The latest album from Wolf Parade holds a message that we should all lend our ears to. Thin Mind takes a look at the deterioration of our social relationships and the environmental destruction that our society is headed to. Be it from the technological advances that are encasing us to our computer screens, or the rabid corporate advancements that are slowly eating up the earth.

Even with Dante DeCaro’s departure from the band, they still manage a full sound that’s steeped in 80’s synth-rock, with sprawling chords and inventive song structures. The signature keyboard glam is still embedded into Wolf Parade’s sound as well as their lyrical poignancy, but what sets apart Thin Mind is its wealth of experimental synth use.

From its first words, “Under Glass” pulls us into its world: “Like science fiction / We’re under the glass again.” Alluding to our increasingly isolated lifestyles. We have so many things to choose from, and yet: “Nobody knows what they want.” This theme is continued in “Out of Control”, where Krug’s Bowie influence shines through. Paranoid guitar riffs and sinister chords warn us of a grim future, where we could lose everything if we don’t make the right changes. 

There are also narratives in the album that are more personal. In the glimmering synths of “Julia Take Your Man Home”, our titular character struggles with her man as he goes into a spiral of self destruction. The story is in a third person perspective, but it’s easy to see ourselves in its main characters. “Wandering Son” is a reflection that Dan Boeckner faces as a touring musician. There’s the threat that: “They’re going to have a funeral for your profession”, and a sense that he has no permanent place to call home once that happens. This haunting synth rock song pays homage to a bygone era with Blade Runner’s famous line displayed in its chorus: “All our days wash away like tears in rain.”

Things are not as hopeless however, as this album has a liberal use of bright melodies and hook-filled songs to balance out the gloom. Wolf Parade also presents us with what we can do to survive. “As Kind as You Can” is a hopeful midpoint track that radiates its message to all its peers. It explores a different short story in its three verses, and the answer is as straightforward as the title suggests.

The songwriting in Thin Mind is as solid as ever. This is an album that gets better at repeat listens, and is a mark that Wolf Parade’s craftsmanship has gotten better with time. 

Painted Zeros latest album sees Brooklyn-based songwriter Katie Lau through a journey of facing her demons and overcoming them. When You Found Forever has a variety of acoustic pop and fuzz-rock songs with the ability to rouse or soothe. Lau has a sincere, heart-on-your-sleeve approach to lyrics which she uses to express her struggle with relationships, substance abuse and self-destructive habits. Although the mood can get gloomy at times, it is contrasted with tongue-in-cheek humor and bright melodies.  

Listening to the album from start to finish is what I highly recommend. As this way we can see a character’s development from falling to rock bottom, to picking herself up and growing towards a positive change. 

Opening track “How We Can Be” rounds out the emotional pallet of the album with its gentle piano and vocals. Lau eases you in with a pleasant acoustic arrangement that lays out the albums overarching theme of going through turbulent times. 

“Fuck My Life” follows Lau in her struggles with alcohol and the downward spiral of addiction. A swirl of heavy distorted riffs and punchy rhythms illustrates the hard-hitting realization that you’ve made a lot of wrong choices. “Break” is where Lau’s vocal prowess shines. In it she goes through an emotional breakdown and ruminates on how her past relationships went south. 

“How Much Do I Hate” has the post-punk influence that traces her roots from the NY DIY scene. A fuzzed-out romp that goes through a falling-out in a toxic relationship: “Your moods come with storms poised and runs from your mouth / Pour salt on my heart just to bring the rain out.”

By the end of the album, Lau takes on a more positive and vibrant tone. “I Will Try” is a highlight with hopeful melodies and radiant guitar riffs. Every lyric is sung with conviction, and the somber mood of the previous tracks are washed away as she proclaims: “I will try / not to be sad / My epithet / she did her best.” Another favorite of mine is “November Snow”, with dreamy vocals and somber acoustic guitars. We find Lau recollecting her past mistakes and learning to move on from them: “The further back I step / The more I see / I finally see the forest / when before there were just trees.”

When You Found Forever is a perfect listen for those who are going through hard times and are in need of a virtual hug. It’s a journey that we can see ourselves in, and even for a brief moment, it reminds us that we are not alone.

Like most of my reviews, I listened to the sophomore album of LA’s Momma without knowing anything beforehand, and it completely went over my head. The sludgy pop/alt rock sound that I thoroughly enjoyed during my first listen with its gloomy atmosphere and charming-but-edgy vocals came to reveal its sinister undertone on my second go around. I saw the skeletons that it so deftly hid as I dug deeper and deeper. Two of Me is a concept album that finds its characters in the Bug House – a version of hell where masses of transgressors congregate. 

Songwriters Etta Friedman and Allegra Weingarten aren’t afraid to get graphic with their imagery. Don’t be fooled by the alluring tone of their stacked up vocals or the unassuming catchiness of their songs. Two of Me is an exploration of the darker part of ourselves that we hide from others. Its lyrics are rife with abrasive images and characters which can go from self-depreciating to self-loathing.

“Biohazard” represents the overall attitude and tone of the album. With tense sonic textures in it’s instrumentation and a spiteful vocal delivery: “You took my muzzle off / You bastard / You know I’m a hazard.” “Double Dare” sounds more playful and jangly, until the irony jumps out at you like a sucker-punch. It has the melody of a children’s rhyme but it could beat you up like a playground scuffle: “Trigger happy kids \ Ring around the tussle pleasing bits \ Pockets full of molars as they fall”. 

As for the band’s sound, it’s varied enough to keep you entertained, with hazy chords and appropriate loudness depending on what the song needs. No doubt owing to the prowess of other bandmates Zach Capitti Fenton on drums and Sebastian Jones on bass. In “Derby”, Momma calls for a grungier urgency with heavy distortion. “Ready Runner” is slow and meek, with vocals that could lull you into a trance.

One of my favorites is “Roach Head”, with its swaggering pace and the low growl of the guitars, like a rabid dog that’s measuring its prey. It explores the addictions and obsessions that seeps into our heads and controls our every whims. I still shudder every time Weingarten and Friedman croons through the chorus: “I drink the dopamine inflicting your pain.”

The remarkable thing about Two of Us is how Momma presents its characters and images in a matter-of-fact way and leaves it to the listener’s interpretation. We all have a different shade inside of us, and this album invites us to take a look at it and examine what lies underneath. 

 Covet’s latest album technicolor packs a strong emotional punch and solidifies the band as one of the best in the scene. It has the virtuoso-guitar instrumentals you expect from any math-rock group, but what sets Covet apart is how their compositions are more emotionally charged. While other groups put technicality at the front and center — flooding each track with elaborate riffs and arpeggios on top of shifting odd rhythms, Yvette Young and the gang focuses on melody, creating a more organic development of moods and emotions. But that is not to say that this album isn’t technical at all, as Yvette has more talent in her pinky finger than most guitarists. Covet is simply out there to make music that could make you feel, and all the theory and finesse is simply a means to reach that goal.

Take “good morning” and “predawn” as an example, where radiant riffs are slowly sprinkled in with atmospheric glowing synths. It evokes that early morning feeling of seeing the sunrise while the scent of coffee fills your senses.

The melodies of “atreyu” follow a tightly woven narrative. It’s light and bouncy warmth showcases the positive mood that’s prevalent throughout Covet’s discography. Focusing on cleaner and lighter tones, where its peers in the genre gravitate towards darker shades.

It’s not all sunshine however, as “nero” starts off with a tight and hesitant urgency. With bouts of aggressive punches and heavily distorted breakdowns by the end. In “ares” we get to see Covet at its most restless and troubled, with each instrument seemingly at odds with each other — each one vying for space but never managing to dominate the others. This track reminds us of the chemistry between the band. David Adamiak’s bass and Forrest Rice’s drumming blends so well with Yvette guitars like a tightly orchestrated unit. 

Another highlight and first in technicolor is Yvette Young’s vocals in “parachute” and “farewell”. As if she’s not diverse enough with compositions on the piano and violin, she graces us with a voice that’s as light and colorful as her guitar tone. Each of these songs carry a very refreshing message, that of never giving up and how things will get better soon.

My favorite is “odessa” which I feel is the height of Covet’s songwriting. It’s atmospheric joy in a tight package, with chilling synths and effervescent violins. It bridges the gap between a contemporary classical piece and a rock song. Stretching the boundaries of guitar music and what it can accomplish. 

Covet is one of those bands that get better every album. If you’re looking for something to challenge your ears or just want to feel happy, technicolor is the perfect listen.

Montecore is back yet again with a new EP. House Fire Times is their third release so far. While their self-titled debut had more variety in style and instrumentation and second release One Night blended drone rock rhythms with thick shoegaze noise, House Fire Times manages to combine both. A balance between sturdy Krautrock and experimental music with heavy influences of noise rock and electronica.

“Your Stunning Heart” starts with a rumbling drum and bass line with a resolute punchiness and pacing. This acts as a drone beat, with minor variations sprinkled in between. The galloping rhythm is topped with alien synth effects that weave and oscillate around each other, like radio signals fighting over frequencies. A catchy lead riff then emerges and takes over the identity of the song. Wooden percussion joins in with the mass of sounds, giving it an ethnic character that contrasts the trippy electronic noise.  

“Weed Snob” is lighter and carries more introspection than its predecessor. The drums start in with a more irregular and freeform manner but sobers up when the synth swells come in. Crooning strings coalesce with a glow of ethereal noise. This ascending line evokes a feeling of reaching out to somewhere but never getting there. An eternal journey across an ever-expansive universe. 

“Most of Us” starts with a marching rhythm. A radiating chord progression that gathers together the fluttering keys and rhythm section in a slow but coordinated advance. A synth line starts off as calm and serene yet develops into a sharp screech, which  challenges the unity of the other instruments. An abrasive wall of noise invades by the midpoint, and breaks the whole equilibrium. Still the bassline and drums manage to punch through. A war between order and chaos ensues at the thundering climax of the track.  

“Study Sesh” has the most tension and unease in this EP. It starts off as mysterious and foreboding, like a breeze that’s creeping up on you. The aural pallet remains similar to the other tracks, but the melodies feel like their in an endless ascent on a tight slope. Seven minutes of escalating intensity, either from the tightening rhythms or the synths that are constantly grinding through. 

House Fire Times feels more spontaneous and organic than previous releases. This is Montecore getting into the groove and refining their style while still maintaining the drive for exploration. This EP is a hypnotic experience and a solid addition to their rapidly growing discography.

Black Hours gathers various musicians under the direction of Dave Malkin. Their first EP Saccharine is indie rock that has its own distinct character. An amalgamation of varying styles of music that includes pop, classical, jazz, and a good helping of traditional folk. Its rich instrumentation and stellar production gives each song an epic scale, like getting lost in a great landscape across fields and forests in the British countryside. Malkin’s lyrics are steeped in storytelling traditions of old, meticulously crafting a world full of poetry and fantasy.

 “Pertichor” is written like a lyrical poem that explores the word’s origins in various different contexts with each verse. Ranging from the emotions that rain brings to references in Greek mythology. Brushed up drums, guitar arpeggios and horns accompany Malkin’s deep baritone in this tightly woven composition.

Lead single and title track “Saccharine” is full of imagery that stimulates the senses. A symphonic arrangement of strings and female backing vocals climbs and dips in syncopation, guiding the listener to peaks of joy and valleys of sorrow. A reflection of having something so sweet that it sometimes becomes hurtful.

It’s hard to pass off “The Place Was a Wilderness” as just a short spoken word interlude. This midpoint number supports the narrative of the whole EP and accentuates the fantastical theme of the next track. “Secret Garden” is the collection’s highlight. Timea Gazdag’s soprano voice contrasts Malkin’s colder tones. A wondrous piano and string arrangement invites the listener to get lost in the woods. Its two characters go through tragedy and growth in their own intimate space. 

“Ophelia” is a song that takes Malkin’s voice to a more operatic space. It has a cadence akin to a lyrical epic. Fluttering keys accompany him as he welcomes the rare London sun after the storm Ophelia: “When I wake / sepia sky / dusky hue / scattered light”. He then explores Hamlet’s character of the same name in a theatrical arrangement coupled with a glorious trumpet arrangement that radiates and glows through the end. 

Saccharine is what you get when an artist that has a clear vision with rich literary and musical influences is joined by a band of equally great musicians. Whether you are looking for innovations in the indie scene or are interested in how classical and traditional music could be used in a more pop oriented context, Black Hours is a project that you should look out for.

Susan Bear is a professional audio engineer, sound designer and multi-instrumentalist who has worked with various artists in the Glasgow area, including The Pastels, Tuff Love as well as a variety of theatre projects. She recently released her debut album Creature under the moniker Good Dog. 

Creature is as varied as the scope of her music career. Her ability to play practically every instrument combined with her knowledge of sound design techniques is used in full effect. With it, she’s able to tug on deep and complex emotions while hooking the listener with her art pop sensibilities.

There’s a dreamy feeling to every song, as if a bed of aural memory foam ushers in the listener to Bear’s inner thoughts. In “Worm” layered vocals and fuzzy guitars accompany her as she details the pressures of navigating through adulthood. “March 28th” has vocal harmonies that glow and bend like rays of light. Illuminating the solemn acoustic piano that glides in like a romantic sonnet.

Also present are instrumentals that showcase Bear’s compositional chops. “Jury Duty” has acoustic and electronic instruments weave together along a droning drum machine rhythm, as if anxiously waiting for something to arrive. “Good Morning” makes use of video game chiptunes and hip hop beats. It feels like a pixelated dream, the kind of song that could get you in a state of flow. Most interesting of all is “Bumblebee”. Not unlike the classical piece of a similar name, we follow a buzzing melody line that develops through calm and unease as it visits flowers  of different colors in search for nectar. Each of these tracks have perfectly crisp mixing, with sounds meticulously arranged and designed to get the right blend.

The title track follows a more conventional pop song structure, with the ethereal vocals and fuzzed out guitars. It illustrates a hazy picture with smudged pastel colors and packs a huge punch of emotion. It is then followed by lead single “Floating”. A jangly and aqueous jam where Bear redeems herself from loneliness: “After you left I wandered free / disconnected from everything / now I’m well enough to know / I don’t want to float through life on my own.”

Creature is described by Bear as “kind of a diary of my 20s”. Within its 15 tracks we get to see a journey of growth and discovery, as well as some bumps and bruises along the way. This album is an impressive feat, as not many artists can glue their ideas and emotions effectively into music just by themselves. As Bear plans to collaborate with more people in the future, who knows what greater heights she can accomplish.

When I first listened to 2nd Grade’s latest album I was in a bit of a shock. Songs would end abruptly just in time for me to get caught in its hooks, leaving me wanting for more. I mean, imagine if Star Wars ended just after Princess Leia was rescued, leaving you wondering about Vader and the Death Star? Then it dawned on me after a few more listens. In between the short, sweet and melancholic surf rock and pop hooks, intentionally or not, Hit to Hit reminded me of my childhood memories — riding my bike across the neighborhood and going to a friend’s house to play their Dreamcast. As I swept through all of its 24 tracks that ran for 1-3 minutes, I got a sense that I was flipping through a montage of faded childhood memories. Like the songs in this album, many of them were short and didn’t need much elaborating.

This album swings from fun to sentimental, with a few being both at the same time. Honing in on complex emotions of growing up and looking back. Examples of songs in the fun camp are “Sunkist” and “Sucking the Thumb”. Both of which are 1 minute fuzzy surf choruses that are just begging to have a few verses added into them. “Boys in Heat” is a surf pop song that’s impressive in a way that it compresses the verse-chorus-verse-chorus-bridge structure into one minute.   

Songs like “Try to Be on My Side now” are in the opposite camp. It recounts a falling out with a friend when you need them the most. The feeling of isolation is strongly felt with the minimalist guitar and vocals. “Maybe I” follows in the same vein by shedding light on self-doubt and anxiety. “Flavor of the Week” laments the passing of time, and of all the things you used to enjoy as a child but couldn’t anymore as an adult.

Standouts in the album are “My Bike” — a lyrically optimistic song that details the feeling of freedom when roaming around with your favorite transport. Except music tells a different story, drenched in a minor key and plodding in a languid tempo. A dissonance suggests a longing to enjoy that feeling again. “Summer of Your Dreams” is  the sweetest moment of the album that captures all its emotions and wraps it in a bow. It captures the childlike anticipation of the upcoming summer and making plans with your friends to make it the best that it could be.

While 2nd Grade skimps on song length, I never had a sense that they were compromising in expressing their sincere emotions. If anything this stylistic choice means that there’s never a dull moment in Hit to Hit. Sometimes the best things in life are short and simple.

If you’re looking for a fresh take on alternative rock, look no further. For those like me who grew up with the genre, the Maryland four-piece Hollowed Sky should be a welcome addition to our dwindling playlist. Their second EP Strings is a blast from the past, but it also blazes a bright future for the band. Hollowed Sky sits on the louder end of the genre, nearly bordering on hard rock. They are not afraid to shake the walls down when they mean business, but a heartfelt sincerity can be heard in the more solemn parts of a song. A careful balance that’s felt especially in Jay Orem’s dynamic vocals, which can flip through melancholy and rage with great ease.

The EP starts with the title track. Stephen Berchielli’s guitar riffs easily hooks you in and keeps you engaged as it evolves in every section, climaxing in a Tom Morello-esque solo. Their interplay with bassist Charles Rupertus is remarkable. Weaving tightly together, a testament to the many hours of jamming in the shed.

“This Hell” is a lament that’s accentuated by shrieking guitars and Joe Bradshaw’s doom-stricken drums. The song serves as a tribute to a young girl’s fight against cancer. Orem’s tone is resolute as he recounts her bravery despite the unfavorable odds: “You don’t own me, and I’m not scared.”

“Bleeding Out” is where Jay Orem’s vocal style shines at its best. And the band knows it, giving him enough space to breathe in between falsetto croons and pounding belts. You can hear shades of Brandon Boyd’s tone in him, as well as his versatility in range. Always managing to keep it loud and full in between melodic riffs.

 The closer “Baltimore” is filled with composed anger and conviction. A song that details the greed and corruption of politicians at the expense of its citizens. Screeching riffs and heavy distortion fills every space, carried by the thundering of drums, reflecting in the band’s pent up rage and frustration.

One thing that jumped out to me on repeat listens was that Hollowed Sky sounded familiar. I could name a few bands like Tool and Incubus and Nirvana, but none of that hits it on the head. The band has its own brew going on, it borrows a lot from its influences but still manages to put their signature spin on it. Strings is a tightly spun album and a clear indication that the band is coming up with its own identity. The only thing I would have wanted was a better production quality, since the DIY quality of the mix seems muddy in places. Still, I’m confident that it’s only a matter of time before the band figures it out and I can’t wait to hear more.

Julian Drazilov has been writing songs for a long time. He’s been experimenting with different techniques and styles, and incorporating them to all types of recipes for songs. His latest album Spices is a testament to this great catalog of creativity. Julian borrows heavily from midwest emo, math rock, surf pop and indie lo-fi, but what sets him apart is that he uses all of them to varying degrees. 

Each track in Spices is named after an herb or spice, which from my interpretation correlates specifically to a style or genre. Each one has a distinct flavor and sound, and is crafted with the same expertise as a master of that style. Calling him a jack-of-all trades would be an injustice, as each track can go toe to toe with the best of them.

Opener “Coriander” infuses lo-fi pop with airy vocals and dreamy riffs. Nostalgia glimmers as Julian narrates vignettes of memories — like a collection of dreams retrieved from old notebooks. “Pepper” is sprinkled with erratic math rock riffs and rhythms. Bree Delaney lends her voice in a washed out and flourishing haze of color. “Garlic” borrows from pop-punk and emo from the previous decades. Distortion and a heavier rock sound replaces the softness of the previous tracks. Drazilov surprises yet again by bringing in Cole Baker on a saxophone solo that blends perfectly well with his vocals.

My favorite track is the only instrumental in the bunch. “Rosemary” defies genre definition, and dissecting its elements is a treat I relish with every listen. A relaxing acoustic guitar melody is accompanied by an upright bass, uplifting swells and subtle sounds of dripping water. It feels like a relaxing stroll through nature, with no worries in sight. A relaxing change of pace that still meshes with the rest of the album.

Another standout is “Sugar”, which is a citrus flavored surf-rock jangle across a bright and sunny day. This song glows with so much optimism that it counteracts the gloom and introspection of its peers.

It may be tempting to call Spices a collage, but each track blends so well with the rest that you can still follow a theme at its core. At the risk of sounding cheesy, I’d say that the theme is genuine love of the craft. You can see how hard Julian has worked to get this level of proficiency in composition. He seems to be flexing on us, as if to say: “Look how many spices I got.” And I can’t help but nod in agreement as I hit the replay button.