Meet: Wishy (4)
Milly Come Into Their Own with Your Own Becoming (18)
Fontaines D.C. - Romancing Identity (26)
EDITORIAL
Gracie Abrams’ The Secret of Us - Mediocre At Best (8) Jockstrap Continue to Distort the Conventional with I<3UQTINVU (24)
Marie Condo-ing my Spotify Saved Albums (40)
photo galleries
Dry Cleaning (12)
Pitchfork 2024 (34)
Cheekface (43)
Playlist: A Summer of Simply Existing (7) Mid-2024 Release Radar (44)
Summer Singles In Your Area (45)
Founder & Editor-in-Chief, Layout
Erin Christie
Contributing Writers
Erin Christie (4, 20, 26)
Brandy Hernandez (8)
Gloria Natividade (12)
Delphine Winton (40)
Contributing Photographers
Erin Christie (14)
Camryn Montebruno (34)
Giliann Karon (43)
CONTRIBUTING GRAPHIC DESIGNERS
Erin Christie (All, Except Below)
Talia Marshall (42)
Camryn Montebruno (34)
** Photographer for Cover + Page 3: Tom Cottle
After a few months of tireless work, I’m thrilled to present Penny’s 2024 Fall print issue, featuring one of my favorite cover stories to date! Since I began listening to Fontaines D.C. back in college, I’ve undeniably been enamored with their unique band identity and infectious amalgamation of emotive, yet cutting instrumental sensibilites. Being given the opportunity to speak with Deego ahead of their new album Romance’s release (way back in April at my first-ever interview circuit at a hotel in Williamsburg, no less) was such an honor, and I only hope I did the conversation we had justice here. Alongside the resulting cover story are two other features I facilitated with Wishy and Milly (two bands I’ve become really into in the last few months), as well as a handful of thoughtful pieces from some new and old faces within the Penny universe. It never escapes me how much love and time my collaborators put into their contributions to each issue, and it blows me away every time.
I hope you enjoy the issue and would love to hear from you if you have any ideas for future editions. In the meantime, I’m looking forward to keeping the Penny dream alive and can’t express enough how grateful I am to continue this little passion project of mine, with the help of people who care enough to take a look, like you xx
Talk again soon!
Erin Christie Penny Founder + Editor-in-Chief
Photo
by
Theo Cottle
Write-Up and Interview by
Erin Christie
by Alexis Viscius
Last Friday, Indianapolis dream pop up- Last Friday, Indianapolis dream pop and-comers and-comers Wishy Wishy sharedtheirdebutfullsharedtheirdebutfulllengthalbum, lengthalbum, Triple Seven Triple Seven,,onWinspear. onWinspear.
Following last year’s Following last year’s Paradise Paradise EP, the the band’s debut — composed by lead band’s debut — composed by lead songwriting duo songwriting duo Kevin Krauter Kevin Krauter and and Nina Nina Pritchkites Pritchkites — is polished beyond belief, — is polished beyond belief, just as nostalgic as it is modern in just as nostalgic as it is modern in combining earnest odes to unrequited combining earnest odes to unrequited crushes, dust-collecting high school mix crushes, dust-collecting high school CDs, and punchy but grounded musings CDs, and punchy grounded musings onthefuture. onthefuture.
Carved out with a sonic backdrop that Carved out with a sonic that traverses between fitting-to-their- traverses between locationMidwestemo,2000salt-popala locationMidwestemo,2000salt-popala AvrilLavigne,andPixies-adjacentprog,it AvrilLavigne,andPixies-adjacentprog,it proves that while our current musical proves that while our current musical landscape is far from desperate for any landscape is from desperate for new entries into the shoegaze/indie-rock new entries into the shoegaze/indie-rock canon,fromtimetotime,wecanbenefit canon,fromtimetotime,wecanbenefit from a new addition to the zeitgeist, and from new to the and even become hooked on it. Such is even become hooked on it. Such is certainlythecasewith certainlythecasewith TripleSeven
release, we chatted with Krauter release, chatted with Krauter & &Pritchkitesovere-mailTolearn Pritchkitesovere-mailTolearn more about WISHY AS A PROJECT, more about WISHY A PROJECT, Their MOTIVATIONS going into Their MOTIVATIONS going into creating THEIR DEBUT, AND hoW creating THEIR DEBUT, AND hoW past musical experiences informed past musical informed THEIRPROCESS. THEIRPROCESS.
Nice to meet you! For anyone who has yet
Nice to meet you! anyone has yet to be introduced to Wishy, how would you to be to Wishy, would bestdescribeyourselvesingeneral? bestdescribeyourselvesingeneral?
KevinKrauter: KevinKrauter: Weareabandwholovesto Weareabandwholovesto laugh and have fun :) we like to make laugh :) we like to alternative power pop/rock music to alternative power pop/rock music to whichyoucansingalongand/orstareout whichyoucansingalongand/orstareout a car window and have a main character a window have a main character moment :) In our down time on tour, we moment :) In our down time on tour, we lovetoplayhackysack:) lovetoplayhackysack:)
Triple Seven Triple Seven is out this summer, which is out this summer, which a huge achievement so congrats! What a huge achievement so congrats! What about this release cycle has been most about this release has been exciting and/or nerve-wracking from your exciting and/or nerve-wracking from perspective? perspective?
Nina Pritchkites: Our band is definitely Nina Our band is definitely blowing up more than I expected… but at blowing up more than I expected… but at thesametimeit’sexactlywhatIexpected thesametimeit’sexactlywhatIexpected because our music rocks. I had a few because our music rocks. I had few momentsofslightpanicbecauseIsaw momentsofslightpanicbecauseIsaw
howfastthingswerepickingupandthese things are seemingly bigger than me, whichnoonereallypreparesyoufor.But attheendofthedayallIcanreallydois lean into it and enjoy playing music with myfavoritepeople!
What tracks on this record are you most excited for listeners to dig their teeth into?
KK: Well, Pitchfork didn’t really like this one but honestly “Busted” is one of my favorites on the album. idk why, really. it’sjustalowkeygrooverandIreallylike theguitarsoloIwroteforithaha
This being your debut full-length album, where did your motivations lie when conceptualizing it? Did you have any set intentions regarding what you wanted to sayandhowyousaidit,orwastherecord more spontaneously determined over time?
KK: I’d say the latter is more accurate. This album is sort of a collection of differentvibeswe’veinhabitedasaband thus far. We were honestly kinda worried if they would all mesh together well enough, but ultimately the end product turned into something we’re extremely proudofandhappywith.
Can you share any notable memories from throughout the writing and recording process of this record?
NP: We recorded our albuminBloomington, Indiana with our friend and producer Ben Lumsdaine at RussianRecording.We were there for a week and all slept in bunk beds at the studio whichmadeitfeellike
down to hang out with us and chauffeured us around in his minivan (we got ice cream). The writing process happenedbehindcloseddoorswithKevin writing the majority of the tracks on his own during the pandemic. I also wrote a few on my own, two of the ones I wrote were co-written with Steve Marino, who I metinBloomingtonyearsago.Thisalbum has been 3-4 years in the making and it’s cool to see the songs we played when we firstbecameabandfinallybereleasedto theworld:)
With your last project 'Paradise' having been released late last year, how would yousaythatEPrelatesto'TripleSeven,'if
atall?Isthereathroughlinethatyoufeel connectsWishy'scatalogingeneral?
NP: At the end of the day, we like to write pop hooks. That’s the main similarity between the two. It’s all music that feels climactictous.Eventhoughalotofsongs on our new record are heavier, they all stillhavecaptivatinghooks.
How have your past musical experiences informed your approach with Wishy? Are thereanylessonsyou'velearned
with this thick matrix of hangups and insecurities that cloud your ability to really know what you want and how you want to carry yourself as an artist. It reallyjusttakesputtingyourselfoutthere and having the experience to really learn whoyouare.
Finally, what excites you most about Wishyasaproject?It'salwayssosweetto hear artists explain the source of their passion for their band in general, regardingtheiraccomplishmentsorthe
during those previous projects that have stuck with you moving into new endeavors with Wishy, and are there any hard'no's'youlearnedtoavoidalongthe way?
KK: I think, if my past experiences have taught me anything, it’s that, at the end of the day, having fun and being yourself is literally so much more important than fitting some self-imposed idea of what an artist or a band should look or sound like. Sounds sooo cliche but it’s honestly a reallyhardlessontolearn!Youstartout
relationshipsthey'veforged:)
NP: Everything about Wishy excites me. I feel extremely blessed to have been asked by Kevin to be a part of this band and write with him. I’ve wanted to go on tour for as long as I can remember and I feel like my dreams have finally been realized. It feels like it was written in the stars the way we have such a compatible writing style and vision. Everyone in the band just gets along so well which makes touring incredibly fun. I have no doubt that going on these tours will be some of myfavoritememoriesofmyentirelife<3
02.01.Tough-Quavo,LanaDelReySympathyisaknife-Charlixcx
03.Clairo-SexytoSomeone
04.Reckless&Sweet-Amaarae
05.NakedInManhattanChappellRoan
06.obsessed-OliviaRodrigo
08.07.greedy-TateMcRaeGetItSexyy-SexyyRed
10.09.Aggy-Coco&ClairClair WhenUSawLove-11.ELIO,Babygirl
12.WhatchaDoing-DuaLipa Sunnyday-beabadoobee ELIO,Babygirl
A Pop Girl End of Summer Playlist by the Hottest
These Records from this Year These Records from this Year These Records from this Year 1 2
Photographed by Erin Christie
Originally a solo project helmed by bandleaderandsongwriterBrendanDyer, LosAngeles-basedfour-piece MILLY have enteredintoanew,moreself-assuredera with the arrival of their sophomore LP, Your Own Becoming (released June 28), allowingtheirbraveembraceofincreased vulnerability and experimentation to usher in a newly unapologetic version of themselves as a collective for the first time.
Your Own Becoming feels not like a second chapter in their story, but the beginning of an entirely new hardbound book, unfolding in a series of tracks that undulatebetweenjaggedalt-punkwinking at the genre’s 90s heyday, and silky smooth, bass-heavy slow-burners that swell with cathartic emotional unburdening. The polished, yet experimentalandultimatelydaringoutput comesfromabandthat’sclearlybecome more refined in their approach, growing notonlyasindividualmusicianswiththeir owngoals,butasacollectiverisingtothe
occasion together. In totality, the record isapromisingsignpostdirectinglisteners toward MILLY’s inevitably continued futuresuccess.Ifanything,it’ssomething thegroupshouldabsolutelybeproudof.
FOLLOWING THE RECORD’S RELEASE THIS SPRING, WE CAUGHT UP WITH DYER TO DISCUSS ALL THINGS MILLY, FROM UPDATING THEIR CREATIVE PROCESSES AS A COLLECTIVE, WRITING FROM PERSONAL EXPERIENCE, TOUR MUST-HAVES, AND MORE.
In your own words, when did Your Own Becoming begin to take shape, and were there any notable stepping stones along that journey that kind of progressedinshapingthedirectionand ultimatelywentdownfromthatpoint?
Attheendof2022,weputoutourfirstLP, and having that time of reflection after it came out also tied in with going on tour. I think we all were unsatisfied with a lot of aspects of what that record was, but we were also feeling inspired, like we could do better, especially after getting off of a tour that went pretty well. And we also had a lot of fun on that tour. So, it was kindoflikeaclassicturningpointintothe new year of 2023 where we were ready to startwritingtogether.
I think some important stepping stones along the way were that we stopped playing shows a considerable amount for the first six months of 2023 to focus on writinganalbum.Andweweredoingthese group-writes, where we were getting together between two and four times a weekandjusttryingtobuildstuffupfrom the ground organically. Sometimes, you come out and you'd be like, ‘oh, we have something,’ and then other times you wouldn't, but it's just a good exercise to getinto.
Like you said, the creative inspiration thatyougainedfrombeingontourand the process of becoming a tighter live band fed into the collaborative nature of this record, as well. It probably differed song to song and session to session, but in that process of getting together multiple times a week and getting into the swing of things, what didthatlooklike?
Primarily, everyone had a responsibility for their individual role, whereas in the past, I would be playing more of the “leader” role. A lot of it this time was just letting go of control over it and just allowingeveryonetoplaytheirinstrument anddotheirthing,whichwascool
because I think there's a lot of emphasis here on the gelling of a band coming together. And the record itself became three equal parts, with three people that really were investing themselves in the sameway,whichiscool.
It's definitely like a sign of the growth of your relationships in general and of course, the camaraderie between you guys as musicians and friends in general is so important in pushing your material forward. As a segue, outside of music, what is something you guys liketodotogether?
That's a really that's a really sweet question. I'm not trying to shit on the past, but in our previous lineups, we weren'tfriendsthewayweareinthisone. Now, we'll be working on music together forfourhoursandinsteadofwrappingup the session and wanting space, we'll be like, ‘let's like go get a beer and keep it going.’ Most of what we do together is music-centered because we all have jobs and stuff, but we definitely do some classic stuff like shopping together, gettingfood,goingtobaseballgames.And we all have the same friend group, so whoeverisdoingsomethingonaSaturday night, chances are, everyone's there, whichiscool.
Jumping into another area, were there any tracks on this record that you tougher time wrapping your head around? Or did the collaborative process make things fairly streamlined ingeneral?
Therearetwosongsthatcometomind.
The song “Nothing to Learn From,” the last song on the record, is essentially two songs kind of pasted together. Halfway through, it goes to a snare roll thing and there'sfeedback,andthenitstartsupinto the other part, which was basically a jam that we had. With the front half of the song,weprobablywrotethreeorfour
“I WAS JUST TRYING TO MAKE SOMETHING THAT WAS SORT OF ANTHEMIC; I JUST WANTED IT TO FEEL REALLY BIG.”
- BRENDAN DYER
different songs to kind of like bridge the two and none of them were hitting, which wasreallyfrustrating.Oneday,wegotthe song that we have now, and that was incrediblysatisfying.
And then the other song is “Los Angeles Filter.” That song is pretty much what it was when we demoed it, but it was definitely the hardest song to make because the drum part is really complex andthere'salotofmovingparts.Thatwas anotheronewhereIrememberfinishingit andjustbeinglike, ‘damn, did we really do that?’
release.’ Not that I'm doing anything that obscure,butjustfromapersonalplaceof beingabletojudgethatsortofthing.
Would you say that there's a throughline that connects your previousprojectswiththisrecordordo they exist as chapters in their own books,instead?
With that in mind, did you have any particularly cathartic ‘aha’ moments throughout the creation of the record infull?
Intermsoflyricsandmelodies,therewere some moments like that for sure because this was more my responsibility than the otherguys’.ButIguessI'dsaymyselfand then Sonny, who produced the record, him and I were just setting the bar high with what our expectation was for things like that. So, that was definitely the biggest, tallest challenge of the whole project. And then doing the vocals on the demos finally, it was really satisfying to finish them and be like, ‘Oh, wow, I would have never done this on a previous
That's a great way to describe it, not to steal your description of it. But they do feellikeseparatechapters.Imean,there's obviously a lot of similarities here. If you put on this album, and you're into the other shit we’ve done, it's not going to be alienating or totally different. I just think it's just more refined, while I think the thread is still there. It's just, you know, guitar music [laughs] but for us, the big no-no this whole run was when people would call us shoegaze. I'd get so pissed off. Maybe I'm naive, but we're not a shoegaze band. If you put on the album, nothing about it is shoegaze, and I like shoegaze music, but we were trying to make a raw, emotional, rock album, y’know?
Thatmakessense!Ialsosawthatyou guysaretouringwithBasement,anda lot of this record really reminds me of theminthebestpossibleway,withits nostalgic,heartwarmingfeeling.
Sonically, but also thematically, what headspace were you in when writing, and did you have intentions to touch ontheseareas?
It sounds corny, but I really do like saying this word — I was just trying to make something that was sort of anthemic; I just wanted it to feel really big. I feel like some of my favorite lyrics or records in generalalltapintothatsortoffeeling.It’s sortoflikethelyricswalkthelineofbeing depressed, but also hopeful. So I would saythat'swhereitwascomingfrom.
Now it's cool you said Basement because that's definitely a band that I aligned with in a lot of ways with their approach to making music and it's funny because I feel like they probably get called shoegaze eventhoughthey'renot.
Speaking further on your upcoming tour with like Basement and another with Balance and Composure coming up, when you're on the road, are there any things that you absolutely cannot livewithout?
Yeah, there's some good answers that come right away to this one. Number one is noise-canceling headphones. I live and die in those things; I wear them pretty much all day long. I get so much pleasure out of kind of being in my own world like that.
And then the second one is a band thing we can't live without. And it's funny becausewewerejustoutinNewYork,and then we went on a little Fiddlehead tour, so we flew out and weren't able to bring this. We always bring a Bluetooth speaker, specifically for connecting a phone to in the hotel room at night to blast brown noise while we sleep. We actually ended upgoingtoaGoodwillandpurchasingone [laughs]. It's amazing, because it I can't sleep without a noise machine on at this pointinmylifebecausemyearsarereally
ringing all the time, even though I wear earplugs. Also, it's so relaxing, and I starteddoingitatacertainpoint,because a few tours ago, there were some people who would snore [laughs] and I was just overit.Now,wealldoiteverytour.That's a huge essential, and I would say both of those thins are for comfort, at the end of theday.
The best thing you can do is to mind your comfortability and well-being especiallysincetravelingissotaxingin general, and you're also working in this context.
WiththisFiddleheadtour,wealsodidnine shows in nine days, so no days off, which we've never done before. So, I am feeling itrightnow[laughs].
Are there any other things you're looking forward to for the rest of the nextfewmonths?
Yeah, we haven't announced it yet but we're gonna tour down through Florida in November. I've never been to Florida, I've never touched Florida with my feet, which is kind of crazy, considering I think there's only four or five states I haven't technically been in. We’re doing four shows, and there's a festival, too. I'm really looking forward to that; I think it's going to be a lot of fun and a little weird, maybe.
KEEP UP WITH MILLY AND CHECK THEM OUT ON TOUR LATER THIS YEAR. IN THE MEANTIME, LISTEN TO YOUR OWN BECOMING, OUT NOW ON DANGERBIRD.
Jockstrap Continue to Distort the Conventional with EP
A Retrospective Review by Gloria Natividade (EP Originally Released Fall 2023)
“My childhood was small, but I’m gonna bebig,”
“You become disillusioned when you recognize just how unromantic so many mundane, normalized parts of life are,”
- Conor Deegan
“I think we’ve gotten to that stage where we have to push ourselves, or we’re treading water.”
- Conor Deegan
BY DELPHINE WINTON
I, like many of us, have an incredibly cluttered Spotify account. It’s filled with three-song playlists that I made in a haze, other people’s liked playlists that I haven’t listened to since I was fourteen years old, and podcast episodes that I truly may never listen to. The worst issue, though?I’maserialalbumsaver.Anythingthatlooksgoodgoesintomylikedalbums,sometimes never to be seen again. However, in the spirit of spring cleaning (it’s summer) and new beginnings (nothing in my life has changed), I’ve decided to go through as many of my saved albumsaspossible,andreviewthemostnotableones.
Tempo is the second album of Texas-based electronic boyband Wavedash. The defining element of this album is fun, from opener “All Ur Love” all the way to closer “COMING OUT HOT”!. Other highlights of the album include Anamanaguchi and Cayenne collaboration “b Alright!”, which presents you with a lighter intro and then hits you with a synthesizer in the chorus that feels like being just absolutely bowled over by a wave. The vocals throughout the album are processed in an interesting way, and the album has some fun little touches like the horse whinny at the end of “b Alright!”andthesamplingin“UDon’tKnowHow”.
Inexplicably, I was under the impression that Valley was a hardcore band, so you can imagine my surprise when I was confronted with this collection of solid indie pop with some notable high points. The album starts off strong with its instrumental intro song “theme” that seamlessly transitions into “Lost In Translation”. The rest of the album is fun, if not a little bit generic. There are some truly corny lyrics (“I traded medication for meditation, amazing”) and some really nice song transitions (“i thought i could fly” into “Either Way, I’m Going Your Way”). Lost In Translation is at its strongest when it takes you from a slower song into a more dance-able track, and tries togetyouupoutofyourseat.
June Henry is a Kansas-based 22-year-old singer. Her most recent album, Podium, is a perfect encapsulation of everything that makes hermusicsouniqueandcompelling.Thereallyextremelackofpostproduction can occasionally hold back the album, but it overall provides a raw effect that brings you further into her world. What is lacking in post-production is easily made up for by the striking vocal layering throughout the album, and the candid and blunt lyricism. If this album isn’t your type of thing, that’s understandable, but if you likeit,you’regoingtoLOVEit.
California-based punk-rock band Jawbreaker’s fourth album, Dear You, wasn’t initially well received by fans, who saw the band as having “sold out”. Thirty years later, though, Dear You is credited with influencing everything from the 2010s emo revival to Jimmy Eat World’s “The Middle”. Listening now, it’s clear that many bands of today are drawing from this album, and for good reason. The dissonance throughout the album is palpable, but it specifically shines in the intro of “Fireman”. “Accident Prone” is the highlight of this album; I can’t think of another song so packed with potent misery, where the tone of the instrumentals match so perfectly with the vocals and lyrical content, and with such a well-executed build and then release of tension. Thirty years on, Dear You finally getstheduesitdeserves.
extra life is the debut album of Los Angeles duo crushed. It’s a short and sweet collection of songs, clocking in at just 32 minutes with two of its eight tracks being remixes. The production on extra life is what really shines. The DJ Python remix of “milksugar” is a highlight, with its long, atmospheric intro, and deep bass. The whole album embraces a chilled out and sunny Los Angeles vibe, mostly to its benefit, although some more ups and downs could maketheindividualtracksstandout.
Toronto punk band PUP always puts forward incredible album openers (The Dream Is Over’s “If This Tour Doesn’t Kill You, I Will” into “DVP” is almost unbeatable), and this album is no exception. The slow build of “Four Chords” into the cacophony of “Totally Fine” provides heavy catharsis right off the bat, and the album doesn’t slow down from there. PUP has never been afraid of somewhat gimmicky (in the best way) lyricism, but UNRAVELING leans into that even further with songs like “Robot Writes a Love Song” and “Four Chords Pt. III: Diminishing Returns”. The shoutout to Toronto radio station 102.1 The Edge doubles as a nod to the band’s hometown, and a relatable complaint (they DO play “Black Hole Sun” too much!). The top half of this album is slightly stronger than the bottom half, but the album remains strong overall. PUP is one of my favourite bands working currently, and UNRAVELING certainlydoesn’tdisappoint. 06
07
Back on Top is the third album by New Jersey duo The Front Bottoms, bridging the gap between the pared-down production of their first two albums and their more electronically curious latter albums. There are some real highs on this album - the ascending vocal and brass lines on “2YL” are energetic and fascinating in the bestway,andpullingfromBuiltToSpill’s“InTheMorning”forthe repeated mantra of “If my mind is uncertain, my body decides” in “The Plan (Fuck Jobs)” is a genius move. Overall, though, Back on Top strikes something of an unhappy medium between the band’s earlierandlaterproductionstyles.
Changephobia is Rostam’s third album, and while it has some nice moments, overall, it fell a little bit flat for me. The album leaves me with an impression of missed potential. “From The Back of a Cab” feels like something building and building, and then failing to provide any catharsis. I wish there was a stronger bass presence throughout the album to lend it some auditory weight. There are things I appreciate though - the drum parts throughout Changephobia are dynamic and interesting, the arpeggios in “Starlight”arebeautiful,andIlikethatlargepartsofthisalbumare just long instrumental sections. Overall, Changephobia takes some swingsthatIreallyrespect,butjustisn’tforme.
Happy Belated’s National Parks is an album that presents you with a fully-formed vision of its world, and brings you into it immediately. It’s reminiscent of a summer hike in the northeast, or a weekend camping trip, and not just because of the title. All of the guitar parts are really nice - bright, catchy, and interesting when put together. The closer “Long Winter” is a highlight, along with the build in “Five Hour Winnipeg”. National Parks is a concise and focused album that’s well worth a listen.
10
One Day is Toronto-based band Fucked Up’s most recent album, and it’s a real triumph of their particular musical style. The hardcore vocals contrast perfectly with more melodically driven backing tracks, and the songs are catchy and energetic without being devoid of substance. “Lords of Kensington” is a lament to the Toronto of days past, now being carefully torn down by condo investors, over policing, and lack of arts funding. The backing vocals add a fullness to the song that matches the lyrics perfectly. The panning build-up and then explosion in “Huge New Her” is a high point, as well as the guitar riff partway through “Broken Little Boys”. One Day presents its thesis clearly without hitting you over the head with it, and never sacrifices music for message.
Album Minus Band by Bomb the Music Industry! - A shining achievement of DIY music. PACIFIC by Haruomi Hosono - Charming instrumentals akin to Mort Garson’s Plantasia.
Born Hot by Chris Farren - A sweet and delightfully tongue-in-cheek collection of songs.
1 Trait High by 1 Trait Danger - Riding the line between Car Seat Headrest-parody and sincerely good music isn’t easy but 1 Trait Danger manages it with gusto.
Evening Out With Your Girlfriend by Fall Out Boy - This early collection of Fall Out Boy tracks doesn’t work so well as it’s own album but is a fascinating look into how the band got to where it is now.
Graveyard Karaoke by Zach Schimpf - Zach Schimpf’s atmospheric lo-fi music never fails to disappoint for me, and this is no exception. The man deserves a lot more attention than he’s currently getting!
1. Jake Bugg - Zomebieland 2. Peggy Gou - Lobster Telephone 3. Trophy Wife - Keep It 4. Famous - It Goes On Forever 5. Clothesline From Hell - You Don’t Know 6. Porches - Itch 7. julie - clairbourne practice 8. Coined, Astrid Sonne - Your House 9. Radio Free Alice - 2010 10. Swapmeat - Ceiling Fan 11. Liily - IMITATE 12. Flip Top Head - Intro 98 13. Wishy - Just Like Sunday 14. MJ Lenderman - She’s Leaving You 15. A GRAB BAG OF SINGLES OUR EDITOR-IN-CHIEF HAS BEEN ENJOYING THIS SUMMER
bar italia - The only conscious being in the universe
