Tag: Indie

Sound Advice: 05.Sept.2025

by KevinLeave a Comment on Sound Advice: 05.Sept.2025

The flood of great records continues! Today we’re taking a quick look at the latest from The Beths, Suede, Smut, 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 The Beths, Jens Kuross, Smut, and more!

The boilerplate intro:

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.

A lot of recent releases landed on my radar all at once, and I want to shine a light on them before too much more time passes. Not quite an 88 lines about 44 records kind of deal, but close. More of a clearing the decks, if you will.

Let’s get into it!

The Beths- Straight Line Was a Lie

As someone now squarely in middle age, I sometimes question writing about new, hip bands. Should a suburban dad be writing about whatever the kids like? I dunno. What I do know is that I like The Beths. I liked Expert in a Dying Field and love this latest release.

The record opens with a familiar ring, landing squarely in that Beths sweet spot: catchy enough to feel like it’s been rattling around your brain for years, but just weird and self-aware enough to ever get filed under “power pop.” But from there, things get… sketchier. Elizabeth Stokes has been candid about her recent health struggles. That shadow looms large here— not a downer per se, but in the gravity of song titles like “No Joy” and “Mother, Pray For Me,” and in the slower, more introspective undercurrent that runs through the record.

In the press release, Stokes noted, “I was kind of dealing with a new brain…it was like my instincts were just a little different. They weren’t as panicky.” She also mentioned that many of these tracks were written using a Remington typewriter, which IMO is fantastic. Hammering those keys daily for a month resulted in about 10 pages worth of material, much of which ultimately found its way here.

Still, this isn’t a total pivot. The Beths can still rip. “No Joy” is a sharp track, and “Metal” and “Best Laid Plans” punch through the clouds with bright, hyper-melodic jangle, the latter even flirting with some Day-Glo 80s new wave shimmer. “Roundabout” (no, not that “Roundabout”) feels like a lost gem from a late-night college radio set. As for “Take?” I’m not saying I listened to it 3x in a row on the drive home the other day, but I’m not not sayin’ it, either.

No lie: Look for this to be on a lot of AOTY lists come December/January. (Bandcamp Link)

Suede- Antidepressants

Suede’s tenth studio album is like a lightning bolt. Their first new music since 2022’s Autofiction feels less like a continuation and more like an aftershock—proof that this band, after nearly forty years in the game, has no interest in setting the autopilot and coasting along..

The record opens with “Disintegrate,” which feels like a rollercoaster drop into chaos. It’s loud, frayed, and hella angsty. That sets the tone for everything that follows: songs designed less as comfort food and more as jolts to our already overloaded nervous systems.

“If Autofiction was our punk record, Antidepressants is our post-punk record…It’s about the tensions of modern life, the paranoia, the anxiety, the neurosis. We are all striving for connection in a disconnected world. This was the feel I wanted the songs to have. The album is called Antidepressants. This is broken music for broken people.”

Suede frontman Brett Andersen

I first thought that “Disintegrate” would be the record’s feature track…and then track 2 started. “Dancing with the Europeans” is bombastic, theatrical, and over the top in all the best ways, and I’m 100% here for it. 

“Criminal Ways” reminds me of early Smiths (maybe “How Soon is Now?”) and is glorious and trashy in equal measure. Andersen is in full voice here, with the band swirling around him with the urgency of people who know time is short. This is Suede mining the same sounds that made them a force in the first place—only now with the added benefit of perspective. 

“Trance State” sounds like something that could have just as easily come from Republic-era New Order. I know, I know. I can see you shaking your head from here. But give it a listen—especially the bass line—and tell me it’s not reminiscent of Hooky’s work. Regardless, it’s an awesome track. 

Back to my original point, what’s most striking to me is how much Antidepressants refuse to “settle.” The lyrics are heavy with dread and dissonance and are particularly relevant in this moment when everything seems particularly fraught. 

Coasting would’ve been easy—and I don’t think anyone would’ve blamed them. Instead, they’ve doubled down on urgency and almost dare people not to pay attention. I know I’ve (over)used that word here plenty, but listening to the record, it’s the theme I keep coming back to.

Ten albums in, Suede sounds like a band running out of time but unwilling to slow down. The ultimate winner in all this? Us. The world might be coming apart at the seams, but at least we can say we were around to see some of Suede’s best work. (Suede’s website)

Jens Kuross- Crooked Songs

Kuross’s story is a familiar one: singer-songwriter decamps to LA with bright eyes and hope for the future, only to be chewed up and spit out by the machine. Sick of being on the fringes eking out a living as a session musician, he returned to Idaho and returned to basics. In this case, that means an entire record of just his vocals and an electric piano. The kind of thing you listen to with a glass of whiskey while you dream of going off the grid and building a boat by hand in a garage somewhere. On paper, this sounds like a solid concept. To be fair, this isn’t really in my wheelhouse, but even with that aside, I couldn’t get past the muddled mix. I’m sure that was intentional and meant to give the whole thing some sort of mystery or whatever, but Kuross’s voice is already an acquired taste. Doing this in a much more straightforward manner would have really gone a long way. With only his voice and the piano, you can only go so many directions, and Crooked Songs quickly falls into the sameness trap. If you like this sort of thing, it’s a fun place to be. For most of us, though, this is music best consumed in small doses. A song here or there is plenty. (Bandcamp link)

Smut- Tomorrow Comes Crashing

A lot has happened since Smut released their previous record, 2022’s How the Light Felt. The record had a poignant, almost ethereal quality, informed by the death of singer Tay Roebuck’s sister. At the risk of being too clever by half, in many ways, the record felt like the low light of autumn (not derogatory).

In the meantime, the band has moved, Roebuck and band member Andie Min married, and the lineup has changed, with John Steiner and Aidan O’Connor joining on bass & drums. That rhythm section sets an excellent foundation for a louder, cleaner sound. Think less Saint Etienne or Sundays and more Hole. It’s as if they’ve realized that the amps actually go up to 10. Andrew Rogers and Sam Ruschman are both on guitar, and while their presence is certainly out front, the ferocity never overtakes the sound. They alternate between clean hooks and blast furnace power chords at the right time/pace. Roebuck’s voice is the secret weapon here. She’s equally at home singing in an almost lullaby to a full-throated scream and everything in between. It not only keeps the gutiars in check, it elevates them.

Writing about the band in 2023, I noted:

You’re out of luck if you’re looking for a heavier, sludgy sound. You’ve hit pay dirt if you like your indie rock jangly with bright, clean vocals. And if you like all of that tinged with a 90s influence? Well, you might have a new favorite record on your hands.

Tomorrow Comes Crashing has something for both camps. (Bandcamp link)

Also awesome:

Planet Smashers-On the Dancefloor: Solid ska out of Montreal. I run hot and cold with this genre. I love first wave stuff, but have no taste for the unserious stylings of bands like Reel Big Fish. Not everything needs to be a joke! Thankfully, the band’s 10th record is enjoyable. Neville Staple of The Specials makes an appearance here as well. Rad! (Bandcamp link)

Mo Lowda & The Humble- Tailing the Ghost: Fun fact: These guys headlined the first show I saw post-COVID, and it was worth the wait. At any rate, Tailing the Ghost is More of the soulful sound you’ve come to expect from these Philly-based groove merchants, with tracks like “Canary” leading the way. Looks like they’re on tour again. If they’re comin’ your way, make a plan to check ‘em out! (Shopify link)

Terminal Buildings- Belles of the Bucket:The second of a 1-2 punch of records released nearly simultaneously. While A Binful of Bells was a sprawling affair, this is much more compact, and the tunes are much more economical. Speaking with frontman Finlay via email, he described the record as “[taking] the cast-offs that were too punchy to fit in with the rest of that album. The songs were written and recorded on either side of a move back to my home city of Aberdeen, which is why it took so long.” This is a fantastic dose of straight-ahead lo-fi power pop. Imagine a slightly more wistful version of GBV, and you‘ve got the gist. Also worth noting that these records are priced at Pay What You Can, with all revenue going to charity. (Bandcamp link)

As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?

Thanks for being here,

Kevin—

FTA: A Quick Look At The B52s’ ‘Cosmic Thing’ Album

by KevinLeave a Comment on FTA: A Quick Look At The B52s’ ‘Cosmic Thing’ Album

Hurry up and bring your jukebox money!

Good Morning!

As part of the Best Record of 1989 challenge, we’re taking another look at The B52’s Cosmic Thing. This originally ran in June of last year, and has only been lightly edited for today.

Tomorrow marks 35 years since The B52s released Cosmic Thing, their fifth full-length studio album1 and the first made without founding member Ricky Wilson.

After an incredible three-record run, the B-52s had carved out a place as cult favorites and the perfect soundtrack for any party—out of bounds or not. However, tragedy struck the band when Wilson passed away. The remaining members finished the fourth album but didn’t tour to promote it or really do much with it at all.

We would go to radio stations basically to beg them to play the song. Even the record company thought it was too weird. I thought it was the most accessible thing we had done.

The B52s’ Fred Schneider

The album signals a shift in the group’s style. Wilson’s death was a shock to the system. The quirky lyrics and party band mood were still there, as was the big hair. But this record pivoted to more sophisticated sounds and heavier grooves. It was met with lukewarm critical reviews and low commercial sales and is often overlooked in discussions about the band. If anything, it’s very much a record occupying a liminal space in the band’s discography and marks the boundary between Ricky’s records and the ones that came afterward.

After Wilson’s death, no one would’ve blamed the B52s for calling it quits. Indeed, they almost did. Raw with grief, the band pushed on and released 1986’s Bouncing Off the Satellites, a record that even today has never quite washed off the ash of loss it was covered in. It’s a record from a party band who felt like doing anything but.

Camp and a good time were two of their calling cards, all packaged in lovely new wave sound. Those were largely absent on Bouncing, leaving fans wondering what—if anything— was next.

Like the band, I found this record in a liminal space in my own life. In the fallout after my dad’s passing, my mom and I somehow found ourselves at K-Mart, of all places. Turns out that even in the throes of grief, you need things like potting soil. On that trip, I got a scooter and a copy of this on cassette. I don’t remember asking for either. In hindsight, I think as a recent widow, my mom just wasn’t sure what to do, and maybe throwing some gifts at it all would help. The scooter lasted a matter of months. The cassette is upstairs somewhere as I type this.

📻📻📻

“I lived in a house across the pond from Keith [Strickland], and I’d canoe over to his house…he played me a couple of things, and then we all got together. We said, ‘This is for us, for our healing, and this is for Ricky.’ It was kind of miraculous that we came back together.”

Kate Pierson

Flash forward 3 years, life is better, though trying to navigate high school in the late 80s was, um, something. Meanwhile, at the urging of Keith Strickland, the group decided to give it another go. You never really know what you’ll get with the B52s (this band gave us everything from ‘Private Idaho’ to ‘Quiche Lorraine,’ after all), and the tracks on Cosmic Thing were no exception. Camp and quirk were out, traded for a much more polished, full sound. New wave was swapped for pop. Much of that was down to the production combo of Niles Rodgers and Don Was, with the legendary Chic guitarist giving the record plenty of funk and Was adding touches of pop magic throughout.

Sound aside, the record also marks a departure from the band’s vocal stylings. Whereas before, they’d done a lot of call-and-response-type stuff or had either Cindy Wilson or Kate Pierson singing alone, this time, the producers had them singing together on tracks like ‘Channel Z,’ ‘Cosmic Thing,’ and ‘Deadbeat Club.’ And by together I mean so closely in tune that listeners would be excused for thinking it was one wonderful voice.

If Bouncing Off the Satellites’ sound signaled the start of the transition, Cosmic Thing represented a clean break.

The lead single, ‘Channel Z,’ with its thumping bass, is infectious and reminds one of ‘Mesopotamia.’ It was purpose-built to be a dancefloor filler. Nevertheless, it fizzled on the charts, not even breaking into the Hot 100.

The title track did a little better, quelling some fears, but it would be the third single that changed everything.

That single the band had such a hard time selling to radio stations?

It was ‘Love Shack.’

The song took its sweet time to work its way up the charts, taking 2.5 months to work all the way up to #3 on the Hot 100 before starting its reentry back to earth. But it’s also never really left the airwaves and can still be heard fairly regularly today.

If there was any question that this was a comeback record, ‘Roam’ erased those doubts. The follow-up to ‘Love Shack’ also made it all the way to the third spot in early 1990 and helped the record peak at #4.

‘Deadbeat Club’ was the last of the singles and made it to #30.  It’s also the most wistful track on the album—which, after a decade together, probably makes sense—and if forced to choose, is the one track that’s out of place here. That’s not to say it’s bad—it’s not—but it’s different. Even the best of party bands is entitled to a little reminiscence.

📻📻📻

35 years on, it would be easy to call Cosmic Thing a statement record, and one that marked not only the band’s comeback but their ascent into pop stardom. That’s not quite how it played out, however. Cindy Wilson left in 1990 to focus on her family. The band, now a trio, released 1992’s Good Stuff, only to be met with mediocre sales and middling reviews. Wilson would eventually return, and the band would return to the studio…8 years later. In 2006, they began work on what would become 2008’s Funhouse. It had two singles make the dance charts but is largely forgotten otherwise.

So, where does that leave Cosmic Thing in the grand scheme of things?

It most certainly is a comeback record, and it made clear in no uncertain terms that the band was back (they are literally doing a final run of shows as I write this). Perhaps more importantly, on this record, the band sounds like they’re back to enjoying themselves again.

1989 was as good of a time as any for the band to take some risk and break some new ground. Cosmic Thing is a record that is a little introspective, a bit autobiographical, and a lot of fun.

Effie, Madge, and Mabel would approve.

📻📻📻

What are your thoughts on this record? Do you have any favorite tracks or memories associated with it? Where does it land on your list of albums by The B52s? Share your thoughts in the comments!

Thanks for being here,

Kevin—

A New Record You Should Check Out

by KevinLeave a Comment on A New Record You Should Check Out

Laura Hobson of Phabies stops by to chat about The Curse of Caring, the band’s latest release.

Photo: Leigh Ann Cobb

Good morning!

We’re in for a treat today! Laura Hobson of Grand Rapids-based Phabies stops by to talk about their latest record, how it all came together, and what’s coming next.

When a reader first tipped me off to Phabies, I wasn’t sure what to expect. I initially thought this would be a band well suited to a punk band or co-headlining shows with The Germs. That’s what I get for judging a group by its name.

The band’s sound is nowhere near that. Their sophomore LP, The Curse of Caring, leans much more toward indie pop, with bright sounds and playful pop coursing through it: more sunshine, less low ceilings.

The odds are extremely high that you’ll get at least one of these songs stuck in your head for a day or two. They’re just that catchy. It’s an album that’s one of my faves of 2025. But that breezy sound contrasts with some heavy lyrics. Throughout the 10 songs, bandleader Laura Hobson tackles a menu of serious topics. “Who’s gonna save us now?” she asks on opener “Blooms of April.”

Who indeed?

“I’ve always felt a duty to create something out of nothing,” says Hobson. “Changing a grass lawn into a native ecosystem or playing three chords to create a song.”

On “Green Cement,” she asks us, Are we doing it right? Are we doing it right? / Pave the kingdom for an endless supply?”

I can’t answer that, but also? We’re not.

There is an urgency there, but The Curse of Caring isn’t a downer of a record. Hobson’s got strong thoughts and some unflinching takes, but they’re never preachy. It’s the opposite, leaving the listener full of hope and looking for a light at the end of the tunnel. We might be heading straight over the waterfall, but we can love one another right up until the end.

And we can spin some killer records like The Curse of Caring.

I recently had a chance to speak with Hobson via email. In our wide-ranging chat, we cover the Phabies origin story, the Grand Rapids scene, the record’s sound, and what’s next for the band. The discussion has only been lightly edited for grammar and flow.

KA—

For those that might not know, can you quickly walk us through the backstory of how the band came together?

Yes! Phabies was started by me (Laura Hobson) in 2018. I had been looking for a way back into playing music for years prior to solidifying the group. I had an enormous backlog of music but no one to play it with and I wasn’t interested in debuting these new songs as a singer/songwriter. The band clicked into place through long-lasting friendships. My partner Garrett Stier is the bassist and manager and my college buddy Josh Holicki plays drums. The three of us have played in the group Jack Droppers and the Best Intentions for a long time. I’ve known both of them for over a decade, so there’s a familiarity that makes practices and shows just feel like hanging out. Josh knew Max McKinnon from touring with his band Mertle and Max was able to join on synth/keys. In 2024, we welcomed Andrew Deters on guitar and he’s the most thoughtful guy. He’ll literally call you if he’s thinking about you.

Congrats on the new record! Was the approach similar to the last record (2022’s Fire Seed), or did you set out to make something wholly different?

Thanks for listening to the new album! The Curse Of Caring was in many ways much more difficult to write than Fire Seed, simply because I had that notion of the “sophomore slump” in my head. Feeling pressure to follow any creative endeavor with something even more unique, special, or exciting puts a tremendous amount of pressure on you. I was able to find a way out of my own head with help from friends who let me stay at their house and use their space as a quasi artist residency. It was a rejuvenating time and I wrote, or at least started, nearly half of the album while down there.

Fire Seed felt like a collection of songs that I used to explore the notion of songwriting. The songs each have their own unique flavor, as we were still a young band trying to hone in on our sound. The Curse Of Caring has a lot more intention, there are through-lines if you sit down with the lyrics.

During the recording of the album when I was intensely immersed, I made this murder map where I wrote all the lyrics out by hand and connected similar thoughts and through-lines with red string to get an overall feel for what I was trying to say. I’d like to think that each new album will just be tighter and more cohesive as the writing becomes stronger.

What’s the songwriting process look like? What generally comes first, the music or the lyrics?

Believe it or not, the lyrics and music usually come together at exactly the same time. It’s almost hard to practice new chords, scales, or tunings because as soon as I start learning, my brain goes off into creative overdrive. In a way, it’s a blessing, but when I’m just trying to practice it can feel like a procrastination technique I use to fight boredom. I never write any lyrics down ahead of time, with the exception of the song “Tell Her” from our new album. For me, it’s too clunky and rigid to force-fit lyrics into a melody. It always ends up trying to sound too profound or intellectual. I prefer for the lyrics and melody to evolve together so they feel tailored, like a couture suit.

“Tell Her” was the exception because it was written for an assignment given by Phil Elverum through School of Song. The assignment was to wake up uncomfortably early, meditate for 10 minutes, and then free write what you feel (not what you think you feel) for 5 minutes. We were then instructed to organize our writing into haibun (a chunk of prose ending in a haiku). The song came out almost completely formed, I only edited a few words and added the haiku onto the end.

I’m not sure if I’d get that lucky again, but this interview just reminded me about the process, so maybe I’ll try it out soon.

On “I Care For You” there’s a (very catchy) line that goes, “There’s too much city in you now/We gotta get out of this town/There′s too much city in you now/Ain’t gonna lose ya to the crowd.” I found myself singing it here and there over the course of a couple of days. What was the inspiration behind that verse? Is it simply a call to get away from all the concrete and back to nature, or is there a more abstract message here?

I love singing these lines because they have a very special memory attached to them. As I mentioned earlier, I had help from my friends when I was feeling daunted by what felt like an enormous creative endeavor. My friends Jake & Merilee let me stay at their home in Cincinnati for a week to help shake up the monotony of my own life, as I had been feeling stuck.

Jake arranged all of these fun things to do & I met and spoke with a woman who is a forensic psychiatrist and bee-keeper trying to save a forest in Cincinnati from being cut down for a dog park. I had lunch and saw “Stop Making Sense” in a group with Bryan Devendorf (drummer for The National) and watched films late into the night with Jake & Merilee (Children of the Corn, The Descent, They Live, Babadook, Event Horizon, The Mothman Prophecies).

Merilee and I went on a guided mushroom identification hike led by the parks department through the old-growth forest. On the hike, I overheard a woman lamenting about modern times, gesturing around at the forest saying, “These kids have too much city in ‘em these days! No one remembers this stuff. It used to be that when you lived in rural places, you’d know everything that came with each season.”

I knew immediately I would be incorporating the summarized phrase “there’s too much city in you now” into the chorus of I Care For You. It was the missing piece that I had been searching for, and it was gifted to me in that moment! It’s so special when things like that happen, that’s why it’s so important to shake up your routine. I never would have heard that woman if I had stayed fighting with my own brain in Grand Rapids. I still would have finished it, but the song would have been something else, entirely.

Grand Rapids, MI. isn’t on a lot of people’s radar. What should we know about the city? What’s the scene like there?

I’m hesitant to talk up my city too much for selfish reasons. I like that it’s not too crowded yet, haha. I think it’s like a miniature Austin, TX but with snow and very impressive and welcoming environmental movements.

I’m thinking specifically of Pleasant Peninsula, a national mural festival whose purpose is to fuel conservation and environmental education efforts. It was started by Eddie Chauffer a few years back but has turned into a full-blown music, art, education, and mural fest.

There’s a laid-back happiness to the people here. I know all my baristas by name and love seeing them. Grand Rapids still very much feels like a small town but with incredible coffee. Every time I leave the house, I run into someone I know. These built-in interactions provide just enough human connection to brighten my mood.

The music scene has always been here, but lately it feels like it’s become connected in more meaningful, exciting ways. When you’re in any place for over a decade, you become familiarized with the people and places around you. I take it for granted that we still have mid-size independent venues who don’t take merch cuts. Musicians have to work unfairly hard to make a living in any place, but at least in Grand Rapids, it’s still semi-affordable. I’m not running myself into the ground just to pay rent. Living here, I get to set my own pace. I love working with local photographers, videographers, and artists who feel like hidden gems.

The Grand Rapids scene feels like quality over quantity to me. Those who are creating are committed to it and it shows. Sometimes they make the jump to bigger cities, sometimes they stay. I stayed because I feel useful here, I have a lot of purpose in my own neighborhood and I like to feel helpful.

What’s next for Phabies? Any shows? Touring? What’s the back half of 2025 look like?

Hey, if you’re a band who’s further down the road than us and is looking for an opener to take along on tour, we’re interested. We’re not on a label, so Garrett’s been DIY-booking all of our shows so far and I bet he’s tired.

We’d love to tour and bring our music to more of the Midwest and beyond. I’m hoping to play in Chicago and Indianapolis again this year (nothing booked yet). If I’m allowed to dream for a second, the hope would be to tour somewhere warm during the winter months opening for a band in the the 500-1,000 seat range.

We are playing up in the Keweenaw Peninsula this August at a music festival called Farm Block. I’m excited about that show because I haven’t been that far North in over 5 years.

Last one, just for fun; I bump into you as you’re walking out of the record store. What records are you carrying?

“Oh, hey – what’s up, Kevin!” I found this record with a woman’s face on it in the $1 bin – I have no idea what kind of music it is and I can’t find anything online, but it’ll probably be fun to listen to. This other record is one I’ve been meaning to purchase for a long time, but haven’t been able to find because they’re an indie Melbourne-based songwriter. I put it on special order and it finally came in 🙂 The album is “Some Kind Of Control” by Ruby Gill, I love the song about the chimpanzees.

Listen:

Phabies | The Curse of Caring, 2025

Click the picture to listen via Bandcamp

Hit Bandcamp to grab your copy of the record, and connect with them via their website and Instagram.

As always, I’d love to hear your thoughts! Is this a new band to you? Sound off in the comments or send me an email- I read every one of ‘em.

Thank you to Laura for her time, and thank you for being here.

Kevin—

Sound Advice: 11. Apr. 2025

by KevinLeave a Comment on Sound Advice: 11. Apr. 2025

The flood of great records continues! Today we’re taking a quick look at the latest from Momma, The Miki Berenyi Trio, Rose City band, 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 Momma, Research Vessel, Rose City Band, 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!

Momma-Welcome to My Blue Sky

I’m gonna carbon date myself here, but when I was in school, we still had a smoking section, and that real estate was the where the coolest kids hung out.

Listening to Momma, it feels like Etta Friedman and Allegra Weingarten are the logical successor(s) to that crowd. I keep thinking that at some point Momma’s brand of rock will wear thin, and keep getting proven wrong. That’s obviously a good thing. With Welcome to My Blue Sky, the scoreboard shows ‘em at 4-0.

Listening with an ear for finding influences feels like going through the my glove box and CD binder from HS. Maybe they raided their parent’s music collection, or certain bands were just always on. I dunno, but it’s a good thing. There’s shoegaze, fuzzed out grooves, and more. Most importantly, this band can rock, and when they do, look out. Each of their records are solid, but has 1-2 outliers. Last time around, it was “Speeding 72.” This time it’s “Rodeo.”

Look, I’m aware that saying the only thing wrong with a record is that it’s too short is flimsy journalism, but it fits here. This isn’t the first time the band has featured here, and if we’re lucky, it won’t be the last. Summer’s coming. Open the windows and turn it up; your neighbors will thank you.

Research Vessel- Next Weekend EP

Shoutout to Janglepophub for tipping me off to this gem. Research Vessel is the project of Danny Rowland and is the follow up to March 2024’s Going Tomorrow Ep. Not much to tell you here other than if you like jangle pop and what Rowland describes as Casio flavored, jangly pop standards, you’re in for a treat. It feels a bit like Kiwi Jr. meets bedroom pop. Next Weekend is 5 light, jaunty tracks that wouldn’t be out of place in a Wes Anderson film. Grab your fixie and impossibly cool sense of style and put this on one.

(Grab your copy here)

Rose City Band- Sol Y Sombra

For Oregonian readers, I’ll make this one quick: picture the outdoor patio of a McMenamins on a sunny day in, say, Redmond circa 2010. You’ve got a Nebraska bitter in your hand, and Smith Rock in your view. Your Subaru is out in the lot wearing a fine coat of dust and least 6 state park stickers on the windshield—you’ve lost count. That’s t he vibe here.

For everyone else, the fifth release from Portland’s Rose City Band is more of the same from Ripley Johnson and co. There’s plenty of sun kissed grooves, and the pedal steel gets a good workout. They ramble and rove but get too far out into jam band land. this is a group that would make the Dead smile, but are so in the pocket, you feel like you owe them change. The album takes care to slow down in a few spots letting you take it all in along the way before picking back up with tracks like “radio Song.”

The record ends with “Walls,” a song that can’t help but make you feel like somehow all of this (waves hand around) shall pass. Sol Y Sombra is gorgeous record that will soundtrack your escape; be they literal trips down Highway 97 or just a field trip into your mind.

(Float down the Metolius here)

Also Awesome:

Art d’Ecco – Serene Demon: A little post punk, some new wave, some horns… this record puts it all in the mixer, and the results are some of the catchiest sounds to come out of Vancouver in recent memory.

Lilly Hiatt- Forever: Having music from one Hiatt is enough to be grateful for. Having two? What a time to be alive! In all seriousness, this feels like the record where the younger Hiatt has really hit her stride. If you liked Trinity Lane, or even Walking Proof, you’ll love this.

Miki Berenyi Trio- Tripla: Tripla is a record full of shimmering guitars, drum & bass for days, and electronica. And Lush fans? Fear not: there’s plenty of shoegaze for us too. There’s no mistaking the former frontwoman’s voice, but the latest from Miki Berenyi is anything but a rehash.

As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?

Why Yo La Tengo’s ‘This Stupid World’ Could Be Your New Favorite Album

by KevinLeave a Comment on Why Yo La Tengo’s ‘This Stupid World’ Could Be Your New Favorite Album

There are two sides to Yo La Tengo. Both are very good sides.

The first is quiet, contemplative Yo La Tengo. That’s the one we’ve seen the most of in recent years. Sometimes haunting and/or listless, other times endearing. Occasionally, like on tracks like Looney Tunes, a sonic lazy river that seemingly stretches forever.

The second is rocking Yo la Tengo. Sometimes it’s vaguely menacing, as with tracks like Shaker. The sound is locomotive. I’ll also include their poppier side and impeccable taste in picking covers here.

Either way, they’re giving us straight rippers with Kaplan barely in control, playing like one of those inflatable wavy guys you see at low-rent used car lots.

Instead of a specific direction, they just chose ‘em all

Messy. Precise. Jarring. Soothing. Over the last forty(ish) years, Yo La Tengo have consistently been an exercise in contradiction. And yet somehow, it all fits together nicely, as it’s supposed to. 

This is one of those bands that always sound like themselves, no matter what boundary they’re pushing or which norm they’re winging out a third-story window.

It’s always a YLT record, ya know?

On their latest release, “This Stupid World,” they’ve kept all of that going.

Sidebar: Yo La Tengo can be a band that makes you work before you get it. The full listening experience requires intention. There’s friction. The effort is always worth it, though, with something new revealing itself with every spin. And while they have some songs that could broadly be classified as singles, this band’s work is best heard from A1 to the closer.

So I have to say that for as much hype as there was leading up to the release of This Stupid World, I’m grateful that they only released a couple of tracks ahead of time. Hearing the record unfold for the first time is a joy. 

The record opens strong with Sinatra Drive Breakdown. Look, I know “motorik” is fast becoming the most overused adjective in my arsenal, right up there with “awesome” and “fantastic.” but for this track, it fits. Just trust me here.

Drummer Georgia Hubley and bassist James “new guy since ‘92” Mcnew lay down a killer groove that promptly chugs on for 7+ minutes. So much for radio-friendly.

Another rule proudly ignored.

Next up is “Fallout,” easily their most pure pop offering since perhaps Ohm off of Fade, or Electr-O-Pura’s Tom Courtenay. With an easy rhythm and quasi-call-and-response-like chorus of:

Wanna fall out, fall out of time
Wanna fall out, fall out of time
Wanna fall out, fall out of time
Wanna fall out, fall out of time

Don’t be surprised if you get caught singing this at a red light. I’m not saying this has happened to me, but I’m not not saying it, either.

This band is famously introverted, with Hubley sometimes giving the impression that she’s using the drum kit as a shield. But perhaps more than anyone else, she has come more into her own with each release.

On “Aselestine,” her vocals are unguarded & lovely, even as she’s singing Where are you/The drugs don’t do/What you said they do.

On closer, “Miles Away,” they’re endearing as she laments those she’s lost along the way.

You feel alone
Friends are all gone
Keep wiping the dust from your eyes
So many signs
I must be blind
How few of them I see

But to get there, we get to get through a few more tracks. Kaplan’s usual knack for squishing an entire backstory into a paragraph is on display throughout the record, but perhaps no more so than on Apology Letter, where he sings:

It’s so clear
What I’m trying to say, but right on cue
It doesn’t ever come that easily
‘Cause the words
Derail on the way from me to you
It seems to happen with some frequency
Depressingly


Brain Capers is expansive and rides a thick groove. It’s relentless—and it’s my favorite song on the record. Kaplan is in full glorious wavy inflatable guy mode here.

The title track is a steely shoegaze monster. A weighted blanket of the band’s distortion and feedback, with Kaplan telling us, “This stupid world, it’s all we have.”

They know the only way out is through, and this is their way of telling us that if it’s not gonna end well, we can at least have a good time on the way down.

Bottom Line: Yo La Tengo has never been a band that fits nicely in a box, and 2023’s no time to start. They’ve gone from critics darling to your favorite band’s favorite band to indie rock elder statesmen.

And all of that from a band that feels more like neighbors you’d ask to watch your house while on vacation.

With seventeen records and a bunch of EPs and singles, this would’ve been a fine capstone to a storied discography. Instead, it feels like a band hitting its stride with the best yet to come.