Lovitt / Dischord, 2013
If you were expecting similarities between this and A&C’s former bands (1.6 Band, Circus Lupus), you’re out of luck. Instead we get an art-influenced album of prog-rock meets jazz feelings and math-rock intricacies that few could parallel. The execution here is unconventional and the distinct sounds are easy to embrace, though certainly more for the sophisticated ears. Think back to when Shudder To Think got ‘weird’ but even more unusual – in a fantastic way.
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Frantic, somewhat schizophrenic math-punk from the Stoke on Trent quartet. One moment The Gnar is blasting the listener with a screamy, hardcore-influenced racket, the next it’s slipping into noodly/dreamy melodics and infectious emo-ish singalongs. ATBT’s most admirable achievement is not the vibrancy, inventiveness, and technical proficiency with which this is all delivered, but how they somehow drag highly listenable songs out of the carnage. Pick it up as a name-your-price download on Bandcamp.
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Though you might think this music emanates from the UK and is comprised of musicians well into adult life, you’d be surprised as I was to find out most are under 20 and from Pennsylvania. The youngsters have a highly skilled version of math-rock, post-punk and shoegazey pop under their sleeve, these five songs sounding like a band well on their way to stardom. Sometimes easily palatable with electro-pop flourishing, other times making the listener earn it with prog-rock and experimental ideas, they even offer a stripped back acoustic tune to close it out.
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Calling this math rock might be a severe understatement; Halaska’s idea of song structure puts them in a league all of their own. This first LP is beyond experimental, and moves on with a post-everything feel while alluding to free jazz, avant-garde rock and moments of carefully calculated noise. One might think something this meticulous would alienate the listener, but somehow Mayantology is instantly catchy – and don’t even get me started on that rhythm section…
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Four tracks of shimmering math-pop from the Philadelphia quartet, who prove to be pretty much the polar opposite of their name. The guitars are clean, bright, and serve as both focus and highlight, the melodies buoyantly bobbing about in a Maps & Atlases kind of way, whilst breathy vocals unassumingly flit in and out. For a debut outing it’s an arresting display of innovative and intricate musicianship, and an absolute steal as a pay-what-you-like download.
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We Be, 2013
Boisterous, intricate math-punk from the London trio. Their second full length outing is crammed with angular rhythms and manic percussion, whilst dual-gender vocals yap all over the top; imagine Johnny Foreigner covering Refused tracks and you might be close. Those back-and-forth vocals can sometimes be a little grating, but with the typically 2-3 minute track lengths it’s only ever a fleeting fault. Besides, you’ll usually be too beguiled by the inventive guitar melodies and brilliant drumming to notice.
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