing Sheep, “Not Real”

“Don’t let the daytime fool you that you’re not real,” warns this Liverpool-based all-female trio, who recently played the U.S. for the first time during New York’s CMJ Festival. The accompanying video (which bears watching back-to-back with this Dan Deacon clip) makes creepy-cool use of masks, mirrors, nude statues, and a costume-designer with a fondness for ‘60s pastels. —SI

 


Deantoni Parks, “Our Shadows

My favorite record label right now doesn’t even really put out records, but cassettes. There has already started to be a gimmicky side-industry for cassette releases, just like vinyl, but Leaving Records, loosely associated with the Low End Theory beat scene coming out of Los Angeles, is constantly putting out the most interesting albums from the most forward-thinking electronic musicians. This one is from Deantoni Parks, whose album “Technoself” will be released by the label on December 4, and features, according to the description on Soundcloud, “100% live split-second samples & drums.” And it feels like it, live and scattered and thumping. This is lonely headphone music, spaced-out and futuristic. —CH

Anneliese Cooper (@DawnDavenport), Scott Indrisek (@indrisek), and Craig Hubert (@craighubert)

(Image: Screenshot from “Not Real“)