Every Friday, Attendee.com takes a look at some of the week’s best new album releases from across the musical spectrum.  This week we present our exclusive “Release Radar: Festival Edition” as Attendee.com gets ready to hit the road as we head to Boston Calling Festival. Our list focuses on new releases by artists who will be hitting the stage this year. Be sure to check back with for a full recap of Boston Calling and its unforgettable moments.
Whether you need some tunes to unwind with after work or a hot track to play at a party … we’ve got you covered.  Discover your new playlist below!

Logic — “Confessions of a Dangerous Mind”



The sort of cerebral wordplay that Logic traffics in has never been meant for radio bangers. His most famous track, “1-800-273-8255,” is a social commentary on mental health. He idolizes Frank Sinatra more than Wu Tang Clan. He’s straight edge, so you won’t catch him in the club. But “Confessions of a Dangerous Mind” finds the Maryland native leaning on contemporary hip-hop tropes alongside his trigger-friendly lyrics. The lead single of the album features Logic and Eminem trading blows across furious production. We aren’t even two tracks into the LP and Logic is already reaching for a palate cleanser. “Mama/Show Love” is the record’s most potent track: shifting from high-stakes rap, meat-and-potatoes rhymes during the track’s A part to eclectic Soundcloud production that sounds like echoing doorbells. From there, the identity of this album continues to be elusive. “Pardon My Ego” sounds like both a nod to and a dis of Drake. Gucci Mane makes an appearance on the tongue-and-cheek “Icy.” Despite its stylistic inconsistencies, “Confessions of a Dangerous Mind” is a solid release from one of rap’s more thoughtful MCs.


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Pile — “Green and Gray”



Pile has shot off three consecutive albums in the past years — something that’s unusual for a modern rock band. Typically, rock music relies on anticipation and uncertainty. Look no further than Vampire Weekend teasing a new album over the course of a year. That’s all fine and dandy, but Pile is much more urgent than your average band. They’ve managed to maintain their minimal lineup of two guitars, bass, and drums without the need for parlor tricks. It’s straight, no chaser guitar music that flies across the speakers like a relentless volley of javelins. While previous albums “Odds and Ends” and “A Hairshirt of Purpose” used moments of silence and contemplation to build suspense, “Green and Gray” goes straight for the throat. Even in moments where the song engages with inertia, the band is still moving their feet; for example, “On a Bigger Screen” where double-time drums are suddenly muted in favor of a reverb choir. But listen closely, and you can still hear the thundering bellows of guitar strings. We’re only half way through the year, but “Green and Gray” might already be a contender for 2019’s best rock record.   


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Tank and the Bangas — “Green Balloon”


It’s hard to pinpoint another band that can combine New Orleans–style jazz/R&B to boastful, Cash Money–inspired hip-hop. Tank and the Bangas does that on “Green Balloon”; it’s the band’s official coming-out party and most ambitious project since rising to fame via NPR’s Tiny Desk Concert. The record is just as much Jill Scott as it is Nicki Minaj. It’s got the flavor of a Trombone Shorty concert mixed with the sentimentality of a Billie Holiday B-Side. Moods and tones swish and swirl throughout “Green Balloon”; “Dope Girl Magic” has the same jovial fortitude of an old-school Bounce track and “Mr. Lion” sounds like the missing song from Disney’s Creole version of the Princess and the Frog. The album touches on the joys of riding a bike, Netflix and Chill, dealing with substance abuse, assertive pick-me-up monologues and the constant search for good ice cream. Tarriona “Tank” Ball is the show woman of this wonderful circus. She croons, curses, commands and collapses throughout this 16-track exploration, with the support of an eccentric and multifaceted band that boasts just as many horns and keys as it does 808s. “Green Balloon” is the soulful summer record to thaw a stubborn spring.


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Denzel Curry — “Ricky”

“My daddy said, ‘Trust no man but your brothers, and never leave your day ones in the gutter,’” spits Denzel Curry in his ode to his father’s guidance. While Curry is notorious for rage-filled, violent bars, his rapping is more of a guttural, punk rock shout on “Ricky.” The song mostly switches between the previously mentioned hook and a chopped-and-screwed chorus that is reminiscent of early 2010’s A$AP Rocky. It’s a fleeting track that is both catchy pop-rap song and a jaded bout in the same vein as older tracks like “Threatz.” It’s unclear whether “Ricky” will usher in a return to Curry’s more lo-fi roots or if he’s simply taking a breather after releasing the bombastic and experimental “Ta13oo.



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Rolling Blackouts Coastal Fever — “In the Capital” and “Ready My Mind”

RBCF are following up a strong 2018 debut with two singles via vital indie label Sub Pop. “In the Capital” stays true to their Australian jangle pop roots. It sounds like a revitalized impression of the Flying Nun bands of the late 80s. A steady beat helps center impressive guitar work that existentially yearns like a coastal fever dream. The vocals are in tune with the signature calming and subtle textures of their freshman LP. They have just enough reverb to create a lucid lull, but don’t over embellish to the point of being indecipherable. “Ready My Mind” is more psychedelic, but also manages to be the more upbeat of the two tracks. The song contrasts flanging guitars with acoustic pop sensibilities and has a chorus that is destined for some festival sing-alongs. Could this be a tease or an actual preview of a record in the making?

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