Quickly rising indie pop/rock artist Michigander just put out a new single entitled “Giving Up”, attached with a music video and a B-side called “Breaker Box”. Michigander, led by singer-songwriter Jason Singer, has been releasing music since 2016 and has been gaining traction through singles like “Misery” and engagement from popular playlists by Spotify, Apple Music, and Amazon Music. As of now, Singer is the face of Spotify’s “The New Alt” playlist, which promotes new and popular alternative music, placing him alongside artists like The Killers and Hozier. Before the release of “Giving Up”, Singer had put out 2023’s It Will Never Be The Same EP and a live performance and EP for Vevo’s online DSCVR series.
“Giving Up” absolutely appeals to fans of Michigander’s previous songs and features his trademark sound. His alternative pop sound with hazy synths and electronics that still capture honest emotions, all sung with Singer’s distinctive Midwestern twang. It’s cutesy and very likable, and Singer has a charm and earnestness to him that makes him appealing. The backing band assembled for this single is also very good, composed of Jake LeMond on guitar, Connor Robertson on bass, Chris Koo on keys, and Aaron Senor on drums. Lyrically, it’s about desperately trying to make someone happy to have minimal success and having to be assertive about getting nothing in return. It’s a relatable sentiment and very genuine. The music video, directed by Tyler Appel, is shot well with beautiful cinematography. It features multiple scenes of Singer playing with his band, as well as aimlessly driving his truck amongst other things. It’s fun and matches the song well enough, and Singer has a good presence in music videos.
The B-side, “Breaker Box”, matches the A-side in its similar sentiments and seems to be from the same narrator and addressed to the same person as before. It’s another song about a crumbling relationship and wanting the other person to put forth more effort into maintaining it. The song has a wonderfully lush production, with a more piano-driven melody and some wonderful-sounding horns. Like “Giving Up”, it balances being catchy as well as intimate and personal.
Michigander continues to be an inspired presence in modern alternative music, and “Giving Up” is an excellent example of why. As for the future, Singer and his band have a headlining tour beginning Oct 10 in Cincinnati, Ohio, going into 2025 with support from multiple artists including Cece Coakley and Sydney Sprague, as well as solo acoustic performances with Band of Horses.
In the post-COVID era, it’s completely changed what it means to go to the movies. Nowadays, with ticket prices higher than ever and more audience members wanting to wait for streaming as opposed to going out, the few films that are successful commercially do so by either being a known IP or is an original that breaks through with their marketing. The former is obvious; as everyone knows that the highest-grossing films per year are sequels, remakes, adaptations, or connected to something recognizable. Yet for the latter, an original film that still makes its money back and gets people talking, it feels more like an event than a movie. Longlegs, the new horror film by Oz Perkins (The Blackcoat’s Daughter), was a movie that I saw simply because of how much I heard about it online. This came down to the film’s stellar reviews (being from NEON, an independent film distributor rivaling A24 as a stamp of quality for original work) and guerilla-style interactive marketing techniques that gave the film an unavoidable presence for film nerds like myself or otherwise.
Longlegs is a serial killer film that wears its references on its sleeve, with obvious influences in Se7en and especially The Silence of the Lambs. It stars Maika Monroe (It Follows) as a newly recruited and possibly clairvoyant FBI agent named Lee Harker in the early 90s (very Clarice Starling-like), assigned to investigate a decade-spanning case of a serial killer known as Longlegs. The killer, played by the always insane and polarizing Nicolas Cage, conducts brutal family murder-suicides, yet has no trace or imprint at each crime scene except for a note containing Satanic coding and his signature. Along the way, Harker discovers the case may have connections to her personally, with potential links to her mother, played by Alicia Witt.
The immediate praises that the film has been getting from everyone else are the technical aspects, namely the directing, cinematography, and sound design, which are truly immaculate and meticulously thought out in every scene. Every shot maximizes suspense and unsettlement through framing, lighting, mood, sound, score, and pacing. It’s cold and atmospheric, with dread and tension consistently present in every scene. Perkins is always confident in where to put the camera, where/when to move it, and how long a shot should stay for full effect, and I’m excited to see his future projects. (I also enjoyed the detail of the film’s aspect changing whenever there was a flashback.) The score by Zilgi (aka the director’s brother, Elvis Perkins), is suitably creepy and adds to the stressfulness of some scenes, and the sound department led by Eugenio Battaglia is damn near perfect. The sound of Longlegs is crisp and dry, with enough emphasis on certain details and the tiniest of sounds to keep your eyes peeled on the screen. However, what disappointed me was the infrequent, but still annoying, use of obnoxiously loud jump scare-type noise to elicit bigger reactions from the audience during certain moments. It’s cheap and feels deeply amateurish considering how expertly crafted the rest of the sound design is.
I liked Maika Monroe’s acting in this, being an intentionally muted agent who seems like a blank slate and seems to lack deeper connections to most of the other characters. That’s another way Perkins builds intrigue with his shot composition, by focusing on one character per shot and rarely featuring two at once to deepen the disconnect between each other. The film keeps her character at arm’s length for much of it until it reveals more about her. Nicolas Cage, as Longlegs, is suitably over-the-top in his usual Cagey way. His somewhat hammy performance intentionally contrasts with the more reserved characters and setting of the rest of the film, which is stressed by Cage’s usual great screen presence that bounces between slithery and creepy to loud and freakish in seconds. Sometimes he can seem to overdo his performance, but he remains entertaining throughout. As a music nerd, I admired the 70s glam rock references to his character in terms of look and performance, as well as having songs by T. Rex as a motif. The heavy makeup and campy portrayal of the killer from Cage gives the impression of being influenced by several musicians of that era, such as David Johansen of New York Dolls, Rod Stewart, or even outsider folk singer Tiny Tim.
Unfortunately, what really determined my thoughts about the film was the resolution to the plot. Giving nothing away, the main issue with Longlegs is the dump of plot exposition that explains every mystery to the central case towards the film’s end. The film follows a similar plot structure to a lot of thrillers and serial killer investigation films but feels fresh and exciting because of the style and craft behind it. There’s a lot of promise and intrigue early on through new questions being introduced, and it seems to build up to a thrilling climax. Yet the explanations provided not only feel too vague and unsatisfying, but they’re too sudden and close to the end of the film to have the shock and impact it could’ve. It’s a shame that the film stumbles in its final act through its writing and plot development, and ends on a note that leaves it less than the sum of its parts.
Still, even if I had my problems with it, there’s still a lot to admire here. Longlegs is such a marvel in its visuals, direction, and technical aspects as a thriller to make it worth a viewing, even if your enjoyment may depend on your suspension of disbelief as its plot reveals.
Up-and-coming rap artist Lexa Gates just released an incredible new single “I Just Can’t Be Alone.” The song, produced by Billy Lemos, is a beautiful blend of self-awareness, embarrassing frustration, and somber acceptance common in unhealthy relationships. Gates, the Queens NYC native, has a long and rich history with music; her mother taught her music theory and composition as a child and eventually used music to get her through tough times as a young adult.
The harmony of this song is what makes it special. Gates’ voice is as deep as Amy Winehouse and blends beautifully over the rhythm and blues melody. The background vocals add tremendously to the jazzy, old-fashioned feel of the song.“I Just Can’t Be Alone” is very relaxing to listen to, especially on a slow morning or romantic evening alone. For lack of a better term, it is finger-snapping good!
The meaning of the song is exactly as the title insinuates– Gates cannot be left alone. She relies on a lover but hates the emotional turmoil of being in a relationship. She can’t make up her mind…does she want him (or her) in her life? But can she even live without him? From the verse:
“I’m so sick of sleeping in, putting you above everything. Let myself down everyday, I just can’t stay away…”
You can clearly tell she feels suffocated by him and is tired of always putting him first. Later in the song she compares her relationship with him to that of a chess game: she will always lose to him and willingly too because of the unspoken power he has over her thoughts and emotions.
The accompanying music video is downright charming. Gates is seen swaying to the music, wind blowing through her hair, and glancing at the camera every so often. Her background visuals and rose-tinted filter reinforce the vintage feel of the song, as Gates is seen sitting on a queen-sized motel bed, laying on a cream-colored sectional couch, and crouching down in a large soaking tub throughout the video. One impressive fact is that this music video is Gates’ single-handed masterpiece: it was directed, produced, edited, and styled all by herself.
Chamber-rock indie band Cloud Cult from St. Cloud, Minnesota has just released their newest song “The Universe Woke Up As You” and it is a philosophical masterpiece. The song consists of Craig Minowa as the band’s lead vocalist and songwriter, Jeremy Harvey on the drums, Shannon Frid-Rubin on the violin, Sarah Perbix and Aurora Minowa as backup vocals, and Daniel Zamzow on the cello. Minowa recorded the song in the midst of a divorce, in the Wisconsin woods. Minowa was able to process his grief through music and regain control over his perspective on life with this song.
“The Universe Woke Up As You” came out as part of their Alchemy Creek album, due to come out on August 8th. This full-length studio album is made possible by Earthology Records, the band’s own record label created by Minowa himself. A really interesting fact is that Cloud Cult’s efforts to create music, advertise their band, and tour in the most sustainable ways possible have earned them a spot in “Top 10 Green Bands” by Rolling Stone in 2009.
Both the melody and lyrics of the song are melancholic and very reminiscent of the past. The feminine background vocals provide wonderful harmony to Minowa’s soft-spoken singing. In the end, a beautiful violin solo pulls the song to a close. In my opinion, the musicality of this song reminds me of Foster the People’s “Pumped Up Kicks”, mirroring its soothing vocals which convey a surprisingly depressing message. This 5-minute song is a great way to wind down after a long, hard day.
At the beginning of the song, Minowa can be heard whispering the intro, which makes the intended audience and all who listen feel small. The lyrics tell a story of hopeless nostalgia. Minowa reminisces about simpler times when he was a kid, and implies that things are much more difficult now as an adult having to deal with this “skull-sized hell.” Personally, my favorite verse of the song is:
Gonna draw myself a picture of the way things were What is real and what is fantasy? Well, I really can’t be sure There’s so much here to feel, well, it’s all just a blur Gonna draw myself a picture of the way things were
By the end, Minowa explodes into something bigger as he yells the title of the song “Today the universe woke up as you!” This piece depicts an interesting message of how one can control one’s own perception of time, space, and reality.
The accompanying music video starts with Minowa in front of a camcorder. It is apparent that the set takes place in some type of storage unit, giving the video a quickly-made unplanned feel. Behind him is the back of a garage door; on the camcorder screen, however, it is clear that the video editors have added a green screen to the background. The family-friendly vibe of the song is enforced by children acting as a film crew. For what seems low-budget, this video is a perfect visual for the song. “The Universe Woke Up As You” can be watched on YouTube here.
You can follow Cloud Cult on their own well-cultivated website. You can also subscribe to their Patreon, where they rank as one of the top content creators on the platform. Cloud Cult will be touring later this summer, headlining at the People Fest in Yuba, WI on August 9th. Be sure to catch them live before their last performance on September 28th at the Palace Theater in St. Paul, MN.
Considering the band members that comprise psych-tinged alt-rock quartet Liily – Dylan Nash (Frontman), Sam De La Torre (Guitarist), Charlie Anastasis (Bassist), and Maxx Morando (Drummer) – are all artistic in a variety of ways, it comes as no surprise that the video for single “Swallow” off their fresh drop Liily was so fully ideated and realized by the band, who directed it. The song – which is very specifically about their disdain for trauma porn – is, according to the band, “a pretty simple rock tune, we wanted to keep it straight forward along with the rest of the EP, no bells and whistles! We saw it as our chance to be musical vs over-intellectualizing something that is meat and potatoes.”
About the composition, they are correct. A little bit of a dirty edge to it, with a steady rhythm most can get into, the song is more catchy than one would assume when they think of the subject matter. With both vocals and a video that are sprinkled with the stereotypical bored demeanor of a true rock outfit, the build of energy in the song is almost unexpected, but equally welcoming.
“Swallow” was shot by members of Liily in 2022 with a little help from Keegan James Hurley, Justin Billings, and Andie Jane. Guitarist Sam De La Torre edited it, giving it an admittedly engaging finish.
French Cassettes, an indie band based in San Francisco, has released their new single “When You Know, You Know” and it’s every bit as dreamy as a song can get! The song is featured on their new album, Benzene, set to come out on June 7th.
When asked about how the song came about, songwriter Lorenzo Scott Huerta muses, “I was listening to a lot of Bread and Barry White at the time, and this one just came out of that very quickly. I’d never paid more attention to what kind of pick I was using on my guitar; I just wanted it to have that feathery strum sound.”
The band consists of Huerta, guitarist Mackenzie Bunch and drummer Rob Mills, with the song itself mixed by Nick Krill. A fun fact is that “When You Know, You Know” was created at Bunch’s record studio in Oakland, CA.
The music is similar to that of a lullaby, with a slow melody and clear guitar acoustics strumming the song forward. The lyrics are like a diary-entry, describing a dream one had the night before. In the chorus:
Baby don’t wake me every time, no You don’t have to wake me every time, no Maybe I seem lucid in your eyes I don’t wanna see that go
It’s apparent that they are reminiscing about a time with a loved one; they see it as a dream-like experience and express how they don’t want to wake up from it.
The song is accompanied with an official music video; the visuals add to the haziness of the song, and makes one lose themselves in a nostalgic memory.
French Cassettes are currently touring around the US, with the exception of Vancouver in late July of this year. In addition to YouTube, you can also stream “If You Know, You Know” on all streaming platforms.
It’s not difficult to hear the varying inspirations of Montreal (aka Kevin Barnes – he/she/they) so expertly pull together in what can only be called their new audioscape. “Yung Hearts Bleed Free” changes tempo – and complete feeling – a couple of times. This is a move that would otherwise feel disjointed but, in the context of the experimental nature of the musician and its unique video, feels to truly set a vibe instead.
Explains Barnes of the song: “[It was] influenced by the Leos Carax film “Boy Meets Girl”, Bootsy’s Rubber Band, and my recent purchase of a Yamaha TG33 and a Kawai K1M. I wanted to make a strutting, sexy little vamp of a song that just kind of chugged along and felt relaxed and playful and free.”
The lyrics could definitely be characterized as naughty, but they aren’t the standout facet in this track either. While the song is reminiscent of 80s greats, there is something still so psychedelic about the way it is presented, both audibly and in the music video. Director Madeline Babuka Black shares:
There’s a certain 60’s/ experimental spirit to Barnes’ songwriting that I love and by using analog techniques of paper cut out and direct on film animation I pay homage to that. The paper cut out animations and color palette of the film were deeply inspired by Larry Jordan’s experimental animations, most notably his 1968 film “Our Lady of the Sphere.”
The new album, due out in May, marks the last of Barnes’ recorded in Georgia, and perhaps you can feel that nostalgic sweetness in the remainder of the record as well. But “Yung Hearts Bleed Free” is a great treasure to have seen, and I hope you agree.
Directed and Animated by Madeline Babuka Black Director of Photography Julie Orlick Edited by Izzy Kross Featuring Olivia Babuka Black and Scott Rosenthal Scanned by Jack Tashdjian
The electric guitar starts the song “Firecracker Man” by Thorslund with feelings of anticipation about what sounds, harmonies, and lyrics will be electrified. The pulsing sounds of the drums speed up the tempo with their steady beats and sudden rapid beats in between.
Our protagonist has kept his energetic and fun spirit hidden but now he is ready to take his dancing shoes out of his pocket. With these, he is a charming man who is confident to show everyone his expressive personality. The dance is a form of expression. The shoes are a metaphor for him taking the dancing steps to express himself to people he meets. Thus, he is no longer waiting to be a firecracker man; a man who charms people with his personality and makes everyone he sees smile. He now is going to be a firecracker man!
He is tired of pretending to not be the spotlight of the dance floor as in the past, he dominated the dance floor. Once he stopped dancing, he lost his self-confidence to reveal his charming personality. He felt ordinary because he lost his will to dance, which made him feel extraordinary and unique, as implied by the description of his dancing as “funky.”
He associates wealth with his charming personality. He always imagined that his charming personality and superior dancing skills would make him wealthy. As he continued toward his goals, he kept losing his confidence. But now a surge of energy is careening through him to dance his way to wealth and the recognition he craves from everyone he meets.
He not only wants to uplift himself, but he also yearns to uplift the people he meets who will be supportive of him. He will teach them to dance so well, that their incredible, funky dance moves will not be an illusion, but a reality!
The video itself is an edgy, fun display of Thorslund’s live performance chops. Check it out below!
If you have yet to happen upon the immense talents of Connor McLaren, now is your chance. The Indianapolis-based musician just released his first full-length with the indelible Ben Kweller’s label The Noise Company. Today, we get to peep the music video for the single “Candy Rain.”
A casual, meandering pace opens the track as we delve into the love story that is “Candy Rain.” While his romantic interest is metaphorically compared to this tasty concept, momentum builds and instrumentals are layered. The song becomes more of a quintessential rock ballad than originally expected, with a hint of grunge/surf rock influence in the whirring guitars. McLaren’s voice has the same appeal as your favorite 90’s crooners, giving all of his music what seems to be an unintentional – but completely genuine – layer of added nostalgia.
By the song alone, it is quite obvious that McLaren’s musicianship and professionalism far surpass the expectations normally associated with his ripe age of 21. But diving into the music video is a whole other treat. (See what we did there?)
The artist takes an artful approach to this visual release, with isolated color palettes dancing around his shadow profile in some frames, playing with natural elements like the textures in mother nature and the sun in others. Shots of the curly-haired crooner performing in earnest, surrounded by bubbles. Then covered in paint. Then avoiding a literal candy downpour under an umbrella.
The video is a kaleidoscope dream you won’t soon forget.
UPCOMING TOUR DATES: August 17 – New York, NY – The Footlight August 26 – Normal, IL – House Show August 31 – Bloomington, IN – The Atrium September 2 – Cleveland, OH – Mahall’s Apartment September 9 – West Lafayette, IN – House Show September 12 – Nashville, TN – The Basement East September 14 – Boone, NC – TApp Room September 21 – Chicago, IL – Bookclub October 14 – Charleston, SC – House Show November 10 – Appleton, WI – Appleton Beer Factory December 22 – Indianapolis, IN – HiFi **Homecoming show – TICKETS
SONG CREDITS Lead Vocals – Connor McLaren Acoustic and Electric Guitar – Alec McLaren Bass and Drums – Ben Kweller Backing Vocals – Connor McLaren and Ben Kweller **Written by Connor McLaren, Alec McLaren, and Benjamin Kweller and published by Weed Funded Songs (ASCAP), Charity Chase Songs (ASCAP) and Twelve Sided Die (ASCAP)
