Cashier put out a song. Does it rip? I don’t know. Is the sky blue?
Today, the Lafayette-based four piece announced forthcoming EP, The Weight, set to come out March 13th via Julia’s War, offering a preview through new single, “Like I Do”. While it is only the sixth song available on their discography, Cashier’s minimal amount of recorded music thus far has certainly not hindered their stretching reputation. They have a sound capable of hijacking even the most disintegrated, brain-rotted attention spans; delivering profound live sets and injecting that raw, divinely DIY essence into their recorded music. “Like I Do” taps traditional rock music in the best way possible. It’s hearty, messy, dynamic. Kylie Gaspard’s vocals are paramount and unrelenting when present; and when they aren’t, the space is swiftly filled with sovereign shredding.
About the song, Gaspard explains, “This one is more of a piece of generic rock. We kind of wanted to make our own version of that sound. The lyrics are very simple, just about two people figuring each other out, what feels right when you’re unsure of a scenario, and navigating another person’s energy.”
You can pre-order The Weight and listen to “Like I Do” below.
You can observe a discernible tightening within Trembler’s music over the years. Their 2019 debut was a biting display of heaviness and scorching lyricism, one that bends from post-hardcore and contemporary shoegaze to early 2000’s screamo and ambitious prog rock-esque compositions. It is potent and abrasive and beautiful and reckless and heartbreaking, and it might be my favorite record of the last decade. And yet, as they move further from the loud discordance of Trembler, the intensity they managed to cultivate in that record has only heightened. Before I wrote this, I spent about a week attempting to pin point what it is about Trembler that I find myself so incredibly drawn to. A way to articulate the feelings elicited by everything they have done; whether it be coarse contributions on a split EP with Austin-based screamo band Palefade, or the somber, wispy new single they released today. I realized what generally draws me to abrasive music is not some masochistic urge to cauterize my ear drums, but a craving for the vulnerability found in less polished art. What makes Trembler so moving is less about volume or distortion or any one sonic technicality than it is the inimitable fragility that binds their music. It is equally present in their corrosive tracks as it is in their softer work, layering a complexity to Trembler that continues to expand with each new release. Today, they shared “Wilt”; the single further proving Trembler’s ability to yield raw and poignant music regardless of what route they take.
“Wilt” is a first taste of Trembler’s forthcoming EP, Total Sorry, set to come out January 29th via Rite Field Records. The line “we wilt away” hypnotically surfaces fourteen times throughout the track, layered between a lyrical unfolding of loss, remorse and doubt. “Wilt” is subdued and unresolved; yet like most of what Trembler carves out, it is rich in its dimension, guided by authenticity rather than logic or precision. Cushioned by pale guitars that lie somewhere neutral on the spectrum of bleak to cheerful, the track’s moments of lyrical devastation are sweetened with threads of optimism and pivotal acceptance. In spite of its name, “Wilt” grows stronger with each listen, rendering a familiar story of closure you have to forge for yourself, and the consolation that comes when you do.
About the song, Luke Gonzales shares, “‘Wilt’ deals with what it sounds like–watching something beautiful in my life die. Losing my closest friends, having my view of something that consumed so much of my life splinter and leave, and wondering whether it was hollow all along. Generally, a good representation of the central feeling I was trying to capture on this EP. It’s sad, but in my opinion, sober in its acceptance that how things were over now, in an attempt to move on.”
Today, the Athens-based band, Crazier, share their debut single “Boat Music”, a stunning display of self-agency and confrontation in the face of harassment and antagonistic patterns. Previously performing under the name Starpower, Crazier is now made up of guitarist and vocalist Eli Raps, guitarist Winston Barbe, drummer Alex Dillon and bassist Kevin Cregge. As a standalone track “Boat Music” showcases a band performing with both ferocious grit and alluring delicacy as Crazier stakes their claim and prepares for their debut EP set to be released this April.
Caught in a rhythmic pull, a formidable progression of rolling guitars and tempting percussion, “Boat Music” takes control with a defining confidence right out the gate. “Picture this: I love you / Then I stop / what are you gonna do now?”, Raps offers with her unique vocal style, moving with the momentum of the band and in no way offering space for a conversation to be had. Written about a period where Raps became the target of persistent harassment for speaking openly about the sexual assault she experienced while operating within the Athens music scene, the command of “picture this” becomes stronger in its repetition, driving each point further into a delusional perception as Raps and the band break through to the other side with full-bodied synths and satisfying guitar voicings.
Watch the music video for “Boat Music” here.
You can listen to “Boat Music” out everywhere now. Crazier is gearing up to release their debut EP this April.
Written by Shea Roney | Photo courtesy of Ruination Records
Always testing the boundaries of perspective and “surrendering to the loneliness of having a good time”, Brooklyn’s Jackie West is no stranger to writing from the multitudes stacked within her surroundings. Today, West returns with her new single, “Silent Century”, the title track of her upcoming LP out on February 27th via Ruination Records.
Simple and steady, West becomes entrenched in the rhythmic display of “Silent Century”, embracing the sonic vibrations that she has been foraging for so long now, giving space to root and to blossom both her and the track’s natural progression of growth. Playing alongside Dan Knishkowy (Adeline Hotel), Sean Mullins (Moon Mullins), Nico Osborne (Nicomo), “Silent Century” shifts between instinctive folk melodies and colorful pop hooks, where the complexity of feelings can rummage through different sonic interpretations that really bring life to this expressive and enduring motive – something that has made West such an absorbing and poignant songwriter to watch over the years.
About “Silent Century”, West shares, “some experiences—especially intimate or spiritual—communicate without language, moving through us like traditions or instincts that endure quietly for generations. “Silent Century” draws on the Taoist idea that silence is a medium of understanding—the flower doesn’t explain itself, and water doesn’t lecture the stone; yet both express and reshape the world over vast spans of time.”
Listen to “Silent Century” here.
Silent Century is set to be released February 27th via Ruination Records. You can listen to the single out now, as well as preorder the album on vinyl.
The chordophonic limb of hemlock, Free Range, Ratboys, Squirrel Flower, Tobacco City, and more has added another exciting release to their solo discography. On November 21, Andy “Red” PK, released “Red/Waverly”, a dual single release that pulls in two opposite directions.
“Red” has an upbeat and feel-good tempo reminiscent of early 2000s indie-pop. PK emphasizes their expertise with a string-heavy track. The featured strings lean into a surprising, but well-integrated, southern twang midway through. With light and soothing vocals, “Red” paints a picture of sunshine and clear blue skies, whereas “Waverly” takes on the night. Its slow tempo, accompanied by PK’s relaxed voice, calms the adrenaline from “Red.” The track begins with a muffled ticking clock, which almost gives off an altered perception of time. At first, the heaviness of “Waverly” feels like a musical trudge. But the track ends before you know it. Its absence leaves you light and cold, in need of the heavy warmth of “Waverly” all over again.
By recording two contrasting melodies, PK shows the full range of their artistry. Rather than subjecting themselves to one note, they explore the various elements of their talent. The light and dark air surrounding “Red/Waverly” further characterizes the work of a guitarist held so fondly in many ensembles. From collaboration to solo work, Andy “Red” PK submits another beloved project for us to enjoy.
You can catch “Red/Waverly” and the rest of Red PK’s work out now on Bandcamp.
Today, Providence’s newest resident, Sleep Habits, the recording project of Alan Howard, is sharing a new song “Six String” as well as “Mountain Top”, a Daniel Johnston cover. This release comes ahead of Bandcamp Friday as Howard looks to help fund his upcoming record.
“You gotta learn how to rock at an early age,” Howard sings, almost indebted to the noise that has built itself around him and his career over the years. Sleep Habits has always been a point of reflection and curiosity for Howard, giving him the space to explore a unique type of lyrical exfoliation, reinforcing the charm and tradition of indie-folk as each song becomes its own moment within a much larger story to be told. “Six String” settles in its crunchy distortion and drum fueled waltz, falling into those picking patterns of rock n’ roll nostalgia and headbanging romantics.
About the songs, Howard shares, “Six string is a song I wrote about a year ago with no intention of ever releasing. But as I sat with it, I started to kind of like it even though the lyrics are a little more direct than I’m normally comfortable with. To me it’s just a fun song about loving music and wishing I could do it more!
Mountain top is a great song by Daniel Johnston that I became obsessed with after I heard the live BBC session that they released. It’s a terrible recording but the band is rocking and Daniel sounds great; the studio version is great too (produced by Mark Linkous of sparklehorse) but just doesn’t have that same edge! I thought it would be a fun song to cover and have bandcamp Friday coming up gave a good reason to dive in!”
You can purchase “Six String / Mountain Top” now on Bandcamp to help Howard raise funds for the next Sleep Habits album.
Puberty serves as a first introduction to deep rooted societal taboos surrounding aging. The whole hormonal mess would suck enough without being met with shudders from adults and painful conversations packaged in animal + insect innuendos. It also never truly dissipates – it seems as though one could be decades removed from juvenescence and still dodge the word with such vehemence, as if so much as uttering “p*berty” might onset a conglomerate of pimples and a poorly timed voice crack. Not MX Lonely. The Brooklyn based four piece has a knack for complementing their harrowingly good melodies with anomalous and deeply memorable lyricism – whether that be chants of astronaut FMK, stomach-pinching anecdotes about substance use, or merely the choice to quote Elliot Smith amidst a face melting bridge. Today, MX Lonely announced forthcoming record, All Monsters, leading with a single about a trans puberty experience.
“Big Hips” takes a facetious approach to the impacts that bodily changes impinge upon someone who is gender nonconforming. The track is inherently satirical; a witty recontextualization of gender dysphoria armed with a brief comedic interlude. However, the visceral impact of “Big Hips” far surmounts its quips, and the track’s weight lingers far beyond its brevity of 2 minutes and 43 seconds.
I would advise your first listen to be via its music video (directed and edited by Owen Lehman). It leads with a few vibrant clips that set you in a school – a ticking clock, a vacant classroom, a fluorescent bathroom. Simultaneously, the track commences on a note of transient delicacy, luring you in with some coy basslines, Rae Hass’ vocals in their more angelic shape, percussion that feels rational. It’s an introduction, familiarizing you with the silhouette of the track’s melody and intentions (which you soon learn, are to inform you about having big hips for a boy) before it detonates into something you feel at the pit of your stomach, something you can’t possibly fit in a locker – no matter how much of your body weight you use to cram it shut.
The chorus is potent and erratic and catchy as hell (an experience amplified by my suggestion to experience with its visuals of blacktop shredding). It leaves you wondering why more “heavy gaze” projects are not reclaiming their juvenile gender dysphoria by shouting dick jokes at you. It makes you smile thinking of a thirteen year old in Ohio hearing it and feeling seen, and it makes you smile thinking of some cis dude in East Williamsburg boasting his big hips as he listens in the Whole Foods protein powder aisle – because god knows the rest of us have clocked enough hours singing along to his narrative.
“Big Hips” is a thrilling first bite of what we can expect from what MX Lonely will carve out on All Monsters, out February 20th via Julia’s War. About the track, Rae says, “Big Hips is a self-mocking celebration of youthful masculinity. Puberty imbues a sense of dread for everyone, but especially trans people. For me, the onset of feminine curves was met with a sort of voyeurism I didn’t feel I was made to be proud of. “Big hips” were something that happened to you rather than something you owned. The song recontextualizes the dysphoria of my youth in the way young boys would jovially proclaim the size of their phalluses (whether it was true or not). It’s a big dick joke.”
With his first release in four years, Morgan O’Sullivan returns with the latest track from his project, Boreen, titled “Don’t Die!”, the first to be shared from his latest album, Heartbreak Hill out November 21 via Bud Tapes. Beginning back in 2015 when he lived in Portland, Oregon, Boreen has always been a project of marked growth and personal hauntings as O’Sullivan’s writing leads with preservation and perseverance within these corroded love songs and tailored tales that he crafts and performs so well.
“Don’t Die” begins with a piano, one that holds weight to the sticky keys like a family heirloom – uneven, simple and fills the room – as it soon grows amongst the colorful instrumentation. “I was in my bedroom / and far away / the words I didn’t say came rushing forward and took my place / I start to see your face”, O’Sullivan sings, his words weighted against the lofty backdrop of instrumentation as he approaches grief and what comes to follow over time. Soon the track bursts with a gritty guitar solo while indiscernible voicings meddle in the back, filling the void of unanswered questions with the warmth in his production and the comfort in its final release.
About the song, O’Sullivan shares, ““Don’t Die!” is the first song I wrote for this album, and the first song I wrote after my uncle’s suicide in April of 2021. In a lot of ways this song shaped the rest of the album, and the themes that I started with here I kept coming back to over the past three or four years. I see this song, and this album as a whole, as a kind of a stubborn determination to survive. I’m thirty years old now. The older you get, the more life kicks you in the teeth. I wrote these songs at the times when I was most aware of that fact— as a way to record that feeling and visualize the better one that will come tomorrow.
Boreen has always been a solo project, but this album has felt the most collaborative. On “Don’t Die!” the piano was played by Garrett Linck, and the drums were played by Stevie Driscoll and recorded by Evan Mersky. The final version of this song was undoubtedly influenced by the way the Boreen live-band played it, so I feel indebted to Emmet Martin, Stevie Driscoll, and Chris Weschler for bringing it to life so many times over the years.
I started Boreen in November of 2015, exactly ten years ago, in Portland, Oregon. I moved away recently and now live in Champaign, Illinois. For me, Boreen belongs back in Portland, so I’m planning on this being the final Boreen album. To everyone that played a role in this project over the years, thank you.”
You can listen to “Don’t Die” here. You can preorder Heartbreak Hill, out November 21, now as well as on cassette and CD via Bud Tapes.
Written by Shea Roney | Featured Photo Courtesy of Boreen
Today, Asheville-based singer-songwriter Sean O’Hara shares a brand-new music video for his song “Day by Day”. O’Hara released his debut album under his own name titled somewhere back in 2023 but had released an extensive catalog under the name nadir bliss tracking back to 2015. Released earlier this year on a split tape with Jackson Fig, “Day to Day” finds O’Hara slowing down, leaning into his inviting production, and taking into account of what’s around him.
Through all the noise, the loose distortion, the meaningful sonic spells and the interchangeable fidelities that play to their own strengths, Sean O’Hara offers songs that stick to you like the hair from a dog, where each piece is picked off one at a time with the care and attention it needs. “Day by Day” feels full from the start, where the weight of heavy distortion mingles with the lo-fi synths that have made this track feel like home. “Take it day by day / don’t be easily dismayed”, O’Hara sings, patient yet sincere in his delivery. And as it goes, the guitars grumbling and light electronics tinker away, O’Hara creates a spacious piece that leaves room for both personal growth and self-reflection while still filling the void of unanswered questions with the warmth in his production.
Watch the video for “Day by Day” made by Ethan Hoffman-Sadka here.
About the song, O’Hara shares, “Day by Day” is a song I wrote about trying to be present when life is difficult & an attempt to remind myself to take things one step at a time, embracing change with a positive mindset. The music video was shot and edited by Ethan Hoffman-Sadka (from Trust Blinks) at & around Shakedown Kava Lounge where I hang out a lot, capturing a regular day chilling with friends, & also exploring the constant way my imagination & perspective turns to music to stay grounded.”
Today, on this very evening, this very Halloween night, Nashville bands Bats and Soot have teamed up to release their new split single “Lift Me Up / Square Donuts”. For Bats, this is the first bit of new music since 2024’s album Good Game Baby, which found Jess Awh grappling with change amongst a smooth blend of nostalgic rust and indie charm. Same goes for Soot, releasing their latest album Wearing a Wire back in 2024 and leaning into the brashness of metal and experimenting with dynamic expression. As partners go, these bands differ in notable ways – but this project, a collaboration that’s been a long time coming for the two Nashville bands, brings out the best of both of their worlds.
From the start, Soot’s presence on “Lift Me Up” is calculated and reserved, but in no way is it timid. Falling down as a roaming guitar grows amongst a light atmosphere tickling the tracks potential release, Micah Mathewson’s voice is so low in register it feels to be dragged through the rough dirt, picking up elements of the environment as the band caries through. Gaining ground and building the tension and texture the Soot in known for, “Lift Me Up” loves the slow burn, finding solace in the accompaniment of Jess Awh’s (Bats) haunting vocals and Nick Larimore’s (Bats) loose pedal steel, each sticking like the dirt and bugs that have latched on for the ride. And when it’s all said and done, Soot’s reserved composit explodes into pounding percussion, brought out by dark layered screams and a strain to the sincere melody, that at last, has broken loose. And as the band holds their own, as Mathewson asks, “how am I supposed to come back down after feeling so high for so long now?”, there is a moment to finally let go of the breath we’ve been holding in this whole time.
“Squared Donuts” starts off in classic Bats fashion, emblematic of the beloved pop facets and responsive traditions of storytelling that Awh uses to piece together a cohesive, sincere and entirely unique profile within a single song. Through glazed guitars and a tight drum beat, Awh’s words become willfully poignant amongst the starry-night landscape, something that Liam Curran (bass), James Goodwin (drums) and Nick have always helped with in connecting the dots. “I know it was a mistake, you were showing off with that gun / Chinese food from the buffet, square donuts,” Awh sings, a collection of thoughts, reflecting on the loss of a friend and the mythologies that arise from memory and grief in a fractured timeline. Amongst discombobulated bits of noise, trinkets collecting in the background, and the accompaniment of Mathewson’s vocals, Bats adds depth to the frustration that lingers in the face of grief.
About “Lift Me Up”, Mathewson shares, “it is exciting to us as a band to keep open the possibility of making maximally spastic, intricate songs and also equally subdued and somber ones. Lift me up has been a song we started writing a few years ago that was always left incomplete. Unfinished lyrics, no structure, but the backbone was there and it was something we did very much so feel like needed to be completed at some point. When a conversation started happening with Jess from Bats about working on a project, it became evident that this was the time to finish this song.”
He continues, “we had an all-star lineup helping us pull this off. Billy Campbell engineering and mixing made recording live so effortless. What you hear in the recording is just the room that day. For this project we wanted to depart from a lot of the production bells and whistles we implemented on Wearing a Wire [Soot’s most recent album] to really just let the song breathe. Jess’ vocals and Nick’s pedal steel playing really pushed it past the finish line and we could not be more proud of what we’ve made together.”
About “Square Donuts”, Awh shares, “Square Donuts is about gun violence. As a kid and as a young adult, I’ve had friends become victims of horrible situations made possible by the gun laws and culture in our country… the song is about those experiences, and what it’s like to know someone who becomes part of a big tragedy, and the tragedy sort of swallows up their identity in the eyes of the world. It’s about friendship, loss, and how we create mythologies. It’s the first song we’ve ever tracked piece-by-piece (not live) as a band, and the first one we’ve ever recorded to tape! The studio experience was a blast; what a privilege to collaborate with Bill (Second Floor Recording) and Micah (Soot).”
You can listen to “Lift Me Up” / “Square Donuts” out now.
the ugly hug 