The Nearer The Fountain, More Pure The Stream Flows

The name Damon Albarn is familiar to many. Whether you know him as the front man of the famous Britpop rock band Blur, or as the voice of Gorillaz, Albarn has made his mark on the music industry. With his newest solo release, 

The Nearer the Fountain, More Pure The Stream Flows, 

he once again creates an album distinctly out of line with his previous works. Moody, wandering, and at times unexpected, 

The Nearer the Fountain, More Pure the Stream Flows 

feels like the natural progression for Albarn on his journey through music.


Damon Albarn is no stranger to experimentation. Over the years, he has created pop-rock anthems, electronic hits, and has even worked on an immersive theater soundtrack. Having achieved early success with Blur, he had the room to experiment and create what he wanted regardless of public opinion or commercial success. This has resulted in 

the revolutionary album by Gorillaz, but also far less known works such as his 2002 album 

a collection of collaborative tracks with Malian musicians. Now, with 

Albarn produces a relatively middle-of-the road record, dialing back and allowing bare instrumentation and vocalization to tell his story.


The Nearer the Fountain, More Pure The Stream Flows 

is a classic lockdown project. Contemplative and quietly dark, the whole album is imbued with a sense of weariness. In the opening and title track, Albarn conveys his feelings of loss with beautiful lyricism, allowing the words to shine through with a simple, ambient backing. “You were gone, the dark journey there / leaves no returning / It’s fruitless for me to mourn you / but who can help mourning?” he sings, voice long and low over a soft piano backing track. This flows into the second song “The Cormorant,” which pulls in the elements of “The Nearer the Fountain, More Pure The Stream Flows,” while adding a syncopated beat, moving away from a pure ballad of loss and towards a subtly disquieting, almost jazz-like track.


Throughout the album, there is a common thread of piano-heavy instrumentation, aided by drum-machine beats, sometimes featuring synth or other electronic elements. It feels as if each song is merely a continuation of the previous, threading together common elements so that each song feels more like an act rather than a distinct entity. However, despite a general feeling of continuity, there are times when the common ties are violently broken. In the fourth song, “Combustion,” an onslaught of saxophone and heavily fuzzed-out guitar seems to break through the dreamy, smoky precedence of the rest of the album, before fading back into the expected piano tracks.

is an exhibition of Albarn’s expertise. Pulling together lyricism, strong thematic elements, and masterful genre-bending, it’s an expression of one man’s thoughts and fears through the pandemic, many of which mirror our own. Forever changing and creating, it’s unlikely that 

is Albarn’s last project. It will be remembered, however, as a hauntingly beautiful, admirably vulnerable piece of work, and will continue to speak to loss and reconciliation for a long time to come.

Gorillaz front man Damon Albarn releases a hauntingly beautiful solo album

There are times when concerts feel like a recitation – where a band goes onstage to simply sing their songs, yell their thank you’s, and travel on. Sometimes, however, there is a concert that redefines the album and makes the listener wonder how they ever heard the songs in a different form. Wolf Alice at Paradise Rock Club on Thursday, November 11 was one of the latter.


Looking around at the crowd, my initial reaction was confusion. The people gathered in front of the stage were incredibly varied, a range from punk-looking college students to polo-wearing dads, all anxiously awaiting the start of the show. This collection of fans, however, was a perfect encapsulation of Wolf Alice’s sound. Their blend of timeless grungy rock with innovative, more modern electronic elements creates an effect that is widely appealing, yet still unique and niche.


After the smoky, intimate set performed by opener Bia, it was unclear exactly how the show was going to go. The crowd seemed equally restless and tired, impatient and subdued. The conversations ranged from “when is this going to start,” to “maybe we’ll try and duck out early.” It was as if the crowd was cracking with every quiet moment, as people shifted on their feet underneath the house lights. As soon as Wolf Alice walked out, however, everything seemed to snap into place.


The disparate group of fans seemed joined all at once. It was a crowd unlike anything I had ever seen. Every single person there, whether 18 or 60, seemed incredibly connected and devoted to the band. Screaming every lyric, matching the energy perfectly, it felt as if they were all collectively opening their arms and embracing the music.


Wolf Alice themselves, composed of singer Ellie Rowsell, guitarist Jeff Odie, drummer Joel Amey and bassist Theo Ellis, embraced Boston right back.


Lead singer Ellie Rowsell returns applause to the crowd. Photo: Nicole Rubin

Opening the set with “Smile,” it was immediately clear Wolf Alice was bringing their all. Each member exploded into sound, their energy washing over the crowd and into their performance. Odie and Ellis, positioned on either side of Rowsell, unfailingly engaged with the fans throughout the set. Walking to the brink of the stage in order to get as close as possible, it seemed as if they wanted as much to be in the audience instead of on the stage. Rowsell, whose voice was actually shocking in clarity and pitch, seemed to pour her soul into every word. It was both musically impressive and dynamically interesting.


Altogether, the show was surprisingly emotional. Even when the band performed more hard-rock tracks, the electricity in the crowd was palpable. In “Play the Greatest Hits,” when the fans screamed right alongside Rowsell, or “Bros,” and sang louder than the band, Ellis said, “you play a song for ten years and [you] still get floored by moments like that.” Another instance of this intense emotion was when Rowsell started crying while singing “Safe From Heartbreak (if you never fall in love),” or during the encore of “Don’t Delete the Kisses,” when a fan facetimed in their friend and yelled along to the song together. It felt as if each track was sung specifically for this crowd, for this night.


The whole time, it felt like I was witnessing something special. The show gave off the bittersweet feeling of finality, as if never again would a crowd exist in such perfect harmony. During the performance of “The Last Man on Earth,” the combination of Rowsell’s voice and the thrum of the audience’s collective sound seemed to suspend time. Odie said it best, remarking that there were “a lot of familiar faces in the crowd. It feels like homecoming.”


Wolf Alice delivered a spectacular show, spinning a rock concert into an emotional, almost transcendent journey through sound. The final thoughts hanging in the air as the audience filtered through the venue doors and into the cold Boston night were universal, and unequivocal: when are they coming back?


Wolf Alice pours their heart out to an electric crowd at Paradise Rock Club

The way we interact with music has always bred intimacy. Assigning albums to the most important parts of our lives, coding choruses with memories and listening to songs that remind us of old friends, music has always been the key to emotion. 

the new project by Grouper, seems to create its own form of closeness. Utilizing stripped-down instrumentals and soft vocals, it gives the impression of someone quietly divulging their secrets, making the album intensely personal and beautifully raw.


Liz Harris, known in the music world as Grouper, has been creating music since 2005. Since then, she has established a niche for herself, creating experimental, intensely emotional works. 

is one of these, taking the patented Grouper sound and working it into a project that shows her evolution and maturity toward the creative process.


The album as a whole displays a wide range, from the opening track “Followed the ocean,” which features fuzzed out guitar and distant, barely intelligible lyricism, to “Promise,” which has a much cleaner singer-songwriter sound. 

allows the listener to access every one of Grouper’s skills, from instrumentation to lyricism to production. It’s a love letter to music in any form, and in many ways feels like listening to her own thoughts, each song dripping with authenticity.


feels like a canvas. Permeated with instrument-heavy tracks, the distorted, distant lyricism allows the listener to fill in the gaps, painting their own meaning onto the intensity Grouper creates. It’s this effect that makes Grouper’s music so special. Not only is it compositionally beautiful, but it’s just vague enough to allow the listener to crawl inside the music, instead of just listening in. In “Basement Mix,” for example, the distorted sounds and disconnected lyricism project the feeling of uneasy melancholy wholly and effectively. It’s a phenomenon hard to find in other artists, the process of interacting dynamically and personally with a recorded set of music.


doesn’t only display instrumental aptitude, but also lyrical mastery. The highlight of the album, “The way her hair falls,” combines simple guitar picking with the repeated lines, “It’s only me to see something pretty inside the day / The way her hair falls.” In many of Grouper’s songs, the reason the lyrics are beautiful is not only the way they’re written, but also the way they’re used. Often utilizing only one or two repeated verses, the gentle way they’re delivered more than make up for a lack of lyrical range. In “Promise,” the arc of “I know you’ll take care of me / and I like that” to “And I promise to take good care / of your pretty blue eyes / and your long blonde hair,” shows that sometimes simplicity is even more effective.


Grouper delivered a moving, personal album. Stripping down the usual musical conventions, she created a project that is incredibly simple, special, and real. Whether you’re looking for experimental instrumentation or touching lyricism, 

Grouper’s "Shade" is a love letter to music in any form

The scene outside the House of Blues was one uniquely Boston, a swirling crowd of yelling baseball fans, impatient bar-goers, and early general-admissioners waiting to attend the “Pop Punk’s Still Not Dead” tour by New Found Glory with openers Less than Jake and LØLØ. Positioned across the street from Fenway Park, the packed street bristled with energy, a palpable anticipation forming as the sun began to dip behind the towering stands.


Immediately after arriving, LØLØ was spotted standing against the brick exterior. Wearing a cropped Red Sox shirt, a plaid skirt, skull tights and platform black boots, she looked like a walking picture of Avril Lavigne from 15 years ago, paying homage to her genre and influences. She was approached by several fans, who she emphatically talked to and took pictures with before waving goodbye and disappearing through a set of show doors, beginning to prepare for the concert.


House of Blues is a venue that values both practicality and beauty. A large stage, framed by a set of stained-glass motifs and art-deco columns, faced out over a massive room. The mezzanines stood imposingly over a large floor area, walls lined with a stunning array of pictures and portraits. It was a shrine to art of every and any form, a place where one could stand and bask in the music.


The floor was sparse when LØLØ came out. As the first opener, those who were there either came specifically for her, or were diehard fans of the headliner willing to wait a couple hours for a barricade spot. Despite the mellow atmosphere, LØLØ brought with her an intense energy, starting off with a bang with “Death Wish,” a single she released earlier this year. The first impression, and general theme, of her performance was fun. Smiling the whole time, pumping her fist, and jumping along to the heart-pounding rock, she looked like she was having the time of her life, despite an unresponsive crowd.


As LØLØ was one of the openers for New Found Glory, a rock band formed in 1997, the concert-goers were overwhelmingly middle-aged, revisiting their punk eras in line with the name of the tour, there to connect with a band that rose to prominence 20 years ago. LØLØ, a younger Canadian singer who gained her popularity on TikTok, was likely not on their radar. This fact was not unknown to her, as she began her set by yelling “make some noise if you don’t know who the fuck I am!” which was greeted by her largest cheer of the show so far. Despite this, she displayed the same amount of energy and engagement as someone performing in a sold-out stadium, speaking to her commitment to the music. She was there to play her songs, have a good time, and share her music, no matter the crowd.


As the show progressed, she began to connect more and more with the audience. “Dear First Love,” part of her 2020 EP by the same title, got people on their feet and moving despite not knowing the words. “Hate U” even got people singing along as LØLØ whipped her hair on stage, showcasing a natural showmanship that came with a love for the music she was performing. The highlight of the show, however, was her cover of Wheatus’ iconic punk song “Teenage Dirtbag.” Including this song in her set was not only a nod to the genre she is breaking into, but also an incredibly strategic way to connect with a disconnected audience. Capturing the crowd’s attention, she sang with the same electrifying energy, playing off the audience by putting a wig on her guitarist, talking to the crowd and delivering her modernized spin on a classic.


Ending the set with a yell of “Boston I fucking love you!” LØLØ never let her energy die. Both musically and performatively impressive, she delivered a spectacular show to a less than desirable crowd, marking her as an artist dedicated to her craft, and cognizant of the path she’s taking toward recognition. As she begins to accumulate her own following, her future shows will be characterized by a vigorous energy and a love for performance.


LØLØ delivers a spectacular show to an unresponsive crowd at House of Blues

Sometimes an album can speak to experience; but rarely does an album speak to the soul. 

Hovvdy’s fifth album since 2016, is one of these projects. Conveying a sense of gentle relatability, 

embraces the growing pains of relationships with an unforeseen maturity. Employing softly intellectual lyricism and complimentary instrumentals, 

serves as a salve, one of the most raw, yet most comforting albums of the year.


Hailing from Austin, Texas, Charlie Martin and Will Taylor have been creating music together since the release of their debut EP 

 in 2014. Since then, they have made a name for themselves as lyrical masterminds, spinning tales of the simplicities of everyday heartache with soft indie-driven backings and tender vocals. Employing sounds from Midwest emo to electronic, Hovvdy displays an aptitude for any genre that can carry their lyrics. This range is clearly illustrated in 

offering enough variety that each song can stand on its own while still creating a cohesive album.


as an anthem of heartache. Simple and lyrically driven “Sometimes,” the first track, establishes the thematic elements shown throughout. “I will always look up to you / often laugh about your smile / even though it’s hard to / I will surely move along.” These opening lines illustrate the simple, refreshingly direct lyricism one can expect from the rest of the songs, paired with something always unexpected in indie rock: maturity.


In addition to the musicality shown throughout the project, there’s a sense of acceptance and accountability that distinguishes it from others of its kind. For once, it seems an indie band isn’t perpetuating toxicity for the sake of being toxic. Instead, Hovvdy carries listeners through the range of emotions that exist in the gray between breakup and reconciliation, approaching the subject with a soft maturity that recognizes hurt as an essential part of growth. From the third track “Lake June,” where their own weaknesses and uncertainties are exposed, to “GSM,” where they chronicle the feeling of holding love for someone they’ll never see again, Hovvdy lays bare the inner thoughts of every person in the wake of personal change. From songs like “Blindsided,” where the instrumentations and lyrics of accountability are heartbreakingly beautiful, to the final track “I Never Wanna Make You Sad,” where lyrics such as “Find a new normal / we’ll be alright” show an acceptance of an unexpected reality, Hovvdy speaks to everybody with an intensely, painfully relatable project.


Delivering an album that goes above and beyond expectations, Hovvdy has reaffirmed their place at the top of the soft indie rock genre. As a deeply personal, yet widely relatable project, 

speaks to the experiences of every listener, offering consolation and solidarity to those navigating the murkiness of heartache.


With "True Love", Hovvdy reaffirms their place at the top of the soft indie rock genre

LØLØ, a burgeoning star in the indie pop-punk scene, sat down to talk with WRBB’s Lexi Anderson about touring, inspiration, TikTok, and Taylor Swift. Read the full conversation below.

 How have you found touring? Do you have a favorite city that you’ve visited?

 Touring has been awesome. I didn’t know what to expect because it was my first tour ever, but yeah, it’s just been amazing. I’m really happy because I was scared that I wouldn’t like it, but I love it. Favorite city is hard because we don’t get to spend that much time in each place, but I really loved Seattle, I loved being there. And then Denver and Salt Lake City I think are some favorites, the shows were amazing, and the audiences were amazing.


Doing some research on you, you have a really big following on TikTok, particularly surrounding your rewrites of popular songs. How do you think being on TikTok has affected your career, as well as your overall sound?

Totally. Well, for one, it made a lot more people know about me when I did those perspective covers, so that was awesome because I feel like I was able to not just do covers that were boring, but I actually got to show my writing side and those skills. I feel like that led people to my page, and then from there, led people to my actual music. So for me, that was awesome, and TikTok has just helped me get more well known amongst people and has just gotten my name out there. I need to post on TikTok more, I was really good last summer, and I just got busy, but it definitely helped so much.


Billboard compared you to “pop punk legends like Avril Lavigne and Paramore.” Do you identify with this? Who are your inspirations?

Yes, I definitely identify with that. When I was younger, I used to practice to Avril Lavigne CDs all the time so that was a sick comparison. She’s one of my idols. Same with Hayley from Paramore. On tour every night, I actually go on with New Found Glory and sing her part in one of their songs which is so sick – I really hope I do her justice. But yeah, those totally identify with me. When I saw that article, I definitely cried of happiness. Those two plus Green Day, I would say, were the main ones that I looked up to as a kid.


You’ve been really open about how your own feelings and life experiences have influenced your music. What’s your process for channeling your emotions into what you create?

Well I think for me, I didn’t used to be so open. I used to keep a diary as a kid, and I would always let out my feelings because it would just make me feel better. So, I would write down everything that happened. When I actually first started playing guitar, and my guitar teacher suggested that I write songs, I was like, “no chance in hell I’m doing that,” because I was a very private person, and I was like people reading my diary? Fuck no. But he kind of forced me to write a song, which I’m super grateful for now because I’m obsessed with it. But in the end, I guess I was always used to letting out my feelings. So in terms of songwriting, I guess for me it’s just letting out my feelings and writing a bunch of shit, like how I’m feeling. From there, I usually just turn it into lyrics. I’m like okay, that’s a cool word. Like that would be a cool song title. But for me, it’s definitely songs and lyrics first, and a lot of songwriters I think write the melodies first but I’m a lyric person. So yeah, I think it all stems from as a kid just writing everything down.


In addition to Instagram, TikTok and your music streaming platforms, you also have listed in your bio that you have a Depop and a Discord. How do you connect with listeners and fans outside of just music?

Yeah, I love the Discord and love the Depop. I think it’s really cool and important, especially these days where we have so many apps and different ways to talk to people. I honestly hate calling my fans that. Like I feel like they’re my friends. I love chatting with them and I DM them. You know, I think the Depop thing is super cool because I think it’s sick not just to like music, but I’m also really passionate about style. And that feels like a really cool way to mix mediums. And with Discord, we just talk about hilarious things, and it’s just really random. But I think it’s cool because back in the day, people weren’t able to connect to their fans like this. And now, I could just DM one of my fans and just talk to them. After we’re heading to the next city, someone messages me, “Oh, I loved you.” And I’m able to have a conversation with them. So, I feel like that’s really, really special.


You have an album coming out soon, what are your feelings leading up to the release?

I’m super excited. This is definitely my favorite body of work I’ve ever created. I just love every one of the songs. I’ve been maybe ready for a while; I’ve just been waiting for them to be released. I’m just really, really excited that people will get to hear them and they’re not just going to live on a private SoundCloud playlist anymore. But yeah, I just hope everyone likes it, I’m really obsessed with it. I think it will be good, I hope.


They can expect a lot of overkill! A lot of you know, crazy lyrics and a bit of psycho-ness. But just the perfect amount of specialness, I think. Just fun, fun songs about everyday things. I don’t even know how to explain it. ‘Unhinged,’ I’ve called my lyrics before and my songs. I feel like they’re hype and unhinged, so they can expect that.


You’ve amassed over half a million monthly listeners on Spotify, and you’ve been mentioned in major music magazines. What was that journey like? How does it feel to be gaining this type of recognition?

It’s definitely been a journey. I mean for me, I just started out in the music industry. I really had no idea what I was doing, I wasn’t signed to a label, I didn’t have any connections in the industry. I was just kind of like, well here we go. I just started putting music out and it’s been really sick. I feel lucky that people have liked it, and it just kept building and growing. I just hope for it to keep building and keep growing. I don’t really know what I’m doing, I’m just hoping for the best. So yeah, it’s been a journey.


If you could collaborate with any current musician, who would it be and why?

Well, my dream has always been to sing the hook on an Eminem song. That would be a dream collaboration. A dream writing collaboration, I would say Taylor Swift, because she’s the best songwriter of our time. I would just love to see how she writes and pick her brain. I think it would be great.


Besides the rest of your tour, and the album release, is there anything on the horizon that listeners can look out for?

Yeah, we have the tour, and we have the EP release, and then yeah, they can look out for more music after that. I’m already planning the next EP. I have a lot more new music and I’m ready to put it all out there. I’ve been kind of waiting around on a bunch of stuff, but I think starting in the new year I’ll definitely be putting out even more music. And hopefully with a lot of the COVID stuff behind us, I’ll be touring more.

LØLØ will be coming to the House of Blues in Boston on October 5 with New Found Glory, Hot Mulligan, and Less Than Jake. You can buy tickets 

Q&A: LØLØ talks touring, TikTok, and Taylor Swift

Bedroom Discotheque, a collaboration between WRBB and LMA, takes place on Wednesday, April 14, from 8-9 p.m. EDT! Take a minute to get familiar with Maude Latour, and we’ll see you at the show.

Harnessing the fleeting feelings of youth, love, and life with her upbeat indie-pop instrumentals and introspective vocals, Maude Latour is here to make a splash at Northeastern.

The 21-year-old New Yorker has made a name for herself as a rising star in the music industry, reflecting her own thoughts and commentaries on the world into electronic, danceable tracks. Amassing over 660,000 monthly listeners on Spotify, Latour’s 2019 debut EP 

– along with her latest three singles – provide a fresh and meaningful listening experience.

With upbeat, groovy rhythms and infectiously catchy choruses, Maude Latour is here to get people on their feet. Her transcendent lyricism and lively musicality will get you thinking, but most of all, will get you dancing.

WRBB and LMA are excited to host Maude Latour as the opening performer for their Spring Show, taking place on April 14 from 8-9 p.m. EDT (NU only). When it’s showtime, join at the link 

Meet the WRBB x LMA Spring Show Lineup: Maude Latour

Capturing the elusive feeling of wistful longing, The Paper Kites’ new collaborative album 

is chock-full of slow ballads that are bound to draw tears from any listener. From love songs reminiscent of the ‘80s to gentle acoustics, 

is a full-ranging album that draws from every corner of The Paper Kites’ repertoire, skillfully matched with guest vocals to make a unique but unmistakably nostalgic project.

The Melbourne-based indie-folk band has been delivering quietly impactful albums since 2009, but 

their first collaborative album, uses female vocals in a way the band never has before. From Irish folk singer Rosie Carney to Australian singer-songwriter Ainslie Wills, The Paper Kites compile a wide-ranging, global list of collaborators that elevates the band’s already strong indie acoustic presence. Employing layered vocals and barely-there guitar to prompt visceral feelings of love and yearning, 

is one of their strongest releases to date.

The central theme throughout the album, like many albums before it, is love. The way The Paper Kites approach it, however, is with a soft touch, commenting on the little moments of heartache and longing, each song infused with soulful lyrics and tasteful harmony. 

as a whole is imbued with a sense of gentle sentimentality, a soundtrack to bittersweet memories. “Take Me Home (feat. Nadia Reid)” conjures the feeling of staring out of a car window, watching the scenery fly by while the mind wanders to a faraway love, while “Steal My Heart Away (feat. Ainslie Wills)” brings back memories of high school dances and young crushes with its synth-laden beat. Each song paints its own picture, drawing a distinct memory with its unique usage of vocals and melody.

stands alone compared to The Paper Kites’ previous works. With their fifth studio album, the band has allowed themselves to break out of the mold of the upbeat, instrument-forward indie pop they have created in their previous albums and EPs. Incorporating imagery of flowers and roses, the writing on the album is more nuanced than their previous works. “Climb on your tears / like a ladder to a rose,” from the second track “Climb on Your Tears,” demonstrates pain through metaphor, employing slow melody and emotional vocals to make a moving, personal song. Even in their more upbeat tracks such as “Steal My Heart Away,” the lyrics carry the song: “And the light was creeping / down, down, down / While we were sleeping / Suddenly we hit the ground.” Each singer is paired with a track that uniquely compliments their voice, a decision that makes otherwise similar indie ballads stand uniquely on their own.

Though new to The Paper Kites, this genre of soft piano and introspective vocals isn’t new to the music scene. At times throughout the album, the lyrics seem to reach too far into the deep and philosophical, coming off as contrived instead of groundbreaking. Despite the slight pretentious hue that colors the album, 

still stands as a beautiful example of its genre. Maybe the album isn’t redefining indie, but it’s doing what it does well.

With each track, including the acoustic exposition “Walk Above the City (feat. MARO)” and the quiet piano of the final track “By My Side (feat. Rosie Carney),” 

delivers a soulful, beautiful depiction of love. 

announces a new era for The Paper Kites, one focused on lyrics, vocals, and collaboration, which will define the band as both masterful and versatile.

The Paper Kites’ first collaborative album ‘Roses’ announces a new era for the band

An intimate portrait of struggle, heartbreak, and triumph, Adult Mom’s new project 

 chronicles the in-between moments of life, describing with brutal transparency the pitfalls and triumphs of being in love with another, and reconciling with oneself. From upbeat redemption ballads to slow, honest descriptions of anxious heartache, 

 is a complete anthology, a relatable, and at times uncomfortably truthful, collection that speaks to the human experience.

Beginning in their dorm room in Purchase, New York, Stevie Knipe has been creating under the name Adult Mom since 2012. Characterized by well-crafted, honest lyricism and masterful musical layering, Adult Mom has made a name for themself within the indie rock genre.

Ranging from confessional to exhilarating, 

 displays a full range of emotions. “Passenger” opens the album with slow acoustics and close harmonies, spinning a tale of time and healing. On par with the rest of the tracks, the lyrics are unflinchingly real. From flashbacks to a relationship (“You’re a lover, I am not / And that’s why I loved you / That’s why I loved you”) to raw self-reflection (“I was a passenger in your car / And now I’m ghost who won’t answer a call”), the exposition to 

 is a solid encapsulation of the album as a whole.

 is an emotional confrontation, addressing the minutiae of life superimposed over dreamy guitar and complex rhythms. From frustrations with capitalism in the upbeat pop tune “Breathing” (“I am isolating, I get my communication / From an overdue hospital bill / I can’t afford to pay so I hide it”) to the fluttering feelings of new crushes and nostalgia for those who got away in “Wisconsin,” Adult Mom’s Dolores O’Riordan-esque vocals create a feeling of peering into their life and finding similarities to one’s own.

 represents growth for Adult Mom. Their 2015 album 

 holds a younger feeling, as if they’re broadcasting from their dorm room, teetering on the edge of finding their identity. Now in 

, there is a sense of triumph running throughout the album, in “Adam,” where they come to terms with their sexuality – “I see the girl I want to kiss / But I’m not sure if she wants to kiss / But at least I can ask without feeling like shit,” – or in “Sober” – “Now I don’t even think of you / When I am sober.” There is a feeling of tired victory throughout 

a chronicle of fighting through young adulthood, and finding oneself on the other side.

 is a symbol of evolution for Adult Mom. It is a depiction of their growth from

 both as a musician and as a person in the modern world. A mix of rock, indie, and pop, 

has something for everybody. With infectious choruses and brutally honest lyricism, Adult Mom has once again proven themself as a creative and complex artist.

Adult Mom’s ‘Driver’ is imbued with a sense of triumph

King Gizzard & The Lizard Wizard have made a name for themselves as the forward thinkers of the psychedelic genre. With a sound reminiscent of ‘60s experimental rock, K.G.L.W. have continually pushed the boundaries of convention, accumulating a huge cult following and garnering praise across genres. Now, with their latest album 

, something has happened that is uncharacteristically unlike the band: they’ve stalled.

K.G.L.W. have built their brand on top of perpetual motion, constantly innovating their sound to the point where each album bears little to no resemblance to its predecessor. The Melbourne-based band has been so prolific and varied in its work that Wikipedia categorizes it under six genres, ranging from heavy metal to acid rock. Now, with the release of sister albums 

they seem to be borrowing elements from their discography.

exhibits solid writing and musicality using K.G.L.W.’s patented blend of punk, metal, and groovy psychedelics, the album as a whole seems to serve as a conglomeration of their previous works, a middle ground between the scattered genres of their earlier albums. The funk-driven opening track “If Not Now, Then When?” is reminiscent of their 2017 album, 

defined by a grooved-out bass line and steady vocals, whereas the seventh track “Ataraxia” is more akin to their past project

exhibiting less of a runaway melody than other songs on the album.

Despite inconsistencies in the album as a whole, however, 

still shows off the strong compositional skills K.G.L.W have shown over the last ten years. Individually, there are no weak links. Each song exhibits the thread of psychedelic experimentation that K.G.L.W. are characterized by, running in the background of hard rock, such as in the final track “K.G.L.W.,” or metal-esque vocals like in the third song, “Pleura.”

Regardless of genre, K.G.L.W.’s songs have always provided a visceral experience. The tracks on 

are no exception. Whether it’s “East West Link,” which gives one the feeling of looking into a kaleidoscope with its swirling melodies and softened vocals, “Ataraxia,” which sounds like the soundtrack to an old-school space adventure film, or “Supreme Ascendancy,” whose MGMT-like sound and repeating chorus of “you’re not above the law, no matter your beliefs” evokes the feeling of being at a ‘60s rock show, the complex musical layers of K.G.L.W. are so engaging that they’re borderline visual.

doesn’t display the forward thinking expected of King Gizzard & The Lizard Wizard, the individual tracks each stay true to the blended, groovy sound the band is known for. 

stands as a middle ground for K.G.L.W., a fusion of their previous works into a distinctly King Gizz album, a punk psych journey that leaves the listener wanting more.

King Gizzard & The Lizard Wizard lose momentum on ‘L.W.’

Saddest Factory / Dead Oceans · February 12, 2021

is a dreamy anthology of love and longing. Combing the hallmark smooth synth of bedroom pop with indie’s soft acoustics, Claud composes everything from slow, melodic ballads (“Rocks At Your Window”) to songs of upbeat redemption (“That’s Mr. Bitch To You”), creating a well-rounded and well-executed project.

As the first artist signed to Phoebe Bridgers’ Saddest Factory Records, 21-year-old Chicago native Claud Mintz has been releasing music since 2018, originally under the pseudonym Toast. 

is their first full length album, displaying a care and refinement that will come to define the artist as a leader in the bedroom pop genre.

The opening track “Overnight” serves as an introduction to the album’s core themes. With lyrics of endless daydreaming and the giddiness of new love superimposed over steady drums and easy, meandering guitar, “Overnight” borrows elements from new-age indie pop while retaining a nostalgia reminiscent of 2000s love ballads. Perfectly encapsulating the butterflies of a first kiss with distorted, idealistic vocals, the exposition to 

parallels the dizzy sweetness of the start of a relationship.

Conceptually, the album displays an incredibly well-thought-out collection. While maintaining a consistency in style and subject matter, 

 artfully dodges the trap of monotony that bedroom pop artists often fall victim to. A perfect representation of the roller-coaster of relationships, 

illustrates the deep-rooted emotions that come with falling, loving, and letting go.

Defining all the stages of a relationship, the album highlights the peaks and pitfalls of love in the modern world. In “Overnight,” Claud sings of first kisses and persistent thoughts, with lyrics such as, “I thought you would never finish the slice on your plate / But then you leaned in and the nerves went away.” Following the arc of the relationship to “Gold,” the luster of new love has dulled, illustrating the pain of realizing a one-sided relationship through a funky bassline and repeating chorus: “Don’t say you were there when you weren’t / ‘Cause I don’t think you were there when I was hurting.” By the third track, “Soft Spot,” Claud chronicles the lingering feelings that follow a breakup and the heartache that comes with loving someone they don’t see anymore. From the bitterness in “Pepsi” (“I hate that you told me to masturbate instead of comin’ over/ I hate that I’m riding roller-skates and you just bought a Range Rover”) to the spunky Avril Lavigne-esque guitar in “That’s Mr. Bitch To You,

perfectly captures the sharp nostalgia of a coming-of-age romance.

artfully tells a story of love and heartbreak through an arc of synth-laden ballads and upbeat indie pop, marking the burgeoning artist with a sign of success. 

stands on its own as one of the most unique bedroom pop albums of the year so far, setting a precedent of colorful storytelling and masterful musicality for Claud’s future works.