The Fabulous Truth, the new album from Brooklyn‘s Eve Essex forthcoming via Soap Library, uses the full spectrum of styles and genres in attempt to offer the elusive phenomenon of its title. “Trip-hop, outlaw country, kosmische, spiritual jazz, avant-garde classical, and—yes—musical theatre,” are all cited as touchstones in the press release, as Essex moves with an improvisational freedom in search of a sound capable of capturing the full duality of intimacy and expansiveness which exists within the boundaries of our selves. The style is encapsulated by latest single ‘Room with a View’, in which a hauntingly patient sound evokes the strange geography of our interiors, where whispered secrets and vast expanses can feel like one and the same. Watch the animated video by Andy Cahill below:

The Fabulous Truth is out on the 21st June via Soap Library and you can pre-order it now.

Fine – Coasting

Recording under the moniker Fine (that’s feen-uh), Copehagen-based songwriter Fine Glindvad Jensen collides folk sensibilities with those of dream pop and electronic genres, stitching together guitars, drums, samples and synthesisers to form ambiguous, often minimal soundscapes for her vocals to drift across. So while debut album Rocky Top Ballads might be full of the melancholy and longing of classic country music, its intentions are far more evasive, drawing the listener into a shimmering world where ennui and fondness are marbled into one. The result, as highlighted by single ‘Coasting’, are songs whose apparent simplicity belies the true depth of meaning, Fine’s minimalist style allowing the listener to feel they are edging closer to the elusive heart of each track with every repeated listen.

Rocky Top Ballads comes out on 7th June is is available to order from the Fine Bandcamp page.

Hearsing – Montauk

Consisting of multi-instrumentalists Avery Murphy and Jordan Taylor, Hearsing look to offer a new flavour of western music by drawing on the surf punk roots of its founders (who were both founding members of the ensemble SUBPAR). The band have a new EP Pastoral on the way, and single ‘Montauk’ gives a glimpse of the expansive, nostalgic quality of the Hearsing sound. Ellington Peet (drums, percussion, synthesizer, production), Cole Brossus (lap steel guitar) and Kemper Thornberry (additional vocals) complete the line-up, helping to create a vivid soundscape which feels like a world of its own. Because as ‘Montauk’ suggests, Pastoral sees Hearsing push beyond personal experience into a more allegorical and creative style of lyricism, and it is fitting the sound comes to feel like an environment you might step inside.

I live behind a truck stop
North of Jersey
Every day I smell the sea
I work inside a steel mill
Cause veneration is better than defeat

Check out the video by Diego Diaz-Lundquist below:

‘Montauk’ is out now and available from the usual places. Pastoral is coming soon.

La Bonte – Marching In A Field Of Wheat

Following on from 2022’s Grist For The Mill, La Bonte is returning this summer with Economy Play, a new EP again released via Anxiety Blanket Records. Garrett La Bonte has made a name with a considered, reflective sound able to examine grief and love with the kind of thoughtful tone such subjects demand. Living up to its title, the new EP continues this sensibility with a measured hand, choosing to not overextend itself within an environment of financial constraints to instead deliver a shorter release that does justice to the ideas underpinning it. Single ‘Marching In A Field Of Wheat’ confronts this society of precarity directly, sparking with the tension between capitalism and creativity as it comes to understand the empty promise of the American dream. But while the less-is-more descriptor might apply to the release’s quantity, the sound refutes such ideals, rising with tumultuous weight as though directly wrestling with the malevolent forces within.

Mal Not Bad – Come On/Hard Times / Mustang

Following the track ‘No Worries’ back in March, Mal Hauser’s Mal Not Bad has released a new double single ahead of their debut full-length This Is Your New Life which will be released in August by Same Same. Described as “a succinct glimpse” into the record’s sonic palette, the songs inhabit slightly different sides of the LA artist’s style. ‘Come On/Hard Times’ is a sober slice of ambient indie folk adorned with subtle glitchy electronics, while ‘Mustang’ invites LA band Junaco along to create an emotive and haunting downtempo electro pop song. “‘Mustang’ feels like the emotional release of ‘Come On/Hard Times’, Hauser describes, “though both songs remain in moments of reflection and stillness.”

Find yourself inside a new life
Find yourself inside a different mind

Come On​/​Hard Times / Mustang is out now via the Mal Not Bad Bandcamp page.

Steak Blake – Under Knives

Next month, Blake Joshua (of Beige Banquet) will release an EP with his solo project Steak Blake. Titled This One, the record promises to continue the Steak Blake MO we first glimpsed on last year’s ‘Wonderbread’, all sharp post punk guitars, deadpan vocals and introspective, politically conscious lyrics. To announce the EP, Steak Blake has unveiled lead single and opening track ‘Under Knives’, a lo-fi but hook-laden punk song that is certain to appeal to fans of the likes of Gorgeous Bully. “The song speaks to the relentless challenges of modern life,” Joshua describes of the single, “depicting a state where people constantly feel behind and unable to escape from reality. It explores the psychological burden of believing that these struggles are self-inflicted, turning to vices as a form of escapism, a way to momentarily relieve stress and despair.”

STEFA* – differ3nt today

Born With An Extra Rib, the debut album by Queens vocalist, composer, educator and performance artist Stefa Marin Alarcón (aka STEFA*) is something of an amalgamation between autobiography and origin story. Exploring personal stories on a grand scale, the record sees STEFA* blend classical, electronic, punk and Latin styles to capture the different selves they embodied throughout its nine year gestation. Genre convention goes out the window, replaced with a sense of freedom and desire to embrace change. Latest single ‘differ3nt today’ is a great example, a downtempo electronic song that draws on contemporary pop and a decidedly 90s nostalgic sensibility. “I wanted this to feel like an anthem for people,” Alarcón describes of the song. “For everyone – not just for trans people, not just for non-binary people, not just for queer people. We all change so often and we have a right to change, so I wanted it to be an invitation for people to ask these same questions.”

Born With An Extra Rib is out now via Bandcamp.

Tasha – Michigan

Over two years since her last release, Tasha has signed to Bayonet Records and released a new single, ‘Michigan’. Produced by Gregory Uhlmann and written during a “both lonely and extremely creatively fulfilling” writing trip to a friend’s house in the titular state, the track is suffused with the sadness and gladness found in the warm glow of a late summer afternoon. Steady percussion propels things forward, but Tasha’s vocals glide at their own pace, attuned more with the slow rhythms of the natural world than our usual human calendar. “This song is about the missing and the return, Tasha describes,” the reliable comfort of a sunset on a nice day, a friend to sit with, and the shining hope of more comfort to come.”

Drive to Michigan, spend some time alone
Make good friends with the horses down the road
Oh I wish our dog was here with me
But I know he’s barking loudly somewhere warm and free

Wishy – Love On The Outside

Fresh from the success of 2023 EP Paradise, Indianapolis outfit Wishy have wasted no time in announcing their debut full-length album, Triple Seven. Again released via Winspear, the record looks to build on the combination of dream pop, shoegaze and indie rock which we so admired on the EP last year. Lead single ‘Love On The Outside’ plays these various stylistic influences off against one another, granting the track equal doses of heaviness and anthemic release. Such a duality is fitting for a track charting those early days of a relationship, where the tantalising promise of all the possible futures is troubled by an impatience to get to those halcyon days. A song sweet, frustrated and full of the hooks which make Wishy so engaging.

Check out the accompanying video by Rich Smith below:

Triple Seven is out on the 16th August via Winspear and you can pre-order it now.

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New single ‘Early Days’ continues these sensibilities, broaching the difficult experience of becoming a parent with a distinctly relaxed mood. Fingerpicked guitar and gentle vocals knit into a comforting blanket which Amy O uses to reassure both her past and present self, viewing the naivety of young motherhood as both a blessing and a curse. It ultimately finds both joy and grief in time’s habit to slowly slip on past us. Snapshots from the time are presented side by side, the song a scrapbook cataloguing the years. Days of being milked like a cow, post-partum OCD, batches of lemonade, a bear digging through the trash. As the song concludes: “I’m piecing it together again / Nothing is lasting.”

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With the EP a month away from release, Wishy have now unveiled follow-up single, ‘Too True’. Shoegaze, power pop and alt-rock sensibilities are drawn upon in weaving the song’s tactile atmosphere, again pairing punchy weight and hazy dreaminess to more fully inhabit the nuances of the themes. Namely how the passage of time gradually alters the shape of relationships, and moreover learning to accept such changes as an inherent part of any friendship.

What results is a sound confessional but assured. Delivered with the kind of wisdom only earned through lived experience. “Too true I wanted to be like you / Wanted to reverse myself,” Krauter sings in the opening lines. “Tough break all the hell that I created / Finally pouring out my mouth.”

Open up your eyes you can see what I see
Learning to survive only half empty don’t bother me
Cause no one knows from the first taste
We can never go back to the same place

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Seattle’s 129,600, the recording project of Jade Tcimpidis, is preparing to release their debut album Granular Convection with Ghost Mountain Records. Described as exploring the “limits of tradition in the consumer era,” the album sees Kalen Walther (bass), Kirsten Ourada (drums) and Neil Welch (baritone saxophone) join Tcimpidis to conjure a sound which straddles dustbowl folk and art pop invention, all while reaching towards psych and jazz. Lead single ‘Techi’ highlights this singular style, where all manner of details spin from a taut rhythm, making for a twitchy, volatile mood. Tcimpidis’s vocals are equally frantic, and coupled with the sax evokes the paranoid vibe of Coppola’s The Conversation, with all its schemes and surveillance.

‘Techi’ is out now and available from Bandcamp.

Casters – Memory

Casters is the recording project of Andrew Strader and a rotating cast of supporting musicians, based in Brooklyn via Nashville and Knoxville. With EP Walk on Home coming soon via Like You Mean It Records, Strader has shared single ‘Memory’ to give an indication of what to expect from the release. This time featuring Neil MacLean (Home Visions, Griffin Moyer) on keys/synths and Connor James (Pat & The Pissers) on drums, the track draws on Thomas Wolfe’s You Can’t Go Home Again to explore the impossibility of returning to a place you’ve left behind. All cast in a dreamy drift that marbles fondness and regret into sound so rich you could suspend yourself within it.

Chris Chism – On The Run

Focusing on the working class experience and following a lineage through Dylan and van Zandt, Richmond, Indiana’s Chris Chism delves into the personal to emerge with a more universal picture of life’s joys and struggles. New EP Things Has Changed develops this style, and single ‘On The Run’ is the perfect place to jump in. A semi-autobiographical portrait of a young person beaten down by life—loosing those close to them, experiencing brushes with the law, and generally searching for reasons to continue on amid a slew of misfortune—though one captured with the patience and empathy only hindsight can bring.

 Hit Bargain – Degree Decree

Featuring members who are/have been parts of acts like The Pains of Being Pure at Heart, Beach Fossils and Cold Beat, Hit Bargain is a LA-based project led by Nora Singh which aims to stare the worst excesses of our society square in the eye. It is of no surprise then that new album A DOG A DEER A SEAL is charged by equal parts manic fervour and anxious frenzy, playing like the fevered delirium of a country’s dying mind. Single ‘Degree Decree’ might clock in at barely two minutes but portrays this mood in all of its maniacal panic, where the technological hubris of consumerism encroaches on our world as a synthetic blight.

Check out the video directed by Katharine Antoun below (though those with photosensitive epilepsy should note there are flashing images):

A DOG A DEER A SEAL is out on the 10th November via Get Better Records and you can pre-order it now.

June Rosewell – a solid state

Nashville songwriter June Rosewell recently released a new EP, the dog bit at such an angle. It’s a collection of songs in which frustration and tenderness coexist and hope refuses to ever quite evaporate. Take single ‘a solid state’, a track about moving home which sees Rosewell’s intimate croon relays scenes with an everyday poetry. “In the morning we were packing up our boxes,” the opening lines play, “and our friends / Brushed our backbones with their warm thumbs while they sent us off again.” Later the song reveals the significance of the EP’s title (“The dog bit at such an angle where I thought I’d need a stitch”), and endeavours to show the invisible bonds that persist even as all that is familiar is upended.

Sitting quietly in a pair in the back seat of mother’s car
While she hummed along to songs she chose to deaden worry’s roar
We’re moving states, we’re moving states
A solid state, a solid state

the dog bit at such an angle is out now and available from the usual places.

Kendl Winter – Humming Mantra

Beginning as a way to both explore the clawhammer banjo and share this process with fans and peers, Kendl Winter’s forthcoming album Banjo Mantras originated in a daily practice of improvisation. “The banjo mantras started off as morning writings, like morning pages but in musical form,” she explains. “Daily pen to paper, fingers to strings, listening, feeling, sliding and thumbing my way around my open back banjo.” But the more Winter committed to the concept, the more she became attached to the ideas which emerged, and eventually decided to expand the resulting mantras into fleshed out soundscapes. First single ‘Humming Mantra’ channels the Pacific Northwest’s verdant summertime, full of small details and a sense of invigorating clarity.

‘Humming Mantra’ is out now and available from the usual places.

leoblu – dirty windows

“It’s unclear if the events [portrayed] are autobiographical or fiction,” we wrote of leoblu‘s ‘cake‘ back in January, “but the emotions are so keenly felt that whether these things actually happened seems almost besides the point.” The project of Åland-based songwriter Julia Carlsson, leoblu complicates the divide between truth and fiction in order to locate a deeper emotional honesty, weaving a layered and controlled sound that has been described as ‘dark pop’. Latest single ‘dirty windows’ pushes further into this style, taking the titular image to explore the cycles of stasis and rejuvenation that come with depression. Again the sound is beguilingly understated, growing subtly across its length as though slowly thawing from a deep freeze.

Watch the video shot and edited by Jonathan Carlsson below:

‘dirty windows’ is out now and available via streaming services.

Mali Velasquez – Shove

Next month Mali Velasquez is releasing full-length I’m Green on Acrophase Records. An album, as we described in a preview of single ‘Bobby‘, which explores “how our relationships with ourselves can be so conflicted and uneasy, and the way in which this is governed by our experiences with those around us.” Homing in on a specific relationship with a sound somewhere between vulnerable and visceral, latest single ‘Shove’ delves into the way our actions can be detrimental within such experiences no matter how pure the motivation. “I wrote this song in an attempt to explain the feeling of seeing myself doing the wrong things in the perfect moment,” as Velasquez puts it.

I’m Green is out on the 13th October via Acrophase Records.

The Rural Alberta Advantage – Conductors

Next month sees the return of Canadian indie stalwarts The Rural Alberta Advantage with their brand new full-length The Rise & The Fall on Paper Bag Records and Saddle Creek. Though, despite their experience, latest single ‘Conductors’ explores how the process of writing songs gets no easier no matter how many records you have under your belt. “There is so much I love about being in a band. But one of its most fundamental aspects causes me more mental anguish than anything else, and that’s actually writing songs,” as Nils Edenloff explains. “When I’m able to tune out the doubting voice in my head and get it done, there’s no greater feeling. But often the devil wins and it’s easier to just run away.” This time it took drummer Paul Banwatt’s threat to use AI generated lyrics for Edenloff to shake off the doubt, and the video by Good Job Hi Five channels Adam Curtis to foreground the sense of human creativity struggled against the encroachment of systems and machines.

Why, why do I run?
From the work and the words before it’s done
Sometimes I’m always waiting on what will never come
Before it’s done, now every thought weighs a ton
Taking it on the chin for a while
Taking it like a champ for a while

The Rise & The Fall is out on the 6th October via Paper Bag Records and Saddle Creek and you can pre-order it now.

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The meditative, welcoming style of debut Airport People record From Nine Mornings taps into this state of mind. Out later this summer on Whited Sepulchre Records, the album offers a neo-classical sound marked by its modest tones and easy space, inviting the listener to step out of the perpetual movement of their day if only for a short while. The result is not only comforting, offering the sedate pace and order of the airport as a balm against hectic life, but also deceptively rebellious in nature. Standing in opposition to the accepted modes of existence. When so much contemporary wisdom relies on clear plans and paths of progression, on being productive and racing from A to B, then embracing the slack rhythms of the in-between becomes an act of defiance. Why race to flee the liminal spaces, Johnson asks, when they might hold our only chance of peace?

The idea extends to the very creation of the record. After losing his job and moving home, Johnson used the freedom of the in-between to work on a new melody each morning, soon building up a collection which would eventually be curated and edited to leave the nine mornings of the album. Melodies supported and developed by arrangements of piano, violin, upright bass, guitar, drums, field recordings and manipulated orchestral samples, elements all handled with characteristic precision which to craft a sound both bright and careful.

Take single ‘from morning no. 2’. Textures of gentle rainfall draw the listener in before the piano emerges, fond and vibrant and coloured by just the smallest shade of sadness, as all fond things must be. But Airport People does not present its moods clearly, instead working to accentuate whatever the listener might be feeling. A personal soundtrack open to interpretation, crafted to fit any listener’s surroundings.

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Forthcoming record Good For You consolidates this status, and represents the fullest realisation of their modern interpretation of classic country rock to date. As with many of the genre’s figureheads, Houndmouth use their music to weave fully-formed stories, and the new record sees them push the boat out on this front, offering detailed and often surrealist tales that blend magical realism with goodtime energy and good ol’ country heartbreak. Be it Elvis staring down his own downfall on ‘Las Vegas’ or the fairy tale-esque dreaming of ‘Cool Jam’.

Latest single ‘Make It To Midnight’ serves as a perfect example. A midwestern gothic of nocturnal vistas and bright burning flames, an attempt to ward off the darkness through sheer will. As the track builds and the vocals emerge with increasing intensity, the stakes are raised, a lycanthropic thread emerging in the narrative. A real reason to fear the night. But by the time the guitar solo kicks in, the fear is replaced by something else altogether. Music’s coolest werewolf since Warren Zevon dropped one onto the rainy streets of Soho.

The band have also unveiled a live performance video to accompany the single, recorded at the 18th-century shotgun style home known as ‘The Green House’ and directed Matt Fulks (Tomahaux).

Good For You is out on the 5th November via Dualtone Records and you can pre-order it now from the Houndmouth Bandcamp page.

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Now, Nice Try are back with another album (another self-titled album, at that), and not too much as changed in the meantime aside from the addition of Jake Alexander on bass. Robinson is still making super sweet pop songs that don’t outstay their welcome, and the songs still form a winning blend of reflective and carefree attitudes.

The album opens with ‘Waves’, a song about coping through motion, avoiding difficult times by jumping on a bus and riding it ten hours south. It’s a great introduction for the uninitiated, elastic guitars wrapped in just enough fuzz as Robinson delivers her gently candid lyrics.

‘Soft Rock’ paints a little impressionistic scene, floating in a lake beneath the hot dry air of an approaching storm, small anxieties wriggling into even the nicest moments. “Inevitably the internal shout,” Robinson sings, “am I good enough for you or anyone else?”

‘Angry’ is a minute-long blast of lo-fi pop that’s bursting with a need to share true feelings, looking for someone to be the deep and cool plunge pool at the bottom of a waterfall of fears and frustrations. ‘Smart’ is another bouncy indie rock song that feels like the sequel, although as is often the case, things seem to have moved on to something equally uncertain and confusing. “Shut my mouth for nearly a year,” Robinson sings, “when I told you how I felt, you said it was weird.”

Robinson yearns from an old friend on’ ‘Micah’, someone who has moved on to new jobs and houses and dogs, but who (clearly) still means a lot. It’s also a song about stasis, our narrator asking “what do I have to show for the last year? I’m older and wiser but I’m still just right here.”

‘No Good’ is reminiscent of the soft pop of Free Cake For Every Creature, as smooshy and sleepy as a bedtime phonecall to a loved one, while closer ‘Relax’ creates a sense of golden gladness from small meaningful moments. It’s the perfect finale to the album, ending on a kind and hopeful note that murmurs away the worries that have come before.

“I could walk you home
or wave to you across the road
and either way it goes I’ll be satisfied to know
our paths are in line
and I’m just happy to be somewhere
I don’t feel like I’m wasting most of my time”

You can get Nice Try on LP or a name-your-price download from the Nice Try Bandcamp page.

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In anticipation of the album, here’s a sneak peek of the first single, ‘San Diego’, a bittersweet pop song that’s part sunny vibes and part heavy-hearted woe. The track opens with skittering drums and a pulsing bass line, the lyrics a daydream of escaping a town and the people who live there, allusions to disappointment and soured relationships hanging heavy as summer storm clouds. But the catchy chorus blows all that away, that rush of sickly excitement that comes with new possibilities.

“Maybe I should move to San Diego
where it’s summer all year round
wash my hands in salty water
and dig my feet into the ground”

Fresh Kill will be released later this summer. Keep an eye on 1212 Records and the Fresh Kill Bandcamp page to pre-order.

Header photo credit Francesca Hanson

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Opener ‘Foothills’ sets the tone, an emotive and contemplative alt-folk song that sounds like a chill in the air, like the smell of wood smoke on the wind. At its heart it’s a love song, although delivered not from the blushing early stages like many romantic songs, but rather much later.

“I’ve never been a faithful man
I’ve always been too proud to pray
But won’t you come out to the foothills
And hold me together for one more day”

‘Disappearing Act’ is a well-written tale of the aforementioned love and loss, of turning to drink and wandering to overcome thoughts of someone who has “been coming back in focus lately / resurrecting bones from graveyard ash”. Whether that line is literal or metaphorical seems besides the point, the depth of feeling is considerable regardless. ‘Revelation Road’ is the perfect track for the oncoming autumn, as Balto sings “Thunder clouds are rolling through the heavens over Revelation Road / pirouette the leaves from off the branches cascading rust and gold”.

‘Midwest Elegy’ is just that, an ode to a region hung out to dry, a grandfather whose farm was run out of business by the big guys, a father made strong from 25 years on the engine block line at General Motors only to find himself out of work after the recession. It’s just one example of that confronts a major theme in Simon Balto’s music – a sense of loss, be it in terms of livelihoods or actual lives.

You may have also noticed that Simon Balto is the kind of songwriter whose lyrics you want to quote. Like on ‘True North’, a love song rich with natural imagery, where he sings “Amongst cicadas and the whispering pines / you tangled your bony fingers up in mine”, or on the sorrowful ‘Dark Burns’, where, backed with woozy harmonica he sings, “If the dark burns like cigarettes on the body / goddamn, I’m sorry for the things I couldn’t do / with every heathen’s breath buried here in my chest / I will pray my best for you to get good again”.

The title track closes the album, a song that sounds like it’s beamed from a classic folk record of a bye-gone age. The image of a great twisting cloud of starlings sits at the forefront of a track that’s suffused with a real sense of melancholy but also hope, the narrator praying that the birds guide a passing loved one to their next destination.

“And on the bright day when it comes your time to go
I hope your heart breaks into starlings that’ll carry you home
And murmur you on out to where the north wind softly blows
I hope your heart breaks into starlings when it’s time for you to go”

Even if you’re not from the Midwest, or even from the USA, it’s likely you will relate to some of the issues that Simon Balto confronts on Murmurations. The struggle to get by in small towns in an age where power and wealth is increasingly confined to big cities, where traditional, community-supporting businesses are collapsing as the world gets better connected and the banks gamble away our money. But the album doesn’t come off sounding like a protest. Balto still sees enough beauty in the everyday, in the changing of the seasons and the faces of loved ones, to deal with these struggles with stoicism and hope. The thoughts and ruminations here are rooted in the personal, in all the wishes and fears that make us uniquely human.

You can get Murmurations now from the Simon Balto Bandcamp page.

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Following up 2015’s Under the Shrub, Brenda’s Friend are back with a new six-song release, House Down. The album opens with the title track, a song which begins with a clear kick-drum thump but soon descends (or ascends) into an intricate stack of sound and lyrics. The spine of percussion remains throughout, a lifeline tied around the listeners ear as they delve into the kaleidoscopic shifting of vocals and instrumentation. ‘Sponge’ strips things back, the vocals now superimposed for emphasis, the lyrics ranging from pre-teen demands (“I want it! / I need it!”) to weird allegorical verses:

“I don’t want to stay at the bottom of that pond
I don’t want to lick up all that scum
don’t want to float with the salient sponge
take a breath, say hello to the sun”

‘Who Who’ is a track heavy in reverb, sitting between a bluesy rock and the riot grrrl sound of the 90s. Oelsner and Tobey join together to give the vocals a mantra-like quality, the collaborative casting of some swaggering, self-assured spell. ‘Pas De Deux’ is far gentler, the vocals soft and fine though cut with slight suggestions of something stranger, the lyrics abstract and instrumentation pulsing and buzzing in odd repetitions, as though accelerating toward some unclear conclusion.

“Oh I made a mess and cleaned it up
then the sky opened wide, it was terrible.
Oh I, melting candles underfoot
But your guard was so hard you laughed at the air
burned your own hair”

‘Horoscope’ is short and off-kilter, packed with a high-school blend of confidence and confusion (“stuck in the middle of my horoscope / its set to wait all month”), like the soundtrack of the best 90s kids TV show you’ve never seen, while closer ‘Navy Beach’ is a reckless garage rock hit to be played in dive bars packed out by rough heads on shore leave.

House Down is out now and you can buy it from the Brenda’s Friend Bandcamp page, including on limited-edition cassette via Winspear Records. Also, be sure to check out the Amy O and Erin Tobey Bandcamp pages.

Album art by Janelle Beasley

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