Sunscreen and palm trees collide with scuzz rock on Hockey Dad’s latest single. Facilitating this culture clash since 2013 is Zach Stephenson and Billy Fleming. Sand on the floor and thick overdrive the fusion is effortless. ‘Homely Feeling,’ their latest single, embodies the no-shoes garage rock that has become synonymous with Hockey Dad.
A follow up to August 2016’s Boronia it seems to be a continuation of the sea-foam distortion and sun-bleached punk. The jangling ‘Laura’ and easy energy of ‘Dylan’s Place’ feel like summer in 3 minutes. Stevenson on drums and Fleming covering vocals and guitar possess an innate chemistry begotten from their highschool days when they were just starting to dip their toes into the music world.
‘Homely Feeling’ while still a classic Hockey Dad song stands on its own. There isn’t a single dull moment, teeming with angst and energy it’s electric. While Boronia could serve as background music to skating and surfing ‘Homely Feeling’ dominates. Lyrically the song doesn’t delve into flowery imagery it goes straight to the point with jagged repetition. Brutally honest the hook remains catchy with ‘say I’m not the one.’ High alert and hell bent on not succumbing to the homely feeling there’s a devotion to discomfort that’s impossible to restrain. The simple truths washed out in balmy backbeats help him ‘make it through the night,’ and provide a sense of vibrancy.
‘Homely Feeling’ is the first single from their new album Blend Inn which is due out sometime next year. Ascribing influences to everything from Twin Peaks to Nirvana the album was recorded in Seattle in the midst of missing home. Despite the heavier influences the Australian sun never seems to waver from Hockey Dad- a piece of sunshine stuck in everything they do.



Discussing the music scene of rural South Carolina seems semi-pointless, that is until  Brady Sklar, Luke Waldrop, Wesley Heaton, and Dan Fetterolf joined forces to create Daddy’s Beemer. Slack rock straight from the abyss of frat parties and simply southern t-shirts the boys shook up the college campus. Creating their own house show venue and collective called The Pablo Generation they created a community from virtually nothing. Eating Mexican takeout 30 minutes before going onstage, sunglasses indoors and their parents a table over you’d never guess they pioneered a whole music revolution.

Who are you outside of the band?

Wesley: World traveler

Luke: I’m a passionate connoisseur

Dan: I work at a violin store

Brady: Soon to be audio professional, rock and roll star. We DJ for the Clemson radio, WSBF-FM Clemson, we all met each other because of the student radio organization.

What is the Clemson music scene like? What’s Pablo like and what artists do you work with/shows do you put on?

Luke: We have a collective, called The Pablo Generation, 7 bands right now and yeah we’re in a lot of the bands ourselves, we just like mix and match. That’s about the only music scene there is.

Brady: There’s not much of a music scene, Greenville is alright. Greenville’s getting bigger as a city so Greenville’s music scene is getting bigger as a result, but yeah we kind of are the music scene, that’s about it.

Wesley: The music scene their kind of like comes and goes in waves. Like people graduate and their band leaves and somebody else kind of fills in.

Luke: Nobody stays in Clemson after they graduate, that’s the problem.

How did you decide to make the collective and start-up Pablo?

Wesley: Well it all kind of started all at once, like there were no bands at all and then all of the sudden all these people who I had never really met before started up their own bands and then they started coming to shows, coming to our shows and like connecting and then it all kind of organically came together and we decided to just keep building with it because we all became good friends.

What was the process of recording your ep like?

Brady: So here’s a typical day in the studio, we wake up, we wake up around 10-11 whatever and we go and we go to Bojangles which is across the street and we get Bojangles, we eat, well we bring it to the studio and we eat. Then we start figuring out what we’re going to record, we always do drums first, then we get some bass and guitars and then we do vocals. Then we spend a lot of time mixing, sometimes I get a little too into the mix where I black out for hours on end and I’ll be mixing. I just get these blinders and then we look outside and it’s morning again and ‘you’re like Jesus christ.’

Luke: Now we got to go to Bojangles again.

Brady: Yeah now we got to go to Bojangles because Papa needs his fuel.

Luke: We’ve gotten better with the whole process.

Brady: Yeah, we have. We spend a lot more time recording and a lot less time mixing because sometimes if you record not well enough you have to mix more and vice versa. It’s not as fun. We’re doing a lot better for this ep, we’re spending a lot more time recording and making sure everything sounds good before we go into the mixing room.

You opened your ep with ‘TV Lied To Me,’ how did that song come into being? What was that like creating it?

Brady: That was the first song I brought in to show the guys, it was the first one I wrote by myself and brought in to show them. I don’t know I just wrote it on a cheap classical guitar and then we came in and worked out all the other parts and it was kind of weird because it wasn’t as laid back as some of the other ones. It was more like it sounded like a Cars song like something you’d hear in an 80’s fight movie.

Dan: It’s fun and I think people like it the most when we play it live and stuff.

Brady: It’s a banger for sure.

Wesley: Dan has like 47 drum fills in that song.

Brady: We counted when Dan did the drum take 47 drum fills.

Dan: I’m proud of that number, I’m going to try to keep getting it up too.

Brady: It took us about 7 hours to record Dan’s drums for that song.

Dan: Alright you don’t have to tell everyone, that an intimate recording secret.

Brady: So we got some recording fuel in him and then he nailed the drum takes.

When Brady brought the song to you what did you originally think?

Luke: I think he played it for us in the basement that one night, I liked it immediately.

Wesley: The chorus was just like stuck in our heads like Dan and I would be walking around our house just singing that chorus over and over because we didn’t have a recording of it at the time so we just kept singing it to ourselves because it was just so catchy.

Who or what is ‘Pentaselia?’

Dan: Well my family had a parrot as a pet for a while and I think ever since I was a kid, it’s been there since I was born and it passed away unfortunately about a year ago so that inspired us to write the song. It was just like part of my childhood that had passed away, something that had always been there you know? But then we made the lyrics a little more general so it wasn’t just about a bird, it was more about a lot of things.

Brady: Wesley told me he texts me one day and he goes, ‘hey Dan’s bird died.’ And parrots, just so you know live like 30+ years so Dan’s parrot might have been in its retirement age.

Dan: It was born in the civil war era, that’s a fact.

Brady: So Wesley texts me and goes ‘hey Dan’s parrot died you should write a song about that.’ Which I thought was really funny because most of the songs I wrote were just about girls and shit so then I wrote it about that and then it was about Dan’s parrot dying. Everyone thinks it’s a metaphor.

What’s the band’s identity? Is it set or is it evolving and how is that evident in the music you’ve released?

Luke: It’s definitely evolving, we started off not really just having a collection of songs to put on the ep and now I think we’ve really honed in our sound a little bit more.

Brady: It’s a little funkier, everything on the ep kind of sounded really rushed like ‘bang bang bang’ trying to get it out but this one we’re really trying to take more time with and get a little more sensual, more bongos really.

Dan: It’s about honing your influences like if you have one influence for each song that’s one thing but if you can consciously take one influence and mix it into your song and make it special that’s what we’re trying to do.

Well, do you feel like the time constraint made the ep feel rushed?

Brady: Well a lot of the songs are fast, there wasn’t a lot of…..

Luke: We had to get it done because it was Wesley’s senior project for school.

Wesley: We did have a deadline for it but still we kind of rushed through it a little bit, we spent a lot of time mixing at the end. There was like 2 weeks straight of just mixing and that was horrendous, but it turned out well. I still think it turned out well.

Brady: The last week we spent 12 hours a week in there like just for a week every day just doing that. It was horrendous.

Dan: How much Bojangles did ya’ll consume?

Brady: I ate probably, pound wise 16 pounds of Bojangles.

Dan: 16 pounds? That’s pretty respectable.

Wesley: At least like 30 supremes.

Brady: Yeah, it wasn’t a proud day.

Luke: We have a new tradition, it involved McDonald’s.

Brady: Yeah we’ve kind of moved away from Bojangles a little bit, not that they aren’t near and dear to us, we still love you please sponsor us. We had a Charlotte show and after that show, with the money we got, we bought 100 chicken McNuggets and then we tried to eat them all and then I passed out in the car, that was it. We’re going to do it after every show.

Are you doing that after this?

Wesley: Yes, catch us at McDonald’s after the show.

Luke: It’s actually not as expensive as you’d think.

Brady: It was like 25 bucks for 100, just so you know.

You released ‘Rain Dance’ as a single too, what about that song prompted that decision?

Luke: I wrote the main riff for that song and then I played it for the boys and us just kind of built a song around that one main riff.

Brady: A lot of our songs are kind of like that, where there’s a riff and then we just kind of build on top of that and just of stack layers on it.

Dan: That one especially was what I was saying about honing in on influences. I really think we nailed it with that one especially.

Luke: That’s when I realized what we were really about.

Wesley: It’s dancey and it’s fun but it’s also dynamic.

Brady: Plus we put piano on that, I love the piano in that song.

What are those influences that you’ve been mentioning?

Dan: Definitely on my drumming, I’d say Steely Dan is one of my biggest influences.

Luke: He had to bring it up.

Dan: That’s another big part of my childhood.

Brady: I grew up listening to, my dad always played a lot of 90’s alternative music like R.E.M and Counting Crows and Pearl Jam. And then my mom would play a lot of John Denver and folk revival stuff so I think you get the edgy lyrics and then you get the lyrics about falling in love with you.

Wesley: I’d probably say The Strokes where big influences and James Jamerson from the Motown era are two big influences for me.

Luke: I listened to a lot of The Smiths back when I was a sad boy so I like Johnny Marr a lot, he’s probably my favorite guitarists, I really try to do riffs like him. Kind of upbeat and fun riffs.

I saw recently you released the ‘TV Lied To Me’ video, what do you think incorporating other mediums does for your music?

Brady: It’s really like when you listen to a song you try to put some sort of visual in your head. Like when I was a kid I’d go on road trips and you know to look out the window and pretend like you’re in a movie or something but you know when you have a music video you can kind of reference that. I think music by itself as an art form is kind of going to die out in a way because everything is getting so like visual. It’s so easy to make content, you can get an iPhone and record a video and it can look awesome. You can do a lot if you have the creativity. The barrier to entry when you’re making anything creative is so low now.

What was the whole idea behind your latest video?

Brady: It was all Wesley’s idea.

Wesley: I was just like, we had these TV’s right and we had a song called ‘TV Lied To Me’ so our original idea was to like just have us smashing a bunch of TV’s it will look fun and be fun. But I wanted a little bit more then that so I was just like laying awake at night just thinking about music video ideas and I was thinking what if our character falls in love with the TV? Like he is literally in love with the TV and the charter on the screen. So I kind of wrote out the scenario in my head for the video and that’s kind of the love story that came to be ‘TV Lied To Me.’

What’s it like to be an artist in the 21st century?

Luke: It sucks!

Brady: We’re trying to sell out! We’re trying to sell out hard because okay back in the 70’s back in the 60’s it was just kind of like a free for all there was so much money to be made. You know the industry peaked in like 1998, that’s when the music industry made the most money ever and then it was followed by like the worst decline ever and it sucks. But like I said the only good part is that there’s a really low barrier to entry, like anyone can make it which I guess makes it suck even worse but it’s cool that literally everyone can make music and be appreciated by a huge following.

Wesley: It’s nice being connected with everyone. Like you can promote your music to everyone in the world really easily.

Luke: We have a single fan that lives in South Africa.

Brady: Yeah he loves us like our album art is like all his profile pictures, we thought he was going to kill us but no he’s a cool guy. So it’s cool that people from everywhere can find out about you, not just the cities you go to,10 years ago you really couldn’t.



Masters of 21st-century escapism Palm is renowned for creating vivid breaks in reality. Their upcoming album, Rock Island presents the listener with a place to match the feeling. Completely ambiguous Rock Island is more conceptual than concrete. On the album cover, it’s an attic, in your mind maybe it’s your bedroom, maybe it’s a person. The isolation from the main land can be perceived as freedom or unrest; liberty or exile. Either way, Palm utilizes that sense of detachment to create a world entirely separate from that of which we are immersed in.

Rising above the sea of sound, the first single ‘Pearly’ is paradise. The band simulations crafts their own dialect and integrates influences from 80’s pop to electronic. With math beats and an art school influences the central focus is communication. The sounds serve as signals, distraught and manipulated, desperate and candid. The guitars like flashlight beams trying to communicate in quick signals glinting after each other like morse code.

Even the vocals focus more on the interaction with the music instead of what’s they’re actually trying to relay. The fragments that are able to be transmitted are fuzzy and broken seemingly washed away by an undertow of sound. The second half of the chorus “I want nothing but the best for-” seems to get shipwrecked in the rising waves of hi-fi and synth. Good intentions without a clear motive, the song has an enigmatic warmth. The fuzz of the vocals and haze of heat again leave it up to the listener to decipher and interpret.

Palms abstract obscurity allows for listeners to connect with the music in their own way. With no right or wrong interpretation, each person visualizes Rock Island differently. ‘Pearly’ is just as much a part of Palm as it is the listeners. They exert their own artistic vision while keeping enough distance for people to make it their own. The rest of Rock Island is due out February 9, 2018.



If Vundabar b-sides are even half as good as their new album everyone is about to be completely blown away. The Boston based jangle pop duo recently put out their first single from their new album Smell Smoke due to be released in 2018.

The re-release of the bands 2015 album Gawk, (a follow up to their first album Antics), last spring reasserted them as some of the most skilled sludge-rocker innovators in the scene. The album served to lay down the fundamentals of the group including their heavy riffs and melodic hooks. Though it seemed they’d honed in on their style the album still gave them room to experiment. Throwing in some slack-pop influences in ‘Oulala’ and new-wave garage rock on ‘Alien Blues.’

Bringing Gawk back into the limelight served as the perfect reintroduction to the band. In only 2:30 ‘Acetone’ wastes no time and instead delves straight into their staple clatter rock. It discusses the polarization of Brandon Hagen’s life through personal responsibilities and the band and the origins of shame as a learned behavior in society. Acetone represents the need for openness and an almost renaissance-like revelation for Hagen as he lets these questions smolder.

‘Glass Hands’ follows suit and provides a contrast. Humming with energy but straying towards the softer side of things it’s a slow-burn while ‘Acetone’ is a forest fire. The use of blockish riffs create a stop and go tension laced through the song. It shows the dynamics of the group and proves their more versatile than your standard rock band.

Together the two tracks give the new era of Vundabar a sense of direction. Currently, the band is taking their slump rock all over the USA on a tour with Hockey Dad and The Frights converting more listeners into dedicated fans. With the anticipation for the latest album at an all-time high one things for sure: Vundabar never disappoints.



Where isn’t Clay Frankel these days? An active member of one of the most iconic bands in the new wave of garage-rock revival Twin Peaks he has now taken on a new side project alongside Chris Balioni (aka Home-Sick). The duo entitled Grapetooth have been working on the collaboration for two years according to a post on Twin Peak’s Instagram in support of Frankel’s newest venture.

As the first track produced by Grapetooth it lays the foundation for what we can expect next. Coupling Frankel’s distinct uncut vocals with the more laid-back style of the song create the perfect juxtaposition between lo-fi and Frankel’s usual rock style. The song sways towards slack-pop with the bouncy rhythms and the ridiculously catchy repetition. There’s an eclectic nature that comes with it despite the seemingly fluid repetition that keeps you so enamored with the song. It’s impossible to stop listening to once you start as it’s evident that Grapetooth mastered the art of earworms on their first go around.

The video released along with the song depicts the duo whizzing by on motorcycles and dancing through city streets after dark highlighting the casual excitement of it all. There’s a quirkiness to the pair as they dance around in raincoats and lipsync their own lyrics that adds an authenticity and makes them a band you want to believe in. Their quirky nature and down to earth sentiment is laced all through the track.

Grapetooth currently is poised for an infinite amount of possibilities. With a youthful charm and a  20-something confidence, it’s evident that whatever Grapetooth comes to embody will be pulled off in the same eccentric style. It’s rare a band can assert themselves on their first release, but here it’s evident that not only do these boys possess the talent, but they have the originality to create something really worth listening to.



When Alvvays coined the term “manic emotional”  in describing their latest album, Antisocialites, automatically everyone understood. That outpour of raw emotion, first seen on their self-titled debut in 2014 has become iconic of Alvvays. From teary-eyed “Party Police” to remorseful “Ones Who Love You” Alvvays brought the weight of nostalgia sadness, disappointment, and heartbreak when necessary while incorporating the anxiety, awkwardness, and excitement of love. With albums, more like diaries and songs like vignettes Molly Rankin, Kerri MacLellan, Alec O’Hanley, Brian Murphy, Sheridan Reilly effectively walk the listener through the turmoil and triumphs of the last 3 years between the releases.

Beginning with an ending, ‘In Undertow’ plunges straight into the point of no return. Rankin details her attempts to distract herself through self-defense, solitaire, and mediation from the deterioration of her relationship. She struggles to reconcile with the fact that there really is no way to undo or fix what’s happened as forces bigger than the two of them are pulling them apart at the seams. As she comes to terms with the ending a sort of catharsis takes over as she shifts from questioning “what’s next for you and me” to the declaring it’s “time to let go.” Proclaiming she’s inspired what starts as a way to sift through her thoughts and salvage the relationship ends with the realization that “there’s no turning back.”

Followed by the clean-cut and ethereal ‘Dreams Tonite’ the progression from the initial blow to the aftermath continues in the cataloging of emotions. She spends most of the song wondering if she saw them again could she feel the same and trying to suppress the frustration stemming from the futile struggle to keep their love alive. There’s a certain distance as she lists the seemingly random impersonal details, the time of day, how she got there, how he’d play the lead guitar like she’s supplementing the way she felt with these incoherent details from a ghost of a person. The song leaves her completely vulnerable as she assigns him to a divine protection like a rosary-one she’s now lacking.

From there Alvvays diverges into that classic synth-riddled dream pop that only they can execute with such precision. With quirky lyrics and a carefree charisma, things seem to lighten up. Snappy and ebullient ‘You’re Type’ discussing gambling on a work visa and getting kicked out of the Louvre underscoring their fundamental differences. Still, Rankin shrugs it off and reinforces her assumption of independence in ‘Not My Baby.’ Abandoning her role of the perfect girlfriend and opening her eyes to the realities of the relationship Rankin exerts herself as her own person. Despite the criticism, she receives from her ex she continues to make choices with her happiness in mind. Abandoning the need to explain herself and justify her actions breeds a deeper freedom both in her actions and emotions. Reflected in the pop influences and easy rhythm the song is as light as the lyrics making it an ideal break from the heavier things she’s shouldered.

Concluding with ‘Forget About Life,’ it seems Rankin is ready for the events that have unfolded over the course of the album to melt away for a few minutes. Starting slow but eventually collapsing in on itself as Rankins determination to get away reaches a crescendo the song spirals out into a chasm of reverb, synth, spacy hooks, and starry basslines. Escapism in the first degree her detachment from the world translates brilliantly in the almost New Order-esque ballad. Exiting on a note as dreamy as the one they blew in on there’s a sense of irony that after those internal battles and deliberations she’d wish to escape what she so painstakingly figured out.

The album seems to follow a storyline and shows the maturity of Alvvays as they migrate away from their past tangles of emotions. A more developed feeling comes with the personal details like the candles on the mantel in ‘Plimsoll Punk’  and the features in the weekly paper in ‘Lollipop.’ Taking a more structured approach in expressing that unrefined, intense, raw emotion the band is even more effective in forging that deep connection with the listeners. Painfully relatable and poignant Alvvays absolutely nailed it.


Georgia natives turned New Yorkers Triathlon is taking the city by storm. With their eclectic mix of lo-fi and r&b Chad Chilton, Hunter Jayne, and Adam Intrator are soaking in their new surroundings. Reveling in the vast expanse of the New York music scene their latest ep Cold Shower reflects the band’s transition. As they adjust to city life we spoke about the internet, recording, and of course Cold Showers.

How do you cope with going from a pretty small scene in Savannah to a place like New York which is home to arguably one of the most extensive music scenes?

All my love to Savannah but damn I had to get out of there. I was so excited to just be dropped in the middle of nowhere and start all over again. And I knew moving to NYC would be difficult, but it’s a lot chiller than people think. There’s too much going on here for you to be “uninspired”. Yo NYC is inspiring as frick. Everyone’s hustling & I’m into it.  

Has your creative process changed since you’ve moved? How has the New York scene impacted your music?

My creative process has stayed pretty consistent actually. I usually flow best in my bedroom. Be a classic homebody, chill and write songs. I did buy an old casio in a random flea market though when I moved here and that deff changed the game for me. I’ve also been coming up with a lot more ideas while on the train. And NYC has definitely shifted my focus to explore a more soulful sound. The city’s got me listening to way more jazz & hip hop which has influenced a lot of newer material.   

When your album Lo-Tide came out in 2014 you had it tagged as a few different genres including rock and surf, with your last release Cold Shower in 2016 you simply tagged it r&b. What prompted that progression? Was it a natural movement or a conscious choice?

The progression is really the result of us maturing together as a band. Songs we used to play will always have a place but to me a lot of it feels young. The older I get the less I want to “rock”. R&B is for the lovers. That’s literally me.The progression is really the result of us maturing together as a band. Songs we used to play will always have a place but to me a lot of it feels young. The older I get the less I want to “rock”. R&B is for the lovers. That’s literally me.

Despite those labels you have mentioned in the past wanting to ditch genre specifics, do you find labels to be restrictive?

Not necessarily… I think society sometimes needs labels to help define and separate things from each other. There’s nothing wrong with categorizing. But when it comes to music – it can be annoying when someone decides to use four different genres to describe an artist’s sound. But I think people are starting to step away from genres and are letting the music speak for itself. But like no one should ever be described as a folk, rock, surf, metal band. Unless that’s literally the music that you make. In that case you’re fucking crazy. But I respect you.

As mentioned above, how do you think your music works to defy those genre norms?

I’ve always struggled with staying consistent with our music. Especially on past records. I just never try to stay on the same sound for too long. Not because I want to stay current but I just get bored really easily. A lot of our songs are all over the place so when someone tries to describe our sound it just ends up being something ridiculous. I wouldn’t say we try to defy genre norms but we definitely work towards a sound that can’t easily be defined.

You guys sold a number of Cold Shower vinyls and tapes, what do you think distributing music in a tangible format does for the album?

I think it makes the record more special to those who own a physical copy. Plus they’re probably more likely to listen to the record if they own it. But also I bought “DAMN.” on vinyl and only listened to it once. BUT psychical merch does glorify that body of work in a way that you can’t when you’re streaming it online. I can’t even remember song names let alone album titles when I listen to music on the internet. That also could very much be my problem. But for real shout outs to everyone who bought Cold Shower. As it turns out, I still haven’t listened to the EP on tape, SO, if anyone out there has it and would like to play it for me, I’d appreciate it!

Your latest release, Cold Shower has a very cohesive feel, how do you create 4 entirely separate songs while still sticking to your trademark sounds and having them flow so nicely together?

When I was moving from Savannah to NYC I already agreed with our label that I would have an EP done basically by the time I got there. So each place I crashed, I would just sit down and write and shit just got magical really fast. I literally wrote every song in a different apartment. (Besides “South Side” which I wrote in Savannah prior to moving. I know my band mates will fact check the freaking crap out of me when they read this.)

A pretty popular theme in music is love and lust which is discussed on Cold Shower, there’s a very thin line between artistic and vulgar, how do you guys walk it while still utilizing those themes?

I’ve never thought about our music as vulgar. I’m just honest when I’m writing about my relationship. I can’t really write about anything else. Yes, I am comfortable discussing my life lyrically but I never think too much about it. I just write how I’m feeling and move on. It does get hella awkward when my girlfriend’s grandpa plays it at family events. But he also bought the record, so it’s cool.

The music video for ‘Come Thru’ is so beautiful, can you elaborate on the tie between the thematic elements and aesthetic of the video and how they correlate to the lyrics of the song?

We actually had very little to do with the music video! Our friend Madeleine Daste came to us with an idea and she just did her thang. Which turned out to be really great! Madeleine had a very strong vision that she worked really hard on to convey and we are very thankful for all the work she put into it. Mucho love to everyone who was apart of it (‘:

You have a new album coming soon! Anything you can share about that? Is it similar to Cold Shower or are you switching things up a bit?

We do! (: (: (: You can expect something from us in the next couple of months. We are about to switch things up. But it’s still us! I’m trying hard not to babble about it but I’M REALLY EXCITED.

What’s it like to be an artist in the 21st century?

Seems pretty chill to me. I mean thanks to the Internet, anyone can be anything they want to be. Even if you suck- people still back you. What’s crazy is that regardless of what people think we still have the privilege to access anything we want. I can watch fake rappers on my instagram feed all day and be bummed out but then I can also listen to Frank Ocean whenever I want and have a good cry. To be an artist in the future is fun, there’s just a lot more distractions out there. Like this interview took me so long to answer because I got in like 50 different internet holes but now I’m back and damn I had a good time. (: Thanks for having me!



Twin Peaks is determined to leave 2017 with a bang. Despite their hectic touring schedule the band has decided to release 2 singles every month, starting in July and ending with the 12 song compilation to be released in December. With constantly being on the road, the uncovenanted approach allows for the band to release their songs without having to commit to a full album. Starting in July with “Tossing Tears” and “Under The Pines” the band asserted those garage punk roots that have become synonymous with Twin Peaks. August brought “Shake Your Lonely” and “The Trees” which had embodied the end of summer nostalgia and gave a glimpse at the softer side of the band. Now only a few days into September the next installments, “Come For Me” and “Fat Chance” have already been released.


The first of the two latest singles, “Come For Me” is sure to put a smile on your face. In line with their classic style the song is absolutely radiant. A quirky love song in it’s own way with lyrics like “I wouldn’t mind the rain if it was falling when you came,” it’s easy to fall for and keep on repeat. It’s casual and caring with a hint of jangle pop to give it a laid back quality. Even the lyrics reflect the tone saying “Well I could be watching a movie/I might as

 well be watching you/Well I could be ordering sushi/Well I might as well be ordering you.” It’s like James is singing it with a shoulder shrug and a smile on his face. The infectious outro ties the song together nicely giving it a sing along feel and nod to the 60’s rock influences.

From the first 3 counts into “Fat Chance,” you know it’s something special. The fragile vocals and gentle finger plucked melody gives it a purity unreplicable. Heavy with weariness and nostalgia it’s numbing and comforting hearing James crone to “rest easy while I’m home.” It’s an I just woke up and I literally don’t even know where I am right now or how to get home but I love you more than anything kind of feeling as well as an I’m sorry things have to be this way and I would do anything to fix it. Like maybe you just said a really painful goodbye, oryou’re faced with the realization that this time things really aren’t going to work out. It just makes you feel, and it’s a feeling I can’t place but one that only this song can really evoke. I don’t know how they did it, maybe it’s the authenticity, maybe it comes from such a raw and real place that it’s shocking to hear out loud.

With only half of the singles released December can’t come soon enough. The growing anticipation for the full set of releases heightens with the excitement of each release. With the wide variety of styles and subjects, Twin Peaks could go anywhere with this next set. Keeping a whole audience mesmerized by 2 songs shows the true talent and artistic genius that the band possesses. Even past the next release, I’ll be keeping these on repeat.


Redolent of days spent lounging poolside Summer Salt embodies the sun-soaked daze of summer. Hailing from Austin but seemingly straight from Hawaii the band has mastered their own blend of ‘coral reef rock’ in the short time they’ve been together. Composed of Matt Terry (vocals), Eugene Chung (drums), and Phil Baier the three-piece continue to channel those ultra tropical vibes on their latest release So Polite.

A followup to Going Native, So Polite is the second series of singles released by the band. Falling somewhere in the place that surf rock and dream pop collide, Summer Salt’s music is impossible to pin down. Charmingly retrospective it has both an oldies influence and analogue-esque feel. The glittering tones laced throughout  Going Native resurface again on So Polite prominent as ever giving the whole ep a shimmer pop ambiance.

‘Candy Wrappers’ with its island-inspired intro sets the tone for the whole rest of the ep. Featuring an undeniably catchy hook this song is an earworm you won’t mind having. With the chillwave influences shining through it makes you want to spend the day sunbathing with this on repeat. The outro is guitar heavy yet somehow breezy blending the dream pop side of the band with something reminiscent of rock. ‘So Polite’ shares those mellow origins and feels as balmy and beachside as every other track released by Summer Salt. The epitome of cool the track verges on acoustic with the ukulele component but effortlessly fuses with their trademark surf pop. The vocals stray to the doo-wop side adding to the laid-back feel.

‘Revvin my CJ7’ is existentialism in it’s most glinting form. A blase approach to the discontentment and crushing responsibilities of the life he’s been forced to occupy. Taking a look at the American Dream with an ironic sentiment that despite ‘my two kids and my Mrs. American Pie,’ he’s still dreaming of things he can’t obtain. Quick to question why we’re so eager to tire ourselves out for dreams that aren’t really dreams the harsh reality is softened by the twinkling melodies. More day dreamy then resentful it’s simply begging the question, not putting up an argument.

Summer Salt once again proves that though the seasons change their music remains consistent. Drenched in a carefree summer attitude these songs can be blasted on rainy days to remind you that someday soon you’ll be laying out with the sun on your back and the waves crashing.