I Hear Pennsylvania is Lovely in the Fall
Author: Kevin
Mixtape maker. Playlist dealer. Cruciverbalist. A real piece of work.
Discussion: What’re you listening to?
Good morning! Overwhelmed by algorithms? Looking for a place to share the music you love with like-minded people? You’re in the right spot.
As always, thank you to those who have recently upgraded your subscriptions. Your direct support fuels this community and makes a positive impact. Shares and reposts all help as well! Thank you!
When you’re ready, joining them is easy. Just click here:
On to the music:
For those of you who are new, we kick off every week by sharing what we’ve been playing.
The playlist below is just some of what I’ve had in heavy rotation. This week, I’ve got another great single from Mama Manana Records, the latest from The Tisburys, an old favorite from my PDX days, and more!
Now it’s your turn.
What caught your ear this week? Any 2025 releases or shows you’re excited about?
Whatcha got? Share your thoughts in the comments!
An Album of the Month Event You Should Check Out
We’ve got a great host and a killer record, all set to go. All we need now is you! Here’s how to join the fun.
Album art courtesy of Slash Records
Good Morning!
Today we’re talking Violent Femmes, and well, how you can talk about the band with other like minded people.
Note: As some of you know, I’m one of the editors for an online music publication called The Riff. Each month we host an album discussion (via Zoom), and this month’s is coming up on Sunday. To be clear, all credit goes to
Terry Barr who facilitates the meeting, and
Steve Goldberg, this month’s host. These two are doing the heavy lifting.
As you’ll see below, these are low-key affairs; all are welcome! If you want to share some thoughts, that’s awesome. Wanna just sit back & listen? That’s cool, too.
Either way, it’d be better with you there.
KA—
It’s that time again; it’s time for our monthly album discussion!
One of The Riff’s core tenets is sharing music. That obviously involves writing about it (we are on Medium, after all) but also talking about it together. We do that monthly here.
This Sunday (23. March. 2025) is that day.
Below is my boilerplate explanation of these discussions and the value you’ll get from joining us. Under that are both the record being discussed and the meeting log-in details.
- Don’t know the record? Doesn’t matter.
- Not comfortable speaking in public? Me either. And you don’t have to if you don’t want to. Heck, you don’t even have to turn your camera on. It’s a safe space, but you control what you share.
- Ultimately, you’re part of The Riff; we want you to be a part of this, too.
So check out the “rules” below, and then plan to dial in.
What is this?
For new readers (hi everyone!), The Riff hosts an online discussion every month.
Here’s how it works:
- A writer (more on that in a second) picks a record to discuss and writes a brief piece about their choice and the meeting details.
- At the meeting, they discuss why they picked it, offer a bit of a backstory/context, and whatever else they’d like to share.
- Everyone else on the call can share their own “hot take,” related story, or anything else you think is relevant.
- At the end of the meeting, next month’s writer volunteers (or is chosen), and the process repeats itself.
NOTE FOR INTROVERTS: If you’d prefer to sit in and listen, that is 110% okay. Keep your video off…stay muted…it’s up to you. It’s a safe place; you can participate as much/as little as you’d like.
This month’s host:
This month’s host is a longtime contributor and friend of The Riff. Steve Goldberg is one of the platform’s leading music writers, and his expertise spans many genres. You can also find him here on Substack, where he writes the incredible Earworms and Songloops. It’s one of my “never miss” newsletters. If you’re not yet subscribed, I highly recommend it!
Cool! So, what are we talking about?
Steve has chosen Hallowed Ground by the Violent Femmes.
From his story announcing the pick:
It wasn’t just the lyrical content that shook me to my musical core. The instrumentation — snare drum, vibraphone, stand-up bass, jew’s harp, marimba, clarinet, saxophone, acoustic guitar — it wasn’t new wave, it wasn’t punk rock, it wasn’t folk, yet it had elements of each. I couldn’t place a label on it or even an easy reference point, and this scared and exhilarated me.
Musical adventure, exploring new sounds, and sharing great music with great people make these discussions a joy. Join us and see for yourself.
Listen:
(Click the record to listen on your platform of choice)
I’m in! How can I join?
Here ya go:
When: Sunday, March 23rd: 4 PM Eastern/ 8 PM GMT
Where: Join Zoom Meeting
Join our Cloud HD Video Meeting
ID: 87634124892
Passcode: Q0=YVbE@
Thanks for being here,
Kevin—
In Conversation: Eric Arsnow of Seances
The Seances front man stops by to talk about their new record, the Milwaukee music scene, and one of the wildest mashups you’ll ever see.
Good morning!
We’re in for a treat today; Eric Arsnow of Milwaukee-based Seances stops by for a chat!
If you’ve been reading this newsletter for more than a few days, my love of new wave & post punk will not be a surprise. Bands like The Cure, Wire, and New Order all get a lot of column inches here.
I’m also a fan of underrated local scenes that too often get lost in the shadows of places like LA, London, and New York—places like Wisconsin.
So when a record described as [sounding] more like Joy Division than Joy Division does from Milwaukee landed on my radar, I was intrigued. When I pushed play, I was sold.
Like the bands above, Seances have seen their share of (well-earned) ink here lately. “Hours” was featured on ORR playlist #286, and I reviewed the album as part of the March 15th edition of Sound Advice.
Seances is a DIY new wave project fronted by singer and bassist Eric Arsnow, but he’s not solo. Rather Seances is a collective of area musicians from groups like Tigernite, Devils Teeth, Fight Dice, and Faux Fiction.
The presser describes the record in part as:
“…conjuring charming post-punk anthems who lyrically found its inspiration from horror films, the supernatural, and by intense experiences of déjà vu – the inexplicable feeling of emotionally recognizing a place even though you’ve never been there before, in different parts of the world and the people those experiences are shared with.”
That checks a lot of boxes, but I was especially intrigued by the project’s origin story. I’ll let Arsnow tell that story, but the short version is he went into a show, and walked out with an outline for a record. Another case of inspiration striking where/when you least expect it.
In a wide ranging chat, Arsnow shares the record’s orgin story, what the Milwaukee music scene is like, and what’s next for the band. He also dropped one of the wildest mashups I’ve ever heard of into the chat, so make sure to read to the end for that! While you’re here, make sure to give Power is a Phantom a spin.
Our conversation has been lightly edited for clarity and flow.
Congrats on the new record! For those who don’t know the story, can you walk us through how Seances came together?
Thank you! I’ll definitely dip into this a bit more in more depth in a follow-up question, but simply put, this has been a dream project for me to make.
Seances began as voice memos, and they sat around on my phone for like 6 months with me debating if it would be worth pursuing. At the time, I was rather busy with a couple of bands I was in. I reconnected with my buddy Jason Kartz, who is a killer guitar player. He contributed to the song “Fade,” and I quickly saw the potential in the record.
I love making DIY basement records and eventually pulled everything together from writing, recording, and mixing in a few months. Jason continued to contribute guitar to several of the tracks, and eventually, I asked Bex to join in with some of her vocals, taking over some of my parts.
Many of the records I was inspired by were recorded rather quickly, so by design, I wanted to work quickly, I didn’t want to camp out in my studio and let my intuition be my guide.
One of the quotes I saw described your sounds as “…sounds more like Joy Division than Joy Division does.” Agree? Disagree?
Ha! Yes, a generous quote indeed, and I’ll totally own it. Bass guitar has been my primary instrument for the past 20+ years, and Peter Hook has always been my top influence. I’ve often found myself in 3-piece bands (Devils Teeth, Tigernite) and found myself in a position where I needed to be a rhythm guitarist as well as a bass player, so Peter Hook’s ability to create amazing and memorable melodies has always been a point of reference for me.
As far as the vocal comparisons I’ve been getting to Ian Curtis, it’s such an honor, and I’m glad to represent the “Midwest Manchester” vibe.
Double-clicking on that for a second, what are some of the bands that have influenced your sound?
There are certainly the easy ones, like The Cure is one of my all-time favorites, New Order, Echo and The Bunnymen, Gary Numan etc. For a few less obvious answers, there’s Fischerspooner’s album #1, 14 Iced Bears’ album Wonder, and James Figurine’s album Mistake Mistake Mistake Mistake. I’m obsessed with production on records, and those in particular served as creative inspiration when working on Power Is A Phantom. I love paying attention to things like transitions, dynamics, and playing around with stereo channels to create some cool listening experiences.
The rough outline for this record came together in just a few hours after seeing The Chameleons in concert. What happened there? Were these ideas brewing for a while, or was the show itself the catalyst?
Yeah, it was wild. I saw The Chameleons for their first Milwaukee show, and I was mesmerized by the wall of sound. I locked into how Vox (formerly Mark Burgess) approached his bass playing and singing. His ability to be a melodic anchor was truly inspiring, while Reg Smithies painted these larger shoegaze vibes with his guitar lines.
When I got home from the show, I grabbed my bass, and the songs started pouring out. It was a true creative flash point, and I just let it all spool out over a couple of hours, making composition notes and capturing bass melodies. It was also super weird for me because it’s the first album I’ve ever written where the foundation was bass guitar. I later found out that Gary Numan wrote Cars on bass guitar and took it as an omen that I was on the right path.
So everything but “Weighted” (that one came together on a road trip) was captured that first night. I actually have some demos that I haven’t even touched yet.
Milwaukee (and Wisconsin in general) aren’t the first places people think of when it comes to music—especially genres like new wave and post-punk. What’s the scene like there? For people outside of our part of the world, what would you want them to know about it?
I LOVE being a part of the Milwaukee music scene. It’s a real badge of honor for me. The Milwaukee scene is truly special and it just keeps growing. We have a large swath of genre representation, which is incredible. Everything from punk to rap to Latin music, and all of it is performed at such a pro level. There are so many good songwriters in this city, and I think being surrounded by your friends who put out good records motivates and pushes you to grow. I’d also be remiss not to say that our music scene also owes a lot to the healthy support from our local radio stations, record stores, and venues. All of that contributes to why Milwaukee’s music scene is such an exciting part of Milwaukee’s culture.
What’s next? Any shows coming up? Touring? What does the rest of 2025/early 2026 look like for you?
I’m currently putting together an amazing band of Milwaukee musicians. Being a part of the post-punk genre also allows me to dip into my love for horror and Halloween visually, so I am creating a big, haunted experiential show for October that will also double as a fundraiser for my favorite local radio station, WMSE 91.7FM. More details to come on that, but it will be a lot of fun. I’m producing a lot of cool video and audio components for the show. I want whatever the live band does to feel more like a larger event; I want it to be super theatrical.
Outside of that, one of the exciting parts of Seances existing as a collective is it evolves. I’m hoping to get some recordings of the band and put out a companion piece to Power Is A Phantom that documents the live interpretations of the songs.
About half of the 2nd record is completed, so I hope to have that ready later in 2026.
Last one, just for fun: I run into you on your way out of Rushmor Records. What’s in your bag?
Ha, I don’t have to pretend at all. I’m a big fan of Rushmor, and am there at least once a month.
Some of my recent vinyl acquisitions:
- Wugazi – 13 Chambers – Yes, Dan managed to track down some copies of Cecil Otter and Swiss Andy’s insane mash-up of Wu-Tang Clan and Fugazi tracks.
- The Cure – High 12-Inch Single – This was a must for me because the B-side to this single is Twilight Garden; top of my list of favorite Cure tracks.
- Sad Lovers & Giants – Lost In A Sea Full Of Sighs – Rushmor has a well-stocked section for the Dark Entries label. This is a great collection of early Sad Lovers & Giants 7-inches.
- Lhasa de Sela – The Living Road – Ask Dan about this record. He has a great story about bringing copies back to Milwaukee from his trip to Canada. Very cool Latin folk singer-songwriter vibes. Tragically left this world too soon in 2010.
Click the record to listen on your platform of choice.
Power is a Phantom is out now. You can grab your copy here.
You can also connect with the band via Instagram and Facebook.
Thank you to Eric Arsnow for his time, and thank you for being here.
Kevin—
From the Archive: The 7 Latest Additions to My Record Collection
AT THE RECORD STORE SERIES
Note: I’m bringing this series back for 2025, and as part of that, dusting this one off from just pver a year ago. I love seeing what people pick up on their crate digging excursions, and assume (hope?) many of you feel the same way.
P.S. The Matty C. show I mention below was fantastic. If he’s comin’ to your town, make a plan to be there!
You know that old joke about garage sales, “Everything you want and nothing you need?” I think it’s similar with records. We don’t know we need something until we see it. Then, we can’t imagine life without it.
You’re not looking for most records when they find you.
I wasn’t looking for a record sale this past weekend, either. I was on the Harmony Bar’s website, making sure I had the right date for
Matty C’s show this fall when I saw a sale happening. Tomorrow.
Ten minutes earlier, I had no idea it was going to happen. Now, I was making sure I could make it. Funny how that works.
Like the bar, the sale itself was lowkey. One small yard sign out front was the only hint that something was going on. I hadn’t been here in a while, but not much had changed. The door still creaks, as do the floorboards. The paint is the same. It still smells vaguely of beer and fried cheese curds—just as nature intended. This is, after all, the house that Rollo Steele built.
The crates were in the back room, sharing space with the regular bar stuff- it was Saturday in Wisconsin, after all. The Badger game was on TV, with people keeping one eye on the overhead screens and one on the crates. The jukebox was silent (see previous). Right next to us, a lady loudly recounted her impending divorce hearing to sympathetic girlfriends. If things went down as she described, this guy had a really bad Monday. A toddler dropped a record on the floor.
There was also a family eating lunch, oblivious to everything around them. I didn’t eat.
Four vendors had their crates set up in a U-shape. The first of the four had far and away the biggest selection and highest quality stuff. Worth noting that he had a LOT of jazz records. Not my specialty, but this would’ve been a field day for the right person. Everything was priced to move at $5 or 5 for 20 unless otherwise marked.
The dB’s Like This was the first record out of the gate. It’s a classic, and for my money, ‘Love is For Lovers’ is the quintessential pop song. I already own it, but this one was in better shape. It’s also almost impossible to find their music online (which is, I suppose, ultimately a good thing, but that’s a story for another day).
Did I really need a second copy? After spending some time in my pile, I decided I did not.
I also came across a copy of R.E.M.’s ‘Life’s Rich Pageant.’ Some of you may recall my looking for this for a while. Several months ago, I excitedly grabbed a copy at a nearby secondhand store, only to get home and realize it was a different record inside. That’s what I get for not checking. On the plus side, the (now empty) sleeve looks nice on my wall.
This time, I did check, and while in great shape, it didn’t seem worth the $125 sticker price. The show must go on. Quite a few other records spent time in my hands but were put back for one reason or another.
Below is the list that made it out the door with me.
Tom Verlaine- Words From The Front (BSK-3685, 1982)
Verlaine’s solo work is a bit of a blind spot for me. I know Television, and I know his self-titled debut. But after that? Nada. So, this was a low lift risk, and it paid off. I’ve only spun it once so far, but my early impression is that it’s on brand for him and in line with his other work. For those well-versed in all things Verlaine, I’d love to hear your thoughts on where this sits with you.
Romeo Void- Benefactor (ARC 38182, 1982)
The story of Romeo Void can be summed up in three and a half words: What might’ve been.
The band was on a rocket ride to the top, with a unique sound and fantastic frontwoman in Deborah Lyall. They had a hit on their hands with ‘Never Say Never’ and its risque (for 1982) line of ‘I might like you better if we slept together.’ All systems were go. Until they weren’t.
So what happened?
We’ve talked about it here before, but the short version is MTV happened.
Video Killed The Radio Star might’ve been the first video played on MTV, but Romeo Void was a band that would end up living that narrative.
The group had every ingredient for success; critical praise, great storytelling, a dynamic singer, a fantastic sax player in Benjamin Bossi, and an EP produced by Ric Ocasek.
They checked a lot of boxes. So what happened? MTV happened. And unfortunately, that sent labels looking for bands with a certain look. Singer Deborah Iyall didn’t fit that mold, and the band’s label made the decision to stop supporting them. The term ghosting didn’t yet exist, but looking back, it certainly fits.
Today, most people only know this track. A few more will recognize “A Girl In Trouble.” but they were so much more than one-hit wonders—a point again driven home while listening to Benefactor later that afternoon. An incredible new wave record from start to finish.
The Pretenders- Get Close (92-54881, 1986)
Get Close is the fourth outing by the third iteration of the band. And while (to my ear) it lacks some of the grit & spark of the first couple of releases, it’s nonetheless solid. Plus, it has “Don’t Get Me Wrong,” one of my favorites and one many of us contributed as a suggestion for last summer’s crowdsourced wedding playlist.
Nancy Wilson/Cannonball Adderley-S/T (T-1657, 1961)
As noted, there were a ton of jazz records, most of which I flipped right by. Cannonball Adderley always stops me in my tracks. This was no exception.
The hype sticker notes that it’s “41 mins 59 seconds of jazz!” That’s my kinda odd specificity. Couldn’t they squeeze out an extra note to make it an even 42 minutes?
Aztec Camera- Backwards & Forwards 10” EP (1-25285, 1985)
I’m not that big of Aztec Camera or Roddy Frame fan. I love ‘The Crying Scene,’ but that’s pretty much where it begins and ends. The vendor noticed my looking at the album and mentioned that this was the one where they take on Van Halen’s ‘Jump.’
Sold.
O.M.D.- The Pacific Age (SP-5144, 1986)
By 1986, OMD were on their 7th record, The Pacific Age. Produced by Stephen Hague, it bears much of his hallmark style and took the band in a more sophistipop-y direction. It was my on-ramp to the band (thanks, Columbia House!) and is also home to “We Love You,” my favorite track by the group. Critics hated it. So did the band, with Andy McCluskey calling it the band’s ‘musical nadir” and describing it as one that just doesn’t sound like them. I hadn’t heard the whole thing in probably 30 years, but I remember really liking 3-4 tracks and fast-forwarding through everything else. It can’t be that bad, right? For $5, I’m willing to find out.
John Hiatt-Bring The Family, (SP-5158, 1987)
This was in the $1 bin, which is a crime. I could’ve sworn I already had a copy1, but there was no way I was going to let this languish in any defacto cut-out bin. Not on my watch. Any record with ‘Memphis In the Meantime,’ ‘Thing Called Love,’ and ‘Have A Little Faith in Me’2 deserves a forever home. And now this copy has one.
So how about you? Found any good records lately? Have any thoughts on the ones I picked up? Share your thoughts in the comments!
Sound Advice: 13. Mar. 2025
The flood of great records continues! Today we’re taking a quick look at the latest from Bob Mould, Seances, Andy Bell, and more!
Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.
Good morning!
Today we’re taking a look at the latest from Bob Mould, Seances, Andy Bell, and more!
Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—
In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.
Let’s get into it!
Bob Mould- Here We Go Crazy
At my day job, one of my coral duties is administering annual hearing exams and helping people find hearing protection that works for them. This is thanks to Bob Mould.
Husker Du’s New Day Rising hit me like a kick to the head and was never played at less than full volume. I liked it that way and loved his power trio, Sugar. To this day, it’s still the loudest show I’ve ever been to. I used to find that post-show ringing in my ears a weird badge of honor. When it was still there after day two, I started to worry. My hearing rebounded (sort of), which marked the point when I no longer cared how uncool I looked wearing earplugs at shows. But Mould hasn’t quieted down. He’s at his best when he’s at full throttle, and on his 15th solo record, he delivers.
The opener, “Here We Go Crazy,” reminds listeners of the best parts of Sugar. “Fur Mink Augurs” and “Sharp Little Pieces” are equally intense. The songs come at you relentlessly: blast furnace chords, merciless drumming, and sometimes hard-to-understand vocals (especially for those with hearing difficulties). When you listen closely, they often touch on challenging subjects—it would be easy for a sound like this to wear down even the strongest among us. Yet Mould consistently shows us a bit of light (heh).
Here We Go Crazy isn’t exhausting; it’s invigorating. It’s a breath of fresh air at a time when we need it more than ever. Play it loud; just remember to limit your exposure and keep in mind that the most effective hearing protection is the kind you’ll actually wear. (Blow your mind —and hearing—here)
Seances-Power is a Phantom
Post-punk? From Milwaukee? Yes, please! I’m a sucker for a record like this, and this debut from Seances has plenty of it. Bandleader Eric Arsnow went to see The Chameleons play, walked out afterward, and had the outline of this record mapped out in a couple of hours.
You can hear traces of that band here, but this is also an outfit described as “sounding more like Joy Division than Joy Division does.” Listeners will also pick up notes of early Wire and even Franz Ferdinand. The fantastic “Hours” was featured on Playlist 286 and is just a glimpse of what the rest of this record has to offer. (Post-punk from Cream City? You bet.)
Andy Bell- pinball wanderer
It’s been 35 years since Ride’s showed up and gave us Nowhere. The band and the record (re)defined what shoegaze looked like and proved that stark distortion and atmospheric melodies could coexist.
Bell helped pen much of that history with his guitar and made his bones by exploring new sounds and pushing boundaries. That trend continues on his third solo record. On pinball wanderer [sic], he takes us on a long trip with psychedelic, krautrock, and shoegaze stops along the way. “Panic Attack” kicks things off with a steady rhythm that manages to invigorate and soothe simultaneously- a talent Bell has mastered. Bringing disparate elements together and making it all seem natural is another.
Bell is pushing new ground but also takes a look back. On “I’m in love…” Dot Allison and Michael Rother join him as he puts his spin on The Passions’ 1981 track “I’m In Love With A German Film Star.” “Moving Concrete” reminds me of The Units’ “High Pressure Days.”
As with many shoegaze artists, there’s always a risk that the record could wander off into the weeds. I love the shuffling drums and groove of “apple green ufo,” but at 8+ minutes, it veers dangerously close. Bell wouldn’t be the first musician from this genre to get lost inside his own head— but while we see the edge a couple of times, pinball wanderer always manages to pull us back in time. (Click here and enjoy your trip into space)
Rebecca Black- Salvation
Yes, that Rebecca Black. Given her past, I suspect a lot of people will cue this up to hate-listen. They’re gonna be bummed. This EP won’t rearrange any minds, but it holds its own. If you’re looking for a medium voltage dose of synth/hyperpop, this’ll fill the bill. The production feels gimmicky in a couple of spots and overproduced in others. But overall, it’s a pleasant enough ride. Living well is the best revenge. (Click here to be surprised…or have your suspicions confirmed. Either or. )
Monarchy of Roses- Bleeding Over
I found this band not long after the last Sound Advice column. We connected through CuVa BiMö, and they sent over a link to check out. No fuss, no muss. I meant to ask them if they took their name from the RHCP track of the same name—rookie mistake. After hearing this, I doubt it.
Bleeding Over is the Bay Area band’s first long player, and the short version is this: it rips.
The four-piece (Jeremy Arias (vocals/guitar), Andres Juarez (guitar), Cameron Clark (bass), and Austin Kane (drums) deliver 10 tracks of bruising hard rock, but not so hard that it wears out its welcome. Opener, “Million Miles,” comes out of the gate at warp speed, and things never really slow down. If you were lucky enough to have been going to see shows in the early ‘90s, this’ll remind you of a lot of those nights (in all the best ways). Bleeding Over is a record best played with the windows down and speed limits ignored. Watch this space. (Click here and try not to get a ticket).
Patterson Hood- Exploding Trees and Airplane Screams
All good things in time. It’s taken Hood a dozen(ish) years to follow up Heat Lightning Rumbles in the Distance, but it’s worth the wait. Hood, of course, has a second job as co-founder of The Drive-By Truckers keeping him busy.
His fourth solo record finds him in a reflective spot, and revisiting his past. For example, the gorgeous, spare opener “Exploding Trees” is about a storm he experienced as a kid. He’s also brought friends along for the ride, including fellow Alabaman Waxahatchee, Wednesday, and Kevin Morby. On Repeat fave Lydia Loveless joins him on “A Werewolf and a Girl.”
This is an intentionally (?) low-key record made by a guy at a point in life where there’s is plenty of “past’ to mine. Records like this are hard to pull off, but Hood hits the right marks here. (Click here to travel to the deep south)
As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?
Forgive Me Father…
If you’re giving up laughter for lent, you might want to skip this one.
Good morning!
Lent began yesterday, so I thought it might be fun to share some musical confessions…if nothing else, I thought we could all use a bit of light & laughs right now.
Note: I copied this idea with permission from
Steve Bradley. Steve writes the fantastic Musical Chairs. His original (and funnier) version is here. Be sure to check it out & the rest of Steve’s work!
KA—
The season of Lent begins today, so it felt appropriate to make a few musical confessions.
Father, forgive me…
…I used to point and laugh at the Grateful Dead. Now I love them
…I never saw Talking heads
…I used to put industrial amounts of Aqua Net in my hair
…I used to point and laugh at Rush..still kinda do, tbh.
…I don’t like Radiohead
…I love(d) New Edition
…I only realized how good The Fall were after we lost Mark E. Smith
…I used to tight-roll my pants
…I owned YBT’s “Tap the Bottle (Twist the Cap)”
…I missed Alvvays and Slow Pulp here in town. I wasn’t sick, didn’t have to work—nothing like that. I just straight up put the wrong day on my calendar. It was a free show.
…I ignored every Pearl Jam record after Vitalogy for far too long.
…I missed a Mighty Mighty Bosstones show because my GF at the time didn’t like them.
…I will pay way too much for any New Order record.
…I saw NRBQ play and spent most of the time blowing them off. In my defense, I was 14.
…I thought Web3 would be good for artists
…I used to think Bruce Springsteen was just another American stadium rocker (same as Steve)
…A buddy got to go backstage at a Dead Milkmen show, and I was too shy to go with him
…I will turn up Kylie Minogue anytime she’s on.
…I went to see Huey Lewis & the News as a kid but didn’t tell people for years.
…I was an insufferable gatekeeper for years. Just the worst.
But now I have seen the light.
(maybe)
Have any of your own “confessions?” Sound off below!
Thanks for being here,
Kevin—
What’re You Listening To?
Good morning! Looking for a place to share the music you love with like-minded people? You’re in the right spot.
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When you’re ready, joining them is easy. Just click the button below
On to the music:
For those of you who are new, we kick off every week by sharing what we’ve been playing.
This playlist includes some of what I’ve had in heavy rotation. There’s some future classics and a couple of old favorites.
Now it’s your turn.
What caught your ear this week? Any 2025 releases, RSD stuff, or shows you’re excited about?
Whatcha got? Share your thoughts in the comments!
Sound Advice 01. March. 2025
Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.
Good morning!
Today we’re taking a look at the latest from Horsegirl, CuVa Bimö, Immersion + SUSS, Brief Candles, and Drop Nineteens
Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre, or any other artificial guardrail we try and put up—
In other words, there’s a ton of good stuff coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below are another batch that caught my attention recently.
Let’s get into it!
Brief Candles- Unfinished Nature (2024)
There is a clip around social media where a GenZ record store clerk shares her favorite shoegaze records. At one point—and I’m paraphrasing here– she notes that the line between dream pop and shoegaze is fluid, and no one really knows how to define it, other than you know it when you hear it. I mention this because Unfinished Nature from Milwaukee’s Brief Candles does a great shop bouncing between both.
With its skittish riffs, opener “Remote View Finder” manages to work in a little post-punk while we’re at it. Follow-up “Rewards” was featured on ORR playlist 283; it still hasn’t fallen out of heavy rotation. If you’re a fan of Drop Nineteens (more on them below), this will remind you of the band at its most wistful, with just enough feedback to keep you from floating too far off into space. On tracks like “Murky,” the music takes a much more sturdy tone.
The band–and record–are more than just a bunch of effects pedals and reverb, of course. There are elements of psych, Krautrock, and more here. Fans of Yo La Tengo might also see some similarities peeking through.
Call ’em what you want: On Unfinished Nature, the band is locked in. (Listen here)
Immersion + SUSS- Nanocluster, Vol. 3
My love for Wire is no secret, nor is my love for frontman Colin Newman’s solo work. Immersion is his project with partner Malka Spigel (Minimal Compact), and Vol. 3 is the latest in their Nanocluster series. For this release, the electronic duo has partnered with the ambient Americana trio SUSS, and the result is fantastic.
Both groups play off each other well here. Immersion’s electronic & post-punk influences complement Suss’ painting of expansive soundscapes and vice versa. Together, Nanocluster Vol 3 is, at times, the perfect soundtrack to a desert sunrise. Other times, tracks like State Of Motion channel the energy of a new (urban) day and compel you to move. The video also includes early morning footage from an airport, and I can confirm that it captures that feeling to a tee. Either way, this record is an incredible (I had to squeeze in one more superlative there) way to set the tone for your day. I’m not usually an “ambient guy,” but this one proves the exception to the rule. Being a Wire fanboy might skew things a bit, but don’t be surprised to see this on my OATY list at year’s end. (Listen here)
Drop Nineteens- 1991
Before Delaware…before 120 Minutes…there was…1991. First recorded before the band had a record label, this collection of demos was recorded, put to tape, and then largely forgotten for the next three decades.
The band’s now back, and was time to bring these recordings back to life. With only a light touch editing-wise, they’re as raw as you might imagine— these are demos made by 18/19-year-olds in their dorm rooms!—but are a great look at what the band would become just a short time later. In particular, “Shannon Waves” (also featured last week) is a standout. This one might be best described as a record for the fans, but listeners new to the band will also find a gem or two in here. (Listen here)
Horsegirl- Phonetics On and On
The follow-up to 2022’s Versions of Modern Performance sees the band embracing a much more stripped-down sound. In the ensuing three years, the band members finished high school, left Chicago for NYC, and started college. In many cases, that’s the first red flag that a record will be pretentious and insufferable. Not here, though. With Cate Le Bon on the boards, everything here serves a purpose, and there is no excess. The result is both familiar and new, almost as if the trio is insistent on not being pigeonholed into any given sound. There’s no shortage of jangle here, but there is plenty else to explore as well. They’re growing up but aren’t afraid to still embrace whimsy. (Listen here)
CuVa Bimö- CB Radio
We next travel to the Best Coast, or more specifically, the East Bay, and check out Oakland’s CuVa Bimö and their debut, CB Radio. Like any good post-punk/post-whatever record, this has jagged guitar riffs and frenetic vocals. There are new wave and goth elements here as well.
“Bad Jacket” and “Crank Wave” see the band at their snottiest, right down to the “I know a few things that are true / That new jacket makes you look like a tool” lyrics on the former. “Post/Wall” is twitchy in just the right amounts. With its furious chords and fast/slow/fast/slow cadence, Doonm Loop reminds me of all the 7″ records I used to pick up back in the day and served as a reminder that I should dust ’em off and share them with my neighbor.
There’s also the requisite fist-shaking at the state of affairs in 2025 America. Any more, those are table stakes, and this record clears the bar from start to finish. But I also want to highlight drummer Ricky Cunliffe’s work here. It feels like it could explode anytime, yet it never does. It’s more animated than one might usually see from a band swimming in these waters. Honestly, it feels like there are a couple of drummers back there. He and bassist Jake Bilich keep things chugging right along down the track.
CB Radio is a harder sound than just about everything else coming out of SF/Oakland these days, And I’m here for all of it. Hopefully, this is the first of many more records by the band. (Listen here)
As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?
New Order’s Technique at 35: A Quick Look at the Band’s Seminal 1989 Record
On their fifth release the dance rock pioneers hit their peak
Good Morning!
Today we’re taking a quick look at ‘Technique’ by New Order as it turns 35.
There’s not much point in burying the lede here; this lookback won’t come close to being objective. If you’ve been with us for more than a few weeks, you know my love for this band and are keenly aware that On Repeat could devolve into a New Order fan page at any moment.
That said, this record is a massive achievement for the band at a time when not much else was going right for them-certainly not internally, anyway. To put something out amidst so much strife and financial pressure alone would be worth noting. That it is some of the best work they’ve ever produced makes it all the more remarkable.
Most people will remember March 24th, 1989, as the date the Exxon Valdez ran aground. I remember walking to the closest shopping mall to get tickets to see New Order.
That was the closest Ticketmaster outlet, and I was probably halfway down the street before my mom had even finished giving me permission. With the benefit of hindsight — and now being a parent myself — I now know what a huge leap of faith this must’ve been for her. We lived in the suburbs, and she was giving the green light to an (almost) 14 yr. old to ride the bus across the metro area to see a band she heard nonstop but didn’t know.
I suppose on some level you just know when to let your kids leap
The band was on the road supporting their 5th studio album, Technique, and it came out when I was in junior high. The record was one of the bright spots in an otherwise blah era for me.
If Low Life is a show at an intimate venue, Technique is a sweaty rave filled with strobe lights and ecstasy. Indeed, the record was partly recorded in Ibiza with the band off their rockers. Technique is firmly rooted in the sounds surrounding them in their new environs. They choose the sunny locale at Hook’s insistence after a run of recordings made in “dark and horrible” London studios. The band decamped for Ibiza, hoping the change in scenery (and menu of drugs) would have the same positive effect that New York had had for them years earlier.
It worked…sort of…
After four months, the band only had ‘Fine Time’ and a couple of other tracks recorded to show for their time on the island. Declaring their holiday over, their label called them back to the UK, where they finished the record at Peter Gabriel’s Real World Studios.
We had expected to hear a lot of acid house music when we got to Ibiza because that had taken off in Manchester two to three months before we left, but we didn’t – we were hearing something called Balearic Beat,” Bernard said.We were actually disappointed at first because we were really into acid house, and what we heard, this Balearic Beat, was this crazy mash-up of styles and really commercial-sounding but there was also some really good stuff. By the end of our time there we were really influenced by it.
Their time in the sun may seem unproductive on the surface, but it had left an indelible mark on the group’s sound.
Fine Time is an acid-house Balearic Beat classic. Round and Round1 is pop perfection and saw decent airtime on MTV.
Run is credited to not only New Order, but also (*checks notes) John Denver?!
Yes, really. Denver sued the band, alleging that the guitar riffs were lifted from his Leaving On a Jet Plane.The case was settled out of court, with his name subsequently added to the credits.
We could do a track-by-track breakdown, but the short version is this: Technique feels like the band’s most honest record. Whether that’s down to the drugs or the Balearic sun, I don’t know. In the end, I suppose it doesn’t matter.
Perhaps more importantly, it is economical. Listening to it, every note has its place, and there is nothing extraneous. It’s both a dance record and a pop record—in other words, a New Order record—but listening to it, there is a discipline that sets it apart from the band’s previous work.
The songs themselves are compact; the sequencers nailed down— there is no 9-minute version of anything on this LP. By this point, the band had also mastered the art of shifting between pop and dance tracks.
On Brotherhood, a distinct boundary exists between the two (literally- the styles each have their own side on the album). There are no guardrails here; the band makes segueing between styles look easy.
All of that is well and good, but why is it my number 1?
Technique was really the first record by the band that I found on my own. Yes, I knew them. Yes, I’d heard almost everything they had recorded up to that point. But this was different; I’d learned of its release on my own and gone and bought it with my own money.
No hand-me-downs from friends’ older siblings or songs clipped from mix tapes. You always remember your first…
Good records always take you somewhere special. Thirty-five years later, Technique still does that for me.
Listen:
New Order | Technique, 1989
Click the record to listen on the platform of your choice.
What are your thoughts on this record? Do you have any favorite tracks or memories associated with it? At 35, does it still hold up? Share your thoughts in the comments!
Thanks for being here,
Kevin—
The video features several supermodels, including Elaine Irwin, who would marry John Mellencamp a couple of years later, and Cynthia Bailey, who would rise to fame when cast on Bravo’s ‘The Real Housewives of Atlanta’ reality series.
Kevin Sent 