Fauxchella VI Recap

Yours truly, about to have the weekend of his life.

First off, this is going to be much more of a “multimedia” post than this blog is used to. I don’t know if you’ve noticed, but I haven’t been publishing many things on Swim Into The Sound lately. In fact, I haven’t posted anything since August. Whoops. At first, that was kind of just a lack of inspiration. Then, I moved across the country, and that took a fair amount of brainpower, energy, and attention. After that, my excuse was that I was “settling in” to this new part of the country and enjoying life in my newly-no-longer long-distance relationship. Lately, I’ve been thinking it’s some combination of all those things. My life has shifted around massively, and sometimes things take a while to equalize. 

As I write this, I’m still recovering from Fauxchella VI, which happened smack-dab in the middle of October. If you didn’t read my massive 5,000-word Fauxchella interview/retrospective back in April, I don’t blame you (after all, it was 5,000 words). The gist of it is that Fauxchella VI was a three-day 69-band DIY punk festival that took place in Bowling Green, Ohio. This sixth iteration of this festival kicked off at 2:00 PM on Friday, October 13th, 2023, and played its final notes sometime around midnight on Sunday, October 15th. 

The days were packed with an overwhelming slew of talent, from plucky, fresh-faced newcomers like Saturdays at Your Place to seasoned scene vets like Dikembe. I got to shout along to Equipment, Ben Quad, and Michael Cera Palin. I got to see Carpool fight Summerbruise in a battle set I’ll never forget. I got to shout along to “Pepe SylviaandFight Milk!” on the same stage on the same weekend. It did my Midwest emo heart good.

The short version is that Fauxchella VI was a three-day all-you-can-eat buffet of riffs and infectious energy, and I wouldn’t have missed it for the world. There was popcorn, Jell-O shots, and an endless sea of merch nuzzled in the back, and if you’re anything like me, you are not immune to popcorn, Jell-O shots, or cool t-shirts.

The draw in both fans and talent was immense. Some bands traveled from neighboring Ohio towns, while others hopped on planes just for the opportunity to rip a 30 minute set in front of an adoring sold-out crowd. In my case, my girlfriend and I drove up 12 hours from North Carolina the night before just so we could be there all weekend. I’ve spent the last half-decade of my life listening to, loving, and writing about this type of music, and the opportunity to hear so many essential songs played loud-as-fuck and in-the-flesh was nothing short of life-affirming. 

The whole weekend was a constant stream of seeing bands I’ve loved for years, meeting people whose art I’ve written about, and finally putting faces to the names of Twitter avatars I’ve seen the whole pandemic. It was a beautiful, communal moment, all put together by the lovely people over at Summit Shack. Thank you, Conor, Ellie, and the whole crew, for everything you do, everything you’ve done, and everything I know you will put together in the future. You are the best of us, truly. 

I wanted to recap some of my favorite moments that I happened to catch on video because

  1. I want to document this weekend while the events are still fresh.

  2. I have COVID, so there’s nothing better to do than watch videos on my phone and reminisce.

  3. I want to keep this to the blog so I don’t annoy people on Twitter with an endless spool of emo music posting (at least more than I already do).

Also worth noting that this is not comprehensive, just some of my favorite sets as I saw them and captured them on video. Before we get into my little collection of homemade videos, I’d also like to share that I made this Spotify Playlist of (almost) every band’s most recent material in performance order if you’d like to listen along or just need 39.5 hours of emo music to fill your day. Let’s get into it.


Saturdays At Your Place

Going into Fauxchella, Saturdays At Your Place was one of the bands I was most excited to finally catch live. I’ve had always cloudy on repeat since January, and over the last ten months, it’s emerged as one of the strongest emo EPs of the year. At first, I was drawn in by the undeniable singalong emo anthem that is “Tarot Cards,” but I soon grew to love every track on the 18-minute release just as much. These days, I’m especially drawn to the cresting bombast of “eat me alive,” which was a marvel to scream along to live. If “pourover” is any indication,” the band’s upcoming split with Summerbruise and Shoplifter means we only have more heaters in the future.

NATL PARK SRVC

Only one band dared to cram eight of their own musicians onto the stage, and that was Minneapolis’ NATL PARK SRVC, whose excellent album Magician comes out in just a matter of days. For 30 minutes, the indie rock septet blessed us with hits from their upcoming record, including hit singles “Smiling” and “Dizzy.” Adorned with trumpet, violin, lap steel, and backup vox, these songs sprawled out into exciting, danceable bits of indie rock that sounded like no other band on the weekend’s lineup. The group also doled out CD copies of their album early so attendees could get a sneak peek at the double album before it hit streaming services. 

Thank You, I’m Sorry

Keeping the Minneapolis train going, Thank You, I’m Sorry took the stage at 6 pm for an absolutely triumphant set. Things began with a stripped-down rendition of “how many slugs can we throw against the wall until we question our own mortality,” which mounted into a gazy full-band wall of noise in the back half. After that crowd-pleasing classic, the band mostly played songs off their excellent sophomore album, Growing In Strange Places, which was released only a few weeks prior. There were fun little dance numbers (Chronically Online), fist-balling ragers (Head Climbing), and a solitary closing number where half the band walked into the crowd to spread a bouquet of flowers. A lovely, intimate, and affirming set from a band that just put out their best work yet. 

Funeral Homes

Chalk this up under “band I never thought I’d be lucky enough to see live,” Funeral Homes is my under-the-radar choice for best shoegaze band currently working. Performing as a three-piece, the trio launched through hit after hit off Blue Heaven, their hazy masterpiece from last year. These songs hit like a truck, and bobbing my head along to “Double Vision” is something I have been wanting to do since this time last year. It’s not often you get to hear one of your favorite shoegaze albums of the year played directly in your face for 30 minutes, and I wouldn’t have it any other way.

Equipment

While their members have moved around a bit in recent years, Equipment may, for all intents and purposes, be a Bowling Green band. With Toledo just a short 20-some-minute drive up the road, it’s fair to say Equipment had home field advantage when they took the stage at Howard's at 7 pm. The fact that they dropped an excellent EP earlier this year and a killer album just weeks ago meant that this might as well have been a hometown album release celebration, and it certainly felt like it. 

Perspective, A Lovely Hand To Hold

After a short pizza dinner break, we got back just in time to catch the career-spanning set of Perspective, A Lovely Hand To Hold, who made Fauxchella one of the stops on their farewell tour before putting the band to rest. The band took listeners through their discography backward, starting with some cuts off last year’s Phantasmagorialand and winding all the way back to crowd-pleasing classics like “Pepe Sylvia.” The band’s final show will take place at Fest 21 later this month, but I’m just glad I was able to see the New Hampshireites one last time before they put the project to bed—Perspective, Forever. 

Carpool vs. Summerbruise

In what I consider my personal “Main Event” of Fauxchella Day 1, we had a battle set between Rochester’s Carpool and Indianapolis’ Summerbruise. If you’ve read this blog even a little, you’ll know I have a storied history with each of these groups and loving their music. Between Erotic Nightmare Summer and The View Never Changes, these two bands have made some of the best collections of emo music this side of 2020, and to see them both on stage together was practically too much for my heart to bear. For an hour straight, the bands took turns ripping through their hits, trading blows, and swapping insults. After raging at each other and with the crowd for nearly an hour, the two bands squashed their beef, joining forces for a group cover of Limp Bizkit’s “Break Stuff,” which electrified the whole room. Two titans at the height of their power. 

Ben Quad

Ben Quad released the emo album of the year in 2022, and you could really tell as hordes of fans packed in so they could scream every word and note back at them. Pits were opened, fingers were pointed, and guitars were tapped. Performing against a backdrop of Dumb & Dumber clips, the band ripped through the high points of I’m Scared That’s All There Is, as well as their hardcore one-off “You’re Part of It” and songs off their freshly-released two-piece single. If you haven’t been riding the Ben Quad train, this set could have convinced even the most cold-hearted emo hater to jump on board. 

Charmer

I first saw Charmer at Fauxchella III back in 2019, and that set converted me into a lifelong fan. To see the band live again in the same spot four and a half years later only affirmed that they are masters of their domain. We were treated to songs off both their LPs, plus sneak peeks at a couple of upcoming tracks. The cherry on top came when they played “Topanga Lawrence” with live horn accompaniment courtesy of DIY Emo stalwart J-Fudge. A transcendent way to end day 1. 


Brown Maple

A band that feels primed to be the next Equipment, Brown Maple kicked off day 2 with a rockin’ cover of Katy Perry’s “Last Friday Night,” which made me feel like I was living in an unreleased copy of Punk Goes Pop. Despite some grogginess from the day before, the band quickly whipped the crowd up into a frenzy with their tap-happy riffage, pulling mainly from last year’s EP and recent singles. By the end of the set, a group of fans had stormed the stage, commandeering the mic, getting the day off to a great start in the process. 

Kerosene Heights

Kerosene Height’s first official album, Southeast Of Somewhere, has been a mainstay on my weekly charts and regular listening ever since it was first released at the beginning of the summer. I don’t even really have a great video to share because I spent the entire set up front screaming along to every word, and I guess that’s an endorsement enough on its own. 

Smoke Detector vs. Gwuak!

Early on in day 2, we had our second battle set of the festival as the twinkly Smoke Detector went head to head with the tap-happy Gwuak. Each two-piece commanded their half of the stage, bouncing through hits from their recent records, but the room truly came alive when Smoke Detector pulled out the big guns: a cover of Natasha Bedingfield’s “Unwritten.”

Aren’t We Amphibians

Scheduled up next were Aren’t We Amphibians, who were traveling up from San Diego and just dropped a fantastic little EP, which I was excited to see live. On Friday, their van broke down, stranding the group somewhere in Arizona. But fear not! The DIY community is a vast support network. By the next day, the group had met their Go Fund Me goal and were back on the road to kick off a tour with Equipment… but they would sadly miss their Fauxchella set. This was a bummer until the spirit of DIY camaraderie provided a miracle of a fill-in band in the form of…

MooseCreek Park

I wouldn’t have known about MooseCreek Park if it wasn’t for Swim Into The Sound’s very own Brandon Cortez, who reviewed the band’s new album for this site back when it dropped in July. Thanks to Brandon’s glowing review, I felt like I was in early on the frantically-tapping New Jersey weedmo group. I was ready to witness the frantic tapping of “Ok Dylan” and belt out the chorus of “Pieces,” and while I was sad to miss AWA, swapping them with MooseCreek wound up being a more-than-suitable consolation prize. 

Dad Bod

Yet even more Minneapolis representation, let’s talk about Dad Bod. I hope we’re all in agreement that “Rot” is one of the greatest songs of the 2010s because that’s a given to me. Hearing that song live was an absolute revelation; even though I still want to hear the band blow that instrumental at the end into a wandering outro, but I’ll take it. Aside from that, the band’s live presence created a crushing and engaging wall of sound, all backed by School of Rock’s invigorating middle act. 

Brewster

On from the sad stuff to the yee-haw stuff, Brewster brought the country-fried excellence for a twangy alt-country sway that made me miss the sweet tea back in North Carolina. Interestingly enough, the band is based in Jersey, which is funny since the record feels like an easy recommendation for anyone who used to like Pinegrove. If that’s not enough for you, Brewster also manages to drawl things out into a My Morning Jacket or even Drive-by Truckers-esque bramble, which I always appreciate. 

Okay, rapid-speed through the rest of Day 2 because whew…

Riley! 

Incredible to witness live. Their energy and proficiency know no bounds. The new stuff sounds great 👀

Cheem

Felt like I was witnessing history watching this band play these songs live. People packed in to shake their asses to “Smooth Brain,” as they should. 

Newgrounds Death Rugby

One of my biggest surprises of Fauxchella was how incredible NGDR sounds live. The perfect balance of dancing and moshpitting.

Short Fictions

Also having just put out an awesome album, the Short Fictions set was half new, half tried-and-true oldies. 

Oldsoul

Yeah, there was a Macarena in the pit. You read that right. They started with “High On Yourself,” and I belted along with every word.

Michael Cera Palin 

I’ve been waiting about five years to finally see this band live. They have two EPs, a single, a song on a comp, and a goofy cover of “Soak Up The Sun.” Every song is incredible. I know every molecule to these songs, and part of me couldn’t even believe I was taking them in live. They played the obligatory cover, but everyone knows it’s way better to scream along to “GodDAMN, I need a cigarette!” 

Next, I watched Camping in Alaska and Dikembe respectfully, tiredly, and excitedly, from the sidelines. Good, because the next day started early with a last-minute solo acoustic house show at 10 am from…


Equipment

Celebrating the five-year anniversary of their (loosely) disowned first album, Ruthless Sun, Nick Zander from Equipment led a basement full of about two dozen fans through a full-album playthrough early on Sunday morning. We huddled up with our coffees and sang along with this rudimentary form of Quippy as Zander padded the time between songs with color commentary and easter eggs. A few lyrics were forgotten, and a few other, newer songs were slipped into the mix, but this felt like a beautiful moment of homecoming and celebrating the album that got the band to their new album, which is the culmination of years worth of touring, songwriting, and turn-grinding. A special thing to be a part of. 

Mango Tree

Two of the members of Mango Tree had just gotten married weeks earlier, but they put off their honeymoon just to play a hometown show surrounded by friends, and lemme tell you, it was worth it. The second time I teared up on Sunday alone, this alt-folk punk set was intimate, therapeutic, and love-filled. A brilliant high note to start the day out on.

Hummus Vacuum

AKA Rivers Cuomo

Yes, that’s the name of the band, yes we brought them hummus, yes they have a song about getting your foreskin taken. Any more questions?

See Through Person

I’m not in the business of betting on the success of a band; I just write about shit that rips. However, if I were to be making bets on who’s preparing to have a big 2024, it’s See Through Person. The Florida-Michigan transplants only have six songs released across two EPs, but not only do they all rip, but the kids came out for this set, making for a sweaty 2 pm prelude to the final battle set of the festival…

Ben Quad vs. Arcadia Grey

Going into this, I thought for sure this was going to be a clean sweep. Then I saw how many people packed in for Arcadia Grey’s set the night before, and I wasn’t so sure. The set began with a kidnapping and ended in a kiss. I love happy endings, especially when a Modern Baseball cover comes before the finale. 

Honey Creek

Easycore is back, and we have Honey Creek to thank for that. I definitively fucked up my voice during this set, screaming along to every word of the band’s just-released Self Preservation. Plus, I always respect a band adopting a uniform, and the all-white get-ups were a nice touch that tied everything together. 

Innerlove.

Another country counterpoint to Fauxchella’s typically-emo-leaning lineup, Innerlove brought the twangy goodness as they played hit after hit off their summery Roscoe. A prime example of the Emo To Alt-Country Pipeline, Innerlove specalize in songs about drinking (negative) and bad decisions (also negative). Luckily, the songs are so fun to sing along to live that you almost forget all that. Bonus points for having the hardest, loudest drummer of the whole weekend. 

Excuse Me, Who Are You?

Earlier this year, I spent about 1k words waxing poetic about the awesome four-track EP from Excuse Me, Who Are You?, so if you want to know my specific thoughts on this band, go read that. In what might have been the most hardcore set of day 3, EMWAY ripped the roof off Howard’s as hordes of fans screamed along to every anguished turn of the band’s screamo set. Fists were swung, pits were opened, and minds were blown. 

Swiss Army Wife

Look, I’ve lived in the Midwest, up in the mountains, and down south, but in my heart of hearts, I’ll always be a Pacific Northwest boy from Portland, Oregon. The same goes for Swiss Army Wife, a tall-as-hell emo crew who flew out from my home state just to give the Midwest a taste of their fucked-up dance-punk

Palette Knife

I’ve been a fan of Palette Knife since their first album, but their music sounded almost too precise and too acute to be real. I’m happy to report that, when playing live, these guys can bang out every riff you hear on the record and make them sound even more full of life. It probably helped that a few dozen fans crammed up against the side stage to help scream along to every lyric and thrash along to every breakdown, but wow, sometimes seeing is believing. 

Khaki Cuffs

In one of the most novel arrangements of Fauxchella, Khaki Cuffs’ set found bandleader Brody Hamilton behind the kit as a standalone mic allowed the crowd (and a couple guest stars) to take up vocal duties as the guitars and bass played along with Hamilton’s live percussion. This was my first time seeing Khaki Cuffs live, and it was fun to see these songs in such a novel way. 

At this point, I was drained and practically dead on my feet from three straight days of music festing. The breathtaking Jetty Bones played Fauxchella VI out with their confessional brand of indie rock, and the next day, we were all back to our normal lives. In my case, we were waking up early to check out of our Air Bnb and settling in for a 12-plus hour drive back to North Carolina. We were drained physically, emotionally, and financially, but infinitely satiated by three days of meeting friends and taking in incredible set after incredible set. I felt blessed to see so many of these bands in their best form and watch a countless number of my own favorite emo songs played directly into my face. I may have gotten sick as hell and spent the next three days sleeping off COVID, but Fauxchella VI was everything I ever would have wanted and then some. Thanks to everyone involved, every band that played, and every friend that said ‘hi,’ you make this all worth it, and I can’t wait to do it all again someday. 

The Best of Q2 2022

We’re halfway through the year, and, well, lots has happened. As always, music has been a guiding light in my life, offering both something to hold onto and something to look forward to. If you’re reading this, you probably feel the same way and have just as many albums that have helped keep you grounded over the last [insert number of bad months here].

What follows is a collection of ten albums released over the last three months that have connected with me. If you want to read about my favorite albums from the first three months of the year, click here. Other than that, read on for the tunes that have helped keep me sane throughout the spring and early summer of 2022. 


Angel Olsen - Big Time

Jagjaguwar

If I were to describe the new Angel Olsen album in one word, it would be “breathtaking.” I’ll be the first to admit that–aside from last year’s phenomenal one-off Sharon Van Etten collab– I haven’t been the biggest fan of Olsen’s output as of late. That waning interest is less about declining artistry and more because 2016’s My Woman is one of my favorite records of the entire decade, and that’s a tall order to surpass. This all said, Big Time has been a fast love and now feels like the closest she’s gotten to the sublime energy captured on that seminal record. The approach taken on her fifth album ends up fitting Olsen perfectly; twangy and honest country-light is a great backdrop that allows our heroine to unleash the full power of her voice and emotions. The instrumentals are aching and meticulously crafted, gently guiding the songs forward while also being beautiful in their own right. After making one of the best indie rock records of the decade, getting orchestral-gothic, and taking a vibrant 80s detour, Big Time proves the only place left to go is back home. 


Ben Quad - I’m Scared That’s All There Is

Chillwavve Records

I feel like every couple of months I extol the virtues of some emo band with a variation of “I love that tappy shit,” but it’s true, dammit. My desire for noodly riffs is insatiable, and luckily emo is a genre where bands can crank that shit out in abundance. Ben Quad, however, is better than all of those mid-ass midwest bands, as they prove throughout their debut full-length I’m Scared That’s All There Is. Evoking equally punctual emo greats like Oliver Houston, Ben Quad pack relatable lyrics, dizzying riffs, and hypnotic chants into a compact and fulfilling 23 minutes, resulting in what’s already one of the best emo albums of the year.


Heart To Gold - Tom

Memory Music

There he is, peering out at you, all freckled and wide-eyed. Who is that on the cover of the second full-length from Heart to Gold? Is it a member of the band? Is it the titular Tom? You’ll have to press play to find out. In one of my biggest surprises so far this year, Heart to Gold utilize an intoxicating mixture of emo, pop-punk, and just a dash of hardcore, bending the best (and least-embarrassing) aspects of these genres to their will. The songs on this record are boisterous, energetic, emphatic, and every other descriptor you’d want to hear while packed into a sweaty Minneapolis basement. There are hilarious samples, touches of tappy midwest emo instrumentation, cathartic group chants, and even some killer Title Fight-esque screams. As with most records of this genre, the theme of Tom seems to be a general sense of maturation. Whether they’re grappling with the weight of existence or riding the waves of tumultuous relationships, the band maintains an open-hearted approach that keeps the release grounded and relatable. Much like the first dude at the show who opens up the pit, Heart to Gold do an excellent job of inviting you into their world and encouraging you to scream along. 


HTML - Righteousness Endures Forever

Self-released

Death is real. That’s far from an original insight, but HTML manage to put a revelatory spin on loss throughout their sophomore record, Righteousness Endures Forever. Pitched by lead singer Travis Verbil as “a dad rock record about my dead dad (but chill though),” the release is heavily inspired by 70s singer-songwriter fare but also acts as a clear continuation of the dynamic indie rock sound found on 2018’s Topmost Grief. Just seven songs clocking in at a lightweight 20 minutes and 20 seconds, Righteousness explores what it means to lose someone, love someone, and honor their life through your own. A stunning and touching collection of songs that have spoken to me on an intimate level.


PUP - THE UNRAVELING OF PUPTHEBAND

Rise Records

On some level, the fourth studio album from PUP just feels like “More PUP.” It’s not a massive departure from the music they’ve been making their whole career, but when you can crank out anthemic shout-along punk by the albumload, why not go back for another helping, right? A lightly conceptual album depicting the Toronto punks as a floundering business, THE UNRAVELING OF PUPTHEBAND sees the band fraying at the seams attempting to turn their musical passions into a sustainable career. The group experiments with new elements like pianos, synths, trumpets, trombones, saxophones, guest features, and more. Perhaps most noticeably, the album is loud and not just in a thrashy punk way, but in a blown-out, bit-crushed way. It’s a stylistic choice that allows everything to hang together nicely and makes this album feel distinct from prior PUP releases.

Even with a relatively unique wholistic sound, there is some retreaded material here. As much as they shred, both “Robot Writes A Love Song” and “Matilda” are love songs projected onto non-human objects, a previously-winning formula for the band. Even my favorite song, “Waiting,” evokes the angry “Full Blown Meltdown” but differentiates itself by launching into a stellar two-syllable single-word chorus that is a marvel of songwriting and economy of words. At worst, these redundancies come across as a kind of steadfast artistic consistency that can only be achieved by a punk band who have somehow managed to claw their way to a decade-plus career. UNRAVELING is a stellar record that proves more PUP is never a bad thing.


Sadurn - Radiator

Run For Cover Records

I will always give at least one listen to everything that Run For Cover puts out. After building up a decade of goodwill with releases that have become lifelong loves, this trustworthiness has paid off in spades, leading to some of my favorite records of recent years, like Springtime and Blind and Animal Companionship. When the Boston-based label announced they were signing Sadurn earlier this year, I did the same thing I always do and listened to the first single. Also doubling as the album opener, “Snake” hits a sweet spot between Ratboys-style indie rock twang and DIY heart-on-sleeve sensibilities. Perhaps most importantly, the track is topped off with a lovely dollop of slide guitar, an instrument that has become a light obsession for me over the last few years. After letting it marinate for about a month, Sadurn followed that first single up with “Golden Arm” and then “Icepick,” each song quickly cornering a different fold of my heart. 

The full Radiator experience isn’t too far off from those singles. Defaulting to the pace of a lazy porch swing on a hot summer's day, these songs ache with longing, love, and adolescent confusion. The perfect record to throw on early morning with a cup of coffee, mid-afternoon with a beer, or late at night in the throes of yearning. Another in the long line of records that proves Run For Cover runs in my blood. 


Short Fictions - Every Moment Of Every Day

Lauren Records

What if an emo fell in love? And what if said emo fell in love while the world was falling apart? Oh, wait… that’s lots of us. And given the contents of Every Moment Of Every Day, it’s safe to say that Short Fictions vocalist/guitarist Sam Treber is among them. Throughout the phenomenal sophomore album from the Pittsburg emo revivalists, we hear beautiful, loving sentiments nestled between anxiety-riddled observations about the ever-crumbling world in which we live. 

Both “Heather” and “You Will Never Be the Best at Anything You Try (Surely Not)” are adoring love songs that also acknowledge the realities of the failing capitalistic system most 20-somethings begrudgingly find ourselves in the middle of. What do you do when you feel the most powerful force on earth while the world around you is falling apart? When the climate crisis has already arrived, when your partner is 100 miles away, when everything is changing and it’s freaking you out? It’s a wildly conflicting feeling to hold such positive and negative things in your heart at once, but that space is where Short Fictions thrive. 

Aside from these overarching throughlines of connection and distress, other highlights include when the group gives a realistic view of tour life on “Don’t Start a Band” and express their frustrations with capitalism on the hardcore rager “The Great Unwashed.” Album closer “Don’t Pinch Me I’m Dreaming” lands the record on a hopeful reminder that love can be a powerful motivator despite all the strife that precedes and surrounds it. Much like their phenomenal debut, Every Moment of Every Day is a 30-minute 8-track LP that proves the emo genre still has much more to give as long as you’re willing to listen.


The Smile - A Light For Attracting Attention

XL Recordings

As an artist, sometimes all you need to do is give your audience a different angle–a simple reframing that can shift an ordinary object into an extraordinary new light. After being a band for nigh-on 40 years, it’s understandable why the members of Radiohead would find fulfillment in other artistic ventures that don’t carry the same pressure or expectations as a prestige-level alternative rock band. While The Smile counts two vital members of the English rock band amongst its ranks, the addition of jazz drummer Tom Skinner plus the name change forces the listener to conceive of this album as something aside from the Big Band whose shadow it can sometimes fall under.

There is the occasional moment, like a tappy Greenwood guitar solo or an arrant Yorke moan, which sound downright Radiohead, but those are more baked-in flourishes of their respective creators than anything intentional. Artistically, it feels as if this trio approached songwriting from a very different place than they usually do. Songs are wandering, loopy, and almost improvised at points. Lyrics are recursive and often see Yorke repeating the same thing over and over again to a hypnotic effect. A Light For Attracting Attention is a groovy big-budget alternative record packed with a surprising breadth of ideas for a bunch of dudes who are now solidly middle aged. If anything, The Smile proves that, even with a legendary history and larger-than-life expectations, sometimes all you need to innovate is a different perspective.


Soccer Mommy - Sometimes, Forever

Loma Vista Recordings

Sophie Allison is a fantastic musician with terrible luck. I’ve been looking forward to Sometimes, Forever since it was unveiled back in March alongside the stellar lead single “Shotgun.” Not only was one of my favorite artists releasing a new album this year, but she was releasing it on my birthday. It felt like a little gift from Allison just to me. After a string of incredible singles, the album arrived on the same day the Supreme Court announced it was overturning Roe v Wade. I’m not trying to say this record was the worst casualty of the day, but it’s easy to see how the excitement of a new album can shrink infinitesimally in the shadow of such an appalling and upsetting decision. Much like 2020’s Color Theory which was released just weeks before the world went into shutdown for the COVID-19 pandemic, it felt like Soccer Mommy was once again releasing an album at the worst possible time. Still, I was grateful to have a collection of new music from an artist I’ve loved for years during an incredibly hard day. 

Not only is Sometimes, Forever another fantastic album from Soccer Mommy, but it might also be one of her best. Aside from the aforementioned singles that make up the first half of the album, songs like “With U” and “Feel It All The Time” are downright stunners. My personal favorite, “Darkness Forever,” begins with a sinister Portishead-style trip-hop beat and mounts into a lumbering oppressive riff. That darkness is immediately contrasted with “Don’t Ask Me,” which drops the listener into a rip-roaring 90s-style shoegaze lick and builds to the most “fun” guitar solos Soccer Mommy has ever put to music. Allison caps the record off with “Still,” an excruciating closer in the vein of “Wildflowers” or “Gray Light,” where she rips your heart out, holds it up to your face, and leaves you utterly devastated in the album’s final moments. Sometimes, Forever may have arrived at a bad time in the world, but it’s coming at the perfect time for me. 


Summerbruise - The View Never Changes

Old Press Records

I listen to lots of “sad” music, but no band writes about sadness quite like Summerbruise. Outside of maybe Greet Death, I don’t think I’ve ever found a group with the ability to capture the particular brand of numbness and apathy that I identify with. Luckily, the members of Summerbruise recognize how heavy their lyrics are and expertly counter-balance these borderline-crushing song topics with peppy pop-punk instrumentals that are vivacious, musically diverse, and surprisingly danceable. A couple of choice lyric pulls include, “Well I know it’s not that easy, but I owe you all a try / I’m not that used to trying, but I think it might feel nice” and “so I’m sorry if I seem zoned out, it’s probably cause I am as fuck.” Whew. With song titles like “Kayfabing the Boys” and “Happy Hour 2,” it’s clear Summerbruise only take themselves so seriously–a relief that underscores the otherwise serious subject matter and help makes everything a little more bearable. Much like 2019’s Always Something, the latest from Summerbruise speaks to me on an almost-worrying level. At least the dope riffs make it easier to swallow.