Last March, Brooklyn’s Punchlove released their debut LP Channelson Kanine Records. Composed of multi-instrumentalists Jillian Olesen, Joey Machina, Ian Lange-McPherson, and visual artIst viz_wel, the group’s debut earned praise from outlets like Stereogum, Bandcamp, FLOOD and Paste, who called the album “one of the most compelling shoegaze debuts in recent memory” and included the album on their Best Debut Albums of 2024 list.
The album’s reception has paved the way for a busy start to 2025 for the band, who have already toured across the UK and Europe, and will be heading out in the US later this month. Last month, they also released a new single called “(sublimate)” that teased a promising new direction for the band. The track moved beyond the shoegaze swirl of their debut, introducing layers of glitchy electronics and a heavier sound, a wave of industrial-inflected noise pop that Consequence called “further proof of the Brooklyn-based outfit’s proclivity for tasteful disturbance.“
Where every Punchlove release to date has been self-produced, “Today You Can Learn The Secret” was co-produced with Xav Sinden. As Olesen explains, the track was inspired by an experiment in automatism that led to a revelation about the way her digital life had been impacting her subconciously.
Olesen says of the track:
This release is a surrealist, portal fantasy-inspired encounter with the unconscious mind. This latest song started with just the title itself (“Today You Can Learn the Secret”), and then Ian wrote all the instrumental parts. When it came time to write the lyrics, I had started leaving an open notebook next to my bed each night as a creative exercise in automatism I’d read about somewhere and basically started waking up to find all kinds of scribbles and chicken scratch all over the pages each morning. It was like scary psychological Christmas each morning. At times there was really raw stuff in there. It kinda freaked me out, but it was also exciting and really started to shift my perspective on my own humanity, as well as the world around me. It felt like I had a new window into understanding how certain things were really affecting me, and to start grasping the nuances of how I had been unknowingly absorbing and filtering my (excessively digital) daily stimuli on an unconscious level, from which I could begin to make real changes. So outlining my own experience and some of the recurring themes of these bizarre dream entries, O is the journey of moving from an outward facing, always-on, digital world in towards the deepest, darkest, realms of ourselves, where we are found face-to-face with our own humanity and mortality in new and unexpected ways.
Hotline TNT — the New York-based band fronted by Will Anderson — announce their third album Raspberry Moon, out June 20th via Third Man Records and share its lead single, “Julia’s War.” The follow up to Cartwheel, the band’s “exquisite” (Billboard) 2023 breakthrough, Raspberry Moon is the most sweeping and compelling Hotline TNT album to date and, crucially, the first built by a full band. Funneled into the album are moments of vulnerability and romance, creating a generationally great statement of youthful wistfulness and very adult growth that also happens to be very charming and sometimes funny.
While in the studio of modern D.I.Y. hero Amos Pitsch (Tenement), Anderson found himself in an unusual position. This time, and for the first time, the quartet that had toured for the last 10 months as Hotline TNT had come with Anderson, somewhat unexpectedly. He had intended to make one more album his way—holing up with a producer and building songs piece by piece, as he’d done for Cartwheel—before making Hotline TNT a full-band affair in the future. But there was no avoiding it. Guitarist Lucky Hunter, bassist Haylen Trammel, and drummer Mike Ralston wanted in. Anderson relented.
In making Raspberry Moon, Anderson confronted a burgeoning if occasionally difficult belief: Hotline TNT was now a band, and this was the band. The benefits are self-evident— it is the most texturally rich and energetically nuanced album Hotline TNT has ever made—from start to middle to finish. Some of these 11 songs deal with the sting of regret, of being left or leaving, as Hotline TNT always has. But this is a record animated by a sense of newness and possibility, of pushing back against the global sense that curtains are closing to make room in your own life for new friends. It is perfect music for looking forward, no matter how fucked the past may feel.
Lead single “Julia’s War” is an anthem of nascent affection where a simple and wordless chorus of “na na na nah” paints a horizon of possibility. The guitars are perfectly warm and sharp, cutting into you but simultaneously pulling you into the song. Of the track, whose title is a hat tip to regional contemporary They Are Gutting A Body of Water’s sprawling imprint, Anderson says: “In a world of half-hearted hooks, and buried-in-the-mix vocals, we had to muster the courage to do what the rest of the shoegaze community could not… We looked out to the stadium and reassured the audience: Our voices, together, will be heard. You’ve never heard a TNT chorus this straightforward – when we stress-tested it during the writing process, the ‘try not to sing along challenge’ came back with a 100% fail rate.”
Of the song’s accompanying video directed by Johnny Frohman, Anderson says: “When it came time to cook up the music video, Johnny Frohman created a Full-Metal-Jacket-style shoegaze bootcamp… It’s not the Marine Corps, it’s Slow Corps. Edy Monica, Dan Licata, Peter Mills Weiss, and an ensemble cast of NYC comedy underworld alts rounded out the platoon and drafted us into a world where we could enlist in a strict regimen of pedalboard assembly and underwater vocal lessons.”
Musical auteurs have been a feature of rock ’n’ roll since its very early days—folks who could imagine a sound and the path to it, largely alone. Something akin to Moore’s Law has made it easier to become exactly that during the subsequent decades, since studios with solid gear are now as accessible as a bedroom. It is increasingly convenient to be solo. The real work, though, is to abandon the ego and singular devotion to your absolute vision and make something better with the people you trust. Hotline TNT has done exactly that on Raspberry Moon, an album where Will Anderson gives himself space to fall in love with the world around him and sing as much in songs so loaded with hooks you’ll need to choose which ones to hum at any given moment.
Hotline TNT will play a series of headline shows in early May and will then embark on a North American Tour supporting Hippo Campus with stops in Seattle, Portland, Las Vegas, Austin, Chicago, and more. A full list of dates can be found below.
Hotline TNT Tour Dates Thu. May 1 – Louisville, KY @ Mag Bar Fri. May 2 – Urbana, IL @ Rose Bowl Tavern Sat. May 3 – St Louis, MO @ Sinkhole Sun. May 4 – Columbia, MO @ Rose Music Hall Tue. May 6 – Colorado Springs, CO @ Vultures Thu. May 8 – Boise, ID @ The Shredder Fri. May 9 – Sat. May 10 – Portland, OR @ Roseland* Mon. May 12 – Tue. May 13 – Seattle, WA @ Showbox* Wed. May 14 – Vancouver, BC @ Vogue* Fri. May 16 – Sacramento, CA @ Channel 24* Sat. May 17 – Las Vegas, NV @ Brooklyn Bowl* Sun. May 18 – Phoenix, AZ @ The Van Buren* Tue. May 20 – San Antonio, TX @ Aztec* Wed. May 21 – Austin, TX @ Moody Theater* Thu. May 22 – Dallas, TX @ Bomb Factory* Sat. May 24 – Oklahoma City, OK @ Jones Assembly* Sun. May 25 – Bentonville, AR @ The Momentary* Tue. May 27 – Columbus, OH @ Kemba Live* Thu. May 29 – Grand Rapids, MI @ GLC Live at 20 Monroe* Fri. May 30 – Chicago, IL @ Salt Shed* Sat. May 31 – Minneapolis, MN @ Surly Brewing* Sun. June 1 – Milwaukee, WI @ Cactus Club % (early & late shows) Tue. June 3 – Buffalo, NY @ Rec Room
Lockstep, the Nashville-based trio of Austin Rolison (drums, vox), Matt Schumacher (guitar, vox) and Tanner Ihrie (bass), “make[s] doomy, heavy shoegaze in the vein of bands like Cloakroom and Jesu” (Brooklyn Vegan). Today, they present “Drag Along,” their first new single in nearly two years and a heavy-hitting “hello.” It screeches into existence with a squall of feedback and Rolison’s swirling vocals: “Collapse into you // Won’t avoid it // Everything you wait for // On display // The helpless weeping // Uninvited // Forever remain // In the grey.” As the song reaches its peak, massive waves of guitar and crashing percussion come together in a shuddering wall of noise. In the band’s words, “Drag Along” “touches on the passage of life and the things left in its wake.” Watch Lockstep’s Video for “Drag Along”
Lockstep first formed in 2021. Since then, they’ve released two EPs, “Lockstep 1” and “Arrival,” both of which earned significant interest in Reddit forums and on Bandcamp. These EPS expertly weave heavier, more abrasive elements into a melodic/gazey sound to be “as enveloping as possible.” As New Noise praises, “pulling from post-rock, shoegaze, doom, and noise-rock, Lockstep creates a sonic output that is both punishing and atmospheric.”
Although they began primarily as a recording project, they’ve evolved into an active touring pursuit. Lockstep has played shows with notable bands and peers in hardcore, punk, and shoegaze, including The Armed, Wisp, Doused, REZN, Gumm, Prize Horse, and others. “When we were first writing as a group, we weren’t considering how or if these songs were going to be played as a trio and in front of people,” says the band. “Which allowed for a little more freedom when thinking of composition. We’ve tried to keep that spirit present when we write now.”
Keep your mind open.
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Blackwater Holylight excel at writing, singing, and playing haunting songs that take doom rock into spectral places. Now, with their new EP If You Only Knew, the band take their doom rock into the shoegaze realm and the results are excellent.
Sarah McKenna‘s rainfall-like electric piano opens the EP on “Wandering Lost.” It matches the sorrowful guitar from Mikayla Mayhew as lead singer / bassist Sunny Faris reminds us that we all suffer at some point, and we can sometimes find solace in that. The song kicks into grand metal riffs in the second half, with drummer Eliese Dorsay putting down beats that Nordic metal bands would love.
“Torn Reckless” is a gorgeous shoegaze track that caught me by surprise. Faris sings about standing on the precipice of a relationship and not sure if plunging off it or backing away is the right decision. Mayhew’s guitar sounds like its being pumped through a dozen half-blown amplifiers.
“Fate Is Forward” is pure 1990s (good) alt-rock with its bursting guitars and quiet-loud-quiet verses and chorus. It’s almost a forgotten Failure track, and it’s impossible to choose who shines the most on it, but why should you bother? Just let it wash over you like a rolling thunderstorm.
Finally, I did not have “Blackwater Holylight covers Radiohead.” on my 2025 bingo card, but they’ve done it with a beautiful version of “All I Need.” They keep the buzzing synths and add more guitar fuzz. Faris’ version of Thom Yorke‘s vocals make the song open its heart a bit more and, yes, make it sexier.
This is one of Blackwater Holylight’s best records, and a great sign of good things to come as they continue to explore and expand their sound.
Keep your mind open.
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Natalie Lew’s Sea Lemon project uses dreamy tones to mimic natural wonder. Today, the Seattle Songwriter announces her full-length debut, Diving For A Prize, out June 13, 2025 via Luminelle Recordings. The record is fantastical and shaped by life in the Pacific Northwest, fleshed out by collaborator Andy Park (Death Cab For Cutie, Deftones). Today, Lew Shares the single “Stay,” which expands on the gauzy Sea Lemon formula. “Handle all customers between the leather couches where the concrete starts to drip I think there’s something someone listening,” Lew sings in the final lines, over fuzzy guitars and a loping drum groove. In true Sea Lemon fashion, “Stay” is enveloping and cloudy.
On the single, Lew Shares:“Stay was the first track I actively wrote for my record, and is a little vignette of a man I saw in a local thrift store. This older guy, probably in his 70s or 80s, was acting as a security guard at this thrift store near my house, but he was basically asleep on the couch the entire time I was there. I couldn’t stop thinking about him after I left, and wrote Stay as a reaction to seeing this guy who I felt deserved to take a break. The song became a short story about him, and about how important I feel it can be to have someone in your life willing to telling you to take a step back and just relax.”
Natalie Lew grew up by the ocean, always harboring a fascination with the strange universes bubbling right below the surface. Born and raised in the Pacific Northwest (she currently resides in Seattle), the peculiar and miraculous environment around her, filled with tide pools and marine life, has seeped into her worldview and the music she makes as Sea Lemon. Imbued by both a sense of wonder and trepidation, debut full length Diving For A Prize is a haunting vision of Lew’s own creation, a vividly assembled snapshot of a place that is both fantastical and deeply curious.
The result of eight months of writing, Diving For A Prize was mainly produced and fleshed out in the studio with Lew’s collaborator Andy Park (Death Cab For Cutie, Deftones) in Park’s home studio in Seattle. Lew herself grew up playing piano, but became more actively engaged with music when she joined the programming board of her college at the University of Washington where she was studying design. Always consuming new music, it wasn’t until a stint in New York where she picked up a guitar for the first time, briefly joining a band with her roommates before moving back to the West Coast in 2020. This newfound period of isolation allowed her to experiment with Logic and create music on her own. “I never heard myself sing until 2020,” she admits. The resulting EPs Close Up and Stop At Nothing represent these first forays as a solo musician, but although Lew has always highlighted the intentional departure between the sonic semi-brightness of her music and its darker subject matter, Diving For A Prize fully submerges into fuzzier territory and murkier impulses.
“When I make a song I think of it as its own little universe,” Lew explains. Inspired by artists like Enya, Caroline Palochek, Air and My Bloody Valentine, Lew’s “shoegaze but with pop structures” songs have a knack to be earworm-y when you least expect it, embedding themselves in the listener’s psyche. Intentionally amorphous, often what seems like a straightforward chord progression dissolves into something more insidious after multiple listens. Her voice can sound sweetly saccharine until you listen to the lyrics, which often tell vaguely sinister tales and reflect scenes where the mundane takes a turn. Lew writes short stories in her spare time, and her eye for curious vignettes is reflected in Diving For A Prize, which often sees her characters going through minute challenges or uncomfortable scenarios, like in the disarmingly ominous “Rear View,” which features a baseball player who is on the periphery of not making the next season. For this is what life is like – “tragic, sweet, comedic,” Lew says: all of the things at once.
As much as Lew excels as a storyteller, she at the same time warns against hinging too much on one person’s version of events. She’s her own unreliable narrator, blinded by emotion and the fleeting memory of the moment. It’s prevalent in the eerie naiveté of the otherwise dreamily cloying “Sweet Anecdote”: “you were the one / knew from the start / God I was so sure when I saw you.” Just as songs fossilize and preserve a specific feeling, time ushers on the inevitability of change. Lew often imagines what has become of these people. “Stay,” which memorializes an old security guard asleep in a thrift store, lends melodrama and cinema to the idea of the man finally leaving work and never coming back: a happy, albeit imagined ending.
The twelve songs of the album often operate in this sphere between fantasy and real life, where it is easy to dream, almost desperately, that something out of the ordinary might occur, even if it means ignoring your gut instinct. Lew reiterates this in the gleaming “Blue Moon,” which signifies “nature giving you signs that you should stop doing something,” while in the heavier “Give In,” she paints a scene where the light of an abandoned house draws the listener in. The name Diving For A Prize signifies taking this leap, often with the clouded judgment and despite the clues and warning signs that suggest otherwise. Lew has long been enamored by the horror trope of a fork in the road, and the presiding obsession that comes from wanting to make something, anything happen, at any cost.
But part of risk is also reward, and each track is its own portal filled with both yearning and self discovery. The luminescent “Silver,” which is about “being a kid and my mom telling me the world is your oyster,” holds both this disillusionment as well as hope that comes with growing into the person you are. It’s this constant desire for more which pushes us forward, towards whatever destiny awaits us. “With these songs, I wanted to find a place for myself in the world.”
Coming off the 1993 Lollapalooza tour (back when it a tour and still had good lineups), The Jesus and Mary Chain went into the studio in 1994 to record what was originally supposed to be an acoustic record for their fifth album, but making Stoned & Dethroned took longer than they’d expected and was also the first time since Psychocandy that they used a full band in the sessions instead of brothers Jim and William Reid doing everything.
“Dirty Water” (a sort of lament mixed with a sort of challenge) has those acoustic guitars, but the electric guitars and bass, and Ben Lurie‘s harmonica and Steve Monti‘s shuffling drums almost push it into psychedelic country territory. “Bullet Lovers” continues this love affair with the dusty west (I mean, look at that main cover image…).
Mazzy Star‘s Hope Sandoval joins Jim Reid on vocals for “Sometimes Always,” which has Reid begging for Sandoval to let him back into her life after he’s left her yet again. “Come On” is a lovable track with a cool groove and simple, yet completely relatable lyrics about trying to convince a lover that things will eventually turn around and be all right. The electro-acoustic guitar on “Between Us” is a nice touch, once again bridging the gap between western psych and shoegaze.
“Hole” is a dark one, with Jim Reid wishing he had some motivation (“All I want is a dream. Give me something to dream.). Monti’s simple drum beat is perfect for the track, while the guitars grumble like Oscar the Grouch deep inside his trash can. “Never Saw It Coming” might be a song about the end of the world, with William Reid telling us there will be no need of money, clothing, or even running when it comes. The bass groove on this by Lurie is top notch.
“She” is an interesting track (with nice guitar work throughout it) as Jim Reid tries to figure out a woman who “spends her time out of space and out of line, planning some unholy crime that comes to nothing.” Meanwhile, his brother wishes he and a woman could make it work on “Wish I Could.” “Save Me” and “Till It Shines” go heavy on the acoustic guitar chords, with “Till It Shines” again delivering a (mostly) hopeful message (“Junk the junk, love the love.”).
Shane McGowan from The Pogues takes over lead vocals on the sad (Notice the initials of the album’s title?) “God Help Me,” which is a straight-up prayer of someone at the end of their rope. Jim Reid tries to talk a lady friend out of going back to her old addict habits on “Girlfriend” (“We done our time and we had some fun. I want to get things done.”). He expands this to wonder what’s going on not only with her, but people in general on “Everybody” (“Everybody I know is falling apart.”) – a song which I’m willing to bet Radiohead has on a couple playlists. On “You’ve Been a Friend,” Jim Reid is missing someone who’s left him – possibly because of his actions.
William Reid, at least, feels a bit better on “These Days,” in which he claims, “I feel immune to the sadness and gloom.” On the closing track, “Feeling Lucky,” he’s finally found “someone who knows me, and she still wants to hold me.” The Brian Jonestown Massacre probably play this on repeat while on tour.
This album doesn’t have a lot of the loud, fuzzy riffs you might expect from TJAMC, but it does have the introspective lyrics, the good guitar work, and the interesting mix of American southwest vibrations.
Dummy announces a new remix album, Bubbelibrium DLC, out June 11th both digitally and on a limited run of compact discs handmade by the band, and shares the “Unshaped Road (GMO’s Gummy Remix)” via Bandcamp today and available on all streaming platforms this Friday, March 14th. Bubbelibrium DLC reimagines Dummy’s sophomore album, Free Energy, released last fall on Trouble In Mind to acclaim from Pitchfork,Rolling Stone, Stereogum, Paste, Bandcamp Daily, Alternative Press, Treble, and more. Inspired by the notion of collaborating with their community of peers and heroes, Dummy invited GMO, Wishy, Three Quarter Skies (Simon Scott of Slowdive), seminal 90s 4AD band Insides, and more to participate. Bubbelibrium DLC pushes Dummy’s songs further into the electronic, dance and experimental space that showcase each artist’s individual talents.
“Unshaped Road (GMO’s Gummy Remix)” finds members of ex-Captured Tracks’ band B Boys remixing Free Energy standout “Unshaped Road” with a focus on the song’s bassline. GMO says, “We heard you like the bassline in ‘Unshaped Road’ — so do we. Our remix highlights the driving bassline and textured sounds of the original, with a little GMO flavor.” Stream “Unshaped Road (GMO’s Gummy Remix)”
Dummy — the Los Angeles band of Alex Ewell, Emma Maatman, Nathan O’Dell, andJoe Trainor — is a creatively restless band. Feeling like they had done the best version of motorik pop that they could do, they wanted to get harder, dancier, a little more psychedelic. While creating Free Energy, Ewell and Trainor began experimenting with home recording, using DAW as kind of an instrument for composition rather than simply a tool. O’Dell dug deeper into instrumental/sample composition, in addition to contributing more guitar leads, while Maatman stepped into the spotlight with noticeably foregrounded and confident vocals. The result is a record that celebrates music’s ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine—or, if you’re Dummy, maybe all of them in the same song.
Dummy Tour Dates: Sat. Apr. 19 – Pioneertown, CA @ Pappy & Harriets Sun. Apr. 20 – Tucson, AZ @ Club Congress Tue. Apr. 22 – Phoenix, AZ @ Linger Longer Fri. Apr. 25 – McAllen, TX @ The Gremlin Sat. Apr 26 – Austin, TX @ Austin Psych Fest Sun. Apr. 27 – Denton, TX @ Rubber Gloves Mon. Apr. 28 – Oklahoma City, OK @ Resonant Head Tue. Apr. 29 – Lawrence, KS @ White Schoolhouse Wed. Apr. 30 – Denver, CO @ Hi Dive Thu. May 1 – Albuquerque, NM @ Sister Sat. May 3 – Mexico City, MX @ Pitchfork Music Festival CDMX Sun. May 4 – Guadalajara, MX @ Cuerda Cultura Thu. Jul. 31 – Sun. Aug. 3 – Happy Valley, OR @ Pickathon Fri. May 16 – Brussels, BE @ Les Nuits @ Botanique Sat. May 17 – Amsterdam, NL @ London Calling @ Paradiso Mon. May 19 – Hamburg, DE @ Aalhaus Tue. May 20 – Berlin, DE @ Badenhaus Wed. May 21 – Szczecin, PL @ Storrady Thu. May 22 – Warsaw, PL @ Chmury Fri. May 23 – Krakow, PL @ Green Zoo Festival @ Klub RE Sat. May 24 – Brno, CZ @ Art Bar Sun. May 25 – Katowice, PL @ Piąty Dom Tue. May 27 – Bratislava, SK @ Nova Cvernovka Wed. May 28 – Kreuzlingen, CH @ Horst Klub Thu. May 29 – Bern, CH @ ISC Club Sun. June 1 – Toulouse, FR @ Le Labo Des Arts Mon. June 2 – Barcelona, ES @ Primavera Sound Tu. June 3 – Madrid, ES @ Wurlitzer Ballroom Thu. June 5, – Porto, PT @ Maus Habitos Fri. June 6 – Lisbon, PT @ ZDB Sat. June 7, – Andoain, SP @ Andoaingo Rock Jaialdia Wed. June 11 – Ravenna, IT @ Beaches Brew Festival Thu. June 12 – Fano, IT @ Bagna Elsa Fri. June 13 – Vaglio Serra, IT @ Fans Out Festival Sun. June 15 – Hilvarenbeek, NL @ Best Kept Secret Festival
Keep your mind open.
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The Ophelias unveil a new single/video, “Salome,” off of Spring Grove, their new album produced by Julien Baker, out April 4th via Get Better Records. As first heard on lead single “Cumulonimbus,” a “bruiser of a ‘f*ck-you’ song” (AV Club), there are “zero songs about break-ups” on Spring Grove. Today’s teeth-gnashing “Salome” uses a Biblical story as a lens through which to view the experience of getting involved with an older man: “The knife // Swings heavy in // My hands // Maybe this was a mistake // I want your head on a platter.” It’s an album standout, emanating swagger through rousing guitar and precise, machine-like drumming. In the accompanying video, directed by the band’s Spencer Peppet and Jo Shaffer, shows the band wandering around a city to gather magic objects.
“‘Salome’ loosely follows the biblical story of (you guessed it) Salome, who danced for King Herod at his birthday celebration and was told she could ask for anything in return,” says Peppet. “She asked for the head of John the Baptist. While I personally have never facilitated someone’s beheading, I find the story and the way it has resonated with playwrights, filmmakers, and artists fascinating — a real depiction of ‘female biblical rage,’ as the TikTok girlies would say. The video is our campy camcorder take on that.”
While writing Spring Grove, old ghosts were popping up from Peppet’s past. She heard from people she hadn’t heard from in years, reached out to people she didn’t talk to anymore, and found herself dreaming vividly of ex-lovers, ex-friends, co-workers and acquaintances. At a similar time, she was diagnosed with obsessive compulsive disorder, which she says created “a hyper-awareness of the body, a sense of removal where I could see myself from outside.” As a result, the album’s lyrics abound with references to premonitions, future-telling, and prophetic dreams. It’s a luminous document of facing the visages that haunt us, whether those of others or our own. Across thirteen tracks that alternately rage and soothe, Spring Grove picks at the nuanced textures of relationships and the multifaceted nature of personhood, smashing through the infinite refractions of the self to find clarity and new perspectives. The lyrics abound with references to premonitions, future-telling, and prophetic dreams.
While The Ophelias – Spencer Peppet (vocals/guitar, she/her), Mic Adams (drums, he/him), Andrea Gutmann Fuentes (violin, she/her), and Jo Shaffer (bass, they/she) – began as an “all-girl” band, they have since shed the reductive mantle of that label. With one queer and two trans members, these four individuals have collectively explored a vast terrain of womanhood, dancing around the center of that identity and what it means to move through the world. To that end, Spring Grove is primed to tackle a wide array of relationship dynamics, emotional negotiations, and power imbalances. There’s a simultaneous intensity and delicacy in its dynamics, and it’s a marked evolution in The Ophelias’ sound and storytelling.
The Ophelias Tour Dates Fri. April 4 – Philadelphia, PA @ MilkBoy Sat. April 5 – Brooklyn, NY @ The Broadway – record release show Sun. April 6 – Vienna, VA @ Jammin’ Java Tue. April 8 – Boston, MA @ The Rockwell Wed. April 9 – Portsmouth, NH @ Press Room Sat. May 10 – Lansing, MI @ Stoopfest Sun. May 11 – Toronto, ON @ The Baby G Tue. May 13 – Montréal, QC @ Casa Del Popolo Wed. May 14 – Burlington, VT @ Radio Bean
Keep your mind open.
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When you hear music like Glare‘s—the wild, loose and woozy drags of guitar; the impossible beauty of it all—what kind of landscape presents itself in your mind? Vistas big enough to be forgotten in. Deserts which stretch back to the beginning of time. Infinite horizons melting into pink bokehs. It’s Texas, isn’t it?
Sunset Funeral, the band’s debut LP (out April 4 on Deathwish Inc. + Sunday Drive Records) is a fog of dreamy grief, where feeling supersedes language. On first listen, the album—which scans as vast as desert sand—may overwhelm the senses. But look closer, and you’ll find a multiplicity of heavily crushed textures, treasures.
Their latest single, “Nü Burn,” is a crunchy and lilting number that harkens back to the band’s grittier hardcore roots. But even when they deign to go hard, you can hear a softening in Glare’s sound compared to any of their previous releases, as well as an attempt to lean into more traditional pop song structures. The music drifts heavenward, to be sure, though it’s still tethered down by steady foundations. It’s beautiful. It’s humid. It’s delirious. It’s music made by people whose feelings speak louder than their words.
The band shares: “‘Nü Burn’ is about how it feels like the world stops when you’re grieving. ‘I’ll find you in a new sun, feel a new burn’ means finding those we lost in the warmth we feel… it’s a big, explosive song and probably our heaviest. When we finished writing it we immediately knew it’d be a single.”
Formed in 2017 in Texas’ Rio Grande Valley, Glare aren’t so much genre traditionalists as they are painters of wide realms and intense moods. The four-piece band has already accumulated a large audience, both in the flesh with their reputation for sell-out shows, and on the internet, a place where people go to short-circuit feelings through their screens.
An album that’s been years in the making, Sunset Funeral is a document of unspeakable grief, charting the process of mourning and how it travels through our subconscious and dreams.
Pre-order Sunset Funeralhere and see Glare on tour in North America supporting Superheaven this April and May.
Glare, on tour with Superheaven:
Apr. 26 Louisville, KY – Triple Crown Pavillion Apr. 27 St. Louis, MO – Delmar Hall Apr. 29 Denver, CO – Summit Music Hall May 01 Las Vegas, NV – Fremont Country Club May 02 Los Angeles, CA – The Belasco May 03 Berkeley, CA – The UC Theatre May 04 Pomona, CA – The Glass House May 06 Phoenix, AZ – The Nile May 08 Austin, TX – Emo’s May 09 Dallas, TX – Ferris Wheelers Backyard + BBQ May 11 Chicago, IL – Metro May 13 Detroit, MI – Majestic Theatre May 14 Toronto, ON – The Opera House May 16 Philadelphia, PA – Union Transfer May 17 Boston, MA – Royale May 20 Brooklyn, NY – Brooklyn Steel
Anika — the British-born, Berlin-based musician Annika Henderson — releases the new single/video, “Walk Away,” from her new album, Abyss, out April 4th on Sacred Bones. Following the “righteously hypnotic” (Paste) lead single, “Hearsay,” “Walk Away” is a surprisingly jolly 90s alt-rock tinged track with blatantly honest lyrics: “The truth is I don’t really like myself/ And the truth is I don’t really like anyone else… Sometimes I know, life can just suck… And the truth is, I’d rather you just go to hell… And the truth is, I’d rather the whole world did as well.”
On the track, Henderson says: “This song is saying all the things I want to say but am too scared to say or that society doesn’t accept me to say. It is dealing with mental health – the state of poor mental health in these fucked up, divided, isolated, social media, war, pest, rise of the right times. It is the deconstruction of the feminine – of topics considered to be private realm.” As inspiration, Henderson cites “the reckless nature of 90s /2000s Hole / Courtney Love records – of not giving a shit – telling it how it is, not scared to offend, not scared to be cancelled. We have also lost the space for healthy debate, for difference of opinion, shutting down those we don’t agree with, removing them from our social networks.”
The song’s accompanying video directed by Laura Martinova was shot in an ex-brothel in Berlin and “plays with the socially constructed ideas of femininity, of sexuality, of sexual restriction and confronts them,” Henderson explains. “The character is quite sufficient by herself, sexually and socially liberated – and also a bit of a mess, destroying the prim and proper idea of how a good wifey should be. She is a hedonist, she lets herself go, she shows anger, she shows being drunk, she seems to enjoy dusting the pictures of the naked ladies very much, she is independent and breaking out of all the bars imposed by the patriarchy. The guy in the video never finds her, never even gets close, doesn’t in the slightest disrupt her life, he continues to look but she seems to always be a step ahead.”
Anika created Abyss out of the frustration, anger, and confusion she feels from existing in our contemporary world. Notably heavier than her previous releases, the 10-track Abyss feels raw, urgent, and fueled by strong emotions. Abyss was recorded live to tape at the legendary Hansa Studios in Berlin (where the likes of Depeche Mode and David Bowie also recorded) in just a few days. Recording live and with minimal overdubs was an important decision, Anika stresses, in order to capture the raw immediacy of the album. As before, she wrote the songs herself, before fleshing them out with Martin Thulin of Exploded View, and then assembled a live band to join the pair in the studio – comprising of Andrea Belfi on drums, Tomas Nochteff on bass (Mueran Humanos) and Lawrence Goodwin (The Pleasure Majenta) on guitar, with studio engineering done by Nanni Johansson and Frida Claeson Johansson.
Anika Tour Dates: Sun. Apr. 20 – Berlin, DE @ Volksbühne Thu. Apr. 24 – Cologne, DE @ C/O Pop Fri. Apr. 25 – Tourcoing, FR @ Le Grand Mix Sun. Apr. 27 – Brussels, BE @ Ancienne Belgique Mon. Apr. 28 – London, UK @ Omeara Tue. Apr. 29 – Bristol, UK @ Strange Brew Wed. Apr. 30 – Manchester, UK @ YES (Pink Room) Thu. May 1 – Leeds, UK @ Brudenell Social Club Fri. May 2 – Belfast, UK @ Cathedral Quarter Arts Festival Sat. May 3 – Dublin, IE @ Whelans Mon. May 5 – Brighton, UK @ DUST Tue. May 6 – Paris, FR @ Gonzai Night @ Petit Bain Wed. May 7 – Strasbourg, FR @ La Grenze Thu. May 8 – Düdingen, CH @ Bad Bonn Fri. May 9 – Zürich, CH @ Bogen F Sat. May 10 – Frankfurt, DE @ Mousonturm
