Ashley-Renee Wendel

Hailing from Towson, Maryland, Pop-punk/Alternative band All Time Low, release their newest single some kind of disaster. Released in January of 2020, it being their first new music to hit the scene in over a year. Some kind of a disaster is a song that has anthem like lyrics with an extremely catchy chorus and upbeat instrumentals. The music video has an interesting concept of a group therapy session and each person of the group is labeled after things from the chorus( ex: sinner, saint). As with most All Time Low songs, you get that roll your windows down and drive type of feeling while listening to it. If you’re into the pop-punk/ alternative genre, I highly suggest giving it a listen. Also in interviews and on social media band members mentioned a new era and a new album on the way, that some kind of a disaster is just the beginning so be on the lookout for that.

Alyssa Menko

SlØtface is a Norwegian indie pop punk band formerly known as Slutface. The group began in 2012 and then released their first single in 2014 as an official band. Since then, this group of 4 has released multiple singles and EPs, along with a full album in 2017 and their most recent album, Sorry for the late reply, in 2020. Sorry for the late reply contains 13 different songs including an intro and a slowed-down reprise of one of their faster songs on the album, “Crying in Amsterdam.” This intro, with the same title as the album (Sorry for the late reply), is all instrumental; instead of being an intro for the whole album, it serves as an intro to the second to last song, “Sink or Swim,” which uses the album title as part of the lyrics.

Stylistically, a lot of the songs on this album remind me of songs in the movie Scott Pilgrim vs. the World, particularly the song “Black Sheep,” covered by Brie Larson’s character during the Battle of the Bands. The lyrics follow a pattern that can be described as more of a stream of consciousness, rather than following some sort of narrative that has a beginning and an end. The female lead singer, Haley Shea, does a good job delivering these lines so that they are cut-throat and to the point.

The punk nature of this album empowers self-criticism and a negative mindset and is more accepting toward thoughts that describe how imperfect life can be. Even the songs that talk about love characterize it as something that is physically demanding and painfully crushing rather than warm and endearing. Some of the music choices throughout the album have more of garbled, static quality which is very intentional and reflected on lyrically in a song towards the end of the album called “Static.” Like every punk album ever, Sorry for the late reply is extremely edgy and blunt. But, by mixing pop with punk, SlØtface has managed to create 13 exciting songs that are worthy of both head-banging and playing in the background to unwind and hang out.

Gabe Sagherian

Guided By Voices have built a well-deserved reputation as the busiest band in rock music. After an especially busy 2019, releasing three albums throughout the year, the band wasted no time jumping right into 2020 with a new crop of songs, under the name Surrender Your Poppy Field. Rock music is far from dead, but in this brand new decade, GBV prove that they could singlehandedly keep the genre afloat with their amazing knack for energy and songwriting.

Containing 15 tracks, all penned by frontman and singer Robert Pollard, Poppy Field feels like the band’s most wide ranged and exploratory album yet, appropriate for a band entering its 5th decade of existence. Opening with the grand “Year of the Hard Hitter”, GBV harken back to their lo-fi, four track recordings while maintaining the arena rock appeal of the current lineup. Doug Gillard’s solo on this track may be his most blistering yet. The next track, “Volcano”, is one of Pollard’s most triumphant slices of power pop to date, with a chorus that could bring any one to tears. The band’s lo-fi heyday continues to prevail in full glory on tracks like “Queen Parking Lot”, “Stone Cold Moron”, and “Next Sea Level”.

“Man Called Blunder” and “Windjammer” further demonstrate Pollard’s excellent knack for pop songwriting. The band could fill an entire album with songs like these, and fans everywhere would be satisfied all the same. However, Guided By Voices are, naturally, more multifaceted than that. Along with the opening track, “Cul-De-Sac Kids” represent the prog of what Pollard calls the ‘Four P’s’ of rock music (also including pop, punk, and psychedelic).

A new Guided By Voices album is never without its surprises, though. “Arthur Has Business Elsewhere”, perhaps more than any other GBV song, sounds like a mod tune straight from 1967, and “Woah Nelly” is pure orchestral pop perfection.

All in all, Guided By Voices’ 30th studio effort further cements the band as rock’s greatest band, representing the most important motivation for making music: a pure, undying love for music itself. Surrender Your Poppy Field is 2020’s first true ‘must listen’.

Teresa Lee

TOPS' single "I Feel Alive" is a song that can boost any mood. It's very optimistic and can really improve one's outlook from just a single listen. Its beat reminds me of an 80s song, so if you're into songs from then, this is the one for you! Although it is pretty upbeat, it's relaxed enough that you can listen to it while studying. Definitely give "I Feel Alive" and TOPS' other music a listen if you're ever feeling down and want to jam.

Ben Dooling

Soccer Mommy’s new single off their newly released album color theory, brings a melancholic cadence and a 90’s guitar influence. This single paints a very cold picture for the narrator, the title, Circle the Drain evokes the mental image of hair circling the drain and this song is a musical representation of that. With gritty and hopeless lyrics Soccer Mommy delivers a good song to for their new album Color Theory.

Julia Cannon

of Montreal is an American indie pop band from Athens Georgia. The band is currently made up of Kevin Barnes (singer), Clayton Rychlik, Jojo Glidewell, Davey Pierce, and Nicholas Dobbratz. Kevin Barnes founded the band in 1996 and named the band, of Montreal, due to a failed romance with a woman from Montreal, Quebec. On January 17, 2020 the band released UR FUN making it their sixteenth studio album.

Over the years of Montreal has incorporated sounds from past decades. In their 2015 album Aureate Gloom, they were influenced by the mid to late 1970’s music like Led Zeppelin.

In their 2016 album called Innocence Reaches they incorporated new EDM inspired sounds. In their newest album of Montreal, to me, sounded like they got inspiration from the 80s. Many of their songs on this album are very upbeat along with having an 80s sound. Although they are classified as an indie pop band, they have a psychedelic pop sound. Psychedelic pop includes elements that are “trippy” effects such as fuzz guitars, tape manipulation, and backwards recording. In this album I would say they mixed the 80s style with psychedelic pop to create a very interesting sound I have not heard before.

Julian Trinchi

Young indie artist Robbie Skinner, more notably known as Cavetown, showed his love for his fans this Valentine’s Day by releasing a new single titled 'Sweet Tooth'. The song is off his upcoming album, Sleepyhead, which is set to come out on March 27, 2020. Cavetown’s “cute indie” style that has been present in his past works is audible in this new single, so fans of his easy-listening, cutesy, soft songs will not be disappointed. That isn’t to say that this song is nothing new, however.

Robbie has grown noticeably since when he first started out, and because he’s only 21 years old, he still has so much potential to grow, improve, and develop his style more. Sweet Tooth, while retaining Robbie’s “cute indie” style, also sees Robbie trying more grunge-y instrumentals. They aren’t overbearing however, and actually mix very well with Robbie’s softer singing voice. This single shows Robbie going in a more mature and harder style that stays consistent with his past songs, producing a song that fans will love while hopefully bringing new ones in. Cavetown’s new album, Sleepyhead, comes out March 27, 2020, and if this single is anything to go by, the album will be a great addition to his discography.

Garrett Hammond

The Warhawks are an indie band that hail from Gloucester City, New Jersey, and describe their own music on their Bandcamp page as simply “Rock and Roll”. Stardust Disco is the first major EP release from The WarHawks and their second big project overall after last year’s LP Never Felt So Good. This was my first-time hearing anything from this band, and I have to say that it was a fun listen. The EP’s first two tracks “Deliver” and “I Can’t Wait” are simple but effective slices of raw power pop. After that, the remaining tracks go for an eclectic mix of musical stylings and tones while keeping its melodic elements and monster hooks. “Dire” gives off a 70s soft funk vibe, the verses in “Other Side of Life” harken back to Sonic Youth’s “Teen-Age Riot”, and “Don’t Give Up Your Heart” closes things out with a new wave sound with bouncy keyboards and a hopeful and anthemic chorus that makes you feel good about life.

The one track I want to highlight however is “Hang Around”. The production on this track is massive, featuring tons of reverb and guest musicians, and heavily reminds me of Brian Wilson’s work for The Beach Boys. Kudos to the producer, Dave Downham, for making this track, and the rest on this EP, sound as great as it does.

Overall, Stardust Disco is a very strong and impressive set of songs with positive enthusiasm running through its veins. I am eager to see what else The Warhawks have done and what they will do in the future. Also, I think you should keep an eye on Dave Downham. I think he will be capable of even better things in the future.

Michael Rogers

This single from New Jersey based indie rock band Real Estate comes after a long hiatus as their last album “In Mind” came out in 2017. The best part about the track though is the band itself but the feature by Sylvan Esso. Her vocals add a light and hazy quality to an otherwise fairly tame indie rock song. This allows the song to stand out as otherwise it features pretty bland progression and lyrics that don't allow the true talent of the band to shine through. I would give this track a listen if you're a fan of Sylvan Esso like I am, but hopefully it is not a sign of what's to come from Real Estate.

Josh Owens

After releasing two successful albums in both Oshin and Is the Is Are, and an extended period of reflection, DIIV has released Deceiver, their third full-length album. Deceiver takes a grittier, more personal perspective in the eyes of frontman Zachary Cole Smith, who has taken the time in between albums to seek help and overcome his personal struggles with addiction. The inspiration for these songs comes from “living inside the disease,” trying to understand where the pain comes from on a broad scale, both personally and politically.

While DIIV’s first couple albums were very krautrock influenced and drowned in reverb, The guitars on Deceiver are much heavier while still holding onto their shoegaze roots. The first song and single “Skin Game” sheds light on how society influences the cycle of addiction, with layered vocals and clean driven guitars. “Taker” is about taking responsibility for the lies and their consequences, and trying to repair the relationships left broken in the process, while “Blankenship” analyzes the current political sphere of America with eerie instrumentation and vitriolic lyrics. Overall, Deceiver is a very strong effort not only as an album, but as a fresh new approach to evolving DIIV’s signature sound.

Gavin Good

Hard rockers Baroness are back in full-steam with their new record Gold & Grey. Now armed with Philadelphia guitarist Gina Gleason following Pete Adams' departure, she helps cement their persona as a heavy metal group from her time with a Metallica tribute group--known as Misstallica--while keeping true to the band's progressive roots. Thoughtful interludes spaced between heavy, charged tracks makes the listener realize the bygone art form of balance is vital to a consistent release. Put simply, the band keeps these two extremes uniform with their psychedelic Pink Floyd influence. Notable highlights are "Front Towards Enemy", "Broken Halo" and lead single "Borderlines"; each track is enriched with reverb-heavy harmonic vocal calls backed by smooth bass grooves.

Over the last ten years, hard rock acts had since been on a decline, with many migrating towards an electronic direction. As we enter the next decade, Baroness may just have figured out the key to bringing rock back into the mainstream. Perhaps all it took was looking to the classics and building something else with fresh hands.

Michael Rogers

Death Cab for Cutie is one of the most profound and influential indie bands of the 2000s who continue to produce high quality alternative rock and emo tinged pop despite the band being 22 years old. Some critics have said they have lost their edge with their past two albums, which marked a turn in their songwriting style, but if that's the case they have certainly returned to the sound that made them popular with this EP. The Blue EP consists of 5 songs which all call to mind distinct imagery through frontman Benjamin Gibbard's beautiful lyricism. It starts off strong with “To the Ground” and “Kids in ‘99” which serve as almost historical ballads that describe tragic events that occured in Gibbard's native Seattle throughout the 90’s. It then transitions into “Man in Blue” which serves as a very slow and melancholy break for the album that sounds like it could come right off of an album at the band's height. The last two songs “Before the Bombs” and “Blue Bloods” which are strong in their own right and sound similar to the band's early material before they hit their stride. If you used to be a fan of Death Cab but fell off recently I would highly recommend this EP as a perfect point to jump back in as it is a welcome return to form for the band.

Jordan Schreiber

Originating in Russia the band Gnoomes can best be described as a techno, stargaze psych band. Forming in 2014, the band has been producing multiple albums and EPs. Their newest called MU! Which was released in 2019, features 9 songs all full of intense guitar sounds and atmospheric synth effects. Although I would argue that their opening song is a tad out of place compared to their other songs tonality-wise, the album is full of interesting songs. My personal favorite being, “Glasgow Coma State”. This particular song starts off with strong harmonies that showcase the vocal abilities in the band more than any other tune on the album. It also has a killer bass line to emphasis the intensity of the song. The end of the song sounds almost dream like with the sweet sounds of a singing synthesizer. The rest of the album includes cool pedal effects and as a good use of syncopation or odd rhythms to set their songs a part from the typical psych band. The only critique I have is that at times, the vocals like were lost in the full sound of the band and it was hard to decipher what the artists were trying to portray to their listeners. Overall a good album to check out!

Gavin Good

Thirteen years saw a whole series of Marvel movies, three presidents take office, a solar eclipse, and this reviewer in kindergarten. But what about Tool? In that amount of time, the '90s progressive metal legends laid dormant in terms of album releases after countless issues such as legal troubles, creative gridlock, and tendency to side projects. But now, the time has come: the mighty Tool returns with Fear Inoculum, which dropped at the end of August this year to edge out pop titan Taylor Swift for two weeks on Billboard's #1 this month.

There's a lot to this release that can be covered, but Tool is best discovered on one's own. The good news here is that the band remains generally fixed to the unique sound we all know and love with no departure from their identity. This is where this album diverges between dedicated fans and those new to the artist. For the classic fans, what Fear Inoculum trades for strict tradition is artistic variation. Many of the tracks are familiar with that of prior records drawn to marathon lengths -six of the ten tracks span at least ten minutes- and might leave you wishing for something more. But don't let that stop you from jamming to these grandiose melodies - their meticulous craft is still as fascinating as ever. For anyone new to Tool, crank it right up. The title track is an alluring lead-in for the journey, highlighted with weaving and beautiful "Descending" and the volcanic epic "7empest".

Teresa Lee

I really enjoyed Jay Som's album Anak Ko. It has just the right mix of indie-pop and chill music. I first listened to the album while doing homework and each song's melody served as perfect study music. Upon listening more closely to the lyrics, I came to appreciate the message the band communicates. My favorite song from the album, "Tenderness", is very chill and actually quite meaningful if you really listen. The album, titled Anak Ko, translates to "my child" in Tagalog. This is representative of what the lead singer's mother called her for her entire life--it's a term of endearment, love, and comfort. After listening to Anak Ko, I'm definitely considering listening to some of Jay Som's earlier work. I recommend the album to anyone seeking some relaxing tunes.

Michael Rogers

Strange Ranger is a Philadelphia based indie rock band started around 2010. They released a few EPs under various names before finally putting out a full length album in 2016 titled Rot Forever. They quickly followed this up with 2017s Daymoon and this year's album titled Remembering the Rockets. The indie rock space is more crowded now than ever, despite that the quartet of young and talented musicians have managed to find a unique sound that allows them to stand out. It somehow feels both melancholy and sugar sweet at the same time and their lyrics recall a nostalgia for a time that doesn't exist. Unfortunately as with most albums these days Remembering the Rockets ends up suffering from the fact that it's just too long. There are a few songs like "Planes in Front of the Sun", "rockets" and "‘02" that could have been cut from the album. This would have made for a tighter and more pleasant listening experience without feeling like you are hearing the same song over and over. The album starts off with two of its greatest in "Leona" and "Sunday", both fully exemplifying all that makes the band unique. Just when the album starts to drag a bit, "Ranch Style Home" comes along with a change of pace and style to wake up the listener. Despite the length, this album and this band are definitely worth a listen and I am excited to see what they have next.

Ben Dooling

In MR NO’s EP titled NO.1 is a straight up west coast alternative vibe. You can cruise to it in the car on a nice day with your windows down. MR NO also incorporates an electric jam band to continue the West coast vibe which closes out “Wait” and “Not Even Gone”. On the third track “On Read”, the vocalist tackles the problem of a relationship falling apart while he is not ready and is holding on to nothing. “Why Are You So Sad?”sounds like a John Mayer deep cut with their own spin on it. This song also is also deals with partners in different parts of the relationship and trying to help each other out. To wrap up the EP “ Lovely Jean” is a starts off with a cute acoustic guitar that leads up into a solid wall of sound in the last third of the song. Solid work for MR NO that can be enjoyed in the car, dorm, or studying.

Josh Owens

Debuting their 2nd LP, Chicago-based band Whitney got together again to release their long- awaited second LP, titled Forever Turned Around. Signed by Secretly Canadian, Whitney is the brainchild of Julien Ehrlich (formerly of Unknown Mortal Orchestra) and Max Kakakcek (formerly of Smith Westerns), two extremely talented songwriters. Building off of their strong first album Light Upon The Lake (2016), Max and Julien continue their interweaving of indie and 70s soft rock. Although very similar to their debut instrumentally, Forever Turned Around takes a gentler route compared to their previous efforts. The album itself is reminiscent of watching the trees and plants slowly bloom, flourish, and lose their leaves as seasons change, reflected in their instrumental track "Rhododendron". Some of my favorite tracks such as "Used to Be Lonely", "Valleys (My Love)", and title-track "Forever Turned Around" also mirror this feeling, painting transcendental imagery of love as it comes and goes, and exploring the feelings felt throughout. I had the privilege of seeing them play at Union Transfer in Philadelphia as one of the first stops on their tour, which has been one of the most memorable shows I’ve seen so far. The band consisted of drums, three guitars, bass, horn, and a string section, giving the band a full sound with lots of little details mixed in between. They perfectly encapsulated the sad feeling of the end-of-summer turning to fall, as cooler weather prevails. Live versions of "Friend of Mine" and "Giving Up" were the standouts by far, as well as cameos by their tour opener Hand Habits during their track Rhododendron. Whitney may not have changed their sound at all too much, but that is because their sound is all too beautiful to change in the first place.

Megan Ridgway

If you are looking for a slow mellow song you may have just found the one! “In Our Elements” by Alien Lizard is a well structured song that makes you want to kick your feet back, relax and watch the rain if you are into that. There is a peaceful and calming spin on it. This song falls under the category of indie pop, like I said it has a calm spin to it. Although this isn’t a song to jam out to it’s a very good song to just simply relax and decompress while listening. If you are having a rough day or week throw on “In Our Elements” to boost up your mood and begin a fresh outlook for the rest of the day or week, you won’t regret it!

Alec Good

In a digital world where things are constantly changing, Timelost emerges to remind us that music with some kick can still be made with guitars, drums and the like. Their debut album Don’t Remember Me For This roars into ears with lively rhythms and melodies, and the production is certainly more complex than most debut rock albums. The track “Lysergic Days” is a prime exhibit of these traits. The vocals and drop D-tuned guitar work gave flashbacks to Ghost’s “Satan Prayer”. However, Timelost uses these tools with a different approach from the groovy shock rock band; the production and drums keep the song plowing forward with no stop in sight – that said, who would want such sound to stop anyway? “Cryptorchid” exhibits the same raucous energy. The slightly more electrified Marilyn Manson cover seems fitting for a futuristic chase from The Fast and the Furious. It’s an eye-catching prospect to the band to say the least – the vocals leave a bit more to be desired – but that should be what keeps people wanting more from Timelost. With a more postmodern sound added to the rock world, I myself am intrigued to see what’s on the next page for them.

Alyssa Menko

May of this year was the first time I ever heard of the band Joy Again, being that they were the opening act for the up-and-coming indie-rock band, Wallows, that I was seeing in concert. Every member of this Philly-based Indie-pop/rock band either held a chaotic, head-bashing energy or a chill, laid-back vibe that complimented each other in the same way that a bad haircut makes an old, beat up baseball cap look retro. Being able to witness them tear it up in their “home-turf” of Philadelphia gave me the visual context I needed to understand and appreciate their newly released album Piano. Piano, listed as an album on Spotify and written about by other reviewers as though it were an EP, contains 7 eclectic songs (the equivalent of a sheer 15 minutes in length). The best way to describe the overall experience of Piano is to compare it to a children’s book of I Spy— there’s an overwhelming amount of things to listen to all at once, but during each time around, you’re able to identify a different aspect of a song that you didn’t notice before. Unlike most albums that are labeled under any form of the “Indie” genre, the unique voice and garage pop style in Piano is intense from the very first note and compels you to keep listening, almost like you’re in a hypnotic technicolour trance. I thoroughly enjoyed this band’s experimentation with eccentric and electronic music styles and their intentional subversions away from traditional lyrical conventions (set refrains, intros, verses, and bridges) which demonstrated that there are ways to make songs sound full and complete without sticking to the “rules.” Even though this band is still too early in the game to have an established Wikipedia page or a solid google search of the band members’ names, let’s just say I expect a lot more “Joy Again” from this group in the future.

Tim Vander Neut

Now what can one really expect with a band named, "Tropical Fuck Storm"? If you had guessed soulful lyrics mixed with virtuosic and intricate performances reminiscent of the hard rock/ electric blues/ acid rock era of musical exploration then you would only just begin to describe the sound of TFS in their latest offering, Braindrops. This album combines the classic and time-tested sound of 70s exploration with a new anti-rock tone in the vein of post-punk and prog rock greats such as Joy Division and early King Crimson with the use of atonal guitar and distortion. Definitely check this one out if only for the intro track "Paradise" and allow yourself to experience this offering through headphones to pay attention to the crisp detail of the recording paying attention to each instrumentation individually.

Gavin Good

You ever see people who wear T-shirts of famous heavy metal bands, but they don't know who they are? Yeah, you know the type, usually it's Nirvana, Metallica, Def Leppard, Iron Maiden, the list goes on. Not doubting the true fans, but it's becoming more apparent that famous artists are going from their intent as musicians to a fashion statement in the masses. But if you see someone donning merch for modern hard-rockers Puppy, chances are they're legit. Roaring into 2019 with their debut album The Goat, the London heavy metal squadron makes tropes of rock's demise non-existent. The opening song "Black Hole" bursts in with steamrolling guitars, punchy drums, and smooth Phil Collins-esque vocals to balance the tension. Between the appropriately monikered "Vengeance" and the groove-metal laden "Bathe In Blood", it becomes increasingly known to the listener that a band so recent can churn sounds so original. Influences are taken with a grain of salt rather than carbon-copied from preceding groups, the very foundation of which heavy metal was forged and what rock has hungered over for the last decade. It might be the tracks "I Feel An Evil" and "Entombed" that make the most wondrous strides. The radio-friendly former is no slouch, a fun riffy animal that's befitting of a chase scene in a gearhead film. Meanwhile the latter is what might happen if the tunes of Corrosion of Conformity made a molecular bond with that of Ghost. Put simply, a chimera of sonic prowess. Newer bands more than ever have trouble getting noticed with such a wide span of platforms, and if The Goat is any indication, Puppy deserves whatever notability they can get.

Michael Rogers

Mystic Truth is the third album from LA based alternative band Bad Suns. In terms of the bands sound this album is more of the same, though that's not necessarily a bad thing. Although not elevating their style or lyrics this album is still more of what made the band break out in 2014 with their single "Cardiac Arrest", which is probably where you’ve heard them. It's full of their signature catchy, upbeat songs with simple lyrics that underscoring the electronic elements throughout the album. It starts off well with "Away We Go" which is perfectly fine, nothing special here but really picks up with its second and third songs, "One Magic Moment" and "A Miracle, A Mile Away". "One Magic Moment" is my personal favorite on the album with a deceptively catchy chorus that gets better after every listen. In "The World and I"and "Darkness Arrives (And Departs)", the bands influences shine through as you can easily hear some of the elements of the pop punk that the members likely listened to in their formative materials. "Love By Mistake" is a low point for the album as it reaches its halfway point. The song is bland and repetitive and adds nothing to the work as a whole. Hold Your Fire is another catchy, radio-friendly tune that could’ve been a single, along with One Magic Moment. Howling "At The Sun" is a safe and boring pop song with nothing worth noting. The penultimate track "Separate Seas" adds some much needed emotional weight to the album due to its personal lyrics and this continues into the last track "Starjumper". This is certainly a much needed boost for the album but I can’t help but wish that it didn't come until the final two songs. Ultimately Bad Suns didn't do anything with Mystic Truth to distinguish themselves among the hundreds of poppy alternative bands active these days, which is a shame because I believe they have the talent to do so they just need to be a bit more experimental with their style and a willingness to evolve going forward.

Megan Ridgway

I chose to review Soran’s album because he is an indie pop artist and that is right up my alley. If you are in the mood to listen to something calm and cooling this artist and album is the one for you. One song that stood out to me on the album was “Emma.” This song just makes you feel good while listening to it. When talking about indie pop, it is not like regular pop music you would listen to and dance to, indie pop is more of a relaxing take to music. This album is something you would turn on when you’re by yourself or even just kicking back and relaxing on the beach with your friends. I highly suggest listening to this album because it will make your ears and soul feel good.

Alec Good

This is a record that is sure to get a Spring 2019 atmosphere echoing in your head. Ozwald’s Sweet Delirium is a large and enticing left turn from the melodic vernacular of today’s alternative music despite its irrefutably modern production. The title track seemingly summarizes the album’s style: a stir of Beatles-esque vocals and simplicity coupled with the electrified complexity of contemporary sound. Certainly an album for the masses and those who want an innovative rock n’ roll scene.

Jared Rohlfing

No beating around the bush on this one. Ozwald's Sweet Delirium is a an exceptionally strong album that invokes the feeling of a really fun summertime album. I was pleasantly surprised to find that almost every song on the album had a catchy hook or some clever guitar playing that immediately put a smile on my face. One song in particular on this album ‘Au Revoir’ is reminiscent of a contemporary Pink Floyd type track with a really funky beat that I enjoyed quite a lot. ‘Time’ and ‘Sweet Delirium’ were also another set of standout tracks on this record that were really fun to listen to. Each song is extremely easy to listen to and is digestible for just about anybody. If you're looking for something to crank on this summer during a long-night drive definitely give this one a listen. Sweet Delirium is far and away my personal favorite album I have reviewed in my time writing for WCUR.

Jordan Schreiber

The new single “Love Is All You Love” from the British alternative rock band, Band of Skulls, is the sway to your feet summer jam you’ve been waiting to hear released. The song featured on their brand new album “Love Is All You Love” released on April 12th of 2019 features both female and male vocals that help create of a sweet balance between edgy and angelic. The use of distortion over the vocals as well as the guitar give the song a classic rock sound and a grunge like vibe. The song begins in unison rhythm wise from the drums, bass, and guitar symbolizing the tightness of this group and intrigues the listener to keep on listening. My personal favorite part of the single is the sound effects added in by the members such as the fake cough noise, the distant “woos” and the sporadic use of bells. The bass although it can be argued as repetitive, provides a funky consistent beat, contagious enough to make anyone move along. The song is neither upbeat nor dark but gives the listener a feeling of enjoyment as they bop their head along.

Joshua Owens

Formerly known under the monikers of Run DMT and Salvia Plath, Michael Collins has released Raw Honey, his 2^nd full length LP as Drugdealer. Building off of his well-received psych pop debut The End of Comedy, Drugdealer’s second effort Raw Honey is a blissful conglomeration of 60s/70s classic rock elements as well as a contemporary, indie pop structure that calls back to a number of influences on Collins and his array of collaborators. Tracks such as Fools, the single and a personal favorite, is reminiscent of the music of Boz Scaggs and Steely Dan with Drugdealer’s own psychedelic twist.

Just as he has done in the past, Drugdealer brings back Weyes Blood on the track “Honey,” who was previously featured on “Suddenly,” one of the most popular tracks from the first LP. In “Honey,” Weyes Blood puts on just as good of a performance as she did on The End of Comedy, which is impressive considering the recent release of her own LP as well. Additionally, Drugdealer also invites new collaborators such as Harley Hill-Richmond on “Lonely” and Dougie Poole on “Wild Motion.” Poole’s heavy Johnny Cash-esque singing on Wild Motion and Harley and the Hummingbirds supporting vocals on Lonely make both of these standout tracks in the 9-track, 35-minute album. Overall, Michael Collins effort on Raw Honey is an excellent sequel to The End of Comedy, and will have many new fans anticipating his upcoming tour as he prepares to tour the United States and Europe this summer.

John Zurzola

So, “Patience” by Tame Impala immediately starts playing, and I get slapped in the face with the blaring piano notes, somewhat imitating an 80’s vibe to it. I already know I’m going to love it. Kevin Parker’s voice has gotten to the point where it is almost recognizable right away. His tendency to bounce around the vocal registers and have fun with it is what makes every Tame Impala song so unique and fun to listen to. When I heard Patience, I DEFINITELY felt a “Currents” vibe to it which made me love this even more. It’s like anything you’d expect from Kevin and the gang. After giving all of “Lonerism” and “Currents” a listen I can safely say I have fallen in love with Tame Impala’s work and I can only imagine what the next project will hold.

Alec Good

Criminal Hygiene’s freshest release, Run It Again, is chock full of melodies that are major in sound, uprooting an energetic, glass-half-full feeling from the listener. The record possesses a delightfully genuine set of songs—that is, production is used mostly when absolutely necessary and allows one to examine each instrument with very little in the way. Two personally outstanding tracks were “Rearrange Me” and “Breaking Out The Stained Glass”, the latter of the two having some of the most vigor of the album, and having a sound I enjoy observing again and again. In admittance, this is surely a left turn from the usual sauntering-pace of war machine melodies that a headbanger such as myself generally demands. The verdict: a refreshing album for those who want a fast-paced, but not as rambunctious, punk sound, and a defining sound of punk and rock n’ roll for today’s alternative genre.

Gavin Good

"It feels crass to call N0V3L a band—the word feels cumbersome and bloated with traditionalist connotations." That is one of the substantial statements on the post-punk group's Bandcamp page for their debut record Novel, more or less a self-titled work from what this reviewer could gather.

From the get-go, with "To Whom It May Concern", they run you through the archetypes - simple, yet groovy riffs on the guitars, the bass hangin' back like that quiet but universally cool guy in the corner, drums dominating the rhythm that seem to make something out of nothing, and harmonizing vocals that just hit the level of everything else around it. If you're a Hawkwind fan, the same space-rock band that would give rise to Motörhead, you know what I mean. It's a seemingly delicate architecture of symphony contrasting with the hard in-depth style that gives off a balanced atmosphere, demonstrated in "Why They". Delightfully retro distortion and hard pacing is a staple, probably best seen in "Sign On The Line". A tough and fast song, it cements their place as a punk band with a politically charged anthem as a means of fighting for how one should make use of their time. It all closes with the grand "Division", possibly the crown jewel of the record shining all the unique elements together. Highly recommended for old-fashioned listeners looking for a new grind!

Michael Rogers

Two of folk rocks biggest acts came together for an album as the band Better Oblivion Community Center. Those two are Connor Oberst and Phoebe Bridgers, legends in their own right with plenty of fantastic albums between them. The self-titled album is a collaboration worthy of their talents as its ten songs of pure folk bliss. The album consists of both catchy, radio friendly jams, as well as very slow, acoustic driven ballads full of deeply personal lyrics. The album starts off slowly with "Didn't Know What I Was Lookin’ For" and "Sleepwalkin’" which set the tone for the album well. It really starts to shine with the next two tracks: "Dylan Thomas" and "Service Road" both of which are fantastic tracks lyrically. The former evokes that of its namesake, the poet Dylan Thomas, with its lyrical quality. This quality of lyrics is something that continues throughout the album, and serves as a great example of the duos natural ability to tell a story through a song. "Service Road" is my favorite track, as it just begs to be played while staring out a window on a rainy day while recalling the past in melancholia. "Exception to the Rule" switches the style up with a heavy synth bass line, which adds some flavor to the album. "Chesapeake" and "My City" don’t do much to distinguish themselves from the rest of the album, unfortunately, but they are still solid tracks. The album finishes off slowly with the last two tracks before going out with a bang with the final song. Ultimately, Better Oblivion Community Center could hardly be considered an experiment, as its success was practically guaranteed with such reliable talent behind it. Even with such high expectations, it manages to deliver a perfectly morose folk rock experience unlike any other.

Jordan Schreiber

On February 22nd, 2019, Moving Panoramas put out their brand new album In Two following their debut album, One released in 2015. The album consisting of ten songs feature guest artists such as Matthew Caws, Sabrina Ellis, and past Moving Panoramas members. For this album, the band believes that they have increased their musicality by introducing new instrumentation and new sounds, by using a pedal steel to enhance their overall sound.

According to their Spotify bio page, the band states that this album intends to expand in diversity, rhythm, and in volume. This is evident in their music by their usage of numerous instruments and complex drum rhythms. Their dream-like music makes their album the perfect choice for a beach day or road trip. Their use of echo and reverb make for a relaxing listen. The sweet and inviting voice of lead singer, Leslie Sisson accents and accentuates the dreamy tone of their music. My personal favorite song on the album is their ballad, “Forever Gone” that is both poetic and catchy to any listener. The album is definitely a step up from their debut, and goes to show how much effort they will put into their work to create something diverse.

Evan Gardi

Mood Ring by Hot Flash Heat Wave is quite a heavy hitter for an EP. The band takes aspects of psychedelia, dream indie/pop, and garage/surf rock, and beautifully strings them all together to make this EP. Compared to their previous releases, Mood Ring follows the dreamy route rather than garage/surf rock. This EP reminds me of Tame Impala’s Lonerism, especially in the first two tracks "Floating" and "Head in the Clouds". The band uses a fantastic combo of synth and guitar, which make the songs feel intense and overpowering in a great way. Based on this EP, I am extremely excited to see what Hot Flash Heat Wave has to offer in the coming years.

Joshua Owens

Released this past December on Broken Circles, Citrus is Brooklyn-based rnie’s first full debut. Taking on a very hazy, lo-fi approach with muddled up, reverberated vocals, 10-track long Citrus runs for only 30 minutes, offering a short and sweet, dream-like sound. The guitars and vocals on this Citrus are heavily modulated, likely using chorus and slap-back delay/reverb effects. The first three tracks “Boys,” “Tobacco,” and “Homeroom,” are very strong opening songs and are among my personal favorites on the album. The first track, “Boys” starts upbeat, with a rushed, dazzling guitar melody that transitions into a gloomy interlude going into the next track. “Tobacco” is a bit slower tempo and relaxing, kinda like taking a cigarette break, while “Homeroom” picks up where Tobacco stopped, with the guitar chugging along to the rhythm as rnie sings along lackadaisically over the guitar melody.

After instrumental interlude “Cherries,” the album reaches its final tracks which are noticeably longer and ambient but just as enjoyable. “Earth Angel,” the longest song on the album, has a really interesting guitar riff and is probably the most intricate in the album, as there are numerous key changes which keep the hook fresh in the tracks entirety. “Continue” finishes out the album with just swelling piano and deep bass, as the guitar picks lightly over and the LP comes to a close. Overall, Citrus is a super strong debut which should build hype for rnie’s upcoming tour happening in the next couple weeks.

John Zurzola

Upon listening to Tasmania, I didn’t know what I was going into. I’ve never listened to a Pond record before this, so I felt like I was on a “blind date”, so to speak. Let me just put it to you simply- this is a HELL of a fun record. Its use of instrumentation and tendency to include strange sounds pulled me in almost immediately. There isn’t a moment where you don’t hear some sort of effects being used. This is demonstrated through tracks such as, “The Boys Are Killing Me” and “Hand Mouth Dancer” Pond’s incorporation of utilizing a synthesizer’s full potential to create these intriguing sounds for every track make the experimentation impossible to escape.

“Hand Mouth Dancer” took me on a nostalgia trip to where it felt like I stumbled upon an unreleased MGMT record. If I were a betting man, I’d wager that Pond listened to hours upon hours of MGMT, Foster The People, and Phoenix (and maybe a hint of Pink Floyd) religiously, as it captures the independent “Southern California” style that seems to always strike a chord with listeners. Keep in mind, MGMT originated in Connecticut while Phoenix formed in France, with Foster the People forming in Los Angeles, but I digress. Pond did exactly what all three of these bands accomplished, adopting that sound that I find to be very attractive in music, and making something completely breathtaking.

The tracks, while slightly long, never cease to keep you listening. There’s something going on in every song, which proves Tasmania’s ability to be very cohesive. It’s unpredictability also plays a factor in this. An example of this would be my reaction to the album’s title track, “Tasmania.” A few bass notes, and then WHAM! The drums immediately come in. “Burnt Out Star” is another example of Pond’s evident fascination with “Avant Garde” influences, as it transitions to an acapella of angelic voices, to a lo-fi combination of synth and other scattered effects. Before you know it, the drums come in hot almost immediately especially after the buildup which takes up most of the song.

“Tasmania” is talked about as if it’s this 'Promised Land' or 'Safe Haven' to escape to when all goes wrong. It’s all very fascinating, considering the production adds onto that imagination. Pond definitely hit it out of the park with this album, combining unpredictable formats, crazy instrumentation, and allowing the listener to picture anything their mind can create. Yes, it has now been completely downloaded onto my phone and I can already anticipate myself listening to this for the rest of the week.

Gavin Good

The underlying ambience on this record! In a time where hip hop rules supreme, it seems that more and more contemporary rock acts seek to take things back to where the hard riffs began, and the Bright Light Social Hour is one of them with Jude Vol. 1. An opener like "Give To Me Words" gets you right into the action, taking your imagination by the reigns and surprising you with where these guys can go. If you have a space-oriented mind like me, your first thought might be that of Hawkwind, specifically when it transitions to "Lie To Me". Old-fashioned elements are a sweet surprise, such as the use of brass in "Darling You". Possibly the most shining quality is the originality of the music. With some acts you might think psychedelic music has "been there, done that", but the works here are prove the genre is still kickin' it cool. The use of electronics is a prime example, leaving enough to be heard for the instruments in harmonic accompaniment. A quintessential record for modern psychedelic rock, it aims and makes the target.

Michael Rogers

Maggie Rogers has had an extraordinarily fast rise to fame in the music industry, in no small part due to her viral video of Pharrell Williams enjoying her song "Alaska". She took this opportunity and ran with it, releasing an EP, as well as her debut album Heard it in a Past Life. This unexpected fame is used as a major theme throughout the album, which makes for some very strong lyrics that elevate the album over her contemporaries like Betty Who. The album starts off very strong with "Give a Little" and "Overnight", which is my personal favorite. These two are extremely catchy bops that dare you not to sing along. It slows down a tad with "The Knife", and the aforementioned "Alaska". The track that started her career is worth all of the praise that it gets. It's a light and poppy tune along the lines of the very best of Sylvan Esso with a bit of old school R&B and this influence is present throughout the album in tracks like "Say It". "Past Life" is a dreamy piano ballad that showcases Rogers’ impressive vocal chops. The album does get a little long in the tooth by the time you get to the last four tracks as they are all too similar sounding for their own good. The album as a whole would benefit greatly from being tightened up by cutting a few of these tracks. Overall the album is definitely worth a listen and I am interested to see where Maggie goes next and will be following her in the future.

Gavin Good

What a punch! Something many acts could certainly work towards, but only the Priest could light that metal on fire. Many times you'll hear instant classic as just another form of praise, but this is the most literal you can get with the phrase. Guitar wizards Glenn Tipton and Richie Faulkner give it the business from the explosive initial title track leading into leaf single "Lightning Strike", a traditional track not unlike that of "Dragonaut" fron the previous record. "Evil Never Dies" kicks it for possibly one of the greatest tracks forged by the band. Rob Halford's wails paired with Scott Travis' motorcycle-like drumming turns the song into what should be an ongoing anthem for the next "Godzilla" movie; fight music at its purest as if the crowning title track didn't kick you into gear enough. Another highlight is the sauntering "Spectre", with a smooth groove and distinct guitar work by Tipton for the main riff that will linger in your head for weeks on end. The metal gods are living proof that a good band doesn't go stale after a career lasting a lifetime. Fifty years never felt so good!

Alec Good

Swervedriver are back with an album that can be seen as a 30th anniversary to the group’s conception! Future Ruins is a work that is more raw compared to the rest of the alternative genre today, with several tracks featuring rugged riffs that especially take a listener such as myself back ten or even twenty years. This record is a highly refreshing one when it comes to production; the sound is down-to-earth and less processed than many other works of 2019, with tracks such as “Golden Remedy” and “Spiked Flower” featuring humble melodies that forces the reader to focus on the instruments rather than what backs them. “Drone Lover” and “Mary Winter” were my own favorites from the album; these tracks have some of the most grit of the album’s entirety and take the listener back to a more blues-oriented atmosphere. All in all, Swervedriver’s latest release is a pleasing series of tracks teeming with smooth vocal harmonics, and fervent riffs that come in sleek waves. If you want an alternative sound that’s less indie but not as rough or vigorous as a band like Helmet, then Future Ruins is for you. Happy listening!

Megan Ridgway

American High- U.N. Article 14 Review:

American High is more of an old-time pop group. Listening to American High, I can hear a small resemblance of All-American Rejects in them. This album and the songs included in it focus on an older type of pop, which I believe is unique. They are not like any other bands right now, trying to keep up with what everyone else is doing. If you are looking for a group that plays a more upbeat tune yet, has a sense of the old times, this could be the next group you should tune in for to hear some music that you can dance to.

Alec Good

The spearheads of the newest metal scene Ghost arrive with yet another crushing symphonic ritual of an album, Prequelle! This latest effort by the Swedish experts of shock rock has earned Cardinal Copia (Tobias Forge) and the Ghouls two Grammy nominations for Best Rock Album and Best Rock Song (“Rats”), and rightfully so. The general theme of the record, as is traditional with each Ghost record, describes the unavoidable scar of the Middle Ages that is the Black Plague with such titles like “Rats”, “Dance Macabre”, and “Miasma” to carry this theme right into the listener’s face along with the band’s brutal, heavy sound. The album is certainly a left turn compared to the rest of Ghost’s discography; their usual presence of groovy keyboards has evolved into more of an 80s wave, thus bringing about a refreshed, revitalized element of glam virtually unheard since the 1980s. In the discipline of new albums, Prequelle has proven to be a personal favorite for a metalhead such as myself. Ghost’s ability to uproot sounds unorthodox to heavy rock and toss said sounds into their own stew of originality proves that their creativity should be one that turns the heads of rock fans and the genre’s outsiders alike. The sounds of raw power and testosterone-fueled melodies are alive and well, even in a time when a company like Gibson struggles.

Evan Gardi

Cass McCombs delivers an hour-long album with Tip of the Sphere. After releasing his first album in 2004, McCombs has grown an incredible amount. Tip of the Sphere sounds most like McCombs’ 2013 release Big Wheel and Others. McCombs went for a folk/jam-band mix with a hint of psychedelia on this album. You can hear the influence from big name jam-bands like The Grateful Dead and Phish. McCombs also incorporated a lot of interesting instruments on this album (African-inspired drums on track #5), which give it a very unique sound. After McCombs’ 2016 album Mangy Love, his fans were definitely anxious to hear what he would put out next; and I believe McCombs hit it out of the park with this album. If you enjoy folk, jam bands, psychedelic rock, alternative rock and even indie, you will definitely enjoy this album.

Megan Ridgway

Anemone have a very unique sound to them. They are very indie pop, and have a smooth rhythm to them. If you are looking for music to kick your feet back and relax to, you have found the right group and album to listen to. Beat My Distance is an album you can shut your eyes to and take it all in. This definitely would not be music you are bopping your head to, but music that feeds your soul. Most of the songs include awesome and unique acoustics that lead up to the actual vocals of the song. They let you focus in on the mood of the music. A couple good listens for this album would be “Endless Dive” and “Sunshine (Back to the Start).” These two songs give the listener a sense of what their overall style is. If you are looking for good kick back and relaxing music, this may just be the album for you.

Evan Gardi

Steve Gunn’s fifth solo album, The Unseen In Between, reminds me of a warm, laid back summer evening with its mix of alternative and folk rock. This Brooklyn-based, Philadelphia-born singer-songwriter takes aspects of his backing guitar from his work in Kurt Vile and the Violators, and adds a more folk-y twist to it. The mix of acoustic and electric guitar in most of the album’s tracks give off a very ambient vibe. Although Gunn talks about some intense topics, like his father’s death in the track “Stonehurst Cowboy”, you are still left feeling calm throughout this album. When listening, you can tell that Gunn has grown a lot from his previous albums and is definitely trying to grow more (and succeeding). In my opinion Gunn, has delivered his most experimental, and some would argue best album yet.

Teresa Lee

Eulene's "Momma" is pretty upbeat in tempo and very catchy. The tone of the song and the lyrics were kind of dark and ominous, but I'd definitely give another one of Eulene's songs a listen. I liked the message of the song--that Eulene felt responsible for assuming the motherly position within her family. The song was very catchy and I even learned the chorus by the end of it.

Michael Rogers

Alarm Will Sound is the second EP from California based trio James Supercave. This follows their debut album Better Strange, which dropped in 2016. The 6 track EP clocks in at a very short 18 minutes, with a rapid fire pace from the very first song, "Alarm Will Sound". This nonstop ride continues with come alone and fools. It starts to slow down at about the halfway point in the EP with "Something To Lose" followed by a short, almost meditative instrumental called "K Town". It picks right back up though with the final track "Clued Up". The band's sound can be described as hypnotic, upbeat electronic music with the lyrical heart that you would expect from three indie kids from California. Lyrically they don’t exactly pack the punch that they would like to, distancing themselves from bands like Tame Impala that they would be compared to. Were they to improve this and hone their sound more precisely, they could possibly shorten this gap- but the band has a long way to go. Ultimately, this EP is a middle of the road release that doesn't quite match up to their first album or the potential that they have as a whole.