Susu, Win

We are living in a post-indie world. Over the past decade, indie rock has slowly and deliberately shed its roots in the punk and hardcore movements of the '80s: we've gone from to Lou to Sufjan as our de facto figureheads. The challenging aesthetics of the SST/Touch & Go ('80s and '90s editions) crowd have been softened to more traditional — albeit skewed — forms of songwriting, production and performing. Part of it is the influx of money (and yay for that — people need to get paid!), and part is the bar for what "matters" getting raised. There's no use judging that shift — it was inevitable — but it is worth pointing out that the maturation has marginalized artists who don't toe the (anti-)company line. The stuff that's poppy and cute gets popular; the stuff that challenges does not. It's a meritocracy of sound, so the question is: is there any room left for the weirdos?

All of this is sorta related to our two new eMusic Selections: Hands On Heads and Susu, a trio from Brooklyn. To put a contemporary tag on them, Susu play noise-rock. To put a more appropriate but less faddish tag on them, they play math-rock and/or post-hardcore. You will certainly hear echoes of Sonic Youth in these six excellent, fierce songs, but there's also lots of Unwound, Hoover, Don Caballero and basically the entire city of Chicago from 1992 to 1998. So yeah, you could call Susu a throwback — cuz they are. (You could also call them awesome, cuz they're that, too.)

The intensely loud, epic and barking "Hands Up (The Race)" jumps out immediately. "I've got MY/ Hands UP!" and "Get! Your! Handssssup!" yelps singer/bassist Michael Andrew as Andrea Havis 'guitar and Oliver Rivera-Drew's drums swirl, clash and implode around him. From there it fits and starts, churning, chugging and soaring a bit like Unwound's best moment, "For Your Entertainment" off of Repetition.

"Anarchitect" is the math-iest song here, from the clever title to the awesomely idiotic lyrics ("An architect/ Had no neck/ It's not that interesting/ But it is happening") that somehow convince you to shout along by the ending reprise. And then there's "In the Pool," Win's propulsive sleeper hit. All three Susu members are incredibly talented musicians, and it really shows here, with Rivera-Drew doing a great Damon Che with his tom work, Havis slaying with her open-chord hangs in the verses and Andrew flogging the horse with his pounding bass.

Win could have come out on Dischord or Touch & Go in 1993, which is meant as a compliment. It's a record that doesn't fit into now — now, these days, meaning within your last RSS feed — and that's a genuine shame. The underground was where the marginalized once went for solace, but hegemony is a bitch, and so now there must be an underground within the underground within the underground. There, Susu clearly have a home and an audience; our hope is that this excellent collection will get them even more.