Brooklyn’s hardcore trailblazers Cash Bribe are back, delivering a knockout punch with their latest EP, Demonomics, out today via Futureless. This third offering, their first under the label, solidifies their position as one of the fiercest voices in modern punk and hardcore. If their 2023 release, Escape From New York, was a warning shot, Demonomics is an all-out assault on the systems that keep us subdued.
Recorded and mixed by Zach Miller at the iconic Landmine Studios, where hardcore luminaries like Year of the Knife have made their mark, Demonomics takes Cash Bribe’s chaotic energy to new heights. Guitarist Kirk McGirk aptly describes the EP’s incendiary spirit: “It’s like they’re pissing on your head and telling you it’s raining.” That unflinching rage fuels every riff and lyric, creating a visceral, unrelenting listening experience.
The EP opens with its title track, an ominous and heavy anthem that sets the tone for the journey ahead. “Bay of Pigs,” the lead single, bursts through the speakers with low-tuned swagger, sharp edges, and an unmistakable punk attitude. Rooted in powerviolence and hardcore, the track also nods to the noisy hardcore of Cursed and the raw aggression of mid-era Black Flag.
Tracks like “Faith Aversion” push the boundaries further, diving into metallic riffs that lend an apocalyptic depth to the record’s core. Fans of classic NYHC and those who crave a dose of rock ‘n’ roll spirit will find a balance of chaos and cohesion that speaks directly to the heart of the genre.
Lyrically, Demonomics is a razor-sharp critique of wealth inequality and societal gaslighting. Vocalist Joey Dahlstrom’s delivery pulls no punches, channeling fury and frustration into every line. These themes resonate deeply in today’s climate, adding an intellectual edge to the EP’s unfiltered aggression.
Formed in 2019, Cash Bribe’s lineup—Joey Dahlstrom (vocals), Kirk McGirk (guitar), Brian Jackson (bass), and Larry Koch (drums)—has evolved to match their increasing ambition. From their raw debut, Facemask City (2022), to the polished chaos of Escape From New York, the band has consistently upped the ante, drawing acclaim from major punk and hardcore outlets.
Demonomics isn’t just another EP; it’s a statement. With its heavier riffs, darker tones, and unrelenting fury, it’s Cash Bribe’s most refined and furious release to date. Whether you’re a hardcore aficionado or a punk purist, this EP is bound to leave a mark.
Stream Demonomics on Spotify and other platforms starting today. For those lucky enough to be in Brooklyn, catch the album release show at Lucky 13 Saloon and witness Cash Bribe’s chaos in real time.
Rising California punk band Heartwells, made up of Justin Tauch (guitar), Dave Mariano (bass), Chris Stout (drums), and Sam Peterson (guitar) are releasing their new EP Ollie on July 8th. Heartwells’ new single “Piss n’ Gums” is out now, as is the music video for the song. Heartwells is a relatively new and upcoming band, releasing their debut album “The New Old School” in June 2024.
A rage room filled with graffiti and broken skateboards is where we find the band in this music video. The video cuts between shots of the band performing and a rage room, all in the same background of neon green and red graffiti. The aesthetic feels like you’ve just entered a skate park in 2005, and despite the smashing of glass and loud punk production, there’s something comforting about it. For the two minutes of the video, you’re at a house party in an era that no longer exists.
The rage room serves for more than just a background, as “Piss n’ Gums” is about how sometimes life feels like beating after beating. But it’s also about learning to deal with these troubles, and embrace the challenges of the world as part of life. As Justin Tauch (or JT) says about the song: “Life is like a Dom ready to crack a whip on you when you least expect it. Might as well learn to enjoy it!”
“Piss n’ Gums” feels like a familiar comfort to those who miss the era of punk. In an era where pop music and electronic sounds dominate the charts, hearing bass licks and straight up drums is a nice deviation from the norm. And maybe this comes from the more natural production of the song. JT said his vocals for “Piss n’ Gums” were done in one take.
The song and video are an eclectic mix of both punk rage and some fun moments, which I think do a wonderful job reflecting what is so compelling about Heartwells as a whole.
La Raca Flaca taps into a new-age pop nostalgia on her most recent track “Peaks and Valleys.” “Peaks and Valleys” is an earnest pop track that explores love’s staying power, and its resistance to outside forces.
The song begins with a string arrangement that leans into the romance and allure of the track. La Raca Flaca’s voice then takes charge and with it comes a backing full of bass and synthy beats.
Her lyrics are conversational and are delivered as such, as she speaks to her lover directly, letting them know that outside barriers will not inhibit her love.
“Peaks and Valleys” chorus uplifts the narrative of the song as she further enforces her love’s staying power, and her confidence towards her relationship and its longevity. Her voice becomes stronger, and her message becomes even more powerful when she sings, “This special love will find a way.”
Throughout the verses, La Raca Flaca calls out to her lover creating an intimate bond within the song, and letting us in on her romance and its vulnerability. The song speaks to a greater union and alliance as she emphasizes the power that is created when her and her lover come together. The simplicity of the backing track gives La Raca Flaca the chance to speak to her lover with no distractions, and keeps the focus on her lyrics which are a declaration of unified love.
La Raca Flaca also released a music video which emphasizes the song’s title, “Peaks and Valleys”, as she walks through and exists within nature.
“Peaks and Valleys” is a testament to love and devotion, and La Raca Flaca’s lyrics capture the importance of the human ability to trust in love completely. This song is perfect for long distance relationships, reconnecting with a former flame, or really any relationship that’s ever had some sort of barrier. If you love emotional pop ballads, this one’s for you.
Kristen Ford has left the breaking point far behind her. On “Wild Heart”, the latest single from Ford’s upcoming album Pinto, the LA based and Nashville grown singer-songwriter goes farther than ever before. Produced by John Driskell Hopkins and Kristen Ford, the track is a proud entry into the canon of defiant, inspirational queer anthems.
The five minute track confronts rising waves of bigotry in the United States with a crisp drumline and catchy chorus. From the start, it’s explosive and irresistible. In the first 20 seconds, Ford can be heard shouting over a rising, whirring sound. All of it is reminiscent of falling into an abyss. The track then shatters its own ceiling with a snappy bassline and punchy guitar riff. “I’ll be the hero,” Ford croons in her distinctive, rasped voice. This opening line sets the scene for the rest of the song.
Lyrically, Ford does not hold back. There’s no mistaking what the song is about. Ford is proud in her delivery of lines that proudly promise she, and her community, will not back down from the fight for LGBT+ rights. For Ford, there’s no mistaking that trans and nonbinary people are integral to this fight. The song’s bridge is an unmistakable description of the transgender pride flag. In other words, Ford wants to make sure there’s no room for confusion.
This clarity is important. Written in response to Tennessee’s anti-drag act, “Wild Heart” is a direct response to hatred that is no longer masked behind fake smiles and laughs. Ford understands that the time for niceties has passed.
The song is aptly named. When Ford sings, “I was born with a wild, wild heart,” you can’t help but feel galvanized. The track is both an exclamation from Ford herself and a battle call to the rest of us. No where is this more evident than when Ford callbacks to the opening chaos of the track, shouting, “Let’s go” over a wild explosion of sound. Her message is clear: we’ve passed the breaking point, now is the time for action.
The music video echoes these sentiments. Against a purple and picnic backgroup, Ford and her band celebrate their queer identity in front of a gathering of agitators. In the face of hatred, Ford and her group dance on. Ultimately, however, Ford preaches hopes. The video ends with this same crowd joining in on the celebration. For Ford, loves will always win. Her optimism is also seen in her belief that now is the perfect time to reclaim the narrative. “The rulebook has been thrown out by the current administration,” she says, “we can turn this disorder back on them and boldly create the world we want.”
This conviction is commendable in an artist like Ford. As a queer, biracial creative, Ford is no stranger to bigotry. Her upcoming album, “Pinto”, confronts the challenges she’s faced in her own time, while reconciling both past and future. Ford’s search for truth serves as the firm foundation for her ultimate message: you, no matter who you are, matter. “Wild Heart” is, in many ways, a culmination of Ford’s beliefs as an artist and human. There’s no room for doubt when she exclaims she was born for this.
Ford’s upcoming album Pinto is out August 22nd, and is available for pre-order now. Catch Ford on tour this summer at the following dates: June 13th – Huntsville, AL @ Lipz Lounge June 14th – Atlanta, GA @ Red Light Cafe June 15th – Nashville, TN @ 5 Spot June 18th – Charleston, SC @ The Purple Buffalo June 21st – Hoboken, NJ @ 503 Social Club June 22nd – Worcester, MA @ Electric Haze June 28 – Sioux Falls, SD @ The Den June 29 – Minneapolis, MN @ Twin Cities Pride July 4 – Madison, WI @ National Women’s Music Festival July 7 – Des Moines, IA @ Lefty’s Live Music July 9 – Columbus, OH @ Natalie’s July 10 – Chicago, IL @ UncommonGround Lakeview July 11 – Pittsburgh, PA @ Unitarian Church July 12 – Binghampton, NY @ Atomic Tom’s July 18 – Cambridge, MA @ The Burren Backroom July 19 – Camden, CT @ Canteen July 26 – Berkeley, CA @ The Starry Plough
Amid all the noise of a party back in 2022, the magnetism between two dreaming musicians, Marcus Gebauer and Jori Griffith, was too powerful to deny. The beauty of their meeting created a gradual collaboration which allowed them both to pursue their dreams. With the help of Mike Gruber on keyboard, Nicholas Kapche on bass, and Eric Matteson on drums, Blue Rose has brought us their debut album Blue Moon, released on May 30.
Blue Moon is a 12-track twister of folk, country, and rock. Filled with short and simple tales that take their time unraveling, we are reminded to slow down and stay in the present to enjoy things like seeing a local band or looking up at the sunset. Besides its relatability, this album evokes a keen sense of nostalgia for watching Hallmark movies with mom, or sitting by the fireplace on winter break. Our storytellers are Griffith’s vocals ranging from nasal croon to edgy twang, complementing Gebauer’s smooth yet gritty guitar from beginning to end. Both are certainly talented, but are far from finished finding the right sound.
“If I Had a Rose” is a cover of a 2019 duet sung by Bruce Robison and Kelly Willis. This is a clever way of introducing Blue Rose to the world, demonstrating their influences and style. However, this rendition is almost too smooth, as syllables stretch for miles in just one direction, taking away some of the rough country character of the original.
Leaning more into rock territory is track 2: “Let Me Love You”. The guitar on this one is electric and exciting, but Griffith’s vocals are out of a commercial jingle, complete with cliche ridden lyrics like “the blue sky’s so bright”. While the song is a fun one, it lacks depth.
“Let’s See a Band” has beautiful hints of Fleetwood Mac. Griffith’s crooning makes for an emotional listening experience that traps you in your seat. Sadly, the trance is broken upon hearing the overly simple chorus. This was a missed opportunity for a really powerful track as the music itself was near perfect.
Griffith brings the bluesy country feelings with “I’m So Tired”. This song is the most experimental track by far. Even though Griffith doesn’t sell her fatigue to the listener, she compensates by adding an intriguing muffled effect in the middle of the song. The lack of crispness adds a layer to the unfortunate message of the song overlaying the upbeat backing music.
Even sadder is country ballad “Remember When”, a generic, yet beautiful movie-worthy tune. Griffith makes ample use of scenic description, slowly and impressively planting a memory into the listener that they may never have experienced. “Remember when we thought we’d never die” is what I find to be the best lyric on this album.
Halfway through the album is title track “Blue Moon” which also serves as a theme song for this duo’s fateful relationship. The song really captures the continuing simple yet easily forgotten message of appreciating small moments. This one is somewhat of an evolution as it shies away from the cliched, and presents a better harmony between each element of the song. The changing layers of instruments parallel spectacularly with the repeated line “once in a blue moon”, developing a sense that time is changing.
“Life is Short” feels like the best of Taylor Swift’s early era. This is a true love song with a rare inclusion of multiple perspectives. Simple and sweet, Griffith skips the pettiness and gets down to what matters. While some lyrics are executed awkwardly, it’s easy to ignore.
“Somethin’ Good” is more relevant and relatable than ever, but not unique in any sense. Taking a page out of the rule book for new pop music, this song throws out short statements of feeling in a diary-like fashion. This song becomes more of an anthem.
Anything but slow is “Slow”. Although still a bit too smooth and commercialized, Griffith’s vocals are really special in this one, grounding the listener in the moment she is expanding upon. While it’s easy to tell this song is new, her voice is timeless.
The first few notes of “Dandelions” mistakenly had me thinking I was listening to a Jim Croce guitar riff. Griffith continues to use the same easy phrases like “above the clouds the sun still shines so bright”, but the way she changes her tone as she repeats them makes them more profound. This song truly sounds like a country poem.
“Just Like Sheryl” is my favorite track on the album. This song is different from all the others, serving as an origin story for Griffith with descriptions of her childhood muses Shania Twain and Sheryl Crow. The way she references their hit songs is cleverly interwoven with her own lyrics, humanizing the nearly anonymous soul we are listening to.
“Sometimes” is the final track on the album, contrasting the previous song as it represents Griffith’s quiet side. The final message from Griffith is one of patience, demonstrated through another simple yet magical love story. She expertly shifts from third to second person, revealing herself as the woman she describes being struck by love.
Blue Moon is a well-produced debut album which serves as a tiny nook of calm in the crazy state of life. While being light and fun, there is a sense of intimacy in each song, a feeling like you and you only are being sung to. Blue Rose doesn’t take itself too seriously, creating music that is hopeful and easily accessible. Most striking is the consistent depiction of senses and seasons which really make the songs what they are. Even the moon becomes a recurring character, bringing the title to life.
Blue Rose has a lot of room to grow, and a lot of emotion to tap into, but this is only the beginning. If you want to see this band blossom more, they will be touring throughout Illinois this Summer.
Ben Kweller is a well established musical artist currently located in Dripping Springs, Texas (another win for the Texas musical scene!) who is currently celebrating the his latest full-length, Cover the Mirrors. This is Kweller’s first release since the death of his son Dorian in 2023 and is dedicated to Dorian. The album explores the devastation and grief that Kweller experienced after his son’s passing, but it also delves into the multifaceted nature of grief to dismantle and alter every aspect of life.
Cover the Mirrors discusses what happens to you and the people around you after a loved one passes, and the alteration of daily life and experience. Kweller explores relationships, depression, emotional wellbeing, isolation, and so much more in this album. The album itself is a testament to the impact that the people we love have on us, and their permanence in our lives long after they are gone.
The first track, “Going Insane”, really sets the tone for the emotional exploration and absurdity the album presents to us. Kweller is talking about serious issues but he doesn’t shy away from making light out of a bad situation or being a little absurd at times. “Going Insane” is a steady piano ballad that explores desperation and dealing with life’s turmoils. This is contrasted by the lightness in lyrics such as “rattlesnake, carrot cake.” It creates an interesting juxtaposition as he writes that he and the people around him are all “balled up inside.” The orchestral strings are a nice touch to this lyrically experimental ballad on struggling through the days.
Cover the Mirrors has many amazing and big name features such as: Waxahatchee, Coconut Records, The Flaming Lips, and MJ Lenderman. “Dollar Store (feat. Waxahatchee)” further expands upon the idea of inner turmoil as he battles with the struggles and standstill of a relationship. Kweller battles wanting to keep trying but also not wanting to dwell on the struggle itself.
The chorus of the song is infectious and Waxahatchee’s vocals linger throughout the background which make for a delightful listening experience. Throughout the album, I noticed that Kweller loves a big outro to a song and this track is no exception as we end with the drums and guitar coming together to assist Kweller scream out the song’s chorus. The music video is a great visualizer for the song’s message and was filmed at Bluebonnet Food Mart and Heart of Texas Hotel right here in Austin, Texas!
“Depression (feat. Coconut Records)” is a sonic shift at this point in the album as they drop the overt folk sounds and lean into electronics and bass. This album has proved to be extremely thematically consistent, as Kweller continues to question his sadness and isolation. The bridge is a real standout on this one, as the drums dominate but allow for some beautiful backing melodies. The lyrics are heartbreakingly honest as Kweller writes, “I used to think that I was strong and tough, but I can’t even get through the day.”
The album feels like it is constantly in conversation with itself, and Kweller is further thinking about the quality and worthiness of his relationship, and his willingness to fight for it. “Don’t Cave” adopts a more hazy and hopeful tone as he navigates uncharted territory of “the goodbye we shouldn’t say” in his relationship. The instrumentals on this track culminate into an uplifting ballad that highlights each element (drums, strings and guitar) wonderfully.
“Optimystic” is one of the standout tracks on the record for me. It adopts a heavier and punky guitar tone and Kweller’s lyrics are a conversation to himself about his delicate mental state during this time. Definitely the most *mosh* worthy track on the album. The guitar tone is infectious and the chorus will definitely get stuck in your head. Also, Kweller’s coined phrase of “pill-popionaire” is just too good!
The music video is essential in my opinion to visualizing the track, and the playful animation done by Mystery Matter is wonderful and engaging.
“Killer Bee (feat. The Flaming Lips)” is yet another killer feature on the album. The song is sonically aligned with the rest of the album and the buzzing bee sound of the keyboard/synth is a great and interesting touch. The scaling guitar during the chorus highlights the song’s message of exploration and insecurity. Kweller posted a demo on Youtube much before the songs release, and the direction they took it in made for a dynamic and explorative listening experience post production.
Kweller’s lyrics are exceptional on this album and they get a chance to truly shine in “Letter to Agony” where he confessionally explores his depressive mental state and how that is affecting his attitudes towards his relationship. It has a similar sound to “Park Harvey Fire Drill”, a previous track on the album, but takes a much more serious tone. He discusses undesirable thoughts of wishing ill will on someone he loves and is remarkably self aware of his own shortcomings and chemical imbalances. The minor chords feed into this sorrowful tone, as he writes, “all of the toxic waste spewing from me tonight, I fear there’s no end in sight.” Kweller is quite literally isolated on this track, as it only features Kweller’s vocals and guitar.
Kweller not only writes about grief, but also how to fight through it. “Save Yourself” starts out with a simple guitar melody and by the chorus becomes a loud explosion of drums and guitar as Kweller fights his way to say, “Don’t let it beat you up.” This is a fight song against the dangers of grief as it emphasizes the importance of saving oneself from the “unknown loss”. The exciting instrumentals and conversation between the guitar and drums create a truly epic listening experience, and has the potential to be very motivating to anyone who has ever struggled through grief and loss.
“Oh Dorian (feat. MJ Lenderman)” is my favorite song off the album and is an excellent close to the deeply personal conversations we’ve had with Kweller as listeners throughout the album’s tracklist. The heartbreak in this song is not only caused by the loss of Dorian, but that Kweller allows us to know Dorian’s glowing personality and traits, and we learn to mourn alongside Kweller for his son.
The charming pianos introduce the song and give it a lighthearted and sweet tone, which coupled with the celebratory and beautiful lyrics about Dorian create a sonic memory and memorial. The electric guitar work from Lenderman and piano from Kweller on this track really highlight the beauty of him and Dorian’s relationship, ebbing and flowing into our ears and delivering the lyrics on a platter for our enjoyment. The lyrics are tear jerking but Kweller will make you smile through the tears as he writes about Dorian,
Crystal child, double-Gemini A million songs in his head Doesn’t care if you’re wrong or right He believes what you said
Kweller further creates an environment where we feel like we know Dorian through lyrics like,
Watch him glow and radiate When he walks through the door Understands a-what you say ’cause he’s been there before
Kweller paints a deeply personal picture on this track, and if you are going to listen to one song on the album this is most definitely the highlight. But I would really recommend listening to all of them! Kweller lets us in on life while battling grief, and how he is navigating the world without his son. He highlights the radically changing quality that grief has on you and the people you love, which makes this album so much more than grief itself.
Cover the Mirrors is a journey through Kweller’s mental, physical and emotional battles and he does not hold back. It is musically and lyrically explorative and provides the listener with sonically diverse tracks with clever and interesting lyrics. It may be about intense issues, but much of the album does not feel explicitly sad, but rather emotionally experimental. Ben Kweller has fully fleshed out what it means to grieve, and has created an album that is a testament to his love for not only his son, but his journey of loving and understanding himself and others.
