Today, two indie rock bands that share one thing in common: There’s been almost nothing written about them on the internets. Well, actually they share two things in common: They’re also both really good. Scratch that: Three things. The third is that both bands succeed where many fail.


The first is the debut E.P. by Young Coyotes. It’s true indie rock to the core. A slightly hoarse, slightly strained male lead vocal, “ooh ooh” background singers, an emphasis on hook, and a steady rhythm. On the whole platter, only one song didn’t work for me (“A Thousand Masks,” which was a little precious). My sole criticism is that there’s not a lot of range here, but this is a band to watch nevertheless, based on the really interesting, chant-like cadence of each tune.

If I get ten submissions of this same kind of sound in four weeks, it’s a light month. It seems like every college kid in America thinks that they can make interesting, minimalist rock in their basements. Word to the wise: Most of you can’t. But it seems The Young Coyotes just might be able to . . .

When I was In the Fire

THE WEEKS-“Comeback Cadillac”

The first (and title) cut off of the new The Weeks record is a hard-hitting, borderline punk rant with a great lead guitar line. It instantly recalls so many bands like this: The Strokes, Arctic Monkeys, etc. In fact, the only genre I get more submissions of than minimalist indie chant rock (see above) is postpunk. Most are either overproduced or just plain boring. But The Weeks are different.

Perhaps it’s because they’re also capable of sweetacoustic duets (“The Sailor Song”), and rattier
Americana (“Altar Girl”). Or maybe it’s the slowbuild and clever arrangement in “Teary-Eyed Woman.” Whatever it is, these guys are officially on my watchlist. A very strong debut album.

Altar Girl

Sailor Song

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