Rock – 7th Level Music

Review: Model Living – The Wall

When I started writing this review of Chicago post-punks Model Living‘s new album, The Wall (not a Pink Floyd cover album), my brain (and autocorrect) initially wanted to write their name as Modern Living. As I listened to The Wall, I realized this wasn’t just a mistake, but rather some subtle subconscious message I’d received because The Wall is all about modern living and how bizarre it is.

Take opening track “Tire Pile” for example. It’s all frantic beats from Nico Ciani and weird saxophone honks from Sarah Clausen while lead singer Geoff Daniels delivers some kind of weird dissertation on chaos happening around us while we’re just trying to get a good cup of coffee or make it to a job we don’t necessarily love but think is enough for now. The bass groove on “Interest” is like a hidden gem that you realize carries the entire track while Daniels wonders why we’re all so interested in everyone else’s attention.

“Model Life (Car version)” has a great line: “Our future will arrive wearing the carcass of things that you liked.” #Truth. Jay Martinez‘s guitar work on “World of Minds” is sharp, sounding sparse in the right moments and like a growling dog in others. The title of “Head of Talent” could be read a couple ways. It could refer to someone who runs a talent agency or is response for coordinating performances at a event. It could also refer to someone who thinks they have a head full of talent, but everyone else knows otherwise. Judging from Daniels’ snappy lyrics about someone who’s trying to achieve something they can’t define, I think it’s the latter. It blends right into “& Enrichment,” which is a sizzler about looking for meaning in one’s life (“I would like to think that I would lay my life down if someone could just tell me where and when to lay my life down.”).

Then comes the appropriately named “Powerful Construction Trucks & Machinery Not to Be Missed,” which runs over you like a backhoe. The wild, weird groove of “Purchase I & II” is anchored by Matt Ciani‘s bass work. “Document” is a fast, almost pure punk growler, and then we get “Backwards Racer.” It’s over thirteen minutes of strange post-psych-kraut-drone-punk that’s difficult to describe but completely fascinating to hear. The album ends with “Scoreboard,” which is sort of an epilogue to “Tire Pile.”

This is sharp post-punk and an eye-opener to the madness around us while we’re just trying to do our thing and not get caught up in it.

Keep your mind open.

[I’ll feel like I’m model living if you subscribe.]

[Thanks to Geoff of Model Living!]

Review: Ed O’Brien – Blue Morpho

As the story goes, Ed O’Brien had just released his first solo album, Earth, in 2020 and then the world shut down. He was barely able to promote it and then, like all of us, had to enter a period of isolation. Having that time alone, even while with his family, gave him time to brood, which led to a dark depression and a cataloguing of ideas that he kept for four years until he was able to take time away from being Radiohead‘s guitarist to write and record his excellent second solo album – Blue Morpho.

The album is named after a butterfly, and O’Brien does indeed spread his wings and transform across the album’s length. “Incantation” starts off the record with psychedelic folk flavor with O’Brien’s guitar sounding like it’s melting at one point. The title track unfurls like the titular butterfly enjoying the sun for the first time, and O’Brien did find a reconnection with nature while writing the album in Wales and spending a lot of time in the woods. The soft vocals of “Sweet Spot” reveal O’Brien’s vulnerability as he felt the world shifting around him (and the rest of us) and wasn’t sure what, if anything, to do about it.

The groove of “Teachers” is outstanding, reminding me a bit of Boz Scaggs‘ stuff. O’Brien has acknowledged that he wasn’t so much interested in rock on Blue Morpho as he was jazz and trip-hop. “Midway through life, I just lost my way,” he admits. Dude, been there. Also, O’Brien’s solo absolutely shreds on this track.

“Solfeggio” is an instrumental drone track that makes me think O’Brien was trying to capture the fuzz in his mind as he tried to wrangle all the thoughts he was putting to paper, and “Thin Places” is another instrumental that’s calmer and meditative…as if O’Brien found that the best way to wrangle all those thoughts was to set them free to land where they wanted and not grasp them so hard (if at all).

The album ends with the nearly ten-minute “Obrigado.” “Sunny days are awaiting me,” O’Brien sings, and you believe him. We can all have those sunny days where “every day’s a symphony” if we allow them to happen. The song is bright, lush, and brilliant.

The whole album is. Nice work, Mr. O’Brien.

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR!]

Live: Babymetal, Halestorm, and Violent Vira – Huntington Bank Pavilion – Chicago, IL – September 04, 2026

It was hot and humid in Chicago on September 04, 2026. The whole Museum Campus area was busy with two different crowds: One was going to see Kanye West perform his rumored AI-derived new music for the second night at Soldier Field, and the other was a bunch of metal heads and J-rock fanatics heading to Huntington Bank Pavilion to see a triple bill of female-led metal bands.

First up was Violent Vira, who all wore keen matching white cross outfits that reminded me of early goth bands.

They played a solid set of nu-metal with some slight goth touches. Their rhythm guitarist is their secret weapon. He was locked in for the entire set and glued the whole thing together. Ms. Vira has a good voice that is well-suited for angry ballads and growling love songs.

Speaking of vocal chops, Lizzy Hale of Halestorm has enough of them to power a land-mover. Halestorm put on a powerful set of raging metal tracks, most of them about crazy sex, bad love, good love, and weird love. Their wall of Marshall amps was also impressive.

Halestorm performing in the setting of your next D&D campaign.

The opening track alone was stunning, with Hale belting out her vocals so loud and proud (with just simple keyboard chords behind her) that I thought they were doing an obscure soul or gospel cover. Ms. Hale could release a soul album if she wished (and I’m surprised she hasn’t). Give her a horn section and a funky rhythm duo and you’d have a winner.

It was good to see a wide age-range of metal fans at this show. I saw plenty of eight-year-olds and a couple six-year-olds as well. An adorable girl was head-banging and dancing near my stepdaughter and I through all three sets while her parents lounged nearby. “That kid rules,” I said. My stepdaughter agreed. The future of metal is assured.

Many of those kids, and plenty of adults, were there for Babymetal – the Japanese metal giants who haven’t been kids for a while now and are still creating a lot of interesting spins on the metal genre.

They came out to a roaring crowd, with their backing band, KAMI, delivering wild thrash metal riffs that were probably causing waves on the nearby boat harbor. “Megitsune” was a big hit only two songs in, and “Song 3” even included a story about the three singers using magic to scare off a giant bear.

A big surprise for me (but probably not for longtime kawaii-metal / “cute metal” fans) was their song “Sunset Kiss,” which, somehow, combines metal with Japanese city pop (a genre of which I am rapidly becoming a fan). The guitar solo in it is also a stunner.

“METALI!!” had the mosh pit and crowd surfers happy, and “RATATATA” was another fan-favorite that had everyone cheering. Of course, “Gimme Chocolate!!” closed the set and is still the best (only?) metal song about how good chocolate is.

Su-Metal grabbing our attention and not letting go.

They came back with the delightfully named “Headbangeeeeerrrrr!!!!!” and “Road of Resistance.” The crowd was still buzzing afterwards, and I saw a good number of kids still bouncing (and one zonked out from so much head-banging) as we left. It was a fun night. Metal crowds are often good crowds with a lot of community in them. This one was no exception.

Keep your mind open.

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Review: Tokyo Tea Room – Feel Forever

The cover image of Tokyo Tea Room‘s new album, Feel Forever, is, if you ask me, perfect for the sound of the record. You might look at it and think, “It’s just a photo of crumbled aluminum foil.”, but after you hear the dreamy, soulful psych-pop of Feel Forever, you think, “Oh yeah, I get it.”

Sam Teather‘s opening drum roll of “Hypnotised” is a perfect start to pretty much a perfect record. Beth Plumb‘s vocal style is like hearing dandelion seeds floating on summer winds, and the rest of the band (guitarist / producer / songwriter / jack-of-all-trades Dan Elliott and bassist Ben Marshall) groove like they’ve been doing it since the mid-80s. “Eyes Off You” is a love song you’ll put on every mix you’ll send to a lover from now until the end of time. “Leave You” has Plumb wanting to stay with a lover a bit longer because returning to the rat race is just…so…boring.

“All Night” continues this theme (with a shimmering groove) of wanting to extend the joy just another night more instead of calling it quits. The slow, smooth sound of “Feeling High” is great, with Teather putting down tight, simple jazz beats and Elliott’s synths and keys acting as icing on Plumb’s vocal cake. Marshall shines on “Always in the Sun” as his bass dances along like a happy cat and the band shows off their love of soul.

Elliott’s guitar on “You’re Mine” moves from desert rock to jazz with ease. “Temporary Love” has Plumb wanting a one-night stand to become a several-night stand at least, and “Last Time” has her wanting to seize the moment with a lover before its over and they go their separate ways. “Slip Away” floats us to bed as Plumb encourages us to “Stay inside, the world outside can wait.”

Getting back to the cover image, Feel Forever is as shimmery and reflective as the pictured aluminum. It’s also just as tactile and malleable. You feel it when you hear it as it wraps around and forms to you.

Keep your mind open.

[Feel your way over to the subscription box.]

[Thanks to Patrick at Pitch Perfect PR.]

A Shoreline Dream celebrates their 20th anniversary with a new single – “Legacy.”

Twenty years after forming, A Shoreline Dream enters its anniversary year with ‘Legacy’, the new single released via Latenight Weeknight Records, which finds the band reflecting on the time, choices, and sacrifices behind one of Colorado’s longest-running independent music projects.

A sludging, bass pumping song that explodes with a huge chorus of cascading guitars and vocals that match that reflection, its shoegaze chant reflects on all the time that has passed. Here, “Legacy, your legacy instead of it” lyrically reflecting the thoughts that which has been sacrificed – so many of the normal everyday life milestones – to instead fine tune the nearly 120 tracks the band has now released throughout their history. A tragic yet rewarding legacy to leave behind.

Formed in 2005 and based in Barnum, Colorado, A Shoreline Dream is a duo of multi-instrumentalist and vocalist Ryan Policky and guitarist Erik Jeffries. For just over two decades, Policky and Jeffries have built a catalog approaching 120 released tracks while developing a sound rooted in shoegaze, psychedelia, post-punk, and expansive guitar-driven experimentation.

Approaching the 20th anniversary of their debut album ‘Avoiding the Consequences’, they look at that history from a deeply personal perspective. Years spent writing, recording, producing, and refining A Shoreline Dream’s music have often meant choosing the demands of the creative process over many of the conventional milestones of everyday life. The song considers what remains when so much of a life has been devoted to making music, and whether the work itself ultimately becomes the legacy.

The release comes during one of the band’s most prolific periods. Rather than treating 2026 as a year of reflection, A Shoreline Dream committed to releasing singles every month, while developing new material towards ‘Waiting’, the band’s second full-length album of 2026, which will include nine tracks.

Their current creative roll follows a significant period of collaboration with Ridefrontman Mark Gardener. Through A Shoreline Dream’s partnership with Shameless Promotion PR, Policky and Gardener connected for a series of recordings that resulted in five co-produced and performed songs, the most recent of these appearing on the album‘To Where They Have Gone’, released in February.

That relationship is part of A Shoreline Dream’s love affair with the UK music community. The band has worked extensively with Ulrich Schnauss and has also collaborated with members of Engineers, Chapterhouse, Rocket Girl Records, and mastering engineer Mark Kramer (Urge Overkill, Bongwater, Shimmy Records).

“2026 has been the year of true sonic inspiration, and the first time I’ve found myself in a constant music writing mode. After working with Mark Gardener, my mind has been humming melodies to me daily,” says Ryan Policky.

That renewed creative momentum has also been shaped by the world outside the studio. The response has been to make music that provides an alternative to that noise: music that is melodic, heavy, expansive, and immersive.

“It’s been a brutal human climate, and the distractions are so overwhelming in the media / toxic social media world. I’m f’ing over it. I just want explosive and melodic tunes to distract from this insane world, and these songs are exactly that,” says Ryan Policky.

“The tales of dealing with a world in chaos I hope resonate with all those out there looking for new musical vibes and explosive soundscapes. We have come back to the original feeling of A Shoreline Dream creating melodipsych shoegaze to celebrate this massively long journey.”

‘Legacy’ arrives not as a retrospective statement, but as a marker of where A Shoreline Dream stands now. Policky and Jeffries have maintained their creative partnership through changing musical landscapes and an evolving industry. Their response to reaching the 20-year milestone has been to keep creating at an increasingly intense pace.

The result is a band looking back without standing still. ‘Legacy’ acknowledges the cost of the journey while ‘Waiting’ and the continuing 2026 release campaign point firmly toward what comes next.

‘Legacy’ is now available fromdigital music platforms, including Spotify,Apple Music and Bandcamp. The band’s second album of 2026, ‘Waiting’, will be released on October 16th.

Keep your mind open.

[I dream of you subscribing.]

[Thanks to Shauna at Shameless Promotion PR.]

Rewind Review: Black Moon Mother – Illusions Under the Sun (2020)

I found Black Moon Mother‘s 2020 album, Illusions Under the Sun, at a Chicago wrecka stow where it was described as a mix of doom metal and shoegaze (doomgaze). I listened to ten seconds of one track and was sold.

Beginning with “Lost in the Maze,” lead singer Brianne O’Neill‘s voice sounds like a ghost calling to you from the other side of a foggy lake while Mikey Owen and Corey Taylor‘s guitars seem to summon more ghosts from under the lake. “Around the Finger” feels like a song about loss and how it lingers with you (“Forever the weight. Inside, you know it stings.”). Jason Gilmore‘s bass riffs have an unexpected groove to them that inspired metal-loving head nods.

“High Winds” has appropriately soaring guitar work from Owen and Taylor while O’Neill’s voice drifts and glides over and through an ancient forest as she reminds us of the power of the world around us. “Slow Down” is a similar theme, with O’Neill encouraging us to touch grass (as the kids used to say) and remember our connection to everything around us.

The powerful “Radiant Sun” features not only Jeff Ehlinger‘s hardest drumming, but also O’Neill’s strongest warning about how apologies to Mother Earth will be too little, too late when she finally decides to set things right (“Creation is blood, soil is mud, we knew not of your worth.”).

The album ends with the instrumental, almost ambient “Afterglow.” It’s a neat way to wrap up a record of heavy riffs and ethereal vocals, showing that Black Moon Mother can create multiple soundscapes and moods. They’ve become one of my favorite discoveries this year.

Keep your mind open.

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Rewind Review: Frankie and The Witch Fingers – Data Doom (2023)

Shame on me for being late to Frankie and The Witch Fingers‘ excellent 2023 album, Data Doom. As you can guess from its title, the overall theme of the record is how technological creep into every facet of our lives and how it’s helped the rise of lethargy, rage, apathy, and fascism.

It’s another blast-your-face record from them that features a bunch of tracks that have become fan-favorites at their live shows. Starting with the low-end distortion of “Empire” that turns into a riff that feels like a lit match above a pool of gasoline, the album barely lets up for a moment. The outro alone might crush you and gets the whole crowd jumping.

“Burn Me Down” is about lead singer Dylan Sizemore wanting to be cremated after he’s dead. “Electricide” is a fast (check out those Nick Aguilar beats!) warning about letting technology overwhelm you (“Electric eye disrupts the way we know ourselves. So, go on, feed yourself electric pesticide and never question why we live the illusion.”).

“Syster System” is a satirical takedown / warning on the creeping influence of technology and how it disguises itself as a boon while often dehumanizing everything around it (“Syster System you’re the dream. All the planets and the beings. You’re the rhythm that we need for future machinery. Syster System is the code embedded in us to erode.”). The second half of it is a wild ride with Nikki “Pickle” Smith‘s bass leading the charge.

“Weird Dog” has funky, crunchy guitar work from Sizemore and Josh Menashe in a song about encroaching fascism (“Waking up the core, waking up the hive, waking up the Tao, waking may arise. Breaking up the war, breaking up the lies, breaking down your door just to watch you sleep.”).

“Doom Boom” is a slick one that centers the album with a call for an opening of our consciousness and a turn away from being “shackled to lies” (as well as hate, war, politicians, death, work, wait, and idealism). This could’ve been a Parliament track in another life. “Futurephobic” is an instant mosh-pit generator with its chant-ready chorus of “System has no way to connect!” chorus, but don’t miss Sizemore’s biting lyrics about how doom scrolling is creating brain rot and stealing your privacy and information (“Come ye witness the intended marketing, dopamine spiking, hooked up to the ever-changing chattering, listening, gathering.”). “Mild Davis” is another such warning (in 7/4, no less) with lyrics like “You there, ensnared by the god of wired screens, fuels the flicker of the infernal machine.”).

This warning (which also includes consumerism and capitalism) is delivered a final time on the last track, “Political Cannibalism,” with Sizemore’s bluntest lyrics on the whole album: “We consumers eat ourselves. Planet’s been disemboweled. Mass extraction bleeds us out, makes a terrible sound. Glutinous feeders at the helm. They’ve been grinding us down as we dine our own kind. They stack money and count.”

This is top-tier stuff. FATW have yet to miss.

Keep your mind open.

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Wild Pink releases “Still Come Down” with new album due August 21, 2026.

PREORDER / PRESAVE STILL COMING DOWN

This Friday, Wild Pink — the NYC-based band fronted by John Ross — will release Still Coming Down, their sixth studio album and strongest offering to-date, via Fire Talk. Today, Wild Pink unveil Still Coming Down’s final advance single and title track alongside an accompanying visual helmed by Wes Sterrs. After battling and beating cancer, and now becoming a father for the first time, Ross’ perspective has hairpin-bent its way into a simpler significance, where creating music is less about the bigger picture, and more about being present in the moment. The sauntering “Still Coming Down” captures Ross’ ability to pinpoint some of the more painful parts of life with an eye on a more hopeful horizon. All’s not lost despite the darkness, as Ross relays “I used to be pure // I just try to be good now,” over guitar from Meg Duffy (of Hand Habits) and Landon George’s fiddle.

“Still Coming Down” is presented alongside the final installment of Still Coming Down’s visual chapters, which have all continued along a lost conspiratorial plot that completes and complexifies the album narrative. In Chapter IV (“Still Coming Down”), the plot reaches an unsettling conclusion.

Ross says of the track:
This is my favorite song on the record right now so I’m glad this one is out today. I love Meg Duffy’s sinewy, slow motion fretless guitar playing and Landon George’s fiddle in the middle. This song isn’t about any one single thing but it’s mostly about my son and feeling overwhelming love.

In support of Still Coming Down, Wild Pink will perform an intimate album release show at Cassette in Queens, New York. The Still Coming Down album release show — presented by Stereogum and Fire Talk — precedes an extensive world tour that will take Wild Pink on the road for the remainder of 2026. A full list of tour dates are below, and all tickets are on sale now.

LISTEN TO “STILL COMING DOWN”

Wild Pink have been a staple of the indie rock scene for the better part of a decade, and it’s on their sixth album — Still Coming Down — that John Ross cements the voice he’s been steadily honing over the years. Propelled by the witty and ravenous wisdom of 2024’s Dulling the Horns, Ross’ poetic form has only gained traction, as jocular, heartfelt stories pour with a clever and distinctive ease. NFL bros cruise alongside big guys in grocery stores with even bigger tattoos: ghost stories and references from the cinematic haze of movies like Heat, Moneyball and The Town buzz in the background while Ross also points to Waterworld and The Perfect Storm — heroes who wander, looking for answers at the end of the world.

Still Coming Down was recorded in one week in Asheville, NC at the renowned Drop of Sun studios with producer and engineer Alex Farrar (Bnny, Squirrel Flower, Samia). Vocal takes were done in two to three bursts, marking a less laborious process than previous records. “There was not a ton of overthinking,” Ross says. Ross looked back to the grunge bands he was obsessed with as a teen, and found that it sparked a deeper presence with his own voice, both in lyrics and performance. He endeavoured to create an album that is as fun to play live as it is for the audience to witness, harkening back to the enthusiasm and motivation he felt growing up. “Strangely, I feel like I’ve found my voice on this record,” he says.

Still Coming Down is a storied expedition that welcomes in the drifters and the kids kicking up dust; the brokenhearted and the cursed; the ones looking for an answer and the ones who simply couldn’t care less. Ross gives movement to the characters in our heads, the faces we see every few years and the ones who pass us by. It’s proper rock meant to be played loud, with your hand out the car window, riding the air as you bound down some highway in the early hours.

Forming soon-to-be-classics that soak in their ability to impact without unnecessary frills, Still Coming Down is about the very nature of songwriting and instinct, learning to trust the process and staying open to the lessons you might learn along the way.

PREORDER / PRESAVE STILL COMING DOWN

Keep your mind open.

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[Thanks to Tom at Terrorbird Media.]

You’ll have a “Crush” on Growing Pains’ new single.

Last month, Portland’s Growing Pains announced their new LP Daniel Loves Mandy Forever, which will be released on their new label home Photo Finish on October 9th. Composed of Jack Havrilla, Kyle Kraft, Kalia Storer and Carl Taylor — the band have become one of the most buzzed about acts in the Pacific Northwest over the past year or so, after sharing stages with bands like MX Lonely, Alien Boy, Been Stellar, Water From Your Eyes, Beabadoobee and Dutch Interior.

Their new album, which was produced by Nathan Tucker of Strange Ranger, is an ambitious record made up of songs about desire so all-consuming that it warps the world around it. The compositional scale of these songs matches their emotional intensity. Across Daniel Loves Mandy Forever, Taylor and Havrilla’s guitar lines nod to the intricacy of midwest emo before erupting into clouds of fuzzy power chords, while Kraft plays with the crash-heavy maximalism of an arena-rock drummer. Storer’s voice is a hazy, dreamlike presence, her relative calm amid the turbulence building a gently surreal atmosphere.

The band’s influences aren’t buried here—the immediacy of Joyce Manor, the enormity of My Bloody Valentine, the scrappy melodicism of Pacific Northwest indie rock—and their non-musical inspirations are fittingly grand and varied. Early single “Swimming” draws images from a trip to an art museum that Storer and Taylor took together, where they saw a biblical depiction of Jacob wrestling with an angel, where “Drive” includes layered references to Bruce Springsteen and Roy Orbison.

Today, the band are sharing a new single entitled “Crush,” which was inspired by David Lynch’s Mulholland Drive.

Taylor says of the single:

This song is about trying, but failing to comprehend the nature of desire with language. How do you articulate the failure of language? This song tries to examine this space–a breakthrough of romantic desire creating delirium in the subject.

Keep your mind open.

[I’ll have a crush on you if you subscribe.]

[Thanks to Tom at Terrorbird Media.]

Adult DVD release a dance floor-filler with “Rolling Face.”

In September, Adult DVD will be releasing their self-titled debut LP on Fat Possum Records. The Leeds-based sextet have become one of the most talked-about live bands in the UK over the last couple of years, playing festivals like Glastonbury, Green Man, End Of The Road, on the strength of their early EPs. Their momentum has continued gathering behind the band since the announce of their signing to Fat Possum, with the band making their US debut at SXSW earlier this year where they were hailed as one of the best bands of the festival. The band followed that up by touring Japan where they were greeted by fans in homemade Adult DVD merch, played a series of sold-out shows and saw posts about their performances go viral with millions of views.

The band announced their record with the single “Cowboy On Aisle Three” last month, that Stereogum described as “a deranged banger….[that] explodes with DFA-indebted infectiousness.” Today, Adult DVD are back to share a new preview of the album, a track called “Rolling Face,” an acid house exploration of a wild night out that ends with its main character out of his mind.

Singer Harry Hanson says of the track:
“A job in a suit can only get you so far, which is what the character from rolling face soon realizes, he’s at the deep end of a pretty ugly night out, which ends in him losing his mind and money.”

In the making of their exhilarating debut album, vocalist Harry Hanson and synth-player Greg Lonsdale, alongside Danny Blackburn (guitar/synth), Jake Williams (synth), Jonathan Newell (drums), and George Manson (bass), went harder on what was already working for them: witty observational songwriting based in real-life characters and a pulsating synth-punk sound perfect for both the rave and the mosh pit. Fusing together an intense musical workout with depictions of a motley crew of figures ranging from 5G conspiracy theorists to an existential cowboy, Adult DVD is the electrifying sound of a band exceeding their own expectations while going just as hard, if not harder than their adrenaline-fueled live shows.

Produced by the band at The Nave Studios Leeds , the general theme of the album is to let go and take life a little less seriously. Simmering with boredom, wasted time, scams and a preoccupation with death and sex, the Adult DVD universe is a place to escape to and also get lost. These are songs that untangle the complicated ways in which people find themselves living, mining both laughter and energy from thinking. “There isn’t that much down time on the album,” Hanson says in reference to its pulsating energy and high BPM count. “It’s got harder in both directions. It’s like the EPs but on steroids.”

PREORDER/PRESAVE ADULT DVD

Keep your mind open.

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[Thanks to Tom at Terrorbird Media.]