The second album by any successful artist can be a critical moment in their career. It’s made to show the impact of their previous work wasn’t a fluke, and that they’re still someone worth giving your time and attention to. This is easy to mess up, as the term “sophomore slump” still gets used when describing artists not being able to make a follow-up that builds on their previous acclaim. The new album by Luna Shadows, bathwater, thankfully doesn’t fall into known sophomore slump pitfalls and expands on Shadows’ previous music from 2021’s Digital Pacific. It expands on her goth alt-pop sound by incorporating more guitars and orchestral arrangements, but also shows a deeper, more personal look into Shadows than before. bathwater is a slow-burn album that rewards listeners with poetic and vulnerable lyrics and gorgeous melodies that split the difference between songs you can dance or cry to in equal measure.
Musically, the album isn’t a complete reinvention of Shadows’ previous work, as it uses Digital Pacific as a jumping-off point to new sounds and textures. The previous album’s hazy synthpop and use of drum machine rhythms found in hip-hop or R&B are still present, but they take more of a backseat. As someone who doesn’t listen to moody alternative pop records (i.e. Lorde, Lana del Rey, Billie Eilish, etc.), the sound took a bit of getting used to. I deeply appreciate that Luna Shadows remembers to keep her music rhythmic and interesting, unlike a lot of alt-pop that focuses too heavily on vibes. However, some songs are produced more in minimal accompaniment with a greater focus on Shadows’ vocals and a richly produced dense atmosphere. Still, the album sounds great and even goes into psychedelic, somewhat ethereal territory that almost reminds me of dream pop like Beach House or even Cocteau Twins.
Speaking of Shadows, her vocal performances here are as pristine as ever; being breathy and somewhat whispered at points, yet still dynamic enough to convey the raw sense of vulnerability she’s going for. Her voice is soothing and occasionally functions as an instrument themselves when set against the eerie and psychedelic soundscapes she sings in. Fitting with her namesake and the album cover, her voice and persona all have an otherworldly, mystical quality that makes her music even more intriguing. All the vocal harmonies sound wonderful, alternating between misty, heartbreaking, playful, and just all-around pretty whenever the song demands it.
In terms of individual songs, my favorites are the more up-tempo pop-friendly singles like “bleach” and “heroine” which both feature killer electric guitar and breezy vocal harmonies. Some of the slower songs are just as strong, like the heartbreaking “monroe” with its desperate sentiments, and “honeymoon” which features some beautiful finger-picked acoustic guitar. The indie stylings mostly come down to acoustic guitar being used as background texture, like on the more R&B-inspired “tourist” and the ballad “superstars”. However, there’s still time given to use guitar solos on songs like “stay mad” and “nudes” that are consistently excellent throughout the album. Experimenting with string instruments like on “witches’ brew” and the closer “apocalypse love song” complements the melancholy and moody tone that the tracks themselves provide.
bathwater may occasionally feel its length with a track list of 14 songs (including an intro) and can go into the same sonic territory of ambiance a bit too often, but each song has enough personal feeling to justify its place. Luna Shadows likely made this album as a way of transcribing her personal struggles and conflicts into art, such as many other artists, and she succeeds by pushing herself forward musically and emotionally. For only a sophomore album, it suggests more great work from her is still to come.
Comprised of vocalist/guitarist Matt Connelly and bassist Will O Connor, Wilmah aims to make listeners think while simultaneously creating grooves to make them move. Blending blunt introspection in their approach to songwriting with some humor and multi-genre fusion, the band’s alt-pop sound attempts to make sense of life’s intricacies while retaining some uplifting vibes. Using the opportunity from the pandemic in creating new music, Wilmah returns with a growth in their sound that fully represents themselves as individuals. In succession to the romance and nostalgia based “Television ” and politically charged “Welcome to America”, their new single “Wait Until Tomorrow” aims to reach the psyche and spirits of their audience.
The track immediately hits with a burst of upbeat mix of acoustic and electric guitar licks with the rhythmic punch of 80s new wave-esque drums. The production of this song can automatically get one to think it is a breezy feel-good anthem, while the lyrics seem to tell a different story. As heard in the passionate hook “If you’re gonna break my heart, can it just wait until tomorrow”, Wilmah makes a plea to push off negativity for the time being to revel in temporary happiness. The juxtaposition of the single’s sonic bubbliness with its therapeutic subject matter makes for an interesting anthem that can comfort listeners while not sugarcoating their true feelings.
“Wait Until Tomorrow” drops on November 19th and check out Wilmah’s preceding singles.
Nashville-based artist Sam Varga released his new single “Minute Man” on July 4th. Varga is an rock/alt-country artist and has one full-length album he released in 2024 titled Shadow Work. His music is a unique combination of the distinct sound of country with some clear alternative and emo influences. Some of his songs lean more acoustic and it’s just his voice and the guitar, and others have that more alt-pop sound.
“Minute Man” has a modern country sound, and is a relatively simple production. There are a few minutes where it’s just the guitar playing, which switches up the main beat of the song. But Varga’s style makes this song different from any other country song, as the alternative elements are just as present here. Sam Varga’s vocals feel much more in line with an alternative style than the traditional country singer. The vocals don’t have the high pitch that is often present in emo music, but the tone is much brighter than country usually is. The drums are also more reminiscent of the alternative genre, which manages to give this song a complex sound with the simple production.
The single is also political in a way that’s fitting for our current world, a distinction from Varga’s other work. Different cultural references are sprinkled throughout the song, which catches the listener’s attention. It’s less of a specific political message than it is an observation of just how broken our world and society is right now. The song also mostly references different ways that the world is ending or “broken,” like the threat of nuclear war and the polar ice caps melting.
But the main “story” of the song is about falling in love with this apocalyptic background. It’s an interesting contrast between this love and the very current threat of the world ending. The lyrics “two kids kissing under bleachers in the fallout” are immediately followed by “heard you say we’re gonna die young anyway.” It’s dark, but the takeaway isn’t totally depressing. The title comes into play here, as the lyrics “I just need a minute, man” end off the chorus. “Minute Man” is interested in how screwed up our current political world is, but it isn’t a totally nihilistic song.
The American alt-pop duo Cafuné, made up of musicians Noah Yoo and Sedona Schat, have released the single “e-Asphyxiation” off their upcoming album, Bite Reality. If you’re unaware of Cafuné, you may recognize their 3x Platinum song “Tek it” which went viral on Tiktok and was sampled in Lil Uzi Vert’s song “Red Moon.” With this online success, it’s unsurprising that Bite Reality finds the band questioning our current cultural moment where AI and social media encompass our lives.
“e-Asphyxiation” is an expression of how exhausting social media can be, especially once fame is factored in. The lyrics describe the frustrations of our modern generation, where you have to display a certain persona online all the time. It’s definitely relatable for anyone who’s spent a little too long hovering over the post button on Instagram. You can see this in the chorus of the song:
I’m tied down too tight, by all these Phone screen obligations, e-Asphyxiation I can’t close my eyes with all these Phone screen obligations, e-Asphyxiation
The music video’s focus is split, choosing to focus on both Noah Yoo and Sedona Schat performing the song simply, and hazier outlines of the musicians. The camera flashes back and forth between this more authentic performance and a foggy, distorted reality of Yoo and Schat. Cafuné’s music video is a reflection of this split persona that social media demands. And as the video comes to an end, we’ve lost the two musicians to that hazy reality.
If “e-Asphyxiation” is anything to go by, Bite Reality might signal a different sound for Cafuné. While the song still fits the band’s alt-pop genre, there’s something more raw from the production side. More drums, more guitar, more straight vocals. We’ll have to wait for the rest of the album to see if it follows this pattern, but based on the lead single alone, this grit might be here to stay.
Bite Reality releases via Soundon on September 12. If you want to see more of Cafuné, the band recently announced upcoming dates for their North American Tour Alive Online.
UPCOMING TOUR DATES September 19 – Washington, DC – The Atlantis* September 20 – Philadelphia, PA – The Fillmore – The Foundry* September 22 – Boston, MA – Brighton Music Hall* September 23 – Montréal, QC – Bar Le Ritz PDB* September 24 – Toronto, ON – The Great Hall* September 26 – Chicago, IL – Lincoln Hall* September 27 – Madison, WI – High Noon Saloon* September 30 – Denver, CO – Globe Hall* October 2 – Salt Lake City, UT – Urban Lounge* October 5 – Portland, OR – Mississippi Studios* October 6 – Seattle, WA – The Crocodile – Madame Lou’s* October 8 – San Francisco, CA – Bimbo’s 365 Club* October 10 – Los Angeles, CA – Teragram Ballroom* October 12 – Phoenix, AZ – The Rebel Lounge* October 14 – Dallas, TX – House of Blues Dallas – Cambridge Room* October 15 – Austin, TX – The Parish* October 17 – Atlanta, GA – The Masquerade – Hell* October 18 – Carrboro, NC – Cat’s Cradle – Backroom* October 22 – Brooklyn, NY – Music Hall of Williamsburg* *with support from crushed All tour dates here
In unfortunate timing, this is my *37th* article for this website. Just one off, huh? Anyway, indie-psychedelic band 36? have put out a new single titled “i don’t want to go out tonight”. This is the fourth single to come from the Calgary-based group this year, after “wasted”, “FEERS”, and “ART”; with their latest LP being 2022’s Naturally. Their sound is an eclectic mix of sources, with influences ranging from hazy alt-pop and art rock, and comparisons to bands like Animal Collective or even Bleachers. Many of their lyrics, from the band’s producer and songwriter Taylor Cochrane, deal with personal subjects awash in sincerity and emotional qualities.
“i don’t want to go out tonight” is more laid-back than their more recent singles, with an indie-folk sound led by Hawaiian-sounding acoustic guitar and a breezy beach atmosphere. It’s very sweet sounding with a heartfelt performance from Cochrane and cutesy backing vocal harmonies. It also features a wonderfully abrasive guitar solo characteristic of a lot of their work, though it still fits against a different musical backdrop. Lyrically, it’s a tribute to introversion and taking time for yourself even when it means avoiding energy-draining social activities. The lyrics and the music match perfectly, creating a vibe throughout the track that’s cozy and comforting. 36? have crafted a great summer single in “i don’t want to go out tonight”, a song that’s drenched with both positive energy and relaxation.
The band is currently on tour throughout North America, with more music still in the works.
Hold onto your headphones, music lovers! Alt-pop sensation Jagwar Twin has just unleashed a sonic rollercoaster ride with his latest single “tomorrow [ANGLE OF ETERNITY],” featuring longtime pals lovelytheband. Released July 12, 2024 via Big Loud Rock, this arena-ready banger will have you living for today and loving every second of it!
Fresh off his viral hit “Bad Feeling (Oompa Loompa)” (which racked up a mind-blowing 9 BILLION YouTube views!) and a European arena tour with Jared Leto and Thirty Seconds To Mars, Jagwar Twin is proving he’s the artist to watch in 2024.
This collaboration is pure pop magic! “tomorrow [ANGLE OF ETERNITY]” is a perfect blend of driving guitars, pulsing drums, and soaring melodies that’ll have you reaching for the stars. Jagwar Twin’s signature genre-bending sound collides with lovelytheband’s indie charm, creating an irresistible bop that’s impossible not to groove to.
But don’t let the catchy beats fool you – this track packs a lyrical punch! With lines like “We might not get tomorrow / Just close your eyes / Let it go,” Jagwar Twin delivers a feel-good message wrapped in an infectious melody. It’s the perfect soundtrack for embracing life’s wild ride and finding your own shine in the chaos.
“I’ve been friends with Mitchy for many years,” Jagwar Twin shares about collaborating with lovelytheband. “We grew up around the same music scene… It was such a pleasure to be able to do something together.”
The music video for “tomorrow [ANGLE OF ETERNITY]” is a mind-bending journey through AI-generated wonderlands. Created with next-gen studio Secret Level, it’s a technicolor trip that blurs the line between reality and digital dream. “Using AI to make art is fascinating to me,” Jagwar Twin says. “The imagination will be the only limit to what we can create.”
“tomorrow [ANGLE OF ETERNITY]” is more than a song – it’s a party, a pep talk, and a glimpse into the future of pop – all rolled into one addictive, upbeat little package. Ready to have your ears blessed and your mind blown? “tomorrow [ANGLE OF ETERNITY]” is now streaming everywhere, the trippy video is waiting to wow your visual senses on YouTube, and you can catch Jagwar Twin lighting up stages live with 30 Seconds To Mars on their upcoming U.S. tour dates – this is one rising star you’re not going to want to miss! Don’t miss this rising star as he continues to redefine pop and push the boundaries of music and visual art!
The leadup to alt-pop trio Valley’s new album Water The Flowers, Pray For a Garden has been thrilling, culminating in an international tour at the end of September that runs through mid-November. Their new track “Bass Player’s Brother” – to be included in the August 30th full-length release – is about a toxic relationship that can’t seem to find its end. The sound is everything you would hope for from a summer anthem, with words that cut a little deeper.
Valley approached the song in a vulnerable moment after being stranded in North Carolina. They built up the composition to sound as upbeat and fun as possible. This is reflected in the optimistic nature of the track, despite the song really being rooted in heartbreak. They returned to their roots and a carefree attitude in this song, which makes it come alive as a standalone from the upcoming album.
Explains the band:
‘Bass Player’s Brother’ is a song about cyclical love and obsession. In life we often find ourselves in realities that don’t suit our truth, yet we continue to drag ourselves back to the feeling of staying for love’s sake. It’s cyclical in nature yet rooted in heartache and hurt. It’s the back-and-forth outcome of these habits that cause us to stay when we know we should leave. This is the only song on the album where we didn’t reference real names. Sometimes we like to play characters in songs even though we’re always thinking about someone in our lives. We wanted to paint a picture of a classic Americana heartbreak love story.
Don’t forget to pre-save and pre-orderWater The Flowers, Pray For a Garden, out August 30th.
As Italian singer-songwriter Alice Bisi revs up for the release of her third LP, her new track “Hyperdrive” gives a taste of a new direction for the alt-pop artist. Though Bisi, or Birthh, is based in Brooklyn, her music sounds as though it originates from the fourth dimension, cleverly using synths and fast tempos to transport listeners through musical wormholes.
It’s hard to believe that the high-octane “Hyperdrive” started out as a slow ballad. When Birthh was having trouble perfecting the song to her liking, she enlisted the help of her trusted co-producer London O’Connor. After a year of tweaking in the studio, “Hyperdrive” morphed into an upbeat, euphoric depiction of Birthh’s inner world and dreams. The verses are poetic in nature, with such lyrics as “I’ll chase your face, to infinity and beyond” and “spinning round, galactic dancer”, as the speaker experiences a whirlwind romance with hopes of reciprocation from the beloved.
This track keeps the listener on its toes, constantly adding new layers and advancing the intergalactic journey through Birthh’s heart. After the verse, the chorus shifts into the titular “Hyperdrive” mode, with rhythmic variation, a denser musical texture, and an earworm of a melody. The synths, percussion, and high-pitched strings interact with the vocal samples in a bouncing vortex of musical interest. The closing portion introduces a slew of new aspects, with piano chords interrupted by vocal samples of other voices besides Birthh’s, as though it leads into another track. As of now, we can only speculate what might come next.
Birthh’s anticipated Moonlanded album is set to release on September 1 and is now available for preorder. Moonlanded is sure to be an epic ride, chronicling Birthh’s emotions around her birthplace in Italy all the way to her new home in Brooklyn. Meanwhile, stream “Hyperdrive” on all platforms and check out Birthh’s backlist of songs.
Can’t wait for Moonlanded? Give “Hyperdrive” a listen while you’re waiting!
Alt-pop entertainer Maude Latour is certainly making a name for herself in the industry. Her sold-out North American tour kicks off next month, a result of the popularity of her sound on streaming platforms. Latest track “Headphones” is no different. The song is a testament to her talent, letting her play with autotune around natural vocals that are no less than entrancing. Explains Latour of the track:
“Headphones” starts exactly after where the “Strangers Forever” EP left us — heartbroken and experiencing loss, but slowly finding strength, as we say goodbye to a person of our past. “Headphones” is an opening of a new world; it is the first ray of light as the storm begins to end. I was lying on a hardwood floor, realizing I was truly alone in my head, no more romantic partner to lean on, when I first heard a voice in my head. It was my own. I wanted to learn to love myself, I wanted to grow within. “Headphones” is that terrifying leap into our future, and into our deeper selves.
Latour released a video accompanying the new song. Latour gallivants around New York City in good spirits, driven by her own beautiful words and the track in her headphones. The idea that words or a song could set the tone for your day – or be the underlying soundtrack to your incredible life – is reason enough to get through the tough shit.
We understand the allure, and are excited to see what her live performance entails.
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