Tag: reviews

Sound Advice: 25. Apr. 2025

by KevinLeave a Comment on Sound Advice: 25. Apr. 2025

The flood of great records continues! Today taking a quick look at the latest from Rhymies, Dick Valentine, Avery Friedman, Mythical Motors 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 Rhymies, Dick Valentine, Avery Friedman, and Mythical Motors and several 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!

Rhymies- I Dream Watching (EP)
There is a trend on social media where Gen Z kids cue up Bronksi Beat’s “Small Town Boy” and film as their parents reflexively start dancing to it. It’s a lovely song, but it’d be better if they used Rhymies “I Dream Watching” instead.

Rhymies is the latest side project from Bay Area musician Lauren Matsui. That name might not ring a bell, but her other bands, Seablite, and Neutrals, have both been featured here and are On Repeat favorites.

With that as context, this EP is a world away from both. Seablite draws easy comparisons to Lush, and Neutrals are a great bit of indie pop and/or post-punk, depending on your mood. I Dream Watching is 100% a synth-pop record. Matsui’s vocals pair perfectly with the keyboards, making for an intoxicating mix.

If Seablite took you back to early 90s shoegaze, this will take you back to the era of 80s dance parties, just like we (or your parents) used to dance the night away to.

Grab your cloves and hit the club here

Avery Friedman- New Thing
The Rosy Overdrive blog recently reviewed this LP and prefaced it with noting, “I get records that match this description emailed to me every day, so you can rest assured that I wouldn’t be writing about this one if it wasn’t a clear standout from that pack.”

I’ll take that one step further; I am convinced someone, somewhere, decided that any promo email had to include either “pedal steel” or “indie folk” in the description. It feels like a bit of PR Mad Libs or refrigerator magnet poetry gone wrong. I can’t speak for Rosy’s inbox, but in mine, those two phrases are as ubiquitous as UPCs are on the records they’re trying to move.

For better or worse, to my ear, “Folk” means acoustic, maybe a mandolin, and a general lack of oomph. Slapping ” indie” on the front of it just tells me it was made after 1995. I’m mindful that those words telegraph a lack of objectivity.

“New Thing is a conduit for emotions too frenetic to hold on your own. This record is a collection of the first songs I’ve ever written, after many years of orbiting the music world but denying myself my own musicianship. Many of these tracks were
born of anxiety—from my turning to a guitar to externalize (and organize) a sense of chaos that otherwise felt trapped inside me. We recorded the bulk of it with a live band as a means to maintain the raw energy at the center of the record.
What results is a time capsule for a year of intense personal expansion in my life—and the layers of warmth, wonder, sensitivity, and sharpness that come with growing.” – Avery Friedman

That said, I gave this one a spin, and while it’s not my place to tell an artist or PR firm what genre to go with, folk would not’ve been my first pick here. There’s far too much energy and emotion on New Thing for that. It’s electric (literally and figuratively).

Earlier this week, we featured the title track on our Playlist. Songs that make the cut are ones that are in heavy rotation. With New Thing, I had about 4 to pick from before ultimately going with the title track.

Besides the title track, “Photo Booth” is synth-tinged with blurry guitars and a solid rhythm section that keeps everything moving. With its washed-out fuzz and soft vocals, “Somewhere to Go” feels fluorescent. It’s a slow burn that will keep you wanting it to kick into gear. “Biking Standing” might be the closest (again, IMO) the record comes to folk, and even then, I’d say that it feels more like a lovely bit of lilting bedroom pop than anything.

On the title track, Friedman tells us, “It’s a little bit of a new thing / It’s a little hard to predict / And I can’t quite describe it / But it’s like a magnet flipped.” Honestly, I can’t think of a better way to sum up this record than that. This album fades in and out; sometimes, it feels like the light of midday. Other times, like a fever dream or fuzzy memories, struggling to make it out of the back of one’s mind.

Hard to describe, hard to predict, and it definitely feels fresh. New Thing was something I didn’t see coming. But it’s not PR spin when I tell you that’ll be a contender for a spot on my AOTY list.

Folk? Not folk? Click here to listen and decide.

Mythical Motors- Travelogues and Movie Stills
I’ve often joked that we need to check in on Robert Pollard if we go more than six months without a Guided by Voices record. The reality is that someday, he will slow down. Luckily, Matt Addison is already releasing records at almost the same rate.

Like GBV, Addison’s specialty is lo-fi quick hits. This record is pared down from its predecessor but still squeezes in 15 songs in less than 30 minutes, the longest clocking in at 3 minutes even. With those numbers, it would be easy to assume he was flooding the zone, hoping something would stick. That would be wrong. Travelogues and Movie Stills is packed with the gorgeous jangle and bright hooks we’ve come to expect from him.

In other words, it’s just what we need right now.

Fourteen months ago, I described Upside Down World as what lo-fi power pop looks like. It’s the same story here. In a world as wild as 2025 is shaping up to be, it’s nice to know some things haven’t changed.

Listen to the record and grab your copy here.

Dick Valentine- The Final Musician
Valentine might be better known as the frontman of Electric Six, but he’s also released a huge catalog of solo records (books, too, for that matter). His latest, The Final Musician, is a little more stripped down than some of Electric Six’s work, but no less manic.

The title track kicks things off, and we’re immediately met full-on with his distinctive voice. The song itself feels like something from Jack Black and/or Tenacious D. Not my fave on the record, but it sets the mood early that this is gonna be a Dick Valentine record.

That’s followed by a heapin’ helpin’ of garage rock in “Asian Freckles.” It’s all gas and no brakes, followed up with a much more (relatively) sedate “Bombs for Baby.” We even get a bit of folk (sorry!) in “Leave the Rest of It to Me.” And is that a fiddle I hear in the back? Just a few tracks in, and the blender’s already full of genres.

Again, this is a hallmark of any Valentine’s record.

“Duchess in a Tree” is a bit of stripped-down funk, as if they purposely left the amps turned down. It’s understated but rides high on a slinky groove. It’s also this writer’s favorite track on the album.

Ask four people to describe Electric Six, you’ll get at least five opinions. It’s a sound that’s so versatile (and so good at genre-hopping) that it defies easy categorization. Valentine’s solo work is no different. He’s still the Dance Commander and still giving out the orders for fun.

He’s spent years making music his own way, maybe to the detriment of his bank account. With The Final Musician, maybe that’ll change. If not, I can’t see him changing a thing. Indeed, I hope he doesn’t.

Valentine was also recently on the Center Stage Podcast, and you can catch that here.

Grab your copy via Madison-based Shortwave Records

Also awesome:
Hairpin- Modern Day Living (EP): This EP has Blast furnace riffs and heavy beats for days. The band describes the tracks here as “post-hardcore through a power pop lens.” I just describe it as good. RIYL: High Vis, Pegboy, driving guitars, running red lights. (Buckle up and get in here)

Palamara- Tomorrow Is a Friend: Soothing, introspective sounds from an artist once described as “Lambchop or the Magnetic Fields with a country twang.” An excellent release that’s equal parts Americana and country. Will remind you of the singer-songwriter records in your grandparents’ cabinet (100% said as high praise). Pairs perfectly with spring morning sun, big mugs of coffee, mountain views, or any one of the Great Lakes. (Slow down to the speed of life here.)

Marshy- Light Business (EP): 4-song EP from NYC’s Marshy. Light Business is a fantastic mix of emo, power pop, and just a touch of shoegaze. Four songs weren’t enough. Hoping we’ll see an LP in the not-too-distant future. RIYL: Momma, Wednesday, crunchy guitars. (Grab a copy here)

Wayside- Dusk to Dawn: Full throttle rock from the Twin Cities. After a long layoff, the band is back and in their best form yet. This isn’t a heritage act, but they are 100% standing on the shoulders of many of the bands that came out of the 612 before them. Either way, the whole thing rips. Bar trivia: Richard Stuverud of The Fastbacks, Three Fish, Tres Mtns, RNDM, War Babies, and Pearl Jam (briefly)….is sitting in on drums on one of the songs. (See what’s happening in the flyover states here.)

West Coast Music Club- Need You Beside Me (EP): Another release of West UK’s West Coast Music Club. The title track reminds me of Chameleons, and it just goes up from there. If you only have room for one track on your playlist, make it “Summer Loving.” It’ll already be stuck in your head anyway. (Pick up your copy of Need You Beside Me here)

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

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In Conversation: Peter Holsapple

by KevinLeave a Comment on In Conversation: Peter Holsapple

The former dBs frontman stops by to talk about his new solo record, working with other artists, and shares a few of his favorite crate digging finds.

Good morning!

We’re in for a treat today; Peter Holsapple stops by to chat about his new solo record, working with bands like The Paranoid Style, and the most he’ll pay for a used record.

Peter Holsapple’s resume reads like a list of your favorite bands. He’s played with R.E.M., The Continental Drifters, and more recently, with On Repeat Records favorites, The Paranoid Style.

But he might be best known for being a member of the critically acclaimed power pop band The dBs, along with Chris Stamey, Gene Holder, and Will Rigby. If you’ve been here long, you know I am a huge fan of the band. Their 1984 record Like This is an all-timer, and grabbed a spot on my recent top 100 list.

He’s also performed as a solo artist, building a considerable volume of work, starting with 1997’s Out of the Way and follow-up Game Day. Now he’s back with The Face of ’68, an album full of the hooks and lyrics Holsapple fans have come to love over the years.

The press release cheekily mentions that you probably already know him, but if you don’t, it’s time to change that. Even if you don’t recognize the name, you have undoubtedly heard bands he’s influenced over the years. The dBs and Continental Drifters are a lot of your favorite band’s favorite bands.

To be clear, while there is plenty of what you love (strong hooks, a love song or two), The Face of ’68 doesn’t simply cover old ground. It sounds & feels fresh, indexing less on power pop and more on muscular guitar. If you weren’t already familiar, now is absolutely the time to change that.

The first words we hear on the record are Holspapple asking,

I wake up in the morning
With the sun in my eyes
And every day is a total surprise
Isn’t that right?
Isn’t that great?

It is. And any day we’re gifted a record like this is even better.

In our wide-ranging chat, we discuss the new record, his time playing with The Paranoid Style, what was playing in his house growing up, and running into “that guy” at the record store.

Our conversation has been lightly edited for clarity and flow.

Congrats on the new record! The press release mentions that The Face of 68 is different. Can you expand on that a little more?

Thank you! Well, I think it’s different for me, or what people may expect from me. It’s got more of a rock guitar basis, for lack of better terms, than anything I have put out before. Lots of riffs and minor chords. If you think of “Bad Reputation” from The dB’s first album Stands for deciBels as a rock guitar song (which I do) The Face of 68 rocks like that. There’s, like, one strictly power pop-ish tune, but it’s the anomaly.

Artists often cite you and the bands you’ve played in (The dB’s, Continental Drifters, etc.) as inspiration. Who were you influenced by when you first started? What was playing in your house growing up?

I’m always a little surprised to hear that because I never thought any of those bands had a significant amount of reach; but from our tour last year, I see that our songs definitely made a lasting impression on more people than I’d imagined, very grateful to know that.

My mom and my big brother listened to radio and records in the house, so I was exposed to pop music as a little kid. My first single was a Bert Kaempfert single “Afrikaan Beat” that I’d heard on a kids’ TV program when we lived in Old Greenwich, so I was around four then. Radio in Winston-Salem was WTOB mostly, our Good Guy station with personality jocks like Dick Bennick (Dr. Paul Bearer) and the Flying Dutchman (Pete Berry), both of whom also produced 45s for local bands. We got Beatles, James Brown, Buck Owens, Napoleon XIV, Sir Douglas Quintet, and we loved it all.

How about today?

Hmm. Well, in the car I listened to the newest Maggie Rose album since The dB’s played before her at 30A Songwriters’ Festival, and we met her and her band, and she and they were just lovely people. And the record’s stunning, the arrangements are strong and the sound is huge. That’s today. (Oh, and a couple things on YouTube, like a Peggy Lee track and a Tornados follow up to “Telstar”.)

You played on The Paranoid Style’s excellent The Interrogator. How did you all first connect? What led to you being in the studio with them?

It absolutely is excellent! Thanks!

A few years ago, out of the blue, I was contacted by Elizabeth Nelson and Tim Bracy, who wanted me to play piano on a track of theirs in a Durham studio. Will Rigby had played with them, and I knew their guitarist Bruce Bennett from the A-Bones in New York. So I jumped in and had a great time and made friends for life.

Last year, they called me to reprise my role at the same studio which is six minutes away from my house. So I said sure, went down to Overdub Lane and sat down at their beautiful grand piano and cut a track. Elizabeth and Tim reported that the band’s lead guitar player had the flu and was not going to be able to make the date, so they asked me if I’d jump in on guitar. It was something of a trek out of my comfort zone of sturdy rhythm guitar, but I tried to think on my feet for each song on The Interrogator that called for filigree guitar, and everyone was very satisfied with what I provided.

Returning to The Face of 68: “Larger than Life” is the first single. What inspired you to choose that one to kick things off?

“Larger Than Life” was the song, when the demo was done and I was listening down to it, that made me think I should have a look at the songs that I had written since Game Day was released in 2017. And when I did, I saw that I had more than a handful of good tunes, and that a great number of them had a harder edge to their sound. “Larger Than Life” I wrote to commemorate the death and transfiguration of my friend and bandmate Carlo Nuccio who died in 2022. When Carlo died, he left a hole in the universe that was incredibly large for everyone who ever knew him or played with him. A groove like his absolutely went into that universe and shattered into dust that gets in everything from here on out. So I had to write a song to process my loss and the world’s dusty gain.

Many people reading this will relate to “That Kind of Guy.” We all know–or have rubbed shoulders with—”that guy” while crate digging. Was it inspired by an actual event (or events), or is it more of a composite?

I worked in record stores for most of my retail double-life. I knew music, what better job? My bosses were always sympathetic to my music career. My customers ran the gamut. Some were royal pains, some became friends that are in my life to this day. Several stores I can think of in New York were more prone to people like TKoG, the ones full of collectors’ items, so I was around them from time to time. I’m not a very particular collector myself, I just don’t want to pay more than $10 for any used record.

Double-clicking on that, you name-check a ton of artists on the track. What might be under your arm if we ran into you at the record store?

Like I say, I love the dollar bins, so I’m happy to find stuff that’s in okay shape there. I don’t usually shop with anything in mind; Record Store Day is an event my family used to participate in when the kids were little, but even then, we wouldn’t be at the doors of the shop at the crack of dawn for anything in particular. We’d all just walk out with bags of cheap CDs and beat up records! (I say that I don’t shop for anything in particular, but there have been times that I’ve tried to will something like an obscure Dennis Linde album to appear, and then it turns up in a bin, and I think that’s notable.)

Best recent $5 find was a pristine copy of Media Blitz by Quacky Duck & his Barnyard Friends on Warner Brothers. Danny and Dae Bennett, Tony’s sons, were in the band, as was David Mansfield, assorted string player to the stars, Rolling Thunder Tour as well–he has been playing with Ringo’s country shows lately! I saw Quacky Duck when I was a freshman in Chapel Hill, and David was brilliant even then.

“One For The Book” is a personal favorite of mine on the record. I’m curious how it came to be. Is there a backstory?

It’s a true story that happened a few years ago. A promoter had worked with a band on a big show that was part benefit, then he basically went haywire and left the show with all the cash receipts and credit card money and disappeared. Hence the great idea that became a disaster. That’s the only song on the record that I play acoustic guitar on, by the way.

What does 2025 look like for you? A solo tour? More dates with the dBs? Working with the Paranoid Style? All of the above?

The dB’s played their final dates of the tour promoting Stands for deciBels and Repercussion last weekend at 30A Songwriters Festival in Florida. It was a very good run for the band; we played some really good shows, and I would say that people who came to see us left absolutely satisfied. Songs they wanted to hear got heard, and we had Wes Lachot along on keyboards who made a point to reproduce the keyboard/horn sounds live. But we’re done for the foreseeable future.

I know there are a couple of dates in Dallas with the Paranoid Style in the spring, but the details are best researched at the band’s website or social media outlets. I wish that band would play more.

Speaking of bands I wish played more, I hope there’s at least one Continental Drifters show this year!

Regarding any grand promotional plan for The Face of 68, my plan is to try to do a few rock guitar shows with rhythm sections and volume when the album comes out, but to mostly head out on the back of a burro with my acoustic guitar slung over my back and play solo stuff, ‘rhythm guitar and vocals’ as it were. For the past week or so, I’ve been trying to play songs from The Face of 68 on acoustic guitar. Most of them seem to work fine in that context, some don’t. It’s okay, I have other songs to play too. I mean, this ismy third solo album. I just have to figure out an effective set that covers the songs people want to hear as well as the songs I want people to hear. Talk about treading a line!And reading a room!

Thank you for your time! I’ll wrap this up with the question I ask everyone: What are your five Desert island Discs?

They differ at any given time (plus I’m taking all my records to that desert island). So today’s are:

▪ The Flame (Blondie Chaplin/Ricky Fataar on Brother Records – 1970)

▪ Maggie Rose – No One Gets Out Alive

▪ Esso Trinidad Steel Band

▪ Hi Rhythm – On the Loose

▪ The Move – Split Ends

The Face of ‘68 will be available everywhere this Friday, April 18th

The Face of ‘68 is out this Friday (4/18). You can connect with Peter and find out more info here.

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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?

Sound Advice: 02. Apr. 2025

by KevinLeave a Comment on Sound Advice: 02. Apr. 2025

The flood of great records continues! Today we’re taking a quick look at the latest from Throwing Muses, Miscellaneous Owl, and Ministry

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 Throwing Muses Miscellaneous Owl, and Ministry

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!

Throwing Muses- Moonlight Concessions

The first time Throwing Muses rearranged my mind was in May of 1989. They were opening for New Order, of all people. Being labelmates makes for strange bedfellows, and their sound was unlike the headliners’ and a world away from anything else I’d heard at that point. It was enchanting, and I’ve never really stopped listening to them since.

Over 36(ish) years since Throwing Muses has lived many lives, and their sound has checked just about every box. There’s been melody. There’s been noise. There’ve been experiments that bordered on shoegaze. There was a stint as indie darlings.

The constant here is change, and for the band’s 11th record (and the first since 2020’s Sun Racket), they went back to the basics. Whereas its fuzzed-out predecessor was fueled by amps and electricity, Moonlight Concessions is human-powered. At its core, this is an elemental record. Throwing Muses aren’t exactly synonymous with excess, but even by their usual standards, this is a stripped-down record, with not a note or space to spare.

The opening track, “Summer of Love,” sets the mood early and would feel right at home soundtracking a noir thriller on HBO or the slightly sketchier side of New Orleans. Indeed, Nola gets a shout on “Drugstore Dramatic.” It might be just this writer, but in a lot of ways, Moonlight Concessions feels like a record Dr. John might’ve made if he was from Rhode Island and played guitar.

If you’re holding on for some bright sunny pop here, you’ll be disappointed. It’s in short supply. There is no “Not Too Soon” equivalent on this record. That’s a good thing. The best version of Throwing Muses is the one that’s just a bit off-balanced and just a little disorienting. This is a band that has never really concerned itself with the boundaries of convention.

At the show I mentioned above, the first thing I noticed about the band was how understated yet potent David Narcizo’s drumming was. I was still under the illusion that I, too, was a drummer, and watching him play (no cymbals!) was inspiring and intimidating. Here, his playing is even more minimalistic but no less fantastic. It’s much more percussion than drumming. Pete Harvey joins in, and his cello is a welcome addition. It all makes for a reserved atmosphere.

All these elements orbit frontwoman Kristin Hersh, her guitar, and plaintive vocals. The former is acoustic and understated. The latter are unmistakable and alternate between effusive and erratic. Sedate and snarling.

In an interview with Paste, Hersh stated:

“I don’t know why anyone else would know it was a return to form, but it is,” she shrugs, “because these songs—songs like ‘Drugstore Drastic’ and ‘Summer of Love’ and ‘Libretto’—were songs that Throwing Muses used to sound like before we made our first record. So, this is a return to form that no one would know is a return to form. But, you know, we used to sound like that!”

Muses’ sound has always been a bit off-kilter as if looking through a slightly distorted lens after having been in the sun for a few minutes too long. It’s a basic tenet of their sound, and in that regard, Moonlight Concessions is more of the same. And I’ll take all of that you got.

Back to basics…back to what they used to sound like. Both fit. Both make for a great record.

(Check out Moonlight Concessions here)

Miscellaneous Owl- The Cloud Chamber

Februarys here in America’s Dairyland are bleak. By that point, the novelty of winter has long worn off, and the world has descended into a monochrome of white (and salt). It’s enough to drive someone to drink. Fortunately for us, it instead inspired local artist Huan-Hua Chye (performing as Miscellaneous Owl) to take part in February Album Writing Month.

Things kick off with the upbeat (and this writer’s favorite) Tender and Laughing.

With lyrics like:

“Everything becomes a string of stars

Everything becomes the smell of rain

Everything we love will fall apart,

Everything we lose comes back again,”

“You and I Are Earth” feels like a love song to someone else and the seasons.

“The Wounded Moon” is a lilting, almost lullaby that showcases her vocalist strength. From here, we jump to “Oh Sister,” which sounds like a graduate of the same finishing school that gave us Depeche Mode’s Speak and Spell. It’s a treat. “In Clover” is a bop (albeit with some brutal lyrics) that will get stuck in your head before you know what’s happening. “Spooky Action at a Distance feels purpose-built to be closer.

Those jumps happen often throughout the record but are never jolting. The tracks vary from light and airy to softer and subtle, but they all fit well together and feel like part of the whole.

The latest in a sizeable discography, The Cloud Chamber shows Chye at her best.

(Listen/grab your copy here)

Ministry- The Squirrely Years Revisited

In May of 1983, Ministry recorded With Sympathy. Frontman Al Jourgenson then spent the ensuing years telling anyone who’ll listen that it’s awful. If the “Make Ministry synthpop again “memes are anything to go by, many people never go to the memo. They’re also now getting what they want…kind of.

After With Sympathy, Ministry recorded Twitch and then began releasing a series of industrial and metal records, both as Ministry and with side projects like Revolting Cocks. All well and good until you make the same record several times in a row. The first time you hear a record like The Land of Rape and Honey, it’s amazing. But it only takes a few records to see that Jourgenson was on autopilot. For me, it was like the music version of the law of diminishing marginal returns.

If asked, I’m definitely on #teamsynthpop here, and that’s why I’m happy to see this record come out. Maybe Jourgenson is mellowing. Maybe he sees the appetite for this music (i.e., profit potential). That said, this isn’t just a remake of With Sympathy and Twitch The tracks have been redone and remodeled. I cringe anytime I hear the word “refresh” used as a synonym for update. But it fits here. You will know you’re listening to gems like “Work for Love,” but it’s not a 100% faithful cover/remake. Same with classics like “Over the Shoulder” and Every Day is Halloween.” Elements have been added, and others taken away. There’s less sheen than the originals and more groove. It’s a great blend of both worlds. This is a return to form for a band that had grown complacent in recent years.

The Squirrely Years is anything but. It’s energetic and alive. It might be a rework of old material, but it never feels stale or reheated. It’s a modern, well-done take on the band’s early work, and it’s their best release in years.

And therein lies the beauty of the record. The Squirrely Years has made Ministry synthpop again.
(Make Ministry synthpop here)

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

In Conversation: Eric Arsnow of Seances

by KevinLeave a Comment on In Conversation: Eric Arsnow of Seances

The Seances front man stops by to talk about their new record, the Milwaukee music scene, and one of the wildest mashups you’ll ever see.

Eric Arsnow of Seances. Photo: Betsy Arsnow

Good morning!

We’re in for a treat today; Eric Arsnow of Milwaukee-based Seances stops by for a chat!

If you’ve been reading this newsletter for more than a few days, my love of new wave & post punk will not be a surprise. Bands like The Cure, Wire, and New Order all get a lot of column inches here.

I’m also a fan of underrated local scenes that too often get lost in the shadows of places like LA, London, and New York—places like Wisconsin.

So when a record described as [sounding] more like Joy Division than Joy Division does from Milwaukee landed on my radar, I was intrigued. When I pushed play, I was sold.

Like the bands above, Seances have seen their share of (well-earned) ink here lately. “Hours” was featured on ORR playlist #286, and I reviewed the album as part of the March 15th edition of Sound Advice.

Seances is a DIY new wave project fronted by singer and bassist Eric Arsnow, but he’s not solo. Rather Seances is a collective of area musicians from groups like Tigernite, Devils Teeth, Fight Dice, and Faux Fiction.

The presser describes the record in part as:

“…conjuring charming post-punk anthems who lyrically found its inspiration from horror films, the supernatural, and by intense experiences of déjà vu – the inexplicable feeling of emotionally recognizing a place even though you’ve never been there before, in different parts of the world and the people those experiences are shared with.”

That checks a lot of boxes, but I was especially intrigued by the project’s origin story. I’ll let Arsnow tell that story, but the short version is he went into a show, and walked out with an outline for a record. Another case of inspiration striking where/when you least expect it.

In a wide ranging chat, Arsnow shares the record’s orgin story, what the Milwaukee music scene is like, and what’s next for the band. He also dropped one of the wildest mashups I’ve ever heard of into the chat, so make sure to read to the end for that! While you’re here, make sure to give Power is a Phantom a spin.

Our conversation has been lightly edited for clarity and flow.

Help us spotlight great bands like Seances!

Congrats on the new record! For those who don’t know the story, can you walk us through how Seances came together?

Thank you! I’ll definitely dip into this a bit more in more depth in a follow-up question, but simply put, this has been a dream project for me to make.

Seances began as voice memos, and they sat around on my phone for like 6 months with me debating if it would be worth pursuing. At the time, I was rather busy with a couple of bands I was in. I reconnected with my buddy Jason Kartz, who is a killer guitar player. He contributed to the song “Fade,” and I quickly saw the potential in the record.

I love making DIY basement records and eventually pulled everything together from writing, recording, and mixing in a few months. Jason continued to contribute guitar to several of the tracks, and eventually, I asked Bex to join in with some of her vocals, taking over some of my parts.

Many of the records I was inspired by were recorded rather quickly, so by design, I wanted to work quickly, I didn’t want to camp out in my studio and let my intuition be my guide.

One of the quotes I saw described your sounds as “…sounds more like Joy Division than Joy Division does.” Agree? Disagree?

Ha! Yes, a generous quote indeed, and I’ll totally own it. Bass guitar has been my primary instrument for the past 20+ years, and Peter Hook has always been my top influence. I’ve often found myself in 3-piece bands (Devils Teeth, Tigernite) and found myself in a position where I needed to be a rhythm guitarist as well as a bass player, so Peter Hook’s ability to create amazing and memorable melodies has always been a point of reference for me.

As far as the vocal comparisons I’ve been getting to Ian Curtis, it’s such an honor, and I’m glad to represent the “Midwest Manchester” vibe.

Double-clicking on that for a second, what are some of the bands that have influenced your sound?

There are certainly the easy ones, like The Cure is one of my all-time favorites, New Order, Echo and The Bunnymen, Gary Numan etc. For a few less obvious answers, there’s Fischerspooner’s album #1, 14 Iced Bears’ album Wonder, and James Figurine’s album Mistake Mistake Mistake Mistake. I’m obsessed with production on records, and those in particular served as creative inspiration when working on Power Is A Phantom. I love paying attention to things like transitions, dynamics, and playing around with stereo channels to create some cool listening experiences.

The rough outline for this record came together in just a few hours after seeing The Chameleons in concert. What happened there? Were these ideas brewing for a while, or was the show itself the catalyst?

Yeah, it was wild. I saw The Chameleons for their first Milwaukee show, and I was mesmerized by the wall of sound. I locked into how Vox (formerly Mark Burgess) approached his bass playing and singing. His ability to be a melodic anchor was truly inspiring, while Reg Smithies painted these larger shoegaze vibes with his guitar lines.

When I got home from the show, I grabbed my bass, and the songs started pouring out. It was a true creative flash point, and I just let it all spool out over a couple of hours, making composition notes and capturing bass melodies. It was also super weird for me because it’s the first album I’ve ever written where the foundation was bass guitar. I later found out that Gary Numan wrote Cars on bass guitar and took it as an omen that I was on the right path.

So everything but “Weighted” (that one came together on a road trip) was captured that first night. I actually have some demos that I haven’t even touched yet.

Milwaukee (and Wisconsin in general) aren’t the first places people think of when it comes to music—especially genres like new wave and post-punk. What’s the scene like there? For people outside of our part of the world, what would you want them to know about it?

I LOVE being a part of the Milwaukee music scene. It’s a real badge of honor for me. The Milwaukee scene is truly special and it just keeps growing. We have a large swath of genre representation, which is incredible. Everything from punk to rap to Latin music, and all of it is performed at such a pro level. There are so many good songwriters in this city, and I think being surrounded by your friends who put out good records motivates and pushes you to grow. I’d also be remiss not to say that our music scene also owes a lot to the healthy support from our local radio stations, record stores, and venues. All of that contributes to why Milwaukee’s music scene is such an exciting part of Milwaukee’s culture.

What’s next? Any shows coming up? Touring? What does the rest of 2025/early 2026 look like for you?

I’m currently putting together an amazing band of Milwaukee musicians. Being a part of the post-punk genre also allows me to dip into my love for horror and Halloween visually, so I am creating a big, haunted experiential show for October that will also double as a fundraiser for my favorite local radio station, WMSE 91.7FM. More details to come on that, but it will be a lot of fun. I’m producing a lot of cool video and audio components for the show. I want whatever the live band does to feel more like a larger event; I want it to be super theatrical.

Outside of that, one of the exciting parts of Seances existing as a collective is it evolves. I’m hoping to get some recordings of the band and put out a companion piece to Power Is A Phantom that documents the live interpretations of the songs.

About half of the 2nd record is completed, so I hope to have that ready later in 2026.

Last one, just for fun: I run into you on your way out of Rushmor Records. What’s in your bag?

Ha, I don’t have to pretend at all. I’m a big fan of Rushmor, and am there at least once a month.

Some of my recent vinyl acquisitions:

  • Wugazi – 13 Chambers – Yes, Dan managed to track down some copies of Cecil Otter and Swiss Andy’s insane mash-up of Wu-Tang Clan and Fugazi tracks.
  • The Cure – High 12-Inch Single – This was a must for me because the B-side to this single is Twilight Garden; top of my list of favorite Cure tracks.
  • Sad Lovers & Giants – Lost In A Sea Full Of Sighs – Rushmor has a well-stocked section for the Dark Entries label. This is a great collection of early Sad Lovers & Giants 7-inches.
  • Lhasa de Sela – The Living Road – Ask Dan about this record. He has a great story about bringing copies back to Milwaukee from his trip to Canada. Very cool Latin folk singer-songwriter vibes. Tragically left this world too soon in 2010.

Click the record to listen on your platform of choice.

Power is a Phantom is out now. You can grab your copy here.

You can also connect with the band via Instagram and Facebook.

Thank you to Eric Arsnow for his time, and thank you for being here.

Kevin—

From the Archive: The 7 Latest Additions to My Record Collection

by KevinLeave a Comment on From the Archive: The 7 Latest Additions to My Record Collection


AT THE RECORD STORE SERIES

Note: I’m bringing this series back for 2025, and as part of that, dusting this one off from just pver a year ago. I love seeing what people pick up on their crate digging excursions, and assume (hope?) many of you feel the same way.

P.S. The Matty C. show I mention below was fantastic. If he’s comin’ to your town, make a plan to be there!

You know that old joke about garage sales, “Everything you want and nothing you need?” I think it’s similar with records. We don’t know we need something until we see it. Then, we can’t imagine life without it.

You’re not looking for most records when they find you.

I wasn’t looking for a record sale this past weekend, either. I was on the Harmony Bar’s website, making sure I had the right date for 

Matty C’s show this fall when I saw a sale happening. Tomorrow.

Ten minutes earlier, I had no idea it was going to happen. Now, I was making sure I could make it. Funny how that works.

Like the bar, the sale itself was lowkey. One small yard sign out front was the only hint that something was going on. I hadn’t been here in a while, but not much had changed. The door still creaks, as do the floorboards. The paint is the same. It still smells vaguely of beer and fried cheese curds—just as nature intended. This is, after all, the house that Rollo Steele built.

The crates were in the back room, sharing space with the regular bar stuff- it was Saturday in Wisconsin, after all. The Badger game was on TV, with people keeping one eye on the overhead screens and one on the crates. The jukebox was silent (see previous). Right next to us, a lady loudly recounted her impending divorce hearing to sympathetic girlfriends. If things went down as she described, this guy had a really bad Monday. A toddler dropped a record on the floor.

There was also a family eating lunch, oblivious to everything around them. I didn’t eat.

Four vendors had their crates set up in a U-shape. The first of the four had far and away the biggest selection and highest quality stuff. Worth noting that he had a LOT of jazz records. Not my specialty, but this would’ve been a field day for the right person. Everything was priced to move at $5 or 5 for 20 unless otherwise marked.

The dB’s Like This was the first record out of the gate. It’s a classic, and for my money, ‘Love is For Lovers’ is the quintessential pop song. I already own it, but this one was in better shape. It’s also almost impossible to find their music online (which is, I suppose, ultimately a good thing, but that’s a story for another day).

Did I really need a second copy? After spending some time in my pile, I decided I did not.

I also came across a copy of R.E.M.’s ‘Life’s Rich Pageant.’ Some of you may recall my looking for this for a while. Several months ago, I excitedly grabbed a copy at a nearby secondhand store, only to get home and realize it was a different record inside. That’s what I get for not checking. On the plus side, the (now empty) sleeve looks nice on my wall.

This time, I did check, and while in great shape, it didn’t seem worth the $125 sticker price. The show must go on. Quite a few other records spent time in my hands but were put back for one reason or another.

Below is the list that made it out the door with me.

Tom Verlaine- Words From The Front (BSK-3685, 1982)

Verlaine’s solo work is a bit of a blind spot for me. I know Television, and I know his self-titled debut. But after that? Nada. So, this was a low lift risk, and it paid off. I’ve only spun it once so far, but my early impression is that it’s on brand for him and in line with his other work. For those well-versed in all things Verlaine, I’d love to hear your thoughts on where this sits with you.

Romeo Void- Benefactor (ARC 38182, 1982)

The story of Romeo Void can be summed up in three and a half words: What might’ve been.

The band was on a rocket ride to the top, with a unique sound and fantastic frontwoman in Deborah Lyall. They had a hit on their hands with ‘Never Say Never’ and its risque (for 1982) line of ‘I might like you better if we slept together.’ All systems were go. Until they weren’t.

So what happened?

We’ve talked about it here before, but the short version is MTV happened.

Video Killed The Radio Star might’ve been the first video played on MTV, but Romeo Void was a band that would end up living that narrative.

The group had every ingredient for success; critical praise, great storytelling, a dynamic singer, a fantastic sax player in Benjamin Bossi, and an EP produced by Ric Ocasek.

They checked a lot of boxes. So what happened? MTV happened. And unfortunately, that sent labels looking for bands with a certain look. Singer Deborah Iyall didn’t fit that mold, and the band’s label made the decision to stop supporting them. The term ghosting didn’t yet exist, but looking back, it certainly fits.

Today, most people only know this track. A few more will recognize “A Girl In Trouble.” but they were so much more than one-hit wonders—a point again driven home while listening to Benefactor later that afternoon. An incredible new wave record from start to finish.

The Pretenders- Get Close (92-54881, 1986)

Get Close is the fourth outing by the third iteration of the band. And while (to my ear) it lacks some of the grit & spark of the first couple of releases, it’s nonetheless solid. Plus, it has “Don’t Get Me Wrong,” one of my favorites and one many of us contributed as a suggestion for last summer’s crowdsourced wedding playlist.

Nancy Wilson/Cannonball Adderley-S/T (T-1657, 1961)

As noted, there were a ton of jazz records, most of which I flipped right by. Cannonball Adderley always stops me in my tracks. This was no exception.

The hype sticker notes that it’s “41 mins 59 seconds of jazz!” That’s my kinda odd specificity. Couldn’t they squeeze out an extra note to make it an even 42 minutes?

Aztec Camera- Backwards & Forwards 10” EP (1-25285, 1985)

I’m not that big of Aztec Camera or Roddy Frame fan. I love ‘The Crying Scene,’ but that’s pretty much where it begins and ends. The vendor noticed my looking at the album and mentioned that this was the one where they take on Van Halen’s ‘Jump.’

Sold.

O.M.D.- The Pacific Age (SP-5144, 1986)

By 1986, OMD were on their 7th record, The Pacific Age. Produced by Stephen Hague, it bears much of his hallmark style and took the band in a more sophistipop-y direction. It was my on-ramp to the band (thanks, Columbia House!) and is also home to “We Love You,” my favorite track by the group. Critics hated it. So did the band, with Andy McCluskey calling it the band’s ‘musical nadir” and describing it as one that just doesn’t sound like them. I hadn’t heard the whole thing in probably 30 years, but I remember really liking 3-4 tracks and fast-forwarding through everything else. It can’t be that bad, right? For $5, I’m willing to find out.

John Hiatt-Bring The Family, (SP-5158, 1987)

This was in the $1 bin, which is a crime. I could’ve sworn I already had a copy1, but there was no way I was going to let this languish in any defacto cut-out bin. Not on my watch. Any record with ‘Memphis In the Meantime,’ ‘Thing Called Love,’ and ‘Have A Little Faith in Me’2 deserves a forever home. And now this copy has one.

So how about you? Found any good records lately? Have any thoughts on the ones I picked up? Share your thoughts in the comments!

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Sound Advice: 13. Mar. 2025

by Kevin2 Comments on Sound Advice: 13. Mar. 2025

The flood of great records continues! Today we’re taking a quick look at the latest from Bob Mould, Seances, Andy Bell, and more!

Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.

Good morning!

Today we’re taking a look at the latest from Bob Mould, Seances, Andy Bell, and more!

Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—

In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.

Let’s get into it!

Bob Mould- Here We Go Crazy

At my day job, one of my coral duties is administering annual hearing exams and helping people find hearing protection that works for them. This is thanks to Bob Mould.

Husker Du’s New Day Rising hit me like a kick to the head and was never played at less than full volume. I liked it that way and loved his power trio, Sugar. To this day, it’s still the loudest show I’ve ever been to. I used to find that post-show ringing in my ears a weird badge of honor. When it was still there after day two, I started to worry. My hearing rebounded (sort of), which marked the point when I no longer cared how uncool I looked wearing earplugs at shows. But Mould hasn’t quieted down. He’s at his best when he’s at full throttle, and on his 15th solo record, he delivers. 

The opener, “Here We Go Crazy,” reminds listeners of the best parts of Sugar. “Fur Mink Augurs” and “Sharp Little Pieces” are equally intense. The songs come at you relentlessly: blast furnace chords, merciless drumming, and sometimes hard-to-understand vocals (especially for those with hearing difficulties). When you listen closely, they often touch on challenging subjects—it would be easy for a sound like this to wear down even the strongest among us. Yet Mould consistently shows us a bit of light (heh).

Here We Go Crazy isn’t exhausting; it’s invigorating. It’s a breath of fresh air at a time when we need it more than ever. Play it loud; just remember to limit your exposure and keep in mind that the most effective hearing protection is the kind you’ll actually wear. (Blow your mind —and hearing—here)

Seances-Power is a Phantom

Post-punk? From Milwaukee? Yes, please! I’m a sucker for a record like this, and this debut from Seances has plenty of it. Bandleader Eric Arsnow went to see The Chameleons play, walked out afterward, and had the outline of this record mapped out in a couple of hours.

You can hear traces of that band here, but this is also an outfit described as “sounding more like Joy Division than Joy Division does.” Listeners will also pick up notes of early Wire and even Franz Ferdinand. The fantastic “Hours” was featured on Playlist 286 and is just a glimpse of what the rest of this record has to offer. (Post-punk from Cream City? You bet.)

Andy Bell- pinball wanderer

It’s been 35 years since Ride’s showed up and gave us Nowhere. The band and the record (re)defined what shoegaze looked like and proved that stark distortion and atmospheric melodies could coexist.

Bell helped pen much of that history with his guitar and made his bones by exploring new sounds and pushing boundaries. That trend continues on his third solo record. On pinball wanderer [sic], he takes us on a long trip with psychedelic, krautrock, and shoegaze stops along the way. “Panic Attack” kicks things off with a steady rhythm that manages to invigorate and soothe simultaneously- a talent Bell has mastered. Bringing disparate elements together and making it all seem natural is another.

Bell is pushing new ground but also takes a look back. On “I’m in love…” Dot Allison and Michael Rother join him as he puts his spin on The Passions’ 1981 track “I’m In Love With A German Film Star.” “Moving Concrete” reminds me of The Units’ “High Pressure Days.”

As with many shoegaze artists, there’s always a risk that the record could wander off into the weeds. I love the shuffling drums and groove of “apple green ufo,” but at 8+ minutes, it veers dangerously close. Bell wouldn’t be the first musician from this genre to get lost inside his own head— but while we see the edge a couple of times, pinball wanderer always manages to pull us back in time. (Click here and enjoy your trip into space)

Rebecca Black- Salvation

Yes, that Rebecca Black. Given her past, I suspect a lot of people will cue this up to hate-listen. They’re gonna be bummed. This EP won’t rearrange any minds, but it holds its own. If you’re looking for a medium voltage dose of synth/hyperpop, this’ll fill the bill. The production feels gimmicky in a couple of spots and overproduced in others. But overall, it’s a pleasant enough ride. Living well is the best revenge. (Click here to be surprised…or have your suspicions confirmed. Either or. )

Monarchy of Roses- Bleeding Over

I found this band not long after the last Sound Advice column. We connected through CuVa BiMö, and they sent over a link to check out. No fuss, no muss. I meant to ask them if they took their name from the RHCP track of the same name—rookie mistake. After hearing this, I doubt it.

Bleeding Over is the Bay Area band’s first long player, and the short version is this: it rips.

The four-piece (Jeremy Arias (vocals/guitar), Andres Juarez (guitar), Cameron Clark (bass), and Austin Kane (drums) deliver 10 tracks of bruising hard rock, but not so hard that it wears out its welcome. Opener, “Million Miles,” comes out of the gate at warp speed, and things never really slow down. If you were lucky enough to have been going to see shows in the early ‘90s, this’ll remind you of a lot of those nights (in all the best ways). Bleeding Over is a record best played with the windows down and speed limits ignored. Watch this space. (Click here and try not to get a ticket).

Patterson Hood- Exploding Trees and Airplane Screams

All good things in time. It’s taken Hood a dozen(ish) years to follow up Heat Lightning Rumbles in the Distance, but it’s worth the wait. Hood, of course, has a second job as co-founder of The Drive-By Truckers keeping him busy.

His fourth solo record finds him in a reflective spot, and revisiting his past. For example, the gorgeous, spare opener “Exploding Trees” is about a storm he experienced as a kid. He’s also brought friends along for the ride, including fellow Alabaman Waxahatchee, Wednesday, and Kevin Morby. On Repeat fave Lydia Loveless joins him on “A Werewolf and a Girl.”

This is an intentionally (?) low-key record made by a guy at a point in life where there’s is plenty of “past’ to mine. Records like this are hard to pull off, but Hood hits the right marks here. (Click here to travel to the deep south)

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

Sound Advice 01. March. 2025

by KevinLeave a Comment on Sound Advice 01. March. 2025

Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.

Good morning!

Today we’re taking a look at the latest from Horsegirl, CuVa Bimö, Immersion + SUSS, Brief Candles, and Drop Nineteens

Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre, or any other artificial guardrail we try and put up—

In other words, there’s a ton of good stuff coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below are another batch that caught my attention recently.

Let’s get into it!

Brief Candles- Unfinished Nature (2024)

There is a clip around social media where a GenZ record store clerk shares her favorite shoegaze records. At one point—and I’m paraphrasing here– she notes that the line between dream pop and shoegaze is fluid, and no one really knows how to define it, other than you know it when you hear it. I mention this because Unfinished Nature from Milwaukee’s Brief Candles does a great shop bouncing between both.

With its skittish riffs, opener “Remote View Finder” manages to work in a little post-punk while we’re at it. Follow-up “Rewards” was featured on ORR playlist 283; it still hasn’t fallen out of heavy rotation. If you’re a fan of Drop Nineteens (more on them below), this will remind you of the band at its most wistful, with just enough feedback to keep you from floating too far off into space. On tracks like “Murky,” the music takes a much more sturdy tone.

The band–and record–are more than just a bunch of effects pedals and reverb, of course. There are elements of psych, Krautrock, and more here. Fans of Yo La Tengo might also see some similarities peeking through.

Call ’em what you want: On Unfinished Nature, the band is locked in. (Listen here)

Immersion + SUSS- Nanocluster, Vol. 3

My love for Wire is no secret, nor is my love for frontman Colin Newman’s solo work. Immersion is his project with partner Malka Spigel (Minimal Compact), and Vol. 3 is the latest in their Nanocluster series. For this release, the electronic duo has partnered with the ambient Americana trio SUSS, and the result is fantastic.

Both groups play off each other well here. Immersion’s electronic & post-punk influences complement Suss’ painting of expansive soundscapes and vice versa. Together, Nanocluster Vol 3 is, at times, the perfect soundtrack to a desert sunrise. Other times, tracks like State Of Motion channel the energy of a new (urban) day and compel you to move. The video also includes early morning footage from an airport, and I can confirm that it captures that feeling to a tee. Either way, this record is an incredible (I had to squeeze in one more superlative there) way to set the tone for your day. I’m not usually an “ambient guy,” but this one proves the exception to the rule. Being a Wire fanboy might skew things a bit, but don’t be surprised to see this on my OATY list at year’s end. (Listen here)

Drop Nineteens- 1991

Before Delaware…before 120 Minutes…there was…1991. First recorded before the band had a record label, this collection of demos was recorded, put to tape, and then largely forgotten for the next three decades.

The band’s now back, and was time to bring these recordings back to life. With only a light touch editing-wise, they’re as raw as you might imagine— these are demos made by 18/19-year-olds in their dorm rooms!—but are a great look at what the band would become just a short time later. In particular, “Shannon Waves” (also featured last week) is a standout. This one might be best described as a record for the fans, but listeners new to the band will also find a gem or two in here. (Listen here)

Horsegirl- Phonetics On and On

The follow-up to 2022’s Versions of Modern Performance sees the band embracing a much more stripped-down sound. In the ensuing three years, the band members finished high school, left Chicago for NYC, and started college. In many cases, that’s the first red flag that a record will be pretentious and insufferable. Not here, though. With Cate Le Bon on the boards, everything here serves a purpose, and there is no excess. The result is both familiar and new, almost as if the trio is insistent on not being pigeonholed into any given sound. There’s no shortage of jangle here, but there is plenty else to explore as well. They’re growing up but aren’t afraid to still embrace whimsy. (Listen here)

CuVa Bimö- CB Radio

We next travel to the Best Coast, or more specifically, the East Bay, and check out Oakland’s CuVa Bimö and their debut, CB Radio. Like any good post-punk/post-whatever record, this has jagged guitar riffs and frenetic vocals. There are new wave and goth elements here as well.

“Bad Jacket” and “Crank Wave” see the band at their snottiest, right down to the “I know a few things that are true / That new jacket makes you look like a tool” lyrics on the former. “Post/Wall” is twitchy in just the right amounts. With its furious chords and fast/slow/fast/slow cadence, Doonm Loop reminds me of all the 7″ records I used to pick up back in the day and served as a reminder that I should dust ’em off and share them with my neighbor.

There’s also the requisite fist-shaking at the state of affairs in 2025 America. Any more, those are table stakes, and this record clears the bar from start to finish. But I also want to highlight drummer Ricky Cunliffe’s work here. It feels like it could explode anytime, yet it never does. It’s more animated than one might usually see from a band swimming in these waters. Honestly, it feels like there are a couple of drummers back there. He and bassist Jake Bilich keep things chugging right along down the track.

CB Radio is a harder sound than just about everything else coming out of SF/Oakland these days, And I’m here for all of it. Hopefully, this is the first of many more records by the band. (Listen here)

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

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