Good morning! Need an antidote for the 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 upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!
When you’re ready, joining them is easy. Just click here:
For those of you who are new, we kick off every week by sharing what we’ve been playing.
The playlist below is some of what I’ve had in heavy rotation. This week, we’re starting with one from Former Champ and the latest from Chicago’s Ratboys, before heading down to Louisville for the new single from Second Story Man, a band a reviewer once asked readers to think of as a “female-fronted Jawbreaker.” ICYMI, Natalie Weiner recently wrote a great piece on Amanda Shires for Texas Monthly. Tsar’s 1998 demos are finally (!) seeing the light of day and sound fantastic.
Side 2 kicks off with some Immersion. If you’ve been here a little while, you know what a fanboy I am of Wire and frontman Colin Newman’s solo work. Immersion is the work of he and his partner Malka Spigel. Look for a review of the record soon. There is also a (relatively) deep cut from Depeche Mode, and a little something from Total Wife, before coming back to Chicago and ending with a (definitely) deep cut from Urge Overkill.
I know I’ve said it for several weeks now, but it’s true: 2025 might be is a hot mess, but not when it comes to new music.
Good morning! Need an antidote for the 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 upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!
When you’re ready, joining them is easy. Just click here:
For those of you who are new, we kick off every week by sharing what we’ve been playing.
The playlist below is some of what I’ve had in heavy rotation. This week, the pendulum again swings and it’s back to old faves and comfort sounds, with a few fresh tracks mixed in. We start with all-timers The dBs before launching into Home Front and Redd Kross
Side two kicks off with something from John Cale and ends with the Waterboys. Along the way, we stop in Motown, LA, and whatever universe gifted us Brothertiger.
I know I keep saying it, but it’s true: 2025 might be a hot mess, but not when it comes to new music.
The flood of great records continues! Today we’re taking a quick look at the latest from BRNDA, Grant Pavol, Water From Your Eyes, and Die Spitz.
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 BRNDA, Die Spitz, 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!
BRNDA – Total Pain
Emerging from the D.C. music scene sometime around 2011 or 2012, BRNDA has spent over a decade honing a sound that blends post-punk urgency, twee charm, and occasional nervous energy into something uniquely their own. Their latest record, Total Pain, balances moments of melancholy with bursts of off-kilter humor, producing a listening experience that feels both optimistic and restless.
From the opening moments of Peach Pit, Leah Gage, Dave Lesser, Mark McInermey, and Nick Stavely set a tone reminiscent of Dry Cleaning, pairing post-punk guitars with a detached vocal delivery. Lyrically, the album is sharp, sardonic, and often self-aware. I mean, with lines like “And again and again and again and again and you’re really not making any new friends” and “And you spend and you spend and pretend and pretend that they care that you’re reading August Wilson’s Fences,” what else can you say?
Tracks like Books Are Bad showcase a strolling bass line and vocal stylings that might evoke Chris Frantz for listeners of a certain age, while Burn the Zoo continues the album’s rambling, improvisational mood. MT Eyes offers a lighter, twee-infused interlude, recalling the charm of Tullycraft, while Everyone Chicago hits with angular riffs, urgent energy, and—yes—a flute, adding an unexpected flourish I absolutely did not have on my bingo card.
Go for Gold leans into playful absurdity with squeaks, squonks, and nonsensical lyrics like “Who’s gonna break the code? Do your knuckle worst / Breakfast of mushroom champions eat first / Who’s gonna cut my carbon? Who’s gonna cut my steak?” Yet beneath the humor, the album is suffused with subtle sadness. As the band notes,“We didn’t need to call the album Total Pain… but pain infuses the album.”
The record’s energy bounces between nervous, melodic post-punk and playful experimentation. Parquet Courts comparisons aren’t far off, but BRNDA distinguishes itself by taking turns on vocals that shine brightest when Leah Gage takes the lead, particularly on tracks like Cool Night. Themes of life’s anxieties, domestic chaos, and paranoia weave throughout, creating a record that to my ear feels both intimate and unhinged. Apropos of nothing, I read in an interview that Gage and Lesser are parents of a toddler. Having been there/done that, the frazzled mindset of this record makes sense.
Standout moments like Blenderman exemplify this duality: the repeated line “I could (feelin’ lucky) win or time could beat me / I could (feelin’ lucky) win” captures hope tempered by existential uncertainty. The album closes with the delicious chaos of My Mother, a tense, slightly bonkers meditation on the modern family.
For fans of Sweeping Promises, Dry Cleaning, and Cola. Bandcamp also suggested Gaadge, which, to be honest, isn’t a bad call, either. (Bandcamp link)
Grant Pavol- Save Some Time (EP)
A little bit Krautrock, a little bit Yo La Tengo, with a dusting of twang across the top. This EP is enjoyable from start to finish. Save Some Time is a record Pavol describes as “an adult reassessment of youthful insecurity, carrying the weight of big emotions with a steady hand.” It’s also described as a bit like the Velvet Underground at their most Cale-Forward, which is fair. (Bandcamp link)
Die Spitz- Something to Consume
One thing you should know about me is that I’m a grammar nerd. Words matter. Definitions matter. And I suppose whether or not you consider a record an EP matters where you draw the line. Is it at four tracks? 6? I mention this because everything I’ve seen online refers to this record as the band’s debut. That might make for easy copy, but it ignores 2022 EP The Revenge of Evangeline and 2023’s 7-song release, Teeth.
Okay, rant over.
My elevator pitch for this Austin-based quartet has always been simple: Die Spitz is the Gen Z equivalent of L7. To be clear, that’s meant as high praise. They’re fast, loud, and have something to say— and exactly zero Fs to give. Ava Schrobilgen, Chloe De St. Aubin, Eleanor Livingston, and Kate Halter also happen to be talented musicians. 2023’s record was centered around “Hair of Dog,” one of my favorite tracks of the year, and the EP quickly found its way onto my Best of 2023 list. It set the stage for Something to Consume. Almost a rough draft, if you will. That’s not to say that this record has the edges sanded off- it absolutely doesn’t- but it’s clear that the group has worked to evolve from those early beginnings.
The first notes of opener “Pop Punk Anthem (Sorry For The Delay)” tell listeners in no uncertain terms that this ride is different. It’s almost radio-friendly. Almost. Ditto follow-up “Voir Dire.” If you have a hard rock station in your local market, don’t be surprised to hear the latter on the air at some point. Any concerns that the band might’ve lost its edge (whatever that means) are erased with “Throw Yourself to the Sword” and its piledriver riff. “Sound to No One” balances heaviness with ethereal vocals. “RIDING WITH MY GIRLS” is all gas and no brakes and purpose-built for getting the pit going.
Like L7 before them, Die Spitz’s sound is fueled by rage at the injustice(s) around them. The targets may have changed, the ferocity has not. In an era where terms like “punk” are co-opted into aesthetics, Die Spitz makes it all refreshingly honest again. The album takes the best parts of Teeth and levels up. In a word? Something to Comsume is extraordinary. (Bandcamp link)
Water From Your Eyes- It’s a Beautiful Place
Water From Your Eyes has been bending guitars into shapes you wouldn’t think possible for nearly a decade. The Brooklyn-by-way-of-Chicago duo of Rachel Brown and Nate Amos has built a catalog where the instrument is less an anchor and more a medium. Their live shows are notorious for stretching the songs until they blur into the unrecognizable. I suppose that’s fitting; this band thrives on the idea that the analog and digital worlds don’t need to agree—they just need to collide.
It’s a Beautiful Place opens with “One Small Step,” a blurry half-minute prelude that quickly gives way to “Life Signs,” and we’re off to the races. The song staggers and surges, with all kinds of time signatures
“Nights In Armor” charges further onward with a killer groove, Brown’s voice slicing through the circular bassline with a line that doubles as both invitation and dare: “I just want to fight you ’cause I’m tired.” It’s disarmingly simple, yet lands hard. Then comes “Born 2,” a warped cousin of a Weezer anthem fed through a psychedelic filter. Amos’s guitar churns in heavy downstrokes while Brown hovers just above accessibility.
The interludes scattered across the record serve as a chance to catch your breath and get your bearings.
“Spaceship” takes a break from gravity and order, the guitars dissolving into backward swells and percussion that lands like meteors. Next up is “Playing Classics,” a highlight built on club-ready synths and a deadpan vocal. It’s funny, strange, and incredibly addictive. If you’re in the market for an earrowm, start here.
Elsewhere, “Blood on the Dollar” trades distortion for restraint, Amos’s country-tinged guitar floating beneath Brown’s more reflective delivery. But even here, the band resists simplicity, adding textures that complicate what could have been an easy folk-rock closer. The title track and final instrumental tie everything together nicely, ending the record similarly to how it started.
Across It’s a Beautiful Place, Brown and Amos ricochet between maximalist noise, crooked pop structures, and ambience, every song a shot at testing the elasticity of sound. This record asks you to commit multiple listens before making any judgment calls—not because it’s elusive (okay, it is a little), but because it keeps giving more each time. (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?
Good morning! Need an antidote for the 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 upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!
When you’re ready, joining them is easy. Just click here:
For those of you who are new, we kick off every week by sharing what we’ve been playing.
The playlist below is some of what I’ve had in heavy rotation. This week, we again overindex new tracks, with a couple of old faves balancing things out. We start with community fave Water From Your Eyes before kicking into high gear with a 1-2 punch of Bob Mould & Die Spitz. From there, we’ve got the latest from our friend,
The Ririverse, and we end Side 1 with the latest from a longtime DC area band.
Side two kicks off with a track from a record I once deemed the #4 record of all time, before taking a trip to Pittsburgh to hear some Gaadge. I’m not on Threads anymore, but before I left, I was lucky to meet a couple of you and find Palm Ghosts. Their latest is here. Here’s to silver linings.
I know I keep saying it, but it’s true: 2025 might be a hot mess, but not when it comes to new music.
The flood of great records continues! Today we’re taking a quick look at the latest from Ivy, Dar Williams, Lail Arad, 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 Ivy, Dar Williams, Maia Sharp, 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!
Ivy- Traces of You
Here are reunions, there are comebacks, and then there’s whatever Ivy just did.
Five years after losing creative engine Adam Schlesinger, and seemingly out of nowhere, Ivy is back with Traces of You.
The last time we heard new material from them was All Hours, a synth-forward pivot that left many fans blinking in confusion. Traces of You, by contrast, feels like Ivy returning to the house they built in the late ’90s and early 2000s.
What’s remarkable—at least to me—is that Schlesinger is everywhere. The band stitched his work back into the mix using fragments and demos tracked between 1995 and 2012. The result isn’t eerie or gimmicky. I’ve always disliked things like hologram performances, and wondered if this might feel similar. It doesn’t. Whatever they’ve done feels organic—authentic, not synthetic.
Dominique Durand still sounds like she’s whispering secrets from the other side of the door, while Andy Chase and longtime collaborator Bruce Driscoll know exactly how to frame that haze and shimmer.
Traces of You fits seamlessly into Ivy’s golden-era lineage. “The Midnight Hour” and “Say You Will” could easily sit on In the Clear, all velvet melancholy and zero wasted motion. “Heartbreak” flirts with bossa nova. “Lose It All” luxuriates in its own pace. And “Hate That It’s True” might be the most emotionally direct song they’ve ever recorded.
This record didn’t have to exist. No one expected it, and maybe that’s why it lands so powerfully. Traces of You feels like a gift, and it’s easily among their finest work. It’s a dreamy, deliberate, impossibly cool farewell…or perhaps just another pause. Either way, we’re lucky to have it.
Dar Williams-Hummingbird Highway
Though known for folk music, Williams knows her way around other genres. On her 13th release, she wastes no time doing just that. Put Coins On His Eyes is classic bluegrass. Tu Sais Le Printemps is a fun bit of bossa nova that will transport you to 1960s Paris, which makes for, as Williams puts it, “a light, flirty song amidst many gloomy news stories.” I’d submit that it’s just the sort of thing we can use right now.
The Way I Go is an uptempo track that will remind listeners of early Mary Chapin Carpenter work. I Want To See the Bright Lights Tonight is an excellent take on the Richard Thompson classic, kicking everything up just enough to get you moving. Maryland, Maryland is both a love letter to her home state and a call to action.
The styles are disparate, yet matched by Williams’ knack for crafting intricate narratives with rich storytelling that give you plenty to contemplate without weighing you down. Like any recipe, adding the wrong ingredient or the wrong amount can end in disaster. On Hummingbird Highway, all of these elements blend together to make a cohesive, compelling whole.
As Williams notes, “As I’ve gotten older, I feel more comfortable holding a lot of different threads in my hand to create more complicated patterns. Time has given me a better ability to hold a bunch of colors and temperaments and see what happens, where they become interesting new stories and also where I need to stop and untangle the themes and characters. It’s daunting, and I’ve learned that, you know, daunting is fine, just keep going.” Amen.
Maia Sharp- Tomboy
Maia Sharp has always written with a steady hand—and written tracks for plenty of others. Tomboy, her newest record, sharpens that instinct into something leaner, tougher, and oddly freer. Sharp shows her cards with the title: this album is about stance, and owning space you might have been told not to take up.
The production is stripped down here. Guitars cut nice, clean lines, and the drums are in the backseat. There are some horns, but they, too, are in a supporting role. Sharp’s warm, husky voice carries the weight. There’s a steadiness to it, a real old soul vibe.
She’s not going it alone, though; plenty of people are along for the ride, including Terri Clark, who joins her on “Asking for a Friend,” one of the highlights on the record.
What stands out is how unforced these songs feel. You don’t get the sense of Sharp chasing relevance, clicks, or bending toward trends. Instead, Tomboy is fueled by direct melodies, emotions, and stakes. The writing is as tight as ever, less about clever turns and more about saying what matters.
It’s the kind of album that sneaks up on you (or did for me, anyway). One listen sets the mood; give it a couple of listens, and things start to pop out at you.
In the end, Tomboy is Sharp playing to her strengths.
Also awesome:
JF Robitaille & Lail Arad- Wild Moves:
One of the coolest things Substack used to do was host workshops for writers. These meet & greets were not only informative—you always came away having learned something—but also genuinely fun. Part of the charm was the surprise; you never knew who you’d be paired with. At one of these sessions, I was lucky enough to be put in a cohort with
Lail Arad. She’s been making fantastic music for a long time, as has her partner Robitaille. Now, with Wild Moves, they’ve joined forces, and the result is a delight from start to finish. The record opens with Swim Toward Your Troubles, a track whose infectious refrain will have you singing along in no time. It only gets better from there.
Bleary Eyed- Easy:
You want some shoegaze? You got it! On their latest record, Philly’s Bleary Eyed bring it all; sludgy guitar, ethereal vocals, and just enough pop to keep you coming back for more. Somewhere Kevin Shields is looking on and smiling. (Huge shoutout to
Good news for twee pop fans! Tullycraft is back with Shoot the Point, their first release since 2019’s The Railway Prince Hotel. This is a newer band for me, and if I’m honest, my capacity for twee is negligible. But in a case like this, it’s easy to get swept away on a wave of infectious hooks, back-and-forth vocals between Sean Tollefson and Jenny Mears, and tambourines… so many tambourines. A seriously enjoyable record from a band that doesn’t take itself too seriously.
Also: I’m callin’ it now: “Jeanine’s Up Again and Blaring Faith by The Cure” is the wildest song title that’ll grace this page in 2025.
As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?
Good morning! Need an antidote for the 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 upgraded their subscriptions this past week. Your direct support fuels this community and makes a positive impact. Shares and reposts also help! Thank you!
When you’re ready, joining them is easy. Just click here:
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.
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?
We’re in for a treat today; Gelli Haha stops by to talk about her latest record Switcheroo, how it came to be, and what’s coming next.
There’s a particular kind of pop record that doesn’t wait to be invited in—it knocks down your door and dares you to keep up. Switcheroo, the debut LP from Gelli Haha (aka Angel Abaya), doesn’t waste time being performatively cool. It’s too busy being genius. Equal parts sugar rush, fever dream, and circus act, this kind of album turns overthinking into a punchline and escapism into high art.
Gelli Haha (pronounced “jelly”) has built a chaotic wonderland, aka the “Gelliverse,” where the synths are steady, beats alternate between hiccup-y and booming, and every note feels hand-drawn in crayon and glitter glue (and slightly outside the lines). Imagine your favorite dream pop band grabbing a copy of The B-52s’ Whammy! on the way to the launch pad, taking off, and crash-landing in an electroclash warehouse party in the coolest part of the galaxy.
That said, Switcheroo isn’t just wacky for wackiness’ sake. There’s a wry intelligence to it all, a real structure hiding beneath the glitz. Tracks like “Tiramisu” make you laugh…and then realize you’ve been singing along. “Spit” will remind you of all those hot, sweaty nights at the club back in the day. “Bounce House” is purpose-built for the pop charts. Seriously, why is this not climbing the Hot 100 already?! Even the deliberately juvenile “Piss Artist” glows with confidence and (per Bandcamp) revels in tequila-fueled storytelling about an infamous party moment (involving a jar — don’t ask, just dance). Fair enough! Another artist might’ve buried it as a skit. Gelli Haha put it right in the middle of the album. Meanwhile, tracks like “Dynamite” chug along at just the right pace/BPM.
The record saves the best for last. “Pluto is not a planet; it’s a restaurant” (this writer’s favorite track on the record) takes all of the above and puts it in a blender, pouring out grandiose synths, pulsing beats, and a cathedral sound that will make you feel like you’re floating untethered in space.
Maybe it’s just me, but here’s something liberating about how this album refuses to care what you think. It’s not just theatrical—it’s maximalist identity performance with zero fucks given apologies. Gelli Haha isn’t aiming for relatability; she’s too busy being a pop gremlin, and tbh, that rules. The whole project feels like a rejection of our (collective) obsession with being “real,” that’s often ripping through the usual music discourse channels. Instead, she turns her persona into a playground—and lets you run wild with it.
Switcheroo is weird, hilarious, and absolutely unhinged—and it might be the most fun I’ve had with a record all year. Listening makes joy feel like a radical act- a rare treat in the current era. Once you’re in the Gelliverse, you may never want to leave. I certainly don’t.
I recently had a chance to chat with her via email. In our wide-ranging discussion, we talked about how the concept for Switcheroo came to pass, what she hopes listeners will take away from it, and what’s coming next. Our chat has only been lightly edited for grammar and flow.
KA—
For those that might not know, can you walk us through the backstory of how this project came together?
Gelli Haha is a project born out of curiosity. I wanted to create something that was fun and moved people physically and emotionally—fun music to dance to, something mystical and enchanting, and silly. A couple of years ago, I started working with Sean Guerin of De Lux, wrote dozens of demos, and then created a live performance art world to accompany the project.
On Bandcamp, a supporter described the records as “…like Kate Bush meets Suburban Lawns, and it is pretty good!” Is that an accurate take?
It’s subjective, but I like those artists. Kate Bush was a top influence for the project. I’ve not listened to Suburban Lawns much, though. There’s more of an experimental, electronic flavor to the record as well that goes beyond these artists.
Switcheroo has been described as an “exercise in letting go, an inside joke turned theatrical spectacle.” Say more please.
In order to make the record, I had to let go of some old tendencies of mine. I can be a bit of a perfectionist and want people to take me seriously. This record sounds very free because I had to become very free to make it. We wanted the project to feel like something everyone is in on, like the audience is involved somehow. And it’s all just really goofy. When we perform, we have mini trampolines and dolphin balloons and boxing matches and snakes in a can.
Listening to the record, I can hear everything from Italodisco to the B-52s and back again. Are there any artists who had a particular influence on the sound here?
I’m a big fan of Björk, Animal Collective, of Montreal…and lots of obscure late 70s/early 80s records that Sean showed me. But I also grew up listening to pop radio and MTV, going to musicals, and being in a choir and orchestra, so there’s a lot of influence coming from everywhere.
What’s the songwriting process look like? What generally comes first, the music/beats or the lyrics?
I made about 45 demos, each a minute or so long. Sean and I picked which ones we liked the most and expanded upon them together. Vocals and lyrics followed suit. Sometimes, they came quickly, and other times, we had to search a little bit.
If you had to narrow it down, what’s one thing you hope someone will get out of listening to Switcheroo?
A laugh.
What’s next? Any shows? Touring? What’s the back half of 2025 look like?
We have some fun things in the works for later this year to be announced!
Last one, just for fun; I bump into you as you’re walking out of the record store. What records are you carrying?
Tom Tom Club by Tom Tom Club, Philharmony by Haruomi Hosono, and Oops!…I Did It Again by Britney Spears.
Listen:
Gelli Haha | Switcheroo (2025)
Click the record to listen on the platform of your choice.
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For those of you who are new, we kick off every week by sharing what we’ve been playing.
The playlist below is some of what I’ve had in heavy rotation. This week has again been more of a balance between new tracks and old faves, with a local favorite thrown in for good measure.
2025 might be a hot mess, but not where new music is concerned.
The flood of great records continues! Today we’re taking a quick look at the latest from Superchunk, The Cavernous, and Case Oats (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 Superchunk, The Cavernous, Case Oats, 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.
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!
Superchunk – Sounds From the Key of Yikes
When I was a teenager, I was a holy terror behind the wheel. It was hammer down all the time from a kid who could barely see over the steering wheel. Tracks like Superchunk’s “Precision Auto” were the perfect soundtrack. Mac McCaughan had some shit to get off his chest, and I was there for it. Albums like ’93’s On the Mouth were the perfect record for where I was at the time.
Flash forward to 2025: I drive a wagon, and while I’m not quite at the stage where I call out every sign I pass, it’s close. Not being able to see very well doesn’t help.
Mac McCaughan, on the other hand, sees things perfectly. As he’s racked up the miles—er, years—his writing (and the band’s sound) has taken on a much more reflective tone. He’s still railing against a lot of the issues of the day, but there’s more perspective—the kind that can only be earned by the years (see also: Mould, Bob).
Talking about 2022’sWild Loneliness, I noted that “Wild Loneliness finds the band in a more contemplative place. Lead singer Mac McCaughan isn’t railing so much as he’s reflecting.”
On this release, he’s somewhere in the middle.
With Jon Wurster having left and Laura Ballance no longer touring with the band, Superchunk have a real Ship of Theseus thing starting to happen. Yes, I know Ballance still plays on the records themselves, but still.
Fear not; the tone has softened, but only a little, and the band continues the trajectory started with 2018’s What a Time to Be Alive. It’s overtly political, but not annoyingly so, and when things are couched in power-pop goodness, the medicine goes down easy.
Opener “Is It Making You Feel Something” starts the record off strong with all the fizzy pop and chunky power chords we’ve come to expect. Say what you will, but for my money, guitarist Jim Wilbur is this band’s secret sauce.
“Bruised Lung” keeps things moving right along, and so do the next couple of tracks. McCaughan is optimistic, but there’s lament creeping in—almost like he’s forcing a smile as resistance. Our generation is quite good at performative nonchalance, and when he sings:
I’m trying to care less I’m trying to care less Don’t make me remember What I can’t forget I’m trying to care less, yeah
I’m not sure if he’s being serious or sardonic. Is this a political rant about the current state of play, or an updated version of Driveway to Driveway?
If you like mid-discography Superchunk, you’ll find plenty here to dig. What you see is what you get; no one’s trying to make a concept record. If you’re all in on the early stuff, you might find the edges a little too sanded off, but odds are good you’ve thought that for a while now. It’s easy to get consumed by (waves hands all around), and while fully checking out isn’t an option, trying to care less is sage advice.
I don’t know that anyone will claim this as their new favorite record by the band, but it’s got a lot of what’s helped them make it to elder statesman status, and with just the right blend of angry and sanguine, it’s the right record for right now. (Bandcamp link)
Case Oats- Last Missouri Exit
I have this daydream that I’ll retire early from my job, hit the Midwest backroads, and restart my quest for the four calendar cafe. I did this a lot in my early 20s, coming close a couple of times, but never hit the jackpot. This time around, I’d find it- just as imagined; a clean, well-lit place, populated with locals sitting in the same spots their families have for generations. Where everyone knows your name (except for me, obvs), and the coffee is strong enough to stand a spoon up in. The menus are one-sided single laminate sheets, and the aroma of the freshly baked pie is seared into the slightly cracked vinyl booths. You can see over the diner counter back into the kitchen where a radio is perched up on a shelf (antenna pointed just so), and you’ll hear something like Case Oats’ “In a Bungalow” coming through the tinny speakers. It will be exactly what I’ve been looking for, and it will be fantastic.
I never really know what I’m looking for when it comes to alt-country or Americana. As both a fan ofsad dad bands and a music writer, saying I’m mostly looking for a vibe might not be the best approach, but that’s what happens. Albums in this lane either have that vibe (see above) or they don’t. Last Missouri Exit checks all the boxes. Casey Walker’s plaintive vocals feel authentic in a way that’s becoming increasingly rare. When she’s singing about life and lives lived, you feel it. Supporting her is a lot of talent, including Spencer Tweedy. It takes a lot of work to sound this unpolished, but they make light work of it.
Last Missouri Exit doesn’t stray too far from the plan here. Like those one-page menus, the tracks are simple and to the point (not derogatory). No one will describe this album as pushing boundaries—and it never tries to. This is a record that feels as lived-in as those booths. And it, too, is fantastic. (Bandcamp link)
The Cavernous – Please Hold
The (literal) pitch: It’s a lo-fi, trip-hop–leaning album accessible only by calling a North American toll-free number. The record blends ambient textures, eerie downtempo, and cryptic operator messages into something equal parts surreal and existential. Lead single “Guile” is streaming now.
Okay, so the idea that you would need to call a 1-800 number to hear a record seemed too clever by half… but also really intriguing. Sort of like taking Cindy Lee’s Geocities–only release to the next level.
In an era of hours-long hold times, sadistic phone trees, and AI chatbots, the idea of willfully calling a line to literally listen to a treatise on hold times seems like an incredible self-own. And it would be… except for one thing: the record is really good. Not even sure I can call it a record, but whatever it is, it kept me fully engaged. The lo-fi beats and loops felt comforting, like I was finally being let in on a joke, only to then be jolted back to reality by the “just a little too loud” spoken word updates that are on all the routine calls we suffer through. I have to assume those are there to ensure we don’t fall asleep, right?
There are downtempo beats and washed-out synths for days. Even the sounds like Microsoft’s hold music, which usually make me reflexively angry, only made me chuckle here.
“It started as a joke about hold music,” says frontman Rob McLaren. “Then it became a meditation on death.”
I’m not sure I can describe it any better than that. Want to experience it for yourself? Call 1-877-420-9159. It might be the only time you’ll be happy to be “on hold” for 45 minutes.
Kevin Sent 
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