Last Friday, Brooklyn based labelHATETOQUITand the band Hiding Places teamed up to release a compilation titled Merciless Accelerating Rhythms: Artists United for a Free Palestine. All proceeds made from sales on Bandcamp and streaming royalties will be donated directly to Palestine Children’s Relief Fund (PCRF) and Palestine Legal.
The compilation features 55 contributions from artists across the U.S. and U.K., spanning genres from ambient electronic to jazz. Artists featured on the compilation include Mount Eerie, Little Wings, John Andrews & The Yawns, Magnolia Electric Company’s Jason Evans Groth, Mipso’ Libby Rodenbaugh, and more.
Cover art for the release was created by Rebecca Pempek, who has organized a print sale of the cover art and other pieces for release the same day on their site.
Based on anti-apartheid artist, leader and poet, June Jordan’s poem, “I Must Become A Menace to My Enemies,” dedicated by Jordan to Agostinho Neto, former President of The People’s Republic of Angola, the album’s title “Merciless Accelerating Rhythms” encapsulates a form of political organizing beyond “walking politely on the pavements,” and emphasizes “becom[ing] the action of [our] fate,” acting in a form of “retaliation.”
“I plan to blossom bloody on an afternoon
surrounded by my comrades singing
terrible revenge in merciless
accelerating
rhythms”
We as Artists United for a Free Palestine see retaliation as a diversity of tactics; as mutual aid; as solidarity with the people of Palestine; as direct action, if necessary; as an immediate end to the Israeli Occupation Force and a Free Palestine, forever; as a liberated world. Our duty as artists has – and always will be – radical acts of care; the least we can do is send aid to those facing/fighting genocide in Palestine, and those organizing access to lawyers and legal support for those who need it.
Aunt Ant is three-piece Asheville, NC post-rock brainchild of members Lauren Hewer, Sean German, and Jonah Ileana. Today they’ve released a new song called “8theist,” with an accompanying music video, which you can watch below.
I had the opportunity to conduct a Q&A with Lauren about the dynamic song and its meaning; one of many full, vulnerable tracks on the Aunt Ant live setlist (which you can watch here), “8theist” features everything from soft moments with sparse notes to explosions of noise and incredible overdriven tone.
Audrey Keelin: Lauren I am just so pumped to be writing about you for an on-the-record account of your freaking artistry! I have so many questions for you and I’m honored I can ask about it.
Lauren Hewer: Hi, Audrey ヽ( ´ ｖ｀ )ノ thanks for asking to do this! You’re awesome.
AK:Can you tell me about the birth of this song from the beginning until now?
LH: I forgot that I sent a demo of this song in for a compilation you made in 2021 until you reminded me, but I just listened to it and it’s wildly different from what I remembered! The song sounds a lot different now. The structure had already changed a lot by the time we started playing it with Jonah [our drummer] in 2022 and I think overall it has become heavier over time.
AK:What kind of song-making process do you enjoy the most/ what works best for you?
LH: I personally find the most exciting songwriting to be in moments where we have no expectation or parameters to create something. I think this is where the most honest and beautiful music comes from, but it can be a lengthy process to reel in that kind of energy to create a cohesive song structure.
AK:Why did you write “8theist”?
LH: 8theist was a poem I wrote a very long time ago. I don’t really remember writing it, but I think I was just reflecting on being a kid. It’s mostly about growing up in the South in an area with a large Baptist presence with English (and very atheist) parents.
Photo by Ezra Earnhardt
AK:How did taking a break from releasing music and playing a bunch of local shows in Asheville prepare you to release music again?
LH: This feels like our first real release because it’s the first song we have recorded since the three of us started playing together a couple years ago. We have some old demos on different sites but they’ve mostly been iPhone recordings of ideas we’ve had before we really started playing live music as a band. We took a little break from playing shows mostly so I could finish school, but I was also feeling very overwhelmed by the state of the world and didn’t know how to show up in a live performance setting. It always feels good to play our songs for the first time after a break because they feel a lot more fresh and exciting to us that way.
AK: Live performance is complex. How have you been relating to it recently? What have you learned about live performance within the past few shows you’ve played?
LH: Right now I think I have the most fun performing live when we are playing new material. It’s always nice being able to play in a space where we can be really loud and not worry about neighbors and it’s also really cool to be exposed to new music through playing shows!
AK: Why did you write the first song you ever wrote? What moved you to start writing songs and making music?
The first song I wrote was called “Beach Party” and I wrote it with my friend Melina because we wanted a really good and relatable kids song about beach parties and having fun at the beach. But now music helps me say things I don’t know how to say otherwise.
Photo by Ezra Earnhardt
AK:Tell me about the influences you drew from for this single. Why and how did you draw this influence from them?
LH: I think I was listening to a lot of Cursive at the time and they have this really harsh dissonant guitar tone that I love. Sean showed us this band called The Festival of Dead Deer around that time also that we all got really into. I’ve also always loved the band Tall Friend and how they write about childhood, so I’m sure that subconsciously had an influence on this song.
AK: Any local bands that have been inspiring you recently?
Run Over By a Horse + Studda Bubba have been inspiring me recently! Last summer we toured with Dish and have always been extremely inspired by them. We also love Tombstone Poetry and would highly recommend Pagan Rage, Nostalgianoid, Trust Blinks, Mary Metal, Convalescent, Basilica, Terrordome, Landon George, and ORRE when Audrey is in town. 🙂 There are so many!
Every Wednesday, the ugly hug shares a playlist personally curated by an artist/band that we have been enjoying. This week we have a collection of songs put together by Brooklyn-based artist, Mei Semones.
Early in April, Semones released her new EP, Kabutomushi off of Bayonet Records. In a sweet blend of genre-fusing, tender dynamics and vulnerable lyrics, Semones and her band have come into their fullest form yet. Reutilizing classic jazz forms in a modern indie-pop context, Semones continues to build on a career that feels unique in both style and performance, captivating and connecting a new kind of audience.
In spirit of Kabutomushi, Semones has curated a playlist for the ugly hug that touches upon some of her favorite songs that have stayed with her. Covering a large variety of styles, ranging from jazz standards, melancholy grunge hits and hip-hop underground currents, Semones has shared a piece of herself in this list.
Linnea Siggelkow, who performs under the dream-pop project Ellis, independently released her sophomore record no place that feels like last week. The Hamilton, Ontario based artist is no stranger to movement, having shifted and reallocated all over Canada as she was growing up. Ellis, as a creative project, has become a way for Siggelkow to work in configuration with her innermost thoughts of existence and belonging, something that has become overbearing the past few years. Within this new collection of songs, told through booming alternative displays, lasting pop hooks and deliberate patience, Siggelkow gives the floor to her most intrusive thoughts as she tries to answer what it means to belong.
Whether the songs are rooted in their patience and subtlety or strung out by souring melodies and brooding distortion, no place that feels like takes despondency in hand, finding beauty in the sanctuary that Siggelkow has built herself. Songs like “obliterate me” and “it’ll be alright” feel more in place on a sunny car ride to nowhere rather than in a place of desolate wallowing, regardless of how sobering her lyrics may be. The leading single, “forever” feels free of any debt that the word’s very real meaning can carry. “Now forever is passing me by”, she sings, relishing in the release of permeance through heavy guitars and an airy reprieve of spirit. Songs like “taurine” flow within a liberating shoegaze-esque style while “what i know now” is a bouncy folk lament, as the chorus loosens up, singing “and it was too good to be true”.
Photo by Stephanie Montani
The beauty of no place that feels like is most notable when answers are not rushed, rather endured through a patient and cathartic dive into what it is that is holding Siggelkow down. In that sense, some of the most moving and impactful moments on the LP come from a delivery that understands why this waiting room exists. The opener, “blizzard” is a story split into several different scenes, holding onto cinematic subtlety in its pauses as she walks from verse to verse with deliberate contemplation. “Emptied out on the balcony/A distant hum in the quiet street”, opens “balcony hymn”, a growing song of second guessing, marking space in time and story where Siggelkow has room to listen to her own worries. The standout track, “home” perfectly sums up the theme of belonging, most notably when Siggelkow sings “no place that feels like”, purposely withholding the title word, replacing its absence with an outro that erupts into a warm and cathartic release.
For an album that relies on tension, confusion and doubt to drive the theme, there is an unmistakable sense of relief that we walk away with after listening to no place that feels like. Ellis has always been able to make oblivion feel approachable – where it begins to feel less like a burden, but rather an opportunity for repurpose, growth and understanding. Although frank in her delivery, giving a voice to dark personal struggles, Siggelkow’s soaring melodies, blooming walls of sound and new explorations fill the album with compassion and patience, until no place that feels like is a home in and of itself.
Every Friday, a staff member at the ugly hug curates a list of their five favorite new(ish) releases to share with us all. This week, our writer and photographer Kat put together a list of swooning tin-can laments, indie-folk gems and coarse pensive rockers.
Will Roesner – “Ant”
Will Roesner, based out of New Orleans, LA has been gifting us with singles consistently throughout the year and I always get a dopamine rush when I hear one of his new releases. “Ant” is one of my favorites from the last batch of releases. I’m a sucker for a slow, sad burn and Roesner delivers just that. With a lo-fi guitar, a little twang, layered vocals, and cutting lyrics it checks all the boxes. Every time I listen I imagine the meme of a sad little ant with a sack over its shoulder (if you know you know), so bonus points for that. If you’re into the worlds of Elliot Smith, Alex G, and Greg Mendez, Will Roesner will be a perfect addition. Check out his last albums Farms and Stuff and Spirit, Hello for more lo-fi indie/folk goodness.
meg elsier – “forlyleinsanfrancisco“
Nothing catches my attention quite like an angsty alt-pop song. Thanks to meg elsier my emo alter ego is nurtured. I became a devoted listener with the discovery of last fall’s single “ifshitfuq”. elsier has not failed to impress, putting out one reliable track after another, perfect for singing along to in the car. “forlyleinsanfrancisco” features a driving electric guitar and a nice slow build that results in a noisy and ever-satisfying resolve. Her full-length album spittake, to be released this summer, will undoubtedly be an authentic and vibrant collection of tunes to follow.
True Green – “Buzzerbeater”
“Buzzerbeater” off of Dan Hornsby’s debut album My Lost Decade has been on heavy rotation for the last few months. Hornsby, who is also an author (Sucker, Via Negativa) brilliantly crafts songs through idiosyncratic narratives and character depictions that never fail to engage and beguile. My attachment to “Buzzerbeater” likely stems from my affinity for mathy fingerpicking, an egg shaker, and lyrics that evoke a reflective and nostalgic mood. I recommend enjoying the album in its entirety on a sunny walk in a park to compliment My Lost Decade’s breezy warmth. Fans of Slaughter Beach, Dog, and Trace Mountains might be particularly drawn to this one.
Bloomsday – “Dollar Slice”
Brooklyn-based artist, Bloomsday, has steadily become one of my holy grail artists alongside other East Coast talents in similar taste like Babehoven, Sadurn, and Sister.. Bloomsday always offers crisp, deeply satisfying, tender reflections on the human experience. One of three of their latest singles, “Dollar Slice” has been a welcomed companion to the blossoms of spring. “Dollar Slice”pulls out all the stops with layered vocals of my dreams, perfect touches of twang, and subtle percussive adornments. You’ll likely leave the song with a softened sense of self and a more regulated nervous system. Keep your eyes out for the album release of Heart of the Artichoke off Bayonet Records on June 7th, just in time to complement the soundtrack of your summer.
Sour Widows – “Cherish”
Sour Widows, the trio from the Bay Area, is my go to band for all my alt rock needs; dark guitar tones, slow builds, and pensive contemplations on life. Sour Widows are masters of duality, always simultaneously portraying the tenderness and harshness of life. “Cherish” achieves so much in the matter of 5 minutes. The song slowly builds and eventually crashes into the chorus’ tender harmonic plea, “I wanna be cherished by you, not feared by you”. The song’s clashing resolution provides the catharsis of a good car scream. I love to listen to Sour Widows alongside other melancholic alt-rock bands like Title Fight and Crisman. Don’t miss the release of their first full length album Revival of a Friend, out on June 28 via Exploding In Sound.
Every Wednesday, the ugly hug shares a playlist personally curated by an artist/band that we have been enjoying. This week we have a collection of songs put together by Nick Sullivan of the Brooklyn/Boston band, Joyer.
With the release of their new record Night Songs out this Friday, Joyer has spent a lot of time on the road. Just finishing up a leg of touring on the West Coast and a week at sxsw – while also preparing for a handful of album release shows in the next few weeks – the band has seen a lot of the country together.
In honor of the time spent in route, Nick curated a playlist of songs derived from their van’s growing CD collection. With a mix of celebrated rockers, charming deep cuts and demos, even some songs from their contemporary companions, this playlist is a reminiscence bump for a time filled with variety, uncertainty and comradery for a band doing what they love.
Every Friday, a staff member at the ugly hug curates a list of their five favorite new(ish) releases to share with us all. This week, our writer, photographer and “whine” snob, Manon Bushong, shares a list of heavy hitters and sweaty basement cathartics.
Forest – “Always Forever”
This song has been haunting me in the best possible way since the first time I heard it, and I urge anyone who also harbors a soft spot for a good scream to give it a listen. Forest’s frigid voice paired with compelling percussion and, of course, a series of sporadic shrieking in the latter half cements “Always Forever” as a must listen for anyone partial to the brusque nature of Babes in Toyland or eerie vocals of bands like julie and Double Virgo.
Interlay – “Lure”
Although Alexandria Ortgiesen could sing the Liberty Mutual jingle and I would without a doubt have it on repeat, I believe Interlay’s latest single is one of their best yet. The Chicago-based band has been a favorite of mine since the moment I heard Cicada; a powerhouse EP teeming with abrasive post-punk sounds and welcoming motifs of death and decay. With the release of “Lure”, Interlay reminds us not to put them in a box. The softness of Ortigiesen’s vocals, absence of the overbearing guitar of Cicada, and the song’s general melancholic nature pitches the band well into shoegaze territory. “Lure” evokes a resemblance to legends of the genre like Lush and Blonde Redhead without abandoning Interlay’s signature harrowing grunge feel.
MX LONELY – “Papercuts”
“Papercuts” is my favorite off of MX LONELY’s “SPIT”, an EP analogous to Wednesday’s “Rat Saw God” if you swapped the Asheville ethos and twang for heavy-gaze and Brooklyn grit. The lyrics recall a disturbing dream about killing a friend to end their paper-cut induced suffering, a morbid concept intensified by heavy guitar riffs and increasingly distressed vocals. Bonus points for a sinister 90s-esque music video.
Shitkid – “Dirty Guy”
Though Åsa Söderqvist technically retired from her solo project ShitKid in 2021, she recently spoiled us all with the release of an alternate studio version of her debut LP “Fish” (appropriately titled “Rejected Fish”). “Dirty Guy” is a previously withheld track that explores the innate desire and internal battle attached to pining after a person who’s bad for you. My favorite quality of ShitKid’s work that feels especially present in “Dirty Guy” is her ability to hone the perfect whiny vocal. An allegiance to the discographies of Bratmobile, Emily’s Sassy Lime, and Heavens to Betsy have made me a “whine” snob, but I can attest that ShitKid has mastered this eclectic craft in a way that’s both raw and euphonious.
Kim Gordon – “I’m A Man”
Though I applaud the entirety of Gordon’s new solo album, “I’m A Man” is the chilling lo-fi track of my dreams. Gordon is no stranger to critiquing masculinity, yet she is perpetually up to date in terms of content, delivery and sound. “I’m A Man” is a hysterical commentary on the way male toxicity manifests today, referencing painted nails and skirts as a means of absolving blame and singing from the perspective of a character who wants us all to know it’s NOT his fault he was born a man. Though it’s undoubtedly divergent from her prior work, the Sonic Youth co-founder’s distinctive droning vocal style layered over trap beats on this song could have easily catapulted Gordon into a career of SoundCloud virality or Brooklyn DJ niche fame.
Splattering hot oil from the fryer; burning and boiling, New Orleans based project, STEEF, have self released two new singles today, “Frozen in Place” and “That’s How I Feel”. Founded and fronted by Stevie Spring, these songs are acting one-offs for more STEEF material to come, as they shift their sound towards apocalypse energy, proving time and time again that if you can’t handle the heat, then get out of the kitchen – before it comes to life and destroys you.
During the pandemic, Spring had an urge to make the “perfect” pop record. But the word “perfect”, bearing weight in its undertones, became an obsessive; hyper fixated on critiques and changes to the point where music wasn’t fun for him anymore. Trashing it all and starting over lead to 2022’s, Post F, a sonically offbeat, stress free and notably fun record that brought out a new urge – to trust the gut. Spring knew that somehow, somewhere in the acidic lining of his stomach were beautiful characters of freaky sounds, stringy apple-peeled pop hooks and a love of creating again that brought out all of the things that STEEF could be.
These two new songs lead with cynicism, playing into cyclical patterns and harmful noises that we are often exposed to in the modern world. “Frozen in Place”, introduced by a bass line stuck in commute with a poised click track, feels stuck as the edge of impending doom begins to speed towards us. “I perceive it all burning down”, Spring repeats, almost in a plea before the song is smothered and consumed by the same click track – power hungry in its own ability to control time.
“That’s how I Feel” is the embodiment of the voice that lives in Spring’s head, echoing internal dialogs, faults, and intrusive thoughts around the walls of his cranium. With a blend of hyper electronics and a tight Minutemen-esque rhythm section, “That’s How I Feel” is stiff, yet potently lethargic as Spring uses his most fatal flaws in the name of persistent betterment.
STEEF is announcing a limited edition run of 30 tapes by Kiln Recordings in New Orleans upon this release. You can stream “That’s How I Feel” and “Frozen in Place” on all platforms.
Every Wednesday, the ugly hug shares a playlist personally curated by an artist/band that we have been enjoying. This week we have a collection of songs put together by the Brooklyn based singer-songwriter, Leah Rando.
Recorded up in the Catskills, Leah Rando’s latest EP, at least sometimes, feels enveloped in an intimate isolation – yet, its warm being freely moves on its own within the record’s instinctive patience and ravishing stillness. Written and played in chronological order, at least sometimes displays Rando in terms of vulnerability, pain, and eventually healing, as she searches for ways to define and grow within her own spaces.
Today on the ugly hug, Leah Rando offers a collection of songs that feel utterly absorbing; redefining the sounds, feelings and beings that we can take inspiration from in our own daily spaces.
Every Friday, a staff member at the ugly hug curates a list of their five favorite new(ish) releases to share with us all. Starting us off is our co-editor and graphic designer, Audrey Keelin and this variety filled list.
Blue Ranger – Close Your Eyes
This entire record has me delighted, but the last song on the album, “Stoned Reply,” blew me away. With the anthemic qualities of an indie heater but sitting at eight minutes and 30 seconds, Blue Ranger establishes their place in contemporaries like Fust, Sluice, and Hovvdy. If you like any of these artists you’ll be sure to lose yourself in the slow-burn artistry of a constant rise like “Stoned Reply.”
mary in the junkyard – “marble arch”
The whimsical mary in the junkyard, another incredible act to make its way up and out through south London’s iconic Windmill Brixton scene, delivers magnetic, whispery vocals, stank-face percussion, and punctuated melismas. With a fascinating set of music videos, mary in the junkyard have been consistently providing a mysterious, fascinating image for listeners, releasing small bits of music leaving us begging for a full album. Listen if you like Fiona Apple melodies, post-rock rhythm, and the lyrical visceral imagery of bands like Black Country, New Road.
The Last Whole Earth Catalog – “Have You Ever?”
Dan of LWEC blesses us with yet another act of prolific music making with his new song, “Have You Ever?”. Since catching a LWEC set in North London in 2021, I’ve been sitting on the edge of my seat, with awe at Dan’s constant craft and flowing, stream-of-consciousness creativity. His act of rhythmic surprise, his tendency to layer vocals like a sweet sandwich, and his mastery of warm, almost visual, acoustics create a dynamic scene unlike anything else I’ve ever heard. Please listen for a journey of surprise and sincere genre-defying magic that somehow manages to resolve quite comfortably.
Ugly (UK) – “Icy Windy Sky”
Ugly has consistently made me feel validated in the face of the beauty of grief. This new tune, “Icy Windy Sky,” carries the energy of a bossa standard I’d hear at a weekly dive-bar jazz jam but manages to compile influence from traditional English folk, ultimately carrying the familiarity of a song I thought I always had the chance to listen to but never knew I needed. Listen if you like the Dirty Projectors, Fairport Convention, dissonant harmonies, beautiful cover art, and a driving bassist.
Masakatsu Takagi – “Marginalia #151”
I’ve recently become really obsessed with new releases from Masakatsu Takagi, namely works from his “Marginalia” series. Known for writing scores, namely making music for the Studio Ghibli documentary The Kingdom of Dreams and Madness (2013), Takagi’s music instantly makes your life into an animated film, slows down your heart rate, and adds romantic vibrancy to the world around you.
the ugly hug 