Here in the Pitch

Life Is

On their spellbinding sophomore album, "Whispers in the Speech Machine," the young Ohio siblings from The Laughing Chimes fully embrace their Southern Gothic influences, cannily balancing the light of their infectious pop with the shadow of their rust belt environs. While attending an afterschool music program at their local opera house, Evan and his brother Quinn began recording The Laughing Chimes' debut album "In This Town," released in 2020. A string of well-received digital singles and a cassette EP for Slumberland followed, dazzling savvy pop fans with their Paisley Underground-inflected jangle that owes as much to the Flying Nun sound as it does to 80s Athens, GA.

The eight assured songs of "Whispers in the Speech Machine" prove The Laughing Chimes deserve the attention and accolades, while their approaches to songwriting and sonic aesthetics continue to evolve. "Southeast Ohio is the foothills of Appalachia, so it has this indescribable mood and atmosphere to it," guitarist/vocalist Evan Seurkamp told The Big Takeover. "Sometimes there's a haunting weight of decay you want to escape, but at the same time there is some sort of strange romanticism surrounding ghost towns. We've tried to channel those moods to add more regional flavor into our sound."

Whispers In The Speech Machine

The Laughing Chimes - High Beams

How Long Is Now

Dan's Boogie

Travel Light

The Same Thing as Nothing at All

I Materialize

I Can't Stop

Peel Dream Magazine have staked out a very specific spot in the indie music landscape with the fuzzy space age pop of recent albums "Rose Main Reading Room" and "Pad," but the story starts with the motorik lo-fi psychedelia of 2018's "Modern Meta Physic." Redolent of early Stereolab, Broadcast, and Grouper, songs like "Qi Velocity" and "Deetjen's" percolate and hum, buzzing with mood and melody. Now we're happy to revisit the album with this expanded deluxe edition that adds 8 new songs -- 2 from the "Modern Meta Physic" sessions and 6 demos from the very active period of recording and conceptualizing that led up to the album.

Peel Dream Magazine - Callers (Demo)

12. A Night of Wedding

The Great Pretender

The great pretender (in the style of Freddie Mercury)

Dan Bejar started Destroyer as a solo home-recording project in the early to mid-nineties. Exploring and overturning genres such as glam, MIDI, yacht rock, and even underground Spanish independent artists, Bejar was proclaimed “Rock’s Exiled King” by The Fader. His is a body of work that consistently flouts convention in favor of musical leaps of faith, statements of purpose cloaked in subterfuge, and the joyous refrain of an optimist’s heart cloaked in cynicism.