ANCHR's Artist of the Week: Lightning Bug

Lightning Bug is Audrey Kang, Kevin Copeland, Logan Miley, Dane Hagen and Vincent Puleo// Photo by Ingmar Chen

Although Lightning Bug released their debut album Floaters way back in 2015, I only recently discovered their music after the release of their single “September Song, pt, II.” The new single instantly drew me in with lead singer Audrey Kang’s lulling and gentle vocal tones, paired with the dazzling melody, and led me on a deeper dive of the band’s catalog. The softness of Kang’s voice acts as an anchor for all of Lightning Bug’s releases—In the track “Vision Scraps” from the sophomore record October Song, distorted guitars create a juxtaposition with Kang’s voice. We hear a similar contrast with the fuzzed out intro of “The Luminous Plane,” yet we remain grounded by the ethereal vocals.

Mostly based in New York, Lightning Bug is the project of Audrey Kang, Kevin Copeland, Logan Miley, Dane Hagen and Vincent Puleo. Along with the new single release for “September Song, pt, II,” Lightning Bug also announced their third album A Color of the Sky will be released June 25th via Fat Possum Records. The group of musicians recorded most of the album together as a live band, which they say gave this third record a more dynamic and organic feel than their past albums.

About their latest single, Kang said it came to her in the summer of 2018 when she spent a month camping on a small island in the Baltic Sea. “There I was in the north off the coast of Stockholm, the sun was setting insanely late, like at 11pm and it took hours longer than normal. So I'd watch it disappear, this glowing orb sink into the sea every night to the point where I felt kind of insane, like I was hallucinating...and I started reliving memories but they felt like they were right before me and then I felt confused, was I reliving memories, or seeing into the future? I kept thinking to myself, each end is a beginning, each end is a beginning. So this surreal experience with time lay dormant in me, and then an entire year later, I was camping in the PNW, also on the shore, and I watched the sun sink into the sea, and suddenly those sunsets from Sweden rippled through me again very vividly. And when I came back to New York, I wrote this song,” she describes.

In addition to the new album, Lightning Bug has made the exciting announcement of live shows returning! The band will support BULLY on a string of dates in September. Make sure you snag your tickets and preorder A Color of the Sky here.

ANCHR's Artist of the Week: Mia Joy

Photo by Ash Dye

One of my favorite aspects about music is that it can provide an escape from reality—with just the right mix of lyrics and melody, a song can wash away the worst of your anxieties and envelope you in a tranquil environment. Mia Joy is one artist in particular who excels in her ability to mollify listeners and provide an oasis through her songwriting. Take the hypnotic wind chimes that introduce Mia’s track “See Us” or the nostalgia-laced synths that fade in on “Haha,” and it’s no surprise that she introduces her latest single “Saturn” with meditative vocalizations. Despite the unique stamp that all of Mia Joy’s releases possess, there’s a common thread of peacefulness embedded throughout.

The Chicago based project of Mia Joy is fronted by lead singer-songwriter and multi-instrumentalist Mia Rocha with Joseph Farago on keys and Emerson Hunton on percussion. The latest single “Saturn” debuted last week, marking the final countdown before Mia Joy’s debut album Spirit Tamer releases Friday, May 7th via Fire Talk Records. Speaking about the new track, Rocha says, “I am a practicing astrologer and It is written in the voice of Saturn, the planet of restriction, isolation, responsibility, hard lessons. It mockingly asks me how it has affected my life, makes me question my faith in humanity and inner loneliness. All running themes of the album.”

Recorded at Pallet Sound studios in Chicago by Michael Mac and co-produced with Rocha, Spirit Tamer highlights Rocha’s wide array of influences that range from Grouper to Sade and Selena. Prior to gigs being shut down, I only had the pleasure of seeing Mia Joy perform live a couple of times, but I’m certainly looking forward to venues reopening and getting to hear some of these new songs played in person!

Make sure you pre-order the new record here, and check out the video for “Saturn” below.

ANCHR's Artist of the Week: Ellis

Photo by Ariel Bader-Shama

Better known as Ellis, Ontarian singer-songwriter Linnea Siggelkow debuted her musical project in 2018 with six song EP The Fuzz. While Siggelkow’s storytelling digs deep into a sense of vulnerability, the dreamy and gentle lilt of her vocals adds a breezy quality to her songs that make them a perfect soundtrack to a summertime drive.

Following Ellis’ debut, Siggelkow had toured with acts like Mannequin Pussy and SASAMI, with a plan to tour in support of her 2020 debut album Born Again. While the tour obviously couldn’t go on, listeners were thankfully still graced the LP, which takes us through a journey beginning with jovial track “Pringle Creek.” From the more upbeat and jangly chords of title track “Born Again” to the melodic piano-driven “March 13,” the record explores a multitude of moods and emotions.

While those songs are still frequent in my rotation, Ellis announced just last week that we’ll soon get to hear even more new music from her, which she worked on during the shut down in 2020. Speaking about her creative process for new EP entitled Hospital, Siggelkow says, “I was very intentional throughout my process in a way I hadn't been able to be before, especially in choosing who to work with, and this unlocked some of the most special collaborative experiences I've ever been a part of.” Ellis worked with Dizzy’s Charlie Spencer as a co-producer and mixer for this most recent project.

You can tune into the first glimpse of the new EP by listening to the title track below, and be sure to preorder the EP here.

ANCHR's Artist of the Week: Sault

It seems every couple of years we get bands or artists that create music within a cloud of mystery. The Weeknd started his career this way.— it wasn’t until his music really blew up in the mainstream that the world finally got to see the man behind the stage name. In the electronic world Daft Punk’s whole shtick is that they’re robots. Deadmau5 was similar to the The Weeknd in that his identity remained steeped in mystery during the beginning of his career, but ultimately he couldn’t keep that up with how popular his music became. We still don’t know what Buckethead looks like; and we still don’t really know who all is in The Knife. Then you have artists that try to do the mysterious approach, but no one really cares; i.e. Marshmello.  The latest musical project to endeavor into the mystery realm is Sault. 

When I first heard Sault, I thought they were a DJ, à la Kaskade or Nero, but like many Chicagoans who listen to Sound Opinions, the hosts were reviewing Sault as a British musical group, and I was like “Dang, they’re a band?”  The members of the group aren’t really known. We just know that Inflo seems to be involved in some capacity and Michael Kiwanuka (or members of his band) seem to also be involved in some way. Whoever they are though, their music is hot. 

Sault’s music is funky, soulful, and seems to center around police brutality/BLM subjects. With the memory of 2020 still in our minds, both albums they released in 2020 were very relevant. Untitled (Black Is) was on many publications short list for album of the year until three months later Sault released Untitled (Rise), and that seemed to leap frog the previous album to garner even more praise and attention. Their track “Wildfires” is so beautiful it makes me want to blast it in my house with only candles illuminating my abode. “Free” is another striking song except this one gives me the vibes to remain in that same setting, but add spontaneous dancing. Hopefully when festivals and shows come back we’ll finally get to see who they are.  For now, tune into Untitled (Black Is) below.

ANCHR's Artist of the Week: Arlo Parks

One of the most lovely sounding songs to come out in 2020 was “Black Dog” by Arlo Parks. The song is about a friend or loved one that is in a dark place and Arlo Parks is expressing to them that she is there, mindful of the depression, and willing to assist in comfort, companionship, and support. Being heedful of the declining mental health of those we are close to is important in our every day lives already, but in 2020 many people had an even tougher time with their mental health while in isolation and shelter-in-place. “Black Dog” was a song in which those people were able to find solace.  The song’s thoughtful lyrics and Arlo’s sweet sounding voice made it the soundtrack for many people’s entire year. 

Arlo Parks is the stage name for Anaïs Oluwatoyin Estelle Marinho.  She is a young poet and singer-songwriter from West London. Her debut album Collapsed In Sunbeams finally came out at the end of January 2021 and it included the aforementioned “Black Dog” along with a number of already released songs that garnered some popularity like “Eugene” and “Green Eyes.” 

Arlo Parks is yet another artist I wish 2020 didn’t screw us live music lovers on, but if I put on my optimistic goggles, hopefully she’ll be part of what makes the tail end of 2021 awesome.  She currently has tour dates scheduled for Europe and in two cities in the States (Brooklyn and Los Angeles), but I wouldn’t be surprised if more dates were added once things become more clear and the vaccines become more readily available. 

Order your own copy of Arlo Parks’ album here and check out Arlo and her band performing “Black Dog” virtually in quarantine below.

ANCHR's Artist of the Week: Idles

Photo by Tom Ham

Idles is exactly what rock and roll needs right now. Their music is fantastic, their live shows are high energy and in your face, they’re affable— and to put it succinctly; they’re woke. In the current sociopolitical climate that both the U.S. and the U.K. find themselves, these five British blokes ensure their messages of inclusiveness, feminism, anti-classism, and anti-racism are definitively pronounced in both their recorded music and live shows. 

Idles formed in 2009, but it wasn’t until their 2018 album Joy as an Act of Resistance, my favorite album of that year, that they really exploded. Their music possesses the traits of empathy and vulnerability while simultaneously being ferocious. Their love of music is evident in their performance. I’ve seen them thrice and all three times they were terrific. They should be on every music lover’s list to catch live. 

Out of all the marvelous “post-punk” bands that have come of out the UK, Idles has become my favorite. I have zero hesitation when saying it is my opinion that they are presently the best currently active rock band in the world.  At their Lollapalooza after show at Lincoln Hall, members of Cage the Elephant and The Strokes were in attendance. If Julian Casablancas thinks you’re rad, then no other compliment is needed. 

Tune into Idles’ 2020 album Ultra Mono here, and watch their live performance of “Carcinogenic” for Independent Venue Week below.

ANCHR's Artist of the Week: Girl in Red

Photo by Isak Jenssen

“Do you listen to girl in red?”  Yes, I’m aware that joke is dead, but I wanted to use it in this Artist of the Week post to claim victory.  The queer community tried to keep girl in red for themselves but we weren’t having it. Girl in red is for the people.  Marie Ulven is a Norwegian singer-songwriter who has been releasing music under this alias since 2018.  A number of publications have labeled her as “dream pop” but if you listen to her latest release “serotonin,” it sounds more EDM than anything to me. After my first listen, it gave me Alison Wonderland vibes. I say that to try and make the point that every year, it’s becoming more and more antediluvian to try and place bands under a single genre. Girl in red, I feel, fits into that new style of music creators; Some would call it “multi-genre” whereas I would call it “genre-less.”

We at ANCHR were fortunate to catch girl in red at the Iceland Airwaves Music Festival in Reykjavik, Iceland back in 2019.  One of the best parts of the show was that it was put on by KEXP and being live-streamed for the listeners back in Seattle but it kept slipping Ulven’s mind that the performance was being shared live and she would continuously swear during her in-between songs banter with the audience. The KEXP producers would try to get her attention to get her to stop doing that and she would then laugh and unwittingly say “shit, I forgot,” which gave her performance the same endearing relatability as her lyrics. We went into the show really digging a handful of her songs and she did not disappoint when performing them.  “We Fell In Love In October” was a personal favorite and I still can’t kick it. 

My favorite track she released in 2020 was “Midnight Love” and that bop made it onto the track list of her debut album if i could make it go quiet , which comes out April 30, 2021, giving us something to look forward to.

Pre-order if i could make it go quiet  here, and listen to “serotonin” below.

ANCHR's Artist of the Week: PACKS

If you need a little something to shake up your energy levels and get you over the mid-week slump, look no further than PACKS’ new single "Silvertongue.” The fast-paced and fuzzed-out tune premiered last week alongside the announcement of the band’s debut album Take the Cake. “Silvertongue” gave me my first taste of the Toronto-based project, but when I learned that Fire Talk Records will be putting out the album, I was not surprised at all because they’ve never steered us wrong with any of the other artists on their roster.

PACKS is led by vocalist and songwriter Madeline Link, who started this journey as a solo project but is now joined by bandmates Shane Hooper, Noah O’Neil, and Dexter Nash. While the Covid shut down might have thrown a wrench in the momentum that PACKS had gained in the Toronto live music scene, it did allow for a unique creative process behind Take the Cake.

Photo courtesy of artist

Link explains that the album is a combination of old and new, due to the fact that some of the songs came to fruition in 2019, while another group of songs were crafted while Link quarantined at her parents’ suburban home during the early days of lockdown. “Old songs from a year ago where I'm having really horrifyingly awful days at work, getting doored while biking in Toronto and flying into the middle of the street, or going on dates with guys who I'm either instantly in love with, or who end up creeping me out a bit. Those songs are more packed with that feeling of hurtling-through-time-and-space-at-breakneck-speed, manic energy. The newer songs are infused with a foggier, slower-paced disillusionment, and deal with the strangeness of a reality morphing before my eyes every day. I still try to be optimistic obviously, but these songs are really glorified coping mechanisms,” she says.

Make sure you pre-order Take the Cake on vinyl here, and mark your calendars for the May 21st digital release date. Tune into ““Silvertongue” below.

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ANCHR's Artist of the Week: Dehd

Photo by Alexa Viscius

I mean, seriously…Can we just get these vaccines moving already!?  Dehd released Flowers of Devotion last summer and I haven’t been able to rock with all the new songs in a live setting yet. Like many others, I was looking forward to their set at Pitchfork Music Festival, but of course the ol’ Rona had to stick her nose in our business and ruin everything.  Luckily, I've seen them once before at an “In The Round” show at Thalia Hall so that’s been able to hold me over for now.  Once live music is back though, I highly recommend checking out their performance if they hit a stage near you. Unless you’re one of those people that doesn’t enjoy dancing, good music, and feeling good. If you identify as such, then please stay away— but even then, Dehd is a great band for anyone since they tend to take serious subjects and place them in fun, groovy melodies.

Dehd is a trio out of the Windy City composed of Jason Balla, Emily Kempf, and Eric McGrady. They have three albums to their name and have also found themselves on “Perez’s Best” annual CD mix for the last two years (if you know, you know).  Balla and Kempf were previously in a romantic relationship during the early years of the band, but thankfully their songwriting partnership didn’t die when the romance did. Instead, they continued to hit us with bangers and keep making the people happy. 

If this is the first time you are ever hearing of Dehd, their album Flowers of Devotion is a great album to start with, but don’t sleep on their self-titled debut or 2019’s Water either. I dare all readers when listening to “Haha” or “Loner” to not groove with the music. It’s just not possible.

Be sure to also check out the amusing music videos that the band has released for their recent singles, and snag your own copy of their newest record here.

ANCHR's Artist of the Week: Deeper

In the past few years, Chicago band Deeper became an integral part of the city’s live music scene—playing in venues from The Hideout and Empty Bottle to Thalia Hall. With their debut self-titled album and sophomore release Auto-Pain, Deeper puts a refreshing spin on post punk roots, giving their music a distinctive tone that accompanies a sense of familiarity.

It’s been just shy of a year since Auto-Pain’s release, and 2020 had been slated with tours in support of the album across North America and Europe for Deeper. While last year obviously shook up so much of the music industry, Deeper has used this break from touring to reimagine some of their music and find a creative way to keep sharing content. To follow up their livestream performance at Lincoln Hall in October that was part of Audiotree’s STAGED series, Deeper just announced they will be releasing a performance filmed at the Chicago Cultural Center later this month in celebration of the Auto-Pain anniversary.

Earlier this week, the band also put out a remix of their single “This Heat,” in which Working Men’s Club puts an electronic twist on the track. This remix marks the beginning of additional collaborations and new music that Deeper says will accompany the anniversary of their second album.

Get your tickets to the March 27th performance at the Chicago Cultural Center here, and tune into the remix of “This Heat” below. To learn more about Deeper, revisit our interview with them here. 

ANCHR's Artist of the Week: Fauvely

Fauvely is Sophie Brochu, Dale Price, Dave Piscotti & Phil Conklin / Photo by Aaron Ehinger

At this point in the pandemic, we’ve all got our list of “things-we-can’t-wait-to-do-after-Covid.” At the very top of my post-pandemic bucket list sits a night out at a venue like Schubas or Empty Bottle, seeing a bill of Chicago bands perform. It may still be a while before we can all gather and experience the magic of the bustling local music scene together, but that doesn’t mean there isn’t new music continuing to be created in the city.

One group that has been hard at work crafting their debut album throughout the past year is Fauvely, the project of songwriter Sophie Brochu and bandmates Dale Price, Dave Piscotti, and Phil Conklin. Following the 2017 EP Watch Me Overcomplicate This, Fauvely gained traction in Chicago performing everywhere from The Hideout to Sleeping Village and Lincoln Hall. The band had kicked off 2020 with a slot playing alongside Hand Habits at the annual Tomorrow Never Knows festival, with plans to tour in Japan and perform as an official showcasing artist at SXSW festival during the spring.

While those tour dates unfortunately never came to fruition, Fauvely reemerged in early 2021 with “May3e,” the lead single off their upcoming album. The track resonates with vulnerability, driven by Brochu’s reflective lyrics and dreamy vocal range. This same sentiment carries over into the latest single that Fauvely released earlier this month. “There’s always a reason to be sad,” Bronchu sings on “Always,” which I think we all can agree rang particularly true during the year 2020.

These two songs lead up to the release of Fauvely’s debut album Beautiful Places, a collection of songs which the band describes as being “about duality: light and dark, memory and haze, being stuck and running away.” Pre-order the record ahead of its April 2nd release date on Bandcamp and check out the video for “May3e” below.

ANCHR's Artist of the Week: Sir Sly

Sir Sly is Landon Jacobs, Hayden Coplen and Jason Suwito. Photo courtesy of Press Here Publicity

One live music trope I can’t stress enough is to always catch the opening band when you get a chance. Back in early 2014, I showed up to St. Lucia’s show at Lincoln Hall having never heard their supporting band before, and now Sir Sly is easily one of my favorite bands.

Since those early days of being the opening band and the era of their debut album You Haunt Me, Sir Sly has continued on a trajectory of slow and steady maturity. Thanks to lead singer and songwriter Landon Jacobs’ vulnerability and transparency as a storyteller, listeners can sense a stark shift in tones from their first album to their sophomore release Don’t You Worry, Honey; An artistic shift that stems from the major changes that occurred in Jacobs’ personal life. At surface value, you could listen to 2017’s Don’t You Worry, Honey and hear glossy, upbeat melodies destined to gain popularity because of their catchiness, but at its core, Jacobs candidly shares his struggles of losing his mother to cancer and dealing with the disintegration of his young marriage. On top of that, Jacobs managed to turn an experience of a panic attack in a hotel room into the hit “High,” which saw chart success and made appearances in shows like 13 Reasons Why and Riverdale.

Almost four years later, Jacobs and his bandmates Hayden Coplen and Jason Suwito are ready to embark on a new chapter with their third album The Rise & Fall Of Loverboy, which is slated to be released on April 23, 2021 via Interscope Records. To accompany the news of the album, Sir Sly released the fourth and fifth singles off the upcoming record last week: “thx.” and “Loverboy.” In contrast to the mellow vocals and faded instrumentals of the former, “Loverboy” jumps right into an effervescent hook that expresses the joy and ease of a new relationship. On the third album as a whole, Jacobs has said, “The Rise & Fall Of Loverboy is an album about falling in love with someone new, and the magic that brought into my world.”

You can pre-order the new album here, and listen to “Loverboy” in full below.

Keep up with Sir Sly on Facebook // Twitter // Instagram

ANCHR's Artist of the Week: Middle Kids

Middle Kids is Hannah Joy, Tim Fitz and Harry Day.

Photo by DAPHNE NGUYEN

The Sydney-based trio Middle Kids released their debut album Lost Friends back in 2018, and songs like “Edge of Town” and “Never Start” from that record have remained in my frequent rotation throughout the past few years thanks to their timeless qualities. While I still appreciate their first record and the singles they’ve released along the way, I was excited to learn that Middle Kids will be releasing their sophomore album next month on March 19th.

To tee up the new record, called Today We’re The Greatest, Middle Kids has put out a few singles- the most recent being “Cellophane (Brain).” The track fades in with a slow burn, gradually swelling up over the course of the song. Since their early days, lead vocalist for the group Hannah Joy has displayed a knack for sharing her stories with a captivating sense of conviction, and that’s continued to shine through in the newer material. On the brink of announcing Today We’re The Greatest, Joy has stated “I want to make music that loves its listener. Music that makes people feel seen, seen in the tiny little places that hide away in their hearts,” and that sentiment rings true when I listen to the releases from the upcoming album.

For more on the band, revisit our interview with Middle Kids here, and make sure to preorder Today We’re The Greatest here.

ANCHR's Artist of the Week: Rag'n'Bone Man

The best and most inspiring artists are those who consistently push new boundaries and refuse to let their style be pigeonholed into one genre. Rory Graham, better known as Rag'n'Bone Man, released a debut full-length album Human that is heavily rooted in blues and soul, but his extensive music catalog dabbles in everything from pop to hip hop to provide a little something for everyone.

The successful title track off the 2017 record “Human” showcases Graham’s distinct and raw vocal chops while also hooking in listeners with an explosive chorus. On the same album, tracks like “Lay My Body Down” and the A cappella “Die Easy” slow things down to put even more focus on Graham’s gritty and bone-chilling voice, while the groovy bass line in “Your Way or the Rope” nods to Graham’s past work of performing in rap and hip hop groups.

After a bit of a hiatus, Rag'n'Bone Man returned this week with another dynamic shift in his sound. Released on January 29th, “All You Ever Wanted” marks the first single from Graham’s highly anticipated sophomore record. The track puts Graham’s characteristically rich vocals over a bright and buoyant guitar riff that carries a subtle hint to 80’s pop influence. “All You Ever Wanted” gives us the first taster of Rag'n'Bone Man’s 14-track album Life By Misadventure, which is slated to be released April 23rd this year. You can pre-order it here, and be sure to watch the official music video for the lead single below.

Keep up with Rag‘n’Bone Man on Twitter // Facebook // Instagram

ANCHR's Artist of the Week: Shame

Photo by Sam Gregg

As a frequent concert attendee (pre-pandemic), one of my favorite things in life was seeing a band perform live for the first time, especially if there’s been a lot of buzz around them. The band Shame sticks out in my memory as one of those acts that everyone was talking about leading up to South by Southwest festival in 2018, and I can still vividly remember watching them play an afternoon gig under the sweltering Austin sunshine on my first day at the fest. After listening to their debut album Songs of Praise, Shame had won me over as a fan, but there was something particularly magnetic and cathartic about witnessing the band’s lead singer Charlie Steen interact with an audience. Seeing songs like “Concrete,” “Friction,” and “Tasteless” brought to life in front of a crowd added another layer to the band that you can’t get from listening to the record. Following that initial gig, I saw Shame a handful of times throughout the years they toured their debut album, and there was never a dull moment during their shows.

In late 2020, Shame released their first single to follow up their debut album with the track “Alphabet.” With its lead-in of distorted guitar, a bouncy backbone of a drumbeat and the amplified vocals in the chorus, the song sets the tone for Shame’s recently released sophomore record, titled Drunk Tank Pink. The new record came out nearly three years to the day after the band’s first release, and while it stays true to group’s South London post-punk roots, there’s also an added dimension of maturity and intensity. While working on Drunk Tank Pink, guitarist Sean Coyle-Smith said that when he got to the point of finding guitar-playing to be mind-numbing, he began to experiment with writing outside of a conventional “rock” style. His efforts come across in the texturized riffs in songs like “Water in the Well” and “6/1.” Throughout the album, there are moments of frenetic swells and built up tension, with just the right amount of release sprinkled in to keep listeners on our toes.

You can listen to Drunk Tank Pink in full below, and be sure to check out our interview with Shame for more on the band.

ANCHR's Artist of the Day: Retirement Party

Maybe it’s trite to write about a band right after they’ve announced a new album. My convictions of them and opinion could all be upended after the release. But I’ll do it anyways because I think about frontperson Avery Springer singing “I think cancer’s gonna kill me 'cause I got a real bad sunburn when I was 13… Maybe I shouldn't have fallen asleep in that hot, hot sun without a little bit of sunscreen. Don't let this reflect too badly on my character” at least two times a week. The painful modesty of it, the reflection of it as a wrongdoing instead of a child’s mistake. The humor of it. The entire song is playfully confronting death and thinking, maybe instead of fixating on this I should focus on being a little kinder. Retirement Party’s last album Somewhat Literate (2018) perfectly captures that moment of waking up and realizing “oh shit, I think I’m an adult.” A common horror. But Springer doesn’t pull away from the moment but rather reassesses herself. Retirement Party is an apt name for a band that writes lyrics and has a work ethic years ahead of their peers. They’re a Gen Z/Millennial cusp band with growing pains of their own. And to an extent they embrace not knowing and instead trying to learn as much as possible. It’s introverted but not insular; Retirement Party are not only not alone in their feelings but they play with an infectious energy that can fill much more than a basement. They play big, with ever moving riffs and frantic drum beats. I’m hesitant to call them emo or pop punk when they have a good amount of rock n’ roll breaks and jangling chord progressions. There are practiced breakdowns and guitar solos that never break from the story but instead bring it home, rarely unaccompanied by Springer’s clever narrative. The band’s self awareness is always unmatched, they’re nimble musicians but Springer presents herself as unvarnished- maybe sipping on that passion fruit tea you probably shouldn’t be wasting your money on. Retirement Party questions how to be an adult. Or probably more accurately, how to grow up. How to just keep getting better. How to “shoulder it” to put it in their terms. Retirement Party are figuring it out just like the rest of us.

Keep up with Retirement Party on Facebook // Twitter // Instagram

ANCHR's Artist of the Day: Camp Cope

Camp Cope makes music first and foremost for themselves. Then maybe, as an inside joke, for all of us who have suffered at the hands of the patriarchy or all of us who have seen and held death up close. Though often galvanizing, the title of their most recent album How To Socialise and Make Friends (2018) later revealed to be the title of a man’s self help book, the more I listen to Camp Cope the less I hear their cheeky retorts and the more I hear the tenderness there. Of course they’re not here for Sensitive Indie Boy(™) . Maybe he’s being genuine when he suggests they change their bass frequency? He’s not like that. No. But Camp Cope are masters at seeing through bullshit and cutting to the meat of things. Their wittiness is baked into something bigger. I don’t know if lines like “hearing cat calls from police cars” are a symptom of being an observer or of being bold enough to sing about the sexism that becomes almost white noise by the time we are adults. Their production quality is always no frills, keeping it rough around the edges (which hints to an almost punk influence). This highlights frontperson Georgia Maq’s raw vocals and Kelly-Dawn Helmrich’s solidarity bass licks that sometimes function as musical eye rolls. Camp Cope will not take up less space physically or emotionally so that you can feel more comfortable. But it’d be an utter misread of their sound to describe the band as a sort of Kill The Patriarchy Girl Power matter. It’s a deep dive into experiences and people who have been taken from you or won’t let go (“I slept in the middle of my bed, with the comfort of my own choices”). Maq sings jaggedly about people who are defined by the full emotional impact they’ve made on her. There are fingerprints all over their tracks. There’s an anger and an acceptance. Camp Cope can feel empowering one moment and have you in tears the next (“sometimes making love is the only time I’d ever feel love, there was never any middle ground”). There is a deep self reflection when Maq is riding her bike to the hospital and understanding that humans are simply “flesh and electricity.” At times Camp Cope have an element of protection, like big sisters putting an arm around you and saying we’ve been there too. We want to put up with it so maybe you don’t have to. Camp Cope says “me too.” Not as much in the hashtag movement but in a way that they have seen it before and will walk with you through it- no matter what pain or relief it is. 

Keep up with Camp Cope on Facebook // Twitter // Instagram

ANCHR's Artist of the Day: Sincere Engineer

What happens when you don’t get into dental school? You put out a pop punk record. Or at least that seems to be Deanna Belos’ (AKA Sincere Engineer) approach. In 2017 she put out Rhombithian, an introverted yet vibrant album about trying to surpass disaster. A sort of goofy ambition undercuts most tracks, like in ‘Corn Dog Sonnet No. 7,’ her ode to dealing with depression ("It's been a few days, I took a shower/watched some TV, fed a sunflower/I'm still learning how to be.”) Her brand of punk is punchy and earnest, as she growls through melodic riffs her lyrics keep a tender charm. It takes a lot to make your own screw ups the focal point of your music. Her songs about feeling like shit tend to have an off-kilter sense of humor, on ‘Ceramic Tile,’ a promise that this is the last hangover, Belos sings “I welcome forehead kisses from the floor.” Recording with a full band adds fast paced drumming and heavier hooks to her severely catchy tracks. With her raspy voice as an anchor she spits out references to Lake Michigan and creates anthems for the most anxious Midwesterners. Belos takes a gutsy and earnest approach to confronting your past and figuring out how to maybe do better (“I'm running late again, I'm gonna explain why in all the texts I send.”) But she has fun with it. Her latest music video for ‘Dragged Across The Finish Line’ features the band wearing literal trash cans over their bodies while training for a marathon, if that gives you a sense of Sincere Engineer’s style. It doesn’t seem like Sincere Engineer are waking up on the bathroom floor so much these days, just trying to finish the race on their own time. Maybe we’re all garbage people just trying to get through it. Corn dogs and all.

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ANCHR's Artist of the Day: Gouge Away

I once worked with an oldhead who used to ask me a lot about current punk. Always deeply worried that kids these days were not listening to punk and that his beloved genre would be lost forever. After a particularly worried conversation I promised I’d make him a list of all the current punk bands out there that I like. He liked maybe three of them, my guess being that none of them were the punk he remembered. Which is part of what makes Gouge Away so good. Despite their allusion to the Pixies, they’re not your dad’s (or in my case ex punk co-worker’s) punk band. They’re as far from replica as you can be. Instead staggering through and around hard labels. All snare and open chords Gouge Away’s 2018 LP ‘Burnt Sugar’ is a Pandora’s box that can’t be shut until frontperson Christina Michelle decides she’s released enough unto us all. It’s a sound that’s foaming at the mouth and gasping for breath, Michelle’s coarse vocals sometimes leaving her sounding ragged. Though the sound is dense Michelle’s frank lyrics can still be understood as she openly broaches mental illness and sexual assault. Admitting that she has begun welcoming pain as company she tells herself “I’ve just been trying to quit, whatever that means.” There are fingernails on the wall from where the band is just trying to hang on, “hurt is a commodity.” Gouge Away is an onslaught always toying with instability, on ‘Ghost’ drawing out the heavy bass and building the crash of drums, Michelle even briefly singing before her howls take over the track. A whiplash guitar teases us on ‘Dis S O C I a T I O N’ adding to the band’s varied sound. But what I like best about Gouge Away is how unafraid they are to be ugly, to be visceral, to get their spit on you when they’re leaning in and talking real close. 

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ANCHR's Artist of the Day: Floral Tattoo

Floral Tattoo’s new record You Can Never Have a Long Enough Head Start starts with a manifesto of sorts, giving explicit mission to the album. “Young gay people, living our lives in radical self-love/in an act of defiance against the people/who would like to see us torn down” they speak, softly. With a warm low-fi tone Floral Tattoo lets us know exactly who they are. They’re unapologetically trans and anti-capitalist, capturing a radically different coming-of-age narrative with soaring reverb. They question whether or not they’re good people, and in the same song questioning “when they’re tired of your abuse/will you tremble at the sight of the barrel?” of rich businessmen. Floral Tattoo works in a careful crescendo. There’s an exclamatory, even rowdy nature to some tracks (see ‘Leaving’) and a minimalist meditation in others. There’s a palpable pulse working through the album that desires survival. With crunchy guitars and full bass tones they create relief amongst the confusion. The band is revelatory despite minimum wage dredge and not being able to leave the house. Floral Tattoo are often miserable but they’re brave, brave enough to temporarily push aside the hurt and anger to celebrate themselves and their ability to carve out revolutions with their music. They’re willing to consider true moments of joy even when doom feels heavy on their chest and inevitable.