Tag: pop

The Best Record of 2001: Day 9

by KevinLeave a Comment on The Best Record of 2001: Day 9

It’s overdriven pop vs. minimalist country as Ash takes on Gillian Welch

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Ash – Free All Angels

Coming into Free All Angels, I expected a blast of guitars and that familiar late‑90s angsty….or something like 3 Doors Down. Honestly, I had no idea what I was in for (I know! I know!). What I didn’t expect at all was how bright and melodic this record sounds. Ash lean hard into pop hooks and glossy production, and it suits them nicely. Open “Walking Barefoot” bounces with energy, driven by big choruses and a reckless sense of fun. The band shifts from power‑pop charm to radio-friendly and back again, without losing its edge. The vocals are gritty, but the melodies push the songs toward the sunny side of the road, not garage rock.

What stands out most is how clean the songwriting feels. Every track swings for immediacy; nothing drags or hides behind fuzz. It’s all overdrive, man. Even when the themes turn darker, the delivery keeps the songs moving with a lift in tone. By the time “Shining Light” and “Burn Baby Burn” hit, it feels like Ash translating youthful frustration into something almost joyous.

This album captures a band embracing melody without apology. I don’t know what Ash was chasing with Free All Angels, but they found it in sing‑along choruses and unguarded optimism. It’s brash, catchy, and a bit sentimental. All the things! It reminds me of someone fondly looking back at a summer stay at the beach.

Gillian Welch- Time (the Revelator)

In the run-up to the bracket kicking off, this came up as a record people should check out ahead of time. There’s usually a lot of those, of course — everyone’s fighting their corner and wants their pet picks to be heard. That’s half the fun! But rarely does someone else chime in and say (really, really paraphrasing here) “If you haven’t heard this record, you haven’t heard music.” I know I butchered that, but what was unmistakable was the endorsement. You gotta love it when someone goes to the mat for a record, book, whatever. So, being one of the people who had somehow made it to 50 without ever (knowingly) hearing Welch, I had to see what the fuss was.

Turns out “Gillian Welch” isn’t just Gillian. It’s her and David Rawlings — her musical and life partner. Welch takes the lead on these songs, her voice steady and unhurried, while Rawlings floats around her with a dry, golden guitar tone.

Time (The Revelator) is ten country songs about heartache, and it’s a fantastic thanks to the duo’s next-level songwriting.

A few songs in, and I would’ve bet my house that Welch was from somewhere like West Virginia — one of those places in a holler that looks to Beckley as the “big city.” Imagine my surprise to learn she’s from L.A. That’s a heck of a pastiche. But the authenticity is never in doubt. These are her and Rawlings putting their all into these songs, and it shows. These aren’t my bag, but I get why the poster said what they did. I suspect that by the time we get through all 64 of the first-round matchups, more than a couple of records will have been flung onto the “sounds of its time” heap. This won’t be one of ’em. Time isn’t holding us, time isn’t after us. Turns out, time is a revelator (and a timeless record).

Bottom Line:
Both of these are solid outings. I went with Welch primarily on the endorsement I opened this post with and a little name recognition. I have a feeling this one could easily go either way.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

The Best Record of 2001: Day 8

by KevinLeave a Comment on The Best Record of 2001: Day 8

Ben Folds takes on The Langley Schools Music Project.

Good morning!

Today we’re taking a look at Ben Folds’ Rockin’ the Suburbs (#48) and The Langley Schools Music Project’s Innoncence and Despair.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Ben Folds- Rockin’ the Suburbs

Talk about bad timing.

Rockin’ the Suburbs should’ve been Ben Folds’ ticket to stardom. There’s no more “five” riding his coattails (okay, there’s three of ‘em still, but still…), he’s got a couple of great records behind him and a new one in the can ready to go. It’s chock full of the usual witticisms that brought us all to the party in the first place. There’s plenty of piano and a good chunk of fuzzy bass. What’s not to love?

If only they hadn’t picked September 11th for the release day. And really, who releases a record on a Tuesday?! Maybe that’s a thing? I dunno. Either way, I spent the day at the airport, smoking, “guarding planes” (lol), and listening to ABC radio; Ben probably spent it wondering what might’ve been.

One of the things I’ve always dug about Folds’ writing is how he writes about the human condition but wraps it in a brand of wit that makes you feel good about it all. “Army” could’ve been a dirge about not getting along with his dad. Instead, a whole generation of us has “Grew a mustache and a mullet/got a job at Chick-fil-A” stuck in our head like a sonic sleeper agent, just waiting to be our next earworm. This, of course, makes piano-led music more palatable. I also suspect he wrote many of these not as catharsis but for his own amusement.

The first song on Rockin’ the Suburbs is “Annie Waits,” and doesn’t pivot too far. As Exhibit A for the people, I offer you: “Annie waits… But not for me.” Iseewhatyoudidthere. The title track is also one of the catchiest on the record, and my fave of the lot. Catchy is good, as there’s a good deal of heavier material here. And tbh, after 9/11, that’s the last thing anyone needed.

Folds’ records have always been a mixed bag for me, with some must-listens and some must-skips. I’ve only ever owned/borrowed these on CD; that came in handy. But the highs! So, so high. I suspect at some point, I’ll be wandering the halls of the old folks home and will just start singing “Army,” or I’ll be in the dining hall and the melody to “Don’t Change your Plans” will pop into my head. It’s a high bar.

And it’s a bar that ‘Suburbs never quite clears. It’s good, not great. Some of the tracks are wonderful, but I can guarantee there’s no way I’ll be signing “Annie Waits” at some random point in old age.

What might’ve been.

The Langley Schools Music Project- Innocence and Despair

Speaking of getting old, I hate that time keeps screaming by, but there are a few silver linings. One of ‘em? No more elementary school “programs.” Look, I love my kids, but there is no need for me to ever sit through another music program. No reason to pretend not to be driven mad by off-key crooning or that one kid whose parents made him play the French horn. Remember that weird resurgence Journey enjoyed about 10-12 years ago? Yeah. Just in time for my oldest’s (then ) third-grade class to do a whole-ass thing featuring their songs. You’d think this would’ve been fun, if only ironically. You would be wrong.

But this! This is great. Maybe it’s because I didn’t feel like attendance was compulsory. I mean; literally no one was gonna give a f**k if i didn’t play this. And tbh, I thought about it. But this whole record made me feel some kind of way. Recorded in 1976-1977, it’s essentially a school-assembly-as-covers record using hits of the era. Bowie? Sure, why not? Rhiannon? Okay. Sweet Caroline? Gotta take the bad with the good, I ‘spose.

On paper, there is no reason why I would normally like this, but some sort of Grinch-type stuff happened, and my heart grew three times its normal size. Maybe it’s the shit state of play in 2026, but man, this was exactly what I needed today. They even cover Herman’s Hermits! Something tells me I’m into something good? You better believe it.

Bottom Line:
Bracket pick: Ben Folds all day. There are quite a few first-round matchups where I defaulted to picking the higher seed. This is one of ‘em. My vote? Going to the kids.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

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The Best Record of 2001: Day 7

by KevinLeave a Comment on The Best Record of 2001: Day 7

It’s an I-5 battle as Sacramento’s Cake takes on LA’s Margo Guryan.

Good morning!

Today we’re taking a look at Cake’s Comfort Eagle and Margo Guryan’s 25 Demos.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Cake- Comfort Eagle

Having to force-rank Cake albums would be rough sledding. These parlor games are always fun, but is it possible to just do a six-way tie? If you like a little bit of theremin with your rock, you’re in luck. Maybe a bit of quasi-rapping laced with droll wit? Want some horns and a little git box with choruses purpose-built for singing along while stuck in traffic? I’ve got good news!

Comfort Eagle is the band’s 4th record, and the short version is it’s more of the same. And hey, if it ain’t broke, why fix it? The NorCal band knows what it’s got and isn’t interested in lowball offers.

What they have are tracks oozing with deceptively catchy riffs and songs that transport you to a sun-baked world of short skirts/long jackets where everyone calls you “dude.” Speaking of which, most people will recognize “Short Skirt/Long Jacket,” which had a decent run on the charts and still gets played to this day.

What people might not know is that the band held a (then novel) online vote to pick which track would go second. The title track won, but after 9/11, the band decided to switch to “Love You Madly” stating “Due to unforeseen changes in national media, CAKE must now change its upcoming single from ‘Comfort Eagle’ to ‘Love You Madly.’ We apologize to those of you who voted for the latter, but due to its airplane, corporate, and Middle Eastern references, ‘Comfort Eagle’ has been deemed inappropriate for today’s emotional climate.”

Fair enough. Fall of ’01 was a weird space to be in. Love You Madly is catchy, but not as much as Comfort Eagle. But we’re talking a game of inches here; everything on this record is catchy. If you only know “Short Skirt/Long Jacket,” consider this a sign to check out the rest of the record—it’s so much more than the one song.

On the title track, Cake says they are billing [you] a religion. Consider me converted.

Margo Guryan- 25 Demos

We recently finished rewatching Mad Men here at the house, and 25 Demos is the perfect sort of record for a music supervisor to tap for some of the scenes. It’s purpose-built for playing through a transistor radio, and you can imagine it playing in the background as Betty smokes in the kitchen stewing about, well, whatever was bothering her that day—or over b-roll footage of the city (ever notice how few scenes took place in the street? No? Just me? Okay, then.). It’s just unknown enough to send people scurrying to sites like Tunefind and just known enough to catch the attention of the hipper among us too. In this scenario, I would be firmly in the former camp.

An aversion to performing prompted Guryan to move from singing songs to writing them. Reading a bit online, apparently, she first did this to get out of a piano recital. Later, like many, she had her mind rearranged hearing “God Only Knows” and set out to hear as much pop as she could get her hands on. Those artists influenced her work, and eventually, she had enough to put together a record. Her manager (and later husband) landed her a record deal, but she was unwilling to tour behind it (see above), and so it went almost nowhere—except cutout bins and the cabinets of the few lucky enough to have found it before it faded out.

The record is full of the sort of sunshine and avant-garde pop you might expect. If you’re a fan of Burt Bacharach or (insert favorite Yé-Yé artists here), you’ll find plenty to enjoy. I don’t know if we needed 25 songs of this; maybe 14–16 would’ve been ideal, but it is being sold as a retrospective, so there’s that.

As the title implies, these are demos, and a couple are pretty spartan, but most are more fleshed out than I would’ve expected. Maybe that’s down to what she was looking for or just how things were done back in the day. Either way, the result is a treasure trove of her work. I don’t know if calling this sort of thing a retrospective fits when it comes to an unknown artist, but whatever. Guryan might’ve had no taste for the stage, but her ear for rhythm is undeniable. Her vocals drift between wispy and ethereal—not the strongest voice ever to come through your speakers, but it fits perfectly both with the style of the time and the music behind her.

One of the fun things about these brackets is finding these forgotten gems. How’d this get into the final 128? Was it something someone found in their parents’ stereo cabinet? Did they hear her on the radio? Maybe they took a flyer on a record at a garage sale or while crate-digging. Beats me, but I’m glad they liked it enough to share it with all of us. This was a treat.

Bottom Line:
I played both of these while at work, and both were perfect for the time of day I heard them. Cake was a nice little jolt- something always appreciated at 4 AM, while Margo Guryan’s brand of sunshine pop was well suited for mid-morning.

Honestly, both of these are great and did a good job of giving me a bit of reactive FOMO. I wish I’d listened to more Cake! So it goes. These are obviously two wildly different records, but I have to say that Comfort Eagle felt a couple of songs too short, while 25 Songs went on a touch too long. You always want to leave ‘em wanting more. For that reason, Cake’s getting my vote and bracket pick.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

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In Conversation With: Crisis Public Relations

by KevinLeave a Comment on In Conversation With: Crisis Public Relations

What happens when a music critic, two poets, a Nashville transplant, and a former Migos labelmate all come together?

Photo courtesy of CPR

Good morning!

We’re in for a treat today; NYC-based Crisis Public relations stops by to talk about their new EP, how they got here, and what’s coming next.

The pitch: A self described “NYC-based firm consisting of a former Migos labelmate, a pseudonymous music critic, two sister-poets, and a Nashville-to-Brooklyn transplant” get together and make an EP that bends the definition of pop and all it’s variants. It might read like the set up to a hipster version of a dad joke, but is quite the opposite. Part experimental, part hyperpop, part screed against the hellscape we find ourselves in, Life Rights is quite a ride.

My on ramp to the band first came this past fall when I was turned on to their “Out the Window” single, which we had a chance to feature on playlist 316. This past week, they released an EP, Life Rights, which is fantastic.

Trying to define the band’s sound has proved tricky for me. I know my way around a keyboard, but with each track, my list of possible influences and reference points would shift. That makes for tough review writing, but an awesome listening experience, and I wondered if it was by design. This is after all a group that set out to challenge assumptions and the status quo.

We’re interested in persona, we’re interested in production, we’re interested in obscurity—all things that might scan as “less authentic.” But “Crisis Public Relations” and “Life Rights” are phrases that read as clinical, but the component words are all quite meaningful.

I recently had a chance to chat with the band via email. In our wide-ranging discussion, we talked about the band’s origin story, the record, and what’s coming next. Our chat has only been lightly edited for grammar and flow.

KA—

Congrats on the new record! Can you walk us through the backstory of how this project came together?

Three of us—Reggie, who sings and plays guitar, Isa, who sings and produces the songs, and Meg, who also sings, plays guitar and writes lyrics—moved into a house together during the COVID pandemic. We started jamming most Sundays, gradually inviting friends, including Meg’s sister Eleanor and John, who now plays bass, to join. In 2023, the project started really coming together, and then in 2024, we met Noah, who plays drums, through mutual friends.

On your website, you describe the band as “a new NYC-based firm consisting of a former Migos labelmate, a pseudonymous music critic, two sister-poets, and a Nashville-to-Brooklyn transplant.” Say more, please.

You forgot the food content creator, Noah! It does what it says on the tin. That’s all literally true. Isa was signed to a 360 record deal when they were 18 years old, Reggie is not who he says he is, Meg and Eleanor are sisters and published poets, and John was performing as a folk singer-songwriter in Nashville for several years before he moved back to the East Coast.

Photo courtesy of CPR

How is this EP different from previous outings, or to be more specific, work band members previously released?

This project has aspects of each of our styles, but it comes together into something new. For instance, this music is still really lyric-focused, but compared to, say, John’s solo music, it’s much freer from traditional narrative and song structures.

I can hear a few different artists that might’ve been an influence. Were there any specific bands that informed the sound on Life Rights?

Our inspirations are pretty varied; CPR is made up of a lot of members with different tastes. “You’ll Be Fine” was definitely influenced by the Jamaican diasporic sounds on labels like Trojan Records, and also the RnB-gone-reggae sounds of ‘90s and ‘00s radio. And the ending of the song breaks down into an almost Pinegrove like acoustic indie rock thing, which breaks down into pure ambient noise.

NYC is obviously a massive scene, but what’s your orbit like? What other bands are in it? How (relatively) close-knit are you all?

In our non-CPR lives, we all have various different scenes we travel in—Reggie writes a lot about all kinds of different scenes, and John works at a conservatory. Noah collabs with indie musicians. It’s TBD what the CPR scene is, but we loved performing with Sister, and Jude Johns recently, and we always make a point to see acts like Asher White and Grumpy.

For anyone new to CPR, what’s the one thing you hope they walk away with?

Sometimes, it feels like social media algorithms put pressure on musicians to manufacture “authenticity” to compete for attention, to grab people with the most intensity possible. So a lot of tears, a lot of “here’s a song about the time I saw my dad run over my dog.” Some people really make that work, to be clear. But we’re interested in persona, we’re interested in production, we’re interested in obscurity—all things that might scan as “less authentic.” But “Crisis Public Relations” and “Life Rights” are phrases that read as clinical, but the component words are all quite meaningful. Similarly, we hope that people see that these glossy songs were all made with care.

What’s next for the band? What’s 2026 look like? Back in the studio? On the road?

We’ve talked about doing a couple weekenders in other cities in the northeast, but mainly we want to be making a lot more music. We want to rent out a practice space and dial in the CPR sound. Noah played on the last two songs on the EP, “You’ll Be Fine” and “The Subletter.” Production is a huge part of our sound, so the next step is finding our groove in the room and working that into our records. In 2026, we’re also looking for someone who can reprogram a printer to print sheets of music so we can incorporate that into the show… so if that’s you, please message us.

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

Reggie is probably carrying something from Mississippi Records. Isa bought 15 unfindable-online $1 records in the hopes of finding sample gold. John’s probably holding some sensitive folk record about, like, the light through the leaves or whatever. Meg’s holding the collected works of Eileen Myles. Noah’s carrying a world-class sandwich he personally made.

Listen:

Crisis Public Relations | Life Rights (2025)

Right-click the record to listen via Bandcamp.

Image preview

Life Rights is out now. You can grab your copy here.

Thank you to CPR for their time, and thank you for being here.

Kevin—

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

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 over the last several days. Your direct support fuels this community and makes a positive impact. Shares and reposts also help!

When you’re ready, joining them is easy. Just click here:

I want to keep the records coming!

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 some of what I’ve had in heavy rotation. This week, we’re starting by heading back in time (and just a little bit south of here) to Rockford Illinois, for a dose of Cheap Trick. Are they Power Pop? Maybe. Do they rock? No doubt. From there we’ve got a deeper cut from JAMC, and a brand new one from 

Pete Droge. He was also on a recent episode of Center Stage, so make sure to check that out.

It’s Spooky Szn, so Side 2 kicks off with a trifecta of Fever Ray’s “Shiver,” Water From Your Eyes’ “Nights In Armor,” and something from LA Witch, before ending with fresh tracks from Massage, Joel Cusumano, and Petrov, the Hero.

Broken record alert: 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.

Other sources: Qobuz (missing: Inland Years) | YouTube Music | Apple Music

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!

Leave a comment

Discussion: What’re You Listening To?

by Kevin2 Comments on Discussion: What’re You Listening To?

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:

I want more music!

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 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.

Other sources: Qobuz | YouTube Music | Apple Music

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!

Leave a comment

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

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:

I want more killer music!

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 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.

Other sources: Qobuz | YouTube Music | Apple Music

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!

Leave a comment

Sound Advice: 12.Sept.2025

by KevinLeave a Comment on Sound Advice: 12.Sept.2025

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

josh terry for getting this on my radar!)

Tullycraft-Shoot the Point:

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?

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In Conversation: Gelli Haha

by KevinLeave a Comment on In Conversation: Gelli Haha

It’s time to take a rocket ride to the Gelliverse

Good morning!

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.

Switcheroo out now. You can grab your copy here.

You can also connect with her via her Website or on Instagram.

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

Kevin—

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

Good morning and Happy Labor Day to those of you reading in the U.S.!

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:

I’m ready to ditch the algorithms!

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 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.

Other sources: Qobuz | YouTube Music

*Note I expect to add Apple Music to the menu here soon. Look for that in the next week or two.

Now it’s your turn.

What caught your ear this week? Any new releases or shows you’re looking forward to?

Whatcha got? Share your thoughts in the comments!