Every Friday, Attendee.com takes a look at some of the week’s best new albums from across the musical spectrum. Whether you need some tunes to unwind with after work or a hot track to play at a party … we’ve got you covered.

GoldLink — “Diaspora”



The Beltway rapper picks up where he left off on his 2017 studio debut, “At What Cost.” Unlike the first few tapes he put out following his XXL Freshman breakout, GoldLink continues to lean on bleak electronic and dancefloor vibes to pair with his witty banter. “Diaspora” taps in GoldLink’s more sensitive side — like on the track “Days Like This.” “Man, I gotta vent, I don’t have no friends, guess that depends on the mood that I’m in, heard you copped the whip, but you can’t pay your rent,” he duets with up-and-comer Khalid. Even on the more abrasive tracks, there’s a certain precarity to GoldLink’s production. Take “Coke White/Moscow,” a song that invokes the Dirty South style of detuned piano melodies. The percussion is soft and malleable, as if it’s resisting distortion. When GoldLink could roll out the easily digestible hook, he instead turns to contemplation. “Diaspora” is a thoughtful and melodic piece of rap music in a time when the genre’s direction feels uncertain.


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Stef Chura — “Midnight”



Saddle Creek’s latest member has premiered her finest work yet on “Midnight.” It’s a collage of rock’s most prominent styles: power pop, country twang, punk ballads, urban meanderings. Chura follows the same genre bending tradition of Cat Power or The Breeders.  Stef Chura’s music matches her presence. She’s scraggly, evasive and rugged. The Midwestern rocker combines wiry, thread-like guitar melodies with distorted, angst-ridden power chords. Her guitar work has always relied on mixing and matching all the available tones that the instrument can offer. “Method Man” is a perfect example of this. Staccato notes bounce off feedback, and then transform into one-note itches. Soon we’re hitting double time and the bass and lead blend into one ferocious beast. These sorts of jams pair like chocolate and peanut butter with Chura’s yelps and gravely croons. Sometimes her voice is as clear as a choir and other times it sounds like she’s gargling scrap metal — the album’s variation is a poignant punch in the kidneys.  


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The Mattson 2 — “Paradise”



“Paradise” takes the psychedelic pop of Tame Impala or Mac DeMarco to its jazz conclusion. Opening track “Naima’s Dream” is a yacht rock jam session that sets the tone for the rest of the album. The Mattson’s are identical twins from San Diego, so it makes sense that their synchronicity is paired with the sunny California’s Route 1 imagery. They do a good job of balancing elongated guitar noodlings and incandescent organ solos with soothing harmonies and choruses. There’s a pop sensibility to the moments when they’re singing. The improvisational moments feel like a naturally occurring spring and the jazz component of their sound is tied to a sort of ‘70s Shangri-La sentiment. Despite the vintage feel, the Mattson 2 continue with the trajectory of modern psychedelia to deliver a cocktail of retro textures and modern instrumentation techniques. It’s an album that doesn’t ask you to do much but just sit back and take in the warmth of its rays.

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Pixx — “Small Mercies”



British new wave has a certain rhythm that is timeless. The bops and beats of ancient drum machines and reverbed bass will always make you want to hop around and paint your nails black. Unlike her previous record “Age of Anxiety,” UK goth popist Pixx has a newfound sense of urgency on “Small Mercies.” Her freshman release was caught up in the lethargy of Britain’s slow-motion collapse. Now, she’s nihilistic and frantic. “You were right when you said I was bad to the bone, I’m Mary Magdalene ready to be stoned,” she sighs like a modern Siouxsie Sioux. The pastiche to those bygone days is so blatant that you can almost see the heavy eyeliner. This isn’t a knock on Pixx; rather, it’s a testament to the continuity of the post-punk set. The nostalgic reflections of “Small Mercies” are actually a political asset. We would be wise to revisit our cultural legacies in a time of unrest.


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(Sandy) Alex G — “Gretel”



Alex Giannascoli was once indie rock’s best-kept secret. Now he’s gracing the cover of pop music’s fashion periodicals like FADER. In spite of the publicity, (Sandy) Alex G’s latest single still offers up the experimental folk-rock that made him a household name and garnered praise from the likes of Frank Ocean. “Gretel” contains many of the production choices that entranced fans on his previous records. Pitch-shifted vocals glazed over with distortion; ominous yet hypnotic chord progressions; simple lyrics that get trapped in your cortex indefinitely. Every sad boy’s favorite bard continues to give us the goods.


“House of Sugar “ drops September 13.



You can catch him at Lollapalooza this summer. Purchase your tickets here!


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Shura — “religion (u can lay your hands on me)”



Doesn’t everyone want to be Madonna? That’s what Shura seems to imply with her funky, glitzy return. “religion (u can lay your hands on me)” is a sexually explicit track with the intimacy of a dimly lit club. The English synth-pop crooner taps into the mesmerizing nature of unrequited lust. This isn’t a love song, but a single that recreates the first time a pair becomes entwined. The excitement and uncertainty of that moment just before a kiss is synthesized into an addictive pop chemical reaction.


“Forevher” is out August 16.

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