Genre: Soul Pop

Concert Date: Feb 8th, 2025 – The Middle East Upstairs

Feb 8th, 2025 – Strutman Lane (and their openers) brought warmth to one of the most blustery nights of the year so far. When I first heard about this group, I was eager to see who was behind such a smooth and catchy title – the young band, based out of DC, is just that. I finally got a chance to see them on their last stop of their “Down the Lane” tour in Cambridge at the Middle East Upstairs and was pleasantly surprised.

Despite my sister’s recommendation, I decided to arrive before the openers began their sets. The venue was particularly difficult to find since there were multiple performance areas so better signage would’ve been much appreciated for first timers.

The major disadvantage to my decision was that the venue was standing-room-only and quite warm since there wasn’t a place to leave my coat, hat, and mittens. BUT… I strategized and found a nice spot under one of two ceiling fans. I was quite comfortable. Additionally, it was right in front of the mix which led me to experience the best sound possible.

Recap

Alexus Lee opened the concert and really got the crowd dancing! Her vocal range was impeccably wide and adventurous. Her band backed her with confidence and artistic passion, especially with such tasteful riffs on keys. Of special note was how effortless she played out her set. Once the crowd gave their last encore, her band segued the crowd into the next opener.

Following Lee was Boston Indie singer, Jill McCracken. McCracken’s energy and message were down to earth and you could feel her words really resonating with the room. Highlights for me were the bass lines in Running Away From Love and my personal favorite, Shake Me Up, which featured a tempo change midway through the piece, turning the room into a hall suited for barn dances. Yet, at this point in the night the speakers were quite loud and took away from her intricate musical ideas. Nonetheless, McCracken’s set was filled with impactful messages and vibrant musical ideas that made it quite enjoyable.

Photograph of Strutmen

After a break, members of Strutmen Lane meandered onto the stage and then proceeded to wow the audience with their first selection Lavender Haze. It was worth the wait! The technically-adventurous horn lines and percussive embellishments as well as the group’s bright harmonies were the pinnacle of the night for me. At one point in the show, the trumpeter even pulled out what looked like a computer keyboard, but in an instant the crowd recognized it as an electronic trumpet. I was initially concerned that the group would lose their electronic sound during live performances when compared to their Spotify releases. However, the use of synthesizers helped maintain much of that electric feel, allowing the modern soul of the group to truly shine. Further, the group worked the crowd like pros – their synchronized dancing steered the whole room!

Verdict

Strutman Lane is a group I could see really appealing to younger audiences, so it was no surprise that most of the audience was in their twenties. The bold horn lines combined with the rich harmonies and rhythms of the group reminded me of a band playing in a waterfront concert series at a popular summer beach. Ironically, when we shuffled back onto the streets, our footsteps were traced by snow. While I might have preferred a different venue with a bit more elbow room, I know this truly won’t be their ‘last stop’ and can’t wait to catch them on their next tour.

– Written and Edited by Brian Lucy

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Tale of Two Teams: Bengals Defense Finally Shows Up. It was the best of offenses, it was the worst of defenses. It was the age of scoring, it was the age of getting scored on.

I had the pleasure of watching the Cincinnati Bengals (2-4) defeat the New York Giants (2-4) at Metlife Stadium this Sunday. Heading into the game, the story continued to be whether the high-powered offense led by Joe Burrow and Ja’Marr Chase would be able to overcome the flaws that the defense had been showing all year.

The Bengals’ offensive line had been extremely proficient up to this point in the year which was a stark contrast to previous iterations of this offensive line. However, the Giants Defensive-Line, led by Defensive Player of the Year candidate Dexter Lawrence created havoc, generating 4 sacks on Burrow and two forced fumbles. Burrow was held to 263 total yards and one total touchdown with a 68% completion percentage. The Bengals defense brought forth their best performance of the year, holding the Giants to only 7 points. Due to this defensive performance, the Bengals were able to save their playoff hopes and win 17-7 in this road prime-time game.

Bengals

Thankfully in this Tale of Two Teams: Bengals Defense Finally Shows Up. The Bengals chose to receive the ball in the first half and were moving the ball with ease until the Giants free agent signing, Brian Burns, sacked Burrow at midfield setting up a 3rd and 18. On the next play Burrow who is not known for his athleticism out of the pocket scrambled 47 yards for a touchdown and reached the fastest speed of his career at over 19 miles per hour. As per next gen stats, there was only a 0.3% chance at a touchdown this play, showing the creation abilities Burrow possesses.

Giants

The Giants offense started their first drive with a first down pass from Daniel Jones to Darius Slayton but quickly sputtered out and were forced to punt. The rest of the first half was fairly uneventful from an offensive perspective as no more points were scored by either team. However, Daniel Jones ended up throwing an interception after B.J. Hill managed to pressure him in the pocket. This first look at the healthy Bengals interior defensive line showed that the Bengals may be able to contain the run as Tyrone Tracy, Giants rookie RB, ended with less than three yards per carry.

The second half depicted more of the same. The Giants managed to score with a Tyrone Tracy 1-yard rush which was caused by a Pass Interference in the end zone. These were the first and only points the Giants would score as Greg Joseph the backup kicker missed two field goals. Evan McPherson put the Bengals up 10-7, and the game was closed out by a 30 yards rushing touchdown from Chase Brown in the dying minutes of the game.

Giants coach Brian Daboll was more aggressive in his play-calling attempting to convert multiple fourth downs throughout the game. While the Giants found success on these plays when they ran the ball, they were stopped on fourth down both times Daniel Jones was made to throw it.

Verdict

Overall, this game provides a sliver of hope for Bengals fans as their defense showed resilience and was able to hold a team to under 10 points for the first time in 75 games. Daniel Jones was unable to score a home passing touchdown increasing his streak to over 650 days, further cementing the fact that he cannot be the Giants quarterback of the future if they hope to win a SB.

– Written and Edited by Safdar Mir

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Swervedriver released their debut album ‘

Songs such as ‘Son of Mustang Ford’ (with lyrics like “I’ve been drivin’ to take the pain away”) and ‘Pile-up’ (“Let’s just get in the car and let’s just drive”) show the heavy car-culture influence on this album. This is inspired by the car’s historial prevalence in music, especially rock’n’roll. In an interview with Vice, Adam Franklin (lead singer of Swervedriver) mentions artists like Chuck Berry and T-Rex who made a lot of references to cars in their songs, and the band wanted to replicate this in their own way. 

One song on this album that really stands out to me is the fifth track, ‘Rave Down’, which captures the album’s essence with fast drums and swirling guitars. The lyrics describe a run-down town (“Your town ain’t hypin’ up no more”), where the protagonist drives down to the beach late at night with his friends just to have something to do. However, this is more of an escape than anything and it is only a momentary pause from the dullness of living in a dead town on the coast. Sonically, the song reflects this feeling, with the main riff using a descending dissonant chord progression giving the song a dejected sound. The bridge is more upbeat, the drums pick up and the guitars are happier, but like driving down to the beach, the momentary joy fades back to the reality of having “just no place to go”. 

Most shoegaze albums will have you lying on your bed while letting the whirring sound wash over you, but this album is different. It has a similar sense of melancholy, but delivers it more intensely. You can rock out to it, but you can also sit with it and feel the music. The lyrics are about cars, but not about sports cars and girls, instead using cars to get away from everything. This polarity relates to the album as a whole; at surface level, it’s hard-rocking and carefree, but it is also profoundly reflective and emotional. 

‘Raise’ is a great album, but in the midst of other albums released around the same time, it has been mostly lost to time. Many shoegaze fans remember bands like my bloody valentine, Slowdive, and Ride, but Swervedriver was left behind, possibly because they weren’t so easily placed in a genre. They were too ethereal to be grunge, but they rocked harder than their shoegaze counterparts. This makes ‘Raise’ a really unique album, and one definitely worth listening to despite not being as well-known. While the album can sometimes sound a little repetitive, this comes with the genre and I do not think it detracts from the album. I would give ‘Raise’ an 8.5/10. If you are a fan of shoegaze or related genres, I would highly recommend giving ‘Raise’ a listen.

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Behind Radioheads Kid A

Few albums have impacted my life to the degree of Radioheads 2000 release Kid A (Parlophone Records). In high school I was an edgy Nirvana fan who denounced all forms of electronic music. I began listening to Radiohead in my sophomore year (early 2020) after hearing them played throughout my childhood. OK Computer was a quick favorite for me due to its rock elements, but as March came around and quarantine began, the atmospheric electronic sound of Kid A really spoke to me. I fell in love with it, spending many late nights lying awake in my bed listening to it. Its mysterious and quieter feeling fit the isolation that I, and many people around the world, were experiencing at the time. 

Following their 1997 album OK Computer, Radiohead embarked on an intensely long tour which drove the band’s lead singer Thom Yorke into a deep depression and writer’s block. Yorke wanted to drop the guitars that defined the band, quite a shift given they had three guitarists. They turned to synthesizers and drum machines, slowly creating tracks influenced by ambient electronic artists like Aphex Twin and Autechre.

This created a experimental album unlike the traditional rock of Foo Fighters ‘Everlong‘ or the riff centered ‘Under the Bridge‘ by Red Hot Chilly Peppers. This experimentation lead Radiohead to innovate and use the internet as advertising instead of Radio, MTV or traditional press. Some critics and audiences applauded the previously guitar-driven band’s electronic effort while some accused it of being pretentious and intentionally difficult to listen to. It is not hard to see why some would have this complaint. Tracks like “How to Disappear Completely” and title track “Kid A” have long quiet stretches that do not have the immediacy of the band’s previous releases.

What in Radioheads Kid A Altered Mainstream Rock

Radiohead’s Kid A is hauntingly beautiful, putting analog electronic instruments and string arrangements front and center to provide atmospheric melodies that, despite their robotic sounds, carry the emotion of rock. Yorke loved that despite the genre’s distance from the people creating the music and their processed inhuman vocals. It still makes you feel as much emotion as any other genre, which drew him to experimenting with it.

Electronic music‘s ability to generate strong emotion is shown in tracks like “Kid A”, alongside“Motion Picture Soundtrack”. A gut wrenching song about heartbreak that really gets to me every time I listen to it. But my favorite song of the album is the opener, “Everything in its Right Place”.

The descending chords in the intro played on a Prophet-5 Synthesizer and Thom Yorke’s chopped up vocals give the viewer a sample of the processed sound to come with the rest of the album. Other notable tracks on this album (not to list the whole thing!) are “Optimistic” and “The National Anthem”. “Optimistic” is the closest thing to traditional rock on Kid A, with a guitar-centered sound accompanied by strong drums.

It‘s more upbeat than other songs on the album. Flowing very well from the ambient instrumental track “Treefingers”, waking the listener from their trance. “The National Anthem” is a track inspired by Charlie Parker, and features strong elements of ultramodern free jazz. Jonny Greenwood’s uses a ondes Martenot, an electronic instrument from the early 20th century which he learned to use while making this album. This song, like “Optimistic”, is much more intense and organic sounding than the rest of the album, providing a breath of fresh air. 

Where Radioheads Kid A Stands

While other Radiohead albums like The Bends and OK Computer are perhaps more commercial and well known. Radiohead’s Kid A indicated where the band would go for the rest of their discography and in my opinion is their best record. I could not give this album any less than a 10/10 as it is my favorite of all time.

– Written and Edited by Zach Hawkins

Explore Radiohead’s Kid A On Discogs

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  Strutman Lane Beats The Snow – By Brian LucyMarch 2, 2025
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Fiona Apple, born Fiona Apple McAffee-Maggert, is an American singer and songwriter. Her most well known song is Criminal which was released as track number four on her debut album, Tidal. Apple’s signature style of rock includes frequent use of the piano as well as Apple has reached peak success with her music and is a household name. While more musically active in the late 1990s and the early 2000s, she is still putting out albums today, her 5th and most recent album “Fetch the Bolt Cutters” was released in 2020.

‘The Idler Wheel’ is Apple’s 4th album which was released in 2012. The full title of the album, “The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do” was derived from a poem written by Apple This album features 12 songs that vary in length but are fairly uniform in their sound.

The album opens with the song “Every Single Night”, which has a quiet melody, beginning with just a few notes on the piano. The song begins to build as it gets to the chorus, but just as quickly returns to the soft sound that it began with. I really like how Apple experiments with this idea of switching from loud to soft and sweet to angry, specifically in this song.

There is a lot of anger in this album. The tone of Apple’s voice and many of her lyrics hold a feeling of resentment towards someone (maybe an ex?). This anger comes out in certain songs like “Left Alone” and “Hot Knife”. Apple includes lyrics like “if I’m butter then he’s a hot knife” to really drive home this point of destruction through another person. 

My favorite song on the album is “Left Alone”, the fifth track. It begins with drum beats, something that is unusual to hear in a Fiona Apple song and especially in this specific album. The song then gives way to a more familiar piano sound that Apple is known for. However, there is a faster tempo and a more ominous-sounding piano than on other songs on the album. In the chorus, Apple says “tears calcify in my tummy” which is a very alluring lyric. The word “calcify” paints a very specific image that is unique to the song. 

The album ends similarly as it started, with a melancholic tone. The last song on the album is titled “Largo” and is another one of my favorites. This song is just piano and vocals but the simplicity adds to the experience of the song. Largo is a real bar, located in LA that Apple feels at home at, surrounded by people that know how to make her feel better and forget her troubles. This song does not feel as resentful as the other songs on this album. The first lyric states that she was “recently rid of a man again”; perhaps this song is about how Apple copes with the relationship issues that she poses in the rest of the album. 

‘The Idler Wheel’ is a standout Fiona Apple album. It’s simple in its production, but also lyrically complex. This album never feels redundant because of the slight differences that occur from song to song. Apple knows how to write an album that is good all the way through! I recommend this album to anyone who is looking for something to listen to, whether it be something old or something new.

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Genre: Digital hardcore, techno

Released in 2014 under label Dread Collective

Key Track: Ghost

Machine Girl is an American electronic pop project, created in 2012 by DJ Matt Stephenson in Long Island, New York. The band is defined by their colorful and complex sound, mainly composed of sampling from movies and other forms of media. Stephenson has stated that he does not want the band to be labeled as “goth”, as he finds the term to be very black and white. The band is named after the 2008 Japanese film titled “Machine Girl”, sampled a few times on their 2014 album, Wlfgrl. 

When I first listened to the album Wlfgrl, I was blown away by the sheer variability of each of the songs on the album. Although the general techno sound is present throughout, there is no feeling of repetitiveness, which is part of the reason that I was so drawn to it. Although it is difficult to describe the general feel of the album to someone who hasn’t listened, it puts forth themes of betrayal, death and revenge and with a fun and catchy spin. 

There are very few lyrics throughout the songs. When there are lyrics, they are usually sampled. Perhaps the most prominent sampling across songs is that from the 2000’s movie ‘Ginger Snaps’. This album is very much centered around this movie with one of the songs even being titled “Ginger Claps”. Other songs that feature samples from this movie include “Out by Sixteen, Dead on the Scene” and “Excruciating Deth (Phase Y)”.

The album opens with “Mg1”, a song that begins with a few short quotes from the movie titled “Machine Girl” (the bands namesake) and then jumps right into the next song, “Ionic Funk (20xx Battle Music)”. This song is very techno-heavy and relies mainly on fast drum beats. While it is not my personal favorite because of how repetitive it is in terms of the beat and the sampling, it definitely gives listeners an idea of what the sound of the rest of the album will be and prepares them for a similar sound.

The fifth track, “Ghost”, stood out to me the most while listening. It begins quietly, with just a few instruments and a sound evoking a man sighing in the background. It then kicks in to increase in speed and volume. The song is quickly transferred into something that you would hear at a rave. Compared to other songs on the album, I would say this one is tamer than the ones before it simply due to the quieter, slower beats, something that the other songs on the album commonly do not have.

Similarly to how it begins, the album ends with song “Mg2”; a quick chaotic sampling of quotes from the movie “Machine Girl”. The choice of beginning and ending the album with an almost overwhelming amount of sounds is a testament to Machine Girl and the chaotic nature of their music. The band is never afraid to be over the top and never afraid to be non-conforming. 

Overall, this album puts forth a unique sound, enveloping the traditional techno scene with a more experimental edge. I really enjoyed listening to this album and recommend it to anyone who is looking for something fun to listen to, I promise you won’t regret it! 

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Introduction

2023 was a mixed bag for the world of electronica. This year saw the resurgence of genre-tags such as ‘indie sleaze’, ‘Shoegaze’ and ‘ambient’. ‘Willowcore’ mainstays such as Hannah Diamond and COBRAH graced the world with triumphant returns. Even trash-pop superstar Ayesha Erotica announced she was coming out of retirement. 2023 also brought some more unfortunate news alongside the positive for the 30 best songs of 2023. After 10 years of releases, culture-shifting record label PC Music announced it would be shutting down. The general public saw a massive increase in ai-generated vocals.

Perhaps most devastatingly, pioneering composer and producer Ryuichi Sakamoto passed away in March. Despite the tumult of this year, 2023 also brought about a wave of new tracks that in one way or another push the boundaries of genre and musical convention. The following is an attempt to uplift and draw attention to artists and tracks that represent musical experimentalism. Each of the following tracks has (in this reviewer’s opinion) brought with it something unique and worth celebrating. Without further ado, please enjoy my picks for the top 30 new songs of 2023.

The 30 Best Songs of 2023

Number 30: RIDE IT – LustSickPuppy

• Album: RIDE IT
• Label: lustsickpuppy
• Released: January 20

New York-based LustSickPuppy hit the ground running this year with a track that latches on and never lets go across its three-minute runtime. Produced by Machine Girl, ‘RIDE IT’ is fast-paced and bubbly, reminiscent of a carnival funhouse on fire. LustSickPuppy’s vocals, full of zingers and confident boasts, are delivered with complete ease, the artist in total awareness of themself and their capabilities. In ‘RIDE IT’, the musician/fashion designer has created a sonic world befitting their vibrant and chaotic sensibilities. Backed by crunchy distortion and mind-bending synths, ‘RIDE IT’ is an instant classic, elevated to something supremely special by LustSickPuppy’s wit and artistic sensibilities. 

Number 29: Deathrow bby – Namasenda

• Album: Ambrosia
• Label: YEAR0001
• Released: October 5

After announcing her departure from British label ‘PC Music’ in late May, Namasenda burst back onto the scene with ‘Ambrosia’. The EP is a glittering ten-minute ride down a highway at full speed, utilizing Namasenda’s airy voice to their fullest. Closing track ‘deathrow bby’ is a shining example of Namasenda’s self-awareness, her vocals effortlessly bleeding into the bass-heavy production. The resulting track is one that sounds wholly unlike anything Namasenda has put out to date, and feels emblematic of her transition away from PC Music. ‘deathrow bby’ (and by extension all of ‘Ambrosia’ feels like a sign of things to come, and as the Swedish starlet continues to make a name for herself, this track shows she’s still committed to constantly redefining her capabilities.

Number 28: leavemealone – Fred again.., Baby Keem

• Album: leavemealone
• Label: Fred Gibson, under exclusive license to Warner Music UK Limited
• Released: December 8

First debuted in Chicago during his US tour, Fred again..’s ‘leavemealone’ was an instant fan-favorite. Known primarily for his sample-heavy tracks, often incorporating conversations and chopped vocals over pulsing beats, Fred again.. here proves he’s still capable of music beyond the conventional dance tropes. Incorporating glitchy drum-and-bass alongside chopped vocals from Baby Keem’s catalog, ‘leavemealone’ stands out across the British artist’s many production credits. While it’s hard to classify ‘leavemealone’ as a ‘full’ drum-and-bass track, the song shows Fred again..’s continued willingness to reach across the chasm of electronica to create something wholly new.

Number 27: Flashback – Hannah Diamond

• Album: Perfect Picture
• Label: PC Music
• Released: October 6

Hannah Diamond fans are by now used to waiting. The singer’s 2019 debut album, ‘Reflections’, was preceded by six years of singles, so when ‘Staring At The Ceiling’ was released as the lead single to her second album in early 2022, many hunkered down for the long wait ahead. They were (hopefully) not disappointed, with ‘Perfect Picture’ arriving in late October. Across an album gleaming with sugar-coated bubblegum pop, it’s ‘Flashback’ that shines the brightest. The track invites the listener across a journey of nostalgia and love lost, an especially poignant topic now that PC Music has announced a cessation of new releases going forward. ‘Flashback’ still stands as a shimmering invitation to hold onto hope, elevated further by Diamond’s vocal talents.

Number 26: Angel (From Barbie The Album) – PinkPantheress

• Album: Angel (From Barbie The Album)
• Label: Atlantic Recording Corporation, Warner Bros. Entertainment Inc., Mattel, Inc, & PinkPantheress.
• Released: June 8

2023 was a big year for PinkPantheress. ‘Boy’s a liar Pt. 2, her collaboration with Ice Spice, saw immense popularity. Her first full-length album, Heaven knows’ saw release. More shockingly, the artist finally revealed her true name to the public. This is, of course, all without counting ‘Angel’, her contribution to the already star-studded Barbie soundtrack. Across her many releases, ‘Angel’ stands out, taking PinkPantheress’ already emotionally-intimate artistry and putting it on full display. With production aided by the likes of BloodPop® and Count Baldor, ‘Angel’ is a testament to PinkPantheress’ ability to stay fresh, blending fiddle and skewed beats to the artist’s vocals. The end result is something out of a Barbie Dream House: light and sweet, yet shining bright.

Number 25: Cold Touch – Kito, GrimesAI

• Album: Cold Touch
• Label: Mad Decent
• Released: May 17

Way back in April, when Grimes announced she was willing to let people use her as a basis for AI-generated vocals, the world was left torn over whether or not this was a natural progression for music. The answer is no clearer now, but regardless of one’s personal opinion as to the ethicality of AI vocals, it seems clear the practice is here to stay.

While it would then be easy to label Kito’s ‘Cold Touch’ as an omen (either good or bad), it feels more appropriate to recognize it for what it is: an experiment, and a stunning one at that. Kito makes use of the full capabilities of the GrimesAI, blending vocals across strobing synths and rapid drum beats to create a rapidly-evolving club number. ‘Cold Touch’ is a powerful end result, reminding us that even amongst the worry of how AI vocals could negatively affect artists, there are some who see it as a tool to blur the already murky lines between human and machine.

Number 24: Woe (I See It From Your Side) [Björk Remix] – Shygirl, Björk

• Album: Woe (I See It From Your Side) [Björk Remix]
• Label: Because Music Ltd.
• Released: March 21

As an accomplished producer and vocalist, Björk is no stranger to remixes, but there’s something special in her contribution to ‘Nymph_o’, the update to Shygirl’s 2022 debut album. ‘Woe’, the opening track on ‘Nymph, received a spot on last year’s Top Tracks, but as showstopping as it may have been, Björk manages to create something even more breathtaking here. ‘Woe (I See It From Your Side)’ take’s Shygirl’s original track and throws it to the ground, fracturing it into something dark, twisted, and beautiful. Led by Björk’s incredible vocal abilities coupled with a stuttering and cinematic production, the remix is a blending of two of electronica’s strongest voices, a gorgeous pairing that leaves the listener begging for more.

Number 23: Pure Smile Snake Venom – Eartheater

• Album: Pure Smile Snake Venom
• Label: Chemical X under exclusive license to Mad Decent
• Released: August 23

Drawing inspiration from the face mask of the same name, ‘Pure Smile Snake Venom’ is Eartheater at some of her best. The track, assisted in production by Sega Bodega, pulls a bait-and-switch on its listeners, metallic stabs melting into Eartheater’s multi-octave voice assisted by high-flying keys. The track is always primed to strike, baring fangs at every turn, yet managing to stay gentle throughout. As the lead single of Eartheater’s sixth album, ‘Powders’, ‘Pure Smile Snake Venom’ serves as a perfect gateway drug, hooking in the listener to the album’s vivid nine-track run. Still, it stands out as a distillation of the essence of Eartheater: stunning vocals and intensely-focused production determined to stir something primal deep within the listener. 

Number 22: Marvin descending – Christine and the Queens

• Album: PARANOÏA, ANGELS, TRUE LOVE
• Label: Because Music
• Released: June 9

Opening on a stripped-back piano backing, ‘Marvin descending’ lays Christine and the Queens’ vocals bare, on full display to the audience. The French musician’s mastery over emotion shines through on this track, the production increasing in intensity alongside his vocals, adding electric guitar slides, frantic drums, and droning synths as he moves the track forward. Across an album boasting features from both 070 Shake and Madonna, it’s Christine and the Queens’ solo work in ‘Marvin descending’ that leads as an emotional core. It’s a track that leaves the listener spellbound, enraptured by the artist’s ability to invoke such strong feelings of awe.

Number 21: Ghost! – Tkay Maidza

• Album: Sweet Justice
• Label: 4AD Ltd
• Released: November 3

‘Sweet Justice’ follows Tkay Maidza in her foray across genres and conventions, and ‘Ghost!’ is no different in this regard. Boasting production from now-legendary house icon KAYTRANADA, the track is custom-made for the club, vintage synths and woozy basslines pulsing alongside Maidza’s honey-laden vocals. ‘Ghost!’ utilizes the Zimbabwean-Australian artist’s talents to their fullest, allowing her lyrical expertise to come into full play. The track cements its place within Maidza’s impressive body of work, standing out with a glorious level of energy and power.

Number 20: Out Of Time – Slayyyter

• Album: Out Of Time
• Label: Slayyyter, under exclusive license to FADER Label
• Released: June 9

Slayyyter’s third studio album saw the popstar take on Hollywood, with all its glitz and glamor, but it’s the lead single that truly encapsulates this world in all the glory it deserves. ‘Out Of Time’ is custom-tailored for the dancefloor, it’s retro-pop pastiche working to Slayyyter’s benefit. The artist’s vocals take center stage here, soaring across the track’s bubbling basslines. It’s a testament to Slayyter’s versatility as a musician, easily shifting from vintage starlet to modern-day, wholly unmoored by the continuum of time.

Number 19: anon – Dorian Electra

• Album: Fanfare
• Label: Dorian Electra
• Released: July 20

Dorian Electra’s third album is overflowing with new exercises in post-modernist experimentalism, but it’s the third single from the album, ‘anon’, that takes this willingness to push boundaries to a new level. The artist’s hyper-awareness of internet culture is turned up to the maximum on ‘anon’, their witty vocals paired with electric guitars just begging to be unleashed. The song’s climax is frenzied and fantastical, Electra’s voice becoming little more than another element of the instrumentation. The track is held back from pure chaos, retaining a sense of forward momentum throughout that allows it to feel focused and clear in its goal. ‘anon’ is classic Dorian Electra: willing to conform to musical standards only as much as it’s willing to destroy them.

Number 18: If I Knew – Thy Slaughter (A. G. Cook & EASYFUN)

• Album: Sentence / If I Knew
• Label: PC Music
• Released: October 26

As PC Music’s decade-long run comes to a close, one of the label’s most beloved bands finally saw it time to release an album. ‘Soft Rock’ draws upon band members A. G. Cook and EASYFUN’s vast experience in both production and vocal work to create a veritable sonic world. ‘If I Knew’ is but one stand-out track on an album that works to break down the barriers of modern music to create something timeless. Featuring vocals from frequent A. G. Cook collaborator Alaska Reid, ‘If I Knew’ is painfully intimate, spinning a tale of love and devotion across syncopated piano and highwire synths. The resulting track is constantly flowing, breezily pulling listeners along for the ride.

Number 17: Collision Data – feat. Marina Henlop – Iglooghost, Marina Henlop

• Album: Collision Data
• Label: LUCKYME®
• Released: November 22

Like ‘Lei Line Eon’ and ‘Neō Wax Bloom’ before it, Iglooghost’s upcoming album (currently only known by the initials TME) will be a window into an alternate world. This world, far from those explored in Iglooghost’s past work, so far has shown itself to be stormy and full of rough edges. As an introduction to this new reality, ‘Collision Data’ is stunning, much grittier than the polished veneer of 2021’s ‘Lei Line Eon’, and elevated by Marina Henlop’s ethereal vocals. The two artists work off of each other with ease, Iglooghost’s oscillating production and whispering vocal splices helixing around Henlop’s gentle voice, spinning through the storm of the track with clarity. ‘Collision Data’ is classic Iglooghost, but taken even further in composure, clearly a signifier of the artist’s next work, and the world it will help bring to light.

Number 16: PSYCHE_extended_ ft_snowy_prod.pholo – BABii, Pholo, Snowy

• Album: SCREAMER_edit_Vii
• Label: BABii & Supernature, a Gloo release
• Released: January 13

First teased as the ending to ‘BUTTERFLY 11’ in the 2022 first release of ‘SCREAMER’, ‘PSYCHE_extended_’ fits right at home in BABii’s updated second album. The track is carried not only by BABii’s lyrical mastery, but by the talents of grime mainstay Snowy, who’s rapping pairs beautifully with Pholo’s wonky production. ‘PSYCHE_extended_’ despite highlighting the abilities of both Snowy and Pholo, is no doubt a BABii classic through-and-through, her ear for tightly-wrapped production and impenetrable candor pushing the track over the edge into something that exists beyond the limitations of simple codifiers.

Number 15: Dang – Caroline Polachek

• Album: Dang
• Label: Perpetual Novice
• Released: October 17

In stark contrast to her second album ‘Desire, I Want To Turn Into You’, released in February of this year, Caroline Polachek’s ‘Dang’ is dark and murky, full of references to her past work. Mocking the title of her 2019 debut ‘Pang’, ‘Dang’ exists in a constant state of snarky self-awareness, Polachek’s vocals complemented by the track’s pounding percussion. The song reaches a climax with Polachek’s prolonged screaming, a reference to a semi-infamous clip of her yelling at swans in London’s Hyde Park, before delving back into its avant-pop depths of mechanical drums and synth screws. Assisted in production by Danny L Harle and Cecile Believe, ‘Dang’ is expertly crafted, each component of the track designed to maximize its sense of ingenuity. The listener is kept perpetually on their toes as the song bends and turns across its runtime.

Number 14: Nothing Lasts Forever (with Grimes) – Sevdaliza, Grimes

• Album: Nothing Lasts Forever (with Grimes)
• Label: Twisted Elegance
• Released: November 3

The inevitable collaboration between Sevdaliza and Grimes has been eagerly awaited for by the world, and the result is nothing short of extraordinary. The two artists reflect on the ever-shifting nature of the future over a pulsating rave number, the track’s basslines hardly letting up as they progress. While both Sevdaliza and Grimes are talented producers, and their abilities are put to good use here, ‘Nothing Lasts Forever’ excels in its pairing of the artists’ vocals. As the song progresses, both artist’s voices blend into one another, reflecting the mechanical and cyclical nature of the future envisioned by the track. While perhaps grim in its expectations of what may come, ‘Nothing Lasts Forever’ funnels its sense of futurism into a highly memorable experience, encouraging the listener to dance on as the world decays.

Number 13: Keitai – Cecilia Gault

• Album: Keitai
• Label: Cecilia Gault
• Released: January 16

J-Pop is by no means some final frontier never explored in Western music, but Cecilia Gault’s ‘Keitai’ takes this influence to the next level, mixing the artist’s partial Japanese descent with future dream pop aesthetics. The ensuing concoction is brimming with dazzling synthwork and earworm vocals. Gault’s emotional resonance burns through her vocals, which burst with longing and just a tiny sliver of hesitancy, creating short bursts of tension that drive ‘Keitai’ forward. Add in a heightened sense of melodic composition, and ‘Keitai’ easily takes its spot in dream pop heaven, pulling listeners into its realm of youthful desperation for a special someone.

Number 12: ACTIVATE – COBRAH

• Album: SUCCUBUS
• Label: Gagball AB under exclusive license to Atlantic Recording Corporation
• Released: October 13

COBRAH can never be described as lacking in self-confidence, but her third EP ‘SUCCUBUS’ sees the Swedish artist reach new levels of self-assuredness. The artist’s unique brand of sexually slick beats paired with sultry and resonant vocals is put on full display in ‘ACTIVATE’. The song’s lyrics not only pay homage to iconic female performers: such as FKA twigs, Destiny’s Child, Charli XCX, and ROSALÍA; but display COBRAH’S iconic self-assuredness and personal power. This power, delivered over a buzzsaw-laden production, brand ‘ACTIVATE’ as a highlight in COBRAH’s fast-growing catalog of work. With the artist’s rising popularity, it’s only a matter of time before the track is joined by even more gems.

Number 11: Devil’s Chariot – LSDXOXO

• Album: Devil’s Chariot
• Label: F.A.G., under exclusive license to Because Music
• Released: July 13

LSDXOXO’s flip on Oklou’s ‘god’s chariot’ takes the already alluring quality of the original and transforms it into something hypnotic and deadly. Assisted in production by Sega Bodega, the Berlin-based artist makes full use of its source material and its vocal talents, blending the two into a haunting club number that stays imprinted on the listener long after it ends. ‘Devil’s Chariot’ allows LSDXOXO to spread his crafty wings, showcasing his unique perception of sound by reinterpreting Oklou’s track as something befitting the darkest of clubs. 

Number 10: Hell 4 Heaven – Plasmic

• Album: Hell 4 Heaven
• Label: Plasmic
• Released: October 13

Even after having the privilege to hear an early demo of the track, nothing could have prepared me for the sheer force and power of Plasmic’s newest single. The track ‘Hell 4 Heaven’ is a fury of synth madness, combining melted music box leads with the artist’s gorgeous lyrical talent. Plasmic’s latest track is impossible to fully categorize, spanning conventions of ‘synthpop’ to ‘cyberpunk’ to  ‘indie sleaze’, but ultimately presents itself as something wholly new and unique. As the artist continues to transfix new listeners, it’s no doubt that they’ll be able to continue their marvelous reign as a musician fully aware of each and every microsecond of their work.

Number 9: Out of Me – Donna Missal

• Album: Out of Me
• Label: Frank Records
• Released: April 21

From tragedy comes triumph in Donna Missal’s third album ‘Revel’. Conceived while the artist was homeless in the summer of 2022, the album is a documentation of the ability for hope to emerge from heartbreak. This concept is no more apparent than in second single ‘Out of Me’, a dance track in near-constant motion. Additionally, Missal’s vocals blend in and out of the whirlwind production, a constantly shifting beat that follows Missal’s lyrical journey. The Track ‘Out of Me’ is a stunning reminder of Donna Missal’s artistry and dedication to her craft, her lilting vocals propelling a frenzy of cathartic motion across the track.   

Number 8: Beautiful (2023 Edit) – A. G. Cook

• Album: Beautiful (2023 Edit)
• Label: PC Music
• Released: July 28

Released both in celebration of a decade of PC Music and a signifier of the label’s end of new releases, the 2023 edit of ‘Beautiful’ means a lot of things depending on how it’s approached. For one, it represents the evolution of both A. G. Cook and PC Music as a whole.

In stark contrast to the original ‘Beautiful’, the 2023 edit is ecstatic in its energy, blending its chopped vocals with flickering and echoing synths. Leading towards a glorious payoff in the form of its climax. From a different perspective, ‘Beautiful’ stands as a reflection of the music scene since PC Music’s conception – the loss of SOPHIE, the advent of terms like ‘hyperpop’ and ‘proto-hyperpop’, which fracture the already diverse releases of PC Music even further, and of course the label’s closure. Even still, with all it represents, ‘Beautiful’ is able to stand alone on its own two feet, a gorgeous and glittering release destined to go down in history as one of PC Music’s brightest.

Number 7: Destroy Me – Rebecca Black

• Album: Let Her Burn
• Label: Rebecca Black
• Release: February 9

Far from the eternal joke that she was seen as in 2011, 2023 sees Rebecca Black as a fully-realized pop provocateur. Now she is able to bend the conventions of traditional electro-pop with sheer determination and ease. Her debut album is no different in this capability. Able to flit between emotional honesty and electronic fury at the drop of a hat. ‘Destroy Me’ is an easy stand out amongst the album’s offerings; blending breakbeat production with crunchy guitar stabs and earnest admissions of awkwardness from Black. The track is an emotional rollercoaster, pairing the artist’s frank honesty with a total confidence in her own ability. The payoff is immense; ‘Destroy Me’ is one of Rebecca Black’s strongest songs, placing her skills in the limelight throughout the intensity of the track’s runtime.

Number 6: Backseat Girl – Jane Remover

• Album: Census Designated
• Label: deadAir
• Released: October 20

Jane Remover’s second album is full of stand-out tracks, all ten songs managing to bring something new and compelling to the table. It’s ‘Backseat Girl’ however that sees Remover at some of her most emotional, her vocals clearly ringing through with intensity. The track, filled to the brim with controlled audio distortion, is a reminder of just how potent the artist’s tendency towards emotional resonance is. By the time the track descends into an interpolation of venturing’s ‘David Ortiz Pillbox’, it’s likely left most listeners completely spellbound. Its whining guitars, steady death-march drumming, and Remover’s flowing vocals gripping hold of any listening ear caught in its path.

Number 5: software update – yeule

• Album: softscars
• Label: Ninja Tune
• Released: September 22

Yeule’s third album saw them venture into softer and less static-filled sonic textures than their previous works, but this doesn’t mean ‘Softscars’ is without its fair share of distortion. Their trademark glitchy sound, alongside their propensity towards heavily reflective lyrics presents itself on ‘software update’, a spiraling look at love and pain. Starting on a calm guitar-led note, the track soon builds towards a climax of distorted strings, yeule’s gentle vocals layered with maximum efficiency. The result is simply stunning, a track led by the artist’s awareness of the digital age towards something that transcends yeule themself, a song so deeply personal yet so easy to see oneself in.

Number 4: ETERNALLY ONLINE – JACKIE EXTREME

• Album: ONYX
• Label: THE JACKIE CORPORATION
• Released: March 3

I’ve talked at length about ‘ONYX before, when I reviewed the album shortly after release. Still, it bears mentioning that EXTREME’s fourth album is a stunning example of artistry. Drawing from the anonymous project’s vast array of influences to create something completely autonomous and devoid of the ability to be understood as part of a genre. On an album as strong as ‘ONYX’, its closing track ‘ETERNALLY ONLINE’ wins out, providing an outlet for JACKIE EXTREME to once again experiment with ambient electronica. The track is gorgeous, pairing the artist’s transcendence of vocal confines with slowly-building synth-lines. ‘ETERNALLY ONLINE’ is a gem amongst JACKIE EXTREME’s glimmering catalog, leaving her fans eagerly anticipating her as-of-yet unnamed fifth album, and what’s to come after.

Number 3: I Miss You 2 – 7777の天使, Blk Slk

• Album: I Miss You 2
• Label: Soul Feeder
• Released: October 30

Electronic duo 7777の天使 pair with hardstyle producer for ‘I Miss You 2’, a chameleonic track that constantly shifts across its seven-minute run-time. From electro-ballad synths, to death metal-inspired screamo vocals, to gentle, guitar-driven melodies, to a final hardstyle send-off, the track is never content to stick to a singular identity, a decision by the artists that only fares well for them. ‘I Miss You 2’ is a daredevil dive across the chasms created by genre essentialism, a track only aided by its unwillingness to bury itself within a singular hole. In a discography full of tracks willing to shatter the glass of categorization, ‘I Miss You 2’ is perhaps 7777の天使’s best demonstration of protest against status to date, combining harmony and chaos to create something beautiful.

Number 2: Watch It Burn With Me – KAVARI

• Album: Against The Wood, Opposed To Flesh
• Label: mould poisioning
• Released: November 3

Glasgow-based artist KAVARI’s debut album ties with JACKIE EXTREME’s ‘ONYX’ as my favorite album of 2023. ‘Against The Wood, Opposed To Flesh’ is an exploration of the ambient and the unsettling. Mixing samples from fringe-horror mainstays such as ‘V/H/S’ and ‘Marble Hornets’ into painstakingly-crafted ambient electronica. Through the album, KAVARI is able to create macabre yet beautiful soundscapes organized in a loose cult narrative.

Furthermore, the Track ‘Watch It Burn With Me’ stands out across the album, drawing upon KAVARI’s impeccable sense of atmosphere. It fits with crunchy distortion, perfectly-timed samples, and a deep droning bass. While the track is undeniably eerie, it’s also stunningly beautiful, displaying the Glasgow-based artist’s desire and sheer willingness to constantly experiment with her work, refusing to retread old ground. ‘Against The Wood, Opposed To Flesh’ is a strong first album from a producer who’s already shown herself to be capable of transforming at a moment’s notice, and forces the listener to confront their relationship to noise and to music as an institution.

Number 1: Black Stone – Kiss Facility

• Album: Black Stone
• Label: Kiss Facility & Supernature
• Released: June 28

Mayah Alkhateri and Salvador Navarrete (better known as Sega Bodega) are fully aware of the conventional notions of Shoegaze as a genre, and set out to definitively defy them. The second single from the duo’s first EP ‘Esoteric’, ‘Black Stone’ is lovingly crafted, blending Sega Bodega’s production.

Backed by haunting violins and pulsing guitar stabs, with Mayah Alkhateri’s jaw dropping vocal capabilities. ‘Black Stone’ is an impeccable release, each minute decision complementing the whole to an astounding degree. It signals alongside its arrival the creation of ‘Arabic Shoegaze’. A combination that takes full advantage of the culture’s rich musical history and Shoegaze’s powerful ethereal quality to create something poetic yet powerful. There is a fountain of emotion in Alkhateri’s voice, and her ability to captivate her audience is only boosted by the production capabilities of Sega Bodega. ‘Black Stone’ is hopefully only a taste of what’s to come, heralding the next evolution of music in the near future.

30 Best Songs of 2023: Honorable Mentions

‘Alchemy’ – Uffie

‘anthem’ – girl_irl

‘Club Cooter: Reloaded’ – Chase Icon

‘comet’ – caro♡

‘CUT MY HEART OUT’ – daine

‘Deli’ – Ice Spice

‘Famous Last Words (An Ode to Eaters)’ – 1017 ALYX 9SM, Ethel Cain

‘Fmuatw – Umru Remix’ – Brooke Candy, umru

‘Born For You’ – Astra King

‘Saddle’ – horsegiirL

‘Sinister Peak’ – JHL

‘Speed Drive – jamesjamesjames Remix’ – Charli XCX, jamesjamesjames

‘Spelling’ – Lolahol

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The post The WILLOWCORE Top 30 New Tracks of 2023 appeared first on WBRS 100.1 FM.

Luna Li first went viral on TikTok after posting clips of jam sessions from her bedroom during the pandemic. Playing violin, harp, guitar, bass, piano, and drums, The Toronto-based artist composed and produced her debut record, ‘

On Dec 3, hours before an intimate yet dazzling solo performance at ILLUMINATE!, a mental wellness concert co-hosted by WBRS, Student Union, and Brandeis Wellness, Luna Li gave an interview with WBRS, detailing her relationship with her cultural background, her musical perspective as a classically trained multi-instrumentalist, and more about how she’s been influenced by the world around her. 

Have you played in the US a lot before? How are you finding it?

I did my first US tour in 2021, where we opened for Japanese Breakfast. That was an amazing experience, like an incredible way to start off my touring career in the US. So it’s been a couple of years of touring since then. And I mean, there’s always ups and downs with touring, especially in the US. There’s such long stretches in between shows, and it can be exhausting, but it’s always very rewarding. And the audiences are amazing here. I love it.

If you could listen to one song, album, or artist for the rest of your life, what would it be?

Right now something that I feel like I can always put on is Dorothy Ashby. She’s a jazz harpist and an amazing, incredible musician. The arrangements are so cool and it’s just such a unique thing to have harp as part of a jazz ensemble. I think that’s something that I would never get tired of.

You’ve spoken before about how your cultural identity has influenced your work. Would you like to expand on how it has shaped your songwriting and musical process?

In terms of ‘Duality’ and that whole record, that was really a record that was shaped around my identity; it really felt like a coming-of-age record. And I guess coming to terms with my background, how I connect with my culture, and honoring that — I think that that was a really important thing for me to explore in that record. ‘Duality’, the name, refers to a few different things, but one of them is my Korean-Canadian background and figuring out how to balance those two sides of myself. That was heavily a part of that project. And I’m working on a new record right now. I think I will, of course, inherently take my Asian-Canadian perspective with me wherever I go, even if my work is not directly about my identity. I think that will always fit into my work, no matter what I do.

Do you have a vision for what you’re working on right now? Are you trying anything new?

Yeah, I was really excited to go into the creation of this album because I was working on ‘Duality’ for so long and getting to start fresh is really a blessing. It really has been just like a year and a half of exploration, figuring out what sounds I want to play with, being really open with myself, and allowing myself to try different directions to see what works and see what doesn’t. For now, I think I’m just gonna leave it open. I’m still working on an album title, so the concept is coming together. But yeah, it’s been a really fun time to work on new stuff.

You shared a video of you playing the gayageum, which I thought was so cool because I’ve never seen anyone play it in a non-traditional context. As a multi-instrumentalist, do you have a specific process for learning new instruments?

With stringed instruments, I find it easier to pick them up because having played violin and harp and even having the background of playing the piano, you can take all of those skills and transfer them to a new instrument, especially within the same family of instruments like the string family. And so with the gayageum, I found it easy to pick it up and figure it out because it’s quite similar to a harp or a guitar or something that I’ve played before.

I think, with each instrument that you play, it gets easier. If I were to learn like a woodwind or brass instrument, that would be a whole new learning curve. With the string stuff, I can be more self taught with new things that I learn. If it was something new, I probably would take some lessons or find a more formal way to learn. But I find learning is such a big part of my process. Because as I’m learning new things, I’m constantly inspired and having new ideas. I think that’s a really great way for me to feel like I’m moving forward and staying inspired. And it helps with writer’s block a lot.

Where do you turn to for inspiration for your lyrics in your writing process? 

I try to pull from anything I can. I mean, most of my work is about my personal experience, whatever emotional work I’m going through. And I like to pull from different areas of creativity, so, of course, the most direct one being listening to other artists’ music and being inspired by that. But also, I am definitely inspired by novels that I read and films that I see and the relationships that I have throughout my life with all different kinds of love. The other main thing that inspires me is nature. Just getting some quiet and being close to nature always helps me clear my mind and inspires me to write and make something.

Who are some of your major influences — from other artists to books or films? 

I’ve been listening to a lot of Dorothy Ashby as I mentioned. I got really into Minnie Riperton this last year, she’s amazing. And there’s been such an amazing influx of Asian American artists in the last five to 10 years: Japanese Breakfast, Mitski, Jay Som, SASAMI. Seeing other women who are succeeding and staying true to their vision is really inspiring to me. In terms of novels, last year I read ‘The Overstory’ by Richard Power. That was such a beautiful work of activism which had some really amazing poetic prose and was also inspired by nature and trees and the love and protection for old growth and forests. That was a big inspiration for me in terms of some of the imagery that I’ve been writing lately.

Having been classically trained on the piano and violin, what was it like to break into the music industry in another direction? Was it a form of rebellion for you?

I tend to be intense about things like when I get really into something, I really focus all my energy on that, so I don’t know if I felt it was a rebellion more than just kind of like switching my focus. But I did kind of exit the classical world — I was on the track, you know, doing classical violin, and then I decided to drop out of school and start a band and got really involved with the Toronto music scene. And that community was what really helped me get started.

There was a big indie rock and psych rock scene happening in Toronto and it’s still there now. I was just lucky to have an incredible community of people who were always putting on shows and I learned so much from them and was inspired by them. That really helped me get going with kind of abandoning the classical background. I think I also turned my back on the classical background for a while when I first started, then slowly decided to try to incorporate it a little bit more and started using my violin again. Then incorporating some more classical sounds and arrangements into my music and that’s made me really happy to blend the two things together.

The post A Conversation with Luna Li – By Grace Doh appeared first on WBRS 100.1 FM.

Parcels is an Australian electro-pop band that has been turning heads and moving feet on dance floors for quite some time now. They have been on the scene since releasing their singles back in 2016. If you haven’t tuned in yet, it’s about time. On October 20, 2023 they released their second live album, which captured their set from a concert at Le Palace, Paris. 

After listening to their newest live album on air (definitely worth a listen), I was inspired to revisit their 2021 sophomore album, “Day/Night,” where they wear the many hats of an electrifying blend of disco, funk, and modern pop. I’ve been returning to the album occasionally since its release and am never disappointed by any re-listen.

The review of the Day/Night Album

The album kicks off with “Day,” setting the stage with a sunny and optimistic sonicscape owing to a beautiful rising tension and composition. The track “Comingback” immediately encapsulates Parcels’ classic sound: a catchy bassline, groovy guitar riffs, and the smooth, soulful vocals of Jules Crommelin and Patrick Hetherington blend seamlessly to create a feel-good, head-bobbing experience. The layered interplay of instruments and rich vocal harmonies make “Day” a joyous opener, ensuring that listeners are in for a euphoric ride.

Moving into the “Night”, the album’s tone takes a more introspective turn, proving Parcel’s potential for a lasting experience between their music and its listeners. “Somethinggreater” is a standout track that showcases Parcels’ lyrical depth and their ability to blend introspection with danceable melodies. The juxtaposition between the darker lyrics and the shimmering instrumentals gives the listener an intriguing mix of emotions, and really gives them something to appreciate.

The Title Track

The album’s title track, “Day/Night,” transitions between these two worlds brilliantly. It’s a sonic journey, starting with soft, atmospheric moments that lead to a crescendo of disco-infused euphoria. Parcels demonstrates their instrumental comfortability and their knack for crafting layered, evolving compositions. Parcels’ ability, across all their works, to build compositions of vivid feeling has cemented their place in my heart.  

Next is “Free” and “Elude” providing a nocturnal soundtrack for the album, offering mellow grooves and introspective lyrics. “Free” exudes the aspiration for liberation, while “Elude” delves into the complexity of human emotions, with its melancholic piano chords and dreamy synths. These tracks give the listener a bridge between the two halves of the album. 

The final act of “Night” builds to a drifting finish with “Inside.” The pulsating beat, funky bass-line, and lyric-less instrumentation gently lays the listener to rest. This track majestically ties a bow on the album and really opens the listener up to the night and quiet that follows after the record is done playing. Cleverly however, the opening notes of the first track match up seamlessly with the final sounds of the final track. In doing so, their message of balance and interconnectedness literally comes full circle between the day and night. 

Verdict

All this to say, I’m super glad I had the opportunity to revisit this album that covers a lot of ground in a deeply enjoyable way. The 1 hour and 36 minute run time wastes not one second in exploring  ideas of joy, yearning, freedom, light vs. dark, and balance. If you haven’t already, go give “Day/Night” a listen. It’s got an incredible range with something for everyone. 

The post Day/Night Album Review – By Sam Berkooz appeared first on WBRS 100.1 FM.

Performance

The performance was unpolished and incorporated what seemed to be long improvised instrumentals and songs that led into one another. Vocalist Cameron Winter led the band with his distinctively deep and moody voice. Guitarist Gus Green also impressed with their solo skills and use of a steel slide on their finger in a number of the songs. A unique element of the show that added to the look and sound of the band was the use of a keytar. However, the band was truly carried by drummer Max Bassin who not only added the backtrack but an impressive display of passion and energy to the set. He also made creative use of a set of bongo drums. With few instruments, the band produced an artistically layered sound that had everyone swaying, dancing, and head-banging. 

After a swift 45 minutes, Geese left the stage, shortly followed by one of the most exuberant cheers for an encore I’ve ever witnessed. The crowd chanted “Geese! Geese! Geese!” and jumped up and down until the band finally re-emerged. 

The energy of the audience was some of the best I’ve ever seen. The house was fully packed, body to body, while still feeling respectful and friendly. The vibe was casual, authentic, and was characterized by a desire to have fun and jump around. Less than halfway through the set, a giant mosh pit broke out, consuming almost the entire floor of The Sinclair. After a few minutes, bassist Dom DiGesu left his instrument on the safety of the stage and leapt into the audience to join the moshing. Once again, the crowd went wild. 

The makeup of the crowd was almost purely Gen Z showing out in their thrifted fashion. Attending this purely Gen Z event gave me an insightful look into the future of concerts. The band and the audience brought the unexpected informal and interactive vibe of a house venue to The Sinclair. As younger bands continue to emerge, gain fans, and play more prominent venues, I look forward to seeing more of this informal touch to previously formal venues.

Setlist:

1. Domot
2. 2122
3. Mysterious Love
4. Killing My Borrowed Time
5. Disco
6. I See Myself
7. Rain Dance
8. Cowboy Nudes
9. 3D Country
10. St. Elmo

Encore:

1. Low Era
2. Fantasies/Survival
3. Undoer

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