There is a sense of longevity that resonates within the artistic musings of Olympia, Washington – almost folkloric – where projects like Generifus have been acclimated to the ever shifting scene while still manage to trailblaze their own paths after decades long careers. Fronted by Spencer Sult, Generifus returns today with “Waking Winter”, the first single from his upcoming album Summerberrys set to be released 10/18.
Recorded up at the Unknown Studio in Anacortes, WA, “Waking Winter” plays to those cutting interludes of change and the deafening moments of stillness that seem to follow. Amidst the shuffling of drums, a reliable movement that sets the tone, Sult pushes forward into a light and hearty groove of sedated bass and spacious keys – “I don’t enjoy this / I should talk to someone / I should get it fixed,” he sings with a melody dedicated to the path ahead and the rhythm underneath. Sult and co. are patient in their delivery, stretching out the edges of their barebone roots while the different brushings of organ tones, twangy guitars and dreamy scale runs animate the track into a leading moment of realization; clarity in the cold.
Kennedy Mann has always held her hand out to sincerity, making a name for her musical and emotional depth at the helm of her dream-pop band, Highnoon. But as of today, Mann shares “On Video”, the new single from her solo endeavors that finds her expanding on her skills as a songwriter and producer. With production help from Grillo and Brendan Simpson, Mann reanimates a song she wrote back in 2019, emphasizing the parts of her that have become unrecognizable while simultaneously marking new beginnings as she looks ahead.
Over a blend of clean guitar tones and the perseverance of a lo-fi drum track, Mann marks her presence in the opening line, singing, “I watch my life on video / How the time just seems to fly.” It’s not an easy story to tell, watching your life go by, yet Mann is commanding in her vulnerability. In the culmination of secondary guitar runs, atmospheric synths and light piano voicings, she 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 her delivery and production.
In a statement, Mann says, “The song is about feeling a sense of nostalgia for the parts of you that don’t exist anymore or were changed almost suddenly. I think a big part of growing into yourself is spending time reflecting on difficult memories. Sometimes you think it would be better if everything happened differently. But sometimes it’s best to just take inventory of those events and get on with it. I think this song is my attempt to do so.”
“On Video” is accompanied by a music video made by Mann and shot by Lucy Soutter. Watch below.
Nara’s Room, the Brooklyn trio fronted by Nara Avakian, has shared two new singles “Holden” and “Waiting for the z” today as a precursor to their upcoming album, Glassy star out 10/18 via Mtn. Laurel Recording Co. Through the deliberation of sifting noise and strong lyrical intuitions, Nara’s Room has always circulated around the production of dreams and the reverie towards real life environments. With arrangement help from Ethan Nash and Brendan Jones and production by James Duncan, Nara’s Room return heavy handed, pushing the sonic boundaries of what we deem is possible while simultaneously defining their placement in an ever shifting world.
Gradually, “Holden” spirals into being through a rhythmic doom loop; constructed by the scrunchy mechanical noises and the unease that the sonic structure so easily brings out. It isn’t long before the industrial tones and gothic reverb open to a wave of jangly instrumentals, reminiscent of 80s pop and shoegaze classics, but with the trio’s own unique touches strung about. “How can we dream in a world we’re persistently being pushed out of?” Avakian asks in a statement about the song. As the chorus is emboldened by the distorted depths of the track, the band articulates every texture and sonic idea within, filling the void with individual voices as Avakian tries to define intense feelings of alienation and belonging.
In the same vein, “Waiting for the z”, lives in the balance between brutality and faith, trapped within its own confined and isolated space. With a brief spoken word piece, Avakian recites, “She led me out the door, “I can help you, it’s time to let go / Forgot what face I have on today, the clouds can tell you so,” over an eerie combination of pounding drums and a hollow bass that meanders with patience. As Avakian takes a pause, the shy words are soon succumbed to the sonic revisions of glitchy guitars and thrashing concussive drums, leaving your soul crunched and your ears tender, but in no way deterred by the experimental spirit and sincerity of the band at hand.
Each song is also accompanied by a music video made by Avakian, who has been specializing in VHS-type recordings under the project Foggy Cow. You can watch the new music videos below. Glassy star, out October 18 via Mtn. Laurel Recording Co., will have a limited tape run, which you can preorder now.
Full to the brim with brooding sonic plights and a soaring blend of alternative nostalgia, Dino Expedition share their new single, “Lose Your Mind”, as well as announce their debut album Thanks A Million. This release finds the Brooklyn-based band operating at their fullest, building from a solo project called Tahls, Dino Expedition is Tahlia Amanson (vocals/guitar), Aiden Velazquez (bass) and Frankie Adams (drums). Pushing potent orchestration to the edge of mutual discovery and reflection into moments of seismic growth, “Lose Your Mind” is a piece of the past that is meant to move forward, as Dino Expedition explode with new and dynamic life.
With a large presence from the get go, “Lose Your Mind” is heavy where it needs to be, and sincere throughout it all. With pounding percussion and conjuring low ends, the gentle, yet lush effect of Amanson’s vocals feel untethered to the weight below, while simultaneously flowing with ease to the driving rhythm. Recounting a story of watching her childhood neighbor’s house catch fire, she sings, “The glaring through the window shades / Will bring the light into the dark / Of the bedroom where you lose your mind”, recovering past memories and accepting their placement on a young mind now matured. It isn’t long until something ruptures inside, where melodic guitars and ecstatic dynamics seem to push through time itself, as “Lose Your Mind” relishes in the grandiose sounds of a band just getting started.
Dino Expedition is playing a single release show for “Lose Your Mind” at Purgatory in Brooklyn, NY on 8/14 alongside Whirlybird, Babe City and Mila Moon. Their debut record Thanks A Million is due November 15, with tapes available via TV-14 Recordings.
Through the twangy rock n’ roll and broken pop hooks that live in the heart of Chicago, Edie McKenna has had a hand in building the little congregations around town that make this music scene so special. Best known for her lead part in the band Modern Nun, who describe themselves as ‘queering their religious upbringing’, McKenna and co. have developed a type of spirituality brought out by acceptance and shared experience of music and community. Keeping to that theme, McKenna has shared her new track, “Hail Mary”, the last single off of her upcoming debut solo EP, For Edie. Written back in her teens, she revisits the trials and tribulations of growing up religious in a queer body, as she sings a prayer for who she was and who she’s become.
The song rouses to life with a fervent folk groove as an acoustic strum feels invigorated by the underlying bass and auxiliary percussion that meander along with purpose. “And underneath those stain glass windows I prayed / You’d take it away from me”, McKenna sings with ease, leaving the weight of the matter to carry itself. As the chorus reaches the holy trinity of thrice repeated ‘Hail Mary’s’, the underbelly of the groove brews with harsh distortion, letting loose a blissfully cathartic, and joyfully nostalgic release of tension and self-actualization that longs to be listened to on repeat.
Along with the song, McKenna shared in a statement;
“Hail Mary’ was written as a prayer to my younger self. I wrote these songs many years ago and while I cannot recall the writing process itself I know that it still feels, to this day, very cathartic to sing this song. When I was growing up, I could not comprehend my queerness as an actuality, more as the sin that it would eventually be to live out. So, I only acknowledged it by pleading with God to take it away before it became a more serious problem. The ‘Hail Mary’ prayer itself was always my go-to, so I thought I’d rewrite it to aid in my own healing and acceptance.”
“Hail Mary” is accompanied by a music video made with the help of Arden Lapin and Raine McKenna. McKenna’s debut EP, For Edie, is set to be released on August 23 via Devil Town Tapes, with a limited run of cassettes.
Written by Shea Roney | Album Artwork by Edie McKenna
Sleeper’s Bell, the Chicago-based folk duo of Blaine Teppema (guitar, vocals) and Evan Green (guitar) have shared their new single, “Road Song”, today. This release comes after the reissue of their debut EP, Umarell, via Angel Tapes / Fire Talk earlier this year, which included a separately released bonus single, “Corner”. Umarell, both concise and inviting, found Teppema in a place of still observation – where moments left open to breathe were both purposeful and reflective. Bringing her initial vision for the project into fruition, “Road Song” finds the duo in good company of collaborators, bringing out Green’s artistic production and Teppema’s open-ended lyricism with an array of cacophonous instrumentation and deliberate storytelling.
From the very click of the drum sticks, you can tell this isn’t going to be your grandmother’s Sleeper’s Bell track. Above a light instrumental shuffle, Teppema sings, “Spent so long on the road / I forgot there was somewhere to go,” as the chord progressions lean into minor tonalities – finding an edge that feels both strikingly new and incredibly fitting for the minimalist group. It isn’t long before a saxophone, played by Rufus Parenti, grumbles for resolution, bringing stamina to the emotions in Teppema’s wandering mind. “I caused another bitter end / ‘Cus all I needed was a friend,” she sings, giving a voice to the thoughts that lead when there is nothing left to entertain, just before the song comes to its abrupt and inevitable end.
About the song, Teppema shared in a statement;
“It’s partially about the sunk cost fallacy — you put so much time and energy into something that you forget you’re allowed to try something new. But then, sometimes, you put so much into something and then you’re a long way from where you started, and you have to figure out how to get back, or how to pivot.” She continues, “It’s also just about being a kid. I miss how visceral all my feelings were. I feel everything like that again when I’m driving long distances. And I listened to a lot of Townes as a kid, in the car with my dad. ‘Nothin’ was one of the first songs that ever made me feel sad. So I ripped that line from him and made it about me.”
Sleeper’s Bell will be performing in an Elliott Smith tribute performance on August 6th at Schubas Tavern in Chicago, IL. They will be performing alongside other Chicago acts such as Minor Moon, Half Gringa, Wet Skelly and Plus Plus.
Raavi, the Brooklyn-based project fronted by Raavi Sita, have always held an ear to earnest performance – the disciplined, yet expansive sonic approach tailored to fit neatly under Sita’s equally engaging lyricism has turned some heads the past few years to say the least. Today, Raavi has shared with us a new single, “Henry”, taking a more mellow path of contemplation than before, yet at no expense to the weight it holds. Along with the single, Raavi has announced their forthcoming EP, The Upside, set to be released September 13 via Mtn. Laurel Recording Co.
Under two minutes, “Henry” is a brief formulation of personal meditation and elegant musicianship that animates the revelations of sexuality and identity that Sita has encountered over the years. But leaning back into the stepping pattern of dancing guitars and flowing with the grace of traditional folk senses, “Henry” is ultimately a patient song – the ethos of collapsing time into a minute of cathartic bliss is something that feels ambitious in practice, yet so effortless at the hands of Sita’s storytelling.
In an instant, the song begins with a mutual understanding; “Don’t worry Henry / Your secret’s safe with me,” playing to a safety blanket, one with its edges frayed and its thinning, itchy material lacking substance. But as her bright and contemplative voice command’s the open space, singing to Henry in conversation, there forms a separation between the warmth of the tune and the suffocating feelings from the story within. It’s not long before the dialogue shifts, “Oh Henry you’re no friend of mine”, only heightened by the underlying string arrangements (Nebulous Quartet) that characterize the melody as Sita’s presence matures into where she is now.
Speaking on the song, Sita shared in a statement, “it’s about realizing I wasn’t being seen by the boys and men in my life as just myself, but as a girl first. I grew up androgynous, able to act like a chameleon to fit in with my male and female friend groups with relative seamlessness in which my tomboy gender expression, while definitely acknowledged by my peers, also gave me a freedom to exist in both gendered worlds to some degree. At some point this reality came crashing down on me.” She adds, “I experienced what I think a lot of gender nonconforming kids go through in that I went from being viewed as Raavi, to Raavi the girl and all the implications that being a girl comes with.”
Watch the official visualizer for “Henry” made by Callan Thomas.
Raavi will embark on a week-long run of tour dates with labelmates Sister. on 9/4, including a festival performance at Otis Mountain Get Down. The Upside is due to be released on 9/13 off of Mtn. Laurel Recording Co. with a limited-edition run of 7″ vinyl available for preorder now.
Written by Shea Roney | Feature Photo by Veronica Bettio
Grumpy is back! The Brooklyn-based project of Heaven Schmitt has returned to earth with “Protein”, the first new song shared since embarking on a four year side quest, marking a triumphant return and a huge step forward for all things Grumpy. The primarily self-produced track is a beautiful lumpy mass – a body kept alive by electro-pop ligaments and meaty distorted muscles, as they pump blood into an autotuned lament of digital longing.
Echoing a lone drum beat, Schmitt sings, “I got your message and you’re suddenly confessional/ you want to keep things strictly professional” – a chromatic plea of disappointment with the noticeable gap of digital intimacy. The chorus is loose and playful, utilizing the hyper-rock backdrop of heavy guitars and running synth licks as leverage to its dreamy and melodic palette.
“Starving for attention in a protein bar” – Grumpy thrives in the surreal, blending personal insecurities and unfiltered introspections that thrive in the absurd, telling an honest and compelling story of regret and heartbreak – a type of writing that is emotionally applicable, deeply relatable and sticks to your bones with every listen.
“Protein” is best ingested with the accompanying music video directed by Sarah Ritter (Surf Curse, Samia, Cherry Glazer). The video depicts an extraterrestrial story of obsession and longing, with a spout of alien warfare and Martian-like-wonder to highlight this new idea of futuristic vulnerability.
As Grumpy enters a new realm today, it is wise to let them show us the way. “Protein” is sincere, eclectic, introspective and irresistible, showcasing the evolution of Grumpy’s artistry and influences as they learn from, and further build out their craft. You can listen to “Protein” on all streaming platforms now.
Triples is one of Canada’s best-kept secrets. With an emphasis on loose and energetic DIY performances, the band has put out some of the most heartwarming and fun pop songs in recent memory. Today, the Toronto-based project of songwriter and actress, Eva Link, has released her long awaited new single, “So Soon”. As a follow up to 2019’s debut full length, Big Time – an album with no shortage of glittery attitude and loveable hooks, Link returns to her form more confident than ever, with powered up, jangly guitars and an enduring melody that reminds her to embrace what she knows best.
Triples has always gravitated towards a nostalgic feel – taking inspiration from 90’s alt-pop legends like Guided by Voices and Liz Phair, as well as that underground punk charm that is both invigorating in spirit and timeless by nature. “So Soon” showcases the band with a more expansive, rock-forward sound, but at no loss to the heart and pure enjoyment that comes with Link’s songwriting.
“Whose guilty conscious keeps them hiding away/ Fear of fucking up with things you say,” Link sings, as a steady guitar introduces the song – a batch of open ended doubt setting the scene. It doesn’t take long before her layered harmonies become responsive and the driving drum fills and heavy guitars turn the song into a pop-rock classic, as “So Soon” reaches for that joy of embracing what fills us up.
“This song is about coming out of a hibernation, where you’re just used to feeling bad or sad, and then reemerging into the world and remembering what it’s like to feel like yourself again doing the things that made you feel happy, actually doing the things that matter to you (the “cool and right things”) you recognize the YOU that starts to come back,” Link shares about the song.
“So Soon” is accompanied by a music video shot by Seamus Patterson at Paste Studios back in 2023. The video plays with a coming-of-age feel, as the band rocks out in a twinkle lit garage, capturing a new and exciting step forward for Triples.
Triples will be performing with PACKS (Eva’s sister and frequent collaborator, Madeline Link’s band) at the Drake Underground in Toronto on July 6, and look to release their forthcoming EP in the near future.
the ugly hug 