, Samia tries to pull away from the “sad girl” aesthetic to dig deeper into her style and illustrate bittersweet emotions in a more complicated way. However, this attempted departure falls short. 

 feels like Samia leaned into the wrong parts of the style that felt so strong and promising in her debut, 

 The first track of the album, “Kill Her Freak Out,” is an intense opener that manipulates the time by emphasizing unexpected moments and coming in on syncopated beats. Yet as with much of the album, it feels like she is trying too hard to be interesting. making the intended emotionality feel hollow. 

A standout track on this record is “To Me It Was.” This song feels warm and genuine, striking a chord in a unique way. Its instrumentation features gentle drums and a slide guitar – demonstrating the impact that living in Nashville the last couple of years has had on her sound. The richness of this influence shines throughout the record, a new layer that did not exist on her debut album that she wrote while living in New York City. The song ends with a voice memo of her mother singing her the song that Samia’s grandmother and namesake would sing to her. “To Me It Was” demonstrates that Samia has the ability to create tracks that are incredibly impactful and tell incredible stories with lyric; unfortunately, the majority of the album doesn’t capitalize on that same promise.

The whole work, and title track in particular, center around the concept of honey. 

In her bio on the website of her record company

, Grand Jury Music, she explains that honey describes the feeling of being drunk, “this sort of viscous slow, thick, heavy feeling. It’s the feeling of being under this beautiful blanket of something without having to face reality.” Though some tracks are heavy, it is hard to place this feeling in the highly produced record.

Samia is young, with incredible vocal talent and a distinctive style. She utilizes strong, high vibrato and confessional lyrics and storytelling; sometimes this strikes the perfect balance for an emotional indie track that the listener can relate to while still wondering what exactly happened to inspire it. A few tracks on 

 – “Sea Lions,” “Dream Song,” and “To Me It Was” – strike this balance and show off her growth. Sadly, the rest of the tracks miss the mark and leave listeners wondering where Samia is going as an artist and what exactly she is trying to convey. Samia shows great potential as an indie artist who could join the ranks of Phoebe Bridgers and Lucy Dacus, but 

 demonstrates that she still has a lot of growth to do before she truly finds her footing.

Samia fails to find her voice as 'Honey' rings hollow

Lovingly referred to as the princess of pop-punk, Avril Lavigne’s music defined the rock-out, teenage angst jams of a generation. In 2002, her first record, 

, gave us anthems like “Sk8er Boi,” “Girlfriend,” and “Complicated,” influenced by other giants of the genre like Green Day and Blink-182. Now, the princess reclaims her throne with her high-energy seventh studio album, 

The album is nostalgia — packaged in loud, upbeat joy and dancing, rather than subdued golden hues. This sense of joy permeates through every drumbeat, lyric, and track title. From the first downbeat, 

 is exactly what classic Lavigne fans would want it to be. The opening track on the album, “Cannonball,” wastes no time and comes in fast and hard. With heavy guitar and distorted vocals, the song’s energy leaves the listener with no doubt that Avril Lavigne is back and better than ever. Despite its roots in the past, the album feels incredibly fresh. Often, artists return to their original schtick after other attempts fall flat, which can feel like disingenuous pandering. But Lavigne’s new album is a celebration of her growth and journey, not a denouncement of it. After getting discovered at 15, she endured the stresses of pop stardom and being a young woman in the industry without ever being overtaken by them. Now, at 37, this album marks a happy chapter in her life and reflects the comfort and joy she feels in this moment. In an interview with 

, Lavigne described her vision for the project: “My message is know who you are, and trust who you are. A lot of these songs are about having the strength to walk away if someone doesn’t see that. I wanted to make sure I wrote music that people could relate to. It’s about valuing yourself and knowing you’re enough. It’s really a love letter to women.”

showcases less variety than Lavigne’s other projects. Although she is an adept writer of power ballads, the album is composed of 34 minutes of strictly upbeat pop-punk made the old-fashioned way. “We used live guitars and live drums and didn’t hold back, and just got to do exactly what I wanted and what I feel like I’ve probably wanted to do for a long time,” said Lavigne in the Entertainment Weekly interview. The drums are the driving force of the record, pushing the songs forward and leaving no space for the listener’s attention to wane, in the very best way. Their sound is unmistakably true to the genre; not surprising, as they’re being played by Travis Barker of Blink-182 and Mod Sun. The album also features Machine Gun Kelly (“Bois Lie”), blackbear (“Love It When You Hate Me”), and Blink-182 co-lead vocalist Mark Hoppus (“All I Wanted”).

The album has no skips, though some tracks hit harder than others. A standout of the album is “Bite Me.” This track hits a sweet spot, with catchy hooks and vocal variations that are distinctly Avril Lavigne.

In a cultural moment where so many new pieces of media feel like cheap pandering and repackaging of old classics, it is incredibly refreshing to have a work of nostalgia that feels genuine and fresh. Avril Lavigne proves – once and for all – that her crown as pop-punk princess was well-earned. And 20 years after “Sk8er Boi,” 

 proves that it may be time to declare her the 

 of pop-punk, a throne she certainly is not giving up anytime soon. Long live the queen.

"Love Sux" proves Avril Lavigne is the queen of pop-punk

Big Thief is an indie folk rock band composed of lead singer Adrianne Lenker, guitarist Buck Meek, bassist Max Oleartchik, and drummer James Krivchenia. The group has been prolific since their debut album 

 in 2016 and has received growing acclaim in recent years — including three GRAMMY nominations and a 2021 performance at Gov Ball. Despite their new popularity and prevalence on coffee shop playlists, the group has stayed true to the experimental and raw emotionality of their work. Big Thief encapsulates this originality more intimately than ever before in their fifth studio album, 

Dragon New Warm Mountain I Believe In You

explores what it means to come back together. The album was created out of the band’s efforts to find out who they are and how they fit together after the isolation of COVID-19. The double LP consists of 20 songs recorded over five months in four different locations across the United States: upstate New York, Topanga Canyon, the Rocky Mountains, and Tucson, Arizona. The band describes the sessions on the album’s 

: “all 4 of these sessions, in their varied states of fidelity, style, and mood, when viewed together as one album seem to stand for a more honest, zoomed-out picture of lived experience than would be possible on a traditional, 12 song record.” The album is saturated with familiar feelings. At a glance, it conjures the feelings of a long journey — a cross-country roadtrip, the drive home from a hike, the sunset montage after a protagonist has learned something profoundly important. It feels warm, yet bittersweet. It feels like coming home knowing that the place to which you are returning has changed, but so have you. In listening deeper, each will find their own thread of sentimentality within the music.

The process of the five-month journey allowed Big Thief to be more experimental and explorative than ever. By creating in nature, they also created 

 nature, at one point even “recording the sounds of shattering icicles on the title track.” As a result, 

, the track has “actually captured, or archived, energy of that ice in that winter in that point of the world.” Someone familiar with the setting in which the songs were created — the forest, canyon, mountains, or desert — will likely be able to feel the energy and essence of that place shine through on the tracks.

Many songs on the album are distinctly folk in genre and instrumentation, featuring the fiddle and twangy vocals. A standout song of the record, “Spud Infinity,” even highlights the mouth harp. Other tracks like “Simulation Swarm” provide more of the indie rock feeling that fans of popular past tracks like “Paul” or “Masterpiece” may be yearning for.

 contains many tracks that stick with listeners — notably, the title track and the understated gem, “Promise is a Pendulum.” Big Thief has managed to create an experimental and varied album that still holds a cohesive atmosphere. Its 20 songs were painstakingly selected from 45 that the group recorded over those five months, with each member leaving behind many tracks they loved. Listeners will find themselves faced with a similar challenge as they select their favorites to ruminate on until the time comes for them to embark on a journey that demands the entire soundtrack.

With "Dragon New Warm Mountain I Believe In You", Big Thief creates a gem

 is the sophomore album of the Dutch alt-rock quartet Pip Blom. The quartet is led by a vocalist and guitarist of the same name and her brother, Tender. The siblings grew up listening to their parents’ British rock records and these influences are the foundation of Pip’s musical identity; some have even referred to the group’s musical genre as neo-Britpop. Music runs deep in the Blom family. Mom Blom was the sound engineer for 

’s punk band in the 1980’s (the Rolling Stone’s use of “Pop Blom” was my favorite part of this review). Pip has a casual and unconventional approach to songwriting; in a 2019 interview with 

, she explained that she likes to watch documentaries while playing the guitar and when she “play[s] something on [her] guitar that stands out more than the documentary does, then that becomes something [she] should use.” The final product maintains this quirky, laid-back energy.

 doesn’t make any big splashes or seem like it has much to say. The production of the album feels muddy – the balance between the vocals and instrumentation feels off kilter, with the drums and guitar obscuring Blom’s vocal melody. Instead of building together, the parts obfuscate each other and operate in competition. The mix feels oversaturated with guitar and makes the listener strain to find the hooks and catchy verses that pop is known for. This is largely stylistic; “Blom has said that it’s fine if listeners don’t hear all her words; she ‘finds the melody more 

.’” But, for the most part, these melodies lack the intimacy and substance to foster that personal connection. The songs have repetitive, sometimes droning, lines that fail to hold the attention of the listener. This could be an advantage if someone is looking for a pleasant song to zone out to but comes up short for those looking for a bop.

Despite the fuzzy feeling of the record, there are several tracks that are worth a listen. “Different Tune” is a slower track that provides Pip’s vocals an opportunity to shine through less obstructed. She sings about her doubts in a relationship: “We’ve tried moving, but we’re frozen / Don’t know how to get around / Watch a movie for distraction / Bad idea is one word now.” The 

 of this song is even better, which reinforces the idea that perhaps their biggest obstacle is their stylistic production. The standout of the album is “Faces.” On this track, the quartet’s quirks and style finally come together. The listener gets to appreciate Pip’s songwriting and lyrics, as well as a really fun guitar part, finally working together in a way that the other tracks leave you yearning for.

Pip Blom – as a band, and Pip as a songwriter – have a lot of potential. When they shine through, Pip’s vocals are clever and charming. But, their quirky production and Britpop influences leave their tracks feeling fuzzy without providing the listener quite enough to hold on to. Despite these shortcomings, 

 has some shining moments that demonstrate undeniable talent and spark. Hopefully, by their next release, Pip Blom will hit their stride and bring forth tracks that will break listeners out of a daze rather than lull them into one.


Pip Blom’s sophomore album, "Welcome Break", comes up short

is the fourth album Kaya Wilkins has released under her stage name, Okay Kaya. In her Spotify description, Wilkins describes herself as “Singer-crywanker, Maker of Smut pop, Kind of like seasoning, A little someone for anything, Meme approved, Bottom.” The tone of this description encapsulates the tender and intimate, yet ironic and detached feelings of Okay Kaya’s music.

consists of nine tracks, five of which are cover versions of songs from her previous albums. The instrumentation of the album is very sparse; most tracks are only vocals and one instrument. She created the album as a way to reconnect with her listeners. This desire for connection reverberates throughout the tracks, which are saturated with raw and tender emotion. Wilkins’ vocals provide the perfect vessel for these sentiments. She displays great range with an especially powerful control of lower octaves, and the timbre of her voice is warm, yet fragile; these components combine to make something profoundly special.

The atmosphere of the album is haunting at times – the songs are slow and emotional, with few additional elements to pull the listeners away from the intimate vocals. The cover songs are stripped versions of previously released tracks, while the originals feature faster, fuller instrumentation with more pop and rock production. The covers are starkly different from their originals, but not necessarily better. Wilkins definitely succeeds in her goal of creating deep connection and conveying deep emotions. However, the original tracks provide much more variation for the listeners to enjoy and hold onto – and frankly, more fun. The original release of “Psych Ward” featured an upbeat rock sound that played well with the flippant, ironic tone of the lyrics; “I am a very patient patient waiting / Everybody argues an awful lot in the psych ward.” The haunting tone of the cover version muddles this irony, leaving the listener feeling unnerved.

The dynamic, emotional fluctuation of “Without Her” makes it the standout track of the album. The tone begins tender and bittersweet, then shifts only for a moment to wistful happiness before her voice finally breaks and is overcome by sadness. The listener is drawn into this moment, but the track soon ends, leaving them to grapple with the same loneliness Wilkins explores in the song.

Wilkins demonstrates an effortless control of poignant emotions that is paralleled by few other artists. 

is a powerful, intimate album that connects her deeply to listeners. However, the stripped cover versions of her songs are unlikely to overtake their more developed originals. If a listener is ready to feel vulnerable, this album is the perfect soundtrack for the loneliness and longing that seasonal depression may bring.


Okay Kaya’s voice is the perfect vessel for the haunting intimacy of "The Incompatible Okay Kaya"

 album is the culmination of three periods of reflection, collaboration, and contemplation led by Esperanza Spalding and her cohorts in a project of the same name. Esperanza Spalding (also known as Irma Nejando or i.e.) is a renowned vocalist, bass player, and artist of many genres and directions – notably jazz and classical. She has been awarded six Grammy Awards for her albums and compositions; in 2011, she beat out Justin Bieber, Drake, Florence & The Machine, and Mumford & Sons for Best New Artist for an 

 is composed of 12 songs, or Formwelas, that investigate human resiliency and the healing nature of music. Songwriting is usually an experience of private reflection that elicits different subjective effects in each listener. The SAL project turns this private, implicit process into an explicit collaboration between musicians and listeners. It is not a work that is meant to be consumed in one sitting. Each Formwela has an explicit purpose that it was written to serve; these descriptions are not included with the album on streaming platforms, so to truly understand each piece, listeners should read the synopses on the project’s 

The first three Formwelas were created in Wasco County, Oregon during the very beginning of the pandemic. During this time, Spalding returned to her home state and found herself fostering deep connections with the land and people. These first three compositions are very gentle and contemplative. Their “ingredients,” or the researched intention behind each musical component, are stated explicitly – an in-depth explanation of the songwriting process that listeners seldom see presented so directly. From this period, “Formwela 3” has the most to hold onto in the framework of a traditional song and features a sax line by jazz giant Wayne Shorter – a mentor and frequent collaborator of Spalding.

The next iteration of the lab (Formwelas 4, 5, and 6) was composed in Portland, Oregon as a partnership with Corey King. Spalding writes 

 that she and King found a common desire “for a song to enhance [their] ability to communicate what is most difficult to say between intimate loved ones.” Collaborator Rob Lewis coined these compositions “the practice of saying.” “Formwela 6” is a standout on the album. It features warm vocal harmonies and a foundation of repetitive arpeggios that reinforce the feeling of comfort and reflection.

The final iteration of the lab (Formwelas 7, 8, 9, 10, 11, and 13) was created over 12 days in Lower Manhattan, NYC. “Formwela 7” is a departure from the gentle nature of most of the project – it features a loud and chaotic section between sparser instrumentation and lyrics investigating hearing as an act of labor. “Formwela 10” is another standout. It explores the consequences of romantic patterns. The vocal patterns of this song are most similar to Spalding’s previous works, and they are echoed by the guitar and piano to push each line forward into the next.

The project is saturated with intention in every line, word, and note. As it was created as a tool and soundtrack for reflection, it feels spiritual and incredibly important. The intricacies the Formwelas explore cover many intimate pieces of thought and relationships, allowing any listener to find meaning within the project. If one were to stumble across the album on Spotify without knowing the deeper intricacies, they could still appreciate the beauty and musicianship of the compositions. But the project’s true significance lies in the very practice it was created out of – deep, intentional reflection.


Esperanza Spalding will be performing in the ensemble at the premiere of Iphigenia, the Jazz/Classical Opera she co-wrote with jazz giant Wayne Shorter, here in Boston at the Cutler Majestic Theatre November 12-13 (

"SONGWRIGHTS APOTHECARY LAB" is an artful investigation of music as healing

is the third album of Alex Brettin’s solo project, Mild High Club. It comes five years after his ambitious sophomore album, 

. Brettin’s musical style seamlessly fuses indie, pop, psychedelic, and jazz elements to create layered tracks that defy genre. Though originally from the Midwest, his new Los Angeles roots shine through in his aesthetic – picture a man at the beach with a handlebar mustache and a Super 8 film camera.

 asserts ‘70s electronic and jazz styles as a dominant influence in its character and production. At times, the album feels like a modern retelling of the ideas that artists like Herbie Hancock explored in the 1970s and ’80s – adding Brettin’s own interpretation, modern pop elements, and production. Specifically, Mild High Club’s “A New High” draws strong parallels to Hancock’s 1979 track, “Trust Me,” with similar vocal effects and foundations of bass and piano. Overall, the album features stronger jazz influences than Brettin’s previous releases, which allows him to play around with more complex chord modulations. Brettin leans into this complexity more with each project. After 

 is me diving in, and on the next one, I’ll finally be doing laps.” Though it took a five year hiatus, Brettin made good on his promise to outdo himself once again with his new arrangements.

A casual, preoccupied listener will enjoy the atmosphere and grooving, slight head-bobbing energy of the album. But the tracks on the album are deceptively complex. If one delves into the songs and takes in all the moving parts, modulations, instrumentation, and effects that Brettin has poured into it, they are left with a much deeper appreciation for his style of composition and production. And it shouldn’t be too hard to devote full attention for the duration of a track, as the average track time is only two and a half minutes and the whole 12-song album lasts a little less than 30 minutes. This sets the fusion project apart from its jazz foundation, as most jazz albums feature longer songs that delve deeper into the ideas within them. Brettin utilizes shorter explorations with the depth coming mostly from the layers and modulations within the track, a denser approach that he keeps accessible by infusing pop and nostalgic influences. Standout tracks include “It’s Over Again” and “Dionysian State” – both saturated with groove and nostalgic timbre.

feels like a good morning with a cup of tea and a warm breeze. The album is the perfect soundtrack for walking around town and losing all track of time on a nice day – though you may have to loop it to make this daze last.

Mild High Club’s "Going Going Gone" feels like a good day waiting to happen

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 Louis The Child, and we’ll see you at the show.

North Shore Chicago-based duo Louis The Child – composed of Robby Hauldren and Freddy Kennett – began making music together in high school. Now, at only 22 and 23 respectively, they have already created huge waves in the electronic and dance-pop scene. The duo has created banger after banger, releasing three EPs and 14 singles before finally releasing their debut album, 

, last June. The album is full of incredible collaborations with legends like Duckwrth, Foster the People, Quinn XCII, Vera Blue, and many more. The duo even reunited with K. Flay, who helped LTC create one of their most famous songs, “It’s Strange,” in 2015.

Louis The Child create electronic music that feels incredibly grounded and organic. Their unique sound blends jazzy, experimental, and psychedelic sounds into their dance-pop tracks. In the studio, Hauldren and Kennett take turns working on instrumentation and production, switching whenever one gets tired, and making sure to see each idea to fruition when the groove is really flowing – even if that means they’re stuck behind the computer for hours. Their seamless dynamic shines through in the flow of their tracks and in their energy on stage, and the duo is known for incredible live performances. In past years, they’ve wowed packed crowds at Lollapalooza, Coachella, Red Rocks, Gov Ball, and on their own world tour. This year, they’ve been trying to stay engaged with fans by doing live streams, sharing unreleased music, and performing digital shows.

Above all else, Louis The Child hope their music adds positivity to the world and encourages their audience to appreciate every moment in life. Kennett 

 of their new album, “I just hope that anyone who is not feeling the magic of life feels it [a] little bit; looks out of their eyes and appreciates their eyes, something simple, appreciates their breath, appreciates the sound of music and feels a little bit of magic in their stomach.”

The Northeastern community is sure to feel this magic during Louis The Child’s headlining performance at the WRBB x LMA 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: Louis The Child

Philadelphia-based duo Kevin Nickles (sax, flute, synth) and Daniel Provenzano (bass, vocals) bring forth relentless musical chaos as Writhing Squares. 

is their third studio album, and contains two LPs. The double album is “chock full of…heady, progressive, psychedelic space-rock-cum-minimal synth 

.” Its run-time, just over an hour, is made up of raspy bass lines, droning synth and percussion, and squeaky squawky saxophone riffs.

Writhing Squares’ sound is not for the faint of heart. The album’s first track, “Rogue Moon,” starts out with one full minute of unaccompanied droning synth. When presenting a long song, it’s important for the artists to earn and maintain the listener’s attention. Droning is characteristic of the genre, but this track drags on without enough compelling variation to warrant its nearly 12-minute duration. The saxophone adds modulations and something for the listener to hold onto, but the vocals only muddy the gritty bass line further.

The pitfall of the record is the duo’s habit of going too far with their experimentation. In several tracks, they employ abrasive screeching that might force the listener to turn it off entirely. The longest track on the album, “The Pillars,” is a whopping 18 minutes and 40 seconds of eerie and, at times, painful noises. The beginning of the track sounds like the listener is being abducted by aliens. This leads into an organ interlude with echoey shouting of lyrics like “salvation” and “the pillars fall.” This section provides hope for what lies ahead in the next 10 minutes, but this hope quickly fades as the organ is replaced with pipe sounds, mechanical noises, and other spooky atmospheric clangor. Some of these sounds – like high pitch and grinding modulations – are almost unbearable. The track feels like the soundtrack to an intense, anxiety-inducing sci-fi thriller and when it finally ends, the headache it caused is slowly replaced with a great relief.

Although the album offers few moments of respite, there are some tracks where the experimental concepts shine through. “A Chorus of Electronics” is a sparser track that begins with fazing electrical sounds that build into a raspy melody. It sounds ghostly, like a portal to another dimension, but not in a way that unnerves the listener. The song’s shorter duration – 1 minute and 55 seconds – allows Writhing Squares to explore the concept while maintaining its beauty. “Resurrect Dead On Planet Whatever” is another sparse track – the only one on the album without a foundation of synth or bass. The soloistic saxophone is punctuated only by low percussive chimes. The overall atmosphere feels like a funeral procession, but the stripped instrumentation allows the saxophone to shine without requiring it to scream over a cacophony of other ideas.

Kevin Nickles’ saxophone is the lighthouse that keeps the listener from crashing in the sea of the dissonant synth and bass. The sax and his other woodwind features – most notably the flute in “The Abyss is Never Brighter” – lift up the sound. The best saxophone solo on the record is on the highly conceptual track “The Library.” This track features a voiceover describing the Universe as a library and man as the perfect librarian – though the narrator suspects “that the human species will soon be extinguished / But the library will endure.” Nickles’ saxophone weaves between this voiceover, displaying his range as he connects high, squawky, sustained notes to dissonant, low honks with bluesy runs.

The best track on the album is its conclusion. “Epilogue” brings together the best elements of the album – the bluesy, squealing saxophone; the rock-centered bassline; and the soaring flute. The saxophone and bass play together well as they move together on the bass line, transitioning into the different parts of the song. The track also features guest musicians: Alex Ward on organ and John Schoemaker on live drums (as opposed to the drum machine utilized on the rest of the album). This song features the most structure and carries a melodic theme throughout. The instruments take turns soloing in between the unison saxophone and bass hook bringing the album to a strong, satisfying conclusion with a congruity that exists nowhere else on the record.

Writhing Squares are undeniably and unapologetically true to themselves. Few artists are allowed to discharge such unbridled expression, especially under a major label. 

is an out-of-body experience that will fry your brain – it’s up to the listener to decide if this is a blessing or an abomination.

Writhing Squares’ ‘Chart For The Solution’ is a relentless cacophony that is almost too much to bear

Chad VanGaalen likes to eat his vegetables like a deer grazing through the garden – “I get down on my knees…It’s nice to feel the vegetables in your face,” 

 is a collection of tracks that feels as raw and scattered as a home garden. The album acts as an exercise in fleshing out whims and ideas without allowing them to warp into obsession. This results in an incoherent album that brings the listener through different concepts, instrumental fixations, and worlds. One can only imagine what it’s like to visit VanGaalen’s home studio – which is littered with obscure and handmade instruments – or to exist in his mind.

The path to the album’s final version had several forks along the way: it was originally a flute record (now only retained in the 46-second “Flute Peace”), then an electronic record, before finally “right at the last second…turn[ing] into a pile of garbage,” 

 The record sits like a pile on the curb after an estate sale; if overlooked, it will be damned as garbage when it’s actually free treasure for the taking. Some pieces like “Where Is It All Going?” and “Golden Pear” lean less towards the psychedelic and experimental and can be appreciated by even the more casual folk listener. Quietly asking a question no one can answer, “Where Is It All Going?” is a standout on the record. The pleasant instrumentation of the song feels lighter than its lyrics, which depict sentiments like “Taken by the existential rush / She was buried alive by her thoughts and crushed.”

“Earth From a Distance” feels like it was created for a sci-fi space travel epic. VanGaalen lays rhythmic beeps and distant vocals over a foundation of sustained synthesizer chords to transport the listener to another world. This is what makes VanGaalen’s work so special: he transports the audience so fully into the worlds he creates, whether it be his sometimes creepy animations or his often bizarre tracks. One cannot help but find themselves entranced by the weird beauty of the worlds inside Chad VanGaalen’s mind. These worlds aren’t all utopias, however –

has a strong apocalyptic thread. “Nothing is Strange” explores the possibility that VanGaalen is not alive at all. He sings in a garbled voice, “Turn off the radio / I think we’re dead.” The song approaches this prospect without despair, but rather as a reality that must be accepted.

From squeaky clarinet to minimalistic flute to interesting sounds that he discovers in his creative den, VanGaalen’s multi-instrumentalism is a pivotal part of his music. This creativity allows VanGaalen to produce songs like “Samurai Sword,” which features his basement’s copper plumbing, played like a xylophone, and seamlessly combines found sound, fantasy, and silly lyrics – “Has anybody seen a Samurai sword? / I think I left it leaning against the outside door…it’s only on loan from a friend.”

On his most recent album, Chad VanGaalen steps outside of the perfectionism that can quickly overtake a project, instead allowing unbridled creativity and fixations to come together to create an absurd and incoherent collection of tracks. 

 is a product of unhinged expression that only a recluse like VanGaalen could create

Chad VanGaalen’s ‘World’s Most Stressed Out Gardener’ is a wonderful pile of garbage

is the eighth studio album from Eric D. Johnson’s indie folk-rock project, Fruit Bats. Johnson named the album and its titular track after the wonderfully bizarre pet parade outside of Chicago that he attended with his grandmother as a child. From this memory, he explores what he describes as “living within the beauty and absurdity of existence.” It isn’t surprising that the track originated from a memory, as the six-and-a-half minute tone poem evokes strong feelings of being drawn back to a familiar yet distant past.

Johnson’s experience as a guitar player and vocalist are evident in his songwriting and composition. At the ends of phrases, the guitar matches the sustained note of the vocals before shifting it into the next line and chord. This coordination and playful relationship between the guitar and vocals are the most prominent characteristics of Johnson’s style. Another feature of his style is his distinct vocal timbre. Johnson’s tone embodies his stylistic influences, as it reads solidly folk-rock and occasionally resonates as distinctly ‘70s.

The fourth track, “The Balcony,” brings a much-needed injection of energy. The song describes the idea of finding yourself on the balcony waiting for spring. It is named after a place in his grandmother’s house but operates as a metaphor about patience. The transition into the next track is a little harsh, as we shift from the chaotic melodica solo of “The Balcony” into the sparser “Here For Now, For You.” This track centers around love and accepting that even things that feel permanent cannot last forever. Johnson writes, “This world, you know it’s hard, cause everybody’s gonna leave you eventually / But you know that I’m here for now, for you.”

Many of the tracks were written before COVID-19, yet they aptly explore the themes of connectivity and isolation that are unequivocally relevant to current times. Although Johnson is currently the only official member of Fruit Bats, he brought in several other talented instrumentalists for the album – notably pianist Thomas Bartlett (Doveman) and fiddler Jim Becker (Iron & Wine). Similarly representative of the times, the artists had to self-record their parts in their bedrooms and home studios. Luckily, this fragmentation does not leach into the final product, as the songs still convey an incredible intimacy. This is largely due to the masterful blending and collation executed by producer Josh Kaufman.

There is a certain sameness that envelopes the record, but the layers and compelling lyrics manage to keep this dreamy echoing from becoming dull parroting. There is not a single notably weak track on the album, which is no small feat. Some tracks that stand out and demand extra attention are “Holy Rose” and the closing track, “Complete.” The former was written about the 2017 Tubbs Fire in Sonoma County, which destroyed the childhood home of Johnson’s wife. This song features greater conflict and dissonance between its parts than other songs on the album. The electric guitar and composition are more grounded in rock than in folk.

The final three tracks are where Johnson’s sincerity and narrative strength truly shine. This intentionally sequenced closing trifecta – “All in One Go,” “Gullwing Doors,” and “Complete” – is emotional and serves as a strong conclusion to the themes of love and loneliness that Johnson explores in the rest of the album. In “All in One Go,” he writes: “When you’re stuck in amber, do you remember anything? / These days it’s hard to tell dreams from remembering / But then it all comes to you, all in one go.” Utilizing warm harmonica and tender piano to build a wistful feeling, Johnson once again captures a familiar feeling that, like the track, is over just as quickly as it began. “Gullwing Doors” was named after the vertical doors featured on cars like 

’s DeLorean. Johnson uses this image to describe the skies he saw on his long drives between L.A. and Portland and as a simile for opening one’s heart. These contemplations lead into the declarations of the final track.

“Complete” is the most intimate track on the record. Johnson counts off into the song’s stripped composition featuring only vocals and guitar. He describes the harmful comparisons people make between their lives and those around them: “Some people look like they have peace / They only pretend their life’s a peach…But you shall be complete / You shall be complete / I decree it so.” Although the track is written in second person, its repetition feels like it may be Johnson trying to promise this to himself, casting away the doubt and forlorn feelings featured in earlier tracks.

’s contemplation of connectivity and isolation could not have come at a better time. Johnson’s explorations of loneliness and the bizarre beauty of existence will undoubtedly become the soundtrack for others’ long drives and introspection. This track marks 20 years of the Fruit Bats project – off and on – and Eric D. Johnson’s compositions remain emotional and compelling.

Fruit Bats’ ‘The Pet Parade’ is a timely contemplation of isolation and existence

, invokes feelings of nostalgia and reflection. The album’s instrumentation is simple and sparse. Guitar chords and gentle drums provide the basis of the tracks. This foundation is occasionally ornamented by piano and wind instruments, which, when combined with humming and echo effects, add depth and complexity. Burch’s vocals emphasize the offbeats of the drums and create building harmonies with the guitar.

The album begins with “Can’t Sleep,” which sets the tone of the album. It depicts the quiet reflection that comes with a restless night, and feels airy and wistful. This flowing feeling is anchored by the quiet and steady drumbeat.

The style of the drums is one of the biggest contrasts between 

. This first album featured a fuller sound and rock-style drums, while the drums in her follow-up album operate more as a subtle tether between the beat and the flowy vocals. Burch’s vocals, which draw the listener in with syncopated phrasing and unexpected notes, are what makes her style so distinct.

The stand-out track of the album is “Tell Me What’s True.” Each word is individually emphasized, as the piano guides the footing for the melody. The piano truly shines in this track, subtly showcased in the fills between melodic phrases before bringing the song to a beautiful close.

In addition to the vocal tracks, Burch includes two instrumental interludes: “Keep Warm” and “Picture Show.” “Keep Warm” seems to refer to the theme of “Jacket,” an earlier track that repeats the lyric “you’re always keepin’ it warm.” This interlude showcases strumming guitar arpeggios and understated woodwind flutters, invoking the feeling of dreaming.

Each track has a different vibe, but the atmosphere of the album is cohesive. This cohesiveness is a great advantage in the album, but is also its biggest drawback. As the album goes on, the flowing feeling of the tracks lulls the listener into a dreaming state, rather than maintaining their attention. However, for those who manage to resist this dazed state, Burch ties the tracks together well, strengthening the album’s overall narrative.

, Anna Burch shares vulnerability and self-reflection with her listeners and demonstrates a fearless affinity for unconventional chord progressions. Every word, phrase, chord, and emotion of 

 is saturated with intention. Although the tracks can blend together at times, the album’s intention and narrative show promising direction for Burch’s future works.

Molly Larson