New-York based singer Kimbra has just dropped the official music video for her new song, “Like They Do On The TV”. The two-time Grammy award winning artist has recently dropped her new record, Primal Heart, and is currently on tour in support of the album. “Like They Do On The TV” is just a taste of Primal Heart, and the music video takes the viewer on a glimpse into the wonderful world of Kimbra. With a retro vibe, Kimbra finds her way onto everyone’s screens in this catchy track. Filled with eye candy and a great color scheme, “Like They Do On The TV” is not to be missed. With stunning visuals and a knack for the slightly abstract, Kimbra has done it again with another fantastic music video. Check it out today!
If you haven’t heard of singer and actress, Brittany Campbell, get ready. Not only is the Brooklyn native a part of Chicago’s cast of Hamilton, she is also featured on Netflix’s remake of “She’s Gotta Have It.” Most recently, Brittany has been showing us her musical talents on BRIC TV’s B-Side sessions. Brittany discovered her for music at a young age when her music teacher insisted she enter an opera competition. When watching this session I was truly blown away by her smooth yet soulful voice. On “Still In Love” she shows off her impressive vocal range while keeping you drawn in with her passion and energy. My personal favorite is Brittany’s “Mean.” This is her final message to a soon-to-be ex lover. Its jazz undertones and poetic lyrics such as “…and shame on you for letting such a good thing go to pieces, and shame on me too” makes for an emotional performance and will leave you thinking about the “one that got away.” With a voice like Brittany’s, it is no surprise that she here to stay.
Keep up with Brittany by visiting http://brittanycampbellmusic.com and be sure to look out for her album Stay Gold releasing April 10th.
Ah, SXSW—the annual pilgrimage where sleep is optional, lines are inevitable (unless you have a fancy badge like me), and discovering your new favorite band is just a wrong turn away. This year, I had the honor of being a Music Mentor, which basically meant I got to skip a bunch of lines and pretend I knew what I was talking about. Between catching insane live sets, running into nerdcore legends, and witnessing a band perform with actual puppets, it was a week of pure, beautiful madness. Here’s my completely unfiltered, sleep-deprived recap.
Nothing like an early morning flight from TPA to AUS to remind you that sleep is for
the weak.First stop: badge pickup. This year, I was a Music Mentor, which means I was an “Official Speaker.” This also means I had the SXSW equivalent of a Disney Fastpass and could waltz past lines like a VIP.After securing my golden ticket, I hit SXSW Songs at Arlyn Studios, an
international songwriting camp where artists, producers, and songwriters from all over the world
come together to create magic. It’s one of the best-kept secrets of SXSW—like a hidden level in a video game.First show of the week? Japanese heavy metal band Gokumon. They had
synchronized dance moves, headbanging, their own hype person, and even projected lyrics in both Japanese and English. Their soundcheck was so serious I half expected a NASA countdown. 10/10, would headbang again.People say “Rock is Dead” while a Japanese band absolutely destroys a venue in Austin, Texas, in front of a mostly Japanese audience. Yeah… rock’s fine, guys. Maybe you just need to leave the US.“Hey man, are you a Bucs fan?” “Nah cuz, the hat just goes with the shoes.”It doesn’t get any more Austin than Bob Schneider, who’s been playing at Saxon Pub
every Monday for 26 years. I caught him not at Saxon, but performing a few songs for a live
radio broadcast on Sun Radio.Randomly ran into MC Frontalot, a nerdcore hip-hop pioneer (per Wikipedia, the
most trusted source of SXSW bathroom line debates). We had a full conversation before I
realized who he was. Later, I tried to watch his documentary, Nerdcore Rising, on the flight
home… but, plot twist: it’s not on streaming.Thanks to MC Frontalot, I caught British duo Alt Blk Era at Parish. Easily one of the best sets of the week. Their stage was a fog machine’s dream, and their lyrics included gems
like: “She’s snorting cocaine every other weekend / She’s partly insane, she’s my drummer’s
girlfriend.” Poetry.Hardcore Montreal band Truck Violence performed like they had a personal vendetta against silence. I respect the energy.Saw the amazing Quelle Rox at the very fancy Driskill Hotel during a party hosted by
Notorious Noise and The Luna Collective—two badass, women-run companies with
impeccable taste. Nothing says “rock and roll” like a luxurious chandelier above a mosh pit. Baths played in direct sunlight at Flood Magazine’s Floodfest, making it the
Hottest Set at SXSW (literally). We all barely survived. This was my annual reminder to drink
water.Irish post-punk band Gurriers played next and proved why they were one of the
most hyped bands this year. With 35% of SXSW bands coming from overseas, it felt like Austin became the most cultured city in Texas.Tried to see Dead Gowns at Cheer Up Charlie’s. This is as close as I got.The Creem Mag/Third Man Records Showcase was a masterclass in chaos, but
Brooklyn’s TVOD (Television Overdose) took the crown. They played 13 shows in 6 days, which is either legendary or a cry for help.Met Sons of Sevilla at a party early in the week. They told me about their set at the
Space Agency party, so I made it a point to check them out. Glad I did—great music, great
guys. Also, this is your reminder to talk to strangers (at SXSW, not in dark alleys).Speaking of the Space Agency party, the wildest set of the week came from
Worn-Tin and the Freak Nature Puppets. Yes, puppets. The crowd lost their minds. I can’t
even explain it, and honestly, I don’t want to.Acid Baby Jesus packed Hotel Vegas to the point where it was one in, one out the
entire set. I was shoved into a wall but accepted my fate. Greek psych rock waits for no one.Jasmine.4.t ended their set with a System of a Down cover, which instantly made
them my new favorite band.Before heading to the airport, I had to catch Frankie and the Witch Fingers. They
were the most talked-about band at SXSW, and somehow I had scheduling conflicts every time
they played—except for this one last set at the BrooklynVegan party. Perfect way to close out
the madness.
SXSW TLDR:
Rock is alive and well
Hydration is essential
Nerdcore legends walk among us
Puppets belong in live music
My SXSW Fastpass badge was the real MVP
See you next year, Austin.
About the Author: Randy Ojeda is an entertainment attorney dedicated to protecting the rights of musicians and creatives. As the founder of Randy Ojeda Law, he provides legal counsel on contracts, intellectual property, and business matters, helping artists navigate the complexities of the music industry. A graduate of Loyola University Chicago School of Law and a member of The Florida Bar, Randy combines his legal expertise with real-world industry experience. He is also the CEO and Co-Founder of Cigar City Management, an artist management company, and the host of Cigar City Radio, a podcast featuring interviews with musicians and industry professionals. Follow Randy @realrandyojeda https://www.randyojedalaw.com/
Last night, the Philadelphia Eagles won The Big Game.
While there was so much about the game that gave me goosebumps, electrified, and, honestly, inspired, the most exciting part for me – and for many – was the halftime show. For fear of being too petty (re: my issues with the Chiefs organization being too financially and outwardly supportive of the color orange, their players and families openly supporting the current regime, Butker, Swift, etc.), I’m going to spare you most of my thoughts.
But not about the halftime show. I’ll spare you nothing there.
The halftime show was remarkable from the first lines out of Samuel L. Jackson’s mouth – aka the only Uncle Sam I’ll ever listen to – all the way through the impactful GAME OVER finale. If you were allowed to watch and listen closely in your party environment, you probably noticed a bit more.
To begin, there wasn’t a single white performer on that field and I was living for it. It’s Black History Month, and our joke of a government is trying to erase that. This was a massive, immediate message to many people – one, in particular, who was actually there in person instead of doing their jobs correctly to protect our country from a coup.
The stage performance was just over 13 minutes of spectacular set design and art, beginning with video game audio and squares lit up like tic-tac-toe. (I have seen references to Squid Games, a show I will not watch. I’m sorry.) Samuel L. Jackson is lit up in the middle square to introduce Kendrick, who starts on top of a 1987 GNX wearing red, white, and blue, decidedly. The car is the namesake of his surprise sixth studio album, which was released last November. He’s also kneeling, with a single spotlight on him, completely alone. This, alone, was a statement to the orange one in who led people in tearing down those who protested during NFL games not so many years ago. The short song Lamar begins with appeared on teasers for the album and there are lines from it that immediately pulled at fans when the album came out, but isn’t an official track on any current releases.
In the first big choreographed moment, the lights strobe, a good amount of dancers in red square up and sync up, and Kendrick says, loudly, “The revolution’s about to be televised. You picked the right time but the wrong guy.” This line is a direct reference to a satirical poem released in 1970 by Gil Scott-Heron, which reads, “The revolution will not be televised.” This piece is a response to the spoken-word art “When the Revolution Comes” by The Last Poets, and mentions famous figures and cultural linchpins that serve as a smokescreen for the actual revolutionaries.
Kendrick reciting these words with the American colors around him, was an obvious poke at several people in attendance. It was also the first time I screamed out of excitement.
He pivots fast into “Squabble Up,” dancers in red, white, and blue sweatsuits surrounding him in various formations. After lining up, they start to step and it is a powerful moment of rhythm and control. Which is when Samuel L. Jackson steps back in and says, “No, no, no, no, no! Too loud! Too reckless! Too ghetto! Mr. Lamar, do you really know how to play the game? Then tighten up!”
And that beautiful man is a smokescreen for the watching audience. Because as he is screaming the same shit conservative media uses against people of color to delegitimize their art and their lives, the dancers are forming an American flag on the steps. And now the camera is back on Kendrick, in the center of that flag.
And so begins “Humble.” The crowd is roaring at this point, while these incredible male athletes/dancers engage in sharp movements that would be hailed as 11/10 at a cheerleading competition. Their precision was admirable, poetry in motion. This is when I started noticing some dancers had their faces covered, some had their heads wrapped.** Some you could see fully, and others had dyed their hair to match their outfits. I can only imagine that this type of scene is what scared some viewers into saying the halftime show was “scary” and “militaristic.”
That’s ok, but it was by design. The performance was meant to make us question things, created as a living protest, and isn’t threatening to the viewing public at all. So you might have to sit in that discomfort for a while.
He quickly launches into “DNA,” which famously challenges a deplorably racist Fox anchor’s comments about hip-hop being damaging to black people. He runs across the field to dance in front of varying dancer formations, then gives us some “Euphoria” and slows down for a rendition of “Man at the Garden” with a slew of dancers seemingly hanging out by a lamp post behind him.
“Peekaboo” begins after another appearance by Samuel, who – in keeping with the gaming theme – tells the scorekeeper that Lamar only has one life. Kendrick and his dancers are now inside one of the X’s on the field, looking like a Nintendo controller. He rotates thorough the “X,” bouncing around and making for a really interactive time with the television audience.
Then, Kendrick pauses and asks a group of female dancers, “I wanna perform they favorite song but you know they love to sue.” The introductory instrumentals to THAT SONG begin, and the crowd goes WILD. But he’s teasing us, and you can hear Samuel yell, “You’ve lost your damn mind!” while Kendrick slows everything down.
Smooth R&B starts, and he rolls right into a sultry version of “Luther” featuring the indelible SZA. Our girl first appears sitting down casually, decided out fully in a gorgeous red that perfectly matches her hair and goes well with Kendrick’s mostly-blue getup. This slower tempo moment allows them to really connect with each other on stage. It also gives the pair the momentum they need to launch into the Black Panther anthem “All the Stars.” SZA was A-plus, no notes. What a powerful, beautiful presence to have joined him on stage, a moment that got us extra amped for their upcoming tour.
Samuel L. Jackson comes back in with similar commentary as before, noting that “nice and calm” is “what America wants.” The humor and the magic in these moments cannot be spoken about enough, he was making fun of us to our faces and I truly couldn’t get enough of it. He was about to wrap it up all “politically correct” when Kendrick decided it was time.
“Not Like Us” was incredible, an aerial shot catching more sharp, beautiful moments from the dancers. The freestyle coupled with very impactful choreographed moves made it such a celebration of community and diversity at the same time. No one had to sing to make a deliberate, profound statement.
But he did. And when Kendrick did, he looked right down the barrel of the camera as he said, “Say, Drake, I hear you like them young.” The pettiness was palpable, but it was also powerful. Especially when you take into account all of the hushed rumors that have swirled about Drake and his preferences and behavior over the years. While some might take Lamar’s diss tracks as pure petty for the sake of being that way, he’s using his platform to call out unacceptable behavior that has (for some reason) been normalized. He’s calling things out, and he’s doing it strategically.
If you want to fight me about the fact that there are no current official allegations against Drake, I would like to say one thing. The cameras panned the stage pretty quickly, but you caught it as well. The GOAT Serena Williams was c-walking on stage. They showed her twice, living in her joy and dancing her ass off. Which most people would think nothing of until you realize two facts.
One, that this incredible talent was policed for celebrating at the Olympics in 2012 with the same c-walk or “Crip Walk” dance. The media and fans ripped into how the champion celebrated, which was no better or worse than anyone else. Now, she gets to do the same walk on the most televised event, and she gets to do it with ferocity.
Two, that Serena was romantically linked with Drake from 2010-2016. Having her dance during this diss track about him is an extra dig for her, but it’s also a statement. If you weren’t fascinated by the entire stadium singing “a minor,” the fact that Lamar was wearing a lowercase “a” chain – literally “a minor” -, or the flags that some dancers were flying with kids on them, then I need you to know it all happened and it’s all connected. Serena’s participation seems to be a co-sign that the claims in the song aren’t just claims.
Which should worry you, if you weren’t already aware – and nervous – of Drake’s shifty behavior.
For those who didn’t recognize all of the Easter eggs, Lamar worked with a team to build out a gaming controller set, dancing within different buttons. By the end, he was rapping, “turn the tv off, turn the tv off,” smiled into the camera, and then the lights went down on the floor and the lights in the seats spelled GAME OVER.
**I do want to recognize that during the telecast, one of the dancers bravely waved Sudanese and Gazan flags. Having some of the dancers wear face and head wraps helped to make this possible. It allowed for people to make their own statements showing as much or as little of their bodies as possible.
CBS Mornings took the helm celebrating the performance. “Everything he did had power, had purpose,” exclaimed Vlad Duthiers. But while they took time to discuss America’s reaction and the controversy around it all, they didn’t mention the live genocide protest or several very important Easter eggs. For the most part, even for as liberal as their cast is, you could see how the media is being asked to speak about the performance overall.
If you take that halftime show and couple it with the incredible pre-show performances by musical legends Lady Gaga and Jon Batiste – and “America The Beautiful” performed by Lauren Daigle and Trombone Shorty – the game was a full win all around. Those involved were pumping diversity into the mix, bringing us not just a variety of people of all different backgrounds and affiliations, but celebrating it. Plus, multiple genres were represented with a noticeable majority black performers.
For the record…
I love that the first black female coach in the NFL, Autumn Lockwood, took home a championship victory.
Two people got booed and I’m not mad at it.
The HAIM sisters passively existing everywhere makes me laugh a lot.
I’m overjoyed for SZA’s mom, specifically.
Paul Rudd looked like he wanted to melt into the floor of embarrassment, that poor man.
Jon Hamm lost his voice before the game, which makes him the real winner.
I’d like Bradley Cooper’s food truck to make a pit stop here.
Indie rock outfit Spoon may have been dazzling stages with their talent since 1993, but Riot Fest 2024 is where they really brought their shine. In the heat of a bright Saturday afternoon, they stared directly into the sun — and a crowd of thousands — as they regaled us with bangers from every one of their eras. From “The Way We Get By” to “My Babe” and “Inside Out,” through covers from The Natural History and The Cramps, they kept the energy high as the crowds continued to hydrate.
We captured some quick photos of the beginning of their set for you.
Setlist Got Nuffin My Mathematical Mind You Got Yr. Cherry Bomb The Hardest Cut The Way We Get By The Underdog My Babe Wild Inside Out Don’t You Ever (The Natural History cover) Do You I Turn My Camera On TV Set (The Cramps cover) I Summon You Rent I Pay
Bert McCracken, frontman of indie rock band The Used released a new single titled “The Feels” on August 9th under his solo project robbietheused. He has collaborated with long-time friend John Feldmann to help produce this eclectic and feel-good beat. McCracken states that he was inspired by all generations of pop music when creating this song, citing the wonderfully positive impact it has on his mental health.
The musicality of “The Feels” is very upbeat with electric guitar, keyboard, and tenor vocal elements providing an EDM festival-friendly melody. The vibe of this song reminds me of the iconic “Fireflies” by Owl City, in which the vibrant electro-pop beat contrasts greatly with deeply intrapersonal themes. I can already tell “The Feels” will be a go-to song on every DJ’s playlist this summer.
The lyrics in “The Feels” provide a beautiful take on neurodiversity. As someone with severe social anxiety, I relate to this song very much. In social settings, my mind is consumed with many worrying thoughts… Is my voice too high? Am I walking funny? Do I smell weird? Is it better if I just left? Most of the time, you need help to quiet them all down. This song is a great metaphor for people who are coming to terms with discovering coping mechanisms for their anxiety, whether it be through therapy, medication, building a support system, or– as shown in the music video– finding joy in one’s unique hobbies. The chorus goes:
I like how it feels, I’m starting to think maybe that’s just fine, that’s just fine Can finally deal with all of the chaos that plagues my mind, plagues my mind I may not feel anything, that doesn’t mean I feel nothing (x2) I like how it feels, I’m starting to think maybe that’s just fine (x5)
The official music video is nothing short of a work of art. The claymation depicts various emojis wandering around a vibrant arcade space. An animated clay version of McCracken is seen singing on an empty stage. Emojis slowly gather around him, as if he is performing a concert just for them. This implies he is entertaining, or at the very least trying to appease, all the emotions in his head. This concept is reaffirmed at the end of the video when all the emojis burst out of McCracken’s head in a colorful explosion.
My absolute favorite part of the video is when zombie-like creatures invite a ghost emoji to their garden. The ghost visibly brightens when he sees his planted seeds sprout and give way to new healthy, green growth. Coincidentally, the ghost emoji depicted with its tongue sticking out is my favorite emoji of all time!
Last week, Young The Giant – expertly made up of Sameer Gadhia (vocals), Jacob Tilley (guitar), Eric Cannata (guitar), Francois Comtois (drums), and Payam Doostzadeh (bass) – surprised their fans with the official release of a song that has been a long time coming. The track, “Metropolis”, was written and recorded by Gadhia during Mind Over Matter‘s massive success. With 2024 marking the hit album’s first decade of existence, they brought this incredible, vulnerable song out of the vault.
The stripped-down track is beautifully and simply comprised of an acoustic guitar and Sameer’s voice. The video – by Guadalupe Bustos – shows frames of the recording process and the band in the studio together in a moody black and white mostly, with other B roll footage from the tour adding moments of pure joy to the visual. The song is paced like the lyrics, as it brings a sense of calm to the listener. Check out “Metropolis” below.
Mind Over Matter is being released as a 10th-anniversary edition. The exclusive deluxe version comes in clear smoke vinyl and includes a 12-page booklet, fold-out poster, and an exclusive slipcover — Pre-order / Pre-save. See all tour info here
Mind Over Matter (10th Anniversary Edition) Tracklist: “Slow Dive” “Anagram” “It’s About Time” “Crystallized” “Mind Over Matter” “Daydreamer” “Firelight” “Camera” “In My Home” “Eros” “Teachers” “Waves” “Paralysis” “Mind Over Matter (Demo)”* “Camera (Demo)”* “What You Get (Demo)”* “Metropolis (Acoustic)”*
As someone who’s been studying up in the DMV (shout-out George Mason!), I’ve been slightly aware of MasVusi, an active drag performer in the area. She’s certainly a remarkable figure in both her performances and trans activism, and when I heard she was releasing an EP, I knew it would be something truly interesting. Despite pride month having come and gone, it’s still critical to shed light on new releases by queer artists absolutely worth your time, and MasVusi’s debut EP i hope you like it and is a shining example of such.
The EP has been in the works for two years, with MasVusi describing it as a “true story of love, loss, and a coming of age where queer young people must choose between their own safety or the presence of their loved ones.” The songs are implied to be autobiographical in some ways, which makes the release more intriguing given it’s already quite confessional and honest, even without the prior context. The music of the EP contrasts the moodiness of the lyrics by mainly being an eclectic blend of several eras of dance music (likely also chosen because the genre is a staple in queer/drag culture). Musically, I spotted influences from flashy 70s disco (“Chaser ‘69”), early 80s synthpop/Italo-disco (“(the) Night Shift”), and modern EDM (“t4t”) throughout the record. Though that’s assuming those aesthetic/stylistic references were intentional and I’m not just being a massive nerd, anyway.
Immediately, the opener and lead single “Closet Blues” caught my attention with a thumping dance beat and a squelchy, groovy bass line. It’s a fun opener, and the lyrics set up the themes of late-night romance (and eventual heartbreak) in a way that still complements the funk. My favorite song from the EP was definitely “(the) Night Shift”, which really impressed me with its production. It has these dreamy and lush 80s-inspired synths, and the whole track just sounds gorgeous. I absolutely must point out MasVusi’s vocal performance because while I think the opener’s mixing could bury her voice, she really comes alive in this song specifically. She has great vocal range, and her voice can have a glammy dramatic quality that really soars during the more emotional, longing moments of the record.
The next song and second single “Chaser ‘69” (featuring fellow DMV-drag artist Queenie Iman Glamazon) continues in this throwback direction by incorporating synthesized strings and a four-on-the-floor beat. It’s intentionally campy to achieve the vintage 70s disco flavor the song is going for, which is reminiscent of Donna Summer or ABBA, and again succeeds because of the vocals and production. After that comes the most vulnerable song on the record, “Momma, I”. Interspersed throughout the track is a recording of the inside of a DC metro station, which makes the lyrics and entire EP seem more real and personal. This is because the audio juxtaposes against MasVusi singing earnestly at her most desolate and bleak, with the music styled in a jazzy piano ballad to match the tone. The lyrics of the middle three songs are the most downbeat, focusing on yearning, financial hardships, and loneliness, respectively.
Fortunately, the EP ends on a positive note with “t4t”, a fast-paced contemporary rave song. I believe the lyrics show MasVusi found her own happiness with the local drag/club scene she’s currently involved in, a sentiment that wraps up the EP nicely. As a debut release, i hope you like it (which, yes, I did) is bold and revealing while still being quite danceable and engaging, and it shows that MasVusi is a performer with something to say.
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.
