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!
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.
Despite their reputation as one-hit-wonders, I think DEVO is one of the greatest American bands to come out of the 70s and 80s. If you don’t know them, DEVO is a cult-favorite new wave band that formed in 1973, with their biggest commercial success being their hit single from 1980, “Whip It”. Musically, their inspirations ranged from punk rock, synth-pop, and dance music. The band themselves influenced many music scenes such as alternative and industrial rock, and their satirical, politically charged songwriting and fusion of rock with electronics is still entirely their own. I was ecstatic to learn they were performing a Tiny Desk Concert for NPR, which has consistently been a way for older artists to reach younger demographics who may not have heard of their work originally.
If you haven’t heard of NPR’s Tiny Desk concerts, I’ll be lazy and repeat most of what I wrote for Chaka Khan’s performance earlier this summer: “Tiny Desk Concerts are held in NPR’s headquarters in DC, and all the musicians and equipment must be able to fit behind the desk where NPR’s weekly podcast ‘All Songs Considered’ gets recorded. Everything gets squeezed up to each other, making the concerts more intimate and personal. This emphasizes the music over stage effects and flashier, more unnecessary parts of a regular concert.” Thanks, past me!
DEVO’s current lineup comprises old and new members. Featured are original members Mark Mothersbaugh (vocals, keyboards), Bob Mothersbaugh (vocals, guitar), and Gerald Casale (vocals, bass); as well as newer member Josh Hager (guitar, vocals) and touring drummer Jeff Friedl. The setlist of songs is surprisingly more obscure than what I imagined, with no obvious hits or well-known songs. They played two songs from their debut 1978 studio album, Q: Are We Not Men? A: We Are Devo!, those being “Come Back Jonee” and “Praying Hands”. They also played “Blockhead” from 1980’s Duty Now for the Future, as well as “It Takes a Worried Man”, from the little-seen Neil Young-directed 1982 comedy film Human Highway.
The songs don’t deviate too much from the composition of their studio recordings, but having them performed live gives them a bit of gritty, almost alt-rock edge that reinvigorates them. The Talking Heads-sounding “It Takes a Worried Man” opens the concert, and it feels transported straight out of the 80s new wave era. Mark Mothersbaugh gives a wonderful synth solo, and the band’s inter-playing is tight throughout the entire performance. The original is also great, and a song that I believe could’ve been a radio single if promoted enough. “Blockhead” wasn’t one of my favorites from Duty Now for the Future, but its raw sound works much better when performed live. The focus on harsh, distorted guitars against wiggly electronics is still unique, but it flies higher without the smoother studio production.
“Praying Hands” is an excellent song from their debut, and it’s just as fun and campy live. The previous two songs mostly went straight into one another with short introductions, but here there are some audience interactions and performance art that the band is known for. Mark Mothersbaugh’s performance already sounded like a preacher giving a sermon and having him sing from a megaphone enhances this idea. Towards the end, he went into the audience in character to ask what people were “doing with their hands” instead of praying. It was remarkably odd, but funny, and the music remained stellar. I especially liked Jeff Friedl’s jittery drumming. The closer, “Come Back Jonee”, is an endlessly danceable pastiche of 50s hillbilly rock-n’-roll and another great showcase of the band’s chemistry. It’s jaunty, sounds strange, and made for a killer way to end the concert.
While it may not have the hits that casual fans would hope for, DEVO’s Tiny Desk Concert is a testament to an endlessly talented and underrated rock group that still hasn’t gotten their due.
Alternative pop trio MUNA dropped by the first day of Newport Folk Festival 2024 in Rhode Island to check out some of their favs. They were also there to perform and, actually first and foremost, did just that. In fact, they performed their asses off. Katie Gavin performed some acoustic solo tracks as well. Thankfully, Eric Tsurumoto grabbed some highlights for us.
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.
On Thursday, July 18th, pop-punk outfit Bowling For Soup hit up The Truman in Kansas City, Missouri to an eagerly-awaiting, sold-out crowd for the second stop on the 20th Anniversary tour of A Hangover You Don’t Deserve. The band is expertly comprised of original members Jaret Reddick, Chris Burney, and Gary Wiseman, joined by Rob Felicetti of The Ataris fame. Noting that it was the first time they’ve completely sold out a show in Kansas City ever, the band seemed very down-to-earth and super grateful, as always. Jaret recounted some great memories around the city from previous passings through and launched us right into the madness of A Hangover You Don’t Deserve.
To note, Chris Burney is currently out of the live lineup to heal from a leg/foot injury. They added his jersey to a mannequin for the duration of the set, which was wildly decorated to call back to the bright, funky ambiance of the album for which the tour exists.
The venue staffed multiple ASL interpreters for the performance, and their presence at the corner of the stage distracted the guys multiple times. They engaged in conversation as best they could, and asked some absurd questions while they took some time to remember the track list and keep a pace for the evening.
While Bowling For Soup aimed to play the 17 songs from the album in order, they did blank a couple of times and got things slightly out of order. Not enough for the crowd to fault them, and it made the set even more charming. With the help of a big wheel on stage, they chose “My Wena” as a mid-set track to shake it up a bit. And once they finished the album in its entirety, they encored with three fan favorites.
“High School Never Ends,” “Today Is Gonna Be a Great Day,” and “Girl All the Bad Guys Want” were the last songs echoing in our heads as elder millennial after elder millennial exited The Truman, joints popping and earplugs falling out. The evening was temperate and beautiful, keeping us in a cozy cocoon of nostalgia as we drifted home.
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.
Cowboys everywhere. Boots, hats, shirts, jewelry, all in the loudest colors (and rhinestones) imaginable. Walking into Music Hall of Williamsburg for CMAT’s sold-out performance was like watching the campiest fashion runway from the first row.
Hailing from Dunboyne, Ireland, Ciara Mary-Alice Thompson, also known by the acronym CMAT, jokingly asserts that she is “an international pop sensation,” a “very big celebrity,” and a “global pop star.” However, with two successful LPs, sold-out shows in both Europe and America and a very…cheeky (https://www.instagram.com/p/C4BkcaPMtZH/?img_index=1) nomination for the Brit Awards, she’s not far from the truth.
With her wild fashion sense, it was no wonder the audience took a cue. That’s the thing about a CMAT show; her fans, multiplying by the minute, are wholly devoted to her. Whatever CMAT does, her fans follow.
Prior to her set, Sheena Easton’s “Morning Train (Nine to Five)” blared over the speakers as a spotlight swept the stage. CMAT noted that this song helped inspire her latest LP, 2023’s CrazyMad, for Me. Inviting her fans into her world is something CMAT effortlessly does, an open book with communal pages. It’s this rapportthat undergirds her fanbase and connects them not only to CMAT but to each other.
After the song ended, the cheers began as the band, followed by CMAT, entered the stage. Beginning with “California,” the first song on CrazyMad, for Me, the venue erupted.
A CMAT show is more than a concert; it’s instead a circus, a musical merry-go-round of infectious spectacle. CMAT herself is a born performer, a live wire sheathed of its skin, dramatically writhing around the steps and crawling all over the stage. Her voice astounds, hitting every note both high and low, never once faltering. She adds her sense of humor as well, often striking theatrical poses and holding them until the audience thunderously applauds.
CMAT effortlessly worked the eager crowd, peering into the audience and checking out everyone’s clothing choices. She was especially enthused by a shamrock crop top worn by one of the male audience members in honor of her country. She made sure to note a fuzzy pink cowboy hat, and, of course, the Irish flag some attendees brought. It was striking to see how attentive she was to her fans, an attentiveness that they in turn gave back.
Judging by how cohesive the set was, one might have thought CMAT was a band as opposed to a singular artist. Each member brings their own personality to the table, most notably Colm Conlon, CMAT’s keyboardist. He joined her on vocals and silly, synchronized dancing. Conlon added so much fun and breathed even more life into the performance, which was, prior to his entrance, unthinkable.
CMAT puts all of herself into a performance. She gives every bit of energy she has. During one of the best parts, she performed a hit song off her first record, If My Wife New I’d Be Dead. “I Wanna Be a Cowboy, Baby” is the song that inspired most of the fans’ sartorial choices. CMAT requested that everyone in the venue do the two-step, issuing a mock warning that she’d stop the song if she spotted an audience member not dancing along.
No one in the New York City area would likely be caught dead if found engaging in such an act. But in Williamsburg, where weirdness abounds, the crowd enthusiastically obliged her, cowboy boot heels clicking rhythmically across the floor.
Saving one of the best for last, “Stay for Something,” CMAT instructed the audience to get as close to each other as possible. Everyone took their cue and immediately piled in as she reminded them to get their cameras out towards the end. Aided by a smaller venue, a massive contrast to her usual gigs in Europe, CMAT crowdsurfed to fans’ delight. Sailing on their hands, lifted up for all to see, was a dream. High-kicking off the stage, the night sadly ended.
CMAT is a star, a person who values oddness and fun, yet makes serious (though at times funny) music about life’s ups and downs, all the hope, joy, and despair. Her music has something for everyone, spanning country, rock, and pop.
A note from the writer/photographer: That night, CMAT became one of my favorite artists. I went into the show not knowing who she was. I left with unbridled bliss and exhilaration and was tasked with a self-imposed mission to see her the next night at the Bowery Ballroom. Unfortunately, I came down with Bronchitis and regrettably missed it. I eagerly await CMAT’s return to America, and I hope everyone reading this does, too! You don’t want to miss out on her, I assure you.
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