Montana’s latest addition to the summer heat comes from the newly formed group Les Duck, who are sharing their debut single “Head Fell Off” with us all today. Coming from the pop-driven minds of Lukas Phelan (Fantasy Suite) and Sanders Smith (Soft Maybe, Wrinkles), this track is the first bit of taste-testing from Les Duck’s debut album “Love Is The Dirt” set to be released August 29th via Anything Bagel, bringing in a collection of players who embody the likings of “fast cars, loud guitars, family and friendship.”
From the daydreams that take the reins in a moment of stillness, “Head Fell Off” finds sincerity in the off-kiltered melodic fixings that Les Duck take for a joy ride with both pure excitement and full commitment. It’s a riveting collection of thoughts, unhindered by any expectations of structure or rules, where Phelan lays the dots and the sprightly instrumental voices connect em. “When my head falls off, what will they say about me? “what a fool” they will say, “though he was nice,” Phelan sings, while the track begins to unravel with charm-filled possibilities, instinctive foot tapping and a reminder that there is a bit of Timothee Chalamet in all of us.
About the single, Phelan shared, “this is a song I wrote on a walk by the river while my kids were being real wacky and getting into trouble. I guess it’s a song about feeling like a different person than the person I was before I was a parent, or at least a dumber and more scattered person. Also pondering what legacy and artistic expression means for me now that I’m like that. Not complaining though, I love it!”
Listen to “Head Fell Off” here!
You can pre-order “Love Is The Dirt” now as well as on vinyl and/or one of the Bagel’s specialty screen printed tape.
From the hills of Butte, Montana comes the pond, the latest project from longtime songwriter Jon Cardiello and his band: Noelle Huser (vocals/synth), Sandy Smith (bass/guitar), and Kale Huseby (drums/vocals). You might know Cardiello from his earlier work as Bombshell Nightlight or through his and Sandy Smith’s tape label, Anything Bagel. A Year as a Cloud invites listeners into a space where memory and sound intertwine, reshaping the past with each note. Shaped by a lifelong connection to creativity, Cardiello’s music doesn’t follow a path so much as carve one out for itself.
This new batch of songs is built from the small stuff—blurry snapshots, a walk around the neighborhood, a record playing while tea steeps. The writing lives in that quiet middle space—where grief lingers, wandering is allowed, and sadness can sit next to softness without contradiction. There’s room here for stillness and for slowly making sense of things that may never make sense.
If you’ve spent time with Bombshell Nightlight, you’ll hear the same patient pacing—songs that breathe and take their time. But with the pond, there’s more grit in the softness, more weight beneath the quiet. Listeners of Friendship, Hello Shark, Horse Jumper of Love, Mount Eerie, Greg Mendez will appreciate the transparent nature of songs with equal parts lightness and gloom. With each song a compelling story surfaces within the instrumentals; Grief cuts through the lo-fi vocals and raw guitar in “Brittle”; “Into the Room” embraces distortion without sacrificing its quiet depth.
Cardiello’s evolving sound reflects a subtle progression shaped by the nuances of life’s ever-shifting emotional landscape. It’s shaped by the subtle turns of feeling that come with just being alive. It raises the question, “Where does a song go when it dies?” and forces you to think about the songs that have stayed with you long after you stopped playing them, or the ones that suddenly pop back into your head at the strangest, most unexpected times. Songs seem to live their own lives—they become companions, change shape, fade into the background, then return when we least expect it. But do they ever really disappear? Maybe they just shift, taking on new meaning as we move through different moments in our lives.
And in these tracks, there’s something undeniably alive. They carry a quiet, emotional weight, filled with questions that don’t have clear answers. “Cup of Lilacs” and “Hungry” take small, everyday moments and turn them into something worth pausing for making those tiny, fleeting feelings, like the sound of a song or a cup of tea—become significant. “Burnt Plant” is a banger for the anxious and ashamed; it’s restless and raw, with jagged guitars and a relentless beat that mimics the feeling of being trapped in your own mind.
The brilliance of this album comes from the band’s unified front, each member perfectly in sync with the spirit of each song. There’s a quiet trust in one another, never stepping on each other’s toes.
This album is meant for the liminal spaces—the haze before the coffee hits, the hush of 2 a.m. when your thoughts sit a little too close. It’s for sitting in a feeling, watching dust catch light, for witnessing, and to be witnessed.
Listen to A Year As A Cloud premiering here on the ugly hug!
Today, Spring Onion, the recording project of Philadelphia-based artist Catherine Dwyer, returns with a brand-new song “Anger Acceptance”, marking the first single from her upcoming album Seated Figure set to be released March 14th via Anything Bagel. Having been a player in several Philly favorites, such as 22° Halo, 2nd Grade and Remember Sports, it is now Dwyer’s turn for a full-length endeavor, as Seated Figure is a collection of personal expression six years in the making.
“Anger Acceptance” begins with a very certain two chord progression, one of familiarity that defined a generation of not just youthful angst, but an exhilaration into a rather open and definitive moment of emotional recognition for countless individuals. The track begins clean, but full, as Dwyer sings, “I could have killed the man that told me / And I wish I killed him still,” apt to the gritty undertones that are waiting to be let loose. “We learned a lot about each other / I guess love’s a useful skill / that only matters if I make it / and with all my words I will,” becomes a marker all on its own, as the song erupts into a controlled burn of chaos and clarity, as Dwyer recognizes the beauty that lingers behind no matter how imperfect it may feel. “Anger Acceptance” is not a ploy for nostalgia per se, but rather a moment of gratitude, a recalling of what it was like to be young and angry before life goes on without a say in which direction.
About the song, Dwyer says, “This was the first song I wrote after my dad passed away from lung cancer in October 2020. I was alone, recovering from covid, listening exclusively to Nirvana, and stewing in the anger they say accompanies a great loss.”
Listen to “Anger Acceptance” premiering here on the ugly hug.
Seated Figure is set to be released March 14th with both a vinyl and cassette pressing from Anything Bagel. The album features longtime collaborators Julian Fader (Ava Luna), Carmen Perry (Remember Sports) and Francis Lyons (Ylayali), among others.
Listen to Spring Onion’s last release i did my taxes for free online.
Written by Shea Roney | Featured Photo Carmen Perry
Portland, Oregon’s Tim Howe, the consistent voice behind the formidable sound of Vista House, has been tinkering amongst the alternative reserves for some time now, writing under the project name since the mid 2010’s. As an ode to story telling, lost amongst intuition and grace, Howe and co. return with a reverie of hindsight as the past finally catches up to us on their new single, “Change the Framerate (Gloria)”, premiering here on the ugly hug.
Singing the praises of the jangly power pop connoisseurs and southern rock romantics alike, “Change the Framerate (Gloria)” wastes no time falling into a driving heap of sound, the instrumentation holding on tight to each beat as Howe and co. take off into a roots rock ripper. With sharply observed wording and a type of infliction that pushes towards a more conversational delivery, lines like “One day I’m gonna think of my life as a plant or a joke or a cinema screen,” rattle with both humor and slight unease, as Howe picks apart the very mundane that revolves around the fear of what our existence may become. The track finds its closing with a rushing melody, a sense of pop genius, as Vista House rejoices the bookends – “You’ll be turned into dust like the dust where you’re from / The Big Bull City ain’t so bad anymore”.
About the single, Howe shared in a statement, “Change the Framerate” meanders through the life of Gloria, running through memories of her time in the Bull City (Durham, NC) via hold picture books and DVDs.”
You can listen to “Change the Framerate (Gloria)” premiering here on the ugly hug!
“Change the Framerate (Gloria)” marks the second track shared from Vista House’s upcoming record, They’ll See Light, out November 22, following the single “A Seat Behind the Wing” released earlier this month. You can preorder the album here as well as a screen printed cassette made by Anything Bagel Records.
In a telling glimpse of both devastation and redefined beauty, Toronto-based artist ZINNIA, the pen name of Rachael Cardiello, shares “Always A Romantic”, the next single from her upcoming album, Dollar Store Disco, set to be released February 7, 2025. Described as a divorce rager, Cardiello searches for self-preservation and joy throughout the record, as “Always A Romantic” echoes within the hollow feelings of solitude and the comfort lead by newfound clarity.
Like the weight of heavy eyelids, “Always A Romantic” drifts into a soothing moment of stillness, blurring out the world as an absorbing piano fluctuates with intensity, animating only what we can feel around us. Although the instrument is isolated in this rather spacious track, the singular voice that it leads becomes the benchmark for retainment and release as Cardiello’s powerful vocal range explores the room. “I really thought I was a romantic / I really thought you were worth it,” she sings, reflecting on a once fulfilling relationship now broken and fading with a tender and soaring performance.
About the song, Cardiello shares, “‘Always A Romantic’ arrived years after the wreckage of my divorce from the quiet of a hard-fought-for stability. There is a stickiness in letting a new truth settle into your body when you believe another story to be true. There is an almost physical whiplash of coming to terms with, and integrating that change.”
“Always A Romantic” is accompanied by a music video, both filmed by and starring Oriah Wiersma. In a decaying house, flashing hints of a once connected appearance, what is left becomes a search for the stories now lost, only to live within the people that once called it home. “When Oriah and I talked through possible movement for this piece, I kept returning to the way Ginger Rogers used to bend back in Fred Astaire’s arms when they danced. How she was so terrifyingly open and malleable amidst the dips and twirls,” Cardiello shares about the video.
Watch the music video for “Always A Romantic” premiering here on the ugly hug.
Dollar Store Disco is set to be released February 7, 2025 via the Montana tape label Anything Bagel. Preorders of the record will be available this Friday, October 11.
The “flow state”, only reached when a racecar driver hits 180+ mph, feels like a momentary lapse in time, where all movement becomes one and control over the situation begins to feel effortless. Today, the ugly hug is premiering Violet Speedway, the debut record from Sacramento artist, Levi Minson, which is set to be released this Friday via Anything Bagel. Although not reaching the speed at which the engines rev and the heart is left in synchronous palpitations, Violet Speedway is a flash of grace, as Minson smoothly transitions in and out of stories of love, loss, fear and most of all, hope.
Oftentimes minimal, Violet Speedway confronts the open spaces with soft, yet hearty soundscapes. Recorded fully in a bedroom on a tascam four-track, these deceptively sparse, lo-fi songs live in this subtle density of Minson’s instrumental expressions of looping guitars, light synths and heavy drums that spackle in the cracks. Songs like ‘The Shadow’ and ‘I Can’t Say It At All’ play with persistence, as Minson’s somber melodies sit on top of the chunking of heavy guitars – attuned to that of the early catalog of Elliott Smith as he transitioned from the rock roots of Heatmiser. ‘The Gleam Is All I See’ is a rambunctious indie rock stinger that plays passenger to the melancholic feel of the lo-fi recordings at hand, yet the distorted undertones are still muddily layered and excitingly harsh at its core. The harmonies on ‘Colin Is’, featuring Taylor Vick, build and flow with such tender vigor that any hints of pain begin to blend with bits of satisfactory release.
This type of writing – reminiscing on momentary feelings and the duality at which they are experienced and then later remembered – so creatively opens up little worlds within each one of Minson’s songs. As the third generation of a dust bowl family, Minson’s writing articulates a rural life; the stories of time, place and being that stick out while fine details help hammer them down with sincerity and charm. ‘Anyone can do it/Sidekick’ begins with one of the most subtle moments on the record, letting each word hang in the air as staggered guitar strums reverb around them in a bare mini two-part epic. “My old man was a psychic / When he said I won’t need him / Cuz I’m your sidekick”, he sings with a stirring string of harmonies. ‘Did You Try’ plays through a stumble, falling into minor intonations as the guitar picks along, fixated on its pacing as it tries to grasp on to anything other then solitude. ‘I’ll go, you stay here’ marks Minson’s presence as he toys with distance. With the beautiful subtlety of synthetic strings – a restrained form of cinematic trust within the track – the song turns into a doomed romance as Violet Speedway reaches its most inflicting emotional height.
Minson sings of shortcomings as if he is one step ahead, reflecting while simultaneously looking at the path forward. “Do they look both ways yet? / I know all about regret”, he utters out, with no hesitancy, bringing the album to a close with the song, ‘Memory’. It’s not really a love song, and yet, it’s not really about heartbreak either, but a sincere glimpse at Minson’s heart and mind beginning to flow together.
Listen to Violet Speedway early below.
You can now pre-order a limited screen-printed tape of Violet Speedway from Anything Bagel at their bandcamp. Make sure to check out the rest of their excellent catalog!
Today, New Issue, the three-piece art-rock band from Anacortes, WA have shared a new single “Pottery”, along with an accompanying music video. Directed and shot by the band, you can watch the video for “Pottery” premiering here on the ugly hug.
A super group of sorts, members Nicholas Wilbur, Allyson Foster and Paul Frunzi have had a part in a handful of other PNW groups like Mount Eerie, Ever Ending Kicks, Hoop and the Stephen Steinbrink band over the years. Having released two LP’s and a handful of tapes under various names, (most notably under Hungry Cloud Darkening), the three piece have always been a source for growing creativity, blending their gentle manner with sweet rock n’ roll experiments into their own unique style.
Later this month, the band is returning with Diminished and Transmitting, their first full length album under the name New Issue. The name change is a relic in itself, as the band is constantly shapeshifting, finding method in expanding and collaboration as their tastes mold over time – each project marking a fresh approach to artistry and variety.
“Pottery” is spacious – breathing deeply within its short run time, as both Foster’s soft, hypnotic vocal phrasings and atmospheric synth tones build upon a feeling of loneliness and despondency. But living prominently in the song’s heart is a light bass melody and echoing drum beat that feels relatively conscious of the life within the track, making an effort to make its presence be heard and felt.
With the subtlety of camera work and a Twin Peaks-esque style of strobe lights, rabid use of slow motion and an eerie atmospheric setting, the music video for “Pottery” was shot late one night in the band’s “low-key-haunted” recording studio called the Unknown in Anacortes. As the band shares, “Nich and Allyson spotted the resident ghost between shots. Paul always misses it.”
In its stillness, as the camera pans over tattered paint tarps (borrowed from Anacortes/Whidbey Island artist and painter David Halland) and the harsh flickering blue glow of a TV screen, we finally land on Foster in a distant and brightly lit room, absentmindedly molding clay – unaware of who may be present in the room with her.
The single for “Pottery” will be released on all platforms this Friday, May 10 New Issue’s first full length album, Diminished and Transmitting will be out on Friday, May 17 off of Butte, Montana tape label, Anything Bagel.
Gentle in voice and strong in character, Montreal, Canada’s singer/songwriter, Pompey, has had an expansive career as a musician and songwriter. With a heartfelt and soft demonstration of candor, Pompey returns with the release of his latest full-length album, ionlyfitinyourarms. In the works for 2 to 3 years of exchanging the patience of writing for a therapeutic outlet, every bit of denial, pity, loathing, honesty, hope, and contemplation is laid out in its bareness. Through songwriting that is both confessional and outspoken, Pompey is there, giving voice to the dualistic devil/angel on each shoulder, to share his most genuine self in the midst of beautiful anti-folk songs.
Beginning the album hauntingly sparse and breathtakingly gentle, “please don’t forget about me” renders the tone for a complex and vivid album to follow. With additional vocal features from Shaina Hayes and partner and bandmate Thanya Iyer creates a tender collection of voices that battle the convolutions of loneliness. “And what if you have my voice in your ear? / If you can hear me and you can see me / Am I there,” Pompey sings in a sense of dissociation from what is present and whole.
This need to escape, to which is present throughout most of the record, is a concept that feels often exploited in art; straightforward to the most saturated angst. But where Pompey stands apart from other direct desires is their need for back and forth confessionals; a therapeutic give and take. Songs like “snug tug” and “body/belly” flips back and forth between wanting to run away from his body to moments where he sings “I wonder where I’d be without my body”. Filed down to self-forgiveness, these sparse sonic embodiments are dutiful to affliction, but enshrined in the understanding from our own relatable personal insecurities.
Most of the time, Pompey’s sense of self is unsteady. Without misconception, things such as a pair of pants, sewing projects, and losing your keys have developed into objects of defeat for him. The songs are simple, tactfully pulling apart the things that Pompey has spent years thinking define who he is. With the ability to be impactful and touching without hiding behind metaphors and colorful language, Pompey’s writing stands a testament to sincere internal dialogue, through criticism, doubt, vindication and all. “Do you stretch your shirt out / Before you put it on? / ‘Cause i do / I learned it from my mom,” is an uncluttered portrait on the song “snug tug”. Honest songs like “tall wall” and “i’m feeling see-through” that follow are striking with their bare bones expression and reluctant empathy towards himself.
Where Pompey’s writing thrives though is when he gives the insecurities a glimpse into comfortability. “i only fit in your arms”, the earnest title track, is a song dedicated to remembering what matters most. When fixated on internal blemishes, Pompey finds refuge in his partner’s arms; a place built around trust, warmth, affability, and most importantly, a perfect fit. With a melodic shift towards composure, “i only fit in your arms” stands in as infinite gratitude for those that love us the most. “mother’s day”, a shift in topic but emotionally fervent as any, is a love letter to the subtle teachings that mother’s leave behind. With respect to character, “Thanks to you / I’ve got thanks for you,” Pompey sings with the most gentle care.
ionlyfitinyourarms is one of the most raw pieces of art that you will hear this year. Going beyond the home recordings and demos, the rawness comes from the gentle approach to internal infatuations, whether glamorous or not. Heartfelt, somber, and blunt; yes. But ionlyfitinyourarms has an underlying sense of comfort that becomes most apparent after a full listen-through. What remains as the album comes to its end is a collection of songs that represent progress; something that is so vital to this type of writing for both the author and the listener. Separating our inner insecurities or dilemmas into physical representations not only solidifies distance, but offers a face to our own foe. Pompey’s therapeutic endeavors to separate rather than fester makes ionlyfitinyourarms a beautiful, sincere, and inspiriting self portrait to be hung up for years to come.
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