Hater's Delight – April 2023

/

April is a useless month for useless people. You’ve got Easter (I guess), taxes, and a holiday for stoners, all of which combine with some of the year’s most temperamental weather to make for an absolutely miserable stretch of 30 days. At least spring will be here soon, and we can all be unhappy in slightly warmer weather. 

If you’re just now joining us for the first time, Hater’s Delight is a monthly micro-review column brought to you by our team of Swim Into The Sound writers and a guest or two. This is a space where we can vent about the things online and in music that have gotten under our skin this past month. Each writer gets a paragraph to bitch about their chosen topic, then once we expel the Haterade from our systems, we all go back to loving music and enjoying art. Speaking of which, if you’re more in the mood for some positivity, here’s a playlist of all this month’s new releases that I enjoyed (or at least found notable) to help you keep up on everything that’s happened in April. 

Without further ado, let’s get all our complaints about April out before we flip the calendars over. 

BOYGENIUS

Each of these artists makes decent-to-middling pop-rock on their own time (Dacus decent, Baker between, Bridgers middling); that they must also fill my social media feed as a unit is frankly a waste of both my time as a viewer and your time as a poster. With such a massive profile (and a guaranteed sold-out arena tour arranged by their "not-so" major record label with ex-indie cred), the discourse is superfluous. "The Record" was never going to be a "flop." The stans (their parents?) will sell the vinyl out, sell the t-shirt out, sell the shows out, etc., regardless of lyrical fumbles, repetitive themes, poorly sequenced tracks, or cloyingly sweet marketing. There is no worthwhile angle regarding this fucking band. You can listen to it, but I wanna fucking talk about something else. (People who talked about it well: Miranda Reinert, as always, and SITS’ own Grace Robins-Somerville.)

SUB-HATE:
To the writer who dissed “Girls” by The Dare last month: I hope you never feel the loving touch of a woman. Song rocks – officially signed and endorsed by a lesbian.

Mikey Montoni – @dumpsterbassist 


Trippin’ On The Name Of A Metal Fest

Let me preface this by saying that I love the Texas band Power Trip just like any other hesher. Riley Gale (RIP) was undeniably one of the most iconic frontmen of his era. The remaining members of Power Trip have been fairly quiet since Riley’s passing, other than the exciting new band Fugitive featuring guitarist Blake Ibanez. But the band has had quite a bit of coverage in the first weeks of April. They announced the physical release of their Live In Seattle album, to many fans’ underwhelm, and simply tweeted out “no” in response to the Power Trip festival announcement featuring AC/DC, Guns N’ Roses, Iron Maiden, Metallica, Ozzy Osbourne, and Tool. Many Power Trip band diehards came to the band’s defense, but let’s take this seriously for a moment. The likely realities of the situation are: 1) the people who put this thing together have never heard of Power Trip, the band. 2) Other than being a common idiom where they got their name, “Power Trip” has been used in heavy music for decades before the band you know the most. Cleveland metal outfit Chimaira released a song called “Power Trip” in 2004, stoner rock luminaries Monster Magnet had their Powertrip album in 1998, and there was even an ‘80s band in Power Trip’s exact subgenre (“crossover,” combining elements of hardcore punk and thrash metal) called Powertrip featuring members of underground LA punk bands Angry Samoans and Würm. So, to the hardcore kids that not only wouldn’t go to the Power Trip festival anyway, but likely couldn’t afford it either, there’s nothing to trip about here. 

SUB-HATE:
Hardcore bands, let’s retire the tradition of one-word band names. It was easier in the ‘80s and ‘90s when you just banked on someone else not having your name idea. Now you can very easily do a Google or Discogs search. California band Fury is the 28th known artist with that name, for fuck’s sake. Find something that stands out. 

Logan Archer Mounts – @VERTICALCOFFIN


People on Music Twitter Pretending to Hate Music Twitter Discourse

Like everyone else who contributes to this column and everyone who reads it (yes, that includes you), I spend a lot of time (definitely too much time) talking about music on Twitter. There’s this pattern– especially in online forums that are simultaneously fragmented and insular –of everyone getting thrown into a tizzy over a bad-faith comment, a bad-faith reading of a good-faith comment, a divisive issue, an actually-not-that-divisive issue, a hot take, a cold take, a lukewarm take, etc; talking it to death, and then complaining about the people who are talking it to death. And don’t get me wrong, I’ve read enough insipid online music drama to turn my brain into a slushie, but don’t pretend to hate the discourse while you eat it up like the little piggy that you are. Or, in between two stupid discourse cycles, complain about how Twitter is “boring now,” barely betraying your need for more ragebait. Either admit to yourself that part of you likes getting mad online (again, why do you think this column exists?) or take a walk outside without your phone for a few minutes (ever the multitude-container, I did BOTH of these things just today and I feel FUCKING GREAT). 

Bottom Line: Don’t go to the circus for news and get mad when you hear it from clowns. You love this shit. 

Grace Robins-Somerville – @grace_roso


The Big Re-Do

If you were to ask me what my favorite Drive-By Truckers song is, I’m sure I’d have different answers depending on my mood or the season, but usually, I say “Puttin’ People on The Moon” from their opus, The Dirty South. Hood’s raspy voice and strong storytelling portray a character driven to crime by a hostile political hellscape. The song felt powerful in 2004 but feels even more necessary 20 years later. Now, Drive-By Truckers are reissuing a “director’s cut” of The Dirty South, with additional songs left off the record and some new recordings. This brings me to my issue—they have re-recorded the vocals of “Puttin’ People on The Moon,” and they’ve made it worse.

Don’t get me wrong, every artist has the right to do whatever they want with their work, but DBT are calling this version of “Puttin’ People on The Moon” definitive? Hood’s vocal take 20 years ago is nasally and raspy, yet full of desperation, anger, and anxiety. He is fully embodying the character he is portraying. Though Hood’s voice is still strong two decades later, there is no improvement found on this reworked version. If anything, the confident and cleaner vocal take (still raspy, less nasally) softens the blow of the song’s message. All this is to say I don’t think I can justify the $46 for the director’s cut of one of my favorite albums. I’m reminded of the 1990s George Lucas Star Wars edits or Donnie Darkos’ director’s cut. You’ve maybe added some deleted scenes, but you’ve touched up the practical effects with CGI, and it sticks out like a sore thumb. 

Russ Finn – @RussFinn


Closing songs as singles 

You want to know what I do whenever I start a new book? First, I find a nice, quiet place where I can read undisturbed. Then I sit down, crack the book open, and read the very last chapter. Just kidding, I don’t do that because I’m not a fucking psychopath. Why, then, are some bands so insistent on releasing the final song from their album as a single? It happened a few times this month, including one of my all-time favorite bands (who will remain unnamed), and the song wasn’t even that good! I mean, theoretically, shouldn’t the last song be a sort of big, anthemic closer that sends off the whole release? A summation of every track that came before it? Your big final number? Why would you want to drop that song weeks before people can hear it as intended? Obviously, not every album is a sequential story that you can “spoil” the same way you would with a book, but I don’t understand the logic of releasing a song like that by itself. The artist likely spent months creating, recording, and sequencing these songs, so why give away your final curtain call before people have even had a chance to enjoy the whole thing? This is really only a problem for dorks like me who keep up with singles as bands release them, but even for a casual fan, there’s gotta be some sense of letdown if you get to the end of your favorite artist’s new album and your first reaction is “I’ve already heard this one.” Let’s plan out our singles a little better, people. 

Taylor Grimes – @GeorgeTaylorG


Expecting Anything Of A Band

Frank Ocean – Have you heard of this guy? He had a whole ice rink, and some other stuff happened during his performance at some festival in Indio, CA, a few weeks back. A lot of people got very upset that Frank Ocean’s whole Coachella performance was slapdash and “not what [they] paid for.” Bro, you paid for a weekend of debauchery under the guise of attending a music festival! Did you think everything was going to go exactly to plan? What happens when something else in your life goes a little haywire? Do you check the receipt and ask to speak to the manager? Even worse than that, I saw complaints that Frank didn’t play specific songs! *whiny suburban music nerd voice* “Oh man, can you believe he didn’t play (deep unreleased cut from the Nostalgia Ultra era that I found on Tumblr in 2012)??” YES. YES, I CAN. He probably doesn’t remember the lyrics to a song that he threw aside 11 years ago. This isn’t your show, and you are NOT the main character for every event you pay money to see! Every time you pay for a ticket to a show, you are rolling the dice that something could go poorly. The smoke alarm could get set off by a fog machine, your favorite artist could get food poisoning, you could get an imposter instead of MF DOOM. All of these things are possible, and you hope they don’t happen, but sometimes it does not meet your expectations. Doesn’t that make the story a little more fun to you? It is more interesting to say, “I was at the Snowing reunion show where John Galm got pissed and spiked his bass into the ground,” than, “Oh yeah, I saw Snowing one time. Pretty good band!” Buy the ticket, enjoy the ride.

Jay Papandreas  – @listenupnerds

Jesus Piece – ...So Unknown | Album Review

/

Century Media Records

There’s a spotlight on hardcore these days that is undeniable. Even if you’re only passively following the genre, it’s hard to avoid the hype. What’s interesting about this broader attention is that, historically, heavier music has been a much more underground style and therefore hasn’t typically attracted as many open eyes and ears. Nowadays, mostly thanks to TikTok and other social media, people don’t have to try as hard to discover art that falls outside the usual commercial guidelines of what is consumable and proven to sell to the masses. The combination of the “Turnstile Effect” and social media algorithms means that people who never would’ve previously considered engaging with the scene now have a foot in the door. To top it all off, there’s a virtually endless stream of live footage exposing countless bands to new audiences, maybe even more than the albums those bands release. All of this feels considered, understood, and taken into account on Jesus Piece’s heavy and determined second LP …So Unknown.

From the second the record starts, there is no breathing room. “In Constraints” kicks things off with vocalist Aaron Heard roaring the opening lines by himself for a matter of seconds before the full band stampedes in behind him, and things don’t let up once from there. Track after track, we’re beaten, pummeled, battered, and bruised by crushing riffs, thunderous drums, harrowing growls, and screams spitting pissed-off anthems of exhaustion and fighting through malaise. In all honesty, the relentlessness of it all washed over me with little effect the first few times I sat with the album. It goes hard. It goes very hard, but it didn’t connect much deeper for me at first. However, I know myself well enough to know I can be a hard sell. I have a joke amongst my friends where I claim that I don’t like movies anymore due to how picky and over convention I am. I didn’t dislike this record by any means, but something felt a bit distant. It wasn’t until I threw the album on while working out that things began to click for me a bit more.

What is apparent on …So Unknown is that Jesus Piece have written a conscious and active album that speaks directly to the crowds they’re playing to and will be playing to in the future. These crowds will range from the TikTok kids who are there because they saw a wild video online and want to experience it for themselves to 30-somethings like me who’ve always had a foot in the scene. I’m not going to front and say I throwdown in the pit. I can’t lie and claim I have a history of doing so whatsoever. I’ve been going to heavy shows since I was 14, but even in my younger days, I always admired them at arm’s length. I like a rowdy audience and a good crowd surf as much as the next guy, but the inherent violence that comes with a proper pit isn’t something I’ve felt compelled to experience firsthand. I’m content as a present observer. These songs weren’t written for me. They’re first and foremost written for the band members to expel and push themselves to darker and heavier depths, but they’re also clearly written to pop the fuck off live. These songs were written to soundtrack bodies in motion.

“FTBS” may be the best example of this, with its driving pace and call to “fuck the bullshit” if you don’t like what you’re hearing. Or take a song like “Fear of Failure,” whose sinister opening riff moves effortlessly into the crushing, doom-paced breakdown of the ending. There’s not a complacent moment on the record. Jesus Piece see what’s in front of them and are attacking it head-on. Every song needs to hit, so every song hits. The only real instance of any kind of reprieve is found in “Silver Lining,” a track that finds Heard ruminating on the deep love he has for his child. Even so, it would still be the hardest track on a lesser band’s album. 

I truly feel that any song from …So Unknown could’ve been a single, and that feels by design. There are countless Finn McKenty-types who will wax poetic about how “the album” is dead and the algorithm is capital G God these days but as much as I hate to admit it, they have a point. As a musician myself, I understand the reality of releasing music in 2023. Singles are king, but albums still matter, and it’s comforting to see a band understand and appreciate this. …So Unknown offers a tight 28 minutes of hardcore, and while it can feel a bit one note at times, it really grew on me even in the short time I’ve spent with it, and I am glad I gave it the time and space to do so. Putting this record into the context of physical movement really amplified my experience and has made me eager to witness it the way it was intended - in a room surrounded by a few hundred people all climbing over each other and screaming, “FUCK THE BULLSHIT!”

Christian Perez is a member of the band Clot and is always trying his best to exist gently.

Kicksie – Slouch | Album Review

/

Counter Intuitive Records

Kicksie’s previous full-length, All My Friends, was released in August 2020, a time when society was essentially folding into itself as we collectively came to terms with the fact that COVID was not just a couple-month-long endeavor. Much of the world was forced to shuffle indoors and find ways to occupy their time, unknowingly unearthing who they are without any external means of coping. I was no different, as I too found myself burnt out with work, mundane online college courses, and life in general. While I don’t exactly remember how Kicksie’s 13-track pandemic release came into my field of view, I was immediately taken aback by the effect it had on my life. The opening track, “Sleepyhead,” had me wanting to run through a wall, all without using down-tuned guitars, breakdowns, or aggressive pit calls. This is where Kicksie finds their niche-- hard-hitting lyrics that stick to your brain for weeks on end, all while sounding like the soundtrack to a blockbuster coming-of-age movie.

Almost three years later, Kicksie, otherwise known as 22-year-old Giuliana Mormile, still never seems to lapse in consistency when it comes to creating captivating hooks and charismatic lyrics. The indie bedroom pop-emo project carries on its impressive run of self-recorded releases, this time around backed by scene anchor Counter Intuitive Records. One might find it daunting to release an album alongside labelmates with as much experience under their belts as Origami Angel, Oso Oso, and Mom Jeans; however, Mormile holds their own and then some on every track throughout their fifth full-length album, Slouch.

The record goes on an absolute tear in the first five tracks, which include the album's two singles, “You’re On” and “Sinking In.” Mormile tiptoes a fine line between confrontational, almost boastful lyricism on some tracks while being entirely introspective on others. She leans on this strength throughout the release, finding an immaculate balance between making the listener feel on top of the world, then at their lowest point, all within the span of a few minutes.

The first three tracks all portray Mormile at their feistiest. It’s in these tracks where crumbling relationships are confronted, including one song about having a complete lack of sympathy for straight-up stealing someone’s girlfriend. Track four, “Arcade,” is where the earnestness and lack of certainty begin to spill out. It is a spectacular love song about being unsure who someone really is in comparison to your expectations. Starting the track with melancholic chords, Mormile shows off her keen ability to pair lyrics with an exquisite vocal melody.

Tracks like “You’re On,” “Sinking In,” and “Go-Getter” all display Mormile’s pop-rock abilities at their finest, striking the listener with loud, memorable choruses. Although this is not all the album has to offer, she does a hell of a job writing slower, pensive tracks like my favorite, “Wish I Was (Anyone Else).”  The album offers a satisfying spread of upbeat, energetic pop-rock tracks alongside emo-tinged slow burners.

Many bands get away with writing 10 or 12 okay-ish tracks on a new album and calling it a day. It’s clear that Kicksie put their all into each and every song–not a single cut on Slouch lacks emotion or musicianship. While the two singles chosen for this release represent the album well, literally any other song could’ve done the same. 

Although it may seem obvious to some, I had to take a step back when listening to this album and appreciate how much these songs simply make me feel. Kicksie does a phenomenal job of crafting high-quality music, all while connecting with the listener on a personal level. Given the level of production and musicianship on display, it’s hardly accurate to call this a “bedroom” project anymore. Slouch launches Kicksie into a realm that longtime fans always knew the band would reach. 

Brandon Cortez is a writer/musician residing in El Paso, Texas. When not playing in shitty local emo pop punk bands, he can be found grinding Elden Ring on his second cup of cold brew. Find him on Twitter @numetalrev.

Flycatcher – Stunt | EP Review

/

MEMORY MUSIC

Flycatcher’s newest release, Stunt, shows an emo band that’s comfortable playing with fire (i.e., melodic pop-punk) while exploring sounds and emotions still distinctly theirs. Their explosive, sharp drums provide a canvas for the band to explore nostalgia, yearning, and real feelings without ever swerving into cheeseball territory. This is a pop-punk band for 2023.

With Stunt, Flycatcher summons the ghosts of a dozen early-2000s rock predecessors and holds court with them in a modern context. For a brief second in the chorus of “Always Selfish,” I caught a whiff of the Foo Fighters’ classic “Everlong” in frontman Greg Pease’s vocal down-turn over piecey guitars. But more often, his melodic singing makes me wistful for anthemic pop-punk acts like The Starting Line or even 2010s British indie like The Kooks. Regardless, there’s something roundly nostalgic about his singing that’s both welcome and well-executed. That’s not to say Flycatcher are stuck in the past: they experiment with a variety of guitar tones that feel mostly contemporary. 

The opening track, “Games,” introduces Stunt with choppy strums that open up by the time the choruses roll around. On “Rust,” the EP’s loudest song, prominent bass carves a path for the chorus’ grungy power chords. But on the final track, “Quitter,” the band’s lead guitar acquiesces to full-on nostalgia. They kick the song off with hazy, plucked guitar notes that feel like they’re straight from the early 2000s but remain grounded in pounding drums that feel like they’re straight from the present-day East Coast scene. 

Their introspective lyrics touch on self-reflection without overindulging. EP standout “Sodas in the Freezer” precedes the first chorus with the lyrics “So I’ll keep leaving sodas in the freezer / Hanging clothes out in the rain,” admitting the futility of self-pity. It’s not easy to address real emotions in a way that’s both sincere and salient, but on Stunt, Flycatcher—just like the best of their pop-punk predecessors—have accomplished it.

Katie Wojciechowski is a music writer and karaoke superstar in Austin, Texas. She is from there, but between 2010 and now, also lived in Lubbock, TX, Portland, OR, and a camper. Her life is a movie in which her bearded dragon Pancake is the star. You can check out her Substack here and some of her other writing here. She’s writing a book about growing up alongside her favorite band, Paramore.

Mystic 100's – On a Micro Diet | Album Review

/

SELF-RELEASED

How do you know when an artist has rebranded or simply taken a step that is a natural evolution in their journey? It can be hard to tell. When Vampire Weekend put out Father of the Bride, they rebranded their image and, somewhat unsuccessfully, their sound. It was their first album to not feature founding member Rostam Batmanglij, and the group decided to shift from their Ivy League coolness to a looser, crunchier, and dare I say, vibier outlook that was expressed in both their sonic and visual presentations. Good on them for trying something different, but the results were underwhelming because their new direction seemed so calculated and forced.

This is not the case for Mystic 100’s, the Olympia, Washington band formerly known as Milk Music. While they have undergone a name change, the band’s new (or should I say debut?) album, On a Micro Diet, feels like a natural next step for the group. Both Milk Music and Mystic 100’s worship the guitar, but the ways they practice their devotion are different. Milk Music’s sound was hard-charging riffs and rapid solos in the vein of Dinosaur Jr, while Mystic 100’s take on a much more exploratory sound that is elongated, jammy, and improvised at times. To put it in the dumbest way I can think, Milk Music is the bouillon cube, condensed and pungent, and Mystic 100’s are the broth, expansive and warm.

On a Micro Diet is a long album, spanning seventy-five minutes over nine songs, but it never feels like it overstays its welcome. I’ve listened to the album on walks with my dog, while I was cleaning the kitchen, chilling in the hot tub, and even at the gym, never once feeling as though the durations of the songs were testing my willpower. In fact, it was the loose and almost unstructured feel of the music that kept pulling me back. When I wasn’t listening, I often found myself humming bits of melodies as I went about my daily tasks. These timestamps grounded me each time I returned for another listen, allowing me to find new details in the band’s wanderings.

Mystic 100’s do an excellent job of mixing things up, something that is not always guaranteed in this realm of music. “Message from Lonnie” is a mid-tempo expression of love that grooves like waves lapping against the beach at sunset and perfectly showcases Alex Coxen’s melodic soloing. The nearly twenty-minute centerpiece “Have You Ever Chased a Lightbeam?” is just begging to be played at this year’s Desert Daze festival. The song requires patience as it shifts back and forth from a “Cortez the Killer”-style seance limbo state of guitar feedback, but is rewarding if you are willing to trust the band. Amidst all of the sunburnt daydreaming, you can still see traces of their former selves in “Windowpane,” a straight-ahead strummer that acts as a moment of clarity before descending further into madness.

This is who Mystic 100’s was born to be. By shedding their Milk Music skin, they have given themselves the freedom to explore their interests fearlessly. If you are willing to let go of your inhibitions, you will find something to enjoy in On a Micro Diet. 

Connor lives in Emeryville with his partner and their cat and dog, Toni and Hachi. Connor is a student at San Francisco State University and is working toward becoming a community college professor. When he isn’t listening to music or writing about killer riffs, Connor is obsessing over coffee and sandwiches.