New Music

Matt Derda & The High Watts Unveil Raw Authenticity with “Only Have Lies for You” (Acoustic Version)

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Matt Derda & The High Watts are no strangers to the realm of heartfelt, soul-baring music. With their acoustic rendition of “Only Have Lies for You,” this talented ensemble provides an intimate glimpse into an emotional world that we hide from ourselves. We want to believe we only tell the truth to people we love, but perhaps because the feelings are too much, too close to the surface that in the end, we only have lies to share. The acoustic version of this song stripped down to its bare essence, showcases a vulnerable side of the band that is as profound as it is hauntingly beautiful.

The original version of “Only Have Lies for You” was a passionate and fervent track from the band’s “You Didn’t Know?” record. That first take was replete with emotion for days. The song soared with electric guitars, roaring percussion, and intense vocal delivery. However, this acoustic rendition takes a complete 180-degree turn, exposing the delicate, emotional core of the song. Sometimes stripping away the fast-paced guitar-focused delivery changes a song profoundly.

From the first strum of the guitar strings, the listener is plunged into a musical space where sincerity and raw emotion rule supreme. This space is not an easy place to inhabit. The questions are all too real. They hang heavy with deliberate purpose. The harmonica and banjo add dimension. The acoustic version of “Only Have Lies for You” presents Matt Derda’s voice as the central instrument, and it’s a revelation. His vocals are more compelling than ever, bearing a weighty authenticity that resonates with anyone who has ever loved and lost. He does not force the words, they simply fall and that makes the vocal even more impactful.

The lyrics of “Only Have Lies for You” have always held an enigmatic quality, and in this acoustic rendition, they come to life with a heightened sense of poignancy. The words feel like confessions whispered in the darkest corners of the heart, unraveling a tale of deception, self-discovery, and the pain of a love that couldn’t survive its own secrets. Derda’s evocative storytelling ability is magnificently displayed as he weaves his narrative into a heart-wrenching tapestry. It is heartbreaking and we cannot look away, we cannot stop listening to this revealing, beautiful song.

The additional guitar, banjo, and drum work, courtesy of The High Watts, adds further depth and a sense of melancholy to the song. Each strum and chord progression serves to underline the lyrical themes of regret and longing. The instrumental arrangement is beautifully understated, allowing Derda’s voice to take the spotlight and carry the emotional weight of the song. The acoustic version showcases the band’s ability to adapt and embrace a different musical direction while preserving the essence of the original song.

As the song progresses, the synergy between Derda’s vocal delivery and the acoustic instrumentation becomes more pronounced. The restrained drumming, subtle bass lines, and supportive vocals build a gentle yet powerful foundation for the song, while the harmonies within the band add a layer of richness to the sonic landscape. The chorus backing vocals sound almost choral in texture.

A particularly poignant moment in the song is the bridge, where Derda sings, “But you drove me to this, ‘Cause I made a second guess and your wonder, if I miss… you.” His voice quivers with the weight of remorse, and the listener is left hanging on every word. This is where the power of the acoustic rendition lies; it allows the listener to fully immerse themselves in the raw and unfiltered emotions that “Only Have Lies for You” encapsulates.

The production of this acoustic version is exceptional. The recording captures the subtleties and nuances of the performance, from the slight scrape of fingers on guitar strings to the breathiness in Derda’s vocals. The acoustic version brings out the human element of the song, making it feel like a live performance in an intimate setting.

Matt Derda & The High Watts have managed to successfully reinvent their own song with this acoustic version of “Only Have Lies for You.” The vulnerability and authenticity they bring to the forefront are palpable and stirring, and they’ve managed to expose the song’s emotional core in a way that is sure to leave a lasting impact on their audience. This rendition is a testament to their versatility as musicians and their commitment to crafting meaningful, timeless music.

In a world filled with manufactured pop and superficial love songs, “Only Have Lies for You” (Acoustic Version) stands out as a beacon of unadulterated emotion. It’s a reminder that sometimes the most powerful music is born from pain and honesty. Matt Derda & The High Watts have created a masterpiece of acoustic storytelling, a piece of music that transcends the boundaries of genre and time, reminding us that true artistry always finds a way to reach the heart.

Hello June – Artifacts

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In the realm of indie music, authenticity often takes precedence over grandeur, and artistic expression triumphs over commercial trends. Enter Hello June, a band that embodies these very principles in their latest release, “Artifacts.” An album that invites listeners on an introspective and emotionally charged listening experience through topics deeply intimate and as common as drawing a breath, “Artifacts” is a striking work in modern music. Let’s take a deep dive into this record to uncover the soul and depth that sets Hello June apart from so many.

West Virginia, the band’s home, is a state renowned for its scenic beauty, rugged terrain, and rich cultural tapestry woven by generations of hardworking folks. It’s a place where deep-rooted traditions blend with the influences of a changing world, and it’s within this remarkable backdrop that the band Hello June emerges as an undeniable musical force with their latest album. In a landscape where Appalachia’s legacy reverberates through the ages, Hello June’s music matters, and it matters profoundly.

From the moment you drop the needle or press play on your digital device, “Artifacts” envelops you in music that represents an almost cinematic soundscape. The album’s opening track, “Sometimes,” immediately transports you to a realm of personal frustration and introspection. Sarah Rudy’s dreamy yet resolute voice captures the essence of a dusty, winding road through the present, the past perhaps even the future, where forgotten memories reside.

The album’s title is aptly chosen, as “Artifacts” indeed feels like a collection of found treasures that capture real life, authentic emotion, and the yearning — that cuts so deep it hurts — for human connection. The band manages to imbue each track with a sense of personal history and weight, making it feel like you’re unearthing hidden secrets about yourself with every listen. “Sometimes” sets the tone by asking us to think about the emotion that might only leave us with enough to “fall down” and reflect, as if the band is guiding us through a museum of personal history.

The music of Hello June matters for a multitude of reasons. They are the torchbearers of Appalachian resilience, masters of atmospheric sound, and poets of profound introspection. Their artistic journey extends beyond mere sonic experimentation; it’s an exploration of life’s rawest emotions, the intricacies of human foibles, and the undeniable allure of places and communities often overlooked in the annals of popular music as real social locations. These places we are from matter. They shape us in ways we recognize and ways that we only understand later.

Throughout “Artifacts,” Hello June balances both hushed intimacy and roaring intensity. “Honey I Promise” serves as an example of this delicate equilibrium. The melancholic verses, driven by almost moody guitar work, lead to an explosive chorus where Rudy’s vocals soar and the band’s rhythm section, consisting of Whit Alexander and Caleb Crosby (Tyler Bryant and the Shakedown), propels the song to greater heights. It’s a rollercoaster of emotions that demands your attention, echoing the complexities of real-life relationships. The track’s steady drumbeat and echoing guitars build an emotional crescendo that mirrors the turbulence of a departure from a failed relationship.

“Artifacts” explores the theme of emotional bonds — “tied up together” from a variety of angles. “Interstate” paints a vivid picture of distance and separation. The imagery in Rudy’s lyrics transports you to a highway somewhere, capturing the bittersweet feeling of watching someone you love fly away. The fading away is the most heartbreaking. And realizing that last word, that last conversation, the last laugh between the two of you may not have been the one you would want to have as the last moments together, but it is all you have to hold on to. Sharing the fact that you love someone may elude your grasp whether it’s because of foolish pride or “picking a fight.”

Hello June’s penchant for poignant storytelling shines in “Napkin.” Rudy’s lyricism reveals a haunting narrative, evoking vivid images of a flickering film reel of memories. Her vocals convey vulnerability and raw emotion, ensuring that the listener is left hanging on to every word. The song’s dreamy, almost country-like atmosphere provides a stark contrast to the album’s more intense moments, illustrating the band’s ability to traverse a broad emotional and musical spectrum.

One of the standout tracks on “Artifacts” is “Faded Blue” which demonstrates the band’s ability to harness raw, unbridled energy. Rudy’s vocals take on a more rebellious tone here, while the band delivers a raucous performance. The lyrics of defiance and self-reliance cut through the music like a sharpened blade:

kneeled down beside you – scared of all my sins 
I’d wait to be forgiven and I’d wait to forget
Start the day with a new fixation
An awkward waltz and a chain reaction
Tell me where do you go, tell me where do you go? 

Hello June challenges societal expectations, calling for authenticity and independence. Hold on to the past but don’t let it alone define who you are and what you mean.

In the almost introspective Whiskeytown-like “23”, Sarah Rudy sings about looking back on one’s youth from the safe perch of years down the road. The driving feel of the song only makes the nostalgia that much more bitter and sweet. The driving drums and slinky guitar propel a rhythm that almost hides the intent of the song.

Tracks like “Soft Love” and “The Moon” showcase the band’s ability to harness the enduring spirit of self-disclosure, vulnerability, and the question of being enough for someone else. These songs feel ethereal and spacious while taking their time and in that patience transform evocative melodies that seem almost sparse as if our attention is required. Through Sarah Rudy’s captivating vocals and the intricate guitar work, they weave narratives of love, loss, and the indomitable strength of the human spirit. In the lineage of folk and Americana greats like Bob Dylan and Joni Mitchell, Hello June’s sound is unmistakably imbued with the DNA of a true heartland. Their intricate instrumentation, coupled with Sarah Rudy’s haunting vocals, allows for the construction of intricate auditory experiences. These are not merely songs, but living, breathing entities that envelop you, provoke emotions, and invite you to explore the depths of your own thoughts and feelings.

As we traverse deeper into the album, “No Easy Answer” presents itself as a fascinating almost swaying swagger departure. Its arrangement showcases the band’s experimentation with sound, offering listeners an instrumental match to the passionate lyrics before the song builds to a powerful climax. The passionate, powerful quality of “No Easy Answer” allows the listener’s mind to wander, creating an atmosphere that is equal parts introspective and worldly and yet able to grasp that there is in fact, “No Easy Answer” to most questions, at least to the questions that matter.

But it’s the penultimate track, “California,” that truly encapsulates the essence of “Artifacts.” A sweeping song of epic proportions, it’s a testament to the band’s ability to deliver an amazing groove without sacrificing intimacy. Rudy’s vocals once again shine, delivering a message of reassurance and understanding in a world that often feels chaotic and overwhelming.

Closing the album is “Take Me Home, Country Roads,” an introspective cover of that well-known tune that seems to bring the journey of the album full circle. Hello June, with all the heartfelt sentiment they can muster, bid farewell to the past. As Rudy sings the refrain “Take me home…” the band encourages us to embrace the present and move forward with the knowledge and strength gained from our personal artifacts.

“Artifacts” by Hello June is a rare record in the world of modern indie music. It’s an album that manages to be both nostalgic and forward-looking, intimate and grand, all at once. The band’s ability to capture complex emotions and translate them into music is nothing short of extraordinary. Sarah Rudy’s vocals, poetic lyricism, and the band’s masterful instrumentation create a unique, captivating sonic experience that stands out in an increasingly homogenized musical landscape. “Artifacts” is an album that deserves to be dissected, analyzed, and celebrated for its depth, creativity, and emotional resonance. It’s an album that reminds us of the power of music to touch our souls and make us reflect on our own “artifacts” in this ever-evolving path called life.

This music transcends time and place, resonating with listeners in their quest for meaning and understanding. The lyrics serve as a mirror, reflecting the innermost thoughts and emotions that often remain unspoken. Hello June’s “Artifacts” is a sonic masterpiece — and we are prepared to die on that hill to defend that assertion — that deserves a place in the hearts of all music fans. It is a timeless record that captures the essence of the human experience, a treasure chest of emotions waiting to be discovered with each listen. As we leave the album’s soundscape behind, we’re reminded that sometimes the most precious artifacts are the ones that reside within ourselves, waiting to be explored, cherished, and shared with the world.

Video of The Day: Tamar Berk – Shadow Clues

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Tamar Berk’s “Shadow Clues” from her record “Tiny Injuries” is a haunting brilliant masterpiece that weaves a tapestry of emotions with each delicate note and evocative lyric. Much like a detective searching for hidden truths, Berk’s songwriting skillfully unravels the complexities of the human experience, leaving listeners mesmerized and introspective.

From the very first chords, “Shadow Clues” cast a spell, drawing you into its ethereal lightless world. Is it dark because of our choices, the slow realization that we can only hold back the long night for so long? Berk’s voice, a rich and emotive instrument in its own right, resonates with a raw vulnerability that feels like a whispered confession in the dead of night. Berk’s singing evokes Rebecca Gates. Her phrasing and delivery are reminiscent of great music storytellers, yet there’s a contemporary edge that makes the song uniquely her own. The slow build of the song encapsulates the twists and turns of both discovery and disconnection.

The lyrics of “Shadow Clues” are a masterclass in epic storytelling. Berk paints vivid images with her words, offering glimpses into a shadowy world of secrets that linger in both delicate exploration and uncertainty. Consider lines like:

"Because all that you learned was a solid stare
And a stiff upper lip and a handshake grip
And a deadpan expression with a frigid touch
Unresponsive to the needles that stab you so much"

These lyrics evoke a sense of mystery and intrigue, while the chorus’s refrain of “You know I never know
What you’re feeling, Look for the shadow clues, On the ceiling” carries a sense of longing, fear, and nostalgia that is impossible to ignore. Yet you want to know what is being felt. But you can’t. Is this a song about losing someone we care about and watching them fade away from us when all we want is to see the life run back into their face, their hands, their spirit? It feels that way.

The arrangement of the song is equally captivating. The instrumentation is sparse and building, allowing Berk’s voice to take center stage, but every instrument is carefully chosen and expertly played. The haunting, almost cinematic quality of the music complements the lyrical themes, creating an atmosphere of suspense and melancholy that lingers long after the song fades.

In “Tiny Injuries,” Tamar Berk has crafted an album that explores the complexities of love, loss, and self-discovery through pain, and “Shadow Clues” stands out as a standout track that encapsulates the album’s emotional depth. It’s a song that demands repeated listens, revealing new layers of meaning and nuance with each playthrough.

“Shadow Clues” by Tamar Berk is a song that deserves to be celebrated and dissected, a beautiful piece of art that speaks to the human condition with honesty and grace. It’s a reminder of the power of music to touch the soul and stir the heart, and Tamar Berk is undoubtedly an artist more than capable of weaving a landscape of distance and closeness in unison. And this song catches in your throat like the effort to suppress a cry that traveled through you and within great distance in order to be released.

The Replacements’ “Tim Let it Bleed Edition” – A Raw and Unfiltered Gem

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The Replacements’ 1985 masterpiece, “Tim,” has long been celebrated as a cornerstone of alternative rock history. With its timeless blend of punk energy and heart-wrenching ballads, the original album left an indelible mark on the music landscape. However, the production of ‘Tim’ has since its release been a subject of debate. While the original mix captured the power of the band, there was simply a lot of detail that was lost in an odd choice of mono-focused production and lo-fi-like aesthetic.

Now, in 2023, we’re treated to “Tim Let it Bleed Edition,” a reissue that not only pays homage to the original but adds a raw, unfiltered layer that deepens the emotional resonance of the record. Although nothing new was added to the remixed tracks by Ed Stasium, what is different is that we all can now clearly hear what the band was doing.

This “Let it Bleed Edition” is more than just a reissue; it’s a journey back in time. The original tracks, from the borderline reckless “Bastards of Young” to the devasting and powerful “Little Mascara” to the poignant “Swingin Party,” are as impactful as ever, maybe even more so because from the vocals to the guitars, bass, and drums listeners can find the detail that was simply buried. Westerberg’s voice is even more fragile and vulnerable yet cheeky and tough in an “I don’t need your validation and approval” way. The Replacements’ signature blend of rebellion and vulnerability shines through, capturing the essence of youthful angst and uncertainty.

Bob Stinson’s guitar parts shine in this remixed record with a power, finesse, and movement that was lost in the mono aesthetic of the original. There are parts and aspects to his playing that were simply lost. The phasing and shifting of Stinson’s movement was far more than assumed whether he was playing a silly rocker (“Lay It Down Clown,” “Dose of Thunder”) or a serious reflection on life’s challenges (“Little Mascara,” “Bastards of Young”). Bob Stinson was a great guitar player who was far more sophisticated and expressive than the original mix concealed.

“Little Mascara” in particular becomes more powerful lyrically and sonically with this remix. The song’s impact becomes inescapable. The sense of anomie, frustration, and entrapment of the narrative escalates to feel almost suffocating. This version is mind-blowing in part because it brims with a collusion between chaos and sentiment. A spectacular song that is fully realized in this new version of the album.

Also long overdue is the reflection and realization of what an incredible bass player, Tommy Stinson was at the tender age of 18 when the album was recorded. Stinson’s bass parts demonstrate a strength, speed, dexterity, and maturity on his instrument that is shocking. To say he is a damn fine bass player feels like an understatement. The Stasium remix reveals some of the finest bass runs and progressions in contemporary rock and roll. These are now clear and convincing in this version of the record.

“Here Comes a Regular” changed greatly in the new mix. That song morphed from a wistful song to a deeply melancholic almost melodramatic tune. The clarity of the vocals now does not allow a listener to hide from the sadness. That heavy emotional pain is far too real now, inescapable. It feels punishing and unbearable in a way that the original mix did not.

What truly sets this edition apart is the inclusion of previously unreleased live recordings and studio outtakes. The live tracks transport you to the sweaty, beer-soaked clubs of the ’80s, where The Replacements were at their most electrifying. Songs like “Hold My Life” and “Kiss Me on the Bus” gain a new vitality when performed in front of an eager crowd.

Drums can make or break the sound of a record. And Chris Mars was done a serious disservice with the original mixing. In the new mix, Mars has a feel, sway, and rhythm that was made mushy and soft but is now revealed to be anything but that. Wow, Mars’ drumming had some swing that was buried in the approach of the first record.

The studio outtakes, on the other hand, reveal the band’s creative process in all its messy glory. The rawness and imperfections in these unreleased gems provide a fascinating insight into The Replacements’ genius. “Waitress in the Sky (Alt Version)” showcases Paul Westerberg’s unmistakable wit, while “Here Comes a Regular (Demo)” strips the song down to its bare emotional bones, offering a more intimate connection with the band’s songwriting process.

‘Tim Let it Bleed Edition’ may not be a radical reinterpretation of the original, but it doesn’t need to be. The uncovering and clarity that is provided on the remix is like receiving the record for the first time. Nothing has been added because it was all already there just waiting to be discovered. Instead of reframing, this remix is a heartfelt tribute to a classic album, a love letter to a band that forever altered the course of alternative rock and indie. This reissue is a must-listen for die-hard fans and a perfect entry point for those who have yet to discover The Replacements’ timeless sound.

One is left to wonder if The Replacements would have achieved far more had Sire Records released this version of the record? While, this author, loves “Let It Be” and I still believe “Pleased to Meet Me” is damn near perfect — this version demonstrates the band was so much more than what was assumed. So much of what they could do was buried, hidden from the listener. Would The Replacements have then met Sire Records’ expectations in terms of sales? Certainly, the band created a powerful impression even with the mono aesthetic of the original production.

In the end, ‘Tim Let it Bleed Edition’ serves as a testament to the enduring power of The Replacements’ music. It’s a reminder that even decades later, their songs still resonate with the same raw energy and emotional honesty that made them legends in the first place. This edition may have “Let it Bleed” in the title, but it’s the heart and soul of The Replacements that truly bleed through every note.

Rock and Roll Lives!

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Elephants and Stars have put out an impressive array of albums in a few short years — Recovery (2020), Dreamland (2021), Last Chance Power Drive (2022) and Get Your Own Army (2023) — and have already made a meaningful impact to rock and roll with their incredible body of work. This Toronto-based band is like a supernova in the making, bursting onto the scene with a sound that’s as expansive and enthralling as the night sky. Elephants And Stars is the third project formed around the long-running creative partnership of Manfred Stittmann and bassist Mike MacMillan, both of whom also formed the core of the late-90s/early-2000s groups Soap Opera and The First Time. The band has consistently delivered well-crafted songs with catchy melodies and thoughtful lyrics.

In the tradition of the great melodic rock and roll and New Wave bands of the ’70s and ’80s, Elephants and Stars takes us on a voyage of emotional release through their latest ‘Get Your Own Army‘. Their sonic palette is a rich tapestry woven with elements of rock, new wave, power pop, psychedelia, and folk, creating a sound that feels both nostalgic and refreshingly contemporary, a task that is hard to do in an authentic way. From the opening chords to the final fade-out, this album is a rollercoaster ride of musical nostalgia and contemporary innovation that illustrates that a music group can be versatile while delving into various musical styles. The band’s name itself suggests a blend of the colossal and the celestial, and their music lives up to this cosmic promise in perfect melodies that sway around deep storytelling and powerful lyrics.

The album kicks off with a thunderous guitar riff that immediately grabs your attention, setting the tone for what’s to come. “Gimme Ketamine,” is a true rock and roll track that grabs the listener and refuses to let go. Lead vocalist Stittman’s voice is a force of nature, akin to the gravitational pull of a black hole, drawing listeners into the band’s orbit. The instrumentation, featuring muscular guitar work, bouncing rhythms, and Cars-like synths, provides the perfect sonic backdrop for the band’s passions.

Throughout the album, the musicianship is outstanding. The guitars shred through parts large and small. The solos are played with precision and passion, while the rhythm section provides a solid foundation that keeps the songs grounded. One of the standout tracks is “Green Lights to Pasadena,” a sprawling epic that stretches the boundaries of the rock road song. It is a reflection on travel, perhaps personal, that takes the listener on a sonic adventure through landscapes of longing for effort and feeling lost: “We try until we don’t / Just die a little more.” The band’s musicianship shines here, with each member contributing to a propulsive and immersive sonic gestalt, everything mixed together with just a pinch of chaos. And you may find yourself swaying despite your resistance.

While Elephants and Stars draws inspiration from the past, they infuse their music with a modern sensibility and directness that keeps it from feeling like a mere nostalgia trip. Tracks like “Bled Out at the Scene” and “How Can It Be?” blend vintage influences with contemporary production techniques, creating a sound that’s both timeless, cutting-edge and so damn catchy. How often do we want to sing along to the slow realization of the death of a relationship?

“Get Your Own Army” is not just an album; it’s a sonic voyage through the heart of relationships viewed through a rock and roll lens. Elephants and Stars have crafted another fantastic record that showcases their immense talent and promises even greater rock and roll adventures in the future even while singing about the end, “On Your Deathbed (I wonder what you’ll think about).” With their captivating sound and down-to-earth vision, this Canadian band is poised to shine brightly in the ever-expanding universe of rock music with the simple realization that rock music lives.

Video of The Day: Hello June – Sometimes

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In an industry often saturated with formulaic hits and fleeting trends, Hello June stands as a refreshing gust of authenticity with their third single — ‘Sometimes’ — from the forthcoming album ‘Artifacts’. This indie-rock quartet hailing from Charleston, West Virginia, continues to carve their niche in the contemporary music scene with a sound that’s both hauntingly introspective and irresistibly groovy.

‘Sometimes’ opens with a mesmerizing guitar riff that immediately draws the listener into its melancholic embrace. The hauntingly beautiful vocals of frontwoman Sarah Rudy take center stage, carrying a raw emotional weight that’s impossible to ignore. Rudy’s voice, reminiscent of rock legends like PJ Harvey and Patti Smith, is both vulnerable and powerful, perfectly encapsulating the lyrical themes of introspection and self-discovery.

Lyrically, the song delves deep into the complexities of human existence and the ever-present battle between light and darkness within us. Lines like “Sometimes you want to cry / Sometimes you just can’t” resonate with universal truths, offering a lyrical depth that transcends the confines of typical rock fare. What we say and how we say it matters.

Musically, Hello June showcases their mastery of dynamics, seamlessly transitioning between hauntingly atmospheric verses and explosive, anthemic choruses. Artifacts, which comes out on October 6th on 31 Tiger Records, was recorded in Nashville at Bell Tone Recording with producer Roger Alan Nichols, featuring Rudy on vocals and guitar, Paul Niehaus on pedal steel (Calexico, Iron & Wine, Justin Townes Earle, Lambchop), Caleb Crosby on drums and percussion (Larkin Poe, Noah Gundersen), and Nichols on guitar (The Veronicas, Tyler Bryant & the Shakedown). The rhythm and swing of the song, anchored by drummer Caleb Crosby provide a solid foundation for the soaring guitar work of Rudy and Nichols punctuated by the dreamy pedal steel of Niehaus, all combining to create a sonic landscape that’s both captivating and emotionally charged.

‘Sometimes’ is a song that grows with each listen, revealing hidden layers and nuances that make it a standout track in Hello June’s body of work. It’s a testament to the band’s evolving artistry and their commitment to creating music that speaks to the human experience without feeling academic or false.

In an era when authenticity and genuine emotion often take a backseat to commercialism, Hello June’s “Sometimes” reminds us that there are still artists out there who are unafraid to bare their souls through their music. With its haunting melodies and introspective lyrics, this track solidifies Hello June as a band to explore and appreciate for anyone who loves a great song.

In “Sometimes,” Hello June has not only delivered a remarkable song but also a profound emotional journey that lingers long after the final notes fade. It’s a testament to the enduring power of rock and the boundless potential of this group. Keep an eye on Hello June; they’re poised to make waves in the music world.

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Glide Premier of ‘Honey I Promise’

Video of the Day: Librarians With Hickeys – ‘Can’t Wait ‘Till Summer’

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Those marvelous melodic maestros in Librarians With Hickeys are back at it with a song that speaks the truth about how much we tire of the cold! Bring on the Summer, indeed! This fun music video for “Can’t Wait ‘Till Summer” evokes The Psychedelic Furs, English Beat, and Let’s Active. The band has a gift for borrowing from their influences and creating a sound that is fresh. If you, like us, are a sucker for shimmering, ringing guitars then you need to explore this band’s discography. ‘CWTS’ is the group’s latest single from the terrific album “Handclaps & Tambourines” available and streaming everywhere from the fine folks at Big Stir Records!

Today on YTAA

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Tuesdays are our favorite days! Radio day!

Tons of new music. Some indie classics. We love radio day. Today we are spotlighting music from Nicholas Johnson, Kim Ware, Bottlecap Mountain, and Nick Kizirnis!

The set list includes songs from our good pal Nicholas Johnson, High on Stress (from Minneapolis, MN), Kim Ware, Librarians with Hickeys (Ohio by way of Big Stir Records), BAILEN, ODESZA, Panic Pocket, Connections (from Columbus, Ohio), POPSICKO (seriously Big Stir records roster is an impressive lineup of great indie powerpop), Iguana Death Cult, Unkown Mortal Orchestra, ALIENS, The Band of Heathens, Bottlecap Mountain, James, Genevieve Artadi, The Speedways, The 1984 Draft (Dayton, Ohio), M83, The Housemartins, Daughter, Nick Kizirnis (Dayton, Ohio), Phoenix, Beach Bunny, The Connells, Greg Dulli, Achilles Tenderloin, Steady Holiday, Let’s Active, Nicole Yun, The Tisburys and The Replacements.

We will be chatting about some exciting shows on the horizon from Nicholas Johnson, The Pinkerton Raid, Age Nowhere, Bottlecap Mountain, and more happening in our hometown of Dayton, Ohio.

Listen along from 3-6pm on WUDR Flyer Radio

Video of The Day: Quiet Signals – Quiet Signals

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Quiet Signals is Dayton Musician, Guitarist, and accomplished songwriter Nick Kizirnis has joined forces with Lung‘s Kate Wakefield for a lovely and haunting collaboration on guitar and cello. The instrumental music is dreamy, swirling, and yet gentle with an embrace of familiarity and kinship. The song takes an unexpected turn around a little before the four-minute mark and feels heavy, sinister burdened with dark intent that the listener was not expecting in the previous three minutes. The song ends on an aural cliffhanger leaving the journey unresolved.

Clearly, the duo’s previous work on Kizirnis‘ The Distance, while quite different than the current project, has allowed these two gifted musicians to generate their own sonic language. And Quiet Signals is in so many ways soft and tumultuous. We look forward to more music from them in the future.

Nick Kizirnis – guitar
Kate Wakefield – cello

from the album “Quiet Signals” released February 17, 2023.
Nick Kizirnis/Nicky Kay Music BMI

@NickKizirnis (YouTube channel)
@katewakefield1637 (YouTube channel)

https://quietsignals.bandcamp.com
https://nickkizirnis.bandcamp.com
https://katewakefield.bandcamp.com
https://lunglunglung.bandcamp.com

Video of The Day: Steady Holiday – The Balance

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Dre Babinski’s solo project Steady Holiday has a new album, her fourth, Newfound Oxygen coming out on February 17, 2023. She has been making captivating ethereal and yet down-to-earth shimmering chamber pop since her 2016 debut, Under The Influence. 2018’s Nobody’s Watching explored socio-political unrest with a fragile vulnerability that is equal parts wide-eyed concern and personal reflection.

The first single from Newfound Oxygen, The Balance, has a sound that imagines a deeply personal and yet communal emotion mixing The National, Fleetwood Mac, and Camera Obscura in a melody that calls on classic pop music signatures. Cannot wait for the whole album.

You can connect with Dre on Facebook, Instagram, Twitter, and her website.

Cool Show Alert! The 1984 Draft always Best Friends Forever

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We have good news for you Music Friends!

The new year begins with all of the vibrancy of a guitar on overload! And that is because the latest full-length album from the power-pop-punk of the Joe Anderl-led The 1984 Draft arrives this week on January 19th! The Dayton quartet’s latest record will remind you that music does still matter and perhaps it means even more today. The new album combines the urgency of The Smoking Popes with the intensity of Bob Mould’s post-Husker Du project, Sugar, thrown headlong into the pure and direct heartbreak of The Replacements. The Draft plays every song like their lives depend on it.

The first two singles await your listening pleasure now via streaming!

The new record comes our way courtesy of the fine music-loving folks at Dayton, Ohio-based Poptek Records with assistance from Sell the Heart Records and Engineer Records (in the UK and EU). You can order the 12″ vinyl now or get a copy at the big record-release show in Dayton on January 20 at the legendary Yellow Cab Tavern. And we highly recommend that you go to the concert!

And speaking of that show, The Draft has invited friends and sonic heroes like Josh Caterer (Smoking Popes), Paige Beller, Shane Sweeney (Two Cow Garage), Josh Goldman (The Raging Nathans), Narrow/Arrow, Abiyah, and Josh Arnold to play the record release celebration. Best friends forever, indeed!

Time is running out to make your plans! But today is your lucky day because we are here to help! You can scoop up your advance tickets now and save $5 off the admission to the Yellow Cab Tavern in Dayton by grabbing that ticket a few days before the big show. Be a friend of The Draft and get a ticket now.

Video of The Day: Smug Brothers – Pablo Icarus

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Ohio rock band Smug Brothers is a collection of contradictions.

The members are neither smug nor brothers, and the caddish name poorly fits these serious, veteran musicians. Furthermore, Smug Brothers could very well be your favorite rock band, especially if you love the pop virility of the Beatles, the lyrical bafflement of Guided by Voices, and the beautiful shambles of Big Star—but you may never know, because you may never see them or hear them.

Take a nap, Schrödinger’s cat. This here is a real paradox.“We’ve been doing this for 20 years,” says Smug Brothers singer and guitarist Kyle Melton, “and no one knows who we are.”One of the reasons for this is the fact that due to real-life responsibilities and a shifting lineup on Spinal Tap proportions, the band rarely performs live.

“You have to tour to make any kind of headway [in the music business],” explains drummer Don Thrasher. “You can’t just play Dayton, Cincinnati, and a few other places and get famous. Any group that has ‘made’ it has had to hit the road and play anywhere they can.”

And then, when the group does perform live, there’s an exciting yet mystifying dimension of difference between the live sound and the recorded material.“A lot of bands today are really, really good at replicating their studio sound in a live setting,” Melton says. “That eludes us. We thrive in a more controlled environment.”

Not surprising for a group that began, way back in 2004, as a one-off studio project between Melton and Dayton musician and producer Darryl Robbins (Peopleperson, TV Queens). It was only with the addition of drummer Don Thrasher, in early 2008, that the Smug Brothers became, to paraphrase Pinocchio, a real band.

Since then, Melton and Thrasher have held down a steady center among a revolving cast of additional musicians—the current lineup includes Kyle Sowash, from Columbus indie-rock stalwarts The Kyle Sowashes, on bass—and have released a series of ever-improving singles, EPs, and LPs. The band’s most recent album, Application of the Twig, is the season of spring distilled into a porch party soundtrack. Brisk and refreshing.

“While we’re not well-known,” says Thrasher, “we make well-done records. We provide a good listening experience for people who like short, catchy songs.” Melton agrees. “A lot of care and consideration goes into our albums. They are singular experiences that you will never see duplicated live.”

All of which brings the Smug Brothers’ quandary full circle. To get a better sense of the elusive Smug Brothers sound, please visit smugbrothers.bandcamp.com! Do it!