Love songs are difficult to write. Music has been churning them out for centuries with varying degrees of sincerity and alarming levels of acoustic guitar, but because to make one now, in an era where emotional vulnerability is often filtered through layers of irony or buried under overproduction, requires a certain willingness to be painfully […]
There’s a certain kind of album that basically introduces itself before you even press play. Like it wants you to know exactly how it was made so you’ll listen a little differently. Aeroplane by Connie Lansberg is very much that kind of album. In this instance, the setup is kind of the whole hook: one
Aeroplane Isn’t Trying to Wow You With Complexity Read More »
There is a very specific kind of rock album that seems to exist entirely to remind you that somewhere, somehow, a man in a leather jacket is still leaning dramatically into a microphone while someone behind him attacks a guitar like it personally insulted his family. Degeneration, the latest release from Deep Jimi, is one
Degeneration Simply Reminds You That Rock Music Never Left Read More »
There’s a particular kind of music release that doesn’t really care whether you experience it as an “album” in the modern, tightly curated, playlist-optimized sense, and instead behaves more like someone opening a vault and saying: here, this is everything, take your time. The Vault 2 by C’batch is exactly that kind of project; a
There is a very specific emotional space that rock bands love to gesture toward but almost never commit to living in, and that space is the middle of things. Not the cinematic beginning where everything is charged with meaning, not the triumphant or devastating ending where everything finally makes sense, but the long, ambiguous stretch
C’batch’s “Trapped (I’m Doing Fine)” returns not so much as a remix but as a kind of technological séance; an instrumental from another era summoned back into the present and politely asked to develop a personality. It obliges. Where once there was groove, now there is groove with intent, which is always a dangerous upgrade.
C’batch’s “Trapped (I’m Doing Fine)” Isn’t a Track Trying to Overwhelm You With Contrast Read More »
“Let’s Just Go” opens with the kind of confidence that suggests Sweet Mess are very aware of what they’re good at and more importantly, that they’ve stopped pretending to be anything else. Which is interesting, because this is a band whose identity, until fairly recently, was tied up in being a really good cover act.
There’s a particular kind of exhaustion that doesn’t come from doing too much, but from taking in too much. Scrolling, refreshing, absorbing, processing and somehow still feeling like you’re behind on everything. Weight of the World, the newest single from Eddie Cohn is built around that exact feeling and more importantly, it doesn’t pretend there’s
Weight of the World, the Upcoming Single From Eddie Cohn Is Built Around Exhaustion Read More »
There’s a very specific kind of song that announces itself as Important within the first thirty seconds; not because of anything it’s done yet, but because it arrives carrying a fully itemized list of influences, intentions, and moral positioning. THE CHOICE by Chris Oledude is absolutely one of those songs. And to be clear, that’s
The Choice Doesn’t Sound Retro, Exactly, but It Does Feel Anchored Read More »
There’s a very specific kind of music that doesn’t feel like it was made so much as it feels like it was… barely contained. Like at any moment it could fall apart, or explode, or both at once and the only reason it doesn’t is because the people behind it are just competent enough to