Ok Cool - "Safety Car"

Photo by Tracy Conoboy

If you love cheery 90's indie rock, you're going to love the latest from OK Cool. FLOOD Magazine stated that "Safety Car" has "... an early Built to Spill vibe," and as much as I hate quoting another writer, I kept getting the same feeling from the song. It's reminding me of The Normal Years, when Doug Martsch wrote shorter, more poppy songs with smaller guitar epics inside. "Safety Car" is wonderfully catchy and upbeat, and has that crunchy guitar that helped define the late 90's. As much as OK Cool remind me of my glory days on this one, the more pop focused side of the song helps keep it sounding more modern and not a throwback. 

Haley Blomquist Waller says of her band's latest single:

"This song is about the people in your life that make you feel loved and grounded. I wrote it last year with my husband in mind while we were starting to plan our wedding. There are references in the lyrics to things we do together that I know, in the future, I will look back on as peaceful vignettes. It’s about feeling nostalgic and grateful for things as they’re happening."

You can watch the video for "Safety Car" below. Chit Chat is due out August 1. For more on OK Cool, check out the band on Instagram and Twitter. Upcoming tour dates are below the video.

08/14 - Chicago, IL - Subterranean

08/20 - Cleveland, OH - Grog Shop

08/21 - New York, NY - Baker Falls

08/22 - Philadelphia, PA - Silk City

Daffo - "Habit"

Photo by Nolan Knight

Daffo is the musical moniker of twenty-one year old Gabi Gamberg. The Los Angeles based artist recently released a new single, "Habit." Knowing that Daffo has opened for artists such as Blondshell, illuminati hotties, and Wednesday will give you an idea of what their new single sounds like. The song blends modern indie rock with alt-pop, but Daffo tends to lean more into the indie rock side of things than many of their contemporaries. "Habit" has swirling guitars that move in and out throughout the song, and while there may not be noise throughout, there are some wonderfully distorted guitar solos. Somehow the pop side of the song and the indie rock side perfectly complement each other.

Daffo says of their latest single:

“I wrote that song at a moment when I was having a hard time with my OCD and cyclical thinking. It’s partly about how I tend to come to conclusions about certain situations before even allowing myself to experience them.”

You can watch the video for "Habit" below. Where the Earth Bends is due out September 26 on Concord Records, and is available for pre-order here. For more on Daffo, check out the artist's website. Upcoming tour dates are below the video.

11/1 – Amsterdam, NL @ London Calling

11/7 - Paris, FR @ Pitchfork Festival Paris

11/10 – Philadelphia, PA @ Union Transfer ^

11/11 – Brooklyn, NY @ Brooklyn Steel ^

11/12 – Brooklyn, NY @ Brooklyn Steel ^

11/13 – Montreal, QC @ Club Soda ^

11/15 – Toronto, ON @ Concert Hall ^

11/16 – Detroit, MI @ Majestic Theatre ^

11/17 – Chicago, IL @ The Riviera Theater ^

11/19 – Cleveland, OH @ Globe Iron ^

11/20 – Pittsburgh, PA @ Roxian Theatre ^

11/21 – Washington, DC @ 9:30 Club ^

^ w/ Wednesday

Muscle - "Carpenter"

Hardcore can be a very repetitive genre, so it's always refreshing to hear something new. Baltimore's Muscle have a refreshing take on the sound. Their latest single, "Carpenter," is an under two minute burst of heavy groove. The band consists of vocalist Madison Coan (who commands almost all attention with both her screaming and singing), bass player Quentin Gibeau, and drummer Adam Farkas. "Carpenter" is a pure industrial sounding racket coated with a heavy layer of fuzz. It sounds like a combination of Girls Against Boys meets The Gits and then amped by by a near infinite limit. At times it even almost borders on dance music. As loud and abrasive as Muscle can be, "Carpenter" is also oddly melodic in its own way.

You can watch the video for "Carpenter" below. Arrest God is due out July 10, and is available for pre-order here. For more on Muscle, check out the band on Instagram.

Bonniesongs - "Strangest Feeling"

Photo by Nick Mckk

The latest from Australia-based Irish artist Bonniesongs is an interesting mix of sounds. "Strangest Feeling" starts off as a fairly standard modern singer-songwriter track that lands somewhere between folk-pop and rock. The song is sprinkled with these little psychedelic flourishes that give the song an unexpected indie rock base. And then, just as you're lulled into a comfortable space, this eruption starts happening... and then fades out. "Strangest Feeling" ends up being a pretty little song on the surface that borders on twee, but somewhat hides a lot more going on inside of the song. It's so close to being a completely mainstream singer-songwriter track but Bonniesongs keeps the entire thing fully engaging.

Bonnie Stewart (aka Bonniesongs) says of her latest single:

“It’s maybe my only classic love song. It’s about the fear of loss with loving someone but it’s a happy song, celebrating love and connection whilst also highlighting the inevitable future heartache.”

You can listen to "Strangest Feeling" below. Strangest Feeling, the album, is due out July 25. For more on Bonniesongs, check out the artist on Instagram and Facebook.

Time and Place - s/t

There are times that I think I'm knowledgeable about the Boston music scene, and then I discover a "new" band that's been around for sixteen years. "Leftist Americana act" Time and Place recently released a self-titled album that I'm thrilled to share with you all. While there are many bands out there labelled folk-punk, a lot of those tend to be more folk than punk, or even fairly mainstream pop rock. That's not the case with Time and Place. They are equal parts folk and punk. They use typical folk instruments like acoustic guitar and stand up bass to make straight up punk rock. All the songs on Time and Place have gruff punk style vocals, with gang vocals taking over most songs. The album also includes guest musicians on mandolin, baritone saxophone, pedal steel, trumpet, and even accordion by Red Sox organ player Josh Kantor. The album is a collection of fourteen songs about what it's like living in the current "Boomer fever dream," and it's basically if Woody Guthrie had lived to see punk. This is a truly great album that's going to be even better if you also happen to be a Leftist that loves Americana.

You can listen to "The Want Machine" below. Time and Place is available now on Bandcamp. For more on Time and Place, check out the band on Instagram and Facebook. They'll be playing August 3 at The Jungle Community Music Club in Somerville with Broken Daisies and The Only Humans.

The Jazztronauts - "Dave's Song"

I can't quite explain why, but the latest single from The Jazztronauts doesn't sound quite like I assumed they would. First of all, "Dave's Song" starts off with a killer guitar riff, which doesn't typically scream "jazz song." After that, the song is propelled by the horn section in the way you typically hear from brass bands, especially the ones that meld hip hop into their style. Once you figure out what "Dave's Song" is, it changes up into a more traditional jazz sound, until the guitar solo kicks in, which is more of a rock and/or Funkadelic style. The Jazztronauts have created a hard rockin' jazz single that you should crank up loud and enjoy.

You can listen to "Dave's Song" below. The single is out now on Nu-Tone. For more on The Jazztronauts, check out the band on Facebook and Instagram.

The Wind-Ups - "A Fine Pink Mist"

Oakland's The Wind-Ups have such a great and unique sound on their latest single. "A Fine Pink Mist" could have been one of the most sugary singles we've ever covered. The song is unbelievably catchy and has all of the melodic components of a great, poppy song. That is, except for the fact that it's coated in a thick layer of lo-fi fuzz and noise. At some points the fuzz is just barely there, and at others it overwhelms the entire song. But it's always there, throughout. I certainly don't mean that as a negative, and if you also love sugary power pop and fuzzed out noise, you're going to love The Wind-Ups.

You can listen to "A Fine Pink Mist" below. Confection is due out July 11 on Dandy Boy Records, and is available for pre-order through Bandcamp. For more on The Wind-Ups, check out the band on Facebook and Instagram.

Chicago Underground Duo - "Click Song"

Photo by Mikel Patrick Avery

Chicago Underground Duo are set to release their first new music in eleven years, and we can hear the first song off their upcoming album. The duo of Rob Mazurek and Chad Taylor just released "Click Track," an experimental jazz song with African rhythms. The group also gets the post rock tag, which you can hear in this song. Not being a jazz blog and as casual at best fans of jazz, you know when we bring you a release from that genre that it can't be a pure version. "Click Track" is an experimental jazz song that you will want, and possibly need, to dance to. If you're not the dancing type, Chicago Underground Duo is best listened to with your full attention and not as background music. There's a lot going on here that will reward your full attention.

Rob Mazurek says of the gap between Chicago Underground Duo's releases:

"When it feels right we do it. We have worked together and have been friends for a long time. This creates a kind of continuity not only in the music, but in our lives.”

You can listen to "Click Song" below. Hyperglyph is due out August 15 on International Anthem, and is available for pre-order through Bandcamp. For more on Chicago Underground Duo, check out the group on Facebook and Twitter. Upcoming live dates are below the song.

Friday September 12th - Sound & Gravity Festival - Chicago, IL 
Saturday September 13th - Public Records - Brooklyn, NY 
Sunday September 14th - Solar Myth - Philadelphia, PA

First Listen: New Releases for 27 June 2025

Artist: Gelli Haha
Album: Switcheroo
Quick Thoughts: Everything about this package feels unhinged, and yet this is a real favorite of the week. This isn't quite dance / electronic, but it's not your standard listen either. Opening track, "Funny Music," gives a sort of weird dissoance to start us out before it gets rolling; "Piss Artist" is as chaotic as you'd imagine, and the whole package is just one that's a delight. One of the favorites of the week.
Songs of Note: "Funny Music," "Spit," "Piss Artist," "Tiramisu," "Pluto is not a planet it's a restaurant"

Artist: Vandoliers
Album: Life Behind Bars
Quick Thoughts: Vandoliers are back and they are Not Happy. This is an overt, angry, political record in so many ways and the sort of rage that streams from its pores is a welcome addition to this summer, and it doesn't hurt that the songs are great, too. Don't skip this one, it's a welcome return and perfect for this point in time.
Songs of Note: "Dead Canary," "Life Behind Bars," "Thoughts and Prayers," "Valencia," "Jim's Barn"

Artist: Ceylon Sailor
Album: Here We Lie
Quick Thoughts: A local debut worth watching, this has all the hallmarks of an early aughts indie blogger hit in all the best ways. Sort of like an early Beulah, this stuck with me almost from the start and wouldn't let go, and when I was listening back to the collected playlist later over the weekend the songs got me hooked all over again. A required listen, because this band deserves great things.
Songs of Note: "lines seem severed," "all promises will break eventually," "nowhere in your eyes," "not where we were," "when I was by your side"

Artist: Willi Carlisle
Album: Winged Victory
Quick Thoughts: I texted Ken that I didn't think a queer Johnny Cash would work as well as it does when Willi Carlisle does it. For many purveyors of country music, it's the honesty and transparency that comes along with the most successful records, and Willi Carlisle has made a record that is distinctly, uniquely his in all the best ways. If you're not singing "Cryin' These Cocksucking Tears" all week long, you're doing it wrong.
Songs of Note: "Winged Victory," "The Cottonwood Tree," "Cryin' These Cocksucking Tears," "Big Butt Billy, "Old Bill Pickett"

Artist: Laura Stevenson
Album: Late Great
Quick Thoughts: And here comes Laura Stevenson, ready to ruin our summer with another gorgeous, heartbreaking record that feels as essential as anything she's put out in her solo career. The album is a revelation in so many ways, and not just because she's operating on a whole different level than most other singer-songwriters right now. She's the best-kept secret in indie rock right now and this is just such a solid listen.
Songs of Note: "#1," "I Want to Remember It All," "I Couldn't Sleep," "Instant Comfort," "Late Great"

Artist: Penny and the Pits
Album: Liquid Compactor
Quick Thoughts: Penny and the Pits feel like they were snatched out of Matt Pinfield's CD holder. Epic-esque alt-rock that sounds like Speedy Ortiz fed through The Breeders, it's such a great listen. "Thick Black Gloves" in particular is a favorite of the week in its weird, wonderful glory. Check it out.
Songs of Note: "Montenegro on Ice," "Eutychus," "Thick Black Gloves," "Headcrusher," "Placeholder"

Artist: Lorde
Album: Virgin
Quick Thoughts: It's easy to consider Virgin the bratification of her sound, but the sort of confessional stance that Charli XCX brought to last summer's event feels like it's front and center here in an inescapable way. That said, this is Lorde's most challenging record in a lot of ways both in terms of topic and tone (and I think not having Jack Antonoff on this thing helps), and given that she's spent half her life as an a-ist pop star, you don't get this level of introspection on a pop record. There's a lot of grappling with gender and identity and what have you that I am completely unqualified to discuss, but this is a really incredible record on a lot of levels and deserves a listen.
Songs of Note: "Hammer," "What Was That," "Shapeshifter," "Current Affairs,"

Of note:

* Pig Pen - Mental Madness (The Bear star's hardcore band.)
* Freedom Fry - Best Friend (Delightfully chill.)
* Wavves - Spun (Solid indie power pop.)
* Smut - Tomorrow Comes Crashing
* Kat Hasty - The Time of Your Life
* Jasmine Guffond - Muzak for the Encouragement of Unproductivity
* Jane Sheldon - flowermuscle
* Durand Jones and The Indications - Flowers
* Tropos - Switches
* Durry - This Movie Sucks
* Nick Leon - A Tropical Entropy
* Frankie Cosmos - Different Talking
* Fishbone - Stockholm Syndrome
* Juno Eclipse - Blue With You
* Pan American and Michael Grigoni - New World, Lonely Ride
* Pan American and Kramer - Interior of an Edifice Under the Sea
* Smote - Clyppan
* Daisy the Great - The Rubber Teeth Talk
* Litloya - LitLoya
* Ringlets - The Lord is My German Shepherd
* Sharpie Smile - The Staircase
* Mission to the Sun - Seven Years
* Electric Citizen - EC4
* Sister Sadie - All Will Be Well
* Door Eater - Try
* Jeanines - How Long Can It Last
* Akira Kosemura - Mirai
* Greet Death - Die in Love
* Brighde Chaimbeul - Sunwise
* Mt. Joy - Hope We Have Fun
* Black Sites (Helena Hauff and F#X) - R4
* Lightheaded - Thinking, Dreaming, Scheming
* TDJ - TDJ
* Spider Kitten - The Truth is Caustic to Love
* Hot Milk - Corporation P.O.P.

EPs:

* Nina - Meraki Nina
* Wet World - Gush
* Sofii - I want this feeling to last forever

Live albums/Compilations/Reissues:

* Blonde Redhead - The Shadow of the Guest

July 2 - Minneapolis, MN - Mortimer's

July 3 - Chicago, IL - Cole's Bar

July 4 - Youngstown, OH - Westside Bowl

July 6 - Brooklyn, NY - The Broadway

July 12 - Somerville, MA - The Burren

July 31 - Medford, MA - Deep Cuts 

August 6 - Lowell, MA - Taffeta (supporting The Dollyrots)

Origami Ghosts - "Heaven's Gate"

Photo by Brittne Lunniss

Los Angeles' Origami Ghosts are being described as "Sonic Youth adjacent alt-rock," and I both agree with and argue with that description. Their latest single, "Heaven's Gate," is a propulsive indie rock song although it sounds much more folk-ish than anything Sonic Youth ever released, particularly with how flute heavy the song is. That being said, Origami Ghosts are certainly not a folk band. "Heaven's Gate" is far too heavy with distorted guitars for that genre. It's oddly punk and alt-rock, in its own little way. Turns out the song is about Scesniak's (vocals/guitar) near death experience following a stroke, which might explain the sense of panic in the track.

Scesniak says of his band's latest single:

“I believe when you take your first breath, that’s when the soul moves in. And when we die, the spirit moves on. Your energy field moves on to a different place, another journey, different work to do. That might entail Earth, or maybe other galaxies. I do believe in ghosts. I had this dream when I was like 24, where I was sucked into a jack-o-lantern and then woke up. I couldn’t move, but I felt weightless, like I was floating above my bed. I came back down, heavy, and saw this white, humanlike body in my closet. I was scared. Also, Cassie [Wulff] used to work in a haunted movie theater with bathrooms stalls locking on their own, spectral hands on the projectionist’s back, furniture rearranging itself. It was an old woman’s suffrage meet-up spot with lots of history.”

You can watch the video for "Heaven's Gate" below. A Fine Time to Talk About Nothing is due out August 8, and is available for pre-order through Bandcamp. For more on Origami Ghosts, check out the band on Instagram and Twitter. Upcoming tour dates are below the video.

Aug. 7: Seattle @ the Sunset w/ Desert Sushi, Ashley Eriksson
Aug. 8: Portland, OR @ Shanghai w/ BLISSTER + guests
Aug. 9: Whidbey Island, WA @ Bailey’s Corner store w/ Haunting Autumn
Aug. 12: Olympia, WA @ Rhythms
Aug. 14:  Red Bluff, CA @ The Downtown Alehouse
Aug. 15: Arcata, CA @ Outerspace
Aug. 16: San Francisco @ The Knockout w/ Xay Cole, Green Cat
Aug. 23: Los Angeles @ The Harmony Room w/ Fragile Gang, why try?

Stella and the Very Messed - "Big Familiar"

Photo by Magen Buse

Austin's Stella and the Very Messed have a unique sound despite having a quite mainstream appeal. The band's latest single, "Big Familiar," is a personal alt-rock track with a giant scope to it. It lands somewhere in the middle of 90's alt-rock like Veruca Salt and the more indie rock meets pop sound of today. I can't decide if this is the type of song best listened to in a small dive-y club or if it belongs on a huge outdoor stage. It's a pop song filled with giant hooks and harmonies, but with enough of a rock edge to keep it from becoming too pop. "Big Familiar" is going to work for a lot of you out there, whether or not you're an indie rock snob or a fan of the more pop side of things.

Stella Maxwell says of her band's latest single:

“Big Familiar is a sad song about my hometown. I have a strong aversion to most forms of nostalgia—even the good memories carry a kind of ache. I seem forgetful or unsentimental, but really I’m just avoiding the past. It’s about the guilt that comes with stepping back from crumbling family ties, even when it’s necessary for your own survival.”

You can watch the video for "Big Familiar" below. The album Big Familiar is due out September 19 on Double Helix Records, and is available for pre-order here. For more on Stella and the Very Messed, check out the band's website.

Liz Bills - "Float On"

Photo by Alessandro Medici

CW: Death, loss of a parent

Liz Bills' upcoming solo album deals with the death of her mother, so it's fitting that her latest single, "Float On," was released on June 27, the anniversary of her mother's passing. This new single is just Bills and her guitar, and it's a gorgeous and painful tribute. I don't know if her voice has ever sounded this powerful before, and as much pain as the song holds, it's also one of the more uplifting tracks of the year. "Float On" never quite reaches the upbeat, party vibe that Liz Bills & The Change typically do, but it comes surprisingly close at times. This is an important and vital song that is going to grab you right in the heart.

You can listen to "Float On" below. For more on Liz Bills, check out the artist's website.

Live Shows: Murder By Death and Laura Jane Grace, Paradise Rock Club, Boston, MA 6/27/25

Murder By Death have always been one of those bands I've meant to get more into every time I hear them. I first saw them opening for Clutch back in 2008 and then saw them again with Sarah Shook & The Disarmers in 2019. They're the rare kind of band that can play with both of those artists and have it all make sense. As soon as Murder By Death announced that their just released and excellent Egg & Dart would be the band's final album along with a farewell tour, I knew it was now or never and headed out to the Paradise to see them one last time.

Early on in Murder By Death's final show in Boston, singer/frontman Adam Turla announced the plan for the evening. They would be playing two songs from all ten of their albums plus a few more. As far as farewell tours go, you simply can't go wrong with that. It allowed the band to play moments from their entire twenty-five year career and gave fans of any of their periods to hear favorites. 

One thing that has always surprised me when it comes to their live shows is just how much more rocking their live show is. That was on full display at the Paradise where even their newer, more melancholy songs were injected with a little extra oomph Friday night. It saw the live debut of "Believe," which is fairly impressive considering how far into a farewell tour they are and Murder By Death is still bringing out new songs for their faithful. What I enjoyed the most about Friday night's show was how twenty-five years of music flowed together perfectly. Without the songs all sounding the same, they all felt like a complete unit of music, which is very rare for a band that's been around a quarter of a century.

Friday night's show was for the diehard fans. I've personally lost many a favorite band without a farewell tour, so I'm thrilled that Murder By Death fans got a true chance to say goodbye to a long beloved band. With their set coming in at twenty-three songs and nearly two hours, fans were well rewarded and got to say a true goodbye to one of the best live bands from this century.

Opening the show was punk icon Laura Jane Grace, who I believe was performing with The Mississippi Medicals. (Bassist Matt Patton is currently touring with Drive-By Truckers and was replaced for this tour by who appeared to be Mike Abbate, formerly of Screaming Females.) Playing a short forty-five minute opening slot, Grace packed as many songs as possible into her set. It gave a sense of urgency to her set, which included new songs like "Wearing Black" and "Your God (God's Dick.)" While there were definitely fans in the crowd primarily there to see Grace, she had a but of a battle against Murder By Death fans that only cared about seeing the headliner. Closing out with the killer one-two Against Me! punch of "I Was a Teenage Anarchist" and "Black Me Out," Grace rewarded her fans along with anyone with an open mind for music.

Jean Caffeine - "I Know You Know I Know"

Last fall we brought you Jean Caffeine's "Mammogram," and now the 70's San Francisco and New York punk legend is back with brand new music. "I Know You Know I Know" sees the Austin resident keeping the spirit of punk if not the rigid auditory structures of the genre. The new song is more alt-folk than punk and is reminding me a lot of artists like The Magnetic Fields. The song is right on the edge of being twee, but instead I'll stick with calling it quirky. There is also some amazing keyboards in this song that are truly its secret weapon. Jean Caffeine created true art that is still fun and shows off a sense of humor without being jokey. 

Jean Caffeine says of her latest single:

"When I was younger my life was clubs, nightlife, go, go go. I zipped from one experience to another. Still I'm a Pisces and I always feel and felt pulled to places with water,The older I get, the more into nature I am. The Longhorn Dam by Krieg field is my spot. I go there to look for look for egrets, herons, and more. The marshy river is so beautiful there. 

"One time, when I was there, a van load of young men with big brown curls like Weird Al Yankovich, spilled out of a van in the. They disrobed into swim trunks and put inflatable ring floaties decorated with stars and stripes.  Were they a band? Were they quintuplets?  Inquiring minds want to know. 

"The song is also inspired by girl talk and secrets shared with my bestie, Eileen down by the dam. She responded to something i said with 'I know you know I know'. And the seed for the song was born."

You can watch the video for "I Know You Know I Know" below. Generation Jean is due out September 5 on Flak Records. For more on Jean Caffeine, check out the artist's website.

Heatmiser - "Silent Treatment"

Photo by JJ Gonson

Heatmiser (aka Elliott Smith's pre-solo career rock band) is set to release a deluxe edition of their third album in a two LP set that includes rarities and unreleased tracks. The first song we can hear from the remastered Mic City Sons is "Silent Treatment," and if you know and love Heatmiser, hearing a new-to-us song from the indie rock legends is a special treat. This one is a Neil Gust song, and just screams 1996 (the year it was originally released). We tend to love everything mid-90's, but this one is particularly special, for obvious reasons. It captures a band on the brink of ending, as Smith's solo career was just about to take off.

Neil Gust says of the band's "new" song:

“This one is about Elliot and me not talking, and him giving me the silent treatment. I didn't know what else to sing about.” 

You can listen to "Silent Treatment" below. Mic City Sons - 30th Anniversary Remaster is due out July 25 on Third Man Records, and is available for pre-order here. 

Why I'm Done With Spotify

First, a caveat to all of this: I know full well that streaming music isn't great. I am very aware of the ever-dwindling payouts from streamers, and further aware of the way streaming has changed many people's relationships with music. As an individual who met my co-blogger in part because of our then-Tuesday treks to our respective local Newbury Comics locations to drop money we didn't have on four-to-five new releases a week, I also know that the previous model was unsustainable and I'm glad that there's something out there that replaces the sort of Napster / Limewire reality that threatened to kill the industry entirely.

With that said, I now listen to 40-50 new releases a week now, as opposed to the four-to-five I could afford in a given release week. For every teenage girl listening to nothing but Taylor Swift or mid-30s dudebro on whatever mainstream country playlist he has on shuffle, streaming for me has become a vehicle for musical discovery that simply did not exist 20 years ago. It's part of why I spend so much time listening to new releases and writing about my favorites: I can't hand you a mix CD anymore, after all.

So why am I breaking up with Spotify? Why now? Truth be told, Spotify is the default. I signed up almost immediately after they launched in the United States, and it was a great platform. It had everything I listened to and more, it gave me an opportunity to give streams to and rediscover music I had purchased in the past, and made it easy for me to share playlists and music with friends. The dream was alive! I didn't have to give you a mixtape or hope you'd remember the song I told you about, I can just shoot it over to your Spotify inbox. New releases directly in the app? New songs from favorite bands in release playlists? Discovery options that found more stuff I like? Win after win after win.

The problem is that it turns out Spotify really and truly hates its customer base. I can't stress this enough: Spotify seemed really focused on listener experience and that focus absolutely eroded over time. It's not quite the enshittification problem, but it's close enough for rock 'n' roll:

Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die...

This is enshittification: surpluses are first directed to users; then, once they're locked in, surpluses go to suppliers; then once they're locked in, the surplus is handed to shareholders and the platform becomes a useless pile of shit. From mobile app stores to Steam, from Facebook to Twitter, this is the enshittification lifecycle.

Spotify followed a lot of these things. Killing the "bell," which gave us notifications on new releases. Killing the inbox and removing the most useful social music sharing option on the market. Closing up the API to make it more difficult for cool options from the open web to interact with the platform. The last one still kills me the most; as someone who loves the open web and will more often than not opt for the open source alternative for an app, Spotify's outright disdain for such access became a dealbreaker ages ago, and it just took until now for me to finally do something about it.

Spotify definitely knows the money isn't in music anymore. They make their cash on podcasts, as seen via its pushing podcasts as a primary service ahead of music. The questionable curation activities (I don't care that they have Joe Rogan on there, but a lot of people do) and inconsistent behavior are maddening, and the app UI only gets worse and worse. Let's make it so you can't easily find your saved albums anymore! Let's not tell you when an artist we know you keep going back to has a new release out. And don't get me started on the AI stuff, particularly their crappy DJ and their AI music problem. It's a mess.

****

So what now? Some of these problems are inescapable, but others are not. If I'm going to stream music, I may as well go to a place that doesn't seem to hate its users (so Apple Music and YouTube Music are out), and doesn't seem to hate musicians (so Amazon and Spotify are out). While Bandcamp is the spiritual successor to eMusic, it doesn't generally have major label options and it's also owned by Epic, and if you've seen Epic Games, well...

At the end of the day, there was only one option left, and it was a good one: Tidal. It's had an adventurous history, to be sure, but the things that are at least still true now: they lean more heavily on the open web (particularly in their increased use of FLAC for streaming), they push the envelope for better audio (as primarily a headphone listener, the difference is significant), Jack Dorsey is not the craziest of tech bros and Square is a decent experience, and Tidal payouts are better than most, and that's before factoring in how Spotify functionally won't pay the smallest artists at all but has no problem continuing to increase our prices. Especially as someone who cares about local / regional music, I often struggled to justify sending any of my money toward Spotify anymore.

This is not to say Tidal isn't without its problems. The UI for the app is far from perfect, and Spotify still has a larger catalog (although my current listens playlist transferred over with zero missing tracks), but the more open API and better audio quality has paid audio dividends in just one week. Whether Tidal is the best option for music in 2025 or just the least worst, it still works for me and might work for you, too.

No judgement on anyone using Spotify. At the end of the day, for most people, it probably does what it needs to do. Tidal, however, feels like 2014 Spotify, and it's making music discovery fun again. Spotify, it's not me, it's you, and I don't regret the switch.

Kier Byrnes & The Kettle Burners - Dances by Firelight

Photo courtesy Kier Byrnes & The Kettle Burners

Boston based Americana sextet Kier Byrnes & The Kettle Burners have a new EP out that if perfect if you don't want your folk to be quiet. Dances by Firelight is a collection of five accordion heavy songs that are perfect for shouting out along to while raising a glass at one of their live shows. These songs aren't pure folk as there are some rock elements that peek through the Americana base, but folk is the main element for all five songs on the EP. Even the slower songs like "Don't Let Perfect" and "Further Down the Road" have a rowdy edge to them, while "Little Bit More, Little Bit Less" is one of our favorite drinking songs of the year. All of the songs on Dances by Firelight end up being ridiculously fun, and you just know their live shows will be second to none.

Kier Byrnes says of his band's new EP:

“I think this EP is just scratching the surface of The Kettle Burners’ sound. We are carving out our own niche and at the same time, wearing our influences on our sleeve. We are staking our flag into the ground and saying ‘Here we are!’ as we sip from a flask filled with outlaw country, rock, Americana, Irish, and Slavic folk music.” 

You can listen to Dances by Firelight below. For more on Kier Byrnes & The Kettle Burners, check out the band's website. As with Nate Perry & Ragged Company, Kier Byrnes & The Kettle Burners will be playing The New England Americana Festival at Bellforge Arts Center in Medfield, MA.

Megan from Work - "Back on the Saddle"

Photo via Facebook

Manchester, NH's Megan from Work once again blow us away with their latest single. "Back on the Saddle" showcases the band's incredibly upbeat mix of pop, pop punk, and indie rock. If you can't enjoy this one then you might be unable to truly experience joy. It's fun and catchy, and songs like this are what made us all start to truly enjoy music in the first place. As pop filled as "Back on the Saddle" is throughout, Megan from Works keeps a strong rock foundation and a surprising amount of indie rock fuzz popping up in the song. It's going to be impossible to not have a smile on your face during this one.

In an Instagram post, Megan Simon says of their latest single:

"This song was inspired by my time living in Los Angeles, where despite being very unstable and having a rocky sense of purpose and direction, I had a great group of friends to rally for. Thank y'all for allowing me to cry at the club."

You can listen to "Back on the Saddle" below. For more on Megan from Work, check out the artist's website.

Roland High Life Cover Wheatus

Photo by Steph Rosa

Wheatus' 2000 hit song "Teenage Dirtbag" has achieved iconic status recently thanks to a viral TikTok trend that has reintroduced the song to a new generation. Boston's favorite "earnest power pop punk americana nerd folk emo rock" band Roland High Life have released a new version of the track that evokes enough of the original while still putting their own spin on it. It's the kind of fun and lighthearted cover we could all use after what was probably a batshit week for us all (but aren't they all lately?), and we're all probably having some serious nostalgia for our lives pre-2001 these days. Roland High Life's version is a little bit grittier while still keeping the pop hooks of Wheatus' original. Plus, they've updated Noelle's boyfriend's car from an IROC to a Cybertruck, which is the best possible choice.

Roland High Life says of their cover of "Teenage Dirtbag":

"Why the hell did an indie rock band from Boston just drop a Wheatus cover?! To be honest, we had originally learned the song to fill some space in a cover set at a bar gig (you know, the shows that pay actual money, even though no one pays attention to your band). It was such a surprising hit with that crowd that we started adding it to our regular set with our own little twist — and every time, the crowd would go absolutely wild. We recorded this version at the Record Co in Boston, with audio engineering by Dereck Blackburn of Quiethouse Recording, who also mastered the track. Otherwise, it was produced and mixed by us."

You can listen to Roland High Life's version of "Teenage Dirtbag" below. The song is currently available through Bandcamp. For more on Roland High Life, check out the band's website.

Nate Perry & Ragged Company - "Tonight"

Photo by Collin Heroux

Nate Perry & Ragged Company were one of the biggest and most surprising discoveries for us at this year's Boston Calling. The Boston Americana outfit blew away everyone lucky enough to see them on the Orange Stage, and if you missed them, they just released a new single sure to clue you in on how great they are. "Tonight" is the definition of country-rock. It has all of the twang you need in a country song but with a rock edge and a fantastic guitar solo to boot. The band also injects some vocal harmonies that are sure to suck you in, along with some of the best written lyrics to come out of Boston this year. Plus, Perry's vocals have this amazing quality that is equal parts grit and smooth. 

Nate Perry says of his latest single:

“It was a fun song to write and it’s a fun song to play. The creativity that went into the whole song really illustrates how much we've been cooking lately. This song is a reminder that this band can blow the roof of the building. It pulls us away from the traditional sound of Americana and towards a harder alt-rock sound while providing the raw rock and roll emotion that we've always delivered.”

You can listen to "Tonight" below. Nate Perry & Ragged Company will have a new EP out later this summer. For more on the band, check them out on Instagram. They'll also be playing the New England Americana Festival this Sunday (June 29) at Bellforge Arts Center in Medfield, MA.

Joe Alterman & Mocean Worker - "Yay Yay Yay"

Les McCann was a mentor and collaborator of Joe Alterman and Mocean Worker (aka Adam Dorn), so the two decided to come together and record an album as a tribute to the late jazz soul legend. The first single off that collaboration is "Yay Yay Yay," a funky and soulful slice of jazz that is going to have a much wider appeal than just jazzheads. The song has a gloriously vintage vibe, and is fun in a way you may not typically associate with the genre. The song has a certain throwback and vintage quality while still sounding modern, which Alterman and Mocean Worker achieve by using both live instrumentation and sampling. It's reminding me of a more jazz focused version of US3's "Cantaloop." Even if you don't typically care for jazz, you owe it to yourself to check this one out.

Joe Alterman says of the upcoming album:

“The idea of music making people feel good and enjoy themselves is one of the things Adam and I definitely have in common. It's how we got into the music and live with the music, and that’s a point of this project for sure. Hopefully you’ll listen to it and think it’s a live party.”

You can listen to "Yay Yay Yay" below. Keep the Line Open is due out September 26 on MOWO! Inc, and is available for pre-order here. For more on Joe Alterman & Mocean Worker, check out Joe Alterman on Instagram. Mocean Worker's Instagram can be found here.

Swivel Cover The Beach Boys

Photo by Danny LeBlanc

Swivel, the Boston band led by Damone's Noelle Leblanc, have released a cover of The Beach Boy's iconic "Don't Worry Baby" in the wake of Brian Wilson's death. It's a grungy take on the classic song while keeping every harmony intact. This is the kind of cover that would have been considered ironic in the 90's, but the sense of adulation for the original is very obvious. It's keeping the spirit of Wilson's original intact while putting their own spin on it. For me, this is the perfect kind of cover song, and it's a testament to just what was lost with Wilson's passing. It's a perfect song, and a worthy cover of the original.

You can listen to Swivel's cover of "Don't Worry Baby" below. For more on Swivel, check out the band on Instagram and Facebook.

Tchotchke - "Poor Girl"

Photo by Taryn Segal

New York City's Tchotchke might end up being our favorite musical discovery of 2025, and their latest single will show you why. Personally, I've always been obsessed with the girl groups of the 1960's, and "Poor Girl" shows the trio channeling that sound into something new. The song also showcases vintage keys that are similar to those found in ? and the Mysterians songs, but without the garage rock insanity. "Poor Girl" is overflowing with some of my personal favorite styles, merging girl group vocals and harmonies with vintage garage rock in this fun and fairly chilled out sound, but Tchotchke never truly sound like a throwback act. They've taken classic styles and remade them into something fresh and modern with vintage vibes.

Emily Tooranen (guitar/vocals) says of the band's new single:

“We confined ourselves to creating the personas of three ungrateful and out-of-touch girls with complete stories in the span of four lines each. The challenge was emphasizing the fact that these girls were not ‘poor’ in the slightest but, in fact, very privileged to have the self-imposed problems they’re so tortured over. The song embraces the girls’ short sob stories while also capturing a sunshiney, Beach Boys quality. It wasn’t until after the completion of the song, to our collective shock, that we realized our counterparts had effortlessly cast themselves. All along, we were creating the villain versions of each other.”

You can watch the video for "Poor Girl" below. Playin' Dumb is due out September 5, and is available for pre-order here. For more on Tchotchke, check out the band's website.