noise-pop

I listened to this while making dinner most evenings for a fortnight before it properly took hold. Immediate enough to keep me coming back from the first spin, experimental enough that the hooks kept rearranging themselves each time.

feeble little horse are a trio now, founding guitarist Ryan Walchonski having left in early 2025, and bitknot is louder and stranger for it. Plain, detached, conversational vocals sit over electronic textures that keep getting shredded by bursts of distorted guitar. On “Dior” Lydia Slocum picks apart some indie frontperson by telling them who they aren’t: “You are not David Berman / You are not Kurt Cobain.” The person she’s actually addressing gets bleeped, redacted like a curse on the radio.

It saves its best for the end of its short running time. “Shopping” is petty envy, Slocum eyeing a prettier girl and plotting to swipe her phone and scroll her designer wishlist. Then “DMT” (death, money, tech, and the drug) build into much bigger, nastier territory: Slocum listing those harbingers like a mantra while the guitars fuzz over her. Noise and melody at once.

Big Long Sun started as Jamie Broughton on his own and is now an eight-piece, though you wouldn’t always guess it from the recordings. Broughton still tracks most of it himself in a Brighton bedroom on a Tascam 244, and the other seven turn up to add detail rather than thicken the mix. love songs and spiritual recollections is their third album in eighteen months, which would normally be cause for suspicion, but the songs don’t sound rushed.

It’s psych-pop with folk-pop instrumentation, and the eight members are used sparingly. ‘heavy (on your mind)’ is a good example: nothing it does is individually complicated, but the song slowly piles up until it sounds full without ever sounding crowded. That restraint runs through most of the record.

The warmth of the playing keeps pulling against the lyrics, which are not warm. Not always dark either: more often aloof and guarded, hinting at something rather than explaining it. Broughton has called one of the singles “a dark, paranoid folk anthem for the spiritually insecure mind,” which gives you the temperature, even when the arrangements are doing their best to disguise it.