UK-based indie pop/rock band Pale Waves has released their new song “Glasgow”, the second single for their upcoming fourth album, Smitten. It continues the musical trajectory of the lead single “Perfume” by moving away from their previous pop-punk and emo sounds into a lush 80s dream-pop style reminiscent of alternative groups like The Cure, The Cranberries, or even Cocteau Twins. Lyrically, it’s described as a “breakup anthem” and speaks to the feeling of leaving someone because it’s best for both of you. It’s a song that also continues to show the diverse and eclectic talents of the band, composed of multi-instrumentalists Heather Baron-Gracie (vocals, rhythm guitar), Hugo Silvani (lead guitar), Charlie Wood (bass), and Ciara Doran (drummer).
I really mean that, too. “Glasgow” is a beautifully produced pop song that showcases Pale Waves at their most confident, earning comparisons to their obvious influences. Right out of the gate, the song bursts with energy, showcasing anthemic drumming and guitar playing, as well as really gorgeous synth playing. It captures the ethereal psychedelia of 80s dream-pop but still transports the sound into a modern indie-pop context.
“Glasgow” balances a dense and twinkly production while still functioning as an uptempo, pulsating pop-rock song that’s enjoyable throughout. I also have to give credit to lead vocalist Heather Baron-Gracie, as she really soars in the chorus. While some may feel her voice blends into the background, I think her vocals complement the production by becoming an instrument in itself. Her lyrics are also a highlight, being an honest and open look at relationships in a way that lends itself to the emotions of the music while not overtaking it.
The music video, also directed by and starring Baron-Gracie, showcases her as a runaway bride driving through Glasgow fields in a convertible. It’s very cute and visualizes the lyrics’ themes of escaping a relationship for your own freedom. Pale Waves are currently embarking on a headlining tour across the UK, with their new album Smitten coming September 20th.
I’ll always jump at the chance to review music in my local area, so getting to write about DC-based indie band Pretty Bitter was super exciting. The band, (composed of vocalist Mel Bleker, bassist Miri Tyler, keyboardist Zack Be, guitarist Chris Smith, and drum-ist Jason Hayes) formed during the late 2010s and have released two albums, 2019’s Patchwork and 2022’s Hinges, with a third currently being scheduled for some time later this year. Their sound is self-described as “queer alternative emo dream pop-ish”, which is probably a fair way of putting it. Listening to some of their previous songs gave the impression that the band has eclectic tastes and doesn’t want their sound to be pigeonholed, especially considering the immense talents each member has. It seems inspired by a plethora of alt-rock sounds, namely dense pedal/feedback-heavy psychedelia (or shoegaze, if you’re annoying) with occasionally some distorted garage-rock guitars or danceable drumming and bass playing. For a band that’s still young, I appreciate their desire to keep listeners on their toes by having a decent range of playing styles.
Their newest single from February, the grimly titled “Roadkill”, is a great showcase of each member’s abilities and chemistry with each other as they make the track into a total gem. The vocals are bursting with confidence and enthusiasm, even when they’re occasionally buried by layers of guitar and synthesizer effects. Speaking of, the band continues to mix and match styles by incorporating some bubbly new wave-y synths that really pop, and keep the song fresh. The aggressive, relentless energy provided by the guitar, bass (wonderfully gritty during the bridge) and especially the drumming, which never seems to slow down for even a second. It complements the angst and frustration present in the songwriting, with lyrics that are personal and confessional like a lot of Pretty Bitter’s other work. Yet it’s still fresh and inventive through the band’s abilities and their commitment to not fully repeating themselves.
I’m glad I could write about Pretty Bitter, as the band is absolutely a shining star in DC’s growing local music scene. They have potential and musical expertise in spades, and seeing their further growth and evolution will be a joy to witness.
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.
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.
Brooklyn’s own indie rock band Razor Braids just released Big Wave, their sophomore LP after 2021’s “I Could Cry If You Want Me To”. The new album is of a concept record about the timeline of going through a breakup, and lyrically it’s very personal. It goes into the narrator’s (which could be any of the members of the band, or multiple writing from shared experiences) feelings about their insecurities, self-doubts, and feelings of anguish within themselves. The lyrics are one of the strong points of the band, being clear, relatable, and easy to identify with as a listener.
Musically, the band’s style has its inspirations in 90s indie and alternative rock. There are many obvious comparisons like the lo-fi sound of Liz Phair, some Mazzy Star-style touches of psychedelia, as well as heavy grungy guitars that occasionally pop up. The production and guitar work on the album is consistently good, with a hazy but dreamy atmosphere composing many of the songs. Lead vocalist Hollye Bynum gives a lot of great performances throughout, showing her singing as more confident than the band’s earlier singles like “Nashville”. The backing vocals (contributed by rhythm guitarist Jillian Karande) are just as strong, though some of the best sounding parts of the album were when both vocalists harmonized, like on “B26” and “Windy Gap”. It’s an element of the band’s sound that I wish they used more.
My favorite track is the lead single, “She”, which is an upbeat pop-rock song that easily has the breeziest and most danceable groove on the album (with the drums provided by former member Sid Nichols). The band’s irresistible energy and chemistry here shines through, accentuated by brief giggles by the band as the song closes. However, while “She” is a great single, it differs a bit from the rest of the album in terms of its accessibility and focus on a pop chorus. Not that this is a bad thing, as mellow and downbeat songs like “It Goes Quiet” and the title track are still strong because of the earnest performances and lyrics, and especially from the lush guitars (from lead guitarist Janie Peacock) in the second half of the latter.
Big Wave is mostly a storytelling album rather than one that’s song driven. There’re points where the tracks can feel more about expressing emotions rather than structure and rhythm. This is most apparent on “JR”, which seems to explode with intensity as a musical emotional breakdown in the second half, as psychedelic guitars bury the vocals before they come crashing down on themselves. The vulnerability given from Bynum’s performances helps make this seem rawer and more effective.
All the songs are good, and the album is easy to recommend to fans of modern indie rock that are more into lyrically driven music. It’s not perfect, as I think it could’ve used another good hook or two and better pacing. Still, the album ends on a bittersweet but hopeful note on “There’s No Sound”, and I think the band still has a lot of talent and potential to build on based on the more promising parts of the album.
Big Wave may end up just being a steppingstone for a band that’s still evolving, but it’s captivating enough to look deeper into it.
The new single by Swedish indie rock band Girl Scout, “I Just Needed You To Know”, shows the range of the band in terms of their musicianship. It’s entirely in the realms of punk music, with driving drums and bass, distorted guitars, and an intentionally raw and unpolished production. The song never lets up for its entire duration, especially as it approaches noise rock-levels of volume at its climax. The song can appear loose and sloppy, yet it’s still obviously controlled and well thought out as more than just a fun studio jam session.
From what it seems, Girl Scout is still finding a distinct identity based on their previous singles more in line with contemporary bedroom indie pop. However, garage-inspired songs like this and “Do You Remember Sally Moore?” show they refuse to be pigeonholed. They’re successful in part because of the talents of members Per Lindberg, Viktor Spasov, and Evelina Arvidsson Eklind; but also because of the vocal range that front-woman Emma Jansson provides. Throughout many of Girl Scout’s songs, her voice can change from soft and vulnerable, angsty and grungy, or powerful and belting out. The latter is seen especially in “I Just Needed You To Know” as her voice almost becomes a powerful instrument in itself, soaring upwards and refusing to be buried under sludgy guitars.
The song is an easy recommendation for indie rock fans or anyone who’s a fan of fast-paced 90’s alternative rock. Despite only gaining attention last year through the release of two EPs (Real Life Human Garbage and Granny Music, respectively), the band’s popularity is rapidly growing as they embark on a summer tour opening for Alvvays. Considering the mountains of energy contained in the track, I’m sure it’ll become a Girl Scout live favorite for years to come.
I’m not sure I could think of a better pairing than the indelible Samantha Fish and Jesse Dayton. Luckily, not only did they partner on a phenomenal album titled Death Wish Blues, but they are currently touring together with their incredibly unique styles of alternative blues. A more electric stage – and a more excited crowd – I had yet to see in 2024.
That all changed on Thursday, February 22nd. The Truman opened its doors to a full house, welcoming Samantha Fish back for a truly delightful hometown show. The band came out to near ear-piercing screams, and excited cheers of recognition with the first notes of the very first song. Smoke filled the crevices of the stage as Fish and Dayton’s mindblowing musicianship took over the warehouse space.
A soft electric riff of a guitar atop steady beats of the drum… It is that awfully calming but lingering aura that really sets this unsettlement within me. A constant motion that desires more. Curling‘s “URDoM” wraps me in its embrace, and I’m overwhelmed by a torrent of emotions.
“URDoM” thrives in its ability to evoke emotions without explicitly stating them. The production elements, such as the subtle layering of instruments and the careful balance between instrumentation and vocals, contribute to the song’s immersive quality. The minimalist yet well-crafted approach allows the listener to interpret and connect with the music in their own unique way. The song’s musical layers are carefully woven together, allowing each instrument to contribute to the overall mood. Distant echoes and subtle reverberations, add depth to the atmosphere, immersing the listener in a reflective space.
Throughout the track, the dynamics build and recede, creating a sense of tension and release that mirrors the emotional rollercoaster the song portrays. The instrumental and vocal synergy reaches its peak during the climactic moments, eliciting a cathartic release that draws the listener deeper into the narrative. The composition’s aural palette leans towards a fusion of alternative and ambient elements, creating a space that is both introspective and ethereal. The instrumentation, consisting of subtle guitar work, restrained percussion, and atmospheric synth layers, works in harmony to evoke a sense of inner struggle and self-exploration.
In the end, “URDoM” isn’t just a song – it’s an emotional journey. It’s a mirror that shows me my own complexities, my own struggles. It’s a reminder that we’re not alone in our battles, that music can hold our hands as we navigate the stormy seas of the heart. Curling’s creation isn’t just a song; it’s a lifeline, a chance to find solace in the shared human experience. And as the last note fades, I’m left with a profound sense of connection, a realization that I’m not alone in feeling alone.
North American Tour Dates ^ = w/ Nation of Language 8/11: Portland, OR @ Fixin’ To 8/12: Portland, OR @ Revolution Hall ^ 8/13: Portland, OR @ Gloomhouse 8/14: Vancouver, BC @ Rickshaw Theater ^ 8/16: Grass Valley, CA @ Unchuch 8/17: Upland, CA @ Hyrule Temple 8/18: Oakland, CA @ Oakland Secret 8/19: Seattle, WA @ Central Saloon 8/20: Centralia, WA @ Space Place House
Step into the enchanting realm of Luna Aura, where cosmic melodies and electrifying beats collide. With her ethereal voice and magnetic energy, Luna defies expectations and creates a sound uniquely her own. Brace yourself for a sonic journey like no other, as Luna Aura’s latest single, “Candy Colored Daydream,” paints vivid musical landscapes that transport you to a world of vibrant imagination.
In “Candy Colored Daydream,” Luna Aura delves into a realm of self-discovery and empowerment, navigating the highs and lows of life’s journey. The lyrics “The highs, the lows, the fast, the slow. It’s plucking at my feathers, I just wanna let it go” poetically express the emotional turbulence experienced, symbolized by the metaphorical plucking of feathers, as Luna longs to release and find inner peace.
Musically, the song is a masterful fusion of genres, blending elements of pop, electronic, and alternative sounds. Luna’s innovative approach to production and arrangement infuses the track with an infectious energy, making it impossible to resist moving to the rhythm.
The song reflects Luna Aura’s quest for liberation and confidence in a world that can be overwhelming and filled with challenges. It serves as a call to embrace one’s vulnerabilities, allowing for personal growth and the pursuit of authenticity. Through “Candy Colored Daydream,” Luna Aura invites listeners to join her in letting go of burdens and embracing the freedom to be true to oneself.
Upcoming Tour Dates: 9/15 – Wallingford, CT @ The Dome at Oakdale 9/16 – Huntington, NY @ The Paramount 9/18 – North Myrtle Beach, SC @ House of Blues 9/19 – Orlando, FL @ House of Blues 9/21 – Huntsville, AL @ Mars Music Hall 9/22 – Louisville, KY @ Louder Than Life Festival 9/24 – Houston, TX @ House of Blues 9/25 – Dallas, TX @ House of Blues 9/27 – Albuquerque, NM @ Marquee Theatre 10/1 – San Diego, CA @ House of Blues 10/3 – Riverside, CA @ Riverside Municipal Auditorium 10/5 – Los Angeles, CA @ The Wiltern 10/8 – Sacramento, CA @ Aftershock Festival
