Melodrama

Lorde

Released on 6/16/2017

10/10

Lorde released her sophomore effort, Melodrama, in the summer of 2017. Following her breakout debut, there was clearly a lot of pressure to deliver. She waited four years to do so, and the wait was definitely worth the time.“Green Light” pulls us in this record’s world slowly with an infectious chorus and sonic palette. It’s also a good taste of the heartbreak that we’ll hear more of later on. Followed by “Sober,” it features this haunting vocal sample throughout. It’s reminiscent of her debut, with a fresh new layer of paint. While it could come across as fake dramatic, Lorde sells it with her classic anthemic writing style.

“We're king and queen of the weekend
Ain't a pill that could touch our rush
(But what will we do when we're sober?)
Uh, when you dream with a fever
Bet you wish you could touch our rush
(But what will we do when we're sober?)”

The energy is brought up on “Homemade Dynamite,” which highlights a crunchier snare and bass drum. I’ve always felt that this sounds like the most natural evolution for her sonically, featuring elements of what she was already famous for, while still being expansive.“The Louvre” introduces indie rock and alternative influence, with moody production and lyrical themes. In the chorus, the entire song is placed behind a wall, mimicking the sound of being outside of a nightclub. It’s very atmospheric, and immerses the listener further into the record. It ends with a minute long fadeout that allows us to sit in this emotion she’s created on the album so far.Next up is “Liability,” which I am a firm believer of being her best work, at least lyrically speaking. It’s so deeply personal, but still something many can find themselves in. Also, it’s one of two piano led ballads on this tracklist, both of which are highlights of this album.

“She's so hard to please, but she's a forest fire
I do my best to meet her demands, play at romance
We slow dance in the living room
But all that a stranger would see
Is one girl swaying alone, stroking a cheek”

While “Hard Feelings/Loveless” is tender and ambient, I wouldn’t call it soft. It’s full of a restrained energy, or at least the first half is. The last two minutes are spent with an entirely new instrumentation, one that’s a bit more intense. These lyrics are also less tragic than the intro, being more tongue in cheek in nature.“Sober II (Melodrama)” is our title track, but it also serves as a resolution to the themes introduced on “Sober” earlier. It reflects on the aftermath of party life, both in emotion and in literal practice. Sonically, it features trap influenced dramas and a booming bass. It fades into the next track, “Writer In The Dark,” our second piano ballad. This is hands down one of my favorite Lorde songs. I’ve always found it such a specific emotion to capture in the eyes of a songwriter, but one that is perfect in execution.

“I am my mother's child, I'll love you 'til my breathing stops
I'll love you 'til you call the cops on me
But in our darkest hours, I stumbled on a secret power
I'll find a way to be without you, babe”

The best song on this album is easily “Supercut,” as I’d argue it serves as a summarization of both this album’s sound, but also its themes. It is a mission statement on the breakup she explores throughout the record, and a catchy one at that. It’s followed by “Liability (Reprise),” which is another follow up to a previous track's ideas. While the original was a soft piano ballad, this one is an atmospheric pop tune.The record closes out with “Perfect Places.” This closer is absolutely fantastic in the context of this record. It captures the subtle hint of tragedy from party life, all through a sound reminiscent of her debut. It’s anthemic, and full of graceful energy. I can’t think of a better way to close out this record, so infinite props to her.Lorde’s sophomore album, Melodrama, is timeless. It is a beautifully impossible follow up to her first record, and one that establishes its own identity. Still one of my favorite records, I’m excited to listen to more of her music as soon as possible.

Favorite track: Writer In The Dark
Least favorite track: Liability (Reprise)

Review posted on 5/16/2026

Vacation EP

Faerybabyy

Released on 10/17/2025

7/10

Faerybabyy is the moody lo-fi pop project of Payton Morse, and she recently released the Vacation EP. It’s a lovely collection of dark textures, roomy vocals, and fast paced drum machines.Our opener is the title track, which throws us right in the deep end in terms of what we’ll hear throughout the record. Like all of these tracks, it is dimly lit and charmingly produced. I was fond of this one’s vocal mixing particularly, as plenty of the other songs felt impossible to understand. That being said, I’m sure that’s purposeful and a key part of her music, so I won’t bash that. It’s followed by “home alone,” which carries the same personality.“poor little baby” is the closest we get to a vibe switch, donning a faster tempo and notable vocal delivery. I love the guitars here, carrying a clear Strokes influence, particularly from their latest record. Lyrically, I found it to be a highlight, or at least from what I could understand.

“Poor little baby
No one could ever understand me
Why she's so strange
Can't even remember her name
Gone, nevеr to been seen again”

I thought “young hearts” was pleasant, but lacked uniqueness among the tracklist apart from the voice memo halfway through the song. Again, if I could understand or read her lyrics somewhere, I’m sure I’d feel far more immersed in the song. Still, it’s a good time, and nothing out of the status quo. Its followup track, “u make me wanna kms,” was a highlight for me. The frustration that she conveys in the shouting chorus is a nice moment, and its instrumentation was fun.Next up was “girl rotting,” the most popular song to come out of this project. I can see why, as though it carries many of the same elements as these other tunes, it has a specific charm to it that some of the others don’t. The EP then closes out with “romance,” which I found to be slightly darker in tone. This is reflected in the slower tempo, as well as its chord progression. Nothing groundbreaking in terms of what we’ve heard, but enjoyable nonetheless.On the Vacation EP, Faerybabyy does a lot of the same. Still, she does that one thing very well. I’d love to hear more range from her in the future, but until then, I’ll have a good time with what she’s given us.

Favorite track: romance
Least favorite track: home alone

Review posted on 5/15/2026

Song and Dance

Joy Again

Released on 7/26/2024

7/10

On July 26th, 2024, Joy Again released their first and final album after 10 years as a band. This record is known as Song and Dance, and it is a lovely experience front to back. While it's unfortunate the group has disbanded, it's nice to check out the sound that made them so special in the hearts of many."It's True" opens the album intimately, with an acoustic feel reminiscent of their 2017 hit, "Necromancer." It's a beautiful introduction, and one that is followed by a huge shift in tone on "Apples, Peaches." This track is noisy, poppy, and all around a good time. I was very fond of the fuzzed out guitar solo, as it's impressive to see the range Joy Again have already established only two tracks in.I found "Angel's" drum groove to be very danceable and fun. It's sad to know this album's tour was cancelled ahead of its run, as I'm sure this would've been great for a crowd. Next up was "Chew," an indie tune with southern charm. Honestly, a lot of this record felt twangier than I expected going in, though it works well and sets them apart from their peers."Shoobie" was cute, but I felt it didn't standout from the other tracks here. The same cannot be said for "Wait On You," however. This one is soft, tender, and an emotional highlight. This is both through this track's unique vocal delivery, but also through the lyrical approach. It's all around a standout track, and definitely one of my favorites.

"I’m the worst kind of man
I melt in your hand
One touch and I'm totally through
Now that you've got me
You disappear
I’ve got time to wait on you"

"Let's Do a Dance" brings the energy right back up with its 12/8 time signature. I love songs that swing like this, particularly because they are difficult to come across nowadays. It's cheery and a bit cheesy, but enjoyable nonetheless. It's followed by "My Big Sky," which is once again a large tonal shift. This one is more mellow, with some moments of grandeur sprinkled out. I was a huge fan of how spirited this one felt, especially through the guitar solo section.We hear another vocalist on "Pennsylvania Queen," in the form of Lila Drew, a friend of the band. This expands the sonic palette we've grown used to, and makes more tor a unique moment on the record. We're then treated to "Call Me All The Time," which easily stood out to me as my favorite. I love this foot-tapping groove, and the song's entire concept, while melancholic, remains fun.Our penultimate track is "Today's the Day," which is our first and only piano led track. It's impressive to be able to introduce new elements this late into the record and still have it feel cohesive. Despite it's explosive middle, it features a gentler approach to its instrumentation. This works well to elevate the lyrics, which are more of this record's best

"Today's the day that I fade away
Take a good look right at me and say it to my face
I'm amazed at the mess I made
I would say that I'm sorry, but I think it's too late"

Finally, "Carolina" serves as both the album's closer, but as a closer to the band's discography as a whole. It does both of these expertly by blending both sides of their sound- the tender ballads and the noisy pop tunes.Joy Again were kings of the indie scene, and they'll be sorely missed. Still, Song and Dance works as a wonderful farewell letter to the band. Joy Again, forever.

Favorite track: Call Me All The Time
Least favorite track: Shoobie

Review posted on 5/14/2026

Sparce Chronicles: Life of Tha Party

Sparce

Released on 11/22/2025

6/10

Sparce is an emo-core band hailing from Isla Vista. I recently checked out their debut EP, Sparce Chronicles: Life of Tha Party. While it’s a sound attached to many bands in the scene, they deliver their unique take on the genre, while maintaining certain staples of the sound.I found “Pint Night” to be a decent opener. Here and throughout this whole record, Sparce deliver very fluid guitar lines, and this first track is no different. It eventually evolves into a medley of screams and distortion, which are serviceable nonetheless. It’s followed by “Song 1 (One),” which features a timeless midwest emo inspired riff. I’m always a fan of incorporating adjacent genres into a band’s sound, so this pleased me.I’d say that “everywhere i go there is pain” was my favorite, specifically for its tender feel. If I’m entirely honest, I found myself fonder of the more intimate moments than the heavier ones on this entire project. Sure, it could be a personal preference, but I do think they are at the top of their game when they are being gentler. Another reason for that is I feel their lyrics stand tall enough to convey the emotions they are writing about, and the screaming takes away from my understanding of it.

“But this time, I have to keep driving
The line, because it won’t work out
One time, the world becomes seamless
And that try, the game appears worthwhile”

I thought “El Prado / Shortstop” was done well enough, though the sample took me out of the experience. I’m sure the band and their audience enjoy it, but as an outsider looking in, it felt diminishing. The closer, “SBNO” had great instrumentation, but I have little else to say about it.On Sparce Chronicles: Life of Tha Party, Sparce deliver some unoffensive emo-core. However, they are at their best when working in a more intimate context. I’d love to hear more from this group, specifically in their quieter moments.

Favorite track: everywhere i go there is pain
Least favorite track: El Prado / Shortstop

Review posted on 5/13/2026

The Mollusk

Ween

Released on 4/18/1997

8/10

Ween is a band I’ve remained acutely aware of throughout my entire life. Still, I’d never explored any ounce of this curiosity. Now that I’ve checked out their 1997 nautical themed album, The Mollusk, I’m upset I didn’t sooner. This record is chalk full of personality and masterfully crafted arrangements.Many of my favorite albums feature an opening track that serves more as a prologue than anything. Typically, these are more ambient, allowing for the second track or “true opener” to be more explosive and gripping. Not on this record, however, as “I’m Dancing in the Show Tonight” is a showtune with a child-like wonder. At first glance, I found it a bit creepy, but after a full listen I understand its purpose. It sets up the record’s range in a far out way, allowing Ween to throw in even more quirked out tracks later down the line. It's followed by the true opener, AKA our title track. This is a huge vibe switch for sure, and cements the record’s range. Sonically, it’s very atmospheric and swaying, with large space being cleared out by the arpeggiated synth present throughout the whole track.“Polka Dot Tail” is the perfect middle ground between the previous two, having a sort of sludgy, slowed down surf rock feel. I love how strange their approach to lyrics is, especially here. The same can be said about “I’ll Be Your Jonny on the Spot,” though this one is far more upbeat. This tune would sound just as good with heavier, rock drums. However, by utilizing drum samples, it delivers a much more true to this album sound.I found myself dazed with “Mutilated Lips.” The verses have a reversed effect on them, creating a dizzying sound. Honestly, the production on the entire record has been deeply impressive, and not at all what I would expect from an album released around this time. The dazed effect is further pushed by the LSD inspired lyricism as well.

“Mutilated lips give a kiss on the wrist
Of the wormlike tips of tentacles expanding
In my mind, I'm fine, accepting only fresh brine
You can get another drop of this - yeah, you wish”

Despite being a nautical themed album, we don’t get our first sea shanty until almost halfway through with “The Blarney Stone.” Despite its comedic qualities, it still carries a somber tone about an Irish pirate’s view on the world. I loved the gravely vocal’s here, and continue to be impressed by the vast range of this record.This is reinforced on “It’s Gonna Be (Alright),” which is far moodier by comparison. While it’s steady and stagnant, that monotone feel allows it to standout from some of the other tracks here. I felt the record start to dip around here, with “The Golden Eel” and “Cold Blows the Wind” failing to truly immerse me. The latter’s guitar chords were haunting, but it had little else going for it.The same cannot be said for “Pink Eye - On My Leg,” however. This song’s indie feel reminded me a lot of fellow late 90’s alternative rock act Grandaddy, which was a pleasant surprise. Also, despite this album’s oceanic feel, very little of it has surfy vibes in the way this one does. I would like this one more if it had lyrics, but I had a good time nonetheless.The indie vibes are equally present on “Waving My Dick in the Wind,” though it has a bit more quirk to it. It’s undeniably fun, and showcases Ween’s refusal to capture emotion in a typical way. Its follow up track, “Buckingham Green,” was fine, though I found myself bored before the track's mid section evolution.What is there to even say about “Ocean Man.” This track is iconic for a multitude of reasons, most of which come from the song’s inclusion in the 2004 Spongebob movie. Still, it doesn’t overshadow the other good work that Ween have done on this record. It feels good. Enough said.The album closes out with “She Wanted to Leave,” another tragic sea tale like “The Blarney Stone.” This one, however, is about a sailor whose love drove him mad, leading him to kill the woman he once held dearly. It’s a beautiful tone to end this record on, and a great tune regardless. Afterwards, there is a minute-long instrumental, featuring a reprise of the opener and waves crashing on the sand, sticking the landing on the very vivid world they’ve created throughout.

“So go fetch a bottle of rum, dear friends
And fill up my glass to the rim
For I'm not the man I used to be
Now I'm one of them”

The Mollusk may seem a bit silly on the surface level, but once you dive below, there is a lot of heart here. Ween explore a variety of emotions that very few other bands would, and they do it well. I was delightfully impressed by this record, both through its lighthearted and heavier moments.

Favorite track: I'm Dancing in the Show Tonight
Least favorite track: The Golden Eel

Review posted on 5/12/2026

horseshoe

beaming

Released on 4/17/2026

7/10

beaming is the indie folk-pop-rock hybrid project by Derek Ted and Braden Lawrence, two veterans in the underground music scene. They recently released their full length debut, entitled horseshoe. It’s a delightful batch of tracks, showcasing their strong approach to melodies and instrumentation.We’re led slowly into this world, with the ambient opener, “WAITING”. It’s filled ear to ear with ethereal textures, softly immersing us into this record's sound. It’s on track two, “say goodbye,” that we hear the first proper tune. This one is a soft, upbeat jam of a track with such a deliciously infectious chorus. I was quite fond of their blend of gentle guitars and fuzzy leads through this indie pop sound.We’re then treated to “BUGBITE,” which further carves out beaming’s sound. The autotuned vocal chain could risk feeling disjointed from the rest of the track, but by incorporating here and elsewhere in moderation, it adds to the overall production value. It’s followed by “Stuck (here),” a more mellow track by comparison. Despite this one feeling weaker than the previous two sonically, I was quite impressed by the duo’s vivid lyricism here.

“Weighed down by the weight of your suffering
Look out, you'll crack like porcelain
Fading distance, so far from home
Black out sequence, hang up the phone”

The title track is not anthemic or grand- rather, it’s an intimate, ambiently produced tune. I am in love with this song’s quiet nature, and it’s elevated by its tender songwriting and vocal delivery. “SURPRISE,” was also impressive in that regard, though I felt its hooks were less gripping. Still, it has a sunny quality, and is very reminiscent of the late 2010’s indie scene.“4leaf’s” chord progression caught my ear, featuring a descending line in the post chorus that really elevates the song’s emotion. Still, I’d say it and its two follow up tracks, “SLOWER” and “DADA,” are the album’s weaker points. I liked the former’s moodier approach, though I wanted more out of track than what I heard. While the closer, “MIDDLE,” was still less notable than the early tracks here, I was still more fond of it than I expected to be. The more direct usage of drum machines directly comments on the album’s opener and title track, making it feel more connected to the album as a whole. It’s more upbeat than I’d prefer, but still enjoyable nonetheless.While horseshoe loses some of its steam halfway through, beaming still deliver some charming indie pop here. The highs are high, and the lows are middle of the line at worst. I’d definitely recommend this one to any of my indie-head friends, both for its quality, and so they know I’m on the frontlines of a promising niche music duo.

Favorite track: horseshoe
Least favorite track: SLOWER

Review posted on 5/11/2026

The New Abnormal

The Strokes

Released on 4/10/2020

9/10

The Strokes are one of the most important bands to come out of the past 20 plus years of rock music. In early 2020 they released The New Abnormal, which, despite my admiration for the group, I had yet to listen to in full.Plenty of these tracks have graced my ears, however, one of these being the unavoidable “The Adults Are Talking.” This stands as a fantastic opener, as it subtly introduces the new sonic palette that we can expect from this record. It’s familiar to the signature Strokes sound, but with a new layer of polish on top.We dive deeper into these new elements on the second song, “Selfless.” This track features arpeggiated guitars as the foundation for a dreamy, sentimental track. I’m very fond of lead singer Julian Casablancas’ delivery here. He sounds exhausted in the best way possible as he drones on about love and loss.“Brooklyn Bridge To Chorus” felt entirely new to me, being centered around this groovy synth tracks. When the first drop hits, I was immediately in love with its fuzzed out guitar lead. However, despite its upbeat rhythm, the song delves into a more introspective tone lyrically.

“One shot is never enough
I just wait for this to go into circles
And the distance from my room, is anything so necessary?
I was thinking about that thing that you said last night, so boring”

It’s hard to imagine a time in which “Bad Decisions” was not around. Famously interpolating Billy Idol’s “Dancing With Myself,” it features a timeless coming of age feel that is hard to fake. It’s followed by “Eternal Summer,” which is quite moody in comparison. I found its stronger emphasis on electronic elements to be a highlight, and Julian’s falsetto vocals create a great ambience for the entire track.I cannot say the same for “At The Door,” unfortunately. It’s drawn out execution risks evoking feelings of fake grandeur, and the lyrics aren’t impressive enough to warrant its five minute run time. Still, the chorus’ melody is satisfying, and I thought how the track evolves in the bridge was notable.“Why Are Sundays So Depressing” picks the energy back up with its dancing drums and nostalgic electric guitars. I love the mix on this one particularly, leaving space for each other element to breathe, creating a tight end product. Inversely, “Not The Same Anymore” has a more drunken feel. By having these tracks back to back, it showcases the band’s range in a satisfying way.It’s quite difficult to articulate how much of an admiration I have for this album’s closer, “Ode To The Mets.” This is such an impressive song in the band’s catalog, being a legendary display of their talent as a group. The way the song builds to its explosive back half is seamless, while still feeling effortful. Mix that with Julian’s unique songwriting style, and you’ve got a closer for the ages.

“Gone now are the old times
Forgotten, time to hold on the railing
The Rubik's Cube isn't solving for us
Old friends, long forgotten
The old ways at the bottom of
The ocean now has swallowed
The only thing that's left is us
So pardon the silence that you're hearing
It's turning into a deafening, painful, shameful roar”

The New Abnormal is arguably The Strokes best work. By taking their time to craft a refreshing take on their sound, they breathed new life into the band. The hooks here are both technically impressive and universally palatable, and I was pleased to finally check this album out in full.

Favorite track: Ode To The Mets
Least favorite track: At The Door

Review posted on 5/10/2026

Songs from the Sunroom

Field Medic

Released on 11/10/2017

8/10

When Field Medic signed to Run For Cover Records, his first release was a compilation of songs released throughout a run of EP’s at the time. That compilation, known as Songs from the Sunroom, is a fifteen track album of beautiful indie folk arrangements and a deeply human perspective. It’s romantic, and unique to Field Medic in it’s entirety.“POWERFUL LOVE” opens up this record, and rather than being a softer acoustic ballad like many other tracks, it is an upbeat almost indie rock-esque tune. It subverts preconceived notions of what a folk album can be, much like he subverts what a folk artist can be. It’s followed by “p e g a s u s t h o t z,” which delivers a more expected sound. Its intricate guitar playing is so pleasing to the ear, and it is topped with his unique vocal style. On track three, “me, my gibberish, & the moon,” Field Medic’s lyrics are at a highlight. It’s somber, and a full display of his talent.

“I stalk the streets alone now
Just me my gibberish and the moon
For I speak a different language
If I cannot speak with you”

I thought “GRAFFITI PAINT” and "NEON FLOWERZ” were both clever uses of a four track tape recorder, and that he pushes DIY music to its fullest here. The latter begins with a messy drum machine, which feels uncomfortable and disjointed until the acoustic guitar comes in, making for a beautifully textured track.“OTL” is one of my favorite tracks lyrically speaking, as it feels very raw. It’s very easy for an acoustic and vocal song to feel tired, but he delivers unique lines in ways that are difficult to find elsewhere. This charm is just as present on “do a little dope (live),” though that one has the special aspect of being a performance take. By adding this into the compilation, it establishes his connection with community through his music, making him seem just that much more genuine. The next highlight was “uuu,” which is effortlessly cute. I’ve always loved his usage of metaphors, specifically in regards to love.

“All I ever needed was your Siamese kiss
To cleanse me of this spookiness
To clear the fog, see through the mist
To give my sorrow a plot twist”

I’d say after this is when the album begins to dread on a bit, featuring longer, slower tracks. While “GYPSY DEAD GIRL” and “tombstone poetry” are good times, they feel less distinct from some of the other tracks here.It’s not until the penultimate track, “fuck these foolz that are making valencia street unchill” that the album delivers a notable song. The thing that makes this track so special is it’s rawer, more descriptive lyrics about seemingly real situations that we’re relevant to his life at the time. It’s a vulnerable way to let us deeper into his mindscape, and one that is continued on “it’s still you…,” the closer. This one is truly haunting, being almost seven minutes of ambient textures and gravely acoustic guitars.Songs from the Sunroom is a great sample platter of all that Field Medic has to offer. It was a great move to have this be his first record label release, and it’s lovely to see how he’s evolved since then.

Favorite track: uuu
Least favorite track: prowler

Review posted on 5/9/2026

Slugger

Petite League

Released on 10/26/2015

8/10

In October of 2015, Petite League released their DIY debut, Slugger. It’s ten tracks that feel like post summer blues, both through their classic indie rock arrangements and their quirkily melancholic lyricism.“Ocean Honey” is a short and to the point opener, setting the mood right for the rest of the album, but specifically the second track, “Surviving October.” The drums on this one are beautifully messy, and I love the surf vibes on it. I was also pleased with the songwriting here, featuring non sexy eroticism on its first line. Sad, but horny is a difficult tone to get right, but I think they nail it here.

“I don't want to taste your summer cum
And you don't want to taste mine
I don't think I've ever loved anyone
But she never let me call her mine
You never let me call you mine”

I found “Little Fourth of July” was another great showcase of their timeless indie sound. For an album that’s just over ten years old, the music maintains its catchiness and rarely feels dated. The same can be said for “Kanyakumari” and “My Black Lungs,” with the former’s DIY approach feeling particularly enjoyable.Skipping ahead to track six, “Not Always Happy” is a summery, somber breakup tune. I’ve always been fond of when a song masks its more depressive lyrics through upbeat instrumentation, creating an intentional split between what is heard and what is said. It’s followed by “Two Flags,” which I thought was a songwriting highlight here. This is complimented by how steady this song’s energy is, save for the final explosive minute.

“I'm just looking for a bed for a dreamer
I'm just the sins left in a savior
I'm just a zephyr floating to the west
I'm just a heartless bastard like the rest”

“Halloween in Hollywood” features a youthful glow that is tough to find in modern indie acts. Everyone is so mellow these days, so it’s refreshing to hear how fun this era of indie was.I’d argue that “Leaf Surfer” and “Dibs, Hawaii.” are two parts of one closer. The former is a poppy tune about having a crush, which unfortunately goes sour by the time the latter comes on. Certain phrases make a reprise on “Dibs, Hawaii.,” which connects the two songs even further. Still, the closer is tender and much softer than anything else on here, making it stand out as a bittersweet note to end on.Slugger is an album that does a lot of the same thing. Still, it does that one trick expertly, making for a DIY indie sound perfect for the end of summer. I can’t wait to check out more from Petite League, as I was very pleased with what I found here.

Favorite track: Surviving October
Least favorite track: My Black Lungs

Review posted on 5/8/2026

Girl

Coco & Clair Clair

Released on 8/30/2024

8/10

Coco & Clair Clair are an act without many true peers. Their sound is defined by soft, ambient synthesizers and pop influenced trap drums. This palette remains strong on their 2024 album, Girl.The project starts with “Martini,” which is a great mellow opener. Immediately, we are hit with Clair Clair’s iconic breathy vocals delivering some somber party lyrics. This tone is explored most deeply on the closer, while the rest of the tracklist carries their modern pop diva attitude.

“You can't lie to me in such a small town
You talk to her when I turn around
I chase after you down the avenue
You say you miss me but hate my attitude”

Second up is “Kate Spade,” which brings the energy up gradually. I was a huge fan of this one’s overall production, being more upbeat than some of the other tracks on here. Other than that, it’s more lines about how they are far too cool for pop culture, and it’s done in a believable way. It’s followed by “Gorgeous International Really Lucky,” which is an unraveled acronym for this album's title, making it an honorary second title track. I was pleasantly surprised by the pop of energy in the final thirty second synth break in this otherwise mellow song.I have little to say about “Our House,” as it’s more of the same if not for its more break beat inspired drums. The same cannot be said for “Everyone But You,” however. These tracks carried a more alternative feel, with guitar chords that feel loosely Nirvana inspired. Lyrically, I thought this track was very impressive. It takes their confident attitude and flips it from being a diva mindset, to a commentary on predatory men and their harmful actions. It’s very powerful messaging, and stays on brand while still allowing the duo to explore topics other than party life.

“You like it when you think that I'm dumb
I bet you’d like to think that I suck on my thumb
Oh I know, I know, I know about your kind
And so, and so, and so I'll have to play”

“Bitches Pt. 2” was fun, but it felt the closest I’ve seen the duo come to sounding like their peers. The feature by Marjorie -W.C. Sinclair is skillful, though it diminishes on Coco & Clair Clair’s iconic sound. The pop vibes are entirely back on “My Girl,” however, though it feels more brash than some of the other tracks. The penultimate track, “Graceland,” didn’t add anything of note in my back past its swaying drum groove. Serviceable, but nothing special.The closer, “Aggy,” brings back the somber tones we saw on the opener, though less subtle and now at the forefront. By adding this final touch, it creates a melancholic undertone for their party girl aesthetic, thus adding another layer of complexity to their music. It’s got a great chorus, and works perfectly as an ending to this record.Girl is another great display of Coco & Clair Clair’s talent as a duo. It’s mellow, pop centric, and features their on brand diva aesthetic which makes their music so enjoyable. I love the way their voices blend together, and can’t wait to hear more from this act.

Favorite track: Everyone But You
Least favorite track: Bitches Pt. 2

Review posted on 5/7/2026

Better You Lucky Life

Cockfighter

Released on 9/23/2025

7/10

This past September, Cockfighter released Better You Lucky Life, a collection of endearing lo-fi rock ‘n roll reminiscent of both early Car Seat Headrest and Daniel Johnston. I was delighted by these five tracks, only wishing for more from the project.The opener, “Sweetest Girl My Everything,” is a sentimental dirty doo-wop track. Once you peel back the layers of distorted production and noise, you find a soft, gentle center. I’d say the last minute of just instrumentals overstayed its welcome a little bit, but I did still find it calming in its own special way.It’s followed by “Hi You’re Cute,” which is even noisier in comparison. While I wish the vocals were easier to make out, I understand that’s part of this act’s personality. These aspects are not as easy to look over on “Fake of This,” which features a more drunken quality.One of the highlights here is this EP’s single, “A Whole Life.” I was once again charmed by this song’s dirty sentimental tone, a staple of Cockfighter’s sound. It’s also a great display of their pop sensibilities, featuring catchy hooks and melodies. Lyrically, it’s nothing groundbreaking, but sometimes having an honest, vulnerable, romantic moment is all you need.

“You bought me diamonds again
I bought you flowers
I took your hand when we kissed
We talked for hours”

“You Know” captured a very specific emotion for me. The sonic palette here evokes a human feeling, one that reminds me of CASIO keyboards and thrifted acoustic guitars. At first, I wanted to track to evolve out of this smaller moment, but after multiple listens, I love it just the way it is. The project closes out with “Gone,” which is comparatively cleaner than some of the other songs here production wise. I love how cute this one is, adding more doo-wop influence through its swingy, programmed drums.Better You Lucky Life isn’t perfect, but I don’t think it was ever trying to be. By highlighting their lo-fi approach to music, Cockfighter delivers some great indie music here. It’s mellow and brazen at the same time, making it very captivating at times.

Favorite track: Gone
Least favorite track: Fake of This

Review posted on 5/6/2026

Fear of God

Penelope Scott

Released on 4/24/2026

7/10

Penelope Scott is a figure well known across the internet, specifically for her breakout album, Public Void, in 2020. However, she’s evolved quite a lot since then, and that evolution and growth is clear on her most recent endeavor, Fear of God.“Y2Kbaby” opens up this project, and we are immediately hit with Scott’s iconic charm. It’s undeniably fun, while still carrying so much emotional substance. I was specifically impressed with how mature her lyricism has gotten over the years, and this song was one of a few highlights. It feels like a mission statement for her music, and this record as a whole.

"I'm delusional, I'm a dream
I'm the future, I'm the scheme
Underneath it all, I'm somebody's child
Gotta remember every once in a while"

The next two tracks, “It Girl Intro” and “It Girl,” are two parts of the same narrative. The intro, however, is more restrained and somber. Still, it stands strong on its own. “It Girl,” continues the intro’s powerful message, but allows that idea to be fully explored sonically. So much so that it transforms into an almost rock opera, far beyond anything I’ve come to expect from Scott.On “Letters to Santa,” Penelope acknowledges the unique position she is in as an internet centric artist. While it’s not my favorite, the writing is cute and sentimental, and the production is quite catchy. It’s followed by “Touch Grass,” which is a left field move for this album. Being just a piano and vocal song, it’s very reminiscent of her debut effort, The Junkyard 2. At first I found it too out of place here, but after multiple listens, I understood the vision and purpose of the track here. It’s a beautiful way to nod towards that era of her life, and the lyrics alone make it an excellent track.

“I'm the sin and I'm the rot
And I'm the dog who wants to gnaw it off
I can never fix it, I can't scrub enough
But if I'm ruined, then I'm ruined and in love
If you're evil, be evil in love”

I found “Loser” to be insanely catchy, having an almost indie tone, a genre that is only ever adjacent to Scott’s sound. It’s full of her charm, but with a modern, fresh twist. Similarly, “See You In Hell,” is another modern touch on her sound, though in an entirely different way. This is her first use of autotune on this album, and while it would seem like a no brainer, it feels a little disjointed. I’ve always been a fan of how human her voice sounds, and by putting through this over-saturated effect, even if on purpose, it waters down her sound. Regardless, the arrangements here are phenomenal showcases of how noisy she is willing and able to get.The transition between the last track and “no more treats in the machine” is seamless, placing us immediately in this dark, haunting instrumental. Unfortunately, the track falls short quickly with how the vocals are mixed. While she’s used similar messy mixing techniques in previous projects, considering that all the other tracks here are crystal clear, it makes it stand out as being unintelligible. It’s followed by “Dance Like Nobody’s Watching,” which I thought was very okay at best.Penelope described “Symbol Manipulation” as “the soul of the album,” and she was right. It’s very fun, emotional, and carries all the qualities that a great Penelope Scott song should. I was once again impressed by her writing here, being both humorous and earnest all at once.

“I always want someone like you to see how well I studied
I am a perfect girlfriend for someone who doesn't know me
What if the thing I love to do is not the thing I'm good at?
What if I'm not in love at all?
What if I'm just proficient?”

Penelope Scott is a polarizing artist. Her music is absolutely an acquired taste, but I found myself undeniably charmed by this record. Fear of God is a great showcase of the highs and lows of her sound, in both the best and worst ways.

Favorite track: Loser
Least favorite track: no more treats in the machine

Review posted on 5/5/2026

Now, Not Yet

half•alive

Released on 8/9/2019

6/10

If you were involved with the 2019 indie scene, you’ve likely heard of indie pop trio, half•alive. They broke out with singles from their album, Now, Not Yet, released that same year. It’s a collection of dancing rhythms and walls of colorful production, though not every song stands out among the crowd.The record starts off on a high note with “ok ok?” The track opens up with heavy, distorted guitars, the likes of which we don’t see much else on the track list. Despite these, the song strips that away immediately, opting for a more ambient buildup of a track. Its rhythms are unique, and arrangements just as so.“RUNAWAY” is our next track, and I adored the drum groove on here. It’s also the first highlight of lead singer Josh Taylor’s intricate and substance-filled wordplay. It’s catchy, but not without a message.

“Staring into my reflection, redirecting my perfection somewhere else
When there isn't any progress, lean in truth inside the promise, it is well”

I thought “Maybe” was fun, but fine overall. I’d heard that this band has received criticism for its sonic parallels to fellow indie-pop act, Twenty One Pilots, and I first understood it here. That being said, its not one to one, and this track still stands strong as a half•alive track, rather than a lost Twenty One Pilots demo. I was quite fond of the sine wave found on the verse as well, being a cute detail.Skipping past a voicemail interlude, we arrive at “still feel.,” their breakout hit from this era. It holds up effortlessly, and I’ve always been enamored with its sinister progression and unorthodox instrumentation. It’s followed by “TrusT,” which I first felt myself nodding off at. However, the song finds a new identity at the three minute mark, dropping the album title and exploding in its last minute. If anything, this song’s first half was probably just a minute too long for my taste.I thought tracks seven through eleven were generally not notable for any reason, with the best being track ten, “BREAKFAST”. All these tracks have cool ideas, though none are executed in a way that makes me care about them. “BREAKFAST” as well feels like it was building up to a dramatic payoff, though it’s never delivered. I’m all for supplying tension through music to catch the listeners attention, but without a proper landing, it feels unfinished, and mostly just frustrates me.The closer, “creature,” does its best, being the culmination of this album’s themes of faith. While I think that is an interesting and unique direction for an indie pop act, it falls short in its execution. Something about the production feels more plastic here, making it not only feel disconnected from the album, but from the band as well. It all ends in a wall of noise, though the noise feels intentless, and instead comes across as messy.I won’t deny that Now, Not Yet has some golden moments, but they are almost overshadowed by this record’s dragging back half. Still, the highs that half•alive reach here makes it worth the listen, delivering colorful drum grooves and tasty synthesizers.

Favorite track: ok ok?
Least favorite track: Rest

Review posted on 5/4/2026

Titanic Rising

Weyes Blood

Released on 4/5/2019

9/10

In 2019 Weyes Blood released Titanic Rising, a collection of ten complex emotional tracks that capture the feelings she's felt all her life. It’s direct in its messaging, touching on climate change, religion, and the realization that life does not always work out the way you expect it to.This is clear on the opener, “A Lot’s Gonna Change.” The production orchestra is full of strings, soft but large drums, and ethereal, tastefully used synthesizers. This elevates Natalie Mering’s (the brainchild behind Weyes Blood) elegant vocalities. These are just as present on “Andromeda,” this album’s most popular song. Having hardly heard of Mering before checking this out, I was very impressed by how flowery her writing style is. It balances the dramatic with the romantic, making for a compelling delivery.

“Andromeda's a big wide open galaxy
Nothing in it for me
'Cept my heart that's lazy
Runnin' from my own life now
I'm really turnin' some time
Looking up to the sky for something I may never find”

While the previous two tracks have been slower tunes, “Everyday” is our first upbeat moment. It’s sunny, still with somber undertones. An all around pleasant track, it was nice to receive a pace breaker between the church halls that the other songs belong in.Speaking of church halls, “Something to Believe” touches on Mering’s difficulties with a lack of religion, feeling as what she describes as a “fallen christian.” It is a complex emotion to touch on, and one that she does well.

“The ruler of my world, a lost forgotten pearl
When fire leaves a girl
Too burned to try my life
Living on the fault line”

While the title track is an instrumental, it still has so much to say. After reading up on it, I discovered that Mering describes as “an interlude between the album's first half, which deals with hope and love, and the second half, which deals with ‘an existential sub-zone.’”This split is distinctified by the opening of “Movies,” which takes the previously subtle synthesizers, and brings them closer to the front with a watery arpeggio laid underneath Mering’s beautiful voice. The execution here also feels more hopeless, taking almost four minutes to build into its final section. When we do arrive here, however, the payoff is absolutely worth it. It’s almost distorted in nature, featuring vocal samples and thumping drums to illustrate its frustration. It’s followed by “Mirror Forever,” which features a similar approach to its production. I was particularly interested in the post chorus guitar hits, feeling spacelike and sharper than anything else on this album.“Wild Time” is a bit less grand, but honestly that’s a good thing. It serves as another pace breaker, and a melancholic one at that. If anything, it feels like the leveling out of strong emotions found on the previous two tracks. Other than its calmness, I thought the track was decent enough. Its follow up track, however, blows it out of the water.This follow up track is “Picture Me Better,” which serves as the album's spiritual closer, considering the next and final track, “Nearer to Thee,” is another instrumental that acts as a metaphorical narrative end. On “Picture Me Better,” however, Mering captures something truly special and gut wrenching. It’s about one of her dear friends, who took their own life, and how she carries so much to say to her, without an outlet. It’s a vulnerable and deeply personal message, while still one many can relate to in different contexts. It’s truly beautiful, and a fantastic foot to land on at the end here.Titanic Rising is timeless, in that it feels modern and classical at the same time. Weyes Blood clearly had a vision, and they executed it to a T. I would absolutely recommend this album for some late night introspection, or even on a calm Sunday afternoon.

Favorite track: Everyday
Least favorite track: Wild Time

Review posted on 5/3/2026

Kansas Anymore

ROLE MODEL

Released on 7/19/2024

9/10

Tucker Pillsbury, professionally known as ROLE MODEL, made his way into the mainstream with his sophomore record, Kansas Anymore. He almost entirely abandoned his alt-pop roots and switched his laptop for an acoustic guitar. By doing so, this breakup album feels more raw, and more genuine than ever before.The album’s first track is the sunny “Writing’s On The Wall”. It traps you into a seemingly upbeat, almost happy track at first glance. But on deeper inspection, it reveals the insecurity Tucker feels in his relationship, denying the wisdom of his father. It’s a clever way to open the record, which is mostly softer tracks. One of those softer tracks is “Look At That Woman”. On it, Tucker praises the woman whose heart yearns for, making for a tragic and beautiful sentiment.While the folk and country vibes were subtle on the two opening tracks, “Scumbag” is where the full on twang comes in. It blends his high energy alt-pop roots with this new sonic palette, which works surprisingly well. While not my favorite track, it’s definitely one that carries itself confidently.The follow up track, “Oh, Gemini,” is absolutely a lyrical highlight. Pillsbury’s wordsmithing here is elegant, and it’s backdropped by a tender sonic palette reminiscent of The 1975’s 2022 album, Being Funny In A Foreign Language. This palette is just as present on the next track, “Frances”. It’s honest, and considering the very public context of who this album is written about, it’s iconic.The energy picks back up with “Superglue,” which is wild and fun. While ROLE MODEL has almost entirely abandoned the rapping found on his debut, it makes an appearance here. It’s a nice nod to those roots, and doesn’t feel disjointed with the track, or even the record as a whole.I thought “The Dinner” was delightful. Its old style country vibes we’re a nice direction for the album to lean even further into, and one that doesn’t feel gimmicky. Additionally, the track’s anthemic chorus feels like it’d be heaven to see live, which earns it a point. We also get the album’s title from this track, and though I’ve always thought the title felt awkward, it’s nevertheless a nice moment.“Deeply Still In Love” delivers an indie-rock twist, without feeling too sharp or edgy. It’s the catchiest track for sure, and another production highlight. It closes out with thirty seconds of a haunting piano recording, which despite how many times I’ve heard this song, I have never noticed until now. It’s followed by “Slut Era Interlude,” which I’d argue is this album’s most vulnerable moment. By portraying casual sex in this unerotic moment, Pillsbury illustrates his broken attitude perfectly. The production is also very roomy and dazed, reflecting a likely drunken state of mind that we see in the lyrics. It’s uncomfortable, and deeply human.

“You got your face in your phone, why'd you let me bring you home?
I'm not tryna be your man, just don't want to sleep alone
Fuck your first name, fuck your birthday
Know you're only here to get me through this heartbreak”

“So Far Gone” has a Lizzy McAlpine feature, which is a nice stirrup in what we’ve come to expect so far. Still, the track is another slowburn, and I wish it was placed somewhere else in the tracklist. Regardless, it’s a lovely tune, and one I wouldn’t dare remove from this tracklist. It’s followed by “Slipfast,” which offers a perspective we’ve yet to hear here. ROLE MODEL confesses that though he loved her, the relationship and his thoughts weren’t always pure. By confessing this, it adds a new layer of nuance to the breakup, making it all the more compelling.The penultimate track is “Compromise,” and it's another tender track. Despite being consecutive with a lot of other slow tracks, it carries a very unique identity. I’d argue that this song feels the most directly pointed at Pillsbury’s ex-lover, making it a good setup for the closer, “Something, Somehow, Someday”. This song is heartbreaking, but still positive. It wraps the album’s themes up in a perfect bow, and still leaves room for interpretation.Kansas Anymore is a masterclass in confessional songwriting. In one line, ROLE MODEL has us sympathize with him, only to feel disquieted by him in the next. Mix that with an intimate folk sonic palette, and you’ve got an album that feels tender to the core.

Favorite track: Slut Era Interlude
Least favorite track: Scumbag

Review posted on 5/2/2026

SISTER

Frost Children

Released on 9/12/2025

9/10

I went into SISTER completely blind- and by god am I glad I did. This fourteen track record is a collection of explosive walls of sound, juxtaposed by more intimate, tender synthesizers. It’s a phenomenal display of Frost Children’s talent, and one that made me an immediate fan.The opener, “Position Famous,” takes its time leading you into the album. It’s got over two minutes of anticipation, building up to an inevitable drop. Its vocals are sleazy, and full of personality. When the drop does occur, it is larger than life, and full of color.This is continued on “Falling,” my personal favorite. Like much of this record, I found the songwriting here to be a great balance of earnestness, with nods to the emo scene of the 2010s. Never does it feel forced or phoned in. It’s entirely real and true to the duo’s character. The song ends with a beat change, and I felt myself ascend immediately.“ELECTRIC’s” opening caught my ear instantaneously. It’s so sharp and full of anger, making that first drop feel so deserved. I love how distorted the duo is willing to get, bordering on the sound being grating. The track’s bridge brings down this sharpness, and allows for a more intimate sound. It’s follow-up track, “CONTROL,” carried a lot of the same positives, though it was the slightest bit less interesting to me.Things change on “Bound2U”. It’s opening is more sentimental, featuring acoustic guitar and less humorous lyrics. That feeling is washed away by the distorted bass and booming drums, though it does come back in waves.“WHAT IS FOREVER FOR” was a production standout for sure. I love how despite how crunched out these synthesizers are, they still carry a tender, emotional quality. This captures the feeling they are portraying in the lyrics perfectly, making for an even more cohesive sound. It’s followed by the title track, which features an acoustic guitar and a loving message. While the track mostly stays soft throughout, Frost Children still deliver an explosive end to this heartfelt tune.The drum fill that opens up “Dirty girl” was such an amazing moment, I had to comment on it. The rest of the song features a good beat and more sleazy lyrics, though it's more of the same here. The same cannot be said for “RADIO,” however. It features fellow pop-head Kim Petras, who serves an iconic verse. I was a big fan of this one’s breakcore drums, as well as its chorus, being the catchiest by far.The synthesizers on “Don’t make me cry” were so elegant. I love the range that this duo has, and that despite making fuzzy EDM on this project, they don’t shy away from more emotional moments. The lyrics here were a standout for me, being very vulnerable and honest.

“Don't make me cry
Don't make me spell it out now
Realize I gotta see you again
Take, take, take my heart and, baby
Keep, keep, keep it alive”

“Ralph Lauren” features Babymorocco, making it the second feature on this album. I love how on each of the features, the featured artist fits right in. They’re personality shines through, but it never feels disjointed. Otherwise, it has a catchy chorus and excellent production. “Blue Eyes” is another great track, and its production continues to surprise me.The penultimate track, “4ME,” carries this albums best vocal delivery, at least in terms of evoking its emotion out of me. The confessional lyrics fit really well with this palette, making the track feel grand.

“All that I wanted to be was given effortlessly
Why do they stare at me so?
I think they're all sick of me
I'm on my knees and I beg
Will you be there for me in the end?”

“2 LØVE” closes the album out excellently, taking its time to do so. Standing at almost five minutes, it is a great summarization of the sonic palette we have heard through this tracklist. While nothing particularly notable, it’s another great song on this fantastic album.You’ll find walls of noise on SISTER, but ones that carry intent. The production that Frost Children achieve here is nothing short of astonishing, and I was very well pleased with this record as a whole. It’s filled to the brim with honest lyricism and whining vocal performances, all backdropped by this underground pop sound.

Favorite track: Falling
Least favorite track: CONTROL

Review posted on 5/1/2026

I'm Not Here to Make Friends

Roar

Released on 2/28/2012

7/10

In February of 2012, Owen Evans released the four track EP, I'm Not Here to Make Friends, under the Roar moniker. It’s a follow up to the adored debut, and features much of the same lovely production and instrumentation.The energy is immediately gripping on the opener, “Chinese Tattoo.” A blend of synthesized drums, grand piano, and electric guitars make for a melody focused indie pop tune. Don’t be fooled, as it features Roar’s signature quartet harmonization. I found the writing here to be good, though less impressive compared to the following track, “Flightless Bird.” The lyricism here was genuinely so intricate and vivid. This is elevated by the track's ambient production and earnest vocal delivery.

“Replaying the gory scene incessantly
Forgot the safe word was "imaginary"
Forgot about my poor selective memory
Feeling like a fat kid at the beach who's still weighing
The pros and cons of weak bulimic teeth”

“Poor Grammar” felt the closest to what I would expect from Roar. That’s not a bad thing, however, as it’s one hell of a quirky pop rock doo wop genre blend. The production here is another highlight, switching between upbeat and ethereal sections.Last up is “The Comfort of a Laugh Track”. I’ve always been a fan of the softer, more swaying approach that Roar takes from time to time, so this was a treat. It’s tender, and stays mostly idle through it’s close to five minute run time. While the dynamics do build, I wish it felt more dramatic as to further emphasize how soft the intro is. Still, it's a fine note for this EP to end on.If you’re in the mood for a quick stop to indie pop town, I'm Not Here to Make Friends by Roar is the EP for you. Its four tracks are masterfully crafted, and they balance catchy melodies with intricate songwriting and instrumentation.

Favorite track: Flightless Bird
Least favorite track: Poor Grammar

Review posted on 4/30/2026

At My Pace, In My Peace

El Segundo

Released on 7/26/2024

9/10

In the Summer of 2024, El Segundo released At My Pace, In My Peace. It’s a four track EP of wavy guitars, catchy melodies, and witty songwriting. It’s full of personality, and the production carries a novelty to it, making it stand out and apart from their already great live shows.The opener, “DCX,” is a mid-tempo, breezy track. I was immediately caught off guard by the production here, being more gentle than I would expect. The mix balances the acoustic guitar and electronic drum machine, making for a sound reminiscent of the Polyvinyl 4-Track single series.The Summer vibes are all present on “Let’s Try 3,” and it sounds straight out of the 2017-2019 indie boom. It’s beached out rhythms and phased out leads make for an iconic track. At around the two minute mark, there is a chiptune breakdown, which compliments the rest of the song’s indie tone.It’s on “Que Chingon, Mijo,” that we finally hear a more aggressive side to El Segundo’s sound. Don’t get me wrong, however, as it’s still one hell of an earworm. I found its messaging to be well written, feeling both bitterly defeatist and also passionately upset, ready for outrage.“Toto Ah Viuh” is our final track, and it’s the most sentimental by far. Sung entirely in Spanish, it illustrates El Segundo’s connection to his roots in an intimate way. I found the lyrics to be beautifully earnest, and a nice juxtaposition from the more jammed out tracks found previously.

“Ay, qué bonita, mira no mas
Ay sido quiero no mas de ti
Pero ya tengo hacer mas
Trabajo amor, para nosotros
Asi es la, la vida”

At My Pace, In My Peace is an outstanding showcase of El Segundo’s range as an artist. Each of its four tracks stand on their own, and the project itself carries an identity separate from his live shows. Still though, I’ll be happy to hear these at his next show, where I’ll surely be singing along.

Favorite track: Let's Try 3
Least favorite track: N/A

Review posted on 4/29/2026

Wishbone Deluxe

Conan Gray

Released on 4/24/2026

8/10

When the deluxe edition of Wishbone was announced, Conan Gray described it as not missing pages of the album’s story, but rather the next chapters of an ongoing emotion. After checking it out, I wholeheartedly agree. These five new songs add to an already outstanding record, as opposed to being demos that just didn’t make the cut.The first of these bonus tracks is “Do I Dare”. It opens softly, and transitions well from the standard edition’s closer. Thematically, it’s about how despite all the healing he’s done, there is still a deep part of him that wants to work things out after all this time. It’s a very relatable and vulnerable subject, and one that is present on almost all of these deluxe songs.“House That Always Rains” is the only upbeat song here, though don’t be fooled. It’s subject matter is the shame to be one’s self, specifically through a queer context. This lines up with details Conan explored on songs like “Connell,” in which he recognized his lovers’ inability to publicize their romance. It’s an incredibly nuanced take, and one I’m glad this song dived deeper into.

“While I was scared of being left
You were scared of being seen, truly seen”

I found “Door” to be my favorite out of these new tunes. It’s lovely and dark, particularly in the post chorus. Conan’s voice is also at a peak here, balancing being tender and belting beautiful melodies. Its follow up track, “Moths,” had some of my favorite instrumentation here, though its songwriting felt a bit more simple comparatively.The deluxe album's closer is “The Best,” and it absolutely lives up to that name. I have always been a fan when a bittersweet heartbreak album ends with an acceptance to the nuance of breakups. By forgiving and allowing the other person to have left, it removes the control they have on the writer. While it feels more like a goal here than a present emotion, it still feels intentional, which works well enough.The deluxe tracks on Conan Gray’s Wishbone serve as more than just bonus tracks. They are additional insight into the emotional state he was in, as well as allowing nuance for this heartbroken time in his life. It’s wonderfully done, and I’m more than happy to receive more from this era.

Favorite track: Door
Least favorite track: Moths

Review posted on 4/28/2026

Hesitant Alien

Gerard Way

Released on 8/22/2014

8/10

My Chemical Romance frontman Gerard Way released his solo effort, Hesitant Alien, in 2014. On it, Way explores the avenues of alternative rock, britpop, and much more through his uniquely fitted approach to music.“The Bureau” is an outstanding opener. The way it drudges along is haunting, and an excellent way to catch the listeners attention immediately. By mixing that with his signature anthemic whines, the track feels larger than life. It’s followed by “Action Cat,” which is a huge tonal shift. This one is upbeat, poppy, and full of energy. Lyrically, it’s a typical romantic heartbreak, but through the lens of Way's writing style.The third track, “No Shows,” was definitely my favorite. Honestly, a lot of these tracks caught my attention for their great pop sensibilities, and this one was the best out of the bunch. That intro of ooo’s atop electric guitar and tight drums is addictive.I’d say that “Brother” is our first intimate moment. That doesn’t mean it's quiet, however. Rather, it features a marching snare drum, and a slower tempo. Way’s emotion is definitely the most tangible here. This is reflected in the earnest lyrics about the struggles of addiction, and how they affect Gerard personally.

“Faces I don't know
I am tired in the glow
Of the freezing club
Keep me breathing
Don't make the lights come back”

“Millions” is everything I could possibly want from an indie rock song. It’s almost reminiscent of The Strokes, though Gerard’s signature voice balances that. I’ve got no problems here, and definitely none on it’s follow up track, “Zero Zero”. This one is explosive and messy, but in an absolutely intentional way. The sliding guitar line and shouting chorus make for another larger than life track.I thought “Juarez” was decent, though it failed to scratch any itch of mine compared to some of the other tracks. Track eight, however, was another highlight for me. Entitled, “Drugstore Perfume,” it’s a sentimental ballad about wanting to leave one’s hometown. I found the writing here to be very eloquent, and balancing honesty with romanticization.

“There’s something caught in her eye, she says
That she can’t change for love
And she explains how long she’s waited for
She wanted more”

“Get the Gang Together” and “How It’s Going to Be” were done well enough, but lacked notability among some of the other, better songs. Almost the same can be said for the closer, “Maya the Psychic,” though it is saved by how grand this one got. It’s an okay way to end a more than okay album, so it gets a pass.Gerard Way captured something quite special with his debut record, Hesitant Alien. It’s explosive, intimate, and carries some definite ear-worms. While not perfect, it was great to hear what he has to offer on his own.

Favorite track: No Shows
Least favorite track: Juarez

Review posted on 4/27/2026

Motorcycle.jpg

Slaughter Beach, Dog

Released on 7/14/2017

7/10

In the summer of 2017, Slaughter Beach, Dog released their beloved EP, Motorcycle.jpg. Acting as a sort of sample platter, it showcases the band’s more than capable range and potential.“Your Cat” starts us off on a beautifully sentimental note. Like the rest of these songs, the production elevates an already great live performance. It sounds professional, but not over done. Lyrically, this song features one of my all time favorite lines from any song ever. Out of all the lyrics I've read in my life, I've struggled to find another line that connects with me in the same way.

“I'll make it through this if it kills me
And when it kills me I'll come back
Jesus will make me a disciple
Or maybe he'll let me be your cat”

"Glowing" brings the mid tempo down to an even lower one. The song drags, but not in a negative way. It feels struggled, which adds to the overall end result of the track. I was especially a fan of this one’s intimate bridge. It’s followed by “104 Degrees,” a fan favorite. I continue to be impressed by the intentional isolation of the vocals in the mix. By putting them in this separate can, it sets the instrumentation up to feel more like a backing soundtrack to a rom-com meet-cute. Sure, the love interest can read like a manic pixie dream girl, but I think it is more metaphorical, and they are illustrated that way to emphasize how enamored our narrator is with them and everything they do.The closer, “Building The Ark,” has a bit of a twang to it. Its lyrics are just as well thought out as the rest of these tracks, though it didn’t click with me the same. Honestly, it is just an okay tune.Motorcycle.jpg is a great sample of what Slaughter Beach, Dog has to offer. It’s songwriting is top notch, and the arrangements feel confident without being so tightly restrained. With only four tracks, I’d highly recommend checking this one out on your way somewhere.

Favorite track: 104 Degrees
Least favorite track: Building The Ark

Review posted on 4/26/2026

Tell Me That It's Over

Wallows

Released on 3/25/2022

7/10

Wallows released their sophomore LP, Tell Me That It’s Over, on March 25th of 2022. On it, the trio trades in their electric guitars for synthesizers, and allows the studio to be an instrument of its own.“Hard to Believe” dives right into this new palette, opening with string stabs and lush swells. Over time, the song evolves into heavier instrumentation, giving it that classic Wallows flair they are known for. Definitely the band’s most interesting arrangement and song structure to date, making it my favorite from this album to this day.The energy picks up immediately with “I Don’t Want To Talk.” While this feels like a return to the styles found on their debut, it has a key difference that is also apparent throughout this whole record. If Nothing Happens was indie rock with indie pop influence, this is the inverse. The production here emphasizes other elements of the Wallows handbook, making for an indie pop record with indie rock influence.Despite only being a few years old, “Especially You,” does feel dated. While the drums are fun, I’ve always been iffy on this one. “At the End of the Day,” however, is a beautifully written and produced track. I’ve always found it interesting to see how the band divides the work between their two lead singers, Braedan Lemasters and Dylan Minnette. Braedan’s emotion on this track feels real and raw, making it a highlight here.If I’m entirely honest, I’ve never understood “Marvelous”. It’s fun, sure, but it feels juvenile in comparison to some of the other work here. In fact, its follow up track, “Permanent Price,” is a perfect example of this. It’s a thematic peak of this record, and summarizes this album’s messaging about the stress of growing old in relationships.

“Feels like I've been runnin' out of the means I need to survive
I know I'm not ready to die
I won't let it happen”

“Missing Out” is particularly interesting to me. Its arrangements are heavier and more reminiscent of the band’s earlier work, but it is through the lens of this record’s softer production. I still enjoy it, but it does complicate the end result for me. It’s also followed by “Hurts Me,” which is easily this album’s poppiest moment. I’m a huge fan of the 80’s influence, and it is a unique lens for a Wallows song to go through.To me, “That’s What I Get” has always felt like diminished returns. It would have fit better in a deluxe album or as a bonus track, as it just doesn’t add anything to this record that we haven’t already heard.The closer, “Guitar Romantic Search Adventure,” is often applauded by fans as one of their best songs. Unfortunately, I do not share this sentiment. It’s executed in a way that sounds like it wants to be grand without actually being grand.Tell Me That It’s Over is an out of left field move for Wallows. It sounds very different from their debut, and at times that’s great. Other times, however, it feels unfocused and too concerned with pretending to be larger than it is. I love this record, but it is far from perfect.

Favorite track: Hard to Believe
Least favorite track: That's What I Get

Review posted on 4/25/2026

Wishbone

Conan Gray

Released on 8/15/2025

10/10

Conan Gray released his fourth full length effort in the summer of 2025. Having been around for over a decade now, we as an audience have seen him evolve as an artist over time. This evolution comes to full fruition on Wishbone, his best record to date.The opener “Actor” sets the stage for this album’s theming and musical palette perfectly. It’s high energy, but absolutely heart-wrenching. Incorporating strings to convey a more mature end result is a risk many artists try and fail, but I did feel like it was done tastefully here, as well throughout the tracklist. Lyrically, it stands confidently as the start of Conan’s best work. Where on previous records he may have come across as a bit more juvenile, he delivers clever lines with true substance.

“But the church bells won't stop ringing
For an undead wedding day
And you've spent the summer drinking
While I spent it being erased”

“This Song” was the lead single for this album, and that was no accident. By releasing such a romantic song first, it allows his audience to be just as blindsided by heartbreak, which is a more than common theme on this record. The second single and next song, “Vodka Cranberry,” furthers this methodology, being the first sign of something wrong.Somehow, “Romeo” reminded me of “Loser” by Beck. The drums bounce in a chilled out way, which works well with this song's more bitter themes. I was a huge fan of Conan’s personality shining through on the vocal deliveries here, and this was continued on the next track. That next is “My World,” which is easily my favorite arrangement here. I adored the indie approach to this, and his vocals are effortless and flawless. The bridge is exceptionally fun as well, with Conan mocking his scorned lover and their refusal to acknowledge the experience they shared.The mood is brought down on “Class Clown” and “Nauseous.” The former’s melodies and acoustic guitars are haunting. It’s also nice to see Conan honor his folk music roots, especially on a song about his childhood. The latter, however, is absolutely Conan’s lyrical magnum opus. It is heartbreakingly honest, and something shifted in me when I heard.

“Too trusting and loving, depending and kind
Behind every kiss is a jaw that could bite"

“Caramel” brings the energy back up for a moment with more raw electric guitar lines and grunge inspired drums. The production here felt very special and unique to this song as well. This upbeat tone isn’t continued, however. Rather, “Connell” brings the lights down again. It’s more of what Conan does best- tender, honest, acoustic. That being said, the last minute of this song is a distorted and haunting subversion of expectations. It’s not something I’ve ever heard him, or any of his popstar peers, do before.Following that is the mellowed out “Sunset Tower”. The production here feels dark, but not angry. It’s tired, and the lyrics reflect that. I found “Eleven Eleven” to be the closest to a traditional Conan Gray track on here. That’s not a bad thing, however, as it helps put into perspective the growth that he has done as a songwriter, and as an artist as a whole.The album closes out with “Care”. What could have been another melancholic, low tempo, tune, is instead a bright end to a dreary project. It’s very reminiscent of The Cranberries, but in Conan’s own personal style. It’s an earnest acceptance of the loss of the love explored on this record, and a great note to end the album on.Wishbone is easily Conan Gray’s best album to date. It’s mature, honest, and universal both through its lyrics and its catchy production. I have no notes, and can’t wait to have this one on repeat.

Favorite track: Nauseous
Least favorite track: N/A

Review posted on 4/24/2026

Fauxllennium

TV Girl + George Clanton

Released on 12/2/2024

8/10

The self described “Bad Boys of Indie-Electro Pop” put out their collaborative album, Fauxllennium, on December 2nd of 2024. On it, TV Girl and George Clanton combine their unique music styles and influences to deliver neon instrumentals and introspective lyrics.The opener, “Summer 2000 Baby,” features a dancing beat and colorful production. Known for their samples, the one that TV Girl utilizes here helps top off an already great track. It’s bright, but not in a sunny way. Rather, it is lights turning on at the beginning of an unforgettable night out.The mood is brought down on “Everything Blue,” which has definitely my favorite groove on here. The vocal mixing was also a highlight, helping convey the emotion of the song through more than words. It’s followed by the title track, which I thought worked well as a crude summarization of this album’s musical and thematic message.“Butterflies” turns this duo into a trio by featuring fellow indie-head, Jordana. I’m a huge fan of music, and was happy to see another collaboration between her and TV Girl. In regards to the song, I thought the lyrics were tragically sentimental, and the arrangements complimented Jordana’s voice perfectly.

“On the day you met me
You said I could love you, if you let me
Then you touched my cheek
And said, 'How easy you'd forget me'”

The mood is brought down on “Take a Trip,” being a bit more dazed than anything else on here. This works especially well with Clanton’s more gentle vocal delivery, making for a more tender tune. This mood is carried over into “The Sweet Life,” though this track was more effective in its execution I feel. The way Clanton’s voice distorts over the chorus is a simple yet iconic moment here.The closing track, “Yesterday’s World,” serves as a final statement from the duo on this project's thesis statement. In a way, they are searching for joys that not only they used to carry, but the world as a whole.Fauxllennium is a project that stands confidently. It’s colorful, ethereal, and all too nostalgic. By mixing their individual approaches, TV Girl and George Clanton deliver something truly special and fun.

Favorite track: Summer 2000 Baby
Least favorite track: Take a Trip

Review posted on 4/23/2026

Jurupa Oak

Smother

Released on 8/8/2025

7/10

Smother is a band loud and proud to be from the Inland Empire, and that is reflected on their debut effort, Jurupa Oak. It’s brash and moody, and a textbook example of the ideal IE sound.This moodiness is immediately seen on the opener, “Peony.” Like many of these tracks, the guitars are fuzzed out to oblivion, and the drums take up all the space they can in your ear. In fact, Will Jones, lead singer and guitarist, recorded and mixed this album himself. It’s a good thing he did, as this record captures the raw energy of their live shows so effortlessly, if I close my eyes I can picture myself in one of their crowds.I thought “Pollen” and “Sage” were done well, with the two tracks featuring both upset and gentle guitar tones, highlighting the band’s range. The opening of “Trace” caught me by surprise, though I was stoked to find it was a feature from Blueberry, a fellow band in the scene. Integrating those electronic elements allows for a palette cleanse, which makes me appreciate the traditional Smother landscape even more. Lyrically, I thought this track was beautifully written, and the vocals help deliver that emotion the band wishes to convey.

“Gonna ditch my phone for the summer
Dropkicked, alone with a sunburn
You hid your tone with a gesture
And I miss our little talks”

“W.A.S.P.” and “Turn” were good lyrical moments, though their arrangements didn’t scratch any particular itch for me. At the very least, I thought the latter's more intimate approach to its dark instrumentals was special to hear. “Nightshade” features Othiel, which is honestly a band I’m not familiar with. Still though, it’s another moody tune, and definitely not one I have any problems with.The album closes out with “Means 2 Me,” which easily features my favorite guitar part. I was very fond of the way the other instruments dance around this part, rather than try to take the focus away from it. While only being the eighth track, it is still quite a high note to end on, so kudos for that.Jurupa Oak is the kind of golden record you’d find tucked away in a record store 20 years from now. It’s moody, heavy, and explicitly emotional. I can’t wait to hear more from Smother, hopefully soon.

Favorite track: Trace
Least favorite track: Nightshade

Review posted on 4/22/2026

Carnival

Briston Maroney

Released on 11/16/2018

7/10

Briston Maroney burst onto the music scene in late 2018 with the Carnival EP. It’s raw, real, and full of that indie-spirit I adore.The opener, “Hard To Tell,” is a brightful tune about waiting for someone to feel the way you do. It’s romantic frustration, and that is reflected in the tight drums and fuzzed out guitars. Definitely a strong start, yet it is still shown up by the next tune, “I’ve Been Waiting.” This track switches out the restrained anger with a more danceable groove and summery instrumentation. Easily the strongest chorus on this record, at least in terms of memorability.This project’s hit, “Freakin’ Out On the Interstate,” is definitely the strongest track here. The song evolves throughout its four minute runtime. Maroney’s vocals are the best they’ve been, and the arrangements follow suit. Lyrically, it is clever without wit, and earnest without embarrassment.

“Fear is just a part of love
And one thing I found
Is love's what you deserve”

The following track, “Under My Skin,” is more of what Maroney does best. It’s gritted teeth and an almost southern soul. A track like this is easier to play live than it is to capture in a studio recording, but it is done great here. Comparatively, this EP’s closing track, “Rose,” is more intimate. Maroney’s guitar playing and vocals are easily able to stand their own ground. My only gripe is that the song did drag on a bit, being over six minutes long. That being said, it culminates in this wall of noise that closes out the record.Carnival is an outstanding debut EP from Briston Maroney. It feels homemade for sure, but not in a bedroom kind of way. Rather, it is intimate without being quiet, and, through his vocal deliveries and guitar arrangements, he is able to capture something really special.

Favorite track: I've Been Waiting
Least favorite track: Rose

Review posted on 4/21/2026

III

The Lumineers

Released on 9/13/2019

8/10

If I were to say that The Lumineers released III on September 13th, 2019, I would be only half right. In truth, the band rolled this album out over the course of three chapters that year. When combined, they act as a conceptual piece of work about a family torn apart by addiction.The album opens up with this beautiful, creaky, piano on “Donna.” Lyrically, it sets up intrigue about the family in a way that feels bright. This tone is energized and brought higher on “Life In The City.” The melodies on this one we’re a delightful treat as well.The final song of this first chapter is “Gloria.” While it is still high in energy, do not be fooled, as it is here that we really begin to get into this album’s themes. Addiction, the struggles of life, and family are all topics we’ve heard The Lumineers dive into before, but here they serve a larger purpose. I would argue that no line is wasted on this album, and each word paints part of the narrative the band wished to create.

“Did you know me when I was younger then?
I could take the whole world with me
I would find myself feelin' alone
Heaven, help me now, Heaven, show the way
Get me back on my own two feet
I would lie awake and pray you don't lie awake for me”

Our second chapter begins with “It Wasn’t Easy To Be Happy For You.” I was a big fan of the dissonant guitars that open the track. While its dynamics are level throughout, that execution makes this a perfect campfire track. If I knew the words, I’m sure I’d have been singing along.“Leader Of The Landside” does the opposite, however. Its arrangement evolves, and we see an interpolation of “Gloria” at the end. It feels cathartic, and while I’m grossly oversimplifying it, it acts as a rejection of the mistreatment that this chapter’s character has been receiving his entire life. This chapter closes with my personal favorite, “Left For Denver.” Its execution of this album’s concept combined with lead singer Wesley Schultz’s timeless voice earns it that achievement tenfold.Finally, “My Cell” is the beginning of the final chapter. It is haunting, especially compared to the brighter start to this record. The piano line one minute in definitely caught my attention, so kudos to that. This slow anger is continued on “Jimmy Sparks,” which features fantastic world building and affirms that characters’ negative aura. That being said, it does feel like the song is sacrificed for the story here, which makes it great with context, and okay without.It’s followed by a less than one minute long instrumental interlude, entitled “April.” I’m not sure of this track's narrative purpose, but it does serve well as a lead-in to “Salt And The Sea,” this album’s closer. I found this one to be masterfully done, and rather than act as another story to be told, it stands well on its own.As an album, III may feature fictional characters and concepts, but its emotions are absolutely real, and they come across as personal to The Lumineers. Its tone grows darker over time, and rarely are the stories heavy handed. Rather, they are equals to the elegant arrangements and melodies that the band creates.

Favorite track: Left For Denver
Least favorite track: Jimmy Sparks

Review posted on 4/20/2026

Pure Heroine

Lorde

Released on 9/27/2013

7/10

Lorde challenged almost every one of her peers when she released her debut album, Pure Heroine, at only 16 years old. It is a handbook for the 10 years of pop music that followed it, yet it rarely feels dated.“Tennis Court” introduces us to this album’s message immediately; a frustration with the social systems that one finds themself in, coincided with a loss of adolescence. It’s a theme that rings true to this day, and here she was saying it over a decade ago. The second track, “400 Lux,” dials back on the social commentary, and focuses on the more tender side to her writing. It captures the feeling of a sunrise in suburbia very well, and I thought the refrain in the chorus was sweet.

“I love these roads where the houses don't change
(And I like you)
Where we can talk like there's something to say
(And I like you)
I'm glad that we stopped kissing the tar on the highway
(And I like you)
We move in the tree streets
I'd like it if you stayed”

What is there realistically left to say about “Royals”. It effortlessly holds up without watering down the record's commentative aspect. Refusing to lean too hard in one lane, “Ribs” is more minimal and sentimental pop. It is bittersweet and beautifully atmospheric. I thought “Buzzcut Season” was okay, but being sandwiched between “Ribs” and “Team” makes it stand short in comparison, especially considering the latter's timeless chorus.The next two tracks, “Glory And Gore” and “Still Sane” did feel like they dragged on too long. The former’s attempt at feeling cool and dangerous makes it feel closer to a rejected Imagine Dragon’s track, and while the latter was better, it had little impact on me.Luckily, the album picks back up towards the end. “White Teeth Teens” is another song for the troubled masses, though it feels more personal than some of the other anthemic songs on here. The record closes out with “A World Alone”. While not a highlight, it is a solid closer to a solid album- and what more can I ask for.Pure Heroine is not a perfect album, but I doubt it was ever trying to be. This album’s consistent critique of social systems, as well as its coming of age themes cement it as a classic. It’s clear that even at such a young age, Lorde was an artist with something to say.

Favorite track: Team
Least favorite track: Glory And Gore

Review posted on 4/19/2026

Superorganism

Superorganism

Released on 3/2/2018

8/10

On March 2nd, 2018, Superorganism released their self-titled debut record. Filled ear to ear with quirky sonic textures and deadpan vocal deliveries, it is an album that holds a special place in my heart.The first thing we hear on this record is the sound of lead singer, Orono Noguchi, waking up. “It’s All Good” has a mellow start, but it does a good job at introducing the range of sounds we’re going to hear for the next half hour. It’s followed by “Everybody Wants To Be Famous,” a critique of social media’s effect on today’s youth. It never feels heavy handed, however, and instead serves as a vessel for the band to get their own frustrations with the system out. A production highlight for sure, and I’m a big fan of its explosive ending.“Nobody Cares” carries more straightforward and effective messaging, though this one turns its bitter concept around towards the end. That’s great for narrative, but I have always felt like this song lasts a minute too long. It comes right before “Reflections On The Screen,” which is a more heartfelt tune that what we’ve heard so far.This album’s title track (stylized as “SPRORGNSM”) also serves as a theme song for the band. That’s cool enough on its own, but it definitely helps that the song is energetic, fun, and generally a good time. I’m sure this one was a highlight of their live set.The lyricism on “Something For Your M.I.N.D.” holds up as both quirky and introspective. It balances being nonsensical with also feeling so honest and of-the-heart. It’s no wonder why this one was a hit at the time, and it remains a classic in the band’s discography.

“I know you think I'm a sociopath
‘My lovely prey,’ I'm a cliché”

The energy comes down for “Nai’s March,” which is a more tender cut here. It’s nice, if not a bit unmemorable.“The Prawn Song” is definitely the catchiest song here, and how many other bands have a song about being a shrimp! It’s followed by “Relax,” which is easily Orono’s best vocal performance throughout the record. That being said, it’s clear throughout this record that her voice was not chosen for its impressive technical ability, but rather her uniquely monotone delivery that never feels boring. This tone elevates the lyrics well, as both feel exhausted of over saturation. Backdrop that with these larger than life instrumentals, and you’ve got a wicked combo.The closer, “Night Time.” is my absolute favorite here. It’s drum groove is so infectious, and the way it reflects the waking up we heard in the intro provides a narrative loop to this record.Superorganism’s self-titled debut is still impressive to this day. The production, lyrical content, and monotone vocal performances are all so unique, you’d be hard pressed to find another band like this.

Favorite track: Night Time
Least favorite track: Nai's March

Review posted on 4/18/2026

Cleopatra

The Lumineers

Released on 4/8/2016

8/10

Cleopatra is the sophomore effort by The Lumineers. Coming off their widely adored self-titled debut, this record shows them honing in on their craft, and on what makes The Lumineers be The Lumineers.Like much of this record, the opening track, “Sleep On The Floor” is undeniably cinematic. The emotion that lead singer Wesley Schultz’ voice carries, supported by fantastic instrumentation, really throws us right into this album’s bread and butter. There’s so much heart here, and it fades seamlessly into the second track, which I thought was done well. That second track is “Ophelia,” whose chorus I found to be such an earworm.The title track is easily this record’s best track. It carries all the same elements that the other songs carry, but the way that refrain makes me feel is something very hard to recreate.

“But I was late for this, late for that, late for the love of my life
And when I die alone, when I die alone, when I die I'll be on time”

“Gun Song” features great storytelling and an interesting concept, though I was less engaged with it than I would’ve liked to be. It’s followed by “Angela,” which is the album’s most intimate moment so far. It’s genuinely so beautiful, and though the song builds over time, it never explodes. Therefore, that tension never releases, making for heartstrings that get tugged but never let go.I found “In The Light” to be simpler in its execution, but that’s likely for the best considering the previous track. It’s a good come down from that tension, and it also happens to be masterfully sentimental. I felt similarly about “Gale Song” and “Long Way From Home,” the former of which was based on the character of the same name from The Hunger Games’ novels. I’m sure if I was a bigger fan of that series I would be all over that track, but as of now I thought it was okay.Though I’d be hesitant to call any track on this album “loud”, “Sick In The Head” remains quiet throughout. Schultz’s is uniquely tender here, and that is reflected in the instrumentation. This is true for plenty of these songs, but The Lumineers’ ability to craft these acoustic soundscapes without feeling over the top is deeply impressive, and this track is likely the best example of that.The album closes with “My Eyes” and “Patience.” While the former is more of what makes this album great, that does not make it standout in terms of quality. Honestly though, that says more about the quality of this record as opposed to the quality of this song. The latter, however, is a minute-long instrumental piece that serves as a sort of album fade out or victory lap. It’s creative, and a lovely way to ease us out of this record.Cleopatra by The Lumineers is beautiful, haunting at times, and undeniably sentimental. The environments that the band create through not only their words, but their instrumentation as well are so masterfully done, I can’t help but be impressed.

Favorite track: Angela
Least favorite track: Gale Song

Review posted on 4/17/2026

Dauntless Manifesto

cupcakKe

Released on 6/28/2024

6/10

CupcakKe is one of those artists that I have definitely heard of, but not one that I would ever find myself exploring. At surface level, she may seem full of gimmicks, with not much else to offer. You’d be very wrong to assume that, however, as on Dauntless Manifesto, cupcakKe delivers a variety of flows and layers upon layers of sexual innuendo.She wastes no time setting the stage with the energetic opener, “Grilling N***** II”. Its sinister beat and brash lyrics make for a solid start to this record. It’s on “Connect 4” where we first hear her signature style in full force. Despite its subject matter, the song feels dramatically grand. The juxtaposition through the synthesized string section and cupcakKe’s raunchy wordplay is such a unique approach that I can’t help but applaud it.“Water Balloon" was a surprisingly catchy track, and the intro dialogue makes for good world building. Taking a huge left turn, “Rock Paper Scissors” is this album’s first genuine, thematically serious track. It’s an outstanding showcase that her writing ability is not limited to innuendo, but rather that is just the medium she chooses to focus her energy on. The production on this also elevates these more introspective themes as well.I thought “Dora” was quite jarring after the previous track, as she returns to her standard approach to writing here. Her style remains fun, but it definitely took some readjusting considering it was so immediate. Next up was “Queef,” which is both amazing and deeply conflicting. It’s poppier music which I adore, though this track is tough to take seriously. That being said, maybe cupcakKe isn’t meant to be serious. There is a lot of power in making fun music, and she is damn good at it. It’s also insanely catchy, which is a plus.“Aura” was a definite highlight for me. I’m a firm believer that anthemic songs are the hardest to write. How do you write something specific and universal? One thing I know for sure is it absolutely helps if you have a great beat and Y2K influenced melodies, as she does here.Next up was “Dui”. At this point, I realized I was only halfway through the record, which did not bode well for it. cupcakKe’s sexual music works really well in small doses, but “Dui” is the first song that felt tired for me. Realistically, it was fine. On the flipside, a song like “Double Homicide” is what I’d want to see more of from her. This track definitely features her best bars and flows. Mix that with a beat change less than one minute in, and you’ve got a tune that stands out from the rest through its execution and experimentation.“Little Red Riding Good” is more of the status quo. This one’s concept definitely carries itself well, but at this point I found myself getting a bit exhausted. It’s followed by “Cody,” which is another emotional track. While I’m more than happy to hear more of this serious side from cupcakKe, it once again feels so disjointed to be surrounded by less than serious music. With all that said, “Cody” is a great track, and more of what I’d want to hear from her.“Nun Nun” definitely feels the most modern- it’s something I could easily see one of her peers doing. Its instrumental is catchy, and the lyrics explore other topics, making it stand out. Ironically, “Yawn” was very unmemorable, and struggled to leave any impression on me.The next two tracks, “Dementia” and “Backstage Passes” feature more of this poppier cupcakKe, which made me very pleased. The former has a PinkPantheress vibe, and while I wasn’t a fan of the gagging sample in the latter, this cleaner pop sound masks the vulgarity of her lyrics, allowing it to be more digestible in a public setting. I didn’t know this going into the record, but she is quite a talented singer. There is absolutely a lot more she could do in the pop music scene, and I would be very interested in seeing her lean into that.The album closes with “Cruella,” her take on a politically charged anthem. It’s masterfully and intelligently done. My only critique is that its message feels a bit watered down due to the rest of the album’s context. Regardless, the instrumentation elevates an already great closer, and her writing is at another high note here.CupcakKe is an artist that makes music that no one else would, but in ways no one else could. She is such an inventive lyricist, and her selection of instrumentals here is phenomenal. I only wish she stepped out of her lane more often, and allowed Dauntless Manifesto to feel more focused.

Favorite track: Aura
Least favorite track: Yawn

Review posted on 4/16/2026

Off Duty Millionaire

ROAD TRIP

Released on 8/6/2025

8/10

On ROAD TRIP’s debut effort, they showcase not only their undeniably fun pop sensibilities, but also their range as not just another backyard band. Throughout Off Duty Millionaire, we see the clear talent they hold currently, as well as the vast potential they carry for the future.The album opens with the explosive “Hartland.” It’s shouted hook and crashing drums grab your attention instantly, making for a strong start to this record. These same elements are utilized on “Hold Me Fosters,” which also featured this infectious bass line that I just adored.“Bedcat” is the record’s poppiest song for sure. I was specifically drawn to the way the lead singer’s voice drones in the chorus, illustrating a tiredness that is reflected in the lyrics. Staying on this high energy note, it’s followed by “Beer,” which showcases this group’s sense of humour very well. The breakdown in the middle was also wicked, and its bass line carried itself expertly.It’s on “I Like That Laugh” that I noticed this influence by fellow California band, The Frights. The chords are tropical, and it is a great display of ROAD TRIP’s desire to experiment with their music. I also felt that the vocal delivery here was a standout, not necessarily in performance, but rather, in the emotions it drew out of me. Definitely a tough song to follow, though “Called Off Work” does its best. Like “Beer,” this one also showed a funny side to this band, though it felt like diminishing returns here.It doesn’t help that it’s followed by what I think this album’s greatest track is- “Mosh Pit”. I would be hard pressed to find another ode to mosh pits, and even if I could, I doubt it would be half the tune that this one is. With an arrangement straight out of the indie rock handbook, it is explosive, undeniably catchy, and universal through its lyrics. The way the ending speeds the track up, I need to see this one live as soon as possible.

“I'll live the way I wanna live, I'm in the mosh pit
Bloody shirt and nose, well I'll feel that one tomorrow
I got enough money to ride the bus downtown
Don't worry about tomorrow 'cause I'm happy where I am right now”

The record closes with the tender, “Let Me Cry”. I will forever be a fan of soft songs on not soft records. It’s simple and sentimental. It also further connects the idea that this is not a band content with settling on one sound. They have range, and they deserve to show that.ROAD TRIP are a band with enormous potential, and the range they showcase throughout Off Duty Millionaire proves that. While I would have enjoyed two or more tracks here, these eight are full of creative energy and DIY spirit. I’ll be sure to find myself at one of their shows soon.

Favorite track: I Like That Laugh
Least favorite track: Called Off Work

Review posted on 4/15/2026

The Nameless Ranger

Modern Baseball

Released on 11/20/2011

7/10

Despite being re-released in 2015, The Nameless Ranger predates any other Modern Baseball record. In that fashion, it serves as a glimpse into the outstanding potential that the band would grow to fulfill. This is easily most apparent not in this EP’s arrangements, but rather in its songwriting and execution of its lyrical themes.The EP opens with “Best Friend,” a muted piano track. I found it to be cute in that regard, and through its desperate themes of questioning friendships. It’s followed by the accurately titled “Short”. This song’s minute and a half runtime elevates the themes of holding onto a love that just isn't there.Moving onto this project’s clear highlight, “My Love”. This is the truest glimpse we’ve had into the raw energy this band carries. The lyrics balance cleverness with a simple sentimentality that is hard to come by. In a way, that is reflected in the quicker verse, which features unique analogies between him and his love, and the slower chorus, which puts it far simpler than that.

“We are more than just another movie moment
I'm not gonna wait for rain for me to kiss you”

“Casket” showcases the band’s sense of humor well. On it, they criticize those who expect things to come to them without any effort. That could come across as mean, but it instead feels like earnest criticism, which is a nice touch. It’s followed by “Home,” the final track here. This one is tender, and I was especially a fan of Brendan’s voice here.Honestly, The Nameless Ranger isn’t a flawless first EP by Modern Baseball. It’s human, and honest. The instrumentals are fun and don’t overcomplicate themself, and the songs are absolutely carried by the band’s lyrical prowess and their knack for a catchy chorus.

Favorite track: My Love
Least favorite track: Short

Review posted on 4/14/2026

Heavy Metal

Cameron Winter

Released on 12/6/2024

9/10

Cameron Winter, also known as the lead singer of rock band Geese, released his solo album entitled Heavy Meta” on December 6th, 2024. On it, Winter explores this intimate, almost theatrical side of his music. It’s a beautiful record, both in songwriting and instrumentation.We see these values immediately on “The Rolling Stones,” this record's opener. The way the guitars playfully dance with Winter’s iconic wavering voice is masterfully done. It’s also a song about sacrifice through the creative process, and it gives us an immediate peak into the headspace that he is in. It’s followed by “Nausicaä (Love Will Be Revealed)”. This one’s wording feels less grand, but in the way that it dares not complicate things. The harmonies on the chorus are infectious, especially in how they sit in the mix.“Love Takes Miles” is a gorgeously sentimental track. Winter sings of love and the distance one must endure, both metaphorically and literally. It’s easy to see why this song is a favorite for so many people.While I wouldn’t call what we’ve heard so far upbeat, “Drinking Age” is definitely this record's first slow moment. Winter’s voice drags here, feeling like a guttural plea to be understood by others, but even himself.Next up is the tragic “Cancer of the Skull”. I interpreted this song as a dramatization of Cameron’s own experiences with pursuing music, but also self contained. It describes a man in search of passion, and how despite finding that passion in music, he lacks the skill to do so. Obviously, this skill will come with practice, but the man is left to feel defeated, and as if he will forever be unworthy of music’s demand. I thought “Try as I May” was well-executed, though I did feel it start to overstay its welcome past the four minute mark. In contrast, I would have loved more of “We’re Thinking the Same Thing,” and I feel like it didn’t evolve nearly enough through its sub three minute runtime.“Nina + Field of Cops” is perhaps the most theatrical non theatre song I have heard in my entire life. The piano suffocates Cameron’s words and reflects the frustration he feels. It’s expertly done, and while it is intimidating to listen to, it works great in the context of this record. This is all supported through his mastery of lyrics, making for a cathartic tune.

“Nina I'm not nothing, but when you lie on the piano
I am reminded I am stupid, and in every upstairs room
A tall and daughterless Russian is kicking robins eggs to powder
While the music breaks a window”

I found “$0” to be heartbreakingly intimate. Once again, Cameron’s voice evokes a feeling that is hard to come by in terms of modern vocalists. He is truly a man out of time. The record closes with “Can’t Keep Anything,” which didn’t particularly stand out to me, but that is very well because of the level of mastery that has already been displayed throughout. Nonetheless, it’s another lovely track, and not a bad note to end on.On Heavy Metal, Cameron Winter proves himself to be a master at his craft. It’s frustration without anger. It’s defeat at the end of a good day. It’s beautiful and tragic, all at once.

Favorite track: The Rolling Stones
Least favorite track: Try as I May

Review posted on 4/13/2026

Tunnel Vision

Beach Bunny

Released on 4/25/2025

7/10

Indie rock veterans Beach Bunny released their third album, Tunnel Vision, on April 25th, 2025. The band’s first project in three years, it really feels like a return to the classic sound that made them so popular in the first place.The record’s opener, “Mr. Predictable,” wastes no time introducing itself. The song’s high-energy drums and fuzzy guitars set the stage for frontwoman Lili Trifilio to sing about her late 20’s woes. I was a huge fan of the last line of the chorus’ refrain on this one as well.It’s followed by “Big Pink Bubble”, a track about avoiding your problems for the sake of stability. It’s honest indie rock, something that this band always does well. Next up is “Chasm”, whose opening immediately felt huge. The writing here felt really dramatic in the best way possible. It’s theatric and never feels forced.

“The past is a promise to make me tough
Future is a chasm that I'll crawl out from
Presence is the essence of what I'll become”

It’s followed by this album's title track, which had an opening synthesizer that really captured my attention. This is more of the same, but that isn’t a bad thing. In fact, it being the title track makes this song serve as this album’s mission statement, and the truest form of what Beach Bunny wanted to do with this record.I found “Clueless” to be a delightfully sappy track. Here, coming of age still feels difficult, but not tragic. It’s more of a slow burn, and a song that Lili uses to document these feelings she carries with her.“Pixie Cut” is this record's first angry moment, featuring a grittier bass and more frustrated lyrics. It does a great job at giving us, the listener, a peak into this manic state. One that would make someone cut off all their hair or change anything at all in their appearance. It’s a song that demands control, and is about craving that very control.I found the next three tracks to be competently executed and still catchy, though without anything to truly distinguish them from the rest of this tracklist. At the very least, “Violence” and “Just Around the Corner’s” sociopolitical themes were a unique fit for the band lyrically.The album’s closer, “Cycles,” is a re-recording of a 2019 track of the same name. I was very pleased with this song’s production, being respectful of the original while still carrying itself in an entirely new way. It also manages to present itself as a closer, something that I feel has been missing on past Beach Bunny albums.Tunnel Vision is a true return to form for Beach Bunny. This album won’t blow your mind through walls of production, but rather through the band’s arrangements and ability to consistently deliver catchy, honest, indie rock.

Favorite track: Clueless
Least favorite track: Just Around the Corner

Review posted on 4/12/2026

You're Gonna Miss It All

Modern Baseball

Released on 2/11/2014

8/10

I first heard You're Gonna Miss It All when I was 17. I thought to myself “oh wow! What an amazing record, I can’t wait to hear this band’s more recent music.” It was then that I was hit with the common tragedy of realizing Modern Baseball was on an indefinite hiatus. Still, I find myself keeping this album on repeat, finding new things to appreciate with each listen.The album opens with “Fine, Great,” which is more than either of those adjectives. This song is better than just fine or even great- it’s a fantastic display of the band’s sound, while not feeling too complex and alienating to potential new listeners. Lyrically, it is also some of the band’s most effective songwriting over this entire record. The way Brendan Lukens, one of the group’s two lead singers, toes the line between being humorous and genuine is very impressive, especially so immediately into the record.It is followed more intensely by “Broken Cash Machine”, sung by other lead singer, Jake Ewald. Vocally, he carries less of that midwest earnestness and more of an alternative rock flair. That works especially well here, given the boomy drums and sharper guitars.“Rock Bottom” is our first introduction into the band’s playfulness with song structure. Only thirty seconds in, the tempo shifts dramatically. This is also reflected in an entire change of instrumentation, making the intro feel less like an entirely separate song, and more like a prologue to the rest of the track. Regardless, this song remains catchy and fun. This same method of structure is used in the next track, “Apartment”. This was the first Modern Baseball song I heard, and it remains one of my favorites.I’d say the album's weaker moments are on the next few tracks. On “The Old Gospel Choir”, we see the group attempt softer, more ambient arrangements. This works phenomenally, though I wish they had let the song stay in this space. Rather, the song builds and becomes more intense over time. Next up is “Charlie Black”, whose chorus is absolutely the catchiest throughout this entire record. Out of this weaker mid-section, this is for sure the standout. I especially liked its follow up track, “Timmy Bowers”, which reframes the previous song’s confident lyrics into somber, potentially more honest words. While “Going To Bed Now” has some strong lyrics, I found its southern pluckiness to be a detriment to the song. Surely an intentional choice, I feel it’s the band’s only misstep on this entire record.However, it’s followed by “Your Graduation.” This is one of their most well known songs, and it’s immediately apparent why. The song is grand, earnest, and its pop sensibilities are expertly done. With a chorus like that, it’s hard to imagine this song not being so popular.

“You weren't the only one who thought of us that way
I spend most nights awake, wide awake
I never thought that I, oh, I would see the day
Where I'd just let you go, let you walk away
Where I let you walk away”

It’s also what I would call this album’s climax, which is rare for a song that isn’t the closer. Instead, it’s followed by “Two Good Things”. This one, while still carrying a louder back half, feels calmer. Something about this song makes me smile, which good music should always do. That being said, it’s still a melancholic tune, describing common frustrations of exiting adolescence and not knowing where to go.The final song, “Pothole,” feels like an epilogue. It’s far more ambient than anything else on here, and it’s done masterfully. While I would have preferred “Two Good Things” to be the final track, this works just as well.Modern Baseball will forever both be a band that could have done more, and one that confidently did more than enough. Their sophomore album, You’re Gonna Miss It All, showcases the band at their peak, blending unique song structures and earnest songwriting through the sound of catchy folk-punk. Whatever, forever.

Favorite track: Rock Bottom
Least favorite track: Going To Bed Now

Review posted on 4/11/2026

Wait

Arlie

Released on 9/13/2018

8/10

Something must have been in the air in the late 2010s, because on their debut EP, Wait, Arlie manages to make some of the catchiest and earnest hooks in the modern DIY pop scene. It feels like a textbook example on balancing artistry and mass appeal, making it the band’s biggest release to this day.We open up with “big fat mouth,” a three minute regretful pop tune about saying the wrong thing. Its instrumentation is upbeat but never too intense. I’m especially a fan of the warm bass line, perhaps carrying influence from Foster The People’s “Pumped Up Kicks”.The emotion on “barcelona boots” was a highlight for me, with lead singer Nathaniel Banks performing the song’s bitterness in a believable way. The production on this one aimed to be expansive, and that was done very well. It’s followed by “too long”, a personal standout for me. Something here feels different than the rest. Not that the other tracks aren’t also sincere, but the grand piano here has a classic romantic feel, as opposed to the modern arrangements of other songs. Mix that with lyrics that make for a sentimental chorus, and you’ve got a perfectly crafted heartfelt moment.

“It's been too long
I need to hear your sweet voice again”

I thought “water damage” was impressive through its noisier production, though it did feel jarring coming so immediately after the previous track’s somber ending. It’s followed by their certified hit, “didya think”. This track perfectly summarizes this EP’s mission statement- genuine songwriting through a spirited indie lens. It’s subject matter reflects that as well, being about dreamers who only dream, and never do anything worth while.The record closes with “tossing and turning”, which feels like an epilogue to “didya think’s” themes. Only now, it feels calmer, which is further emphasized through its hazy instrumentals and production. While not a standout for me, it carried itself well, and is a perfectly fine closer.With Wait, Arlie was not aiming for the perfect pop debut. Rather, they had some earnest songs, a laptop, and tons of indie spirit. I’ll be sure to keep this one in rotation for when I’m looking for some mellow DIY pop.

Favorite track: too long
Least favorite track: water damage

Review posted on 4/10/2026

Submarine

The Marías

Released on 5/31/2024

9/10

It seems like I'm the last to board The Marías train, but I'm certainly glad I did. On their much anticapitated sophomore LP, entitled Submarine, The Marías blend lush alternative rock with psychedelic dream pop, all with a wistful flair.The album opens with a one minute introductory track titled "Ride". Compared to the rest of this record, it feels noisy and intense. What could come across as disjointed, however, serves as more of a transition between this album, and their debut effort, CINEMA.We are then hit with "Hamptons", an atmospheric reggaeton influenced track. Despite carrying many dance elements, the song feels calm. Much of this carries over into "Echo" as well, though that one features a lower tempo. One thing that I feel is overlooked (as in I couldn't find many other people talking about it online), is the role that Josh Conway serves in The Marías sound. Producer first, drummer second, many of these songs are brought to life by his unique production style. I see parallels between him and George Daniel of The 1975 in that regard.Our first proper upbeat track is the groovy "Run Your Mouth". While plenty of this record's bass lines are delicious, this one feels like the song's highlight, as opposed to a supporting element. I thought "Real Life" was done well enough, but it didn't leave a particularly lasting impression on me. I enjoyed "Blur" for its low-fidelity feel, and the lyrical themes on "Paranoia" were a highlight as well.It's about time that I comment on the lead singer and namesake of the band, María Zardoya. Her unique voice and background are absolutely what make this band so captivating, and it's on "Lejos de Ti" that we see that on full display. The writing is romantic, and her voice is soothingly vulnerable. For a band on the rise in American pop culture, it is impressive and deeply impactful that this album features two entirely Spanish songs, especially in our current political climate.I found the production on "Love You Anyway" to be masterfully done, carrying uniquely bouncy drums that are not found elsewhere on this project. "Ay No Puedo" is another all Spanish track, and its bossa nova feel is another pleasant and unique presence on this track list."No One Noticed" still holds up despite its explosion into the mainstream, and it feels right to be so late into the track list. "Vicious Sensitive Robot" had impressive lyrics, but it did not impress me in much else, making it another un-noteworthy track. It's followed by "If Only," which features this hauntingly elegant piano, laid beneath Zardoya's breathy vocals, making for a standout moment on this album.The record closes with the beautiful and tragic, "Sienna". Lyrically, it's a love letter to an unborn child between someone and a past lover. That alone would be so strong as a concept, but it is expanded through its heartfelt instrumentals. It feels like acceptance of the breakup themes found all throughout this record. It finishes abruptly, mirroring the sudden loss of a relationship. It leaves us, like Zardoya, blindsided, and stripped from this fantasy of a future that was built up.With Submarine, The Marías deliver fourteen songs entailing heartbreak, loneliness, and the general loss of love. It never feels weak, however. Rather, they utilize their signature sound to craft beautiful instrumentals beneath soothing vocal performances, all backed by outstanding production.

Favorite track: Lejos de Ti
Least favorite track: Vicious Sensitive Robot

Review posted on 4/9/2026

MARSHAL.45

MARSHAL.45

Released on 12/19/2025

7/10

On their self-titled debut, MARSHAL.45 delivers unapologetically political hip-hop over some of the grittiest beats I’ve heard. This project is clever in its wordplay, while staying direct in its intention. Mix that with crunchy, industrial production, and you’ve got an album that feels very powerful.The album’s intro opens up with the strike of a roaring guitar chord. It’s straightforward, but immediately feels representative of the anger that this record carries. It’s followed by “demolition man,” which serves as the album’s true opener. Its hype is infectious, and it gives us a peak into the range that we’ll see over the course of the album’s thirteen tracks, both sonically and lyrically.We’re fed more gritty beats on “world domination” and “kill shit,” the latter of which’s vocal delivery I found particularly fun. It should be noted that this track list rarely features a hook or chorus, and if it does it’s through the instrumentation as opposed through lyrical content. This allows MARSHAL.45 more space to speak their truths, even if it does mean some of the songs do blend together.Moving forward, “point and shoot” begins with a crunched out guitar that leads into bobbing trap drums. Like many other of the guitar led songs, the production here uplifts those guitars and refuses to push them to background. About one minute in, the song halts, and we are pulled into a lull of a melody. It still carries that distortion, but feels representative of the hopelessness that can come with being politically aware, both through the tender singing and earnest songwriting alike.

“It’s violence I’m feeling, it’s violence I’m thinking
It’s violence that’s winning againI could try and fight for all my life
I’d die and do it again”

However, the song doesn’t end there, and instead MARSHAL.45 delivers more politically charged bars. I found the flow change for the last thirty seconds very satisfying to listen to as well.Next up is “bullet time,” whose distorted drums were a highlight for me. It feels very reminiscent of 100 gecs, while staying in its own lane. Another truth for the entire record, this album never feels distorted for the sake of noise. Rather, every crunched moment carries intention, and compliments the violent exhaustion that MARSHAL.45 illustrate with their words.Skipping ahead, I thought “roulette”’s melodic bass was a standout here, and something I wish was more featured throughout the track list. It’s followed by “full caliber,” which carries more clever wordplay and production. In fact, I was very impressed by this album’s ability to both be politically charged and humorous. The social commentary never feels dissonant with the humor, and the humor never feels like it waters down their message.The spiritual closer is “suburban terrorizt (extended~mixx)," which features another sung vocal melody. It solidified the idea in my mind that I would have loved to hear more of these dimmer moments. Partially a personal stylistic preference, but also I think it could have made more of these songs carry unique identities outside of their production. The album closes out with a minute-long instrumental of distorted guitar and samples, mirroring the introductory track nicely.MARSHAL.45 had a statement they wanted to make on their self-titled debut—and I think they said it loud and clear. This record’s political lyricism and crunched out production compliment each other very well, and while I would have enjoyed a few more hooks, that’s clearly not their intention or mission statement. Regardless, the tracks are infectious, and I’ll definitely be adding some of this to my playlists.

Favorite track: point and shoot
Least favorite track: imgburn

Review posted on 4/8/2026

GLOOM DIVISION

I DONT KNOW HOW BUT THEY FOUND ME

Released on 2/23/2024

4/10

I DON’T KNOW HOW BUT THEY FOUND ME (abbreviated as iDKHOW) is the brainchild of Dallon Weakes, a veteran in the alternative music scene. His sophomore record, GLOOM DIVISION, takes the previously established iDKHOW sound, and builds upon it. This album is more of what we’ve heard from him before, but with some new, more diverse approaches.I’d argue that the opener “DOWNSIDE” starts us out perfectly. Its gritty bass and whispered verses feel unique in the iDKHOW discography, but they are balanced out with a higher octave chorus and familiar drum grooves. This makes the track a great opener, not alienating me or my previous knowledge, while still setting itself apart. I found the chorus’ lyrics to also be a bit cheeky, something that feels signature to iDKHOW’s sound.I found “GLOOMTOWN BRATS” anthemic feel and delicious bassline to be a treat, carrying a partial disco feel. It wasn't until “INFATUATION” that I noticed what elements set this album apart from the rest of iDKHOW’s discography, which is its approach to tender moments. Where on previous projects, a more vulnerable song would feel softer, the quiet tracks do not shy away from their pop influence. “WHAT LOVE?” continues this trend, and I found its production to be a highlight. Never do the instrumentals take control, but instead they support an already great song, making it that much better.“SPKOTHDVL” and “SIXFT” were decent, though they didn’t stand to the same level of what I’ve heard so far. At the very least, the latter’s lyrics felt clever in their delivery and wordplay. It’s not until “FIND ME” that I felt the album start to drag however, with its chorus feeling weak compared to some of the others. I appreciate the messy approach to composition, but it did not work here. Next up was “KISS & TELL”, which I thought was cute. The lyrics felt particularly earnest in the picture of love they painted, which I recognize can be difficult to do.Surprisingly, I found “A LETTER” to be my favorite. Its ability to carry a unique identity while featuring no vocals from Weakes is no small feat. Rather, it relies on a robotic voice to deliver a heartfelt letter. Its message is simple, refusing to overload and romanticize these genuine feelings.

“And in spite of everything I’ve done
I wish you all the happiness in the world”

We are fed a few more tracks afterwards, though none felt worth the time they took. “SATANIC PANIC” was fun at best, and felt tired at worst. It’s interesting to me that, to my knowledge, the only feature iDKHOW has ever done is on “SUNNYSIDE”. It features fellow indie-head Will Joseph Cook, and feels awfully summery in comparison to the rest of this record. The closer “iDIOT OF Oz” did not speak to me in any regard, and carried the same issues as a lot of the other tracks.GLOOM DIVISION’s arrangements are impressive, sure, but for an act close to its 10th year of life, it lacks evolution. You could switch plenty of these tracks with any other I DONT KNOW HOW BUT THEY FOUND ME song, and end up with a fairly similar album. There are some songs worth checking out here, but you might be better off asking a friend for their recommendations.

Favorite track: A LETTER
Least favorite track: iDIOTS OF Oz

Review posted on 4/7/2026

songs

Adrianne Lenker

Released on 10/23/2020

10/10

If there was an indie folk hall of fame, Adrianne Lenker would be one of the first few people I'd expect to be there. Known for her solo work as well as her contributions to her band Big Thief, I was excited to check out her 2020 record, aptly titled songs. What I found was a masterpiece in songwriting and acoustic guitar arrangements worth the tears they cause. In fact, that's why it deserves this publication's first 10/10.On the opener, "two reverse", we are treated to what will become this album's signature sound. Tender, layered acoustic guitars and Adrianne singing flowery lines about love, heartache, and loss. These elements are present on each track, but rather than feeling tired by the end, she manages to make each track feel fresh and makes clear why each song deserves it place.Second up is "ingydar", whose chord progression makes for an almost sinister tone. The song is just as much about death as it is about life, which is further enforced through its refrain."Everything eats and is eaten"Next is arguably her most well known song, "anything", which remains delightful. It feels warm, both through its intimate wordplay and gentle guitars. I was very impressed by her ability to paint a simple love in such an unsimple way.I found "forwards beckon rebound" and "heavy focus'" restrained percussive elements to be a wonderful touch. By adding rhythm in these subtle ways, it emphasizes that Adrianne's priorities are not in creating complex, over produced music. Rather, it's in her words, voice, and guitar that she finds comfort.While a lot of her music is obviously personal, I thought "half return" carried itself in a specifically intimate way. This one's guitar arrangement also felt like one of the catchiest we've heard so far, so that was another plus. I wouldn't call any of these songs upbeat per say, but "come" is definitely a quieter moment. It stays static throughout, offering drawn out vocal deliveries and more ambient than usual instrumentation.This quiet tone is continued on “zombie girl”. Perhaps it is just my personal attachment to the song, but I’m a firm believer that this is Adrianne’s best work. It is just as vivid as the rest of this record, but her voice has a uniquely vulnerable tone to it, making for a more emotional end result. This one also has fewer layered guitars, making its production particularly streamlined. It is yet another beautiful moment on a record full of beautiful moments.Moving on, “not a lot, just forever” and “dragon eyes” deliver more crafty lyricism and musicality, with the latter’s hook being particularly notable. Rarely does a song on this album have a chorus, but the refrain of the rhyming scheme feels pretty close to one.The album closes on a six minute track called, “my angel”, the first two of which are spent on purely instrumental. It compliments the song well, and even feels like a nod to this record’s sister album, “instrumentals". While it doesn’t carry a particular highlight for me, it is a beautiful end to this record, which has already earned the listeners respect by this moment. I found the abrupt ending to be creative as well, especially since a lot of the other songs are left to fizzle out. This one is shut down while bright, and that feels intentional.Adrianne Lenker is surely one of the strongest songwriters working today, and on songs, she proves that tenfold. The record is intimate, gentle, and vivid in its wording. I found no flaw in her execution, and would recommend everyone give this one a listen.

Favorite track: zombie girl
Least favorite track: come

Review posted on 4/6/2026

eternal sunshine

Ariana Grande

Released on 3/8/2024

8/10

Ariana Grande’s return to music was applauded by critics and consumers alike, and it’s easy to see why. Released March 8th, 2024, eternal sunshine is a collection of catchy, heartfelt pop. Its production is lush and tightly done, making for a record that’s sonically and lyrically captivating.On “intro (end of the world)”, Ariana establishes the headspace she has been in, allowing us to process that and take it into account for the rest of the album. This is followed by the true opener, “bye”, which is filled to the brim with hooks through melody and rhythm alike. It’s got the disco flair that a lot of modern pop music carries, but it doesn’t feel cheap. Rather, Ariana takes an almost tired genre and breathes life into it.I thought “don’t wanna break up again” had a lot of the same positive elements as the other songs on here, though the rhythm in the chorus threw me off at first. Perhaps just a stylistic choice, I noticed throughout this record that she insists on ignoring simple deliveries of lines. On some songs this works, but I was not crazy about it on this one.For an interlude “Saturn Returns Interlude” carries a profound message. It’s short but efficient, and fits into the world that she has created in this record. It’s followed by the titular track, “eternal sunshine”. Title tracks carry a lot of pressure, but this one works very well. I found the musicality on this one to be impressive, specifically on the chorus harmonies. I only wish the chorus didn’t throw in that final “sunshine” lyric, as I feel it doesn’t allow the title to breathe.I found “supernatural” and “true story” to be decent, but neither held too many specific highlights for me. The former’s last thirty seconds were a beautiful production element, and I only wish it was allowed more staying time.Moving onto the controversial “the boy is mine”, I found this one to be a great display of Ariana’s sense of humor in the sense of songwriting. It’s a tongue and cheek way to declare her lack of care for other’s opinions on her relationships. The brief tempo change before the chorus is also a fantastic musical element, one that caught me off guard on first listen.Next up is my personal favorite, “yes, and?”. The production on this one really spoke to me, featuring a distorted vocal sample that stays with us throughout. I also felt like the song was the first that was truly allowed to breathe in between vocal sections, with the instrumental being a focus rather than a background element. It’s also difficult to write an anthemic song like this, so I commend her for that as well..For being the biggest song on this record, “we can’t be friends (wait for your love)” still carries a lot of emotional substance. I also think it’s the best showcase of Ariana’s lyrical ability, balancing the dramatic with the genuine. Its message is simple, honest, and effective. In fact, I felt the same about “i wish i hated you” and “imperfect for you”, with the latter’s guitar tone being very addictive. My only wish is that these songs were spread more throughout the tracklist, as the final stretch of this album could risk appearing slow.The closer, “ordinary things”, is a perfect final chapter to this album. It’s romantic and backed by a wickedly catchy chorus. The last minute is spent on a voice memo from Nonna, Ariana’s grandmother. She expels her wisdom, leaving a message that both Ariana and many others should internalize. The horn intro was also very pleasant, almost reminding me of the Over the Garden Wall soundtrack.Ariana Grande is at the top of the world right now, but nowhere is that apparent on eternal sunshine. This album expertly balances its emotional substance and catchy hooks, in a way that does not feel tired or dragged out of her. She is absolutely still a force in pop music, and one that will continue to demand respect.

Favorite track: yes, and?
Least favorite track: true story

Review posted on 4/5/2026

Blurryface

Twenty One Pilots

Released on 5/15/2015

5/10

Way back in middle school, before I found myself in pop music circles or the indie scene- I had Twenty One Pilots. Growing up, this was easily the first album I truly “loved”. Even now, it’s easy to see why. While moments on here can feel dated, Blurryface still holds a lot of the duo’s best work. It’s also still my favorite of their era’s, aesthetically speaking.This album opens up with “Heavydirtysoul”, a gritty exploration into this album’s sonic tone and lyrical themes. While Tyler Joseph’s rapping on previous records could come across as cheap, it’s on this record that I think he started to come into his own. The delivery feels a lot more confident, even if he is detailing his insecurities throughout the album. The song progresses from Josh Dun’s high-tempo breakbeat style drums, to a hard hitting, crashy ending.It’s directly followed by the band’s biggest song to date, “Stressed Out”. I feel conflicted here. On one hand, this song has been overplayed to oblivion- but of course Tyler didn’t write this with that in mind. For a time, I’m sure this song existed on a cheap laptop as a promising demo. That’s honest, and I can hear the heart in this one still. In case you weren’t already aware, this is a concept album, and it’s here that we first hear the voice of Blurryface. There has since been plenty more lore developed for this character, much of which I am not qualified to talk about. That being said, when this was released the character was far simpler, being a manifestation of Tyler’s deepest insecurities.The other hit here is “Ride”, which to this day remains one of my favorites from this band. I would have no complaints if more of this album leaned into this alternative, almost soft rock style. I believe this one’s level of lyrical detail is perfect for this group as well, being just earnest enough, while still maintaining a universal message of being not quite alright. I think the rap here holds up okay, and with the song as big as it is, they clearly did something right.“Fairly Local” is the first crack in the nostalgia glass for me. Production wise, it’s booming, expansive, and wickedly synth heavy. Unfortunately, that’s about all the positives I have to say for it. I think the chorus here is boring, and the verses are incredibly dated and corny. For an album with fourteen tracks, this one should have been left off.Don’t worry though, as “Tear in My Heart” picks us right back up. I’ve always found this one to be exceptionally sweet. For a band with this level of edge, a love song could feel out of place. However, Twenty One Pilots feed romance through their own lens, talking of self sacrifice, and a bloody, aching love.

“She's the tear in my heart, she's a carver
She's a butcher with a smile, cut me farther
Than I’ve ever been”

Sadly, this song is sandwiched between another miss. While it’s less offensive than “Fairly Local”, “Lane Boy” still carries a lot of the same problems. I think the instrumental here fits more in line with what I want from the album, but it is tainted once again by Tyler’s rapping.Skipping ahead, “We Don’t Believe What’s on TV” is another banger of a track. It carries more of that indie flair that I adore, through the classic Twenty One Pilots palette of ukulele and thumping drums. It’s upbeat, and insanely catchy. Unfortunately, the album drags along with songs like “Message Man” and “Hometown”, both of which I found to be decent if not common. If this track list was shorter, I’m sure I’d have more to say about them. Unfortunately, they just don’t stand out as a low or high point, which makes them okay at best. I thought “Not Today” was a better step, carrying Tyler’s best vocal delivery in terms of tone. It’s also reminiscent of their studio debut, Vessel, which is a nice touch.The album closes out with “Goner”, which I think is a perfect closer to the loose concept explored throughout this record. It carries hope, but still appears dark and dreary. The emotion in Tyler’s voice also feels genuine, which can be difficult to capture in a recording. I thought this one was also quite strong lyrically without having a complicated narrative or verbiage. The song ends in an explosion of distorted instrumentals and Tyler’s screams, a great display of the duo’s talent.While Blurryface carries pounds of nostalgia for me, it absolutely has its flaws. Still, for Twenty One Pilot’s second studio outing, it showcased their enormous potential early on. It’s no wonder that these songs have gripped millions of people’s ears, including mine.

Favorite track: Ride
Least favorite track: Fairly Local

Review posted on 4/4/2026

On Pucker, indie veterans Daddy’s Beemer paint vivid pictures through introspective lyrics and fuzzy guitars. I’m a huge fan of the album cover here as well, being what drew me to the record in the first place. It does a great job of placing the listener into the project’s environment before they have even pressed play.“Time We Killed” opens with an alarm clock buzzing, a metaphorical wake-up call to the loss of one’s lover. The song is dim, never exploding but rather, expanding. The production on here is not over the top, likely aiming to capture the charm of their live performances. This song is followed by “Joan”, which I found to be an excellent showcase of lead singer Brady Skylar’s vocal direction. Never does his voice falter, not through yearning verses nor its laid-back falsetto chorus. The writing on this one was also impressive, using dramatic language to push the emotion that they are trying to convey.

“A fearless lover and passionate friend
An evil that haunts, but never bends”

“Thespian” opens up with Brady’s soaring vocals, placed above simple and elegant piano. It’s an excellent showcase of the band’s talent shining through, even in their quiet moments. Then, for the first time yet, the group shows an aggressive side. With one minute left, the song switches from its mellow core to an upbeat swing section- led by a distorted guitar riff that pulls the energy from you immediately. This song also leads seamlessly into “Eventualitiles”, the band’s biggest hit on here. If the first half of this record was a low energy end to the night, this is the witching hour. It feels angrier, while still all too heartbroken.On our title track, we are treated with more fuzzy guitars, backdropped with thumping drums and driving bass. The hook on this one is very reminiscent of Surf Curse, which fits pleasantly in this EP’s palette. Lastly, we close with “Terry’s Song”, a mix of the upbeat back half and the mellowed out front. It feels wistful, highlighting acoustic guitars and roomier drums. Brady’s vocal delivery is once again a highlight, making an already great arrangement even better. It’s an earned closer, doing a great job at saying goodbye to us.Pucker is an outstanding display of indie-spirit backed by genuine talent. The writing here is earnest, the performances are expertly done, and the vocals are particularly pleasant. Daddy’s Beemer is absolutely a group that deserves more recognition, and I can’t wait to check more of this group’s discography.

Favorite track: Thespian
Least favorite track: Eventualities

Review posted on 4/3/2026