Los Angeles-based indie pop duo (and real life couple) KiSMiT – Carly Barnette and Basti Reunert – has been blowing minds with their latest release, a 70s-inspired track titled “Cosmic Love”. So you know “we struck gold” with the music video for the track, which also plays off the nostalgic nature of the song. Carly and Basti spend the majority of the video making eyes at each other, frolicking in the desert in vintage-inspired outfits, layered in with shots of the two playing the song as if on a variety show. But whether they’re covered in glitter and seemingly glowing, transposed over images of the universe, or dancing around outside, these two are encouraging positive, fun, adventurous love with this video.
We were in such a good mood after watching the video that we decided to ask the duo a couple of questions about it all. So check out the video below, and then learn more about your new favorite power couple!
What is the first song or album you ever remember hearing, and who introduced it to you?
Carly: Definitely Jewel’s ‘Pieces of You’ – I knew all the words at 5 years old. My mom (going through a divorce at the time – shocker there!) had it on repeat in the car growing up. Something about her raw emotions just touched my little baby soul – #everydayangel (her super fan hashtag in case you didn’t know) ’til I croak. The album followed me throughout my life – first concert, first one I played at the piano – I look forward to the day I can look her in the eyes and thank her for her imprint on my life.
Baz: First album or song ever is a tough one to remember. The first song that I remember really catching me is ‘Hotel California’. It is a saga of a song not to mention the EPICALLY MELODIC GUITAR SOLOS!! My great uncle Freddy showed it to me on our drive from Palmdale to Santa Barbara, which, at 8 years old, was an epic journey of its own.
Your new video for “Cosmic Love” is so fun, and it has such a beautiful warmth to it! Where did the concept come from, and what was filming like?
Carly: Thank you! We had so much damn fun making it – I’m thrilled that that comes through. It’s our first music video so it was a labor of love from start to finish. I’ve always dreamed of doing a music video and to have been able to make it happen with some of my favorite people was just beyond magical. I had the idea for the lyric “we wax and we wane – I just want more of the same” and thought of us sleeping – how we might start spooning but then roll over onto our backs or snuggle the other way and it fascinated me from a birds eye view that it mirrors the moon cycle.
As “Cosmic Love” came to life musically that idea always lingered at the back of my mind. All of the music video brainstorming happened with Alex Cantatore (www.quickactcasual.com), our director / dear friend / upstairs neighbor at the time. We would lounge around in our apartments or chill out in the backyard and shoot ideas across at one another. Nothing was too big or crazy or extravagant and that was exhilarating!
Baz: Having alien-planet-looking parts of California (Mono Lake, Red Rock Canyon, Death Valley) as such a blessing for our outer space ambitions on a shoe-string budget.
Carly: Two worlds started to form: Our “SuperStar-Selves” (the best parts of our love: sexy, confident, fabulous); & Pleasant-ville meets desert – Desertville (the day-to-day, mundane and less flattering but very real flip side to a loving relationship). This first music video presented an opportunity to share another side of us. We wanted to be as honest as possible with the partnership we are putting on display – it’s magic and muddy all wrapped up into a a beautiful mess.
What inspired the track itself, if we might ask?
Baz: Sonically, it comes about from a mixture of sounds inspired by Allen Stone’s Freedom (Alternate Version), Andra Day’s Mistakes and Daft Punk’s Get Lucky. (Pharrell, if you’re reading this, you better not come after our money! We didn’t steal your song!) Lyrically, ‘Cosmic Love’ is derived from us wanting to remember that the day-to-day of loving and working together has many twists and turns, warm and cold moments and all of it is part of the ride.
Carly: We wanted to make something that was bursting with love and vitality from the first beat, that, most importantly, made me move. If my booty is shaking, there’s definitely a smile on my face and that was important with this new direction of our music.
How do you imagine people listening to this track? (In an armchair, surrounded by flowers in a meadow? In an airplane with cotton candy clouds? Sitting at a BBQ? You can get creative here if you want!)
Baz: I picture people who are on the move listening to the song: in their car, getting ready to go out, exercising.
Carly: Such a fun question – I hope people are listening to it while they are making dinner – bottle of wine open, dancing in the kitchen -that sort of vibe. Also, before you’re going out – a social, pump-up vibe would make me reaaaaally excited. I know my grammy listens to it on repeat while she drives – so in the car for sure (#sola) okay okay subway too!!!
Any pet peeves or interesting stories you’d like to shed light on about each other? (We want all your secrets!)
Carly: Oh DANG – first time we’ve been asked to spill the dirt! After 5 years of living and loving together, I think I can divulge just one…. homeboy sleeps with earplugs (such sensitive angel earbuds) and when I wake up in the morning, they are always near me, around me, on me, without fail like stickers on my body – really haven’t vented about this, thanks for letting me get it out. Baz, you’ve got to work on that situation. But, if that’s the top of the list of annoyances, I would say,”Hell yeah! I’m a lucky gal.” Interesting story about Baz, that his modest South African self would never share and one that continually blows my mind, is that he picked up the guitar with serious interest and investment at 16. Like whaaaaaaat!?! I am so inspired by his dedication to his passion. He is always down in the studio in soft pants slapping da bass or producing or findling on the guitar and that is something I admire so much!
Baz: Well, I’m beaten for age by Carly’s flawless performance as Annie, with a 101 degree fever, at age 9. Her gran sent us the DVD of the performance and the sparkle has always been there. (Car, while you are sleeping tonight I will be sure to rest the earbuds on your eyelids.)
What’s your opinion on the modern music industry?
Baz: It is constantly evolving, especially how people are digesting music. The ability that everyone has to get their music heard and to find their audience is unprecedented. The niche markets are able support more indie artists than ever before. The major challenge is, of course, in that music streaming has greatly halted the flow of money to the artists, but when there is change in the weather, you best adapt and get on with it, the world isn’t going to stop for you. Again I’ll say, the major pro of the modern day music industry is how easy it is to connect with people of similar taste around the world.
Carly: Yeah, I will second the positive wind in our sails. It’s daunting to be investing in a career where the return isn’t guaranteed. So much of the conversation is the same “no money in music”, which I understand that that’s the truth but my mom started her own business when she was pregnant with me (talk about inspiration) and has always preached that when you are doing what you are meant to be doing, support always comes, I really believe that. I think in a lot of way it’s a super empowering time to be in this industry – no more waiting around for someone to find you or holding your breath for luck. Do the work, get your music & content as proud of it as you possibly can be, get it out there and what is meant to be will be.
However black & white as the social media “highlights reel” may seem sometimes – I think we are also getting to a point where if you are fake, it comes through. As an artist, there’s no hiding behind an image because daily you are sharing what you ate for breakfast, how you feel, who and what you support. It’s overwhelming and I need to unplug on the regular but I don’t think we even know what we are living through yet!
On an emotional level – our country, world, humankind is hurting right now, every day we put on our armor to the outside world that feels like it’s falling apart and to be contributing music as a soundtrack through these scary times, is something I am so grateful for.
Anything else you’d like to add?
We have a new single ‘Panther’ coming out later this month – the second release off of our upcoming EP coming out next February as well as an upcoming show at Harvard & Stone in Los Angeles on November 21st at 10pm. Thanks so much for taking the time & interest to share our story!
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Keep your eyes peeled for “Panther” and updates on KiSMiT here.
Detroit’s rock scene is getting set ablaze! We Are Scorpio, the fierce duo of Jessica Care moore and Steffanie Christi’an, have dropped their latest single “Scorpio” like a meteor crashing into the music world. This song is a battle cry for diversity in rock and a poetic punch to the gut of the status quo.
“We are the storm, the fury in your eyes,” howls the chorus, and believe us, this is no empty threat. We Are Scorpio comes armed with searing guitars, thunderous rhythms, and lyrics sharp enough to cut through the noise of a thousand pretenders. The track pulsates with the duality of its namesake sign – at once fierce and magnetic, confrontational and alluring.
Forget your typical rock fare. We Are Scorpio serves up a potent cocktail of spoken word and hard-hitting riffs that’ll leave you dizzy. “This is no place for ordinary,” they declare, daring listeners to step out of their comfort zones. From family dinner rebellions to cosmic contemplations, “Scorpio” weaves the personal and universal into a tapestry of empowerment.
Make no mistake – this is more than music. It’s a revolution. Jessica Care moore, Steffanie Christi’an, and featured artist Militia Vox are here to remind us that Black women aren’t just part of rock’s history – they are its future. Their collaboration isn’t just fresh; it’s necessary, proving that rock thrives when it embraces diverse voices and experiences.
Mark your calendars, rock fans. Their self-titled album, co-produced by none other than Talib Kweli, crashes onto the scene on August 16 via Javotti Media. Want a taste of the venom live? Catch We Are Scorpio at the Black Bottom Live Music Series (August 7) and the 20 Years of Black Women Rock! celebration at The Fillmore (August 31).
Don’t just stand there – dive into the storm! Stream “Scorpio” now on all major platforms and pre-order the album that’s set to redefine rock. We Are Scorpio isn’t just making music; they’re crafting an experience. Miss this, and you’re missing history in the making. Are you ready to embrace the sting?
If you have not witnessed the glory that is Thunderpussy – live or otherwise – it’s time to wake up. We had a chance to glimpse their live performance tactics at this year’s Sasquatch Music Festival, and we were absolutely blown away as they upstaged the other performances going on around them. Seattle-based, this all-female band – expertly comprised of Molly Sides (Vocals), Whitney Petty (Guitar), Leah Julius (Bass), and Ruby Dunphy (Drums) – is taking their chops to the road, giving North America a taste of their high energy, brilliantly colored stage presence and gorgeous rock music. We’re about to join the party at Riot Room on Tuesday night, and we got the unique experience of asking guitar extraordinaire Whitney Petty some questions leading up to the tour. Check out the brief moment we got, as she explained finding her musical soulmate and creating tantalizing melodies.
Let’s get back to the basics. What was the first song or album you ever remember listening to, and do you think it has any impact on who you are as a performer today?
When I was 12 I bought my first Aerosmith CD, Nine Lives, it had just come out. I still know every word and nuance of each song on that record. I am still totally in love with Steven Tyler. Aerosmith are a huge influence on me.
While you’re busy “piercing the walls of Valhalla”, does anything about your conception story strike you as amazing? Was it a meet cute? Tell us about your beginnings!
Well, meeting Molly was an incredible event in my life. It’s a singular feeling when you meet your soulmate. And like I said, I love Aerosmith. I had always hoped that one day I meet my musical accomplice, like the Steven to my Joe. That’s Molly.
What is the recording process like?
It depends on the song, but there is usually always a melody first. Sometimes that melody is on the guitar, and sometimes it is with a lyric. Each song kind of has its own DNA.
You put out your s/t EP in May, and it’s absolutely captivating. Any personal or behind the scenes anecdotes from the recording process you’d like to share?
Working with Sylvia was a dream. Everyone learned so much about the process from her everyday. We should have had a film crew with us in the ‘Real World Ashland house’, as we called it. One of the highlights was recording Young and Pure very live and very stoned (as per Sylvia’s request) in the dark at the very end of the session. There is some magic on that track!
Anyone have a favorite song off of that EP, or something you prefer to perform?
There isn’t any song on there that we don’t like to perform, but some are more lively than others! Velvet Noose is always thrilling, and we all love to play Torpedo. With three distinct parts it’s always a journey…
We got the unique pleasure of witnessing you perform at Sasquatch earlier this year. How does festival life compare to your regular touring life? Is there something you prefer or dislike more?
CATERING. Is what’s up. Festivals are rad!! We love getting to meet artists and see big shows up close and personal.
And. Your OUTFITS. Are you always that bedazzled? What inspired that choice for Sasquatch? (We are in love.)
Yes!!! We love the glam;) Shout out to Pakio Galore out of Seattle, who makes a lot of our costumes. Molly is very instrumental in the vision of how we present ourselves onstage. And who doesn’t love a good color theme?!
When you need time to regroup – to conquer writer’s block or find your new sound or take a minute – where do you go? What’s your safe haven?
Molly and I love nature. We go to the mountains fairly often, in Idaho. And I love Kauai, when I can get there. But there is no place like our native Seattle!!!
Any fun pre-performance rituals?
Drink the blood of virgins, sacrifice a goat, that kind of thing…
Your rider list is probably pretty modest compared to, say, J.Lo. But if you could have anything on your rider list, what would you do?
Kittens and puppies in the green room, obv.
Something a little off-kilter… Do you believe in intuition and. the power of psychics? Why or why not?
Of course. I believe in the collective unconscious and synchronicity. I believe in Karma. I think there is a subtlety to life and events that many people perceive and many miss.
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Don’t forget to head out to Riot Room on the 16th to enjoy the magic of Thunderpussy’s live performance, and keep up with them here.
For those weary of pop’s increasingly homogenized soundscapes, the Indianapolis duo LITTRELL emerges as a refreshing antidote. Their latest single, “Dirty,” doesn’t just defy genres—it blends them seamlessly, creating a uniquely turbulent and immersive sonic experience.
“Dirty” combines a haunting atmosphere with intense energy, placing LITTRELL among forward-thinking acts like Massive Attack, Portishead, and BANKS. Lindsay Littrell’s vocal performance walks a tightrope between urgency and haunting restraint, perfectly anchored by Garrett Langebartels’ masterful production.
At its core, “Dirty” explores the inherent messiness of intimacy, rejecting idealized notions of love in favor of raw, complex emotions, in spite of their messiness. The song’s thematic complexity is mirrored in its sound, showcasing LITTRELL’s ability to craft a sound that’s both beautiful and haunting.
LITTRELL’s lyrics delve into the discomfort of shallow relationships. The opening lines, “I don’t wanna be your respite from reality / When you go you leave the ashes of your fantasies,” set the stage for a song that craves genuine connections over escapism. The chorus, “They don’t keep me warm / They just pile up on the floor / And leave me feelin’ dirty,” highlights the emptiness left by temporary comforts.
“Dirty” demands active engagement from its listeners, encouraging them to dive deep into its disquieting themes. LITTRELL understands that true catharsis comes from confronting the messiness head-on and finding transformation on the other side.
“Dirty” is one of 2024’s most compelling releases, challenging the polished, PR-driven mainstream with its bold, unfiltered approach. This track serves as a reminder that impactful art leaves a mark and invites listeners to explore deeper emotions.
LITTRELL has crafted a sound that is both beautiful and moody, with dark electronic elements. With lyrics and songwriting that cut through surface-level platitudes to grapple with deeper existential questions around sincerity, truth, and meaning, Lindsay Littrell and Garrett Langebartels have tapped into something truly unique as songwriters and producers. “Dirty” is a captivating single for fans of alternative and electronic music who appreciate lyrical depth and emotional resonance. Dive into the world of LITTRELL and let “Dirty” envelop you in its raw, emotional embrace.
Is there a better way to describe the type of genre-bending, nostalgia-brimming sonic experience Texas-based pop duo Tele Novella delivers than to call it, simply, “whimsical?” This can be said for the entirety of their first full-length release, a ten-track piece titled Merlynn Belle. Sure, the very pointed pop, folk, and psychedelic influences leap quite fluidly from one to the other, but there is a type of theatrical quality to their delivery that makes even spooky nuances in their tracks feel positive and hopeful.
Except “Crystal Witch.” That is still very intense and largely dark. But, if you choose to enjoy the short 3 minutes and 9 seconds this track takes up, you’ll still feel that theatrical positivity by the end. (Don’t ask. We don’t make the rules.)
It’s no surprise that the duo’s sound is so reminiscent of past beauty, either. The premise of their art is that it comes from a town – Lockhart, Texas, specifically – that is “a small town, lost in time.” Lyrics like “Send me a postcard when you get to” (Words That Stay), “I’ve got her bonnet and her gloves” (One Little Pearl), and “In my Technicolor Town” (Technicolor Town) reaffirm the fact that the music is to have come from that time, and is not just heavily influenced by that trend. However, the duo has done a stand-up job at making sure the majority of the lyrics translate and are not tied to one timeframe or one particular circumstance.
One overarching theme to this album is that it is there to paint a picture. Where the lyrics wouldn’t indicate context in some ways, the bassline and cadence paint their own pictures. This is truly an audio adventure, meant to be enjoyed in order, from beginning to end.
At just 32 minutes long, we have faith you can set aside some time for this energetic and truly phenomenal release in its entirety.
Allow us to shed a little light on the subject: today, The Lampshades are dropping their brand new single, “Astrology II”, which appears on their upcoming LP, Astrology. The Pittsburgh-based trio is made up of lead vocalist Jaren Love (who also plays guitar), drums by Daren Adelman, and Chris Kibler on bass. The inter-genre group puts out absolutely authentic and unique music, and “Astrology II” is no exception, as well as the rest of their forthcoming record.
“Astrology II” is unlike any song you’ve heard before; it is beautifully chaotic. With an almost eerie, otherworldly melody, this track fits it’s space-themed title perfectly. About 3:30 in, the song takes the listener for a spin with a surprising fiddling solo, but it works. It’s the kind of song you have to listen to more than once to fully appreciate. “Astrology II” is truly a unique sonic experience.
The Lampshade’s fifth full-length record, Astrology, will be released on March 23, but until then, be one of the firsts to give “Astrology II” a listen today!
Susannah Joffe’s newest EP, Cult Leader, is full of Americana inspired pop ballads and represents the lengths that love and heartbreak brings us to. Susannah Joffe is a singer-songwriter originally from Austin, Texas. She has had recent success on social media, particularly with the song, “Die Your Daughter”, which was on her last EP, Your Mother’s Name. But, Joffe has taken a new look on life on Cult Leader, and it’s full of spite, lovelust, heartbreak, and reflection.
The EP’s title track, “Cult Leader”, sets up the theme as Joffe plays spacey pop with a dark country twang. Joffe’s airy vocals sing about americana ideals and tropes while she professes her love-hatred for an ex-lover and his new flame.
As she sings about her confidence in her superiority, a deep jealousy underlies within her words and sets up a complex narrative of love and the inability to move on. Joffe’s vocals are the shining star of this track as her voice ebbs and flows throughout the verses and chorus (reminiscent of Lana Del Rey), and the instrumentals take the backseat to fully allow Joffe to have her moment.
“Antler Queen” keeps up the spaciness that is a mainstay throughout the EP, moving further away from country influence. It’s a bittersweet romance ballad that explores unrequited love and yet again the struggle to move on. The chorus is infectious with a driving drum beat and Joffe’s love proclamations such as, “I’ll shoot you up, Get high on reluctant love.”
The instrumentals on “Antler Queen” are extremely chill with sweet guitars and a stable percussion section to pick up the chorus. As she concludes the song, she reinforces her love’s bittersweetness as she says, “I pledge my heart to you my antler queen.”
“You’d Kill Me If You Could” is a stripped back ballad that sonically serves as a break in the EP’s sound and leans into a 90’s sound. Joffe has given up the loud emotions present in the previous two tracks, and has become sorrowful and reflective. The heartbreaking lyrics portray a harmful relationship and her dealing with the emotional aftermath.
The echoey vocals, acoustic guitars and stripped back percussion, make the song feel like it could’ve been written 30 years ago. Bright synths work with Joffe in the bridge, as she repeats, “Like mother, like daughter.” The phrase is almost a mantra, increasing in intensity the more Joffe says it, and deepens the song’s meaning when you consider the cycle of abuse and what people pass down with them.
“Shit Out Of Luck” is a hazy heartbroken ballad that speaks to unfulfillment and unresolved promises. It is threatening, vengeful and passionate, as she sings, “I’ve got passion and I’ve got a gun.” Electric guitars squeal in the background and Joffe employs a strong percussion section yet again. Joffe’s vocals are the shining star on this track as she uses layered harmonizations to sing words of spite and biblical musings.
“Sofia Coppola” went mildly viral on social media and is a bright lesbian pop power ballad. The song is flirty and full of lust and unabashed attraction. The prechorus is infectious and feels almost like a nursery rhyme, which leads into the double infectious chorus in which she professes, “Idolize you, My Sofia Coppola.”
The bridge is wonderfully layered and Joffe’s vocal capability is put right on display in this track. “Sofia Coppola” is a gorgeous listening experience and uses a blend of strings, synths and percussion, which culminates into a twinkly and magical song about bright eyed love and attraction.
Joffe leans into another consistent trope present on the EP as she writes about a love-hate relationship in “Call Me Pretty.” It’s a complicated dynamic of wanting to both be devalued but cherished as she sings, “I’m your dog and nothing more.” It’s a casual relationship gone wrong, as she invests more than her lover. Her breathy vocals in contrast to the heavy electric guitars build power and tension in the song. The guitars aid Joffe in relaying the final rendition of the chorus and concludes the heartbreakingly honest and self deprecating track.
The EP finishes off strong with the final two tracks, “Stillborns and Six Lane Highways” and “Horses Can’t Outrun Me.” “Stillborns” discusses biblical conflict and terror, as she speaks directly to the people that peddle hate singing, “Heaven hates you” repeatedly. The melodic guitars backing instrumentals are stunning as the beat uplifts the depressive nature of the song. Her echoey and hazy vocals blend amazingly and the rich instrumentals coupled with the lyrics behind create a complex and enjoyable listening experience.
“Horses Can’t Outrun Me” is an excellent end to the EP and is a highlight of the tracklist. Joffe’s bright vocals begin the song as she sings the chorus. A deep electronic bass beat is introduced as she sings of feeling freed of a suffocating relationship and environment. She strips it down and speaks in the pre chorus and then dives into her airy vocals once again.
There is a deep, radical sense of freedom as the lightness of her vocals and the bright guitars, keys and drum beats feed into the energy of the song. As Joffe sings, “Heaven’s where you can’t reach” she ties all of the themes on the EP into one reflecting upon freedom, religious ideation, relationship issues, love, and heartbreak. We are allowed the opportunity to watch Joffe grieve, grow, and change, as we watch her learn and reflect upon her experiences and heartbreak.
It’s an exciting high to leave off on and leaves us wondering what will Joffe take on next in her musical journey? Cult Leader asks a lot and leaves behind very little, as Joffe proves her vocal and musical capabilities and has created a piece of work that is sonically and narratively consistent and clean.
Ben Kweller is a well established musical artist currently located in Dripping Springs, Texas (another win for the Texas musical scene!) who is currently celebrating the his latest full-length, Cover the Mirrors. This is Kweller’s first release since the death of his son Dorian in 2023 and is dedicated to Dorian. The album explores the devastation and grief that Kweller experienced after his son’s passing, but it also delves into the multifaceted nature of grief to dismantle and alter every aspect of life.
Cover the Mirrors discusses what happens to you and the people around you after a loved one passes, and the alteration of daily life and experience. Kweller explores relationships, depression, emotional wellbeing, isolation, and so much more in this album. The album itself is a testament to the impact that the people we love have on us, and their permanence in our lives long after they are gone.
The first track, “Going Insane”, really sets the tone for the emotional exploration and absurdity the album presents to us. Kweller is talking about serious issues but he doesn’t shy away from making light out of a bad situation or being a little absurd at times. “Going Insane” is a steady piano ballad that explores desperation and dealing with life’s turmoils. This is contrasted by the lightness in lyrics such as “rattlesnake, carrot cake.” It creates an interesting juxtaposition as he writes that he and the people around him are all “balled up inside.” The orchestral strings are a nice touch to this lyrically experimental ballad on struggling through the days.
Cover the Mirrors has many amazing and big name features such as: Waxahatchee, Coconut Records, The Flaming Lips, and MJ Lenderman. “Dollar Store (feat. Waxahatchee)” further expands upon the idea of inner turmoil as he battles with the struggles and standstill of a relationship. Kweller battles wanting to keep trying but also not wanting to dwell on the struggle itself.
The chorus of the song is infectious and Waxahatchee’s vocals linger throughout the background which make for a delightful listening experience. Throughout the album, I noticed that Kweller loves a big outro to a song and this track is no exception as we end with the drums and guitar coming together to assist Kweller scream out the song’s chorus. The music video is a great visualizer for the song’s message and was filmed at Bluebonnet Food Mart and Heart of Texas Hotel right here in Austin, Texas!
“Depression (feat. Coconut Records)” is a sonic shift at this point in the album as they drop the overt folk sounds and lean into electronics and bass. This album has proved to be extremely thematically consistent, as Kweller continues to question his sadness and isolation. The bridge is a real standout on this one, as the drums dominate but allow for some beautiful backing melodies. The lyrics are heartbreakingly honest as Kweller writes, “I used to think that I was strong and tough, but I can’t even get through the day.”
The album feels like it is constantly in conversation with itself, and Kweller is further thinking about the quality and worthiness of his relationship, and his willingness to fight for it. “Don’t Cave” adopts a more hazy and hopeful tone as he navigates uncharted territory of “the goodbye we shouldn’t say” in his relationship. The instrumentals on this track culminate into an uplifting ballad that highlights each element (drums, strings and guitar) wonderfully.
“Optimystic” is one of the standout tracks on the record for me. It adopts a heavier and punky guitar tone and Kweller’s lyrics are a conversation to himself about his delicate mental state during this time. Definitely the most *mosh* worthy track on the album. The guitar tone is infectious and the chorus will definitely get stuck in your head. Also, Kweller’s coined phrase of “pill-popionaire” is just too good!
The music video is essential in my opinion to visualizing the track, and the playful animation done by Mystery Matter is wonderful and engaging.
“Killer Bee (feat. The Flaming Lips)” is yet another killer feature on the album. The song is sonically aligned with the rest of the album and the buzzing bee sound of the keyboard/synth is a great and interesting touch. The scaling guitar during the chorus highlights the song’s message of exploration and insecurity. Kweller posted a demo on Youtube much before the songs release, and the direction they took it in made for a dynamic and explorative listening experience post production.
Kweller’s lyrics are exceptional on this album and they get a chance to truly shine in “Letter to Agony” where he confessionally explores his depressive mental state and how that is affecting his attitudes towards his relationship. It has a similar sound to “Park Harvey Fire Drill”, a previous track on the album, but takes a much more serious tone. He discusses undesirable thoughts of wishing ill will on someone he loves and is remarkably self aware of his own shortcomings and chemical imbalances. The minor chords feed into this sorrowful tone, as he writes, “all of the toxic waste spewing from me tonight, I fear there’s no end in sight.” Kweller is quite literally isolated on this track, as it only features Kweller’s vocals and guitar.
Kweller not only writes about grief, but also how to fight through it. “Save Yourself” starts out with a simple guitar melody and by the chorus becomes a loud explosion of drums and guitar as Kweller fights his way to say, “Don’t let it beat you up.” This is a fight song against the dangers of grief as it emphasizes the importance of saving oneself from the “unknown loss”. The exciting instrumentals and conversation between the guitar and drums create a truly epic listening experience, and has the potential to be very motivating to anyone who has ever struggled through grief and loss.
“Oh Dorian (feat. MJ Lenderman)” is my favorite song off the album and is an excellent close to the deeply personal conversations we’ve had with Kweller as listeners throughout the album’s tracklist. The heartbreak in this song is not only caused by the loss of Dorian, but that Kweller allows us to know Dorian’s glowing personality and traits, and we learn to mourn alongside Kweller for his son.
The charming pianos introduce the song and give it a lighthearted and sweet tone, which coupled with the celebratory and beautiful lyrics about Dorian create a sonic memory and memorial. The electric guitar work from Lenderman and piano from Kweller on this track really highlight the beauty of him and Dorian’s relationship, ebbing and flowing into our ears and delivering the lyrics on a platter for our enjoyment. The lyrics are tear jerking but Kweller will make you smile through the tears as he writes about Dorian,
Crystal child, double-Gemini A million songs in his head Doesn’t care if you’re wrong or right He believes what you said
Kweller further creates an environment where we feel like we know Dorian through lyrics like,
Watch him glow and radiate When he walks through the door Understands a-what you say ’cause he’s been there before
Kweller paints a deeply personal picture on this track, and if you are going to listen to one song on the album this is most definitely the highlight. But I would really recommend listening to all of them! Kweller lets us in on life while battling grief, and how he is navigating the world without his son. He highlights the radically changing quality that grief has on you and the people you love, which makes this album so much more than grief itself.
Cover the Mirrors is a journey through Kweller’s mental, physical and emotional battles and he does not hold back. It is musically and lyrically explorative and provides the listener with sonically diverse tracks with clever and interesting lyrics. It may be about intense issues, but much of the album does not feel explicitly sad, but rather emotionally experimental. Ben Kweller has fully fleshed out what it means to grieve, and has created an album that is a testament to his love for not only his son, but his journey of loving and understanding himself and others.
Beach Bunny has always been something of a paradox: sugary sweet pop-rock with teeth. Formed in 2015 as a solo project by Chicago native Lili Trifilio, the band grew into a full lineup in 2017 and now includes Matt Henkels on guitar, Jon Alvarado on drums, and Anthony Vaccaro on bass. Together, they’ve cultivated a cult-like following with their emotional vulnerability, catchy riffs, and cathartic live energy. After the breakout success of Honeymoon’s bittersweet surf-pop and Emotional Creature’s Y2K-tinged indie rock exploration, Tunnel Vision arrives as their most emotionally charged and sonically bold effort yet.
Beach Bunny’s Tunnel Vision dropped April 25, and to call it a return would be a disservice. It’s an evolution. Their third full-length album is a raw, poetic excavation of existential dread, self-image, and the desperate craving for control in a world that seems allergic to it. It’s loud, soft, sad, witty, and Beach Bunny at their most emotionally expansive and still their most distilled.
Tunnel Vision doesn’t flinch from big feelings. There are repeated themes of self-loathing, disillusionment, and growing pains. The 10-track record opens like a diary page torn out and set on fire. Each song burns in its own way.
“Big Pink Bubble”, the second track, is a standout in both concept and execution. It’s deceptively sweet, light on its feet sonically, yet narratively potent. Trifilio sings about avoidance and self-erasure, using the metaphor of a bubble as a boundary and a hiding place. It’s the last song that made it onto the album, but it feels essential: a thesis on emotional survival in a hypercritical world. Making yourself small to be digestible shouldn’t feel like a universal experience, and yet somehow it does.
Track 3, “Chasm”, hits like an internal scream. Fuzzy guitars and pounding drums mirror the chaos in the lyrics. There’s a sharpness here, a sense of falling into yourself with no rope to hold onto. It’s one of the best examples of how Tunnel Vision balances lyric-heavy intimacy with bold, anthemic production.
The title track, “Tunnel Vision”, takes that tension and gives it form. There’s a fever-dream quality to the way it builds, both focused and frayed. It mirrors the modern desire to disappear into something, anything, just to feel like life has a clear direction again. Trifilio’s vocals stay high and sweet even as she sings of disconnect and overstimulation. It’s the sound of being pulled forward, even when you’re not sure you want to go.
And then there’s “Clueless”, track 5, a classic Beach Bunny bop dressed in birthday candles and quiet dread. Released right before Trifilio’s 28th birthday, the song captures the disorienting, slow-burn panic of aging and not feeling any closer to figuring things out.
One of the most unexpected highlights is “Pixie Cut”, a punky, Paramore-tinged anthem that feels like cutting your hair because your life is falling apart. The production goes a little darker, a little harder, and the result is cathartic and commanding. It’s a side of Beach Bunny we rarely see: less cutesy, more claws. And it works.
And then there’s “Cycles”, the closer, and one of the band’s most interesting experiments in musical reimagining. Originally released in 2019 under Trifilio’s solo name, it’s now reborn as a full-band track. Heavier, more polished, but still aching. It ends the album on a note of resigned beauty, recognizing that sometimes the hardest part of growing is realizing you’re still stuck in the same loops.
Right now, the band is taking that emotional whirlwind on the road. Beach Bunny is currently on tour across North America, bringing Tunnel Vision to life with their signature blend of catharsis and charm. For longtime fans and new listeners alike, these shows offer a front-row seat to a band at the height of their vulnerability and power.
If Honeymoon was the teenage heartbreak album and Emotional Creature was the young adult identity crisis, Tunnel Vision is the mid-20s existential spiral. But it’s also a sign that Beach Bunny is still expanding, still experimenting, still refusing to sit still long enough to be easily categorized. This is messy music for messy people, and Imperfect Fifth wouldn’t want it any other way.
