Every Friday, Atwood Magazine’s staff share what they’ve been listening to that week – a song, an album, an artist – whatever’s been having an impact on them, in the moment.
This week’s weekly roundup features music by Medium Build, Mt. Joy ft. Maren Morris, Babes in Canyon, Allie Sandt, Bobby Freemont, Circa Waves, Davis Gestiehr, Fake Dad, Jimmy Herrity, Lights, Work, Charlie Hickey, y’all, Casii Stephan, Bōnd of Endless Tree, Lafrantz, High., Lindsey Rose Black, Pulsars, Winter Gardens, Sleeping Jesus, and Pillow Fite!
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:: “Triple Marathon” – Medium Build ::
Mitch Mosk, Beacon, New York
Medium Build’s first (solo) song since this past spring’s Country is a beautifully gut-wrenching fever dream: A heavy, hard-hitting outpouring of mixed emotions and inner turbulence that feels all-too fitting for this fall. Simultaneously reckoning with himself and his relationships, “Triple Marathon” is a breathtaking, brutally honest upheaval from the singer/songwriter’s most intimate and vulnerable depths. It’s a raw, roaring eruption that aches from the inside out as Medium Build (AKA Nick Carpenter) searches for love, balance, approval, understanding, and – perhaps most importantly – a space where he belongs.
I’ve been making lists of things to do
when you come back to town
I’ve been getting super jealous
of the people you’re around
And I wish that I could breathe
you in and loosen up my grip
But not knowing when I’ll see you
next has got me acting cringe
Does it make sense how I need it?
When I’m blacked out, you’re a lighthouse
And it’s so basic, I just gotta face it
Does it make sense how I need it?
It’s true that finding your comfort zone often entails getting into some uncomfortable, maybe even undesirable situations, but everyone has limits to what they’ll endure and put up with – and it’s up to us to catch ourselves when we’ve gone a step too far. “Triple Marathon” is, in some ways, an instance of the mind pulling the heart back; of Carpenter viewing himself through a lens, and making the active choice to change his situation, hopefully for the better.
“‘Triple Marathon’ is about a relationship-situationship-friendship thing where I just felt so desperate for this person’s approval and love and time and attention,” Carpenter tells Atwood Magazine. “I oscillated between feeling it was the best thing I’d ever had and thinking I was being used and abused and mistreated. I think we all end up in things that are confusing, grey areas of self-doubt. Never knowing if we’re setting boundaries or being an asshole, anticipating needs or being a doormat.”
“I still love this person and maybe it will work one day. Maybe it won’t. But the feeling was there and I wrote it down. It’s always funny to read my own lyrics to see how pathetic I was. You never know how someone feels, do you?”
You been getting really good
at telling me when I get dumb
It’s so weird to feel like someone
knows me, I guess this is love
And I’m sorry I was such a cunt,
I don’t know what to do
I would run a triple marathon
just to be close to you
Medium Build bleeds openly and unapologetically through two candid, emotionally charged verses and catchy, cathartic, and all-consuming choruses. He wears his heavy heart on his sleeve, roaring and reeling through the tension, letting it all out until there’s nothing left to say or do, but dwell in the emotional exhaustion.
It’s raw, and it’s real, and it’s why I’m continuously blown away by Medium Build’s music.
“Triple Marathon” is the lead single off Medium Build’s forthcoming EP Marietta, due out November 15th via Slowplay/Island Records. Carpenter describes the EP – which is named after the town outside of Atlanta, Georgia, where he grew up – as a zoom out of his childhood, “extending grace to my family, to myself… I just wanna thank myself and my parents for surviving my childhood.”
Angsty and impassioned as ever, the next era of Medium Build looks to be filled with that same provocative, fiery fervor that was so pronounced throughout Country. In exposing all parts of his heart and soul through song, Nick Carpenter is establishing himself as a once-in-a-generation voice and a truly singular singer/songwriter, with songs like “Triple Marathon” capturing not just his humanity, but his essence as an artist.
Does it make sense how I need it?
When I’m blacked out, you’re a lighthouse
And it’s so basic, I just gotta face it
Does it make sense how I need it?
:: “Highway Queen” – Mt. Joy, Maren Morris ::
Mitch Mosk, Beacon, New York
After listening to Mt. Joy’s “Highway Queen” on a daily basis for the past month and change, it feels only right to finally put pen to paper and give it the praise it so obviously deserves. The new-and-improved version, featuring Maren Morris, takes the band’s spirited singalong (first released this past March) to new heights as together, Morris and Mt. Joy’s frontman Matt Quinn reflect on love, outpacing your demons, and the highs and lows of life on the road.
Well, there’s only a few pines
left by the highway side
And they all whistle as the wind
rips straight through your pride
Baby, it’s only your eyes and mine
And this darkness that grows in time
I will sleep at home on that airplane running
And never looked back but you can tell it’s coming
My highway queen must be hiding something
Quinn has previously shared how he wrote “Highway Queen” about “being in love with someone you see yourself in” – namely his wife, who left her town in Brazil at 15 years old. “Living away from home corrals your demons in a specific way,” he shares. “You feel like the only way to outrun them is to keep moving, and it makes being home torturous. It’s something I struggle with, so I know it when I see it in someone else, especially someone I love.”
“Highway Queen” channels these emotions into a feverish folk rock reverie of reflection and connection as the band rise into a rapturous chorus full of hope and heartfelt promise:
And I want you to know I’m behind you
We could slow it down, honey, let it find you
And I want you to know nobody’s leaving
No, I ain’t scared of your demons
That’s just what makes you a real thing
It’s a comforting reminder that we’re not alone in all that we’re going through, even when it feels like no one else could possibly begin to understand our situation. “Highway Queen” is an anthem for lovers and dreamers; a song, born of intimate heartache, that ultimately makes us feel more connected to ourselves (and hopefully to our loved ones) that we could have ever possibly imagined.
Well, the stars pulled up about a quarter to nine
And you were lying on my car, you were taking your time
Baby, it’s only your hands and mine
In this world, you’ve come so far to find
Oh, ’cause you left home on that airplane running
You never looked back but you can tell it’s coming
My highway queen must be hiding something
And I want you to know I’m behind you
We could slow it down, honey, let it find you
And I want you to know nobody’s leaving
No, I ain’t scared of your demons
That’s just what makes you
That’s just what makes you
That’s just what makes you a real thing
:: “The New Loud” – Babes in Canyon ::
Beau Hayhoe, New York, NY
There’s an intoxicating, mysterious quality to Seattle folk rockers Babes in Canyon. Listen once on Spotify, and you’d be forgiven for thinking the band packs a stage in a live setting with a handful of members. And yet, on a recent weeknight at indie venue Brooklyn Made, only Nathan Hamer and Amanda Ebert took to the stage, looping keys, beats, percussion and effortlessly in an electric, raucous live performance.
There are elements of sun-kissed West Coast indie rock (Local Natives comes to mind) as well as the wily mystery of heavier tracks by, say, Lord Huron. It all comes together handsomely on the group’s latest single, “The New Loud,” and if crowd feedback at the band’s latest NYC show is any indication, the best might be yet to come for this fresh-sounding band.
:: “The Right Time” – Allie Sandt ::
Minna Abdel-Gawad, Boston, Massachusetts
Independent singer/songwriter Allie Sandt knocks listeners’ socks off with her second single “The Right Time.” Overflowing with warm guitar tones, powerful growling vocals, ’70s stylings and rich production, “The Right Time” to listen to this track is now!
Sandt’s “The Right Time” is smooth, sultry, catchy and groovy with a capital G. Whether it’s her buttery harmonies, bright guitar licks, bouncy bass lines, twanging guitars or addicting vocals, Sandt displays her ear for creating luscious and enrapturing soundscape. From tongue and cheek lyrics, “I’ve been swallowing my pride and trying to keep it down, ‘cause I’ve been hearing from some guy ’bout how’s he better now. Another coffee and automatic sadly static scene/ And if I’m smiling I’m pseudo but if I’m honest I’m mean,” to the guitar and bass melodies working together it genuinely sounds like there having a conversation to the resonant percussion this track is just plain fun!
Taking a page out of the books of Fleetwood Mac, Stevie Ray Vaughan, and Madison Cunningham, listeners who love a bluesy guitar, candid lyrics and big vocals will love Allie Sandt’s “The Right Time.”
:: “Hurt No More” – Bobby Freemont ::
Danielle Holian, Galway, Ireland
In his latest single, “Hurt No More,” Bobby Freemont delivers a poignant portrayal of a loved one’s final days, trapped in the grips of mental illness. The track delicately weaves through the raw emotion of chronic depression, using intimate storytelling to reveal the hidden torment of a life shadowed by despair. Dreamy production and sombre melodies create an atmosphere steeped in heartache, with Freemont’s vulnerability shining through every lyric. The song feels deeply personal, yet it speaks to the universal experience of watching someone you love succumb to an invisible battle, creating a space for reflection on the unspoken pain that colours daily life.
With Mac DeMarco-esque guitar lines, Rex Orange County-inspired production, and vocal melodies evoking Mac Miller, “Hurt No More” embodies a hauntingly beautiful soundscape that balances melancholy with hope. Freemont’s hands-on approach to the song is evident in the meticulously crafted sonic details, from the tender guitar riffs to the evocative lyrics. His ability to channel personal grief into an artful expression gives the track a compelling emotional depth, cementing his place as a masterful storyteller. The song not only explores the silent struggles many endure but also transforms that pain into a relatable and redemptive musical journey.
:: “We Made It” – Circa Waves ::
Mitch Mosk, Beacon, New York
English indie rock band Circa Waves are (still) never going under, and to drive the point home, their latest single is literally entitled “We Made It.” And so they have: The charmingly catchy three-minute track is a smile-inducing rush of passion and positivity, hope and resolve ready to be sung at the top of our lungs, preferably in a dense throng of similarly-minded fans. It’s a bold return for the Liverpool four-piece of lead vocalist and guitarist Kieran Shudall, guitarist Joe Falconer, bassist Sam Rourke, and drummer Colin Jones – and one that affirms what longtime listeners have long known about Circa Waves: That like a fine wine, this band is only getting better and better with time.
Born in summer
To an English mother
Ran through sea air
Always with each other
I said you run like a racehorse
I said you, you talk like a chainsaw
I said it took a long, long time to get here
But yeah we made it, yeah we made it
Every silver line was a gold mine
as the sun was fading
Yeah we made it, yeah we made it
“‘We Made It’ is about resilience and the fortitude of people,” Kieran Shudall tells Atwood Magazine. “ I wanted it to feel like it belonged to thousands of people in a festival field.”
With its big hooks and dramatic beats, “We Made It” is a truly infectious affirmation – and an enthralling, spirited dive down the indie rock rabbit hole for Circa Waves, who sound more confident in themselves than ever before as they whip through tight verses and soar through radiant, rousing melodies. An exciting sign of things to come, this song arrives as the lead single off their upcoming sixth studio album Death & Love, Pt. 1, which is set to release January 2024 via Lower Third.
Lost your mother
Don’t know if you’ll recover
Found the bottle
Like so many others
I said you run like a racehorsе
I said you fun like a blowtorch
I said it took a long, long time to get hеre
But yeah we made it, yeah we made it
Every silver line was a gold mine
as the sun was fading
Yeah we made it, yeah we made it
:: “Cool With It” – Davis Gestiehr ::
Joe Beer, Surrey, UK
Nashville artist Davis Gestiehr admits to falling for someone he shouldn’t have in his new single, “Cool With It.” The honest and relatable track takes a not-so-positive story and flips it into an optimistic, playful anthem. With witty and unfiltered lyrics, “Cool With It” comes to life through upbeat percussion, driving guitars and an animated melody. Gestiehr has expressed how The Strokes were a catalyst for the sonic direction and this track is definitely a throwback to early 2000s indie rock bands.
Speaking of the theme behind the song, Gestiehr shares, “I think everybody at some point is involved with somebody who they know they shouldn’t be involved with. I’ve definitely thrown caution to the wind at times and fucked around with people who haven’t been the best influences on me. This song is an ode to just that. Some people can really suck as people, but those same people can be pretty entertaining as well. At the end of the day, sometimes those experiences are essential to enjoying life. They may fuck you up a little, but at least you’ll have a story. I’d hope my music inspires people to give less of a shit. Life is extremely short and sometimes it’s gonna kick you in the teeth. You have to capitalize on the moments when it’s not that awful.”
“Cool With It” perfectly captures the thrill and chaos of those imperfect relationships.
:: “Touch Me” – Fake Dad ::
Chloe Robinson, California
Bedroom pop meets indie rock duo Fake Dad’s cranberries-esque single “Touch Me” is all about using our carnal pleasures as a distraction. Soft vocals float over a wistful guitar-driven backdrop as she sings of life passing you by. It is easy to get bogged down by that melancholy feeling. Fake Dad highlights a relatable concept of using pleasure as a release from the pain.
Fake Dad is composed of Andrea de Varona and Josh Ford. The twosome met at a college party in East Village and formed an intense bond straight away. Now the pair create quirky music with irresistible pop hooks and warm layered guitars. Songs of theirs like “So Dramatic” and “Crybaby” are upbeat while “Touch Me” takes a more light, slowed down approach, but is equally as captivating.
:: “Lost Boys” – Jimmy Herrity ::
Danielle Holian, Galway, Ireland
Brighton singer-songwriter Jimmy Herrity delivers a poignant and heart-wrenching reflection on grief and the inevitable passage of time with his latest single, “Lost Boys.” The track encapsulates Herrity’s raw and vulnerable songwriting, blending tender fingerpicked electric guitar with subtle acoustic strumming. His fragile vocal performance, paired with the song’s sparse yet atmospheric arrangement, creates an emotionally charged experience that ebbs and flows into a beautifully layered climax. Herrity’s ability to craft delicate soundscapes is matched by his introspective lyricism, making “Lost Boys” a profoundly intimate listening experience.
At the heart of “Lost Boys” is the theme of loss in its many forms – personal, relational, and existential. Written over several years and enriched by Herrity’s own experiences of heartbreak, the loss of his brother to suicide, and the passing of a close friend, the track carries a heavy emotional weight. The song’s deep sense of mourning is further accentuated by its cover photo, a grayscale image of Herrity and his late brother in Reykjavik during a rare moment of joy. This visual symbol of loss reinforces the song’s exploration of time slipping away, capturing the fragility of life and the permanence of memories. Through “Lost Boys,” Herrity transforms personal grief into a universal expression of human vulnerability.
:: “Damage” – Lights ::
Brian Denney, Los Angeles, CA
On Canadian singer, producer, and DJ Lights’ new single “Damage,” she reminds us all that to get to a fresh start we often have to go through a rough ending. Perhaps best known for a dancier sound, Damage brings the singer’s signature wispy vocals to a mid-tempo pop melody that showcases the range of music she is capable of creating.
For Lights, “Damage” is more than just a new single; it’s the start of a new era. In a bold one-take music video for the single, Lights sings in front of a mirror while chopping off her real hair as she lets go of the damage that has been weighing her down. As the track progresses, and backing vocals build, the catchy beat draws you in making it hard not to dance along.
:: “Islands” – WORK ::
Julius Robinson, California
Dark electro duo WORK has concocted a fuzzy, brooding track entitled “Islands.” The pulsing piece reflects the anger of discovering you were never truly loved. Ominous vocals sing, “She never loved me all my time. Never ending chasing light. Temporary I come to find. Since you left me a lonely pride.” It can be heart-wrenching to think something will last forever when it is only a fleeting romance.
The experimental electronic duo was formed in 2019 by members Julio Tavarez and Joe Zizzo. The pair take influence from a multitude of genres such as dance music, punk and indie rock. Both New York natives, each began their musical journey in separate bands. Joe was in The Sleeping, a post punk rock band and Julio in As Tall As Lions, an indie rock quartet. Those groups led them to find their own unique style. You can hear that distinct sonic come together in WORK.
:: “Death Grip” – Charlie Hickey ::
Mitch Mosk, Beacon, New York
To his credit, Charlie Hickey has crafted one hell of a reckoning with his latest single. The singer/songwriter’s new release is light, lush, and airy on the surface, but listen closely to what he’s singing about, and you quickly realize just how intense the emotions really are. Released September 27th, “Death Grip” is a hearty eruption of angst and inner turmoil, desire and frustration. It’s a cathartic exhale that leaves us inspired, enthralled, and exhausted in the best possible way as Hickey reveals some raw truths about love, connection, and control.
It’s hard to be the one that stays
But I know it’s not easy to leave
I know it’s gonna be ok
There’s just nothing going on this week
I try to go live my life
I freeze up every time
Like the swan boats circling
Just go around the lake again
“‘Death Grip’ is my version of a pop song,” Hickey tells Atwood Magazine. “The thing I love the most about pop music is that it is emotion at its most visceral and primal. While it can be interesting to hear someone intellectualize their emotions, there are times when you just want to be hit in the chest.”
“‘Death Grip’ is about jealousy, fear, love. Ya know, all the standard stuff. But I think the narrator is teetering on losing the awareness and giving into their emotions in a dangerous way. I generally like characters who aren’t self-aware, or when something sweet or badass or catchy veils something dark underneath. That’s the tradition of so much great pop music, wrapping something really complex in a bow, almost tricking people into thinking it’s simple and that they should sing along.”
I try keeping my hands at my sides
Not holding onto you so tight
I’ve always had a death grip on my whole life
I try, play it down a little but you read my mind
I don’t wanna scare you but the truth is I
I can’t be alone tonight
“Death Grip” is Hickey’s first single in over a year, and his first independently release since parting ways with Saddest Factory Records last year. Sonically sun-kissed and undeniably urgent, it’s a welcome return from the singer/songwriter, and one that affirms his best work is still ahead.
And I’m sitting in my bedroom
In the overhead lighting you hate
Oh baby, I’m taking on water
It’s fine, it’s just one of those days
And I don’t wanna make it your business
But I don’t wanna lie to you
Say there’s nothing I couldn’t tell you
Well, I promise you that’s not true
:: How to Keep Things Alive – y’all ::
Mitch Mosk, Beacon, New York
I had never heard of ‘yearncore’ before I met Atlanta, Georgia band y’all – mainly because I’m pretty sure they made up the term; but, now I can’t get enough of it! Their third studio album How to Keep Things Alive just released on October 5th, and highlights the five-piece’s ability to inject layers of palpable, provocative feeling into spellbinding songs full of twangy, angsty indie folk.
“How To Keep Things Alive is my triumphant process of life – its highs and lows, griefs and gains,” y’all’s lead singer and guitarist Alex Huey tells Atwood Magazine. “I wanted to write a record that touched on universal experiences and truths to living. It was most important to me that the writing was brutally honest, with nothing left to spare.”
“Writing this record was like turning a leaf, or malting a version of myself. I have always appreciated the way that songwriting and playing live allows me to be a bit of an open book, and I hope that inspires others to be unapologetic in the way they experience their own lives – misfortunes, little victories, heartaches, and heart-swells, I hope this record is a soundtrack to it all.”
Highlights on the album range from the dreamy opening track “Losing Me” to the moody “Potential Missed,” a brooding ballad whose emotional bruises ache openly and relentlessly. While I wouldn’t venture to say y’all have ‘cornered’ the yearncore market, their debut certainly feels like it’s tapped a very specific alt-country nerve that I’ll be coming back to time and again.
:: “Law & Order” – Casii Stephan ft. Crys Matthews, Jay Burgess ::
Chloe Robinson, California
We have come a long way since the beginning of the civil rights movement, but racism still exists today. We have seen this through examples such as George Floyd and Breonna Taylor. The horrific police brutality they faced powerfully affected so many in this country and around the world. Casii Stephan has teamed up with singer-songwriter and social justice warrior Crys Matthews as well as prolific producer and musician Jay Burgess for a deeply poignant track.
“Law & Order” is a commentary on racial prejudice in the south and is important for us all to hear. The song starts with Burgess speaking on Alabama’s racial climate, Stephen talks of Oklahoma’s trials and Crys speaks to the corrupt politics Nashville can possess. They fervently sing, “Welcome to the same old song. We have been singing it for way too long.” Now is the time for change and this piece provides the awareness that can bring us a step closer.
Stephens is a MN born, indie-pop/ soul-rock singer-songwriter now based in Tulsa, OK. In every release she concocts there is a fierce and courageous nature that is so beautiful and bold. Crys Matthews’ folk sound is passionate and pure. Jay Burgess’ country/ folk style delivers raw emotion and heart. The three of them together on this offering create a sound that is special and inspiring.
:: “Drop” – Bōnd of Endless Tree ::
Danielle Holian, Galway, Ireland
In his latest single, “Drop,” Bōnd of Endless Tree (aka Thiago Tolentino) demonstrates a refined evolution of his signature sound, blending alternative rock, emo, and electronic influences into a deeply introspective track. Despite his initial doubts, the song’s intricate composition reflects Tolentino’s patience and dedication, maturing into a compelling piece of art that stays true to its emotional core. His soulful vocals weave through atmospheric soundscapes, while the raw lyricism captures a balance between vulnerability and strength, inviting listeners to embark on a reflective journey with him.
“Drop” marks a significant moment in Bōnd of Endless Tree’s artistic evolution. The song’s blend of emotive storytelling and expansive production not only highlights his growth as an artist but also showcases his ability to craft music that resonates on a deeply personal level. The layers of melancholy and hope are felt in every beat, allowing the track to transcend genres while remaining accessible and emotionally powerful. Bōnd of Endless Tree continues to push the boundaries of alternative rock and pop, offering a sonic experience that is both intimate and universally relatable.
:: “RATTLESNAKE” – LaFrantz ::
Joe Beer, Surrey, UK
Conceived in Salt Lake City, the now Los Angeles based duo, LaFrantz have been turning heads for their debut single “RATTLESNAKE.” Taking good old Southern rock n’ roll and giving it a modern, pop twist, the tune is unlike anything you’ve heard before. The ultimate earworm, LaFrantz certainly know how to create a catchy tune. In fact, one half of the duo, Jack LaFrantz, is no stranger to writing infectious hits, having penned tracks for artists including Benson Boone, JVKE, Garrix, Bazzi and Bishop Briggs, to name a few!
The lively, high-energy song is the ultimate mood-lifter, with sing-along lyrics and a foot-stomping beat that will have you up on your feet! The duo shares, “Blast this song when you’re in the car with your windows down and wanting to feel like a badass, when you’re at a party with your friends wanting to DANCE, or when you’re on a dusty desert road-trip wanting to feel like an outlaw.”
:: “In a Hole” – High. ::
Mitch Mosk, Beacon, New York
High.’s fifth career single is an all-consuming fever dream of gauzy, glistening grunge: A wash of heavy, thick sound drenches the ears in waves, immersing the senses and demanding our undivided attention as the New Jersey band craft music that physical aches from the inside out. Released September 24th via Kanine Records, “In a Hole” is dreamy and dramatic, delicate and dynamic, propulsive and gentle – a dichotomy of feelings all packed in with leagues of lush, reverb-laden guitar. It’s a perfect mesh of the ‘grunge-gaze’ genre High. espouse, and a tantalizing four minutes into which we can all sink our ears, our heads, and our bodies.
In a hole, I never thought you’d find me here
In my home, I used to dream about peace
In my heart, I always knew we were meant to be
Now don’t leave me
And I’ll name you number one
“‘In a Hole’ is inspired by meeting our group of friends,” lead vocalist Christian Castan tells Atwood Magazine. “It’s about being depressed, and the people close to you dragging you out of it. It’s about the peace and belonging I used to dream about during childhood trauma and finally finding it. There’s a lyric – ‘These are the new stars, they burst alive.’ It’s about living life at its best and never wanting that feeling to end.”
Castan goes on to describe “In a Hole” as a reflection of those moments when we feel completely trapped, yet still yearn for something more.
“It’s about embracing vulnerability and acknowledging the struggle, but also the hope that comes with it,” he adds. “I wanted to create something raw and honest that resonates with anyone who’s faced their own battles.”
In a hole, I closed my eyes and went to sleep
In my heart, I always knew we were meant to be
“I think as far as the simple chorus and lyrics, my inspiration was a Billy Corgan interview. He said you could say whatever you want and it could be simple; as long as the emotional value was there and it fit the song, it’s good. He hated the songs he wrote as a kid and was ashamed after he started working with high-level musicians. Later he realized he loved the songs he wrote as a kid and said the emotional value had more weight than anything technical in music.”
Castan is joined by Bridget Bakie (bass/ vocals), Jack Miller (drums), and Danny Zavala (guitar), who round out High. as a four-piece. “In a Hole” is the lead single off the band’s upcoming sophomore EP Come Back Down, due out January 24th.
These are the new homes that we will find
Don’t run and hide
These are the new stars and they burst alive
I feel alive
Now don’t leave me
And I’ll name you number one
“We’re really excited to put out new music,” Bridget Bakie says. “The first song off this EP and the first song on vinyl. It took us a long time to get this song right, and it took a lot of rewriting, but it’s very meaningful to us. It represents the time it was written. I love that the first line is ‘in a hole I’d never thought you’d find me.’ It pokes fun at our band name and our common theme of the highs and inevitable lows that come with life. Particularly the high-risk, high-reward life that the band tends to experience together.”
I’ve often gone to shoegaze – and grunge music, for that matter – as a means of drowning out the world and dwelling in my emotions. Like fuzz on a TV screen, those heavily effected guitars can be their own special kind of balm. The sheer weight of the music acts like a blanket for the soul, and that’s exactly what “In a Hole” feels like at the end of the day: A cathartic quilt of emotionally charged sound, here to calm, to comfort, to soothe, and to inspire.
:: “One of Your Girls” – Lindsey Rose Black ::
Julius Robinson, California
Lindsay Rose Black does a cover of Troye Sivan’s “One of Your Girls” that is sure to entrance you with its raw vulnerability. If you have ever wanted someone so badly but felt as if they were out of your reach, you will resonate deeply with this piece. Her soothing, delicate vocals exude a strong emotional longing that listeners gravitate towards. She has an important story to tell as she puts a sapphic lens on this stunning track. She reveals, “The lyrics immediately took me back to growing up in a conservative community and being scared to explore my sexuality in high school, but crushing on my girl friends and trying to figure out how to navigate it. What would make them look at me the way they looked at the football players?”
Rose does it all. She is a singer-songwriter, multi-instrumentalist, and budding producer. Raised in Fort Worth, TX her wistful twang-tinged sonic comes through as she sings of faith, identity, and feminine power. This cover was produced with Emily Moore, Troye Sivan’s touring guitarist adding to the element of fem togetherness. Her hope is that other southerners in the LGBTQIA+ community can feel supported and seen.
:: “Trilogy” – Pulsars ::
Danielle Holian, Galway, Ireland
Pulsars are making a triumphant return with the release of “Trilogy,” a captivating three-track single that offers a glimpse into their long-awaited self-titled album, finally debuting on streaming services after 27 years. Brothers Dave and Harry Trumfio helped define the late ’90s alternative scene with their innovative fusion of post-punk grit and synth-pop sheen. Rising alongside acts like Oasis, Blur, and Weezer, the Chicago duo made waves with their genre-bending sound that feels as fresh now as it did in 1997. ‘Trilogy’ serves as both a nostalgic trip and a reminder of their forward-thinking creativity, laced with infectious melodies and an undeniable optimism.
This digital release, scheduled for November 15th, is not just a return but a revival of a cult favourite that has resonated with underground music fans for decades. Pulsars’ ability to straddle the line between introspective post-punk and infectious synth-driven pop set them apart in an era of Britpop dominance, and their music still feels urgent today. Their early work caught the attention of fans like Keanu Reeves and Fred Armisen, and now, with the full album on the horizon, Pulsars are ready to reignite their legacy. ‘Trilogy’ hints at a reintroduction to their timeless sound, one that maintains its individuality while welcoming a new generation of listeners.
:: “U/U” – Winter Gardens ::
Danielle Holian, Galway, Ireland
Brighton quartet Winter Gardens have made an electrifying return with their new single, “U/U,” a brooding yet high-energy track that cements their place as masters of ethereal shoegaze and post-punk fusion. Produced by Luke Marsden alongside the band and mastered by Andy Miles at Star Delta, the single showcases a rich, atmospheric soundscape, brimming with swirling reverbs, pulsing arpeggiators, and driving drums. Angular guitars cut through the dark, textured mix, while the haunting vocals gracefully balance between spoken word and ethereal melodies. “U/U” is a kaleidoscopic sonic experience, full of intensity and gothic undercurrents that promise exciting things ahead for Winter Gardens’ future releases.
Lyrically, “U/U” delves into the emotional turmoil of imposter syndrome and the constant battle with self-doubt. The cryptic intimacy of the lyrics reflects the mental conflict of feeling unworthy in a world that often values others’ qualifications over our own. Winter Gardens explores this vulnerable territory with raw honesty, painting a picture of the internal struggle many face when navigating expectations and self-perception. The band’s innovative approach to sound, using a broken interface to achieve the track’s industrial guitar tones, adds to the creative depth and intensity of the song, making “U/U” a striking and introspective addition to their catalogue.
:: “Still ‘Round” – Sleeping Jesus ::
Mitch Mosk, Beacon, New York
Minneapolis’ Sleeping Jesus became a personal favorite with last year’s LP Hollywood Smile, and their star continues to burn bring on new single “Still ‘Round,” a dreamy, groovy jam with just the right amount of twang to make it perfect for those long Autumn nights ahead.
“Just two years ago we were releasing a weirdo electronic pop record. Some folks might think the country rocker, ‘Still ‘Round’ is a left turn for the band, but we’ve all long shared a love for the greats like Neil Young, The Band, etc., so this sound sort of felt like coming home to us for the first time,” Sleeping Jesus tell Atwood Magazine.
“‘Still ‘Round’ is ultimately a love song that attempts to capture the trials of everyday life for working class families. The verses are a middle finger to the powers that be. ‘God damn, been living like a pauper, just trying to forget. Daddy says stay away from coppers, cause they ain’t your friend.’ and ‘All day working for a nickel, baby take the boot out your mouth.’ The chorus is the ice cold beer or a joint of the evening, an escape from the pains of everyday life, ‘Every now and then I just wanna pretend that you’re still ’round.’”
“‘Still ‘Round’ is a new chapter for us as a band,” they continue. “This is the first song we have self-produced since the very beginning of this project. Most of the tune was recorded in our home base studio, The Garden Shed. Having our own space to record has been such a breath of fresh air for us. It’s given us the freedom to write and record songs quickly, letting us get the finished product to people while the song is still fresh and exciting for us too. We are so proud of what we ended up with. And it wouldn’t have turned out like it did without the help of backing vocals from Minneapolis artist Molly Brandt and Nashville Pedal Steel player Luke Schneider. We have a lot more goodies that we have been working on in the garden shed and we can’t wait to share those with everyone.”
Reminiscent of Mt. Joy and flipturn, “Still ‘Round” is a rollicking, smile-inducing return to the fore from a band I cannot wait to hear much more from in the months to come. Sleeping Jesus have my number, and they’re calling on repeat.
:: “More of That” – Pillow Fite ::
Mitch Mosk, Beacon, New York
I remember the first time I fell hard and fast for someone; there’s nothing like that first blush of love, and to their credit, Pillow Fite revive and ignite that feeling in their latest single. “More of That” is a dreamy reverie; the Nova Scotian duo pour elements of indie rock and folk pop together as hearts, guitars, and vocals swell and soar, bringing us deep into a special, beautiful moment of intimate connection.
Eighteen dollar thrifted suit
Fit you like a glove
If I only, only knew
I wasn’t getting sleep that night
2am pulled around like that
I tried to make you some tea
Sitting on that vintage couch
At my Airbnb
“I fell in love with Emily after knowing her for 5 hours,” Pillow Fite’s Art Ross tells Atwood Magazine. “It was completely unplanned. I drove to Saint John, New Brunswick (a quaint seaside town with overflowing craft beer) in an attempt to escape my current living situation. After meeting at a bar among friends, Emily invited herself to my AirBnB. I remember coming home from that trip and telling Aaron I was in love. He, of course, thought I was simply being very lesbian and this fascination would die down after some time apart. But it didn’t and we spent the next year in a long-distance relationship.”
“This was the first ‘Soft Promises’ type of song Art brought in,” guitarist Aaron Green adds. “They write very quickly and I think a voice memo of this was in my inbox, probably the day after they had this fateful evening. This one came together pretty full formed. I just prettied it up with some Phillip Glass inspired piano textures and a big ass guitar riff in the bridge.”
Water in a Wendy’s cup
I was shy and I can’t look up
How do I go after that?
Grabbing your face, wanting it to last
Why’d it have to be so fast?
I’m not really sure,
but I’m sure I want more of that
“More of That” is the second single taken off PIllow Fite’s fast-approaching debut album Hard Feelings, Soft Promises, due out October 11th via LHM Records. A lilting, radiant, light-filled enchantment, it’s a powerful look at who Pillow Fite are, and what we can expect from them moving forward – and I’m sure I want more of that. Do not sleep on this stunning band.
All your friends are in love with you
But you’re blissfully unaware
If you only, only knew
I’ll keep the secrets you share
Water in a Wendy’s cup
I was shy and I can’t look up
How do I go after that?
Grabbing your face, wanting it to last
Why’d it have to be so fast?
I’m not really sure…
but I’m sure I want more of that
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