deutsche bands 2018

Best New Bands October 29, 2018 10:02 AM By Stereogum This fall, an artist found her voice. It’s mundane. Songs like “Confirmation” don’t come along too often — instantly alluring, infectious yet still enigmatic even after dozens of listens. What’s more, they’re a supremely dope nu-metal band making the genre sound vital in the year of our lord 2018. 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. –Tom, Early this year, Ex Hex bassist Betsy Wright and Flesh Wounds drummer Laura King released their debut album as Bat Fangs. 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. The tour began on March 9, 2018, and an accompanying 2CD compilation called Decades was released on the same day. It’s exhilarating to imagine what Pillbeam will be able to pull off next. She’s also making a very strong case for short songs. Here are the best from his debut record, Bad Contestant: “I wish that I could fill his shoes / But I’m only a 7,” “Who said the Internet was good for getting on with your life?,” “I pass you a drink while the creeps circle around you / Tryin’ to figure out if I’m just one of them too,” “I tried horse tranquilizer just to impress her” and “You said you use chocolate when you and him take off all your clothes / Why the fuck you tell me that? Paul has a knack for making very specific, personal anecdotes feel universal. Whenever the band manages to cook up a proper debut album, it’s sure to be a knockout, and until then they’ve left a beguiling collection of songs in the meantime. His voice is an expressive wonder, a tangle of yips and cackles and sudden, overwhelming bursts of energy. –Chris, The breadth of influences Sorry displays is impressive, especially for such a young group. But the three core rappers in the YBN Crew come from Alabama, Texas, and Maryland. (Or not, if her debut was more “Why Did You Do That?” and less “Always Remember Us This Way.”). “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. Their debut full-length YBN: The Mixtape is all unrealized potential, weighed down with repetitive beats and unfortunate guest spots. In other words: It sounds like Anna Burch. The LP finds Sallee reflecting on her Alabama hometown, where she recorded her first album. 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. The band is back to work in 2018 and focused on writing and recording their highly anticipated second record. Girl Going Nowhere, McBryde’s debut album, is a gorgeously lived-in, righteously sad, painstakingly crafted piece of work. It’s even better for her listeners: She’s such a smart writer with a finely honed sense of melody that her music amounts to a joyful discovery for the rest of us, too. –Tom, Here’s The Full List Of 2021 Grammy Nominations. The duo’s noisy dark-pop is as ferocious as it is fun, even when they’re singing about traumatic experiences. —Lizzie Manno, Watch Tomberlin’s 2018 session in the Paste Studio, Nothing about Superorganism makes sense. This fall, an artist found her voice. It’s surreal. But might we suggest that’s a good thing? Nemuri is carving something completely new out of recycled pieces. And then listen to the way the music of Halifax punks Booji Boys positively drips with sweat. And, stubbornly, we still call it Best New Bands, even though a lot of the inclusions on this list aren’t bands at all, because why change a good thing when it’s working? 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. As subgenres bloomed and bloomed, it seemed a greater number of more diverse identities were spotlighted than ever before.

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