Have you ever wanted to laugh while nerding out on a topic you have limited information on? Enter: LabX’s “Wrong Answers Only,” the comedy show hosted by Chris Duffy that entertains a deep-dive topic with one expert and three comedians.
“Wrong Answers Only” has hilariously introduced truths on topics like cybersecurity and bees. On June 17th, they will cover the fan-favorite topic of ICE CREAM. (I mean, who doesn’t love ice cream?) Chris will be joined in his ice cream, adventure by Expert Dr. Maya Warren and comedians Lily Du, Alyssa Limperis, and Aparna Nancherla at Dynasty Typewriter in Los Angeles on Tuesday, June 17th.
National Ice Cream Month kicks off in July, so it’s time to get your knowledge on. We got to ask Chris Duffy a few questions while he preps for a night of sweet, sweet comedy and entertainment.
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WRONG ANSWERS ONLY is a real treat for people like me who like to fully understand topics. Have you had a favorite deep-dive yet? What would be a future topic you’d want to talk to a scientist about?
Honestly, so much of the fun of doing a show where comedians interview scientists is that every topic ends up being surprising and hilarious. That being said, I think one of the most mind blowing topics was when we interviewed Dr. Moogega Cooper who works on making sure Earth’s spaceships don’t accidentally send out a bacteria or organism that could wreak havoc across the galaxy.
As for a dream topic, I always think scientists who study animals are fascinating and hilarious so I’d love to talk to a rat expert. I bet there’s a lot of comedy there. But actually, now that I’m thinking about it, I’d probably have to look at a lot of photos of rats, which is disgusting and terrifying. So let’s say a guinea pig expert instead. They’re like the friendly cousins of rats.
Where was the show topic of ice cream born from for this upcoming Dynasty Typewriter event?
The idea to do a comedy show about ice cream came from: 1) how good it is to eat ice cream 2) us hearing about a scientist who studies ice cream 3) me realizing this would mean I’d get to eat ice cream for work and 4) us realizing we could give the audience ice cream during the show and have them love us forever.
Can’t argue any of that! Dr. Maya Warren is going to be your guest for this ice cream deep dive. What qualifies her as an ice cream expert, and how did you get into contact?
Well, if you go to her website, it says in giant letters “Ice Cream Scientist™” so that’s definitely a clue that you might be dealing with an ice cream expert. But also, she’s got a PhD in Food Science and has traveled the world studying and creating new flavors of ice cream. One of the amazing parts of doing a comedy show for LabX (a program of the National Academy of Sciences) is that they just know people like this. They’re the only people I could ever meet in my life who would go “Oh, we actually met this ice cream scientist the other night, do you think that might be a fun topic for the show?” The answer, of course, was yes.
Is there anything in particular you are looking forward to bringing up with Dr. Warren and the comedians?
I am most looking forward to ice cream. But also to hearing about Dr. Warren’s work helping create new flavors for Snoop Dogg’s ice cream company, her research studying the “behavioral properties of frozen aerated desserts,” and asking her what the scientifically best and worst ice cream flavors are.
Do you have any pre-show rituals when you’re performing in front of an audience, or even just in general?
My pre-show ritual is to panic, sweat through my shirt, rethink all of my life choices, and then go out onto the stage.
What is your idea of the perfect night out at Dynasty Typewriter, in particular?
I love Dynasty Typewriter! It’s my favorite comedy venue in Los Angeles. It’s also right next to Wi Spa, so you could always catch the show and then immediately soak in several different tubs and get a full body scrub. That’s a really bold combination for a night out, but it is technically possible! A tad less unhinged would be to grab a drink and some food at The Prince**, one of the most fun and classically LA spots in the city. I love the ambience and also the addition of mozzarella to almost any food you order there. The HMS Bounty is another classic LA spot that’s close by and has surprisingly good food. Plus, I don’t think this is true, but I always tell people I bring there that it’s made from an actual ship. Don’t fact check that.
What is your favorite flavor of ice cream?
Frankly, I think it’s hard to beat a good vanilla with hot fudge on top. But when I go to Handel’s in Los Feliz (my current favorite ice cream shop), I love to get their taro flavor.
Where do you draw inspiration from in your work?
I am largely inspired by typos on signs.
Incredible. Anything else you’d like to share with your sweet toothed crowd?
Please come to this show, it’s on Tuesday, June 17th at 7:30 p.m. at Dynasty Typewriter and I will personally guarantee you get ice cream during the show. PROVE YOU HAVE A SWEET TOOTH BY COMING AND BRINGING ALL YOUR FRIENDS!!!!
(Much of the way I promote my comedy veers between aggressive yelling and begging for people to attend. It’s kind of my signature.)
As a quick side note, your podcast “How to Be a Better Human” is incredibly sincere and eye-opening. Is there a singular episode or anecdote you have in your memory bank that really solidifies your commitment to the self-help genre?
My memory bank is experiencing a dramatic run on the reserves and it is not FDIC insured. It’s a very unreliable bank. That being said, I loved the episode we did this season with Clint Smith III about history and memory.
**The Prince is absolutely worth it if you want to feel like you’re on set. You may recognize it from several of your favorite productions, including as Nick Miller’s bar in New Girl. Right across the street sits Los Angeles High School of The Arts, which is also a big piece of history and a filming location.
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.
One of the best forms of therapy can be bonding with people from all walks of life, celebrating the same, beautiful music at a concert together. Dawes happens to be comprised of brothers Taylor and Griffin Goldsmith, who happen to come from the same – or similar – walk of life, which isn’t lost on me as I glance around at the spellbound crowd around 9pm on Saturday, June 7th. The fact that they have been able to maintain such fantastic stage presence and creative prowess together for so long is a testament to their dedication to their craft, and their ability to see the good in each other. (Working with your family isn’t an easy thing to do. I honestly see it as a marker of genius in most situations.)
The brothers and their talented backing band played at the Star Pavilion at the Ameristar Casino in Kansas City, Missouri — a venue I hadn’t yet photographed at, but found more enchanting than cheesy.
Dawes tore into a couple of songs before coming up for air to introduce themselves. While many bands will joke about whether they are in Kansas or Missouri, Taylor joked more about not knowing their proximity to the city because of the lack of windows in the room. Small jokes here and there garnered a lot of reaction from the ultra-attentive crowd.
Dawes’ 13-track setlist included crowd favorites, and some slow burns to really cherish together. Witnessing the build of the instrumentals – and watching the way the band jams together live – was an incredibly enjoyable experience, a welcome evening break from the horrors of the world.
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
BBNO$ is back and he’s not knocking, he’s kicking the door in.Released May 1, “boom” is the latest single from Canadian rapper-slash-Internet-chaos icon BBNO$ (pronounced baby no money), and it’s exactly the kind of high-energy, genre-defying madness we’ve come to expect. Clocking in at just under two minutes, the track explodes with self-aware swagger that somehow feels both effortless and entirely unhinged. Produced by longtime collaborator Y2K alongside BBNO$ himself, the song launches into a minimalist, bass-heavy beat layered with trap snaps, distorted synth stabs, and a forward momentum that makes it feel like you’re being chased through a cartoon car chase.
Lyrically, “boom” doesn’t slow down. The verses hit with rapid-fire confidence, weaving flexes, absurd metaphors, and tongue-in-cheek callbacks into a tightly packed sonic cannonball. As BBNO$ puts it, “On my mama, I ain’t gonna stop until I’m rich” it’s a flex and a punchline rolled into one. The hook? Instantly catchy. The ad-libs? Chaotic in the best way. The vibe? Like someone took a meme, threw it in a blender with a designer tracksuit, and hit go.
If you’re not already familiar with BBNO$, you’ve definitely heard him. With viral hits like “Lalala”, “Edamame”, and his chaotic collabs with Yung Gravy under the duo name Baby Gravy, he’s become something of a digital cult hero. Known for everything from fever dream–style music videos to cosplaying random characters in his social media content, BBNO$ has built a persona that’s part performance art, part pop culture sponge, and 100% entertaining. He doesn’t just make music. He creates moments.
But behind the jokes and flashy outfits is a surprisingly grounded artist. He’s been outspoken about issues like AI’s role in the creative industry, advocating for real human artistry in an increasingly automated world. He’s also spoken out as a proud trans ally, steadily earning a devoted and diverse fanbase that spans from hypebeasts to queer teens to producers who see the method in the mayhem.
“boom” is the first taste of a new album currently in development, and if the rest of the project leans into this same manic energy and finely tuned absurdity, we’re in for one hell of a ride. This track doesn’t just slap. It struts in, steals your drink, and leaves with your friends, all while making you laugh on its way out.
Stream “boom” now on Spotify, YouTube, or wherever you soundtrack your most chaotic main character moments.
The American alt-pop duo Cafuné, made up of musicians Noah Yoo and Sedona Schat, have released the single “e-Asphyxiation” off their upcoming album, Bite Reality. If you’re unaware of Cafuné, you may recognize their 3x Platinum song “Tek it” which went viral on Tiktok and was sampled in Lil Uzi Vert’s song “Red Moon.” With this online success, it’s unsurprising that Bite Reality finds the band questioning our current cultural moment where AI and social media encompass our lives.
“e-Asphyxiation” is an expression of how exhausting social media can be, especially once fame is factored in. The lyrics describe the frustrations of our modern generation, where you have to display a certain persona online all the time. It’s definitely relatable for anyone who’s spent a little too long hovering over the post button on Instagram. You can see this in the chorus of the song:
I’m tied down too tight, by all these Phone screen obligations, e-Asphyxiation I can’t close my eyes with all these Phone screen obligations, e-Asphyxiation
The music video’s focus is split, choosing to focus on both Noah Yoo and Sedona Schat performing the song simply, and hazier outlines of the musicians. The camera flashes back and forth between this more authentic performance and a foggy, distorted reality of Yoo and Schat. Cafuné’s music video is a reflection of this split persona that social media demands. And as the video comes to an end, we’ve lost the two musicians to that hazy reality.
If “e-Asphyxiation” is anything to go by, Bite Reality might signal a different sound for Cafuné. While the song still fits the band’s alt-pop genre, there’s something more raw from the production side. More drums, more guitar, more straight vocals. We’ll have to wait for the rest of the album to see if it follows this pattern, but based on the lead single alone, this grit might be here to stay.
Bite Reality releases via Soundon on September 12. If you want to see more of Cafuné, the band recently announced upcoming dates for their North American Tour Alive Online.
UPCOMING TOUR DATES September 19 – Washington, DC – The Atlantis* September 20 – Philadelphia, PA – The Fillmore – The Foundry* September 22 – Boston, MA – Brighton Music Hall* September 23 – Montréal, QC – Bar Le Ritz PDB* September 24 – Toronto, ON – The Great Hall* September 26 – Chicago, IL – Lincoln Hall* September 27 – Madison, WI – High Noon Saloon* September 30 – Denver, CO – Globe Hall* October 2 – Salt Lake City, UT – Urban Lounge* October 5 – Portland, OR – Mississippi Studios* October 6 – Seattle, WA – The Crocodile – Madame Lou’s* October 8 – San Francisco, CA – Bimbo’s 365 Club* October 10 – Los Angeles, CA – Teragram Ballroom* October 12 – Phoenix, AZ – The Rebel Lounge* October 14 – Dallas, TX – House of Blues Dallas – Cambridge Room* October 15 – Austin, TX – The Parish* October 17 – Atlanta, GA – The Masquerade – Hell* October 18 – Carrboro, NC – Cat’s Cradle – Backroom* October 22 – Brooklyn, NY – Music Hall of Williamsburg* *with support from crushed All tour dates here
Beach Bunny has always been something of a paradox: sugary sweet pop-rock with teeth. Formed in 2015 as a solo project by Chicago native Lili Trifilio, the band grew into a full lineup in 2017 and now includes Matt Henkels on guitar, Jon Alvarado on drums, and Anthony Vaccaro on bass. Together, they’ve cultivated a cult-like following with their emotional vulnerability, catchy riffs, and cathartic live energy. After the breakout success of Honeymoon’s bittersweet surf-pop and Emotional Creature’s Y2K-tinged indie rock exploration, Tunnel Vision arrives as their most emotionally charged and sonically bold effort yet.
Beach Bunny’s Tunnel Vision dropped April 25, and to call it a return would be a disservice. It’s an evolution. Their third full-length album is a raw, poetic excavation of existential dread, self-image, and the desperate craving for control in a world that seems allergic to it. It’s loud, soft, sad, witty, and Beach Bunny at their most emotionally expansive and still their most distilled.
Tunnel Vision doesn’t flinch from big feelings. There are repeated themes of self-loathing, disillusionment, and growing pains. The 10-track record opens like a diary page torn out and set on fire. Each song burns in its own way.
“Big Pink Bubble”, the second track, is a standout in both concept and execution. It’s deceptively sweet, light on its feet sonically, yet narratively potent. Trifilio sings about avoidance and self-erasure, using the metaphor of a bubble as a boundary and a hiding place. It’s the last song that made it onto the album, but it feels essential: a thesis on emotional survival in a hypercritical world. Making yourself small to be digestible shouldn’t feel like a universal experience, and yet somehow it does.
Track 3, “Chasm”, hits like an internal scream. Fuzzy guitars and pounding drums mirror the chaos in the lyrics. There’s a sharpness here, a sense of falling into yourself with no rope to hold onto. It’s one of the best examples of how Tunnel Vision balances lyric-heavy intimacy with bold, anthemic production.
The title track, “Tunnel Vision”, takes that tension and gives it form. There’s a fever-dream quality to the way it builds, both focused and frayed. It mirrors the modern desire to disappear into something, anything, just to feel like life has a clear direction again. Trifilio’s vocals stay high and sweet even as she sings of disconnect and overstimulation. It’s the sound of being pulled forward, even when you’re not sure you want to go.
And then there’s “Clueless”, track 5, a classic Beach Bunny bop dressed in birthday candles and quiet dread. Released right before Trifilio’s 28th birthday, the song captures the disorienting, slow-burn panic of aging and not feeling any closer to figuring things out.
One of the most unexpected highlights is “Pixie Cut”, a punky, Paramore-tinged anthem that feels like cutting your hair because your life is falling apart. The production goes a little darker, a little harder, and the result is cathartic and commanding. It’s a side of Beach Bunny we rarely see: less cutesy, more claws. And it works.
And then there’s “Cycles”, the closer, and one of the band’s most interesting experiments in musical reimagining. Originally released in 2019 under Trifilio’s solo name, it’s now reborn as a full-band track. Heavier, more polished, but still aching. It ends the album on a note of resigned beauty, recognizing that sometimes the hardest part of growing is realizing you’re still stuck in the same loops.
Right now, the band is taking that emotional whirlwind on the road. Beach Bunny is currently on tour across North America, bringing Tunnel Vision to life with their signature blend of catharsis and charm. For longtime fans and new listeners alike, these shows offer a front-row seat to a band at the height of their vulnerability and power.
If Honeymoon was the teenage heartbreak album and Emotional Creature was the young adult identity crisis, Tunnel Vision is the mid-20s existential spiral. But it’s also a sign that Beach Bunny is still expanding, still experimenting, still refusing to sit still long enough to be easily categorized. This is messy music for messy people, and Imperfect Fifth wouldn’t want it any other way.
