In 2010, Dowsing began as a quartet relying on a healthy dose of emo narratives and indie pop musicianship. After the digital self-release of their debut EP, All I Could Find Was You, Dowsing signed with Michigan Emo label Count Your Lucky Stars Records. Though mostly the brainchild of singer/songwriter Erik Hunter Czaja, Dowsing has since become a collaborative effort that calls for each members instruments simple motifs in order to capture the spirit of heartbreak and day to day happenings of Czaja’s lyrics. Dowsing’s line-up may have waxed and waned over their three year existence, but the group continues to deliver a consistent stream of self-defining releases each year. With their newest LP, I Don’t Even Care Anymore, Dowsing has breathed new light into their signature pop sound creating a strikingly moody atmosphere.
LITTLE BIG LEAGUE
...some might say it’s jumping to gun to get all super psyched about Philly indie foursome Little Big League. On the other hand, you can just tell sometimes when a band is going to do great things. I’m opting for the latter in this case. Sure, the group has an impressive pedigree – former members of Post Post, Golden Ages and Titus Andronicus – so it’s almost like we sort of know them already. But joined as one, they do something else entirely. It puts an east coast megalopolis spin on the slow-burn woodsy tones of Built to Spill and early Death Cab (“Holes in Shape,” and that debut single mentioned above, “Tokyo Drift”), then catapults into spunky, soaring power pop (“My Very Own You,” and the spirited “St. Johns”). Two of the four songs the band recorded for its Key Studio Session are unreleased, and I’m thrilled to be presenting them to you for the first time. But if you’ve seen them live, you’ll totally remember hearing them, since they really are that catchy.
Dudes. Occasional gas. Insolvent financial histories. Excellent sandwich makers.
L. Mounts is a singer/songwriter from Chicago who is continuously compared to his biggest influence, John Darnielle of The Mountain Goats. When he’s not worshipping at the shrine of JD, he’s listening to Metallica cassettes alone in his room, because in his mind it’s 1986 and he’s not eighteen. Before beginning work with emo/punk duo Palestrina and experimental/noise duo Love Capacity, L. finished his ninth studio album, “Love Beats The Demon,” which was the product of getting really bummed out and becoming obsessed with Johnny Cash. His emo/folk/indie rock hybrid and 40+ release digital catalog is all his secret plot to one day earn the title of “The R. Stevie Moore of Emo,” though he’s perfectly okay with being, as one reviewer said, “a blues version of Joy Division with Celtic influence tossed in a blender with Sun Kil Moon.”