MusicThreats & Promises

Swooning and Screaming Waltz, And More Music News and Gossip

Thomas Kim of Waltz

EVERYBODY GET TOGETHER: Nick Bradfield (White Rabbit Collective) is within a hair’s breadth (hare’s breadth?) of being able to move the long-running Rabbit Hole Studios from its location on Commerce Road to a new building on Winterville Road. The studio has hosted innumerable musical performances and happenings, cultivated a judgment-free place for creative expression, and offered classes and recording sessions, as well as provided rehearsal space. In order to get compliant with certain health code regulations—the space is slated to feature a commercial kitchen and bar—there are a handful of specific upgrades the new property, located at 1001 Winterville Road, will need, such as a new septic system, grease trap and aerobic digester. To this end, a fundraiser has been launched, and Bradfield has set it up so that anything you donate will be converted into a gift card for Rabbit Hole services and events. So, it’s basically just buying early for you. The proposed closing date on the new property is June 26. Please consider donating what you can, as any amount will help. Please see to donate, and head to to keep up to speed. 

SLOW DANCING: The brand new four-song self-titled EP from post-punk hardcore rockers Waltz came out last week. Significantly, the band excels at building tension without providing any relief. The most obvious instance where they build, then breathe, is the opening song “Cult Cut,” which grinds intermittently along a choppy guitar riff before exhaling into a full-fisted, sing-along chorus. The rest of the EP slowly descends into musical bleakness even when the lyrics are defiantly self-preservationist, such as the swooning scream-hymn “Joy Confusion.” From there, “Red Line” pummels the listener with the twin fists of a Jesus Lizard-worthy bassline and a non-stop howling guitar. Ending with “Darby Meets 3,” which destroys its own Slint-isms via wave after wave of torrential guitar, the track swells and recedes through multiple passes of loud and quiet before taking a minute at the end to flood the listener with melody and, through this, a sense of semi-resolution. Kind of wishing a lyrics sheet had arrived with this, but I suppose that’s part of the adventure. So, check it out at, and carry the banner at

Mike White Thomas Kim of Waltz

12 TRACK GARAGE: As threatened a couple of weeks ago, the full-length album from The Searchin’ Destroyers, The Misery Hang, is now out. Drawing from a deep well of pop and rock tradition, the band manages to sidestep simple categorization and appears dedicated to nothing so much as songcraft itself. That said, there are notable touchstones in the band’s heady mix of classic psych-pop and garage rock, but they twist them into their own language. To wit, the hyper-melodic “You Never Believed Me” could easily be a rearranged mid-period Husker Du track; “We’re Goin’ In” punches out The Avengers at their own game, and the doo-wop surf of “Tomorrow Could Be A Sunny Day” could be The Muffs doing a tribute to The Eels. Again, though, I had to really dig to paint this picture, and only did so for your convenience. The Searchin’ Destroyers may stand on the shoulders of (relative) giants, but mostly they just stand on their own. Forget everything you know and plug in to to choose your own adventure.

BIT O’ HONEY: While there are loose plans to release a new full length album toward the end of summer, Little Gold has let one song slip out this month. The last time we heard any new music from the band, which even broke up for a period following its release, was 2014’s Spectral Sight. On the new song, “Rear House,” Little Gold delivers the Replacements/Tom Petty/Springsteen flavors we’ve known and loved them for. The new album is titled Wake Up & Die Right, so hopefully that’ll come along before the season is out. For now, stream this at