The Best of Q3 2023
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Angel Du$t – BRAND NEW SOUL
Pop Wig Records
I have a few questions for you, dear reader: do you like ROCK music? Do you like LIFTING heavy things? Do you like SHAKIN’ your little butt? If you answered ‘yes’ to any of these questions, then BRAND NEW SOUL might be for you. The latest album from the ever-shifting Justice Tripp-led supergroup picks up right where YAK left off, which is to say, wildly inventive and ignoring every boundary of genre or expectations. Less of a “hardcore” group than ever before, Angel Du$t feels like a band whose artistic mission statement is to follow whatever sounds fun at that moment. Most of their music can still be defined as “Very Aggressive” but morphs from folk-punk to electro-bops to Chili Peppers worship at a moment’s notice. There are still a couple of ragers here like “Sippin’ Lysol,” but most of the music should be filed under jammers and slammers – an important distinction. The girls that get it get it.
Taylor Grimes - @GeorgeTaylorG
Astra King – First Love
PC Music
Midway through the year, the visionary PC Music announced that 2023 would be their last year releasing new music before shifting to archival projects. This was heartbreaking news for girlies, gays, and music fans all across the World Wide Web, yet we must rejoice, for Astra King is here with a definitive hyperpop contribution in the label’s eleventh hour. King is a relatively recent addition to the PC Music roster, a younger artist with less than a half dozen songs to her name; even still, the four tracks that make up First Love are so pristine that they somehow stack up to the decade-long legacy of the PC Music label. From the anthemic unfurling of “A Little Bit Closer” to the too-cute-for-its-own-good title track, every song fleshes out a different shade of reflective, chromium future pop. In many ways, First Love is the ideal EP: a lightweight fifteen-minute collection that finds an artist seemingly already zeroed in on her sound and going four for four, all with one of the coolest covers of the year to boot.
Taylor Grimes - @GeorgeTaylorG
awakebutstillinbed – chaos takes the wheel and i am a passenger
Tiny Engines
awakebutstillinbed’s brand of throwback ‘90s emo has always been my jam ever since pressing play on their 2018 LP, what people call low self-esteem is really just seeing yourself the way other people see you. The band’s latest record, chaos takes the wheel and i am a passenger, picks up where the last left off, but already the sounds and songs are better. The drums hit hard and dry, snapping like twigs and booming like thunder as spindly guitars snake through adagio dirges such as “bloodline.” Shannon Taylor, whose ragged and reedy voice stands strong in a scene that’s rapidly embraced pop vocal sounds, really lets her vocals shriek, crack, and take center stage. Every chord feels knotted and dissonant, but every song is beautiful, and though most of these tracks are north of three minutes by a large margin, you won’t be snoozing at any point. This is what a perfect emo record sounds like in 2023.
Michaela Montoni - @dumpsterbassist
Broken Record – Nothing Moves Me
Really Rad Records
Denver-based Broken Record are self-described “stadium emo,” and you know what? That’s so goddamn true. Their very good second full-length, Nothing Moves Me, pulls from some of the greatest bands to ever make the jump from DIY house shows to playing for thousands. Think Jimmy Eat World, Sunny Day Real Estate, and the best second-wave emo bands who also obsessively listen to The Cure. The album sounds amazing (produced and recorded by Broken Record’s Lauren Beecher and Gleemer’s Corey Coffman), the guitars are huge, the riffs are crushing, the drums are driving, and the hooks are singable—this band rocks.
Ben Sooy - @bensooy
Read our review of Nothing Moves Me here.
Chain Whip – Call of the Knife
Neon Taste/Drunken Sailor
Vancouver’s Chain Whip is a down-and-dirty punk band with viciously compressed production and the tightest 13-track LP I’ve heard in years. This shit is all the garage energy of Amyl and the Sniffers with none of the major-label Gucci-deal bravado. The production is homespun but clear: the drums pound, the guitars rip, and the vocals sound like an unhinged goblinesque Jello Biafra. Chain Whip aren’t just any modern punk band, either, with vague allusions to political messaging. Tracks like “The Flag Means You Suck” and “Class Decay” pull no punches against the totalitarian fist of Western “democracy.” Spin this or get fucked, it’s only 21 minutes.
Michaela Montoni - @dumpsterbassist
Coronary – The Future… Is Now
Rad Girlfriend Records
These days, the market for fast hardcore is pretty much gone– industrial and blackened beatdown have infected the mainstream like a disease, and slam-dancing has taken the masses by storm (see: endless mosh discourse, the new Knocked Loose). But the world has not stopped making punk rock music, and Coronary from Chicago are proof– thrash-punk crossover guys playing ridiculously fast. Their guitar playing is impeccable, the drums rumble and sputter like a chainsaw engine, and the lyrics cut straight to the heart of the political issues of our day. Does it reinvent the wheel? Yes and no– while sonically, it’s hard to say that anything happening here started in 2023, it’s so rare to find a band this hard-rocking with slick production, a huge sound, and good hearts. It’s rare, it’s great, I love it, and I want to hear more of it.
Michaela Montoni - @dumpsterbassist
Del Paxton – Auto Locator
Topshelf Records
For some people, emo is a seasonal genre. I’ll admit the crunch of a fall leaf hits extra hard when you’re listening to American Football or AGBPOL, but that could never be me. I spin this shit all year long; even still, there’s an undeniable fall air about Auto Locator, the first album from Del Paxton since 2017. The record opens with a freight train headed directly toward you and ends with a sizzling 7-minute send-off that still somehow leaves you wanting more. Aside from the palpable fall feeling, Auto Locator offers up bouncy rippers like “Up With A Twist” and “Chart Reader,” but also aren’t afraid to gnash their teeth and get a little aggressive on tracks like “100 Words For Snow.” The whole thing feels like an emo record from a different era in the best way possible.
Taylor Grimes - @GeorgeTaylorG
Downward & Trauma Ray – Split
New Morality Zine
It’s fall, and Shoegaze Season is officially here. While there’s no shortage of dudes with bad hair and black jeans cranking out over-fuzzed riff slop and Whirr worship, these bands are not that. Coming off a pair of excellent 2022 EPs, Downward and Trauma Ray have combined forces for a four-song split that pummels the listener into submission with distorted guitars, floaty vocals, and forceful riffs—a perfect way to kick off the season where heavy music hits the hardest.
Taylor Grimes - @GeorgeTaylorG
Equipment – Alt. Account
Klepto Phase
Equipment has been a band for almost a decade at this point. They’ve released fantastic EP after fantastic EP, including one earlier this year, and even though 2018’s Ruthless Sun is the band’s first LP, in many ways, Alt. Account is the band’s first album. During the album’s writing process, Equipment’s lead singer/guitarist, Nick Zander, was diagnosed with bipolar II; his first medication is seen on the cover of the record, and the insomnia it gave him led to the creation of the majority of this album. The result is a collection of emo-tinged indie rock that feels like a celebration of the fact that he’s now tamed the instability of his initial diagnosis. Songs are punctuated by clips of a 12-year-old Zander, who can be heard talking about LEGO stop-motion and the Sega Genesis, all snippets ripped directly from his 2008 YouTube channel. It’s a lot to take in, but luckily, Alt. Account is just as listenable without any background, a record packed with sublime riffs, singable choruses, and highly relatable sentiments. With a solidified lineup, an undeniable collection of bangers, and a tour-ready spread of merch, all self-released under their own label, Alt. Account is just the first step in Quippy World Domination.
Taylor Grimes - @GeorgeTaylorG
Fiddlehead – Death is Nothing to Us
Run For Cover Records
After hearing the sophomore record from Fiddlehead, I was a little worried that the band had run out of things to say. It’s not like Patrick Flynn has any shortage of thoughts to share, more so that Fiddlehead was initially started as a one-off supergroup collaboration that wasn’t meant to last beyond a single EP. Through a combination of luck, pre-existing fanbases, and stellar songwriting, Fiddlehead have now created three albums, and Death is Nothing to Us makes a strong case that this band was always meant to exist. There are kickass riffs, surprisingly sharp melodies, and enough group chants to make you lightheaded screaming along. As you would expect from the title, the band’s latest record is primarily concerned with death (as was the case on the last two albums as well), yet the band finds an infinite number of new ways to pontificate on and philosophize around this topic, wrapping everything in a catchy hardcore outpouring that lends some comfort to the living.
Taylor Grimes - @GeorgeTaylorG
Gravess – i still feel it, crawling, under my skin.
Oliver Glenn Records
Continuing the trend laid out by bands like Funeral Homes and Rosewilder, Gravess is yet another stellar shoegaze project out of Florida. While those other bands lean further into the dreamy side of the genre, Gravess aren’t afraid to throw in a few extra screams and breakdowns for good measure. You can practically see the mosh pit form when listening to the one-two punch of opening tracks, but the high point of this bite-sized EP comes in its final two songs, where the band deploys a hypnotic guitar lick and then proceeds to construct a brilliant cresting instrumental around it. Beginning in a suspended dream state, the band eventually unleashes a torrent of heavy music, sweeping the listener up in a beautiful cacophony.
Taylor Grimes - @GeorgeTaylorG
Harrison Gordon – The Yuppies Are Winning
Self-released
The one good thing TikTok ever did was show me Harrison Gordon. The million-viewed video speaks for itself, featuring POV footage from a “sweaty house show” and the bridge of “Kirby Down B,” which references Zelda, Dragon Ball Z, and, of course, Super Smash Bros. It’s a frenetic song whose energizing call to action, “OI OI OI,” has led me to describe the project as “Zoomer Jeff Rosenstock.” After I kept coming back for “Kirby Down B,” I gradually became obsessed with the rest of the album, which deals with post-gifted-kid syndrome, decaying childhood friendships, meds, and self-destructive tendencies. There are a couple of Worst Party Ever-style acoustic tracks that provide a brief respite from the seemingly bottomless supply of group chants, but what I love most about this record is how old it makes me feel. For the first time ever, it feels like I’m listening to the next generation of emo kids reflecting on their own nostalgia from a time when I was already an adult. The fact that I can still connect to it goes to show how wonderfully written these songs are. Here’s hoping I’ll soon be packed in that sweaty house show, screaming along to songs about Kirby.
Taylor Grimes - @GeorgeTaylorG
Honey Creek – Self Preservation
Thumbs Up Records
When I first became musically conscious, I knew early on that I was drawn towards “rock music.” In my mind, this descriptor covered everything from AC/DC and Motorhead to Sum 41 and Nirvana. Eventually, I learned more about genres and subgenres, and I’d wager one of the first hyper-specific scenes I became obsessed with was easycore. This semi-fake genre was basically pop-punk that threw in a breakdown once in a while and often used high-pitched keyboard noises. Think A Day To Remember, Four Year Strong, and Chunk! No, Captain Chunk! Imagine my surprise then when Honey Creek started rolling out the singles for their awesome new EP, and it sounded exactly like some shit I would have been obsessed with in high school. The band has fresh-as-fuck all-white fits, cool music videos, catchy-as-hell choruses, and (thankfully) dig a little bit deeper than the typically-bro-leaning undertones that come with most easycore. It may just be 11 minutes, but there’s not a wasted moment or bit of energy on this EP, and while it may lean on some trappings of a very specific subgenre, Honey Creek do a fantastic job of making these sounds feel updated for 2023.
Taylor Grimes - @GeorgeTaylorG
Josaleigh Pollett – In The Garden, By The Weeds
Self-released
Salt Lake City DIY artist Josaleigh Pollett is a beautiful enigma to me. The closest artist I can truly compare them to is David Bazan, especially those Care and Blanco records, not just because they share some musical DNA with Pollett’s In The Garden, By The Weeds, but also because Pollett is a lyricist (a songwriter! a poet!!) on par with Bazan. The recording of In The Garden… was a partnership with producer Jordan Watko, and what they’ve made together is one of the greatest indie pop albums of all time. Pollett’s vocals will break your heart, Watko’s beats will have you dancing your ass off, but in like a moody and hopeful sort of way.
Ben Sooy - @bensooy
Read our review of In The Garden, By The Weeds here.
Mauve – About The Weather
Really Rad Records
The crazy thing about the internet is that I can show you my exact first impression of Mauve. Back in January, my brother and I were huddled up against a table in McMenamins White Eagle Saloon, nursing a couple of ciders. We were there mainly to catch the Tallest Emo Band™ Swiss Army Wife, but when Mauve took the stage and started tuning, I could already tell we were in for a treat. We secured a primo spot right up front and proceeded to take in a set of pure, unbridled Portland Emo. Once I found myself on the other side of the band’s invigorating performance, I was absolutely over the moon that my hometown felt like it had a legitimate emo scene for the first time ever. Released six months after that fateful concert, Mauve’s debut album is chock-full of tasty riffs, gnarly screams, and pit-opening tunes that show a glimpse into an alternate reality where the Pacific Northwest eclipsed the Midwest as the true ruler of the emo genre.
Taylor Grimes - @GeorgeTaylorG
MINDCLOT – Profit Over People
Self-released
From the instant you press play, it’s apparent that MINDCLOT are not fucking around. Their weapons-grade d-beat hardcore doesn’t let up for the entire duration of their second album, blasting through politically charged ragers like it’s nothing. Vocalist Mike Mutersbaugh’s piercing shriek cuts the tastefully muddy mix like butter, and the driving rhythms will surely keep any show-goer in the most violent pit of their life. There are tastes of the moshcore revival here too towards the back end, with straight-ahead and danceable two-steppers like “Hypocrisy” rounding out the straight-ahead Discharge-worship on Side A. With a quick run-time and absolutely killer riffs front to back, particularly “Poison” and “Two Faces,” this release is sure to be a modern punk touchstone for ages to come. Up the punx, check out MINDCLOT if you know what’s good for you.
Michaela Montoni - @dumpsterbassist
Pacing – Real poetry is always about plants and birds and trees and the animals and milk and honey breathing in the pink but real life is behind a screen
Totally Real Records
If you couldn’t tell from the album title, the second full-length album from Pacing is very funny, extremely clever, and painfully self-aware. There’s a Sidney Gish sensibility that runs through the whole thing, making it a joy to listen to, inspiring to read along with, and rewarding to revisit. In an early song, Katie McTigue ponders whether it’s weird to go for a walk, a concern that spirals into a commentary on her own laziness, paranoia, and climate change – all in two minutes! There are well-observed songs about home ownership, surface-level wellness culture, and obnoxious electronic communication, but, to me, the crux of this record can be found on “unReal / forReal,” which finds our hero questioning the intertwined reality and the surreality of the world around us. Things end with McTigue waking up and realizing that she “forgot to be scared,” which, given everything that’s happening, can feel like a blessing or at least a brief respite. While this all might sound heavy, the bubbly delivery and anti-folk instrumentation help keep things light and breezy, even as you contemplate societal decay and mourn the environment’s decline.
Taylor Grimes - @GeorgeTaylorG
Ratboys – The Window
Topshelf Records
Twang is so hot right now. In fact, “twang” is so popular that Spotify has a playlist showcasing the best country-flavored indie rock we have to offer, including MJ Lenderman, Florry, and Hovvdy. Ratboys, however, have been making music at this intersection for twelve years now, and The Window sees them as masters of their domain. From the scintillating 8-minute lead single to the Frankenstein-esque “It’s Alive!” the Chicagoans spend 47 minutes and 45 seconds flexing their musical chops, with the four band members more in sync than ever before. There’s a suite of love songs in the album’s title track, “I Want You (Fall 2010),” and “Bad Reaction,” making a case for this being the most tender-hearted Ratboys record yet, but the band isn’t afraid to make some noise with snotty punk tracks and exuberant guitar solos. Just another day of being the world’s greatest indie rock band.
Taylor Grimes - @GeorgeTaylorG
Read our review of The Window here.
Ringworm – Seeing Through Fire
Nuclear Blast
Ringworm’s demo turns 32 years old in 2023, which is mindblowing to think about. They’ve consistently been one of the heaviest and most biting bands in metallic hardcore since then, and Seeing Through Fire is no deviation. The band continues to find new ways to make the most explosive sounding aggressive music out of the Midwest, with another crop of anthemic circle pit initiators like “No Solace, No Quarter, No Mercy” and “Thought Crimes.” Ringworm is keeping their Holy Terror scene alive with each new album, and they’ve outdone themselves once again.
Logan Archer Mounts - @VERTICALCOFFIN
Slow Pulp – Yard
Anti
This August, I spent a few weeks boxing up my childhood room as my parents prepared to sell the house where I spent the first twenty-something years of my life. As I was unearthing adolescent artifacts long since forgotten, I was spinning an advance of Slow Pulp’s Yard, which perfectly soundtracked this excavation. Since the beginning of the year, the album’s lead single, “Cramps,” had already become a mainstay on my playlists, and my excitement only mounted with “Slugs” and “Doubt,” each song eclipsing the last as my favorite thing the band has ever done. The album collects these knockout singles and pads them out with a few more mid-tempo tracks of transition and impermanence. Having relocated from Madison to Chicago in the time since their excellent 2020 record Moveys, Slow Pulp themselves have undergone a move as a collective, and Yard reflects that. There are multiple songs about moving away and making changes in your life, all of which made it feel stupidly on-brand to spin as I moved every earthly possession I have into boxes to be opened at a later date. There’s a slight lull in the middle, but the rockin’ “MUD,” woozy country-leaning “Broadview,” and the pensive “Fishes” make for a final three-song stretch that balances out the pep-heavy front half. All in all, Yard makes for one of the most exciting, youthful, and catchy indie rock records of the year.
Taylor Grimes - @GeorgeTaylorG
Squirrel Flower – Tomorrow’s Fire
Polyvinyl Records
Smoldering. If I were to boil Tomorrow’s Fire down to one single descriptor, it would be that. After an album full of slow-burn stunners that were kneecapped by the pandemic, Ella Williams was anything but discouraged. Over the last couple of years, she segued some phenomenal covers and singles into the desolate, naturalistic heat death of Planet (i) and a haunting companion EP that leaned into her more minimalistic sensibilities. It’s understandable that after all of the false starts and fraught life events, Williams was ready to rock. Earlier this year, she dropped “Your Love,” a one-off single featuring a full-band recreation of a similarly named song from the Planet EP, signaling a new page for the project. Backed by a band comprised of MJ Lenderman, members of Bon Iver, and the War On Drugs, Williams had free reign to construct the most grand, sweeping, and holistic collection of songs ever released under the Squirrel Flower moniker. There are reflections on the spirit-crushing nature of capitalism, queer Springsteen-style love songs about escaping out past the edge of town, and unrequited skatepark hookups aplenty. The songs tend to crackle as monstrous shoegaze riffs but also know when to pull back into something slower for maximum impact.
Taylor Grimes - @GeorgeTaylorG
Star99 – Bitch Unlimited
Lauren Records
The debut LP from Bay Area four-piece Star99 has maybe the most perfectly-matched-to-the-music cover art of 2023. An I-Spy-esque jumble of kitsch and miscellany–stickers, teacups, a stray earring, model train tracks –crowd a floral surface (“an I-Spy-esque jumble of kitsch and miscellany” would also be an apt description of the ten songs as well). Peeking out from underneath the Dollar Store clutter is the album title: Bitch Unlimited. It all feels like it was ripped straight from Rookie Mag circa 2013 or the 8tracks account of the coolest girl at your high school (also circa 2013), an effect that only intensifies when you press play. This isn’t to suggest that Bitch Unlimited is in any way stale or derivative– it’s one of the freshest, most innovative rock records I’ve heard all year –but Star99 feels like the kind of band that I thought didn’t exist anymore. Their earnest-yet-irreverent blend of pop-punk, power pop, and garage rock hearkens back to bands that existed on the fringes of emo’s fourth wave. Bands like Chumped and Swearin’ that were bursting at the seams with snark, exuberance, and the stickiest of hooks. Bookended by slot machine sound effects and eschewing any polite, small-talking introduction, opener “Girl” barrels in with blistering snapshots of suburban angst and young heartbreak, culminating in frontwoman Saorise delivering a gleeful “guilty” verdict. From there, the hits don’t let up, with Saorise and Thomas switching off on lead vocals. From the Joyce Manor-reminiscent jaunts about self-sabotage (“Salt”) to poppy confessions about the less-glamorous aspects of living and working in DIY spaces (“South Second”) to meditations on codependent friendships (“Elastic”) to frenetic bouts of agoraphobia (“Vegas”), Bitch Unlimited is a 26-minute firecracker, its fuse lit by defiant spirit and white-hot hooks. During “Spit Take,” Saorise declares, “Life’s a bitch, and so am I!”; life may be a bitch, but bands like Star99 make it way more fun.
Grace Robins-Somerville - @grace_roso
Stephen O’Malley & Anthony Pateras – Sept duos pour guitar acoustique et piano préparé
Shelter Press
That title translates to “seven duets for acoustic guitar and prepared piano,” in case it seemed like a mystery what you might be in for on this album. Stephen O’Malley is one half of Seattle’s drone legends Sunn O))), and he appears in collaboration on this album with Australian composer Anthony Pateras. It’s their second album together following 2018’s Rêve Noir, and it’s a perfect split between unsettling and comforting. The two compliment each other pristinely, O’Malley adding unsuspecting guitar strums over Pateras’ minimalist, avant-grade piano hits. Both musicians are incredibly prolific and are no strangers to experimental music, so their second team up here seemed like it would have been a knockout no matter what.
Logan Archer Mounts - @VERTICALCOFFIN
Talking Kind – It Did Bring Me Down
Lauren Records
Somewhere, there exists a Venn diagram containing MJ Lenderman, Slaughter Beach Dog, and the Barenaked Ladies. At the center of this diagram, you’ll find Talking Kind. Talking Kind is the project of Pat Graham, a Philly-based musician making catchy, power-poppy, singer-songwriter fare that’s as touching and true as it is goofy and fun-loving. The first song on It Did Bring Me Down utilizes features from Radiator Hospital and The Goodbye Party to deliver a title drop and mission statement for the project after Graham explains “I just say shit.” Over the album’s remaining 24 minutes, Graham busts out immaculate melodies (“Damn Shame”), makes adorable pasta-based improvisations (“Pretty Flowers”), and romanticizes truck life (“My Truck”). There’s some beautiful slide guitar on “Never Bored” and one of the best love songs of the entire year in “Trader.” The whole release wraps up on “World of Peace,” an ode to fellow Philly musician Greg Mendez that doubles as a thought experiment about how beautiful the world would be if everyone were literally Greg Mendez. That’s the world I want to live in.
Taylor Grimes - @GeorgeTaylorG
Teenage Halloween – Till You Return
Don Giovanni Records
I know what you’re thinking, and no, this isn’t some Misfits-esque horror punk band; rather, Teenage Halloween describe themselves as “flaming queer power pop,” and if that doesn’t perk your ears up, then I don’t know what to tell ya. The group’s second album refines the recipe laid out in their previous work but blows the colors up to maximum saturation and packs the whole thing with catchy hooks and boisterous shouts. There are still deep questions to be grappled with here, like mental health and navigating the world as a queer person, but with those moments of realness also come euphoric successes and moments of love. The whole thing is speedy, shouty, and lively–a record that feels tailor-made for sweaty New Jersey basements packed wall to wall with people who share the same struggles as you. This album is the sound of being alive.
Taylor Grimes - @GeorgeTaylorG
Thank You, I’m Sorry – Growing in Strange Places
Count Your Lucky Stars Records
Thank You, I’m Sorry has had a few lives. The project initially began as Colleen Dow, alone, recording solitary acoustic songs about heartbreak, self-doubt, and isolation. Eventually, Dow was joined by a talented group of musicians who helped flesh out some of those initial songs and added a few new ones on 2020’s I’m Glad We’re Friends. Now, a little over three years later, we have Growing In Strange Places, a sprawling and impressively diverse collection of indie rock songs that shows a band working together to push far beyond any descriptor that’s ever been applied to them in the past. The emotions are still conveyed primarily through Dow’s infinitely charming vocals, but the instrumentals range from kaleidoscopic electronica and desolate slowcore to relatable dance-ready bops and even a hardcore rager for good measure. There’s also one of the best love songs of the year, and the whole thing wraps on a solo song that feels like a beautiful full-circle moment for the project. Song topics are just as relatable and confessional as before; the difference is now the artistic expectations have been dismantled entirely. The result is an album that feels like TY,IS achieving their true potential: a collection of tracks as vibrant, engaging, and ever-changing as the people behind the music.
Taylor Grimes - @GeorgeTaylorG
TORSION – DEMO 2023
Filler Distro
I’d be remiss not to talk about hometown greats. No one knows anything about this band yet. Their debut 7” just came out a matter of days ago. It’s five songs, five minutes long (and change), and one track on Bandcamp. It’s fucking blistering. The guitars are gnarled and heavy, the d-beats fly on a thumpy cardboard drum kit, and the vocals are low and gravelly in that perfect early black/death metal way. This is fucking Pittsburgh hardcore, and I can’t wait to hear more riffs. If you’re in the area, stay tuned for one of their shows, and if you like Bomb Threat or Razorblade, you’re gonna fucking love this.
Michaela Montoni - @dumpsterbassist
