Amy Locust Whatever

Cyberbully Mom Club

Released on 11/2/2014

6/10

In the mid 2010s, Shari Heck briefly operated under the Cyberbully Mom Club moniker. While she released multiple EPs and albums throughout this period, I was most curious to check out Amy Locust Whatever. What I found was a delightful collection of lo-fi indie folk, all of which carries an undeniable DIY charm.“Fight Night Champion” starts us out well. Like many of these tracks, it’s centered around soft layered guitars and Heck's delicate vocals. The song deals with themes of loss, but not immediate loss. Rather, the loss that one feels over time, when friends slowly become strangers. I think it's a simply beautiful tune, both in sonic palette and in her earnest songwriting.

“Everybody at the finish line is always crying and
Ever since that day all of my best friends been dying
I wish I could have said bye one last time
I wish I could have said hi one more time”

On “Smking To Dth,” Heck delivers slightly more unsettling guitars, but just the same quality of emotion. This DIY approach makes the tracks feel so human, which I love. Heck has stated that one of her inspirations to start the entire CBMC project included Frankie Cosmos, and specifically some of Cosmos’ deep cuts. She stated that hearing someone take that approach to music shifted her perspective, and made music feel less like an exclusive club, and more like something she could take a crack at. I find it interesting how likely it is that someone has had a similar experience with CBMC, as the music throughout this record is elegant in such simple ways.Track three, “Philadelphia, Don’t You Haunt Me,” continues many of the trends we’ve seen so far, though I’d argue there is a higher energy present throughout. These were some of my favorite lyrics on the record, as they feel so detailed and personal. I’d love to understand the rich context of each line, but there is also a charm in finding my own connections as well.

“And every time you tried to wash me away
Oh, it felt like stolen arms and keys
It felt like winter the year prior
I was never told that going over seas opens your eyes
To new ideas, ones that did not include me slightly
And I'm sorry for hanging so longly on that branch
Unripe bites, I took too many
Guess I didn't take it lightly”

“Life Time Warranty” is this record’s most popular tune, and it’s clear to see why. The song’s emphasis on queer themes make it an emotional highlight, and I enjoyed how vulnerable Heck’s voice is here. It’s followed by “Girl Walk,” which unfortunately felt a little rougher than some of these others. While I wouldn’t argue much of this album is polished, this one feels the roughest around the edges. At the very least, the shift to ukulele is interesting, but it is immediately overshadowed by how the next song handles that. That next song is “My Baby Loves Me,” which is just so gorgeous. There is an ever-present somberness between each sweet line, making the song land somewhere between romantic and tragic.

“My baby loves me even though I'm one of the boys
She can't say I love you when she looks me in the eyes
But when she comes home she holds me so tight
Says don't let go and she does that just fine”

For all intents and purposes, that is the album’s final track. However, Heck threw a bonus track in the form of “Poem Song (Demo).” In my eyes, this is not meant to be interpreted as part of the record. Instead, it feels like a peek into what was going in her life at the time. While the crunchy recording of a rehearsal is intriguing, this isn’t something I’d listen to in my free time.Amy Locust Whatever is a perfect example of the highs and lows of what hobbyist lo-fi indie folk can be. The writing that Cyberbully Mom Club does on here is so beautiful, and the instrumentals are just the same. Nothing on here is groundbreaking, but I’m sure it was never meant to be.

Favorite track: Fight Night Champion
Least favorite track: Poem Song (Demo)

Review posted on 7/14/2026

1 (646) 943 2672

Del Water Gap

Released on 10/11/2018

6.5/10

Before Samuel Jaffe, the mastermind behind Del Water Gap, blew up online, and before he released all three of his full length records, he released the 1 (646) 943 2672 EP. Throughout its six tracks, he shows a strong skill for songwriting and bright instrumentation. I’d love to get more into his music, and figured this would be the perfect place to start.“Vanessa” is pretty solid. The mid-tempo feel and warm guitar tones serve as a nice foundation for Jaffe’s voice. He uses that voice to depict a tragic sentimentality in each line. The “na na na’s” at the end round out the tune nicely, and overall it’s a good start to this project. It’s followed by “Let’s Pretend,” which is one of the few songs of his that I’m familiar with. I love how timelessly indie it feels, particularly with its oldies influence. I can’t imagine how hard it is to incorporate “oo sha la la’s” in your track and have it feel earnest. Luckily, it lands, and the track still carries strong emotion. The emotion in question is one of an unideal romance, possibly one-sided. However, like The 1975’s “Sex,” the love is less unrequited and more half-measure.

“And I’ll still pretend that I’m your man
And you never mind me staying out when you’re back home in bed
Oh and it’s the fool who fell for you
No, it's not me talking don’t believe a word he says to you
Oh, let’s pretend you’ll picture me too”

I found “Deirdre, Pt. I’s” 60s feel to be a delight. I was honestly quite surprised by how much of this EP felt so influenced by that period. Regardless, it’s a pleasant surprise, and one I welcome. We’re then treated to “High Tops,” which is also this record’s biggest hit. Despite this, I’d yet to hear it until now. That being said, the song’s spaced out instrumentation and quiet approach work great. It’s nice to see Jaffe experiment with musical executions, and the song’s vivid lyrics are very impressive. Things don’t stay quiet for long, as “Don’t Read the Mirror” brings the energy back up. It’s another classic indie rock tune, and while it stood out less to me, it wasn’t a bad time whatsoever.The EP closes out with “Love Song for Lady Earth,” and I have quite a bit to say here. The song is split in two halves, with the first featuring a similar sonic palette as the rest of this project. It’s quite pleasant, if not a bit samey. The back half, however, is something I adored. After over a minute of silence, Jaffe ditches all other instrumentation, and instead serves us a gorgeous folk tune. This sole emphasis on vocals and acoustic guitar make each element stand out, especially the lyrics. His vocals are particularly vulnerable as he delivers these tragically beautiful lines. I wish this were its own song, as if I’m honest, I enjoyed this half far more than the first. Regardless, it is a fantastic way to end this EP, and it subverted all of my expectations.

“We got pretty stoned
With your hands on your chest
And my ego
And we, we clung to the roof
And the morning laid rest all around you
And I won't forget how you looked in that dress
On the day that first I met you”

Del Water Gap did a lot of things right on the 1 (646) 943 2672 EP. It’s not perfect though, as plenty of this project feels underdeveloped. However, you can see glimpses into how talented of an artist he will become, and that’s something I can’t understate.

Favorite track: Let's Pretend
Least favorite track: Don't Read the Mirror

Review posted on 7/13/2026

Best Buds

Mom Jeans.

Released on 7/3/2016

8/10

Full transparency, I’ve heard a lot of the songs off of Best Buds. Despite this, I’d yet to hear it in full, but I’m glad I did. Mom Jeans. showcase their talents well, and delivered a record full of pure hearted midwest emo.“Death Cup” starts off this record, and it’s still just as outstanding as when I first heard it. The swaying drums and intricate guitar lines create a strong foundation for lead singer Eric Butler’s whining vocals. It’s a fantastic introduction into both the sounds and the themes they’ll explore throughout the record, and one that’s hard to follow. “Danger Can’t” does a pretty good job, however. The track opens with repeated snare hits before a meaty bass comes in. It’s overall pretty solid, if not less iconic than some of these other tunes.Conversely, “Movember” remains my favorite track. The song is split in two, with the first half being a purely acoustic arrangement. It features Sarah Levy on this half, which is a pleasant addition to the album’s palette. At around the two minute mark, the song falls into a fully realized version of itself. I adore the differences between both versions of the repeated lines ““Cause I'm not getting any younger, my lungs get blacker every day,” with the latter moment being more explosive.I’ve heard the intro of “Edward 40hands” on TikTok before, but never the full track. That being said, I absolutely loved this one. It’s a masterclass in their midwest emo and alternative rock hybrid sound. The songwriting was also a highlight for me here, as it's halfway between romantic and tragic.

“Now I'm addicted to cigarettes
At first I didn't let myself inhale
But smoke got through and so did you
And now every burn hole smells like home”

“*Sobs Quietly*" features a cheeky oldies influence, though it does eventually dip back into their signature sound. This is especially apparent in their ability to seamlessly play with time signatures. It switches from swaying to moshing without you even noticing, and I found it very impressive.I thought “Poor Boxer Shorts” and “Remy’s Boyz” were pretty great, with the former being a bit more direct with its midwest influence. The drums were definitely the focus on these tracks for me, as drummer Austin Carango weaves through intricate rhythms perfectly. “Girl Scout Cookies” does a similar thing, although I found the writing to be a lot stronger. It acts as a simple and elegant summary of this album’s core themes, so I applaud it for that.

“I know it seems like I'm wasting my time away
On things that still don't matter
I don't care who can shotgun faster
But when the goat runs dry, what's left behind
Is someone I don't mind I'm dying with”

“Scott Pilgrim vs. My GPA” still holds up despite it being such a massive hit. I was surprised it was so late into the record, but I’m glad it is. This feels like the emotional climax of the record, and could very well serve as the album’s closer. With that said, I couldn’t be more satisfied with the actual closer, “Vape Nation.” This track feels so warm, and I loved the folky approach to it. This feels like the morning after a horrible night, and it makes for a lovely fadeout to the record.I wish I’d checked out Best Buds sooner, as Mom Jeans. display immense talent here. From front to back, each song is filled with such strong heart, and I can’t wait to look more into their work.

Favorite track: Movember
Least favorite track: Remy's Boyz

Review posted on 7/12/2026

I've Got Some Living To Do

Jelani Aryeh

Released on 7/30/2021

8.5/10

Five years ago, Jelani Aryeh released his debut album, I’ve Got Some Living To Do. Despite being half a decade old now, plenty of this record feels fresh, especially in the modern indie-pop scene. I adore this record, and wish more knew about his talent, which is abundant here.The album opens up with “Trunk Song.” It’s fairly ambient, and serves more as a soft lead into this record’s core. It does this well, as with repetition of lines like “I’d like a vacant mind,” Aryeh captures the themes found throughout in such an elegant and simple manner. It’s an emotion that’s explored deeper on “The Millennium Express.” I love how, despite it being fairly chill and mid-tempo, the song feels upbeat. This is through his ability to deliver such effortlessly catchy melodies back-to-back. Combine this with the song’s flowery poeticism, and you’ve got a great display of his talent as a creative.

“Sweet scent stray in my thoughts
We spent those days in August away
In solace, you’d say
In love and so involved
One kiss and I would dissolve into space
I’m all in a haze”

“From These Heights” is great, and I’m impressed to this day by the chorus’ ability to capture the feeling of falling through subtle musical elements. Past that, the track features popping bass lines and peeks of distortion that make it a production highlight. It’s followed by “Marigold,” which is not my favorite in all honesty. Still, the larger than life lyrics and club-influenced indie beat are pleasant nonetheless.The first truly somber moment we receive is on “Bad Nights.” From start to finish, this song is ethereal and vulnerable. While many artists explore themes of depression and suicidal ideation in their work, few do it as beautifully as Jelani. We quickly exit this gloom and doom with “Overexposed,” which is far sunnier in comparison. It’s classically bright, and a much needed recalibration after the last tune.We’re then treated to “Stella Brown,” which is Aryeh’s most famous work. It’s easy to see why, as this song feels timelessly indie. While not the record’s most emotionally substantial moment, there’s nothing wrong with having a hit. It’s followed by “May & Murakami,” which is a tender interlude featuring only instrumentals. It acts as a breathing moment before this album’s final stretch.One of these last songs is “A Piece Of Your Mind,” which is fantastic. It gently creeps in from the silence with these spacey musical elements. While its chorus feels less notable than some of these others, the track itself is still more than solid. Conversely, “Love Dies At Dawn” is such an earworm. With a stronger emphasis on acoustic guitar, the song feels so hopeful. The “oh’s” on the chorus are lovely, and it acts as more proof that I need Jelani Aryeh to have his pop star moment.

“Found her out whеre college is
One more step from fatherless
The color of a colonist
Assuming that she's providence
All the things I wanted went
By the side when she came in
All the time I'm mesmerized
But she could never compromise”

The penultimate track, “Someone to Hold You,” does everything that a second-to-last track should do. It furthers the emotion found throughout the record, while setting up what is necessary for the final tune to have a proper payoff. I adore the breathy vocals and the sinister chord progression, and the production here is another highlight for the record. On the closing track, there’s a lot of pressure. This is especially true when you consider it serves as the album’s namesake, and therefore the album’s mission statement. Luckily, Jelani hits all the marks here. The ethereal pads that swirl in your ear throughout the song are amazing, and it’s yet another showcase of his phenomenal talent as a songwriter. I can’t imagine a better closer here, so I applaud him for that.If you haven’t yet heard of Jelani Aryeh, you’re not alone. I adore I’ve Got Some Living To Do, and encourage everyone to check it out as soon as possible. I hope he gets the recognition he deserves soon, as this album is phenomenal.

Favorite track: The Millennium Express
Least favorite track: Marigold

Review posted on 7/11/2026

Careful Kid

Yabadum

Released on 5/30/2014

7.5/10

In 2014, Yabadum released their EP Careful Kid. Despite being just a group of teenagers from New York CIty, the arrangements and lyricall prowess found here showcase a maturity beyond their years. While they did eventually disband, I was excited to finally look into some of their music properly.“Look Alive” was the only track I’d heard going into this, and I still adore it. The gentle guitar intro that leads into the sunny, hopeful track is lovely. Each element of the instrumentation feels so precise, and it remains impressive. Lead singer Laszlo Horvath’s performance is solid, and his youthfulness only adds to the song's bright nature. This is especially true on track two, “Ball and Chain.” At times, it’s almost theatrical. Only in the vocal delivery, that is, and the rest of the track is far from that. I’m still finding myself trying to understand the drumming here, as despite the song technically being in 4/4, it’s not immediately obvious. These jazz elements are a nice balance to the group’s natural pop sensibilities, and I was very impressed with this tune.I thought “Cosmos” was fantastic, specifically in its writing. Past that, it’s more bright jazz-pop, only now with a muted, mid-tempo energy.

“I could not bring myself to be anything for you
I turn into a monster and scare myself to death
Oh, how come the cosmos never let us settle down and rest?
We keep on struggling just to be the best
Loosen up and empty out your head

“Mountain Man” opens with these ethereal synthesizers that I found great. Horvath’s performance here is also a highlight, as he sells the track’s emotional core well. The song’s writing style reminded me a bit of folk-music, though that is solely in words. Sonically, it’s more restrained, though it opens up towards the end with these catchy “la da da’s.”We’re then treated to the band’s most notable song, “Winter.” It’s easy to see why this one is so popular, as not only is it technically impressive, but it’s very engaging as well. The gentle vocalizations in the intro are gorgeous, and the laid-back groove present throughout makes it a breezy listen. I honestly wish this had been the closer, as the closing lines feel like a perfect note to end on.

“You're on my mind, I'm in your shadow
Waiting patiently for a pair of big hands
To pull you next to me
It's hard to find something that gets me
Filled up and empty at the same time”

That is not the case, however, as Yabadum serves one more track. Entitled “All the Funds,” it’s an almost seven minute long track. It’s far moodier than anything else we’ve heard, centering around a mumbling bass and these swirling pads. I wish it had been placed somewhere else on the tracklist, as it feels like quite a long-winded note to end on. Still, I enjoy the small bursts of jammy moments, as they give the project a youthful glow about it.If Yabadum had kept going, I’m sure we’d still be getting outstanding records to this day. Regardless, their EP Careful Kid will keep me well fed for a while. For a band who was so young, the arrangements found here are so brilliant, and I’ll definitely be looking even deeper into them.

Favorite track: Winter
Least favorite track: All the Funds

Review posted on 7/10/2026

plum

josh conway

Released on 6/12/2026

8/10

Josh Conway, known for his work as The Marías’ drummer, recently released his debut solo effort. I know comparisons to María Zardoya’s solo debut are inevitable, so I’ll be upfront and say I found this project much more engaging. Conway showcases a decent level of range, and his vocals set this album further apart from The Marías signature sound.The gentle opening of “bully” caught my ear immediately, with its ever-so slightly dissonant synthesizers and softly programmed drums. It’s a fairly intimate opener, and even when the song evolves, Conway shows a level of restraint. Despite this, the track feels bright, and evokes sunset beaches full of sentimentality. Lyrically, the song is about letting go of self-doubt, which feels fitting for the first track on this new journey for Conway.

“And if I ever let me go
I think I'll finally feel at home
Without the looming of a hawk
Looking for prey in every thought
I'm not as ugly as I think
I don't sound awful when I sing
I'm not as ugly as I think
I'm not as ugly”

Track two, “forget him,” also stood as this album’s lead single, as well as Conway's first solo release entirely. It’s easy to see why, as this track is filled with catchy hooks laid atop the upbeat instrumental. It’s followed by, “belly breathing,” which continues to showcase his immense talent as a producer. I loved the unique rhythm explored with the track’s drum machine. It’s dazed, dizzying, and dreamy all at once. Despite all of his time spent working with The Marías, there is still a youthful experimentation in his work, which I adore.I found “focus” to be the first peek of something I’d expect from The Marías, though that is entirely through the song’s slow tempo and ambient approach to instrumentation. It feels very breathy, and not just in Conway’s voice. It precedes “crumble,” which was this album’s second single. It feels far moodier than “forget him,” however, with a stronger focus on electronic elements. Honestly, this whole song feels very left-field, and is a great example of his range as a creative. The vocal chain on the second verse was so insanely cool, and I applaud his ability to create such simple cool moments.

“How did I become the one to lean on?
Threw me the baton and tipped the see-saw
There's a hurricane on the horizon
Standing on the hill I'm gonna die on”

I found the dreamy approaches to “breathless” and “when i need it” very interesting. They feel very reminiscent of 80s pop, but not in an obvious, in-your-face way. The latter features a glide on the chorus which caught my ear, as it’s another example of his talent as a producer to create small, sparkly moments. Contrastingly, “everywhere’s” more direct use of piano made it feel classic to me. It’s a very golden hour tune for me, as the more straight-forward arrangement feels very old Marías.The closer, “forever,” caught me by surprise. I feel as though a lot of artists want to create a slow, grand moment with their closers. However, this track’s upbeat and intricate drums mixed with the moody guitar chords make it high-energy. There’s a slight anger in both its lyrics and production, which I loved. I think this is a more than solid note to end his debut on, though I wish the album stood longer than nine tracks.

“Malleable and lazy
Lived in the picture you were painting
Flick of the wrist, and I was fading out
And I was so alonе with my thoughts when I carried them
Not as important, so I buriеd them
A heart on my sleeve, so now I'm wearing them
But I know it'll be okay
'Cause these things take time to break”

Josh Conway’s debut effort is fantastic, and I see a bright future for him. You can definitely still feel The Marías’ core in his sound, but his ability to explore different styles make it feel unique. If you haven’t yet checked out plum, now is the time to.

Favorite track: forget him
Least favorite track: everywhere

Review posted on 7/9/2026

Plastic Leaf

JOJANK + bryte

Released on 4/22/2026

5.5/10

Self-described noise maker JOJANK released their collaborative EP with brite recently. Entitled “Plastic Leaf,” it's a breezy five tracks, each of which showcase the talent and roof of potential that the duo share. I enjoyed parts of what I heard, though there were some creative choices that I find myself conflicted by.The opener, “normal99,” is a great example of this. With its slurred vocal delivery and non-obvious use of autotune, there is a clear vision in JOJANK’s mind. It takes an effort to immerse yourself in this same vision, as while the track is competently made, it only worked for me for moments at a time. Still, it's absolutely unique, and sounds unlike anything I’ve heard on the local level. I was definitely more into “summertime,” as its use of softer, more ethereal synthesizers were more palatable to me. It wasn’t until the bridge that the song clicked for me, and I realized the underlying melancholy in each line. It was always present in their vocal delivery, but by reflecting that in the production, it feels elevated.I found “across my mind” to be similarly agreeable, and I was a big fan of the distorted vocal sample present throughout the track. This is laid atop unique drum rhythms and muted guitar plucks to make a genre bending sound. It lands somewhere between alternative and hip-hop, which I absolutely adore.“no shot’s” use of descending pads, as well as its stronger emphasis on its trap roots make it quite catchy. While I wasn’t crazy on the verse deliveries, the chorus hook is undeniably an earworm. It’s followed by “crucial,” which I think highlights a big flaw for me in this EP. This song is somber, and at only two minutes and eighteen seconds, it’s quite short. That is until you consider that it is the second longest song on the project. I think a track like this would absolutely shine as an interlude in a longer record, but by having each song be only two minutes in length, it struggles to fully engage me. I still really loved this tune, but those problems remain relevant for me.The EP closes out with “my choppa is gay,” which is far higher in energy by comparison. Despite the song’s use of humor, JOJANK still delivers lines with substance throughout. All in all, it's a pleasant and intentionally noisy track, and it worked as a final note for me.I really liked a lot of what I heard on Plastic Leaf, but I also would do quite a few things differently. JOJANK and bryte show clear talent here with catchy hooks and experimental production, but I think more time should be taken on having each song justify its presence. I’m excited to hear what’s next for both of them, as it’s clear they have a vision.

Favorite track: crucial
Least favorite track: normal99

Review posted on 7/8/2026

Melt

Not For Radio

Released on 10/10/2025

7/10

Not For Radio is the alternative pop brainchild of The Marías’ María Zardoya. On her solo debut, Melt, she hits similar notes and tones to that of the band, but they carry a more reserved approach. This allows her voice to take full control and attention, but it also makes some moments feel repetitive.“Puddles” opens up this record beautifully, with these soft descending electric pianos that mimic rainfall. It creates a lovely ambience that reflects the song’s lyrics in a clever way. Again, it’s very reminiscent of her work with The Marías, but it feels unique to her still.

"Puddles and puddles, I picture us there
Walking in circles and talking in stares
I'm seeing double, I'm already scared
Scared of what losing feels after we dare”

“My Turn” continues this trend, though it feels a bit more classic in its instrumentation. The melodies reminded me of something The Beatles could have made, and the track is overall quite gentle. It ends in a swirl of vocalizations and other dizzying textures. This leads into “Moment,” which feels even more soft rock than before. I almost got a fleeting reminder of Rex Orange County’s “Loving Is Easy,” though that was solely in the intro. While it’s heavenly in similar ways, it still makes for a breezy listen, and one that stands out this early into the record.On “Back To You,” Zardoya’s repeated use of “I hope it brings me back to you” creates a desperate environment. In fact, before she first says this refrain, the track opens with dark piano chords. This gives the song an unsettling nature before we’ve even heard a breath from Zardoya. It swells and swells until we, the listener, are lost in her world of emotions. The song ends with a soft, whispered delivery from her, leaving a heartbreaking taste in our mouths.I found “Swan” to be really great, specifically in its use of more lo-fi sounds. Placed between the programmed drum machine and simple piano lines, Zardoya’s voice stands confidently here. By building this song around such a straightforward loop, the track can build over time without you even noticing. It’s all in all a great tune, and definitely my favorite on the record.

“I could love you like a swan would
I could love you 'til the end
Take my body, this I promise
Won't let go of your hand”

“Not the Only One” and “Magnet” feel the closest to the classic Marías sound, though that doesn’t make it any less beautiful. I do wish these were different, however, as I believe her music should stand separately from the band in a more distinct way. Regardless, these are clear examples that she knows what works for her, and I can’t bash that. They are followed by “Vueltas,” which is our first taste of her Hispanic roots. It incorporates strings and horns on the intro, which give the song a larger feel. I loved the song’s latin inspired rhythms, and it’s refreshing to hear her try something new on the record.Unfortunately, “Water On Your Nose” dips its toes back into this album’s signature sound. Again, it’s not anything I have a problem with, but eventually these tracks start to blend together, and make this album more of a background item than one that grabs my attention. At least the closer, “Slip,” tries something new. It opens with more programmed drums, though we’re treated to warm mid tones instead. This creates a warm ambience for Zardoya’s tender vocal delivery. It’s a gorgeous way to end the record, though I had little doubt that we’d get anything less beautiful.

"Crossing the lake beneath our feet
When I was scared of falling beneath
Slip into you, slip into me
Melt in your hands, hearing me sleep"

At times, Not For Radio is just The Marías 2. However, in small moments I can see the potential that María Zardoya carries as a solo artist. I hope she explores more in the future, as while *Melt was pleasant, it did little that stood out to me.

Favorite track: Swan
Least favorite track: Magnet

Review posted on 7/7/2026

Nothing But Thieves

Nothing But Thieves

Released on 10/16/2015

7/10

In October of 2015, Nothing But Thieves burst onto the music scene with their self-titled debut. They delivered confident, intricately messy alternative rock. This group has operated outside of my line of sight entirely, so I went into this entirely blind, and I can say I was pleased with what I found.“Excuse Me” opens things up fantastically, with a dissonant and unsettling drum / guitar combo on the intro. It’s not until the chorus that we see the band’s full potential of sound. Luckily, this potential is vast, as the track feels grand and massive. I love lead singer Conor Mason's vocal delivery all throughout, as it lands right between raspy and delicate, making it feel very versatile.Track two, “Ban All The Music,” serves to be the first true injection of energy on the record. It’s classically rock, both through the twangy guitar riffs and the bass lines that pop through the mix every so often. The song goes into double time on the second verse, and you can’t help but appreciate how effortlessly cool it feels. Lyrically, it’s social commentary on people’s voices being stolen, and how rebellions emerge from those systems.We’re then treated to “Wake Up Call,” which feels poppier in comparison. The track begins with a classic four on the flour drum beat, garnished with rhythmic guitar swings. The chorus feels far dreamier than anything we’ve heard yet, though it stays in the band’s alt rock lane. This was definitely one of my favorite tracks, especially because of the noisy guitar solo found in the bridge. It’s followed by “Itch” which definitely carries some electronic influence. This is apparent due to the track’s usage of sequenced drums and chorused out electric guitars. Eventually, it does evolve to the band’s signature sound, as the lyrics paint a character who treats love and violence as the same. The descending bass line by Philip Blake on the bridge also caught my ear, particularly in how in stands out in the messiness of the track.

“On the pavement I am looking
For a lover, a lover
And my eyes are rolling
She noticed, she noticed
There's a blood red on my shirt
And it's shining, it's shining
There's a sharp pain from my face
I kinda like it, I like it”

The band’s first intimate moment comes on “If I Get High,” and it’s done beautifully. The refrain on the chorus is just gorgeous, and such a good display of Mason’s talent as a vocalist. Even when the song does build, the instrumentation feels tired and sore, which elevates the track’s emotional core. It’s followed by “Graveyard Whistling,” which is similarly somber. I was drawn to the song’s chord progression particularly, as it creates a nice foundation for the arrangements to build around.Things pick back up on “Hostage,” which is another classically cool tune. I love how subdued the pre-choruses are, as they make the explosive chorus stand out that much more. This was definitely a drum and bass highlight for me, as they work close together to create the song’s core. It precedes “Trip Switch,” and while I found its concept cool, the track didn’t do anything for me. At the very least, I enjoyed how isolated the track felt in the moments featuring the rain droplet synth.On “Lover, Please Stay,” the band exits and leaves room for Mason’s vocals and an electric guitar. It’s another beautiful moment, and another showcase of his vocal talent. It can’t be easy to switch between these more brash styles and these tender moments, so I applaud him for that.

“Lover, I feel your sorrow pouring out of your skin
And I don't wanna be alone
If I am tonight, I'll always be”

I thought “Drawing Pin” was okay, though it didn’t stand out to me. It’s more of what they’re good at, so I can’t bash that. “Painkiller,” however, felt very new to me. It opens with these high-octane drums placed beneath a fuzzy, droning guitar lead. I was surprised to hear such a unique moment so late into the record, but I’m definitely happy about it. It’s also the last upbeat moment of the record, as “Tempt You (Evocatio) is far more tender. I was actually quite surprised with how gentle the band was here. Don’t get me wrong, however, as quiet doesn’t mean simple. The textures and synthesizers that cover the track are elegant, and they really immerse you in the song’s core. The song carries a desperation, both in lyrics and in vocal delivery, which I thought was nice. I never would have assumed this is how they’d close the record, but I loved it nonetheless.

“Darling, I'm gonna build you something
Sweetie, you need something better
Let me build you something better
Heaven, it's lonely in your heaven
Darling we should get together
I could worship you forever”

Nothing But Thieves started things off right with their self-titled debut. Most of these tracks stand confidently apart from one another, while still feeling like children of the same origin. I’ll be sure to look into the band’s later work, as I enjoyed a lot of what I found here.

Favorite track: If I Get High
Least favorite track: Trip Switch

Review posted on 7/6/2026

Night at the Opera

Emei

Released on 6/12/2026

7.5/10

Emei is an alternative pop artist that I’ve heard buzzing about online, but haven’t checked out properly yet. I’m glad that Night at the Opera was my first full look into her music though, as I loved a lot of what I found on this EP. She shows a confident and wide-range here, while still staying in her delightful pop lane.The title track rightfully opens things up with dramatic string stabs and cheeky vocal warm ups, which immerse in this project’s world effortlessly. Of course, the song quickly evolves into an upbeat pop verse, though it still toes the line between this and the more theatrical moments. One of those moments is the pre-chorus, whose violent vocal harmonies consume the track. Lyrically, the song is fairly humorous, though not in a comedy way, but more in a playfully tragic way. I was conflicted on the bridge, though I was sold when I was doing research and found someone who pointed out that the arpeggiated melody mimics a vocal warm up. It’s another subtle element of worldbuilding that really makes this song a good time.Things quickly shift on “What’s the Point!,” as it ditches violins and choral harmonies for a noisy bass and distorted vocals. I loved the drums here as well, as the 16th hats inject extra energy into its simple rhythm. The production all works to elevate Emei herself, and specifically her writing. She covers the struggles of growing up, particularly the constant loss and the frustration that comes with that. It’s a very tried and true topic for songwriting, but she still offers her unique perspective here, and it’s one I enjoyed.“Noah” features a timeless indie-pop sound, and I can definitely hear a Chappell Roan influence here. One thing that Emei is great at is concepts, as each of these tracks stand separate both sonically and lyrically. The through line is her specific lens, and that feels very impressive for an artist this early in her career. It’s followed by “Bloom,” which feels particularly delicate. This is definitely due to the subdued instrumental, which is led by a driving bass line and a tender sine wave. These create a steady foundation for her to vent. I’m not crazy about the rapid-fire delivery in the second verse, but it is preceded by a crazy cool dissonant post-chorus, so I’ll give it a pass.The final track is “Simple Request,” and all I can say is wow. I thought I had a good grasp on who Emei was as an artist, but this is an entire separate sound and feel to anything else that’s on here. It opens with this beautiful swell of soft electric guitars, before being consumed by droning white noise. The arrangement that follows is gentle and windy, being very reminiscent of soft-rock or indie-folk. Her vocalizations create this gorgeous ambience, and you can hear the desperation in her voice as she begs for a simple love. I loved this, and was not expecting to hear something like it, so I applaud her for this.

“I'vе got a simple request
Wе don't need to do much talking
Can I lick your pretty skin? Press it soft against mine
Can you trace your fingertips slowly up my thigh?
And I, I, I just want the simple things
Don't overthink, please
I, I, I just want the simple things”

Emei is definitely someone to keep an eye on, as the range and talent she displays on Night at the Opera is outstanding. For an artist so young in her career, plenty of these tracks feel confident and impressive. I’m glad I finally checked her out, and I’ll definitely be encouraging my friends to do the same.

Favorite track: Simple Request
Least favorite track: Noah

Review posted on 7/5/2026

Norman Fucking Rockwell!

Lana Del Rey

Released on 8/30/2019

9/10

In the late summer of 2019, Lana Del Rey released her magnum opus, Norman Fucking Rockwell! Its importance cannot be underpronounced, as she honed in on her qualities as an artist. I’ve always had some trouble with its lengthy run-time, but you’d be hard-pressed to find a track not worth the time it takes.The opener and namesake of this record starts things off beautifully, with these elegant strings that drop into somber piano chords, the playing of which are intricately detailed. These are perhaps some of the greatest opening lines for an album, and absolutely my favorite of Lana’s. Her voice is mature as ever, and I love the specific emotions she captures here. Theme-wise, it's more of what she’s known for, though it feels unique to this album through the production and specific wording. All in all, it’s a phenomenal opener that seeks not to inject energy, but rather seeks to immerse us in this album’s world.

“Goddamn, man-child
You fucked me so good that I almost said "I love you"
You're fun and you’re wild
But you don't know the half of the shit that you put me through
Your poetry's bad and you blame the news
But I can’t change that, and I can't change your mood, ah”

“Mariners Apartment Complex” is similarly paletted, though there is a stronger focus on acoustic guitars placed beneath her vocals. I love the slow build up into the chorus, and the fact that even when we do get a pay-off, it’s still subdued. That being said, the energy is definitely here, and it’s highlighted by the quiet post-chorus delivery of “I’m your man.” It’s followed by “Venice Bitch,” which is iconic to this day. Her vivid depiction of Americana-inspired imagery through clear phrasing is impressive, as she never complicates things. Sonically, it’s mostly intimate through its use of warm guitars and soft pianos, before a long winded instrumental bridge. This is a perfect example of my trouble with its length. At almost ten minutes long, plenty of this track could be defined as bloat. However, the droning instrumental with its incorporation of sine waves and distorted electric guitars make it a larger than life listen. This is all solidified when the song’s messy drums come in as Lana vocalizes above them. Still, it can be a commitment to stick around and listen intently.On “Fuck it I Love You,” Lana adopts rapid-fire verse deliveries, and a more melancholically sinister instrumental. This is highlighted by the intentional dissonance in the chorus, which while I’m not the biggest fan of, is still special in its own right. We’re then treated to a cover of Sublime’s “Doin’ Time,” which is fantastic. This cover does everything it should- honor the original, while still placing it through the Lana Del Rey lens. It fits surprisingly snug into this tracklist, and is definitely one of my favorite moments on the record. The next track is aptly titled “Love song.” Despite its title, it’s a fairly melancholic tune. The spoken word bit in the intro is so sobering, and overall this song is a lovely showcase of her songwriting.

“Dream a dream, here's a scene
Touch me anywhere ’cause I'm your baby
Grab my waist, don't waste any part
I believe that you see me for who I am
So spill my clothes on the floor of your new car
Is it safe, is it safe to just be who we are?”

“Cinnamon Girl” is more subdued pop, and while I’m not as into the song as some, I still appreciate its writing, as well as the track’s percussion elements. The drums are halfway between pop, trap, and alternative, which is cool to see on one track. Contrastly, the following track, “How to disappear,” is one I’ve always enjoyed. The song’s swinging time signature gives it a unique identity amongst this track list, and the moody chords highlight a tragicness in Lana’s vocal delivery. It precedes “California,” which feels a bit more straight forward than some of these other tracks. This makes it a nice pace-breaker between these larger, grand moments.One of those larger moments is “The Next Best American Record,” which opens with these isolated and dim acoustic guitars. It’s honestly fairly sonically dark throughout, especially in the chorus. The production here makes it feel so large and heavy, but not in a way that feels in your face. It’s still fairly pop-esque, but that’s good for me, especially since it precedes “The greatest.” This one is fantastic, as it balances acoustic instrumentals and classic rock arrangements. Lyrically, it covers nostalgia for the past, in all senses of the word. The closing lyrics serve as a time-capsule, though many of these lines still ring true in the modern day.

“If this is it, I'm signing off
Miss doing nothin' the most of all
Hawaii just missed that fireball
L.A. is in flames‚ it's getting hot
Kanye West is blond and gone
"Life on Mars?" ain't just a song
Oh, the live stream's almost on”

“Bartender” and “Happiness is a butterfly” are great, though they hit similar marks to what we’ve already heard. That doesn’t make them hard to listen to, it just makes them hard to write about. At the very least, “Happiness is a butterfly’s” subtle use of humor is clever, as it feels very on brand for the character of Lana Del Rey. You can hear a slight anger in her voice that is exaggerated by the striking of the frustrated, low end piano.The album closes with “hope is a dangerous thing for a woman like me to have – but I have it.” Its arrangement is a simple balance of pianos and strings, which mirror the opener in an elegant way. The track manages to stick the landing on this hour long record, which is no small feat. I applaud Lana here, as she truly did something special with this album.

“I've been tearing around in my fucking nightgown
24/7 Sylvia Plath
Writing in blood on my walls
'Cause the ink in my pen don't work in my notepad
Don't ask if I'm happy, you know that I'm not
But at best, I can say I'm not sad
'Cause hope is a dangerous thing for a woman like me to have
Hope is a dangerous thing for a woman like me to have”

Of course Norman Fucking Rockwell! holds up, and there was never a doubt in my mind that it wouldn’t. Arguably Lana Del Rey’s most notable work, this album is a gorgeous blend of alternative pop, folk, and classic rock. These genres create a backdrop for her to showcase her timeless songwriting and lovely vocal deliveries. I was happy to check this one out again, and I definitely should look farther into her other work.

Favorite track: Norman fucking Rockwell
Least favorite track: Bartender

Review posted on 7/4/2026

Sacred Hearts Club

Foster The People

Released on 7/21/2017

6/10

In the Summer of 2017, Foster the People released their junior record, Sacred Hearts Club. On it, they explore a wild variety of genres, so much so that you won’t find two songs that feel the same here. Things can go from bright to dimly dreamlike in its instant, which can be both a positive and a negative at times.“Pay the Man” starts things off pretty strong. It’s a confidently cool blend of alternative pop and hip hop, and it works surprisingly well. The drums here are definitely the highlight, toeing the line between the song’s distinct styles. The lyrics that frontman Mark Foster half sings half speaks feel important, which can be difficult for a band this far into their career.

“The deaf man heard what the mute man said
Then they all followed where the blind man led”

Track two, “Doing It for the Money,” kind of dips things down pretty quickly. Don’t get wrong, it’s definitely not bad, but it feels quite dated. Perhaps the band gets a pass for having a song that feels so mid 2010s, as they are a part of that moment. I definitely became tired of the trap influence, especially later on the record, but this first incorporation feels fine. It’s followed by “Sit Next to Me,” which was definitely this album’s breakout hit. I’ll be honest, I had no idea this was a Foster the People song. It’s very possible that that says more about my lack of knowledge surrounding the band, but I could argue that it speaks to the band’s wider impact on music after their 2011 smash hit, “Pumped Up Kicks.” In terms of the song in the context of the record, it never feels out of place, and I’m a huge fan of the sparkling guitars and dreamy synthesizers, especially with the keyboard solo towards the end.“SHC” slowly creeps in after the previous track’s more ambient ending, but quickly catapults itself into wildly energetic instrumentation. It’s like they took a disco-groove and sped it up, which gives the song a unique identity in such a simple way. I was also quite fond of the sliding guitar chords, as they added a dizzying quality to the track. As someone who is not familiar with the band’s larger body of work, this is what I would expect a Foster the People song to sound like. That works great in my eyes, as technically being a title track, it serves as this album’s namesake and mission statement.

“You are a secret that's worth keeping
And now I'm keeping my mouth shut
On the weekends”

I thought “I Love My Friends” was okay, though it felt very dismissable. The themes were interesting, I just wish it wasn’t placed against such an unmemorable instrumental. “Orange Dream,” on the other hand, worked great for me. While it’s only a minute long interlude, it uses that minute perfectly. The intentionally slow-paced drum groove, which takes 20 seconds of solo time, allows each instrumentation to claim a moment throughout the track. It’s pure instrumental ecstasy, and I loved the dissonant, dream-like arrangement.“Static Space Lover” was also pretty great. Featuring a bright and swingy beat, it feels comfortably sunny. This is juxtaposed by the track’s lyrical themes, centering around a failing, but still steady relationship. By placing this darker subject matter against such an uptime background, it hides itself the same way the characters in the song are, which is brilliant. We’re then treated to “Lotus Eater,” which finally delivers some good old rock and roll vibes. The entire song, but particularly the chorus, feels so reminiscent of the early 2000s garage rock revival, and in such an effortless way as well. There’s an apathy in Foster’s voice here, which I thought worked great for him. It leads directly into track nine, “Time to Get Closer.” This is another interlude, but another that I absolutely loved. I wish both interludes had been full tracks, as their psychedelic and intimate environments would be so interesting to hear in a longer context. Regardless, this song is a wonderful payoff to the angst in the previous one, so I applaud it for that.Unfortunately, “Loyal Like Sid & Nancy” and “Harden the Paint” did not work for me, and in fact, hurt the album’s quality directly. Both have clear hip-hop influence, but unlike the opener, it feels cheap and unwarranted. The former’s themes were interesting, but this energy should have been placed onto a stronger backing track. The latter is no better, and reminded me of Imagine Dragons, which no band should ever do. On the bright side, “III” cleans up most of the mess that the other two tracks made. It’s filled with classically vaporwave textures. It’s not the most outstanding track, but definitely a positive note to end the record on.The range explored on Sacred Hearts Club is both its biggest strength and greatest weakness. The highs are high for sure, but the lows are just low. I think Foster the People could have been a bit more conservative in their variety, but there is something to be said about their ability to balance so many sounds. Regardless, this record was very interesting, and I’ll definitely be looking more into the band.

Favorite track: SHC
Least favorite track: Loyal Like Sid & Nancy

Review posted on 7/3/2026

Natural Born Losers

Nicole Dollanganger

Released on 10/9/2015

8/10

Nicole Dollanganger is an artist who I’d yet to hear of, but after finally digging through some old recommendations, I found this. I’m so glad I did, as Natural Born Killers is a phenomenal blend of folk, alternative rock, and dreampop. It can be traditional guitar music in one moment, and in the next it feels like a peak into her dreamscape.Track one, “Poacher’s Pride,” does this beautifully. It begins with Dollanganger’s signature tender voice laid atop ethereal electric guitars. Like much of this record, it’s minimal- but that’s by design. Energy is not shown through instrumentation first, but rather through her vividly violent lyricism.

“I shot an angel with my father's rifle
I should have set it free, but I let it bleed
Made it into taxidermy, hung it on my wall”

“Mean” continues this style, with what I believe to be a bass guitar creating a warm, organ-like sound by playing mid-tones. It balances this with droning guitars for a while, before exploding in its last minute. However, that explosion is still fairly subdued, as it serves purely as a payoff to the tension built through this album’s first five minutes. It’s followed by “White Trashing,” which feels more traditionally folk through its stronger emphasis on plucked acoustic guitar. It’s nice to have these pace-breakers, as the more ambient tracks could risk becoming repetitive. One of those tracks is “Swan,” which is characterized by its dreamy pianos. It’s here that I noticed how common the theme of regret is in her work. I’ve always been fond of when an artist carries a specific tragedy or turmoil throughout their work, as it helps to paint an image of the artist they’d like to present as.

“The swan sang with a broken neck
Out by the pool, behind the fence
You can't forgive me when you know if I had
The gun, I'd choose to shoot again”

I found “In the Land’s” chord progression to be darker, and I enjoyed its arpeggiated guitars. There is a weakness in her voice here, at least compared to the previous tunes. Occasionally, there’ll be an echoed drum hit, which makes the track feel large without complication. It ends with these repeated crashes, which imply a forever anger to itself. This anger carries over into “Alligator Blood,” which opens with these dissonant, distorted, droning guitars. It feels fairly similar to the last track, but I enjoyed it nonetheless.“Executioner” manages to feel particularly isolated in its intro, despite carrying a lot of the same elements as any other song. It’s in how it evolves that really caught my ear, as intensity builds throughout the track until a climax allows for an end-of-song explosion. It’s really interesting how much range Dollanganer is capable of showing, even through restraint. Despite how large it feels, it’s still buried behind a wall of low fidelity, making it feel more like a memory than anything. It’s followed by “American Tradition,” which I thought was decent enough. If I’m honest, I was more interested in its themes of domestic violence than anything the track did sonically.My favorite definitely had to be “Angels of Porn II,” as the song feels the most well-rounded. The melodies are immediately captivating, and I was particularly moved by the imagery in the lyrics, as it felt like something truly personal to Dollanganger. THe track’s incorporation of fuzzy guitars as well as falsetto being used as an instrumental tool rather than a vocal one was outstanding.

“My bedroom smells like rotten food and, I guess, so do I
It's harder to be good in here than it is to starve and die
I'd give my body to Satan if I could only keep my soul
But I can't seem to find the split between them anymore”

The album closes out with “A Marvelous Persona” and “You’re so Cool,” the former of which is a minute long interlude meant to set up the ambience required for the closing track. It’s centered around these quiet pads and tenderly finger picked guitars, which I loved. The closer itself is fantastic. I love how important this song feels, not only in the context of the record, but to Dollanganger herself. It’s written for her now ex-boyfriend, who was in prison at the time. That concept alone is such a unique position to be in, and I am deeply admirable for how well she was able to capture that emotion without obvious metaphors. It’s a great way to end a great record.Natural Born Losers is fantastic, and I’m disappointed in myself for not checking it out sooner. Nicole Dollanganger is a deeply admirable songwriter and producer, and her display of talent throughout this record is nothing short of outstanding. Even if a few tracks felt too long at times, I can imagine that was an intentional choice to emphasize the album’s isolated feel.

Favorite track: Angels of Porn II
Least favorite track: American Tradition

Review posted on 7/2/2026

Bloom Like You're Expected To

The Offtrax

Released on 4/8/2026

8/10

Straight out of Santa Ana, The Offtrax are a four-piece indie rock machine. Their debut album, “Bloom Like You’re Supposed To,” is a masterclass in alternative music, and showcases their talent tremendously. It’s leagues above most music on the local level, and I was delighted to finally check it out.The opener, “Lovebomb,” begins the album with a blend of intricate guitar shapes and grunge-esque drums. I enjoyed lead singer David Martinez’s whining vocal delivery, as he really sells the emotions of the song. The bridge definitely caught my ear as well, as the instrumentals vanish to make way for its romantically apathetic lyrics. All in all, it’s a noisy opener that still allows for energy to be built throughout the rest of the tracklist, which is great.

“But at the end of the day
My mind can’t stay in its place
I really hope I’m just insecure
Am I doing too much?
Or maybe still not enough?
Just say I’m still on your mind, girl”

“Hers (I Need to Let You Know)” starts a bit softer, focusing on these gently arpeggiated guitar lines laid atop drummer Baley Lopez’s unique rhythms. The song eventually evolves into an upbeat, classic indie sound, though it still strips back in the verses for each section of lyrics. By doing this, we can really appreciate the writing of deliveries of these clearly personal words. It isn’t until the second chorus that we really get a payoff, as the first one is sort of an anti-chorus considering its stripped nature. This gives the track a unique structure, and pushes them out of the pop formula.I found “Stay’s” more ethereal approach really interesting. It’s very reminiscent of of HUNNY, especially on the “On her way up, on her way out” part. It’s followed by “Change My Mind,” which is a bit moodier by comparison. This plus the outstanding guitar work by Martinez and lead guitarist Kevin De La Torre make the track deeply impressive, as the talent required to balance intricacy with catchiness is steep. I’d love to see guitar led rock make its way back to the forefront of pop culture again, and this track is a clear example why. “Unsaid” is similarly moody, though it’s a bit darker. I could easily see myself at a backyard show, smoking a cigarette, and feeling alright. The basslines by Marco-Antonio Carretero really pop through on this one. While I would’ve like a bit more energy on its chorus, this track is perfectly fine otherwise.The opening of “Slow Hearts” is very intimate, as it’s led by vocals and guitar alone. It’s interesting that I’ve felt the album get darker overtime, as the build up here feels very different. The drumming is outstanding, as Lopez highlights beats you wouldn’t expect. This gives the song a very dizzying, ambient quality. The song completely reinvents itself halfway, and turns into a softer, more swayed tune.Things get bright again on “It Feels So Familiar When the Lights Go Out.” I was naturally reminded of ELO’s “Mr. Blue Sky,” as the track is played in this upbeat swing. It precedes “Don’t Tell Me to Go,” which sets itself apart with a synth lead on the high-energy parts. This is another track which wears its influences on its sleeve, as I can hear The Cure all over this. I think it needed a stronger chorus, but I have little else to say about it. “Corduroy” is another sunny tune, though it's a lot slower and softer in comparison. The bass was definitely the highlight here, as it melodically weaves through the vocal melodies and gentle guitars.The injection of the band’s hispanic roots on “Nena” was really cool to see. It’s also the group’s attempt at an oldie sound, which I’d say they accomplish well. The incorporation of organs and a swinged groove definitely sell it. Overall, it’s a lovely tune, and one I thoroughly enjoyed. The rug is pulled under us on the following tune, “Know Me,” which is immediately heavy and noisy. By having this tune follow a trend of softer tracks, we can really appreciate how explosive it is. I’m sure this tune is a treat to see live, as the dissonant guitar lines and chant-able chorus make the track outstanding.My favorite song had to be “Say it Again,” likely for its Strokes-like sound. It’s a mix between the classic and modern era’s of indie rock, and I can even hear a Julian Casablancas quality in Martinez’s vocal delivery. It is followed by the closer, “Bloom!” Serving as both a closer and a technical title track, I was really hoping to be more wowed by it. Don’t get me wrong, it’s more of what makes this album great. I only wish it did more to subvert my expectations. Still, it’s a perfectly decent way to end this outstanding record.The Offtrax wear their influences on their sleeves proudly, and by incorporating so many inspirations here, they’ve carved out a sound of their own. I thoroughly enjoyed Bloom Like You’re Supposed To, and see a bright future ahead of these Southern California natives.

Favorite track: Say it Again
Least favorite track: Don't Tell Me To Go

Review posted on 7/1/2026

my anti-aircraft friend

julie

Released on 9/13/2024

7.5/10

When discussing the future of alternative music, I’d find it hard to not mention julie. Their 2024 debut, my anti-aircraft friend, is a delightful mix of nu-gaze, indie rock, and all around alternative. I was happy to finally check this one out, as I’ve heard a good amount of buzz surrounding the band.The opener, “catalogue,” immediately satisfied my hopes. This track starts immediately, and is spearheaded by bassist Alex Brady’s lovely deadpan vocals. Backed with dissonant guitar riffs, the song is unapologetically noisy, while still remaining competent in its arrangements. Track two, “tenebrist,” continues this philosophy, albeit with a slightly different approach. These drums are more art-rock inspired, and Keyan Pourzand, the group’s guitarist, takes over on vocals. This split of work allows the band to have more variety between tracks, as well within a song itself. More on that later. All in all, this tune is great, and I’d even go as far as saying it’s reminiscent of the first Black Country, New Road album.“very little effort,” which definitely caught my attention. It begins with this moody bassline, which takes full control of the environment. By allowing this element the space it deserves, it encourages the listener to be patient. That patience pays off, with the instrumental passively evolving into a very 90s rock mix sound. Where a lot of modern rock acts might be obsessed with a full and flat mix, julie break the mold by allowing their songs to sit in these large, empty environments.It’s on “clairbourne practice” that we first hear Brady and Pourzand’s voices collide. I can confidently say it works tremendously, as Brady’s more delicate tone sits gently in front of Pourzand’s darker, more tired drawl. The song ends with a crazy vocal sample, adding an eeriness to an already dark track. This also helps it lead into “knob” well, as this song is solely guitar and vocals for the first minute and forty five seconds. I love that they took this approach, as Pourzand’s delivery really sells the broken intimacy found in the lyrics. It does eventually progress into more of what we’ve heard, but that first section makes it work for me.

“All apart from you
I took too long and you gave it away
Couldn't start from here
You're pleading away
It just makes you lose
All the crows showin' teeth
They'll leave you be
Couldn't make it out to me”

I thought “thread, stitch” was okay, though it lacked any sort of key element to draw me to it. That’s the difficulty with albums like this. While their sound is gorgeously consistent, it can be easy to run out of surprises. At the very least, “feminine adornments” takes a new approach. It starts quietly, with a more muted approach to both its production and its instrumentation. It reminded me of Pixies’ “Where Is My Mind?” in that regard. It’s followed by “ill cook my own meals,” which was definitely a lyrical highlight, though more of the same instrumentation.

“Don't you start, can't you agree
It opens your eyelids to let you breathe
Don't stop for what you'd be
'Cause what you would be is without me
I'll just stay away”

The penultimate track, “piano instrumental,” carries a misleading title. There is in fact no piano on this tune, and there are plenty of vocals throughout. It’s another restrained moment on the record, though the song gets noisier as time progresses. It precedes the closer, “stuck in the car with angels.” I definitely enjoyed this one, as it evolves in a unique way compared to the other tunes. With strong musical, lyrical, and vocal performances from everyone around, the song feels grand, and a fitting end to this record.Any problems I have with my anti-aircraft friend are purely up to taste. This is a fantastic collection of alternative rock tracks, and it is absolutely consistent. If you want to be ahead of the curve on the future of alternative, julie is definitely the band to keep an eye on.

Favorite track: knob
Least favorite track: thread, stitch

Review posted on 6/30/2026

The Mall

Best Frenz

Released on 8/11/2023

5/10

Best Frenz is the collaborative project between Daniel Armbruster of Joywave and Jason Suwito of Sir Sly, two bands which I’m admittedly not familiar with. That being said, I think that gives me a unique perspective on their 2023 album, The Mall. It’s a concept album, and while the setting of seeking nostalgia in a fictional shopping center is interesting, I don’t think they execute it to its fullest potential.For example, the opening track, aptly titled “Welcome To The Mall,” leads us into this world. It makes grand statements of vivid imagery, which immediately get you curious. By pairing this with an intentional elevator music sound, they set themselves up very well for the rest of this record.

“Save more, worry less
Let's get it off your chest
Everything on your mind
All here for you to find”

We’re then treated to song two, “Flatline.” While this definitely isn’t the strongest offender here, it feels fairly separated from anything pertaining to the concept. I can brush that off, however, as the song is quite catchy. I love the thumping drums and phased out guitar, and Best Frenz showcase their strong pop sensibilities here. The bridge features a wonderful guitar solo, and it bridges the gap between indie and pop effortlessly. It’s followed by “Everything’s The Best!,” which continues this trend. It’s a fun, upbeat, clean indie track. I found its chorus lyrics very engaging, though the verses fall flat for me. I think incorporating over-consumption and corporations in your writing can be interesting commentary, but it feels very half-measure.

“Everything's the best
Infinitely blessed
Any color you want, any size
Never made 'em like this
Now they're coming in a kit
Anything that you want, for a dime
So how come every night I feel this emptiness inside?”

“The Carousel” completely caught me by surprise. Up to this point these tracks have been more focused on live instrumentation, albeit with clean production. This tune flips things on its head, with chopped up synthesizers and an almost hip-hop approach to instrumentation. This serves as a strong foundation for the falsetto vocals, which are performed great. It precedes “Skin,” which similarly has a stronger emphasis on synthesizers. I enjoyed the vocoder quite a lot, as it added a unique element to the track.I found “The Adirondacks” very pleasant. It has a wonderfully dreamy feel, and is a bit more muted in nature. I can imagine myself hearing this song late at night, and immediately finding myself longingly staring out the window. Another great track from this album for sure.The next few tracks really sent the album off a cliff for me. I really disliked “Replay’s” lyrics, as they felt far too distracting for me to appreciate anything else about the track. “Sunshine & Milkshakes” shares a similar problem, though I enjoyed the production a lot more. It wasn't until “Throw Your Coins, Make A Wish” that I really found the album enjoyable again. It starts off similarly to the previous tune, though it progresses into a much better instrumental. Before peaking at the tracklist again, I thought there was another song coming. However, despite not feeling like it, this song serves as the closer. The actual final track is titled, “Closing Announcements,” which is less than a minute of ambient lore to add to the tune. I’m not certain, but I believe it closes with a slightly different version of “Sunshine & Milkshakes.” Whatever it is, I do wish it had been fleshed out to a full song, as I quite liked the instrumentation.The Mall is interesting. If you aren’t paying attention to the lyrics, there’s a lot of fun, clean, indie here. However, the writing feels juvenile and doesn’t support its concept nearly enough. If Best Frenz spent more time fleshing out the world this album lives in, I think there is an emotionally resonant record buried here.

Favorite track: The Adirondacks
Least favorite track: Replay

Review posted on 6/29/2026

Twenty One Pilots

Twenty One Pilots

Released on 12/29/2009

9/10

Over 15 years ago, Twenty One Pilots independently released their self-titled debut. It’s a far cry from the sounds and genres the band would grow into, but still carries the act’s emotional core. I was delighted to check this one out finally, as I’m a fan of quite a bit of the band’s later work.“Implicit Demand For Proof” is not only the first track for this album, but in a way it also serves as the band’s first song. How do they open things up? With over a minute of grand piano, soft strings, and subtle, arpeggiated synths. The track shifts from this tender arrangement to a messy explosion of drums and synthesizers. Lead singer Tyler Joseph’s voice is so young here, which gives these tracks a slightly different flavor than their modern tracks. That’s not a bad thing however, as his voice holds up effortlessly, especially in the ethereal chorus. Lyrically, the song revolves around religious doubt, a very common theme in the band’s earlier work. On first listen, I didn’t know how to feel about the mix, but I think their DIY approach and messiness of it all add to the band’s humble origins.Track two is “Fall Away,” which features more experimental production. Joseph’s voice is a lot more shaky on the opening, though I imagine that was intentional. This is also his first rapping performance on the album. I’ve expressed my conflicting feelings on his rapping performances in other albums, though I can view it differently here. Perhaps it’s because of the earnest tone in his voice, but it bothers me a lot less. It’s followed by “The Pantaloon,” which is a lot brighter compared to the previous two’s gloomy feel. It feels like a showtune at times, which lends to the song’s concept well. I think this song is a perfect example of how, at their core, Twenty One Pilots’ goal is not to make depressing music with heavy subject matter, but rather to act as a light out of that darkness. That being said, it is also followed by “Addict With A Pen,” which is quite melancholic. Still, I adore this track. I can articulate why Joseph’s rapping doesn’t bother here a lot better. It feels a lot less like rapping, and more like spoken word. It’s closer to La Dispute than it is to Macklemore, which makes it work. I feel every word he performs here, and it's as if the emotions are so strong, that Tyler doesn’t have time to worry about melody. He simply wants to get these words out of his head, and this method is the most effective. I think there is an argument to be made for this being his strongest display of writing, as well as his most palpable emotional performance.

“I try desperately to run through the sand
As I hold the water in the palm of my hand
'Cause it's all that I have and it's all that I need
And the waves of the water mean nothing to me
But I try my best and all that I can to
Hold tightly onto what's left in my hand
But no matter how, how tightly I will strain
The sand will slow me down and the water will drain”

I thought “Friend, Please” and “March To the Sea” were fun, though they are overshadowed by some of the heavy hitters on this album for me. At the very least, the latter’s production caught my ear, particularly with its tremolo’d synthesizers and simple ukulele. It’s interesting to hear the band in this state, as these song structures are so different from their later work.“Johnny Boy” is another one of my favorites from this record. It’s impossible to ignore the positive emotion that the chorus infects you with. It’s also a rare display on this album of Joseph’s knack for pop melody. This plus the track’s competent production make it feel far less dated than some of the other choices made on this record, so I applaud it for that.I was very impressed by “Oh Ms Believer’s” intro, particularly in its ability to feel so spacious without feeling empty. A lesser vocalist could not pull it off, but Tyler’s voice never waivers, and it makes for a gorgeous moment on the record. The song that follows this intro is definitely solid, though I found it less impactful than some of these other tracks. A great example of this is “Air Catcher,” which opens in a similarly soft manner. This is a trick, however, as the song quickly explodes into another wildly energetic moment. Like many of these songs, it has a bit of a showtune vibe. This compliments the song well, and sets a strong foundation for its lyrics. I am forever impressed by Joseph’s ability to balance intricate lyricism with succinct one liners. It’s a rare skill, but one that he uses well. I did not recall the bridge’s use of autotune, and I’m not sure how to feel about it. Considering how popular experimental autotune has become in recent years, there is a case to be made that Twenty One Pilots was ahead of the curve here. Regardless, I continue to be fond of this track.

“I won't fall in love with fallin'
I will try to avoid those eyes
'Cause I'm not sure I want to give you
Tools that can destroy my heart”

“Trapdoor” is another spaced out arrangement, and I found the bass to really shine through on this one. The verses are more upbeat than chorus, as the chorus switches to a gentle ambience. I like how versatile this track is, though I have little else to say about it. It precedes “A Car, a Torch, a Death,” which is a fan favorite from the band. Tyler’s voice is buried behind a wall in the mix, which gives the song a unique quality. This song is pretty explicitly religious, which made me realize something. Despite their early music to feature many spiritual themes, I’ve never considered them a Christian band. I think this is a testament to how tasteful their songwriting is, as religion is used as a narrative tool rather than a declaration of truth. This is especially true here, with Tyler’s outstanding performance of these lyrics being so engaging.

“I wanna crack the door so I can just fall out
But then I remember when you packed my car
You reached in the back and buckled up your heart
For me to drive away with
I began to understand why God died”

I thought “Taxi Cab” balanced the more gloomy moments on the records with the more hopeful moments well, and it serves as a sort of middle ground between the two moods. It’s more of what makes this record great; strong lyrics, tender piano, and emotionally resonant vocals. The penultimate track, “Before You Start Your Day,” switches its approach a bit. While many of these songs begin tenderly, they evolve over time to something larger. This song refuses to do so, and feels more like a lullaby than anything. It could work perfectly as a soft closer, but it precedes the actual closer, “Isle Of Flightless Birds.” With fourteen tracks, it’d be difficult to summarize this album’s core in a closing track. However, I’d argue that this track does a pretty great job at that. It incorporates the record’s ambience, showtune feel, and etherealness effortlessly. While I’m not head over heels in regards to the track, it serves as a nice fade out to this lengthy project.When Twenty One Pilots released their self-titled debut, they were quite a different band. However, the core of what makes this band great is here, and I’d argue that some of the band’s greatest writing is on this record. I was happy to finally check this one out, and hope you will too.

Favorite track: A Car, a Torch, a Death
Least favorite track: Trapdoor

Review posted on 6/28/2026

Fuzzybrain

Dayglow

Released on 9/28/2018

10/10

In late 2018, Sloan Struble released his first album under the Dayglow moniker. Entitled Fuzzybrain, this album is so deeply important to me both emotionally, but also inspirationally. I’ve claimed Wallows’ Nothing Happens as the album that made me want to make music, but this record stands proudly alongside it in my heart.The album opens up with “False Direction,” which is a fantastic blend of synthesizers, acoustic guitars, and fuzzy production. I’ve always been particularly fond of the synthesized vocal sample that drones throughout the song, as it's such a subtle but such an important element of the song. It’s crazy to think Sloan was freshly 18 when he was writing and recording this record, as it carries itself so confidently.It’s hard to remember a time when “Can I Call You Tonight?” didn’t exist, as the song feels such a perfectly modern indie classic. The timeless electric guitars and dazed arrangement are so recognizably Dayglow, and I still find myself loving this track after all these years. It’s followed by “Hot Rod,” another one of this album’s breakthrough tracks. Bright in nature, the track balances its emotional subject matter with a snarky attitude.

“My memory is not like the other one
Turn to strike my face
Always second place
Tell me again, why is it I
Never can do anything right?
Complicated theories of life, sarcastically”

“Run the World!!!” and “Fair Game” are more iconic tracks in the Dayglow discography, with the latter being one of my all time favorites from him. The way his delicate falsetto balances with the bass is so infectious. It’s also got such a catchy chorus, and is a great example of Struble’s knack for melody. It’s followed by “Dear Friend,” which definitely feels like a shift in the record. Whereas many of these tracks are led by bumping drums and sparkling synths, this song is led by a hazy piano and his tender vocals. I think many albums would use their sixth track as an upbeat point, this dipping of energy allows it to subvert and shine. It also is what allows the next few tracks to feel slightly different from the previous, with this song being the gateway.The first sign of that change is “Fuzzybrain.” With its strong emphasis on acoustic guitars, the track feels very sentimental. It’s one that’s clearly important to him, which makes it feel important to me. I also think it’s some of his best writing, as it captures such a vivid emotion through dramatic imagery.

“There's rain inside my skeleton frame
A hurricane within my rib cage
I never left but I never stayed
I'm cleaning out the fuzz in my brain
Time and time again”

The album very well could have ended on that note, but Dayglow somehow manages to outdo himself immediately with “Junior Varsity.” Very few albums can capture pure hopefulness on their closer and have it feel earned, but he absolutely does here. For a record that began with a blend of MGMT and Phoenix, this song feels so classically Coldplay. I can’t think of a better song to end the album with, so endless props to him.Fuzzybrain is a modern classic. With it, Dayglow captured a very specific time in his life, with themes that resonate universally. I’m glad to have listened to this album when I did. It has definitely stood the test of time, and my respect for it continues to grow.

Favorite track: Fuzzybrain
Least favorite track: N/A

Review posted on 6/27/2026

Future Present Past

The Strokes

Released on 6/3/2016

8/10

The Strokes took a seven year break between their fifth and sixth album, but between that time, they released the Future Present Past EP. Conceptually, this project served as an attempt to capture different eras of the band. I’d say they executed this well, and every song justifies its importance.I’d say that “Drag Queen” feels the least representative of its era in retrospect. Supposedly, it's supposed to capture the band’s direction going forward (at the time, of course). Pushing the fact that it sounds very different from where the band went with the next album, it’s still a great tune. I love how moody it feels, with a dark bass droning through the track, supplying a strong foundation for frontman Julian Casablancas’ distorted vocals. It sounds like a demo at times, though I can’t help but feel that was the intention. Its execution gives the track a raw feel, and it slowly evolves to a grander, more explosive Strokes sound.Whereas track one was dark and gloomy, “Oblivius” is far brighter. It’s a very free form jam by comparison, and is carried by drummer Fabrizio Moretti’s insane talent. Considering the time it was released, it does capture the new age Strokes sound well. This is particularly in the arpeggiated guitars at the end, which feel very in line with what I expect from the group. The track ends with Casablancas doing falsetto vocal runs, which felt funny to me at first, though they came back around to adding emotional substance to the track.The standout for this EP was definitely “Threat of Joy,” as it serves to represent the classic era of the band, which many people are constantly yearning for. Its drums are beachy, guitar tones are straightforward, and Julian’s simple lyricism captures such honest emotion so effortlessly. While it's not sonically one-to-one something I would expect from their debut, it captures the same energy in these youthful approaches to their indie rock sound.

“When I get up in your face
You know it’s no surprise
Ah baby, why's it so hard
To read the sentence in my eyes?”

While you would assume that would close out the project, the band did add a remix to track two, executed by Moretti himself. It’s a fun, harmless addition to the project, though I’d argue it ruins the flow of the concept. Still, I found myself enjoying this version almost a little more at times, though for different reasons.Future Present Past is so interesting on its concept alone, though it helps that The Strokes did such a good job with it. While I would have liked them to have possibly expanded this EP into something lengthier, these four tracks add up to something wonderful.

Favorite track: Threat of Joy
Least favorite track: Drag Queen

Review posted on 6/26/2026

Locals 5

WILLIS

Released on 1/23/2026

5/10

WILLIS recently put out the fifth entry in their Locals series, aptly titled Locals 5. It’s a soothing collection of the sound that’s made them notable in the indie scene, if not a bit redundant.“Break Ur Heart Again” opens up the EP with sparkly rhythm guitars and ambient, ethereal synthesizers. Bassist and lead singer Murphy Billings’ voice is just as good as ever, with the perfect balance of confidence and tenderness. It’s a textbook indie track, and is certainly not a bad first track. It’s followed by “Twist of Fate,” which continues the clear Mac DeMarco influence. I liked the lyrics here, as they carry both personal qualities, as well as a vague enough reliability. It’s slower in nature, and makes for a breezy listen.

“Lost in a feeling, caught in the moment
Too busy dreamin' that the stars would align
Like Matt and Lita, Martin and Gina
Lost in a drеam that we were partnеrs in crime”

I found “If You’re Still Here’s” swayed feel to be a treat, though I’d be lying if I didn’t find it to be more of the same. There is an argument to be made that in a world of maximalist production, this back-to-basics approach serves as a nice pace breaker for calmer days. It never demands attention, and works best as a music to nod your head to.It isn’t until “Real Vacation” that I’d say we get a proper change in tone, with this one feeling far moodier. This is likely a result of the chord progression and stronger focus on a synth lead in the chorus. Despite the track’s energetic feel, it still feels clouded in WILLIS’ signature soft sound. Similar things can be said about “Inertia,” though I found myself far more attached to this one. The bass and drum intro caught my ear, specifically in how much darker it felt sonically. This plus the song’s use of vivid, dramatic imagery make it easily my favorite on the record.

“I've got lightning in my bones
There's a fire I carry home
Every step I take feels new
Shadows melt across the view
There's a burning in my skin
Pulls me back to where I've been
Ashes linger where I stand
As I wander through the land”

“Clover” and “Nevermind” we’re okay, with the former having a much clearer psychedelic influence. I wouldn’t say that either of these caught my attention however, which a good closing track should do. Regardless, these are more of WILLIS’ bread and butter, which I can’t scoff at.Locals 5 is more of the classic WILLIS sound, and if that’s for you, you’ll love this record. Unfortunately, I’d like to see more evolution from the group, particularly in having each song justify its spot on the tracklist. I would never skip any of these songs, but its unlikely that I’d put them on in the first place.

Favorite track: Inertia
Least favorite track: If You're Still Here

Review posted on 6/25/2026

Peach Fuzz

Deth Coast

Released on 4/8/2024

7/10

Deth Coast describes themselves as “Beach Western Emo,” and after checking out their 2024 album, I can confidently say that's accurate. Peach Fuzz is a thirteen track collection of breezy, noisy, and competent indie.The album jumps straight into things with “Midwestern Pizza Party,” a high tempo jam. I loved the intricate bass lines played between the explosive instrumentals, and it set a high bar for the rest of the record. They follow it well with this record’s title track, which features a softer intro. It almost teases some of the more intimate moments on the rest of the album, before falling into a mosh-worthy instrumental. The drumming here is insane, particularly in the track’s use of double kicks. Half of this song is in Spanish, which injects the band’s hispanic roots into the music. It’s nice to hear, and it all adds up for a great title track. I only wish it were longer, as it stands at just under two minutes.Track three, “@skatebunny,” illustrates the band’s talent for pop melody, though the palette remains the same. It fades into “Hunny,” which was easily one of my favorites. I love how classically and unapologetically indie it is. Many bands have tackled this style, but Deth Coast wears it well. It precedes “Powder Puff,” which I found to be an emotional highlight. It’s quiet, both in arrangement and in delivery. The band has sandwiched this beautiful song between a humorous skit at a party, which gives the track an earnest, DIY feel. These were some of my favorite lyrics from the record, as they balance self-destructiveness with dramatic imagery.

“Like a bad habit I'm trynna kick
I just can't leave you alone
The blood left from your lip
Rolls off my fingertips
And pools up on the floor”

“Slush Puppy” kicks things back into high-gear, with its undeniably fun riffs and melodies. It's a nice wake-up from the previous track's ambient feel. We’re then treated to “I Wanna Die,” which is a great rock tune. Unfortunately, the following tracks, “Made of Clay” and “Limón Cito” are where I found myself starting to feel bored. The intensity and emotion are great here, but I can’t articulate anything they do that justifies their presence on the record. At the very least, the inclusion of the infamous “Pa arriba” toast on “Limón Cito” was playful, and makes for a moment at live shows im sure.It wasn’t until “Xóchitl” that I found myself intrigued again. This is due to the song’s difference in both genre and overall approach. It’s slow, tender, while still feeling energetic. This has The Frights written all over it, and I was pleased to hear this tune try something new. The lyrics also caught my eye, as they feature a palpable romantic quality not found in many local level bands.

“You're the light to my darkness,
An angel in worn out red boots, and you're always
On my mind
My love for you is like an ocean
Come through and sail it with me”

The record does unfortunately fall back into old habits with “I’ll Take The Couch” and “Kasey.” These tracks have all the makings of being catchy, fun, indie tunes, but they come so late in the record that they do little to justify their stay. At minimum, I thought the mixing of the former’s electric guitar felt experimental at times.Luckily, “Whatever Forever” sticks the landing for the album. I loved the tracks' restrained intro, as it allows the explosive moments to really shine later on. This is elevated by the more tender vocal delivery, as well as the song's strong songwriting. All in all, this is a fantastic note to end on, and I’m glad the record came back around just in time.

“Takes me back to the days when I didn't hate you
We spent Friday nights re-watching all our favorite movies
Close my eyes and I can make it there
At least that's how it feels”

With Peach Fuzz, Deth Coast clearly gave it their all. Most of the time, this works tremendously, as the band carries such a strong lineup of musicians. I only wish they would’ve been more selective in their tracklist, as some of these songs repeat the same beats. Still, I had a great time with this record, and hope to hear more from this band in the future.

Favorite track: Powder Puff
Least favorite track: Kasey

Review posted on 6/24/2026

Punisher

Phoebe Bridgers

Released on 6/18/2020

9/10

Indie legend Phoebe Bridgers released her sophomore album, Punisher, in June of 2020, and despite its heavy circulation in online music circles, I had yet to hear it in full. Now that I have, I can confidently say it’s worth the listen. She really cements herself as one of the modern greats here, and I was consistently impressed throughout this record.The album opens with “DVD Menu,” a soft first track consisting of ambient textures and haunting string swells. It opens the door strongly for the album’s true opener, “Garden Song.” I love how, despite the first track’s ambience, this tune doesn’t bother upping the energy. It’s tender through and through, and the production here elevates Bridgers’ delightfully soft vocals. There is a deep male voice layered on the chorus, which adds a sinister quality to the track. This reflects the nightmarish themes found on the lyrics, which are gorgeously written.

“I don't know how, but I'm taller
It must be something in the water
Everything's growing in our garden
You don't have to know that it's haunted”

“Kyoto” is the closest we get to an indie rock song here, though you can still feel the core of Phoebe’s sound here. While the album has maintained a quietness so far, these choruses feel grand. I love this one, and the DIY production really shines through in subtle moments. It's followed by the title track, which also brings the lights back down. Bridgers’ voice is softly distorted here, which I found particularly enjoyable. She is truly a master of restraint, as by uncomplicating these arrangements, her songwriting chops gain your full attention. She never wastes this attention, of course, as each line carries so much importance in her work. This is very apparent on “Halloween,” which is guided by soft, arpeggiated string stabs, but little else. The world she builds is so vivid here, and I can really feel the emotion in her performance.I thought “Chinese Satellite" and “Moon Song” were great, with the former’s intricate drum patterns in the back half standing out to me. Both of these tracks carry a dizzying ambience, and I remain impressed by her songwriting. Painting a picture through paragraphs and paragraphs is impressive, sure, but she’s also very capable of strong, all encompassing one liners.

“Stuck your tongue down the throat of somebody
Who loves you more
So I will wait for the next time you want me
Like a dog with a bird at your door”

“Savior Complex” reminded me of Santo & Johnny’s “Sleepwalk.” This is likely due to the track’s use of slide guitars, which sit quietly in the background. Past that, I was fond of the song’s chord progression, as it felt like more of a focus for this tune. It’s followed by “ICU,” which definitely caught my ear. I kept wanting this song to explode, or at least I thought I did. Bridger's ability to tug and tease at a payoff is very commendable, as she completely subverts my desires in ways I couldn’t have expected.The penultimate track, “Graceland Too,” puts a much stronger emphasis on folk instrumentation in a way that hasn’t been exactly found on this record. Its banjo plucks and violins make a nice environment for the song to thrive. It also features fellow boygenius members, Lucy Dacus and Julien Baker, though this is solely through vocal harmonies. Still, it's a cool nod to the group, and they add a pleasant feel to the track.We’re then treated to “I Know The End,” this album’s closer. I thought that I knew what this track would be going in, but I was absolutely stunned by the end. What starts as another gentle folk ballad, slowly transforms into a discordant, messy, and explosive ending. It does this by subtly introducing elements from all throughout the record, including tracks which had a more indie rock feel. It's such a grand way to end the album, and I was glad to hear something that was not at all what I would’ve expected.I was very pleased with Punisher, and wish I had heard it when it first came out. While the album is fairly consistent in its sound, it's also undeniably consistent in its quality. For only having two albums. Phoebe Bridgers has already cemented her place in the songwriting hall of fame, and I can’t wait for her return.

Favorite track: Kyoto
Least favorite track: N/A

Review posted on 6/23/2026

Salad Days

Mac DeMarco

Released on 4/1/2014

7/10

Over a decade ago, Mac DeMarco released Salad Days. Its eleven tracks have since gone on to influence musicians upon musicians, particularly in the indie music scene. I’d yet to check it out in full, though I can see why it was so widely adored.The album opens with its cheery title track, and it's here that we are presented with the trademark DeMarco formula; jangly guitars, laid back vocals, and tight drum grooves. These elements are a defining point in Mac’s music, and yet they still sound so fresh here. Like many of these tracks will, “Blue Boy,” shifts the sound in subtle ways. The incorporation of layered harmonies separate the chorus from the verses well, and I was fond of its slower tempo.It’s on “Brother” that things really get interesting. At first glance, this tune seems like more of the same. However, its slowed down musical approach reflects the themes beautifully. Around the two and half minute mark, the listener is enveloped in layers and layers of psychedelic production, spearheaded by Mac’s waning vocals. It really recontextualizes the song to feel like a long setup for this haunting payoff, which was cool.“Let Her Go” brings back the sun, though it doesn’t feel juvenile. Rather, his maturity and nuanced approach to relationships through his songwriting shines through. Its messaging is strong, and shows that Mac has more to say than selfish, personal woes.

“Tell her that you'll be there
If you'll really be there
Separation's supposed to
Make the heart grow fond
But it don't”

I thought “Goodbye Weekend” was pleasant, with its lead guitars being a highlight in my eyes. I loved how they switched so seamlessly from a background element to the forefront by simply drawing attention through syncopated, panned delays. It precedes what was easily my favorite here, “Let My Baby Stay.” This feels like an intimate peak into Mac’s personal troubles in a way that not many of these other tracks do. By putting a stronger emphasis on acoustic guitars and restrained percussion, the tune carries itself with a certain vulnerability. This vulnerability is elevated by the song’s real world context, and makes it a standout on the record for me.“Passing Out Pieces” and “Treat Her Better” were decent, though it did feel like diminished returns. At the very least, the former’s stronger focus on synthesizers was notable. They are unfortunately entirely outshined by the following track, “Chamber Of Reflection.” Despite this song’s notoriety, it effortlessly holds up. I was surprised to find it to be such a sonic outlier, though I’d argue that it having such a different approach is what earns it a seat on the tracklist. I have little to say about such a widely adored song, other than I adored it just the same in context.

“No use looking out
It's within that brings that lonely feeling
Understand that when you leave here
You'll be clear among the better men
Alone again”

“Go Easy” feels like a subtle sequel to the earlier tune, “Let My Baby Stay.” This is purely in themes, however, as the execution is very dissimilar. It offers little in terms of uniqueness, but certainly not a bad time. It’s followed by the closer, “Jonny’s Odyssey.” It is a bold and brave move to end your record with a two minute instrumental, but I applaud Mac for doing so. This song feels more like an excuse for DeMarco to deliver the weird noises found in his head, but I should know better than to expect some grand narrative here.Salad Days is the sound that would go on to define and inspire bedroom studio albums everywhere, and while many of those are decent, you can’t beat the original. Sure, there’s little to say about this record’s range, but Mac DeMarco delivers what he does best here; raw, unadulterated, indie.

Favorite track: Let My Baby Stay
Least favorite track: Go Easy

Review posted on 6/22/2026

The Bends

Radiohead

Released on 3/13/1995

8.5/10

Many people have placed Radiohead’s sophomore album on their greatest albums of all time. Despite this, I’d yet to hear it in full. That is until now, and I can confidently say it holds up. The Bends is a delightfully intelligent collection of alternative, grunge, and experimental rock.“Planet Telex” is an interesting opener. Its dizzying electronic ambience creates an environment for the arrangement to shine. It’s definitely different in comparison to the rest of the record, with a stronger focus on distorted keys and fuzzy tremolo guitars. It fades softly into track two, AKA this album’s namesake. This tune is much less intricate in its approach, at least sonically. That’s a good thing, however, as its more palatable approach ground the listener into this album’s core.It was interesting to hear “High and Dry” and “Fake Plastic Trees” in their home context. These songs have long transcended the band’s direct audience, and to see them alongside the rest of this tracklist paints them in a new light for me. Their both a lot more sentimental in the approach, featuring tender acoustic guitars and Yorke’s iconic falsetto. The former’s lyrics are some of my favorites from this record, and his performance really sells the emotional core.

“Drying up in conversation
You will be the one who cannot talk
All your insides fall to pieces
You just sit there wishing you could still make love”

“Bones” manages to follow these tracks up well, with the intro featuring a noisy, enveloped quality. The arrangement that proceeds is very spaced out, and each element is given a chance to breathe. This shifts in the chorus, with the band embracing how messy they can be. Don’t get me wrong, however, as the instrumentation is still tight as can be. It’s followed by “(Nice Dream),” which was easily my favorite. I loved the playful dissonance here, and though many of these tracks have featured acoustic guitars, none execute them in this same gorgeous way. Yorke intricately weaves from metaphor to metaphor in the verses, before abandoning them from a straightforward, all encompassing chorus. This keeps the song from feeling overly complex, which I liked. The song, or in some ways the dream, unravels towards the back half as the band once again embraces chaos.Angst is brought back to the forefront on “Just,” with the instrumentation bouncing between a moody, restrained verse, and an intense, dazed chorus. The guitar solo on the post-chorus demands control, and the band reaffirm their rock band chops with this one. It abruptly ends before leading into track eight, “My Iron Lung.” The vocals here were a highlight for me, as Yorke wains on with anger towards his peers, but also towards himself.

“We're too young to fall asleep
Too cynical to speak
We are losing it, can't you tell?
We scratch our eternal itch
Our twentieth century bitch
We are grateful for our iron lung”

It was around here that I did feel the album start to drag for me. “Bullet Proof… I Wish I Was," "Black Star,” and “Sulk are more of what makes this album great, but a lot of hits have the same notes that we’ve already heard. At the very least, I thought the first served as a nice come down from the intensity found on “My Iron Lung.”“Street Spirit (Fade Out)” on the other hand, definitely caught my ear. I was surprised to hear such a dark ending for an album that deals with themes of life, death, and overall emotional struggle. By refusing to end on a hopeful note, it sort of retroactively ups the emotional highs and lows of the record, and implies a sort of fall from grace to the tracklist. In any case, I loved how haunting this one felt, and its impressive that the band was still able to surprise me after twelve tracks.It’s difficult to talk about The Bends and ignore its legacy. This album is so deeply important to not just Radiohead, but alternative rock as a whole. While it doesn’t land in my personal favorites of all time, I can still confidently say it’s worth the listen.

Favorite track: (Nice Dream)
Least favorite track: Sulk

Review posted on 6/21/2026

Songs For Dads

The Walters

Released on 11/28/2014

7/10

The Walters released their first recorded effort all the way back in 2014. Entitled Songs For Dads, this EP is one of my favorite collections of soft, timeless indie rock. I’m glad the band has received their flowers, though they’ve struggled to capture the magic of what made this one so special.“I Love You So” is the golden child of this record. It doesn’t reinvent the wheel, but I’d argue elements of it would become the standard for many indie acts to come. It upsets me that this song is presented separately from the EP on streaming services, as pre-TikTok virality, I thought it served as a perfect opener to not only this project, but the band’s discography as a whole. Regardless, this song truly is a masterclass in gentle indie, and the lyrics reflect the band’s ability to harness such divine emotion.

“I just need someone in my life to give it structure
To handle all the selfish ways I'd spend my time without her
You're everything I want but I can't deal with all your lovers
You're saying I'm the one, but it's your actions that speak louder”

Track two is “New Girl (Tom’s Song),” and I was pleased to see it not be entirely overshadowed by the opener. The song features the band’s old rhythm guitarist, MJ Tirabassi, on vocals. I’ve always been more fond of his singing style, as it adds to the alternative feel a bit better. Still, it balances with Luke Olson, the other lead, well. It’s followed by “Fancy Shoes,” which was the first Walters song to ever grace my ears. Because of that, I can’t help but love this one. It shows how strong the band’s identity is, even at this infant stage. Sentimentality is at the core, and I’d argue that they haven’t captured the same magic since.

“There's whiskey inside my veins
I'm feeling heavy and I can't explain
How I feel for you
You got me dizzy and feeling blue”

Next up is “Old Friend,” which remains a good listen. I love how unapologetically sunny this track is, while still allowing substance into its lyrics. It’s a nice contrast to the follow up track, “What’s Left,” which is moodier in its approach. MJ’s delivery is perfection here, as every line compliments the deadpan and slightly dazed arrangement.It’s then that we’re treated to “Life.” This one is definitely the black sheep here, as it's the first sign of experimentation from the band. To be fair, it doesn’t stray too far from the formula. It’s more in the general feel that this shift is heard. If I’m honest, it falls flat for me, but still holds its own alongside this tracklist.The Walters’ first EP is so interesting to look back on. For a band that disappeared for so long, they returned almost entirely unchanged. The core of what makes them great is ever apparent on Songs For Dads, and this projects remains one of my favorites from this era.

Favorite track: Fancy Shoes
Least favorite track: Life

Review posted on 6/20/2026

Cheeky Giants

Wild Party

Released on 5/9/2025

3/10

After taking almost 10 years off, Wild Party returned last year with Cheeky Giants. In many ways, it's a follow up to their joyful debut. However, it also serves as the band’s attempt to breathe new life into the act. Whether or not they succeeded is up to debate, though I found myself very conflicted on the record as a whole.Let’s take the opener, “RWWLI.” This track is just as sunny and bright of a pop tune as I would expect from the band. It would easily fit on their debut with the chanting chorus and jumping drums, which is both a blessing and a curse. I was much more found of “Keep It 100,” the follow up track. The club-worthy drums create a strong foundation for the song’s intricate guitars. I also noticed a snarkiness to lead singer Lincoln Kreifels’ vocal delivery which was nice. He has such a strong knack for melody, and that really shines through here.“I Just Think I’m Smart” is a song that only Wild Party could do. It’s very 2014, but so are they. Another grandiose pop tune with a strong message about self importance. Much stronger than “Dreamin’ Up,” or “Putrid Hog” in my eyes. This one leans too far into the theatre pop feel of the band’s sound. They’re honestly fine, but they really lack impact. It’s not until “Nothin’ At All” that the band does a proper switch up. I was very fond of this song’s sentimental acoustic guitar, as they compliment the hopeful themes well. Depending on which way the wind blows, Wild Party’s pure of heart sound can come across as juvenile. While most acts focus on the depressive part of musical expression, they allow light in. The wind blows wrong on plenty of these tracks, but this one landed for me.

“Honestly, you can be who you wanna be
Always a chance to start, to hit your mark
Do what you can to just let it be
And be done”

I thought “Karl Kuhlman” was decent, and its drum groove was definitely unique. The restrained intro allows me to really focus on Kreifels’ vocals, which were a highlight. Even though it's one of the better tunes, I still struggled to connect with it. “If I Could Feel” was no different in its impact, though it definitely sounds different. Kreifel goes fully into his drunken vocal style here, and it compliments the song well.“Hatchet” was another highlight for me. I loved the sparkly synths placed subtly above the mix. The splashes of halftime are also great, as they add a special musical identity to the track. The following two tracks, “Rightly Wrong” and “Wait Up,” were a lot less interesting for me. They honestly just sound soulless, and like scrapped debut demos.In contrast, “Kickin’ Rocks (To Ezra)” felt very fresh. I love when the band leans away from their clean pop sound and incorporates some melancholy. Sure, the brightness is fun, but it can often make the band lack depth. I’d love to hear more of this from the band, as it was definitely my favorite track here.

"It doesn’t have to be this way
I could’ve been there at the gate
Kickin' rocks in the park
Chasin' monsters in the dark hallways
Just know I love you so much, it kills me
Just know I miss you so much"

“Silver&Gold (For You)” is another delightful tune. It’s intimate, and does more of what I enjoyed about the previous track. Kreifels’ voice is particularly interesting here, as it strains in just the right way to add a layer of emotion to his performance. I wish we’d gotten tracks like this all over the album, as opposed to just the ending. Regardless, I had a great time with this closer, and it's a nice note to end on.Wild Party’s youthful joy was done much better on their debut, as it feels juvenile in the modern age. Still, there are a few golden moments on Cheeky Giants, though I’d suggest asking a friend for their recommendations first.

Favorite track: Kickin' Rocks (To Ezra)
Least favorite track: Dreamin' Up

Review posted on 6/19/2026

Pink Goo

Strawberry Milk Cult

Released on 6/12/2026

7.5/10

Strawberry Milk Cult just released their third LP, Pink Goo. Having only heard their debut, I thought I had an idea of what to expect. I could not have been wronger, as the band has swapped their gentle bedroom pop sound for noisy and competent indie rock.This jump is immediately apparent on the high-octane opener, “An Impossibly Long Hallway…” I’m unsure if this evolution took place over the past six years and I’ve missed it, or if this record serves as a reinvention of their sound. Regardless, it’s undeniably fun. I was particularly fond of the song’s halftime section, as rather than feeling like a moment to breathe, it maintains a consistent intensity. The track stays noisy until its abrupt end that leads into track two, “Sidewalk Ends.” Softer in comparison, this feels closer to what I imagined a modern SMC would sound like. The mundane lyrics are juxtaposed by the instrumental’s bouncing, free flowing feel. The song fades out slowly, implying a foreverness to the narrator’s boredom.I expected a much more intense drop on “Smoking Fish,” with the intro building anticipation solely through a fuzzed out electric guitar. Still, the track that followed was decent enough, and definitely a lyrical highlight on this record.

“Just be careful what you wish
You’ll wind up a smoking fish
Indebted, it’s a dead end
Pin my arm and twist my knife
Whisper to me sound advice
Forget it, and shed it
'Cause after all it’s only my fault, yeah”

Track four is “Cookin’ An Egg,” which I thoroughly enjoyed. I love how messy it feels, and despite the track’s introspective nature, I’m sure this one is a fun-time to dance at their live shows. The song closes out with a guitar solo, which is truly a one of a kind moment on the album“Half of One” and “Ahh, Goo Lagoon” finally slow things down for a bit, though I enjoyed the former’s approach to it more. While “Ahh, Goo Lagoon” is more shoegaze influence, “Half of One” feels like a proper soft rock tune, which is a sound I think fits the band more. The album starts to dip here, with “Poises, Lilys” lacking any sort of defining characteristics. It’s very well done, sure, but I couldn’t find myself caring about it very much.The follow up track, “Do It For Me,” is a lot better by comparison. I love how discordant the arrangement feels, as it adds a unique feel to the tune. I wish it were longer, as it stands at just over a minute long. Still, this high burst of intensity is very fun, and one of my favorites on here.“Wuddyagonnadoaboutit?” begins softly, but the band pulls the rug very quickly. The song transforms into an upbeat indie rock jam, which balances the inward looking lyrics well. It eventually does land back into the softer version of itself, though only to give the audience a moment to breathe.

“Run from what isn’t true
One in two, one in two
Where you want me to stand?
You can mold me to your command
And you ask what I’m gonna do about it”

The final track is “It Comes At Night,” which is definitely the black sheep of this record. Rather than fuzzy guitars and smashing drums, the song is defined by its lofi production and soft ukulele. It’s a lot somber by comparison, though it does suffer from the lower quality of production here. Regardless, it’s a nice fade out from the high energy record, and feels very reminiscent of their debut in terms of feel.While Pink Goo carries less identity than some of the band’s previous work, I’d argue it makes up for a lot of that in the quality of these song’s executions. I’ll definitely have to go back and check out Strawberry Milk Cult’s sophomore record to see if there is a clear shift in the band’s sound, or if this truly is a reinvention.

Favorite track: Do It For Me
Least favorite track: Poises, Lilys

Review posted on 6/18/2026

Darklight

Rosy Cheeks

Released on 6/12/2026

7/10

Rosy Cheeks is the gothpop brainchild of Henry Ticas and Esme Gilman. They just released their first multi-song project in almost seven years, and are returning with more of what makes them so special. Entitled “Darklight,” these tracks are a collection of ambient and moody textures placed beneath layers and layers of reverb.Track one, “U r Not Holy,” acts as a sort of prelude to the rest of the EP. Despite what the title might have you believe, these opening synthesizers are absolutely heavenly. I love the duo’s ability to show restraint in their use of production, while still painting dramatically through their sound. The track incorporates a spoken vocal sample, adding another layer of drama to the tune. It’s a nice ambient lead-in to the proper opener, “What They Say.” While track one featured no drums, it's here that they are on full display. I couldn’t tell exactly what it was, but there’s a small element that almost sounds like an electronic dog bark. It’s separate from the snare, but operates in the same space, making the drums feel unique without complication. Lyrically, its definitely a highlight for me. Ticas and Gilman’s voice shine through the layers and layers of reverb to deliver earnest, tragic lines.

"Judging face
Paranoid in my own way
Hateful looks
Scared to look away
Staring thoughts
Body’s full of knots”

I found “aSpace’s” drums to be very interesting. They almost entirely refuse any sort of traditional rhythm, and instead adopt subtle polyrhythms throughout. It compliments the retro synths well, and almost serves as the focus of this track. The song builds and builds, until eventually cutting off and transitioning into this record’s title track. I really loved this one, as it features a slightly poppier approach. Don’t get me wrong, it is still undeniably underground, but its high energy and repeated arpeggio make it a pleasant listen. This creates a nice foundation for Gilman to snarkily sing about being a “rich girl.” There’s a playful tone to her delivery, which really sells the track for me. The song ends quite dramatically, distorting a secondary instrumental, and recontextualizing the reverb into something more haunting.The final track here is “So Shy.” I quite liked this one’s lyrics, though the track’s constant dissonance didn’t click with me. There’s a better song buried beneath here, but I think it could have been revisited in the production process.Darklight isn’t perfect, but it’s still worth the listen. I had a great time with this EP, and to see Rosy Cheeks return is a delight in and of itself. I can’t wait to see what the group has planned next, as I’ll be sure to check it out.

Favorite track: aSpace
Least favorite track: So Shy

Review posted on 6/17/2026

Somersalt

Beach Fossils

Released on 6/2/2017

8/10

Beach Fossils released their third studio album, Somersalt, in mid 2017. From front to back, it's a delightful collection of dream-pop and indie rock. I had only a vague idea of what to expect going in, but I was definitely pleased.“This Year” opens up quickly, and immediately establishes this record’s palette. When doing research, I discovered that the sound found throughout this album is quite different from their earlier work. While I have very little of a clue what that earlier sound exactly is, I think the strings and more mellow production frame this band in a better way than a traditional four piece. Despite this track's moody feel, it's fairly bright in the context of the record, making it a great opener.Track two, “Tangerine,” builds on their sound even more so. I was very fond of how dazed the song feels, especially with its dissonant chord progression and sparkling leads. The post-chorus briefly incorporates a drum machine, adding a slight but much appreciated flair to the track. It leads well into “Saint Ivy,” which has a classic feel to it. Something about this screams 60’s pop music to me, though it's juxtaposed by frontman and lead singer Dustin Payseur’s deadpan vocal delivery. This balances the track well, making it feel both old and new in the same breath. The track fades out with an extended guitar solo, adding a foreverness to this sentimental tune.It’s on “May 1st” that we first hear the element that drew me to this band in the first place. Jack Doyle Smith’s ability to craft hooks in his basslines that shine through even while buried through other instrumentation is nothing short of amazing. It’s so simple, but still so effective. This creates a strong foundation for this track’s introspective lyrics.

“You went out with the wind
Dreary as you can be
You know you’re right in the endWherever you’ve been
I know that you can make it on your own
My friend”

“Rise” is a special track, as it has an undisclosed feature by underground artist Cities Aviv. Being the only vocalist on the track, Aviv performs a spoken word piece over the band’s instrumentation. This entirely recontextualizes their sound, and makes them more than just another indie act in my eyes.I thought “Sugar” was okay, though its moody production is outshined by the following track, “Closer Everywhere.” This is really where the band locks in, and delivers more energy in its experimentally dramatic instrumentation. The last minute of this one is truly haunting, and just barely gets away with not feeling out of place. It precedes “Social Jetlag,” another consistently great tune. I found the lofi intro and flutes to be a highlight here, though I have little else to say about it.We’re then treated to “Down the Line,” which is easily the band’s most popular tune. This is also the song that led to my interest in the record. It still holds up of course, and fits right on this tracklist.

“So call me up tonight
If you need somewhere to get out of the light
These days I feel like I do nothing right
So come with me and we'll go down the line”

The penultimate track, “Be Nothing,” was definitely my favorite bass intro on the record. By placing it beneath Payseur’s soft vocals and shimmering single strums, it allows it to keep control while not demanding attention. Out of any other track, it definitely evolves the most, turning into an intense indie rock tune by the end. This catharsis allows the closer, “That’s All For Now,” to really land. The song jumps immediately into your ears, and feels comparatively brighter to the rest of the album. It’s hope in place of melancholy, but still carries the same dreamlike qualities.If you’re looking for consistent dream-pop, then Somersalt is the perfect album for you. I would have liked a bit more variance, but I can’t complain with what I’ve been given. Beach Fossils did great here, and I’ll be sure to check more of their music out in the future.

Favorite track: Be Nothing
Least favorite track: Sugar

Review posted on 6/16/2026

Who The F*** Are Arctic Monkeys?

Arctic Monkeys

Released on 4/22/2006

8/10

After their widely beloved debut, Arctic Monkeys had to stop and ask, Who The F* Are Arctic Monkeys?** With this EP, they build on the sound that made their first album so adored, while still keeping the same youthful, brash energy.The project opens up with “The View From The Afternoon,” which was also the opener from their debut. I still enjoyed this one, and recontextualizing it in this shorter tracklist allows me to appreciate certain things about it more. For example, the song’s ending chord establishes a calmness, which gives us a minute to breathe before the following track, “Cigarette Smoker Fiona.” It’s good we get this moment, as this tune is particularly noisy. Despite this, I found the track to restrain itself well in the verses, with Matt Helder’s drums controlling the song’s energy.The chorus is delightfully noisy, and a great example of the band’s knack for catchy melodies.I found “Despair In The Departure Lounge” to be Alex Turner’s best writing in what is technically still the first era for the band. It’s less literal, while still not complicating itself with exaggerated metaphors. Sonically, the song is stripped down to feature only guitar and Turner’s voice, allowing the songwriting to shine through in its intimacy.

“He's pining for her in a people carrier
There might be buildings and pretty things to see like that but architecture won't do
Although it might say a lot about the city or town
I don't care what they've got, keep on turning 'em down
It don't say the funny things she does
Don't even try and cheer him up because it just won't happen”

The following track, “No Buses.” is similarly tender, though this one builds over the course of its three minute runtime. It’s definitely another lyrical highlight, and remains one of my favorite tracks from the band.The closer and namesake of the EP serves as a mission statement for the band. At a time when the entire world’s eyes were on them, the band takes a stance and refuses to conform. This is not only reflected lyrically, but also in the tune’s more experimental arrangement towards the back half. The band hardly has simple instrumentation, so to be able to still wow listener’s ears with unique approaches is impressive.When Arctic Monkeys released their debut, there was no precedent. With no previous work, they were able to go anywhere and do anything. By following that with the Who The F* Are Arctic Monkeys?** EP, the band reassured listeners that they have plenty more to say with both their words and their sound.

Favorite track: Despair In The Departure Lounge
Least favorite track: Who The Fuck Are Arctic Monkeys?

Review posted on 6/14/2026

Sugarcoat

Cousin Simple

Released on 1/19/2024

6.5/10

Cousin Simple released the Sugarcoat EP in early 2024, and on it, they display a knack for competent, sunny, and catchy indie rock. This record would feel right at place on a 2019 nostalgia playlist, for better or for worse.“Chinatown” opens with surf-rock inspired electric guitars, and lead singer Will Hoag’s infectious alternative vocal style. Throughout the entire record, Hoag’s voice was the definite highlight for me. It demands attention, and works especially on this first track. It’s followed by track two, “Prima Donna.” They delve a bit from a theoretical formula here, with the song being led by a meaty bass and straightforward drumming. I thought this track was super fun, and stood apart from some of the other songs we’ll come to hear. Definitely saw an influence of early era’s of The 1975, with its sparkling guitars laid atop the rest of the arrangement.

“What gives?
My heart is ticking, there's no trick
Just gotta wait for this fever to kick but
I'm not good at waiting”

While “Long Way" was very catchy, with a chorus straight out of mid 2010 boyband craze, I was uninterested in its concept and execution. It felt a bit repetitive, and it lacked substance in my eyes. “Poison Ivy,” by comparison, definitely caught my attention. It’s easily sharper than the earlier tracks, and carries itself with such infectious confidence. I also was very fond of the pianos on this one, as they added a fresh coat of paint to this track.It’s on “Doorstep” that we first get a true delve away from the band’s core. This track is deeply intimate, with Hoag’s delivery of these sentimentally tragic lyrics really selling them. The band handles ambience in a great way, allowing each piece of the instrumental to truly breathe. By having this dash of quiet, it breaks pace between the other, higher energy track.The final track, “Piece of Cake,” does return to the status quo, but I don’t mind it as much here. It’s another catchy, surfy, indie jam. I was also fond of the more intricate guitar playing on the post chorus, and the tune pleased me overall.While it’s not very challenging, it’s clear that that isn’t what Cousin Simple is going for. There are plenty of songs on Sugarcoat that everyone can enjoy, and I would still recommend checking it out to see if it’s your thing.

Favorite track: Prima Donna
Least favorite track: Long Way

Review posted on 6/14/2026

You Are Going To Hate This

The Frights

Released on 2/12/2016

8.5/10

This year marks a decade since The Frights their beloved sophomore record, You Are Going To Hate This. It holds up effortlessly, with many of these tracks still being some of my favorites to this day.We’re presented with immediate anger on “All I Need,” balanced with edgy romantic lyricism. It’s such a one of a kind tune, and I’m very fond of how lead singer Mikey Carnevale bounces between tenderness and being aggressively sharp. As an opener, it sets up the full range of this album’s sonic palette in a great way. Like many of these tracks, it fades seamlessly into the next song.Track two is “Kids,” which is another classic in the band’s catalogue. I can’t believe there was a time in which this song didn’t exist, as its snarky writing style and poppy electric guitars feel so obvious now (in the best way). Despite the band’s phenomenal pop sensibilities, the song is still noisy, fuzzy, and all the other great words to describe competent indie punk.

“Everybody wants me dead but I just wanna be left alone
Have you ever felt the pressure building in your brain
Growing up is suicide and it's making me insane”

It’s on “Afraid Of The Dark” that the band truly takes their first dip outside of their traditional sound. I’ve always felt that it carries itself like a cleaner version of an early Strokes song. Either way, I love how restrained they allow themselves to be here, as it showcases the band’s core strengths are more than just crunchy guitar riffs and screaming. The band turns the lights even dimmer on the follow up track, “Puppy Knuckles.” This tune carries a sinister arrangement, and almost entirely abandons the group’s live sound in favor of experimentation. It holds up greatly, and the little dashes of production (like the reversed toms on the second verse) add an entire new polish to the music.“Tungs” was almost impossible to get away from in late 2019, as the song had a bit of a moment on TikTok. Despite this, this track still hasn’t been overplayed in my eyes, and the fact that the band pull off a track with latin-inspired drum grooves and softer guitars is so impressive. It captures a specific tone of romance that I’ve yet to find in another song, and it's more proof that Mikey was truly in his bag here.

“Do you think I'm cute? Well it's too late to check
And I don't care, you got your tongue against my neck
Do you like my style? Have you seen my shoes?
'Cause they've been ripped to shit from walking the world for you”

I’ve definitely relistened to “Haunted” the least since discovering this record, and I think I finally know why. It’s a bit too much of a slow burn for me, though I’ll admit this is the band’s best ambient work. It’s dark, moody, and intimate, and I definitely have to be in a specific headspace to spin it.We get a tonal shift on “You Or Me,” which is easily this album’s poppiest song. It’s so short, but it makes me love every second of it even more. I’m honestly quite surprised this one isn’t as fondly remembered as some of the album’s bigger hits, as I can’t see anything I don’t like about this track. Regardless, it’s so fun, and my favorite for sure. It’s followed by “Growing Up,” which is what I believe to be the black sheep of this record. I’ve never quite understood the chorus if I’m honest. It’s cool that it's so messy, but it feels like experimentation that’s detrimental to the song. I really like the lyrics, so I definitely wish they had executed this one differently.The penultimate track also serves as the record’s namesake. I’m very surprised it's this late into the album, as I think it’d be in more obvious company alongside “Kids” and “All I Need.” I still love it, as it's another summarization of the entire project’s sound, and it leads well into the closer.“Of Age” remains one of my favorite songs, not just by the band, but in terms of any music I’ve heard. The incorporation of so many niche genre influences through a tropical drum machine, ukulele, or even the closing fuzzy acoustic guitars make it such an interesting listen. Blending this with Mikey’s unique lyrical tone makes it such a perfect Frights song, and I can’t think of a better note to end the record on. Truly, one of the all time greatest closers.

“The hope I gave that fades away
It’s really not that hard to say
You'll miss when your body aches
And you're livin' all alone”

The Frights captured something truly magical with their sophomore record, and we’ll likely never get an album like this again. Even after a decade, You Are Going To Hate This holds up in both its highs and lows. I can’t recommend this album enough, and it remains an essential record for me.

Favorite track: You Or Me
Least favorite track: Growing Up

Review posted on 6/13/2026

you seem pretty sad for a girl so in love

Olivia Rodrigo

Released on 6/12/2026

9/10

Olivia Rodrigo is a musician that surpasses the pop-star expectations. Where many artists would capitalize on each album’s success with an immediate follow-up, she’s managed to space out her records quite conservatively. She’s taken her longest with her latest record, you seem pretty sad for a girl so in love, and it shows. I went into it hoping or expecting an evolution of the GUTS sonic palette, but it definitely isn’t. Rather, it’s a now obvious progression of her sound that blends her ballad roots with her new found rockstar attitude, all tied together by some of her best writing to date.This record is split into two parts, with the first half focusing on love, and the second detailing the aftermath of the downfall of said love. Section one opens with this record’s lead single, “drop dead.” When I first heard it, I was unsure. Granted, I went into it with expectations, which I should know better than to do. Since its release, I’ve found its indie-pop influenced production to be a treat, and it works very well in the context of the record. While earnest love songs can be difficult to write, she does an okay job lyrically here. It’s on track two, stupid song, that we first dip into this album’s true core. It starts a bit obvious, being led by a tender piano and Olivia’s gentle voice, but transforms around the one minute mark to a fully realized pop tune. I love that she’s blended her more alternative side with her poppier one, and that she still manages to resolidify her title as a master of ballads. In terms of writing, we peak into the mindset of her with her lover, and there is a small hint of melancholy.

“I'm a heart made of wax and I'm melting in the sun
I'm a thread on your shirt that is coming undone
I feel right, I feel wrong, I feel totally insane
And I want you more than any stupid song could ever say”

“honeybee” continues the ballad approach, with sweet sentimental lyrics about falling in love through the little things. It’s honestly a bit jarring, but to hear Mrs. Heartbreak talk about love so earnestly feels both beautiful and tragic at the same time, considering the context. Despite being a fairly standard Olivia song, the strings, choir, and quality of production give it a much more mature tone compared to ballads on previous records.She refuses to establish a status quo with “maggots for brains,” as the song goes full indie with its approach. I loved the analog drum machine here, as it's such an underrepresented element in modern pop music. This is also our first full frontal view of Olivia’s personal mindscape in regards to the relationship, as she details how despite the love she feels she’s in, it doesn’t affect her mental health in an everlasting way. Easily my favorite chorus on the record, I found this one delightfully somber.

“I'm a zombie in my body, I'm a train off of the track
I feel dirty, I feel rotten, and the colors are all flat
I'm a sad shell of a woman and I've got maggots for brains
But that's just a thing that happens when my
When my baby goes away”

Track five, “u + me = <3” is genuinely just a Cure song, though I’m not complaining. Her knack for melody really shines through here. I honestly found myself a little annoyed at how cute these lyrics were, but then I remembered that I had yet to even touch the second, more tragic half, of the record. It’s something I couldn’t appreciate until a relisten, but it truly sets up the fall so well. It’s followed by “my way,” which sounds nothing like anything she’s ever done. It’s so angry without being messy, and the lead synth crawls its way into your ear effortlessly. While it’s definitely a tonal shift that gets a little bit in the way of the concept, I could see an argument for it establishing problems in the relationship past Olivia herself.The final song of section one is “purple,” and I was definitely tired of the love songs at this point. However, once again, it's something that I could not truly appreciate until I had heard the full record. Either way, its organ intro and guitar led outro sandwich a gorgeous track. It also leads into section two subtly, with the last paragraph of lyrics recontextualizing the song under a dimmer light.

“Melt with you 'til it all turns black
Are we so in love? Are we too attached?
Melt with you 'til it all turns black
When you smooth it out, but it feels too flat
Melt with you 'til it all turns black
When you get so close and you can't go back
Melt with you 'til it all turns black
Melt with you 'til it just feels sad”

We then enter section two with “the cure.” Her decision to make this the second single is honestly so intelligent in retrospect, as it serves as a second opener for the back half of the album. I immediately fell in love with this one, as it’s her best writing to date. In the context of the record, its arrangement feels like an inverse of section one. Where section one was pop music with alternative influence, this feels alternative with pop music quality. The strings lead well into track nine, “begged.” This is where I realized how tragic this album framing is. Not only is it one of her saddest songs, it’s depressive in place of what used to be happy. Sonically, it's another guitar and strings led ballad. While on GUTS or SOUR I would have been sick of it by now, she’s spaced them out in a way that feels natural and allows me to truly appreciate them. It’s followed by “what’s wrong with me,” which features Robert Smith of The Cure. I love how well their voices compliment each other, with Smith’s maturity uplifting the youth in Olivia’s voice. It fits well on this side of the record, and is followed by this album’s most tragic tune.When I read the lyrics for “less,” I was genuinely taken aback. Its intimacy shines through, and is gorgeous throughout. To think that this is only her third record is outstanding, and this track is a full on display of her songwriting chops.

“You say you can't stand to watch me cry a minute more
So you do the noble thing and open up the door
If loving me means letting go and wishing me the best
Then I guess
I wish, I wish, I wish you loved me less“

I would be satisfied if that were the closing track, but we still have two left. I was very much caught off guard by “expectations,” as while it's fun, it comes out of nowhere. In some ways it feels tone deaf. For the entire record, we’ve dealt with a clear narrative through line, and now it's fun pop girl time with a robot. I enjoyed the track, but really would have put it on a deluxe version.The album closes out with “cigarette smoke,” which balances things out a bit. That being said, I do think I missed something on all my listens about Olivia’s ex being a bad partner. To say “I regret you and how long I stayed” implies something deeper than two people not working out, and that is not properly explored throughout the record in my eyes. Regardless, I loved this one on its own, and it serves as a nice final chapter to the album’s core relationship,The whole world was watching Olivia Rodrigo, but she absolutely did not buckle under the pressure. you seem pretty sad for a girl so in love is her most mature work, and manages to impress me despite my craving for rock music from her. Considering the artist she has set herself up to be, this album’s themes shine through greatly, and I can’t wait for these songs to be in everyone's ears.

Favorite track: what's wrong with me
Least favorite track: purple

Review posted on 6/12/2026

Whatever People Say I Am,
That's What I'm Not

Arctic Monkeys

Released on 1/29/2006

9/10

Arctic Monkeys are obviously one of the most influential bands to come out of the past 20 years of rock music, and their debut cemented that title almost immediately. Whatever People Say I Am, That’s What I’m Not is a thirteen track love letter to the UK nightlife of the early 2000s. The band paint vivid pictures through their instrumentation, but most notably through lead singer Alex Turner’s iconic wording.“The View From The Afternoon” injects an immediate anger, and puts this album’s palette on full display. That aforementioned palette is tight drumming, distorted electric guitars, and bouncing bass lines. These all create the foundation for Turner to deliver intricate phrases that describe everything his eyes notice. It’s noisy, but never without intent. The track rebuilds itself around the two minute mark, breathing fresh air so early into the tracklist. It’s followed by their essential tune, “I Bet You Look Good On The Dancefloor.” The guitars here are absolutely wicked, and they manage to bounce between taking control of the song and stepping into the background seamlessly. Turner’s voice isn’t traditionally good, but the confidence in which he sings each line makes this track undeniably infectious.Track three, “Fake Tales Of San Francisco,” allows itself to simmer to a mid-tempo. This shows that the band isn’t interested in simply making noise, but are instead drawn to crafting complex arrangements. I’m sure the chanting bits here were a treat to hear live back then, and they add an earnest feel to the tune.I found the drums “Dancing Shoes” to have a standard club feel, setting it apart from some of these fellow early tracks. The band showcases such strong pop sensibilities, which is especially impressive considering how young they were. They use these sensibilities to describe UK nightlife so well, it makes me feel like I’m right there with them.

“The lights are flashin' down in here tonight
And some might exchange a glance
But keep pretendin' to dance
Don't act like it's not happening
As if it's impolite to go and mention your name
Instead you'll just do the same as they all do and hope for the best”

The lengthily titled “You Probably Couldn’t See for the Lights but You Were Staring Straight at Me” carries itself strongly as a tight mess. I thought the incorporation of drummer Matt Helder’s vocals on the lead switched things up enough to be engaging. The track precedes “Still Take You Home,” which somehow felt higher energy to me despite not changing much about its formula. It's likely the guitar tone, as this particular distortion was my favorite. Other than that, the track is more the same in the best way.It’s on “Riot Van” that we first hear a proper change in the group’s sound. This song feels so much warmer in comparison to the shivering sharpness that the rest of the record carries. Its intimacy once again shows a desire for range, making it my favorite for sure. Despite this shift, it still manages to stay in line with the album’s themes, while offering a slightly different perspective.“Red Light Indicates Doors Are Secured” was fun for sure, though it was overshadowed by the song’s it’s sandwiched between. Still, I liked its dark chord progression, with the chorus’ payoff making it all come together. It’s followed by “Mardy Bum,” another classic Monkeys track. I love how sentimental this one feels, particularly in its short intro. Despite being another tender track, this one is far more upbeat. It's a lyrical highlight for me, and one of the few strays from the UK nightlife concept found all throughout this record.

“Well, now then, mardy bum
I've seen your frown and it's like lookin' down
The barrel of a gun, and it goes off
And out come all these words
Oh, there's a very pleasant side to you
A side I much prefer”

We’re then treated to “Perhaps Vampires Is A Bit Strong But…,” which is far fuzzier than anything we’ve heard yet. This tune serves as an open criticism of those who criticized the band in their early days. While it drags a bit towards the end, the instrumental present on the bridge was one of my favorite moments on the album, so it gets a pass.Like most of these songs, I had yet to hear “When The Sun Goes Down.” The only difference is that this is one of the far more recognized tracks on this record. Unfortunately, I can’t understand why. It's not offensive by any means, but it truly feels undistinguishable from most of this record. Either way, it leads well into the penultimate track, “From The Ritz To The Rubble.” Turner is honestly just talking on the intro, but he has such a youthful swagger to his delivery that I couldn’t help but hang onto his every word. It feels grand throughout, setting a high bar for the closer.“A Certain Romance” is that closer, and it absolutely passes that bar. This track is timeless, and is able to carry the same energy as the rest of this album while still establishing a clear difference in its approach. It does this by blending the softer elements with the more upbeat, brash ones. If you somehow haven’t heard this one before, I absolutely recommend it. It's one of the best early AM tracks out there, both in musical arrangement and in writing.

“But over there, there's friends of mine
What can I say? I've known 'em for a long long time
And they might overstep the line
But you just cannot get angry in the same way”

Arctic Monkeys’ debut album is outstanding, and was rightfully recognized for it. Never did Whatever People Say I Am, That's What I'm Not feel dated, and I’d argue that many of these would sound just as fresh if they were released today. I was happy to finally check this one out in full, and would recommend you do the same if you haven’t.

Favorite track: Riot Van
Least favorite track: When The Sun Goes Down

Review posted on 6/11/2026

Cold Fall, Now Gone

Half Dreaming

Released on 12/20/2025

9.5/10

When I’m checking out bands in my local scene, I’ll often assume a softer mentality. I would never want to criticize someone for their lack of resources or circumstance, so the bar is naturally set lower. Well, I didn’t have to do any of that for Half Dreaming's debut EP. Entitled Cold Fall, Now Gone, it is a dazzling five track record from front to back, and one I was deeply impressed by.The EP opens up ambiently with “Glyder.” Immediately we are hit with oceanic textures and beautifully dramatic lyricism. Through their words, the band creates a foundation of yearning and the pain that comes with it. It leads directly into the true opener, “Shimmer.” I love a seamless transition, and this one was no different. I was especially fond of the buildup that followed, with the drums leading the swell. As far as the rest of the track, it carries a soft anger through its enormously reverbed electric guitars and moody vocals. I found its ability to balance these distorted textures in a way that wasn’t grating or overly demanding of the mix to be very impressive. In its last thirty seconds, it manages to ascend to a second, higher tier than the already grandiose arrangement. Bravo.

“Were you real or just a shimmer
Slow flash in the cold of December
I still reach with my eyes closed
Just to feel nothingAnd those eyes I only met once
Burn in my mind
In the cold of December, I found you
You pulled me from the blur”

The instrumental on “Lone” is a bit poppier, in the sense that it carries a brighter, more upbeat nature. The palette is absolutely still the same, however, and the vocals here were a highlight for me. It's followed by “Hollow” which features a spaced out drum intro. Shoegaze is a genre that really needs space to breathe, and Half Dreaming are mature enough to recognize that at such an early point in their career. Over time, the song crescendos to a dramatic climax before sinking into an intimate outro that transitions into the closer. That closer is “Senescence,” which is a monster of a tune. Similar to how track two managed to ascend at the final second, this song manages to take their already expansive sound and burst loads of energy into it. A lot of these tracks really on the spaced out two syllable approach to lyrics. For a lot of bands that could be difficult, but they manage to make each word earn its stay. It's all in all a phenomenal song, and a great end to a great project.

“Awake from this dream
I want you here, right next to me
Can't you see?Yearning, longing to feel your skin
I'm losing sleep here with you
Close to me”

Half Dreaming are a band well beyond their peers, and display a maturity on here that not many local groups can similarly claim. I was deeply impressed by Cold Fall, Now Gone, and can’t wait to see this group continue to blossom.

Favorite track: Senescence
Least favorite track: Lone

Review posted on 6/10/2026

Spirit Orb

chloe moriondo

Released on 4/24/2020

7/10

After releasing her first album in 2018, I’m sure chloe moriondo had some desire to experiment with her sound. Before her next actual full length, she put together the Spirit Orb EP- a four track collection that shifts her from being another ukulele singer songwriter, to a full on alternative pop act.The opener, “Ghost Adventure Spirit Orb” steps right into this new sound. It’s led by a repeating muted guitar riff, with her voice sitting atop. Despite being 17 at the time, her vocal delivery holds up. It has a softness to it, though that’s in line with her image. While this does make the chorus feel juvenile at the times, it remains catchy.Track two, “Kindergarten” takes things back home for a moment, with the track hosting ukulele at the center. It’s acoustic for a moment before blending in trap drums and ethereal pads. This is the most pure example of her being a daughter of Cavetown, and while I enjoyed the track overall, her shift in sound works way better on her. On a positive note, the subject matter and execution of its lyrics are a highlight on the track.

“'Cause this kindergarten crush has got my stomach all twisted
You're sweeter than sugar, lover, I'm addicted
My brain is doing bunny loops, I'm a disaster
Everything you do just makes my heart beat faster”

“Bugbear” is the first sign of maturity for moriondo, as the arrangement feels far moodier than any of her other work. You can see elements of her evolution buried beneath in the trap influence indie rock drums and distorted electric guitars. This one is most definitely a treat to hear live, and easily my favorite.The project closes out with “Far Away Friend,” which blends all the styles we’ve seen here. It starts off acoustic, before being injected with a burst of indie spirit. While plenty of her writing carries a fantastical element, this song does it the best out of anything else on this project. Between that and the sonic palette, this track feels uniquely Moriondo.

“I'm rooted to home
But there are some places I can see myself in
Through the fields, we roam
Travelin' through lands that neither of us have been”

Spirit Orb was chloe moriondo’s first step towards the artist she would grow to be. It balances the old and new well, with the fresher approaches feeling leagues above her earliest work. I was very pleased with what I found here, and definitely will be checking out the progression of her career in the future.

Favorite track: Bugbear
Least favorite track: Ghost Adventure Spirit Orb

Review posted on 6/9/2026

Summer of the Cow

Miniature Tigers

Released on 6/5/2026

8/10

Miniature Tigers have released quite a few albums in their time. Their eighth full length endeavor, entitled Summer of the Cow, released this past Friday, and it is very interesting. Known for their blend of baroque pop and alternative rock, they dive far deeper into the former genre, and even incorporate folk elements. It’s rare for a band this late in their career to still desire experimentation, but they clearly do.“Southwest Suburbs” is a perfect example of this. Like many of these tracks, it's led by soft acoustic guitars, african rhythms, and lead singer Charlie Brand’s soothing voice. This album has a sort of inherently ambient nature, and never demands your attention. This is continued on the album’s second song, which is also its title track. I loved the chilled out drums here, and those lightly played strings that come in at the twenty second mark sent chills across my body. I would feel very comfortable arguing that this album is Brand’s best vocal performance across the entire Miniature Tigers discography. The way in which he is delivering these surreal lyrics elevates the songs past just feeling gorgeous- they feel infinite.

“Another daily horror repenting at my leisure
Chlorine in the milk and I almost believe you”

I found “Equestrian Rider” to be a good time. The booming drum hits balance out the arrangement’s quivering approach, specifically in Brand’s voice. It’s followed by “Centipede,” which felt particularly warm. It’s difficult to articulate the atmosphere this album creates, as it sounds very aged. I mean that positively, as rarely does this feel like an album I’ve just heard. It's almost as if I’ve always had it with me, which is a beautiful thing.The album’s first upbeat moment comes with “Valley Prayer.” This composition is so sunny, and adds to the Beatles-esque feel that the record has. Despite it being the first burst of energy, it fits right alongside these other tracks well. This is because of its consistent production, and the phenomenal use of choir vocals.“Pearls From Your Swine” didn’t capture my attention in a particular way, though that has more to do with the album’s consistency between songs as opposed to anything to do with this tune. Its textures are just as tender, and I liked its hesitant use of piano. The following track, “Danny,” uses piano in a much more leading way, with chords being played beneath Brand’s voice throughout. This, plus the mellotron towards the end, add a new flair to the album’s sound in a subtle way.Our penultimate track, “The Cruel Wind,” feels very reminiscent of some of their early work. Particularly their second album, FORTRESS, in the arrangement and use of subtly noisier production. It sets up the closer, “Totaled Lexus,” in a great way. This track is absolutely the most Miniature Tigers sounding out of everything else, and it feels like coming home. I think this album is Brand’s greatest lyrical work, and it's in this final track that is solidified for me.Summer of the Cow is an album in the most absolute definition of the word. It should be viewed not as a collection of songs, but as one cohesive work that should be listened to all at once. This is definitely the band’s most beautiful sounding work, and I had a great time here. Miniature Tigers, forever.

Favorite track: Totaled Lexus
Least favorite track: Pearls From Your Swine

Review posted on 6/8/2026

Do That Again

Malcolm Todd

Released on 6/5/2026

8.5/10

Malcolm Todd just released his much anticapitated sophomore album, entitled Do That Again. I went into this completely blind, and was more than pleased with what I found. It’s a lovely collection of alternative R&B, garnished with elements of pop and indie to make a sound that is definitively his own.“Jean Skirt” opens up the album in an interesting way. Its drums are produced to sound like they’ve been placed behind a wall, blending them into the rest of the instrumentation which continuously builds up. Todd's voice is tender, keeping the track calm until its eventual explosion after less than one minute. I think plenty of artists working these days would be scared of such a short track to open the album, but it’s a perfect example of setting the tone for your record without actually getting into it. It's a fantastic prelude to the true opener, “Obsessica.” First off, I adore this title. It's such obvious wordplay that I’m surprised I’ve never seen it before, which makes it feel timeless. In terms of the actual track, it’s a chilled out acoustic-led jam where Todd showcases his senses of humor while still exploring this record’s central theme- breakups. The chorus here is absolutely golden, and it's a great display of his masterful vocal control. This track is noisy, but remains warm throughout.Track two is “Free.99,” which was definitely a standout for me. Its use of slow distorted guitars make it stand out sonically, as they elevate the heartbroken nature of the track. His writing here is wonderful, and it feels particularly confessional.

“I couldn't breathe with your hands on my neck
Now I've got too much air
I swept potential right under the deck
Again
I couldn't move with your body attached onto mine
Now I've got too much space
I wanted to bend, I only break, oh”

“Breathe” switches the vibe almost entirely. It felt like a prime Justin Timberlake song at times, especially in the breathily spoken pre-chorus. The drums here are straightforward in the best way, being easy to nod your head to. It's been a long time since I’ve heard a new song that's felt properly erotic without explicitly sexual innuendo, so props to him for that.The energy switches once again with “I Saw Your Face,” which has a hugely indie feel. Those clean electric guitars on the intro evoke an emotion out of me that I cannot resist. It’s a sentimental track, and Todd’s ability to write lyrics that both feel universal and personal is very impressive.I thought that “Difficult’s” bass line was a defining trait for the song, though little else about the song clicked with me. The intimate bridge was pleasant, though I wished the instrumental built back up over time. It precedes “Malcolm in the Middle,” which is a much different tune. This one’s instrumental is a lot lighter, and almost juvenile. I mean that in a positive way, as it serves as a nice pace breaker between these slower, emotional tunes. I love how flowery this chorus is written, showing that a song’s sound does not always have to reflect its style of wording. It’s like old poetry, which is lovely.

“Don't fall asleep, you love me much too well
If you can't hear a word I say, then I won't make a sound”

I thoroughly enjoyed the guitars on “Ain’t That The Truth,” though that’s about one of two things that I can say about it. The only other part that caught my ear was the spoken words in the outro which silence the instrumentals. This is honestly where the record started to dip for me, as “Gun To My Head” and “X’s & O’s” did very little that interested me. At best, the latter’s vocal performances were some of the strongest on this record. It wasn’t until “Lonely Song” that I found myself engaged again. I was very impressed with Todd’s ability to capture the modern zeitgeist in his writing. It makes him both funny, but also relatable for people in that age range. He squeezes in an entirely different instrumental at the last minute, though I wish he hadn’t as it feels way too separate from the rest of the track.The record’s penultimate track, “Good Bye,” could have served as a lovely, more tender closing of the album. By stripping down the production to be only guitar and vocals, it lets the emotional walls fall down. We can see Todd very clearly here, both in sadness and humor. It is not the closer, however, as the title track follows. While I enjoyed this track, I thought it felt out of place here. I would have much rathered it be placed somewhere towards the middle after cutting a few tracks. Regardless, it's a pleasant summarization of the album’s overall narrative, and a decent note to end on.Malcolm Todd’s latest album is great, hands down. That being said, I feel like a few tracks could have been left off of Do That Again, particularly towards the back half. Either way, I was very impressed with this record, and will definitely be spinning quite a few of these tracks in the future.

Favorite track: I Saw Your Face
Least favorite track: Gun To My Head

Review posted on 6/7/2026

Strawberry Milk Cult

Strawberry Milk Cult

Released on 11/13/2019

8.5/10

In 2020, I heard Strawberry Milk Cult’s self-titled debut for the first time, and all these years later, it still holds up. This album is less of a grandly produced body of work, and more of a vehicle for the band to deliver consistently good DIY indie.The album opens up with “Toby Flenderson,” though I’d argue this track serves as an ambient prelude to the true SMC sound we’ll hear throughout this record. Either way, I love how dazed and drunk this song feels, with the band utilizing earnestly straightforward lyricism to capture universal emotions. It’s followed by what I see the album’s true opener to be, “Mustard.” This one carries an upbeat mellowness to it, and the band has so quickly shown a clear understanding of what makes a melody great. I’m particularly fond of lead singer Dylan Laughrey’s deadpan vocal delivery, which he carries pretty much until the end of the record.“A Swift Kick to the Jaw” brings up the energy, though less in an explosion of sound and more in a quiet, reserved anger. This is especially apparent in the drums and their sequenced feel. They balance edge with authentic lyricism here, and it works really well.

“If a swift kick to the jaw was all I needed to wake up
Then everyone I've ever known has kicked me one too many times”

The guitar on “Beorge Gush” gives the song a roomy quality despite the track’s intimate arrangement. I should also mention, plenty of these song titles are written like inside jokes for the band. While it could risk making the music feel disjointed, I’d argue that it subtly emphasizes the band’s DIY approach, and further humanizes them. The rest of track maintains a similar energy, though there is a slow ambient middle that preludes a burst into a higher intensity. The vocals here are not the greatest, though it does feel very in line with the band’s personality.While plenty of band’s post 2001 carry a Strokes quality to their music, “Out There” does it in a way that still feels very in line with what we’ve heard so far. Despite how intense this song could be, it practices restraint, allowing it to fit right in with the more tender tracks here. It’s followed by one of my favorite tunes from this project, the lengthily titled “Dear God, It's a Psychopath Killer and He's Coming Right for Us!” This track has always stood out to me as unique, especially for an indie band. It has an early Clairo feel, and has an interlude’s energy without being much shorter than some of these other tracks.

“And babe
Don't mean to scare you but I've been on a bit of a spiral
I'm sure it's not that bad
But I'm scared of who I am at night”

“MF Gloom” is the first song I heard by this band, likely on some COVID-19 core playlist in quarantine. Despite this, it holds up as insanely catchy, and as one of this band’s essential tracks. The drum machine is center stage here, with the snares and hats playfully matching the vocal lines. It preludes “Michael Cera,” with dips back into ambience after the previous few poppier tracks. It’s another emotional highlight, with the gentleness being elevated by the band’s ability to create a dizzying atmosphere without crazy layers of production.The penultimate track, “Jaws,” is our first and only taste of distortion on the record. While that could risk making it feel out of place, it instead gives the track a distinct personality. It’s nothing groundbreaking, but absolutely not offensive. The record dies the way it lives, with “Portland” closing out the record. This closer dares not stray away from what makes this album great- DIY approach to honest indie. Despite this, it carries a somber tone, and leaves a sentimental taste in the listeners mouth.When Strawberry Milk Cult released their debut, I’m sure they weren’t going for something grand. Rather, the band are experts at executing introspective and universal indie. A phenomenal debut for this band, and one of my all time favorites.

Favorite track: Dear God, It's a Psychopath Killer and He's Coming Right for Us!
Least favorite track: Beorge Gush

Review posted on 6/6/2026

On Your Own

dyego

Released on 6/5/2026

7/10

dyego is the indie-rock moniker led by Diego Prudencio. He just released his much anticipated 2026 EP, On Your Own, the follow up to his record from last year, "Darling, Let Me Reminisce". There are a lot more eyes on him now, and while many lesser artists could fold under that kind of pressure, he delivers a charming collection of songs that are slickly produced, but still carry the back-to-basics indie approach that has made his music so captivating."Alone" opens up with an arrangement composed of bouncing organs, southern guitar riffs, and charming melodies. The energy is consistent throughout, with dynamics only rising for the song's dramatically performed chorus. I see a Morrissey quality in Prudencio's voice, as he balances modern indie with theatrics of old. I had the luxury of seeing this one live at his recent show in Los Angeles, and out of all these tracks, this one captured the live performance's energy the best. It ends with an instrumental section led by an organ solo, giving the song a jammed out feel.It's followed by this EP's title track, which opens with a funk influenced drum groove. While I enjoyed this song's personality, it did not impact me in the way a title track should. Like track one, it also ends with a mostly instrumental jam, which felt repetitive. Still, this tune is not offensive by any means, and it's a nice precursor to the next track, "Under The Covers." dyego incorporates their hispanic roots here, with the verses sung entirely in Spanish. Its upbeat composition makes it feel exceptionally sunny, and its clear how much fun he's having with the song, which in turn makes me have fun with it.I'd argue that "Cruel" is the first example of experimentation on this EP, and it absolutely pays off. This one opens far moodier, before bursting into disco inspired drums and sparkly guitar lines. I liked how dynamic this song allowed itself to be, as it gives the song a more mature, forward thinking element to dyego’s music. I'm a firm believer that range is the most important trait for an artist to have, and this serves as a great example for that.This trend is continued in the next song, "Buy Me Some Silence," which was easily my favorite here. It has this 80s slow dance feel to it, and Prudencio performs it far more tenderly than anything else on here. The writing here is also some of his best, and it takes a level of maturity to do a tune like this. Well done.

"Can anyone hear anything?
My lonely heart is beating, beating for you
The solid ground of where we stand
Is crumbling around us"

The energy comes back up just in time for the closer, "Homesick." It's undeniably fun, while still carrying a strong emotional core. By placing it after the two previous tracks, which were far dimmer by comparison, the song really stands out. It feels like a victory lap for the EP, and a confident step forward for dyego.While I would've liked a bit more variety on dyego’s On Your Own, the range we do get shows clear talent, as well as immense potential. I see nothing but clear skies for this young indie prodigy, and can't wait for his eventual debut full length LP.

Favorite track: Buy Me Some Silence
Least favorite track: On Your Own

Review posted on 6/5/2026

In a New Bed

Matt Maltese

Released on 4/22/2016

8/10

Matt Maltese has become quite an accomplished songwriter throughout his decade-long career, but in Spring of 2016, he had little to no credibility. With his debut EP, In a New Bed, there was no status quo. Still, there are clear elements of the artist he would grow to be all throughout this short project."Studio 6" presents its ambience immediately. Maltese's vocals hold up outstandingly, and he adds to roomy arrangement with his delivery of these tragically romantic lines. Despite its intimate feel, there are plenty of dynamics at play here, led by piano but including softly sung harmonies and gentle drums. The lyrics stand in this environment perfectly, making for a beautiful and heartbreaking opener.

"And I remember hearing your father laugh
While we made love in the next room
We made love in the next room
And I remember one of those mornings I
I reached out to wake you
But I learned that he'd taken you back"

The intimacy continues on "I Hear The Day Has Come," though there is a subtle shift. This song is entirely vocal and piano. Never does it feel simple, however. Rather, its more of what Maltese does best, which is pleasant.Next comes our title track, which swaps out simple chord progression with a gently played arpeggio. It gives the track an uplifted feel, despite its heartbroken subject matter. While I'm usually more fond of range, I think by subtly shifting his approach to these tracks, the sameness feels intentional. It's not that he has no other ideas, its that he's confident in the ones he's had.Finally, the EP closes with a cover of Leonard Cohen's, "Paper Thin Hotel." Cover's are hard to properly do- do you reinvent the wheel or do you repeat what's been done? How can you claim a song and convince the world it's as if it's your own? Well, Matt decides to do both. His delivery is equal to the original, and I truly believe these are emotions he's felt. At the same time, the track fits perfectly among these other ballads, allowing it to feel like a true Matt Maltese original. I've adored this song for quite a long time, and the specific piano arrangements and chord progression evoke a feeling like no other. Truly, its a beautifully somber tune.Matt Maltese did not try to mask any part of himself with his debut EP. These songs may all carry similar approaches to their soft, piano led sound, but it's in the details where he shows his distinctness and raw talent. In a New Bed is gorgeous, and I'll definitely be putting these songs on any playlists that deal with heartbreak.

Favorite track: Paper Thin Hotel
Least favorite track: In a New Bed

Review posted on 6/4/2026

Tower Twelve

ROAD TRIP

Released on 5/31/2026

10/10

ROAD TRIP just released Tower Twelve on May 31st, (AKA this past Sunday as of posting). On it, they showcase the same talent that made their first album so good, but with a fresh new coat of paint.The contrast is immediately apparent on the opener, which features cleaner production and steadier vocals. Don’t get it twisted, however, as this is still the same undeniably fun band as before. This track is upbeat, noisy, and filled ear to ear with sparkly distorted guitar lines and chanting crowds. I was particularly fond of this song’s bridge, where the riff demands control of the instrumental. All in all, it is an infectious opener.Track two is “Jordan,” which very quickly became one of my favorites here. I love how tight this arrangement is while remaining loose. It reminded me a lot of early Arctic Monkeys in that regard, though the melodies are far poppier here. It carries good dynamics all throughout, especially in the instrumental break. It’s followed by “Nobody Else,” which felt the closest to their debut’s sound. That’s no problem, however, as they execute this mosh-worthy jam effortlessly. Towards the end, it slips into a softer acoustic arrangement reminiscent of the ending to the Twenty One Pilots’ song, “Next Semester.” It’s gentle, earnest, and a clear example of the band’s simple yet effective lyrical prowess. The song ends with an explosion of noise led by one hell of a guttural scream. In my eyes, ROAD TRIP are honorary bandcamp veterans with this one.

“I think about you way too much
I don’t want anyone else
I want it way too much
Now I don’t have anyone else”

“Pizza & TV” brings a sunnier sound to the table. The drums dance playfully with the surfy guitars and indie inspired melodies. It’s a cute, romantic track about finding love in the little things. I think a lot of local acts would assume they are above joyous love songs, but ROAD TRIP sees the value of it, earning more of my respect.The EP closes with “Daydream,” a tender indie folk tune. This showcases their pre-established love for experimentation and their desire to be a band with range. It’s mixed beautifully and performed just the same. This isn’t exclusive to this track, but I have to mention it; All throughout the EP I noticed a fresh confidence in lead singer Caden Cantwell’s voice. His performance on their debut was never poor, but it was lacking in technical skill at times. That is entirely gone here, as Cantwell outdoes himself on every track.Tower Twelve is not just the latest EP from local legends ROAD TRIP, it’s a complete outdoing of their already outstanding debut. They materialize their potential here to the fullest extent, and I was so pleased with each new track. I can’t wait for the next full length project, as I’m sure it’ll be a treat.

Favorite track: Jordan
Least favorite track: N/A

Review posted on 6/3/2026

Concentrate

The Happy Fits

Released on 6/15/2018

5/10

Going into Concentrate, the debut album by The Happy Fits, I knew not what to expect. Or, to be more accurate, I had a vague sense that this was going to be standard indie pop or alternative rock. I was in fact, only half right. The band explore more than just obvious indie here, and separate themselves from the late 2010 alt scene with their unique approach to arrangements.This is immediately clear on the opener, “Achey Bones.” It’s more folk than rock, with a palette similar to Budapest by George Ezra. The band showcase their unique vocal deliveries well here, and overall the song has such a large amount of energy in their dancing rhythms. It’s followed by “Best Tears,” which rejects the very concept of a status quo. Carrying a doo-wop feel, its endlessly sunny and surfy. I also found their use of introspective, but still uncomplicated lyrics, to lend itself to this style well.

“Do smile and dry those eyes
So, all the girls and bad boys made you cry?
Well, you know, those were the best tears of your life
Of your life”

This album’s breakout hit is “So Alright, Cool, Whatever,” and it's clear to see why. This was the only song I had heard prior to checking out the full project, and it still holds up with undeniably catchy melodies laid atop the playful arrangements. The balance of more deadpan vocals with glimpses of intensity also make for a nice dynamic throughout the song. It’s followed by “Hungry People,” which brings the already explosive energy to another tier. The band’s humor peaks through here, while still carrying an earnest message in between about social constructs. It’s fuzzy guitars and poppy chord progression are a definite earworm, so I quite enjoyed this one.We’re then treated to “Reason for Dreaming,” which marks a shift in the album. This one is far more intimate, swapping distortion for tender strings and a softer vocal cadence. This allows us to breathe between these higher octane tracks. It was my favorite lyrical moment on the record, being dramatically romantic.

“We don’t even need a reason for dreaming
You and I can act it out
Life when I’m with you just loses all its meaning
There’s nothing else than what is now”

That being said, this also precedes quite a few tracks I found myself unengaged with. For example, “Grow Back” and “Heart of a Dancer” have a rock and roll feel, and while I always appreciate a band with range, it often comes across as forced. Their swaggered approach to drum and bass only go so far before feeling gimmicky. I could definitely tell that the latter would be fun live, but the recording comes across as juvenile.“Mary” was a bit better, and it allows the electric cello to take center stage. By doing this, it sets them apart from their peers. Unfortunately, the track still bored me, and I wouldn’t listen to it again. The last of this dull period is “Haunted Lust,” which starts to bring quality back. Its noisy arrangement still carries intent, making it both free flowing and tightly packed. It's also the vocal peak for me, which earns it my respect.The penultimate track, “Relimerence,” returns the intimacy found earlier on the record. It builds over time, but I really loved how tender it began. The songwriting here is simply gorgeous as it builds to a last moment of explosiveness. Honestly, it’d work well as a closer, as “Little Words” feels closer to an epilogue. It’s gentle once again, and allows for a subtly haunting end to the record.Concentrate starts off amazing, the arrangements are top notch, and The Happy Fits show a clear understanding of pop sensibilities. It’s in the back half that the album dips, and they swap out sunshine for a slight edge, which I just don’t think worked. Still, they delivered some great stuff here, and I’d still recommend checking it out.

Favorite track: Reason for Dreaming
Least favorite track: Grow Back

Review posted on 6/2/2026

Brick By Brick

Cask

Released on 7/16/2024

7.5/10

In the Summer of 2024, Cask released Brick By Brick. It’s a charming collection of fuzzed out guitar lines, varied drum grooves, and horror-centred lyricism. The side project of YouTube animator Hunter August Hancock (more commonly known as Papa Meat or Meat Canyon), I was nervous going into it. However, this EP thoroughly surprised me, as he showcases great range and ability throughout.“No Name Man” wastes no time with throwing us in the deep end. I assumed this record’s sonic palette would have been guitar, bass, and drums exclusively, but we’re treated to this distorted synth line in the intro that I adored. Don’t get me wrong though, as there's plenty of crunch going on in this track. Hunter’s vocal delivery shows immense talent, balancing the gravely tone on this track, with more melodic, gothic inspired delivery on others. It works very well, and elevates the creeped out lyricism.

“You're so perfect, your voice so sweet
Body outstretched right through the teeth
No one asks and no one cries
You're better off buried alive”

The intro of “Graveyard Lover” caught my ear immediately. It’s heavy, sure, but has a pop sensibility to it. We also hear the softer vocals that I referenced earlier on this track. They’re very theatric, which lends itself well considering this track's narrative gimmick. While the concept of this character digging up his late wife is unsettling, it's played with humor and has fun with its theme. We’re then treated to the aptly titled, “Three,” whose opening sets up a nice ambience before falling into a mosh-worthy drum groove. Like much of this EP, it’s a very dark sounding tune. I was fond of the outro, being a halftime section that fades out slowly, implying a foreverness to the song's themes.Next up is the title track, which continues the trending of haunting synthesizers and graveling vocals. It’s because of that that the track did not stick out to me very well, though it is just more of the same. It precedes this project’s closer, “Moonstruck Curse,” which I felt the opposite about. Whereas other songs have been heavy and full of noise, this song allows itself, and in turn the listener, to breathe. It’s far more melodic, and even when the song does pick up, it shows restraint. This was a very impressive way to end the EP, and it feels right in place with its werewolf narrative.Brick By Brick is impressive, no doubt. The distorted guitars mixed with a love for the horror genre are so fun, while rarely feeling gimmicky. I’d love to hear what a full length Cask album sounds like, as the act shows immense potential, and carries a niche rarely filled.

Favorite track: Moonstruck Curse
Least favorite track: Brick By Brick

Review posted on 6/1/2026

Good & Evil

Tally Hall

Released on 6/21/2011

10/10

What is there left to say about Tally Hall. The quirky rock-adjacent band from Michigan made quite the splash in their nine years together, especially with their 2011 album, Good & Evil. I was glad to finally check this one out, as despite my familiarity with the group in pop culture, their music has eluded me for quite some time.“Never Meant to Know” sets the standard so immediately high, though of course the band exceeds it. Without getting ahead of myself, Tally Hall’s intricate wording and masterful arrangements are some of the most impressive showcases of art I’ve ever had the pleasure of perceiving. With the opener, these traits are on full display. I was particularly fond of the synthesized arpeggio that shows up more than halfway through the song. By introducing new sonic elements with such restraint, it keeps the track feeling fresh in every moment. It’s followed by “&”, this record's thesis statement. It deals in opposites and duality, making for a consistent emotional core. The vocal harmonies and fuzzed out bass make this track so fun, and I almost felt elements of Panic! at the Disco’s “Pretty. Odd.” on it. All in all, I was very fond of this track.Track three is “You & Me,” which continues their use of dramatic language. It’s a very rhythmically tight track, and I specifically enjoyed its chord progression. There’s a subtle dissonance to it, lending itself well to their personal style. It precedes “Cannibal,” which was absolutely my favorite track. The opening shows restraint, juxtaposing the explosive chorus. They explore toxic romance with their own unique lens here, making what is a common topic feel so uncommon. It’s also so darn catchy, making it a standout for me.

“And I am the willing victim of a cannibal
She rips out my bones just like I'm an animal
And right when I'm feeling like my blood is drained
She calls it a game
But the wound that she leaves is unmistakable”

At first, I thought “Who You Are’s” swing had an almost sea shanty aspect to it, though that doesn’t carry throughout the track. Regardless, this song feels like an emotional highlight, as Rob Cantor’s tired vocal delivery elevates the almost apathetic wording. Afterwards is “Sacred Beast,” which is very sunny in comparison. Most Tally Hall songs would be outliers in other band’s discography, but this one feels unique even among their own catalog. “Hymn for a Scarecrow” brings the lights down for a moment. It’s mostly tender, before resulting in a noisy middle, and even softer outro. This leads well into “A Lady,” which serves as a delicate pace breaker between the two longer songs it's sandwiched between. It also name drops the album’s title in its lyrics, which is neat“The Trap” picks the energy back up with its syncopated strumming pattern and bouncing drums. It reminded me of an early ROAR track, the inspiration is likely flipped. I thoroughly enjoyed this one, specifically in its use of harmonies. I feel like this method of vocal layering is so uncommon in popular music these days, which is such a shame. Either way, this track’s lyrics also stood out to me as more examples of Tally Hall at their best- theatric, dramatic, and romantic.

“Midnight air is unprepared for
Thoughts we would condemn
Silence of the stars above in any other weather
We would try to stay together”

I had almost entirely forgotten about “Turn the Lights Off,” though with that first second, a rush of memories returned. I remember finding this song in mid 2020, so I’m surprised never looking into the band after. It still holds up, and the song's drum machine inclusion mirrors what they did in the opener, but on an album scale. It’s a subtle introduction of a new sonic element, which breathes fresh life into their sound.With “Misery Fell,” the band is a bit more gentle with its approach. It’s very much a narrative track, and I found the La’s in the pre-chorus to be hauntingly gorgeous. The song does have a burst of energy in the mid section, briefly reconstructing itself into an entirely new arrangement. It slips back into itself by the end, showcasing the band’s willingness to reject pop song structure entirely. It’s followed by “Out in the Twilight,” which I thought had an almost club music fee. I found myself foot tapping and head nodding without intent, which was pleasant.The penultimate track, “You,” is very gentle, and a romantic standout. It’s so much calmer than many of the tracks it's surrounded by. I honestly have little to say about it other than how cute I found both its lyrics, and overall sound.

“It never seems like I'm all alone when now
Everywhere that I search about is for you
There's always something that's worth believing in
Keep uncovering more of the thoughts for you”

“Fate of the Stars” closes this record out in the best way possible. With so many different avenues of genre and style explored, it's only fitting that the last song pulls elements from all throughout. Obviously very difficult to pull off in practice, but they absolutely do. In fact, the last two minutes are spent on an entirely different composition, making it feels like more than one song here. They never phone it in, not even on this final fourteenth track. Truly, impressive.Tally Hall is likely one of the greatest bands to come out of the late 00’s. With Good & Evil, they showcase their immense range, as well as their mastery of their craft. It’s intricate and detailed, while remaining catchy. Still, even in its poppiest moments, each song is executed with precision. The band rejects simplicity throughout, making for a timeless record that continues to be adored by many.

Favorite track: Cannibal
Least favorite track: N/A

Review posted on 5/31/2026

Big Bear, Little Bear

Rusty Clanton

Released on 1/14/2018

9/10

Rusty Clanton is an artist that I believe never truly got his flowers. Even today, when people talk about the 2010 YouTube music scene, his name hardly gets tossed around or even mentioned. Most people just aren’t familiar, but I think if they were, he would be far more adored. With Big Bear, Little Bear, he introduced a polished, but still true to himself, sound.“Oh, Isabella” opens the door beautifully. Its intimate electric guitars are mixed in such a beautiful way, and the way Clanton’s delicate voice sits on top is outstanding. With time, the track introduces layered harmonies to expand the environment, while staying soft at the core.It’s followed by “Dirty Words,” which is a very unique track here. It opens in a tender manner similar to what we’ll see for the rest of this record, but quickly receives a burst of energy. This transformation results in an indie-rock folk-pop hybrid sound that is endlessly fun. It helps that the song itself is so catchy, making this one of Rusty’s best.I’ll be frank, “If You’re a Ghost” has never been my favorite track. The haunted, roomy approach to its production makes it feel dizzying, and while that does elevate the emotion of the track, it's just not for me. Regardless, the arrangement here shows a desire to experiment, which I can absolutely appreciate. It precedes “Married in the Morning,” which takes things back to basics. This is just beautifully honest folk music. Rusty is particularly vulnerable here, and by stripping away the production, he lets his songwriting chops lead the tune.

“When we finally got settled, I couldn't feel my toes
We drove right up the middle, and kissed until we froze
You're still in every letter, yeah you're the box on my shelf
Lighter than a feather, heavier than hell”

“I Hope It’s You” swaps the acoustic back out for the electric. By doing this not just here, but throughout the album, he injects a slight sparkle to the music. This sets it apart from other indie folk acts, as well as music in his own catalogue. In terms of the track itself, its more romantic lyricism with a human element. It fades seamlessly into “Comfort,” this record’s lyrical standout. His use of more dramatic language here is delightful, and I’d love to hear more of this from him one day.

“I would watch you like a boat captain looks over the ocean
Trying his best to guess where the wind's gonna blow
I gladly tossed above your waves
I miss the things that kept me straight enough
Now I'm straining my mind to remember the sound of your voice”

“False Start” is less of a closer, and more of a melodic ambience to fade out the tracklist. Its production and arrangements are dazing, lending a hand to the soft electric guitars. It’s so beautiful, and I love the droning that the song does towards the back half. It’s a fantastic note to end the project on, leaving a melancholic taste in my ears.Big Bear, Little Bear is one of the most beautiful projects I’ve ever had the pleasure of listening to. Rusty Clanton truly perfected his DIY production here, and he elevated the already masterful songs he wrote. I hope more people check this out so he can get the attention I’ve always thought he deserves.

Favorite track: Dirty Words
Least favorite track: If You're a Ghost

Review posted on 5/30/2026

The Secret of Us

Gracie Abrams

Released on 6/10/2024

6.5/10

Prior to its release, Gracie Abrams described her sophomore record as “more extroverted” than her debut, and I see exactly what she meant. The music found on The Secret of Us is introspective, confident, and restrained when need be.The record opens up with “Felt Good About You,” though it serves more as a prelude to this album’s tone. It’s ambient, and allows us to breathe through its instrumental. I really enjoyed the soft arpeggiated pad that drones through the whole track, as it sets a steady ground for Abram’s vocals. The true opener comes with “Risk,” which was also the first single for this project. It’s classic singer songwriter pop, but with a modern execution. Thematically, it's about taking a chance on something, or someone, you might want. Not groundbreaking, but a very relatable tune to start us out.“Blowing Smoke” continues the trend of folk influence. I found its mellowed out intensity to be very emotionally gripping, and her vocal delivery fully sells it. It’s followed by “I Love You, I’m Sorry,” which almost reminded me of an early Ed Sheeran track. I liked her writing here, as she balanced the personal with the universal well- something that I associate with Sheeran’s music as well, which is likely the connection.

“You were the best but you were the worst
As sick as it sounds, I loved you first
I was a dick, it is what it is
A habit to kick, the age-old curse
I tend to laugh whenever I'm sad
I stare at the crash, it actually works
Making amends, this shit never ends
I'm wrong again, wrong again”

Track five, “us” both features Taylor Swift and drops this album’s title. It opens quietly, and spends the rest of its four minute run time swelling. That’s difficult to pull off without feeling empty, so I applaud the long crescendo here. It precedes “Let It Happen,” which has a morning-after glow to it. This one was definitely the emotional highlight for me, as Abrams delivers her lines in a vulnerable and raw manner.Up until now, most of these tunes have been slower, acoustic led tracks. “Tough Love” gives us our first taste of upbeat, and it does it well. Gracie has a charm here, delivering humorous, but still honest at the core, lyrics. Next up is “I Knew It, I Know You,” which brings the lights back down. It's such a campfire tune, being entirely carried by simple acoustic guitar and her voice. Still, it's a poignant track, and one that does exactly what it sets out to do.“Gave You I Gave You I” introduces a new, subtle layer of pop production. By doing this so late into the record, it breathes new life and showcases a range that many other pop acts can lack. The vocal delivery on this one specifically caught my ear, though I was also quite impressed with the writing here.

“And you did all that I wouldn't do, erasin' lines around us
I held my head, I used to hold you, but now I'll walk around us
And I can't lie and claim confused when I know just what happened
You got bored and I felt usеd, now I'm all sad about it”

If I’m honest, I completely missed “Normal Thing” on my first listen. I like the texturing here, but it really doesn’t stand out compared to some of the other tunes here. It doesn’t help that it's followed by “Good Luck Charlie,” this record's tender peak. It is a truly intimate moment between Abrams and people directly in her life, only it's put on display for the world to know. Sure, many of these songs are stripped down and produced in a straightforward manner, but something about this track truly spoke to me.The penultimate track (and would be closer) is “Free Now.” At first, I expected another mellow song that served as a continuation / conclusion of this album’s somber moments. It’s just as I had that thought that the song proved me wrong, with an injection of energy unlike anything we’ve heard on here. I loved this track, and I feel like it serves as a perfect ending note to this record.

“If you find yourself out, if there is a right time
Chances are I'll be here, we could share a lifeline
If you feel like fallin', catch me on the way down
Never been less empty, all I feel is free now”

That would be, if it was the final song. Alas, the album closes with “Close To You,” a last minute addition to the record that was done to honor fans that wanted the song’s release. It’s not necessarily offensive, but it feels like a huge tonal shift, and would fit much better earlier on.Gracie Abrams could have left a few tracks off of The Secret of Us. If she’d done so, I think there’d be a much more solid album here. Still, the bad absolutely doesn’t weigh out the good, so I still had a great time with this record.

Favorite track: Free Now
Least favorite track: Normal Thing

Review posted on 5/29/2026

Buds

Surf Curse

Released on 5/10/2015

7.5/10

Despite its widespread influence on internet indie culture, I had yet to check out Buds, the 2015 album by Surf Curse. After finally giving it a full listen, it's easy to see how and why they’ve gained such a following.The opener, “Chloe Kelly,” bursts right into our ears. It’s explosive, noisy, and a textbook example of what Surf Curse will do on this album. While at times the tracks can feel samey, that same approach to songmaking makes the tracks feel uniquely theirs. It’s followed by “Bummer Friend,” which was one of my favorites here. The oo’s are haunting, and its final chorus feels almost anthemic. I can imagine myself at a party in someone's backyard, partaking in the communal angst.“Heathers” is based on the film of the same name, and is sung from Veronica’s (the protagonist of that film) point of view. On the surface, it seems romantic and almost cute. However, the darkness of the relationship rears its head quickly, adding a new layer to the song. Also, the screamed whoa’s at the end add a pump of energy, making for an explosive ending. Afterwards is “Ponyboy,” whose lyrics are a definite highlight of this record. It’s almost eyerollingly emo, so much so that it flips back around to feel earnest and true.

“Take these pills, let's get drunk
At the cemetery, it sounds like fun
We can dance on the graves
'Till our bodies melt away”

Despite being a fan favorite, I’ve always disregarded “In My Head Till I’m Dead.” Sure, it’s more of the same, but its melodies and lyricism don’t click with me like the other tracks. “The Smell Saved My Life,” however, caught my ear for sure. A love letter to not just the Los Angeles venue known as The Smell, but to the California music scene as a whole. They show restraint in its intro, adding to this song's dynamics and overall execution.“Goth Babe” is another one of this record’s standout tracks. It’s undeniably iconic, and endlessly fun. It precedes this album's true breakout hit for the band, “Freaks.” What is there left to say about “Freaks?” It’s such a legendary track for the band, and defines this era of bandcamp indie rock sludge. Despite its notoriety, the track maintains its emotional core, and fits well on this tracklist.

“My head is filled with parasites
Black holes cover up my eyes
I dream of you almost every night
Hopefully, I won't wake up this time”

The record closes out with “Dreamin’ Wild” and “Fire Walk With Me.” These tunes are more of the same, but honestly, that’s not such a bad thing. It’s clear that the band had fun with the record, and what more there is to music."Buds is not some magnum opus by Surf Curse. Rather, it's a time capsule, and a glimpse into the band’s youth. Each track is so fun, while still carrying emotional substance. The group show their understanding of catchy melody and straightforward instrumentation here, making for a light hearted and pleasant listen."

Favorite track: Ponyboy
Least favorite track: In My Head Till I'm Dead

Review posted on 5/28/2026

Escapism

Mindless Dreams

Released on 6/2/2023

8/10

In 2023, Mindless Dreams released their debut EP, Escapism. It’s six tracks ripped straight out of the indie handbook. They wear their influences on their sleeve, and they wear them well.“Nowhere to Run” places us right into their moody world, with a slow build into a head nodding instrumental. I love the dark, warm guitars here- specifically how they sit beneath the vocals. Other than that, it’s a pleasant rock tune that leads into track two, “Style Of Heart,” well. I was very fond of this one almost immediately. It’s very reminiscent of the 2017-2019 indie boom, one of my favorite eras of music. It has a sway to it, making for a sentimental and romantic track.The intro to “Ode to Hers” caught my attention very well. I’m not sure what the sample is from, but the way it fades into that swell felt so palpable, and the way everything goes silent for a moment felt very ahead of a band in their position. The song that it continues on to be is another tender moment, which I think lends itself well to the vocalist’s style.It’s followed by “Dying Man,” which is easily the standout track for me. Very often, bands are eager to be quick and make noise. Sure, that can be fun, but it takes effort and talent to pull an intimate track like this one. They come across as very mature here, and while I wasn’t able to find a lyric sheet, their wording balances the romantic and the dramatic well. It’s honestly such a gorgeous, ambient tune, and the more than competent mixing makes it feel full while still leaving room for the song to breathe.“Neurotic” brings up the energy after the mellow period. It’s fun, though I think it's overshadowed by the grander moments that precede it. The EP closes out with “Untold,” which feels like a center to their range. Its drums are bouncing, but it still carries a warm quality to it. I adored the arrangement here, specifically in how simple but effective the composition is.Mindless Dreams is a band far ahead of their position. On Escapism, they establish an ability to restrain themselves, resulting in a level of maturity that is rare for an act their size. I found these songs wonderful, and hope to catch myself at one of their shows soon.

Favorite track: Dying Man
Least favorite track: Neurotic

Review posted on 5/27/2026

everyone for ten minutes

Bleachers

Released on 5/22/2026

6.5/10

Bleachers recently released their fifth studio album, everyone for ten minutes. It’s more of the band’s signature style, but with fresh new flair and perspective. The brainchild of Jack Antonoff, he has reached a true level of maturity both in his restrained instrumentation and beautiful, theatric lyricism.The opener, “sideways,” is nothing groundbreaking for the band by any means, but it still captures the magic that the band is known for. I was nervous that this album would be a lot of the same, but track two, “the van,” calmed that nerve. It’s a very nostalgic track, and I found its detail oriented songwriting to be a treat. In the best way, it felt country- honest, and specific.“we should talk” is our first taste of tried and true indie pop on this record. While the song’s use of electronic elements is fun, I thought that its lack of evolution throughout made it seem bland. At times, it felt like an unfinished demo that snuck its way onto the final album. I was far more pleased by “you and forever,” which was the album’s first single. I absolutely adore the haunting vocal sample that drones through the whole track, especially with how it meshes with that drum intro. It all culminates in an explosive final minute, where my only gripe is how difficult it is to understand his words at times. This is common with Antonoff’s music, as he is known for the excessive, and likely intentional, use of reverb. Still, looking at lyrics confirms my confidence in his writing, which is at a peak all throughout the record.

“Who could catch their breath at a crime scene?
Born and raised to keep dark findings in my mind
Numbers blurring, streets are feeling different
Losing track of all of God's indifference
Who gets by?”

We get a bit of a sonic shift on “dirty wedding dress,” as it has a Southern charm. I definitely hear ROLE MODEL influence, though it could just be pop music’s recent twang in general. Either way, it’s undeniably fun. It’s followed by “take you out tonight,” another standout track in my eyes. It starts smaller, but builds into an upbeat tune that's full of personality.The lights dim on “i can’t believe you’re gone.” This is immediately and obviously personal, and a beautiful way to honor the loss of a loved one. I have little to say here, as it is just intimate, beautiful songwriting. “dancing” continues this trend, though with a different tone. Where the previous track felt grand and confessional, this one feels smaller. It’s folky, and feels like a private moment between us and Antonoff. In fact, “she’s from before” feels folk-like in the same way. It’s very interesting to see Jack play around with so many musical styles on one record, while still having them feel cohesive. I’d argue the trait that brings them together is Antonoff himself, or more specifically his lyrical tone.

“The west burns but the east will bleed
My ancestors haunt most cities and towns
So I tour to try and talk to them
Can't have these thoughts on my own”

Our penultimate track “i’m not joking,” which features a playful piano atop a chill, laid back drum groove. These two elements are at the center of the song, and offer a subtle transition out of the past three tracks and their tenderness. It helps lead into the closer, “upstairs at els.” While this closer didn’t necessarily impress me, it does bring back more of the sound I expect from Bleachers, which wraps the album in a nice bow. Other than that, it’s a catchy tune, and feels like the band playing out the end credits of this album's ambience.everyone for ten minutes is interesting. At times, I found myself truly captivated by Jack Antonoff’s knack for melodies and confessional songwriting. However, at other times, I felt like I’d heard a song a billion times before, and was tired of it. I think Bleachers’ play with some interesting ideas here, resulting in an impressive album, but not necessarily a consistent one.

Favorite track: take you out tonight
Least favorite track: we should talk

Review posted on 5/26/2026

Sweat

The Technicolors

Released on 6/24/2016

7/10

In the Summer of 2016, The Technicolors released Sweat, a five track project with songs both new and old (with a new approach). Despite this, its theming feels consistent both in terms of lyricism, but sonically as well.The opener and namesake of the EP draws us in smoothly. Immediately, The Technicolors establish themselves as a band with suave, and the kind of confidence that makes these songs shine. The song's chorus feels bright in comparison to its moodier verses, making it feel dynamic as well. Like much of this project, the palette here is soft acoustic guitars and programmed drums, with ethereal pads and synthesizers taking a lead. The instrumentation is not complicated, but never does it feel simple. The band is right at their element with these straightforward arrangements.This is abundantly clear on the project's standout track, “Space Cadet.” In its almost five minute run time, the band ever so subtly shifts elements around. It never feels distracting, and always feels stable. This is likely due to the two core elements pulling more than their weight here- an acoustic guitar line and trap influenced drums. The third and main focus, however, is lead singer Brennan Smiley’s confident, emotional vocal delivery of the song’s introspective lyrics.

“This place is gonna drag me down
I can't remember where I'm supposed to go
You think you've got me figured out
So light me up, my luminol
Watch me glow”

“Fall off the Moon - Remix” is, as it sounds, a remix of one of the band’s previously released tracks. I’m unaware of the original songs characteristics, but I still found myself quite engaged here. The remix’s grand textures match the project’s vibe well, and I was impressed by the insane vocal lines being fed to us at the end of the track. It’s followed by “Hologram,” this project’s calmest song yet. It’s more of the same, but yet it feels different than the rest in its execution.The final track here caught me entirely off guard. “Tonight You Are Mine - Dressed in Pixels Mix,” is another revamp of a previous song. In the context of this project, it takes the focus away from soft pads and sine waves, and swaps them for more acoustic guitars. In doing so, it made me hear the band entirely differently. I noticed an almost Lumineers’ quality in the band, with Smiley’s subtle gravelness, the folk influenced arrangement, and the track's dramatic, mature songwriting. It’s a deeply impressive track to end on, and I was very captivated by it.

“Light the one that I could never be
I thought I heard you call my name
Thought that I could take the blame
But if you could have it all, why do you want me?”

Across Sweat’s five tracks, The Technicolors showcased their immense maturity and capabilities at a time in which their band was just a few years old. It is confident in ways that not many bands are, and they are comfortable delivering simple arrangements in unobvious methods.

Favorite track: Space Cadet
Least favorite track: Fall off the Moon - Remix

Review posted on 5/25/2026

Death to Affection

Rain on Fridays

Released on 10/24/2024

9/10

Death to Affection is the first full length release by Rain on Fridays in quite a while, and you can tell they took their time. This eleven track record offers alternative rock with timeless whining vocals, distorted guitar lines, and pop sensibilities masked through those palettes.The opener, “Something Strange,” dunks us right in. Gentle for the first half, it quickly explodes into a captivating first track. I was immediately drawn in by lead singer Madison Coe’s vocal delivery. While the arrangement is fairly straightforward for an alt rock tune, Coe’s unique vocal qualities elevate it, and many other tracks on here, to a whole new level.Track two, “Cry It Out,” is a slower tune comparatively. Don’t be fooled, as it's still high energy. I found the noisy intro to a swing feel to be very interesting as well. It’s followed by “Phonophobia,” which starts a bit more restrained. It maintains a similar tone to the first two songs, with a unique approach. The song culminates in an almost anthemic, chanting song. Despite its large feel, the lyrics carry equally as much substance as any other track on here.

“I can’t seem to comprehend the meaning of all of this
and some problems are easily to big for me to fix
Sometimes I think that it’s kinda funny that we met
Sucks I didn’t ask you to stay and just like that you left

“Keep Yr Chin Up” continues this restrained trend, though with a more moody methodology. I continue to be captivated by Coe’s voice, as it really is this project’s bread and butter. Next is “We Are So Alike,” which abandons the more tender instrumentation. It is crunchy, frustrated, and detailed with precision. Never does its anger feel unfocused or unwarranted. It’s true to the band’s sound and image.I thought the subtle sense of humor on “Tough Luck” was very fun. It’s difficult to say “If god it real then he’s a jackass” and not sound corny or have it feel forced, but the band sells it well. This is once again because of Coe’s delivery, but also absolutely through the dizzying drums and dazed guitars. It seamlessly transitions into “Get Out (Interlude),” which feels like an epilogue of the previous track. It’s definitely the poppiest tune on here, and I found it to be very delightful.“Banshee” brings more edge to the table, though it didn’t click with me personally. I think its message is really great and fits perfectly for a band with this sound, but I found myself less engaged with its instrumentals. I can’t say the same for the following track, “Clusterfuck.” It opens a lot softer than most songs on here, though it does eventually evolve into a more intense track over time. Lyrically, I thought it was very masterfully done, and captures its emotion well.

“Crystal clear moments and special occasions are the equivalent of your time
and the frontal thought upon my mind
I can listen to you hum a tune and tap your foot on the blank ceiling protecting my eyes
for a hundred hours and a hundred times”

At this point of the record, you may think they’d have run out of approaches to their sound. However, “Knock Out” proves that wrong. Guitarist Jesse Miller delivers intricate lines that line up tightly with Coe’s voice, making for a satisfying track. I loved the melodies here, the arrangements, and overall this track was a treat. “Spilling” closes out this record in an effortlessly perfect way. Its instrumental feels cathartic, and it's only elevated by the simple but effective lyricism. No notes here.Death to Affection is an album that could sound common on the surface, but Rain on Fridays unique vocal deliveries, walls of distortion, and confessional lyricism push and carry this record to a new tier. I was very impressed here, and can’t wait to check out more of their music.

Favorite track: Knock Out
Least favorite track: Banshee

Review posted on 5/24/2026

Spring EP

Wallows

Released on 4/6/2018

8/10

When Wallows released the Spring EP, they were just coming off the success of their first four singles and a fresh new signing to Atlantic Records. The pressure was on, and they absolutely delivered. It’s a collection of expertly crafted alternatives, and one that continues to be a highlight in their discography.The opener, “Ground,” is a textbook example of how to make introspective indie rock. Its mid-tempo drums and soft fuzzy guitars are highlights of this arrangement, but they never take away from singer Dylan Minnette’s vocal delivery. It’s followed by “It’s Only Right,” a moodier track by comparison. Braeden LeMasters, the second of the group’s main vocalists, has a quality in his voice that makes indie rock seem timeless.

“New ways to spend all my time
Some's gone and some doesn't feel right
I need a new place to stay
And I don't think I'm gonna find it”

Track three, while charming, has always been my least favorite. It’s titled “Let the Sun In,” and it’s warmer in comparison. Despite my personal relationship to this song, it’s a subtle way to introduce new influences and approaches to their music, which I appreciate.The band takes a hard left turn with “These Days,” and in fact, I believe the song’s last minute inclusion has gone on to define the band to this day. Sonically, it's led by a two chord pad and tender vocals split by both Minnette and LeMasters. By featuring a bedroom pop song on their first proper release, it set them apart from fellow indie acts at the time. In terms of legacy, I believe it was also the first step in their transition from an indie rock band to an alternative pop act. Either way, it's an infectious tune and one of my favorites to this day.“1980s Horror Film” is a similarly unique move for the band to make, though one that is less defining as its previous track. Instead, it's a nice display of the act’s sense of humor and desire to experiment with their sound.The closer, “Pictures of Girls,” is less of an intentional final chapter, and more of a victory lap for the record. It’s upbeat, classic indie rock. This was one of the band’s biggest songs for a time, and it's interesting to see how simple its arrangement is in comparison to some of their later tracks.Despite being one of my favorite bands, I am more than comfortable admitting Wallows has their flaws. However, with the Spring EP, they delivered what I believe to be their strongest project to date. It never overstays its welcome, and some of the songs still define the band to this day.

Favorite track: These Days
Least favorite track: Let the Sun In

Review posted on 5/23/2026

I LOVE YOU, ROBOT SUPERSTAR!

Friday Pilots Club

Released on 10/27/2022

6.5/10

Released in late 2022, I LOVE YOU, ROBOT SUPERSTAR! is a five track EP from Friday Pilots Club. It’s filled ear to ear with distorted textures, heavily alternative drums, and influences out the wazoo. While I was impressed at first, the project drags off towards the end.The opener is very charming, however. Entitled “Hot Mess,” it is an explosive and anthemic start to the record. I loved the use of melodic guitar lines and shouting crowds in the chorus, which I’m sure are both a treat live. Lead singer Caleb Hiltunen’s vocal delivery is definitely a highlight here, as he delivers each line with an unadulterated confidence that’s difficult to find in alternative music.Track two, “Poison or Patience,” features fellow indie act OSTON on the second verse. It opens gently, but builds into another intense track. By adding OSTON’s vocals, they keep the palette fresh without changing much from the opener. It’s followed by “Never Say No,” which opens in a similarly tender manner. This one maintains its quietness for a lot longer however, allowing Hiltunen to deliver the emotions on this song well. He elevates the already dramatic lyricism in a way that not many can do.

“I'm hoping it's you too, as I scorch in LA
Know I won't wither without you, give myself away
Where's the meaning in this fleeting age?
It's a vicious path but it's all we have”

This is where the project began to lose steam for me. On “Better With,” we’re fed more moody chord progression and fuzzed out guitars. However, with the way the vocals line up with the guitars, it comes off as performative and fake intense. While those guitar lines are interesting, I would have kept them as separate elements. The following song, “Bury Me,” carried similar problems of feeling performative. I liked the sinister bass line and the overall restrained approach, but overall it felt like a discard Imagine Dragons song. Not good Imagine Dragons either, like the bad stuff. Yeowch.The EP closes out with “IDWBS,” an acronym for “I don’t want to be someone.” This track picks the project back up with its energy inducing arrangement. It wasn’t anything special, but I still found myself enjoying the track.Friday Nights Club delivers some interesting tunes on I LOVE YOU, ROBOT SUPERSTAR! As an EP, it functions well to show us their full range as a group. However, with that range comes not only highs, but lows as well. Still, I found this to be undeniably interesting, and I’ll keep this group on my radar from now on.

Favorite track: Never Say No
Least favorite track: Better With

Review posted on 5/22/2026

Paralyzed

the booyah! kids

Released on 3/15/2026

7/10

the booyah! kids are a three piece indie pop group from New York. They recently put out Paralyzed, a collection of DIY pop singles that they’ve been releasing over the past year. It’s a delightful experience, and shows a polished, intentional evolution of the sound that made them so likeable in the first place.The namesake opener is a clear example of this. It immediately immerses us into these dancing drums and fluffy synthesizers. While not the only singer, Emma Lee does a great job on this track. She elevates the equally impressive lyrics, which I found to be a highlight not just here, but throughout the entire project.

“Now I'm paralyzed
You tell me I'm lucky cause I'm on the other side
But I'm, I'm livid inside
You're a terrible reminder of the ways that I've tried”

“Grammy” is a bit more stripped back, but carries the same charm. In terms of concepts for music, it can be difficult to come across a unique topic. However, the group explores an artist's relationship to art itself here, specifically in the context of a lost relationship. They ask if the harm they’ve caused to this person will move them forward in a way that is essential to their new being, and I think that’s really insightful.It’s followed by “Emma Emma Emma,” a sentimental tune. I loved the arrangement on this one, featuring a specifically bright mood. It’s also dedicated to one of the trio’s members, which is a sweet touch. We’re then treated to “overoverrated,” which I was a bit less engaged with. It’s not upsetting by any means, but in terms of standing out, it just did not do it for me.The same can not be said for “Movie Star,” however. With its synthesized meter bass line, it caught my attention instantaneously. Most of these tracks feel sunny, so to have a song that feels dimmer in comparison is a plus. I was also captivated by the “I know I want it” refrain, being a sensible poppy addition to an otherwise introspective song.

“Late in the station that you live above
I know you well, but never well enough
And now I’m back at the beginning
And I can feel my head explode again
When you look me in the eye and you ask to hold my hand”

The following track, “always be my man,” was pleasant. Its swing feel and romantic tone make it very palatable, if not a bit samey. The closer, however, offers something else. Entitled “Best Friend,” it is sentimental pop at its best. I loved the vocal layering, spacey synths, and overall approach to its message. It’s a nice note to close the book on, and is beautiful until the end.

“Found you in the water and the water runs deep
Penny for a memory but you’re little mind’s weak
Take a breath, you can have it all, have it all
Oh you had it for a moment”

If you haven’t been keeping up with the booyah! kids, I’d recommend starting now. With Paralyzed, they showcase their immense talent throughout all seven tracks, making for a collection of some beautiful DIY pop.

Favorite track: Movie Star
Least favorite track: overoverrated

Review posted on 5/21/2026

Bellflower

Monday

Released on 1/10/2025

7/10

In early 2025, Monday released the dazzling Bellflower. It’s a collection of fourteen moody indie rock tracks, filled ear to ear with whining vocals and distorted guitars. Standing tall with its hour-long runtime, there are some golden moments here.“Andrew’s Song” opens the door softly, allowing us to immerse into this album’s world. Its ambient guitars are gentle for just a moment, before building into a high-energy opening track. It’s very fun, while still clearly carrying emotional substance buried beneath. The follow up track, “Two Different Eyes,” goes for a softer approach. I loved the arpeggiated guitars here, as they carried an almost under-water feeling not found elsewhere on the record. I was also impressed by this one’s lyrics, specifically in its earnest phrasing.

“Open up your eyes, the sun’s burning down
Listen to your mother, the love’s running out
My life hasn’t been the same
Everything else has to rearrange”

Track number three, entitled “Loma,” has a smoked out, jazz feel. I was immediately submerged into this one’s environment, and by incorporating new elements such as the organ or specific distorted vocal chain, it keeps the songs feeling fresh. The next two tracks, “I’ll Be Here When The Sun Comes Up” and “Son,” were both decent, though I found them to be less notable or distinct from other tracks here.“Why Do You Care’s” collection of textures were a great buildup, specifically the fuzzed out bassline. While I wish it had evolved into something more unique, the track that it built into was still a good time. It’s followed by “Introspect - Interlude,” which I found very enjoyable. Its tender arrangement serves as a good pace breaker between some of the more upbeat, darker tracks.My favorite track was definitely “Waste Of Time.” It features Mario Cuomo, and opens with this beautiful disco-inspired drum groove. Then, it evolves into more of this album’s usual, however it is elevated by the addition of Cuomo’s deeper vocal delivery, which I thought was a perfect fit for the record. This song also had the best chorus hook, which still stood out past the textured walls of noise.The band leads into “Go Slow” with a screaming vocal line. It quickly culminates into an explosive instrumental, which although samey, was fun nonetheless. It’s followed by “Velvet.” This one’s arrangement stood out to me, in that it felt restrained in a different way. A lot of these other songs are full, but are sometimes held back by the mix. This one’s restraint feels intentional, and the instrumentals support that. “Love Will Get You Down’s” dramatic intro was a highlight, and I enjoyed the choppy guitar lines.We’re then treated to “My Old Guns.” This song is seven minutes long, and while I enjoyed its elements, I can’t help but wonder why it's so long. I thoroughly wished it evolved in some way, rather than maintaining a status quo the entire time. Comparatively, “I’ll Get Mine (Marblehead M.A.).” utilized its similarly long run time more effectively. It begins with a more stripped back arrangement, and transforms throughout. The last two minutes are spent with ambience, which lead well into the closer, “Bellflower - Outro.” For a closer, it makes little impact. Still, I found myself very engaged with it, specifically through its use of electronic elements, and the way it mirrors how soft the album opens. It features no lyrics, but still makes quite the closing statement.Bellflower by Monday is a good album, hands down. I loved the arrangements, vocal delivery, and most of the songs overall. However, it is held back a bit by each song feeling a minute long, and the scale of how many tracks there are. I think there is a great record buried here, and I will definitely check more of their stuff out in the future.

Favorite track: Waste Of Time
Least favorite track: My Old Guns

Review posted on 5/20/2026

Over Easy

Diet Cig

Released on 2/24/2015

7/10

Despite my desire to be in the know about the best modern indie bands, Diet Cig completely avoided my radar. That is until now, as after listening to their 2015 EP, Over Easy, I can say I am a fun. While the band is currently on an indefinite hiatus, their music still holds up as a reflection of the indie scene at the time.Track one, entitled "Breathless," features a bright, classic indie rock feel. It's very spirited, and lead singer Alex Luciano's voice carries the project from just another band, to one with personality. I got some slight twee vibes from her delivery, but also from the lyrics themselves. Each line feels so personal- not like a confession, but like an inside joke between her and herself alone. It's followed by "Pool Boyz," which carries a lot of the same qualities.I found "Scene Sick" was this project's highlight, being slightly more restrained in its approach. It's soft, but not quiet. I loved the drum groove here, and how the instrumentation sort of revolves around it. On the vocal side, Luciano delivers these lines in a more vulnerable way than previous tracks. This is reflected in the lyrics, which describe a desire to let loose, which is then reflected in the upbeat ending to the track.

"I just want to dance
I just want to dance
Come on, take my hand
Fuck all your romance
I just want to dance”

On "Cardboard," we're treated to more self described "slop pop." It's fun, if not somewhat repetitive. Still, the woah's on this one's instrumental breaks add a unique enough garnish. I honestly felt reminsicent of The Frights, who we're coming up around this time.The EP closes out with "Harvard." I thought this one very cleverly explored it's concept. Around the halfway point, the song dims and mellows out. It builds and eventually culminates in an explosive vocal lead into this victory lap of an instrumental.Over Easy is a textbook DIY indie rock EP for better or for worse. With that said, I still found myself having a great time with these tracks. I look forward to exploring the full Diet Cig catalog, and hope to see a return from them.

Favorite track: Scene Sick
Least favorite track: Pool Boyz

Review posted on 5/19/2026

Book Club

Lili Trifilio

Released on 9/24/2019

6/10

Lili Trifilio is widely known as the lead singer of indie rock band Beach Bunny, and in 2019, she released the Book Club EP. It’s a small collection of minimalist electric guitar and tender vocals. She delivers some gems here, particularly in terms of her songwriting.“Bicycle” sets the status quo up effortlessly. Like the rest of this project, it’s uncomplicated, while still carrying a lot of substance. I was very fond of how subtly dazed it felt as well. The second tune, “Best Friend,” maintains the same palette and execution. Still, I found myself more attached to this one’s wording, as well as its instrumental breaks.On the title track, Trifilio treats us to layered guitars, adding an extra touch of polish to an otherwise very DIY project. I can imagine this entire EP felt very nostalgic for her, considering Beach Bunny began as a solo project. To place herself back in that lonesome world must have been so curious.

“Let's leave our book by the road
And let all the vines turn the words into stone
And write a new novel that no one has wrote
I'll be the author, you'll be the best quote”

What follows is a brief, less than thirty second instrumental entitled “Bottle Rocket.” While nothing groundbreaking, it was very charming and cute. The closer, “Barbie” introduces a theme not found on this record yet. It explores feminist ideas and critiques patriarchal systems, but through a specifically personal lens. This adds a final touch of vulnerability to not just the song, but the EP as a whole.Throughout Book Club’s short run time, I found myself surprised by how stripped back it was. But honestly? That’s what makes it so charming. It feels as though I’ve stayed up late with Lili Trifilio, and she’s grabbed her guitar to show me some music she’s been working on. It’s minimalistic, but full of substance at the core.

Favorite track: Book Club
Least favorite track: Bottle Rocket

Review posted on 5/18/2026

you missed the best part

Cottonwood Firing Squad

Released on 8/30/2022

9/10

In 2022, Bill Rodriguez released you missed the best part under the Cottonwood Firing Squad moniker. It’s a delightful collection of elegant songwriting through indie folk and low fidelity rock, topped with an understanding of pop sensibilities that makes each song stand on its own.The title track opens up this record, featuring a simple, but beautiful, acoustic guitar underneath Rodriguez’s tender voice. It’s never complicated, and a simple but effective opening to this record. It’s followed by the equally tender track, “all dogs go to heaven.” I was particularly fond of the way his voice quivers through each line, as it further pushes the emotion of the song onto the listener. While the energy comes up a bit towards the end, it’s still very subtle, which allows the song to maintain its somberness.We’re treated to a jazz influenced guitar solo on the intro of “they named a highway after you,” which leads into a slightly indie rock influenced track. We’ll hear more of this influence as the album goes on, making the entire record a slow fade into the full Cottonwood Firing Squad sound. Lyrically, it’s a heartbreaking depiction of abusive familial relationships caused by alcoholism. It’s tragic, and beautiful at the same time.

“Says you remind him of your mother
So he calls you by her name
He only ever does it when the booze stops wearing off
They'll say it's not your fault
And he's the one to blame
He's the only one who loves you
He's the only one that's stayed”

The next track, “how to drown // acoustic,” brings the lights back down. It sounds like begging, and is another great tune. It’s followed by “stay off the flowers,” which has an almost doo-wop feel. I found this one very cute, particularly for his vocal delivery. Bill Rodriguez has such a pretty voice, and it’s at a high point here.“beckford” dunks us into a fully realized soft rock song after a dizzying intro. It’s high-energy without being too intense. I was very impressed by the blend of folk elements on this track as well. Lastly, the album closes with the surfy “hospital beach,” Cottonwood Firing Squad’s most popular song. On the context of this album, it could risk feeling disjointed from the rest of the sound. However, by having the entire record build the energy up over time, this feels like a release of that soft tension he’s presented. It’s very fun, and still carries the same heart found through.Cottonwood Firing Squad executed you missed the best part so cleverly. By slowly incorporating new sonic elements and genre influences through out the tracklist, it keeps the album fresh while also feeling cohesive. I thought all of this was so pretty, and would absolutely recommend checking it out.

Favorite track: they named a highway after you
Least favorite track: beckford

Review posted on 5/17/2026

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