Above Borders
“It Feels Like” and “My Mind”
The name is a little cheesy but I appreciate the sentiment. Putting that aside, Above Borders seems like a hard rock band that might be better live than their recorded songs. Distorted guitar and bass and thumping drums come together well, but the vocals seem a bit strained, like the singer is halfway between screaming and singing. Go full scream! soundcloud.com/user-394339443
—Jackie Bryant
Albatross Overdrive
“Ascendant”
Good old fashioned butt-rock with a sludgy edge. Best taken with three shots of bourbon and a case of the clap. albatrossoverdrive.com
—Peter Holslin
Amon
“Paid Off”
Amon has been building buzz over the past few years with fine projects like The Other Side and The Lost Files. His latest endeavor is a striking video for “Paid Off,” a compact three-minute banger that sets his versatile flow against what sounds like a vintage soul sample that has been sliced and diced almost beyond recognition. Amon’s voice is compelling whether he’s rhyming at a mile a minute or stretching out the song’s aspirational hook: “I got schemes to make my dreams go off.” amonrahh.com
—Ben Salmon
Aviator Stash
Prescribed
Aviator Stash’s band bio vaguely cites “a wide variety of influences.” This is very true. I was sonically pinballed from singalong bar anthems to ’50s high school slow dance songs. Then, the entire album ended with a sharp left turn into a synth-heavy ’80s jam. Wrapped in a bright, quirky package of colorful choruses, Prescribed has the remedy for a multitude of musical cravings. aviatorstash.bandcamp.com
—Lauren Kershner
The Backstage Poets
“Sunday Girl” and “Can’t Explain”
The kind of music that makes me question all logic and reason, as well as the existence of music in general. You know that sound a Keurig coffee machine makes when it’s pretty much done and it lets out that one last gurgley spit of mostly water for good measure? That sounds better than this band. “Sunday Girl” is basically a generic Beatles rip-off that sounds as if it were produced for the sole purpose of selling it to a “Retire in Florida” ad campaign. The lyrics for “Can’t Explain” are so pedestrian they make The Who’s “I Can’t Explain” look like Nabakov. There’s a guitar solo. Wait, there’s two guitar solos. Cool beans. Kill me now. reverbnation.com/bacrstagepoets
—Seth Combs
baji
“Bungry”
The artist known only as baji is a guitar player by trade, but more recently has been producing hip-hop and electronic music. “Bungry” isn’t so much a single track as it is a mini-mixtape of sorts, clocking in at nearly 10 minutes long. There are lots of cool sounds here—softly glowing synths, skull-shuddering bass, sturdy beats, an Artifacts sample—but they come and go so quickly that it’s hard to ever get attached. Hopefully baji will take a few of his best ideas and expand on them. soundcloud.com/bajibajibaji
—Ben Salmon
Dominico Andretti feat. J. Lisk
“Losing Control”
Overly dramatic club-rap anthem that sounds like something Turquoise Jeep would parody. The DJ Snake-esque synth hooks seem designed to maximize hit potential. But actually, it just sounds desperate. soundcloud.com/dominicoandretti
—Peter Holslin
Andrew Barrack
4 Songs
Andrew Barrack’s voice is a pleasant surprise. As soon as it floats through my headphones, I realize how ill-prepared I am to have my ears flooded with such sweet strains of Bruno Mars-esque soul with a silk-smooth falsetto. Teetering between rhythmic funk and sultry pop-rock, the first three singles are dangerously danceable. songwhip.com/artist/andrew-barrack
—Lauren Kershner
Beast Alchemy
Potions II
Well-rounded electronic album with moody builds, turntable scratching, Ethiopian vocal samples and a wide variety of peaks and valleys that keep me listening even when I think I’m about to get bored. Some of the synth and drum sounds are a bit on the generic side, and the endless traversing between styles gets a bit schizophrenic, but it ain’t bad. soundcloud.com/beast-alchemy
—Peter Holslin
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The Beautiful State
Visitors
There’s something simultaneously novel and familiar about The Beautiful State’s brand of hip-hop. The vocal delivery is a mix of Eminem’s confidence, Snoop’s swagger, and a beachside slam poet, but the samples are what makes Visitors wild. It’s not every day that you hear Pretty Girls Make Graves sampled in a rap song. Same goes for Ben Folds Five’s “Brick” and Modest Mouse’s “The World At Large.” Given the melancholy nature of these songs, it goes without saying The Beautiful State’s music leans toward the sad side, and probably not the type of bangers that would light up a house party, but the craftsmanship is stunning enough to warrant a solid party for one. thebeautifulstate.bandcamp.com
—Ryan Bradford
Beduwiin
Lonely at the Club
With an album called Lonely at the Club, a few things are required. Beats? Yes. Auto-tune? Yep. A song called (all caps), “GOIN CRAZY?” Check! The rapping is decent enough, even with the auto-tune, but it feels like this album has been done before. Like, many, many times before. soundcloud.com/beduwiin
—Jackie Bryant
Belladon
“Carnival”
This song makes me think a crazy creepy clown is going to sneak up behind me and kill me. But wait, “Carnival” is actually about a woman realizing she’s being toyed around with by a fuck boi (you go, girl!). Although I enjoyed the overall message of the song, of all the breakup songs in this world, this one’s not for me. belladon.bandcamp.com
—Andrea Lopez-Villafaña
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Blankouts
Out Of Place EP
Blankouts like to play coy on the internet, filling their social media with show flyers, abstract art and the occasional candid photo that gives us a glimpse at the band (or is it just one guy?). There are no names, no band bios, no descriptions. In a way, this enigmatic presence aligns nicely with Blankouts’ sound, a blurry blend of bouncing bass lines, fuzzy guitars and vocals mostly sighed and mumbled. Those are some of the hallmarks of great indie rock, and Blankouts also sound like a band that has a Modest Mouse record or two on the shelf. But what makes Out Of Place great is that, as inscrutable as these songs may initially seem, they’re also little multi-part journeys. They reveal themselves across repeated listens before opening up into the sunshine melody of “Never Better,” the album’s closer. “Everything feels so uncertain now,” the singer slurs in “Hologram,” one of the Out Of Place’s modest peaks. “Everything feels like it’s falling down.” Ain’t that the truth. blankouts.bandcamp.com
—Ben Salmon
Biding Time
Demo #1
I really struggled to get through this album and not because I don’t enjoy punk, but because of the fuzzy sounds that overwhelm the lyrics. I kept checking if my headphones were broken but no, it’s the production. bidingtime.bandcamp.com
—Andrea Lopez-Villafaña
Bleach
Thank You, Thomas EP
Sinister, steamy rap perfect for when you’re about to hook up with a supermodel or offload a kilo of blow, whichever comes first. soundcloud.com/birdybleach
—Peter Holslin
Body Salt
Dark Seed Bright Bloom
This sounds like a Jason Mraz-style, fitted cap-wearing troubadour bro who ditched the coffeeshop for the nightclub. Duo Ezekiel Morphis and Jonathon Bruhin offer honeyed croons about desire and lovesickness over industrial-strength EDM synths and bashing-and-booming drums. It’s hard to imagine this really taking off without some stronger hooks and better songwriting, but it’s honestly kind of interesting. soundcloud.com/user-760807315
—Peter Holslin
The Boomsta
Easily Diggable Inquiries About the Galaxy
This album is, in a word, fun. It’s impossible not to start wiggling just seconds into hearing the opening track (“The Forest”), but the rest of the album meanders through different electro styles, while remaining eminently danceable the entire time. The vocals rely on Fever Ray-esque auto-tuning and shine best on songs like “Getting an Early Start.” Still, they could have done away with the vocals entirely on other songs in favor of beats only. theboomsta.bandcamp.com
—Jackie Bryant
Bonsoir
In Formation
Unlike everyone here at CityBeat, I enjoy watching Friends (this is a Seinfeld office) [Edit note: Friends is trash. Childish trash. –S.C.]. There’s an episode where Ross fancies himself a musician and plays his “sound” for everyone at the coffee shop. It’s really just a bunch of random sounds from a keyboard and not really good. In Formation is kind of like that but with the added bonus of strange lyrics. bonsoir.bandcamp.com
—Andrea Lopez-Villafaña
Boxcar Chief
Hitchhikers and Tagalongs
Boxcar Chief strikes a squarely Americana jam sound that sounds like Gov’t Mule, the Allman Brothers and The Black Crowes met at an intersection at 10 miles an hour (after all, they were all stoned). It’s solid rock that, not so long ago, might have had the band ticketed for big things. Solid songwriting, strong genre-appropriate vocals, a dose of attitude and decent chops make for an album I’ll be listening to long after this issue is off the stands and the paper’s turned yellow. facebook.com/boxcarchief
—Michael Gardiner
Brooklyn G
Demo
Brooklyn G’s trip-hop sound is introspective and delicate. It stays in the background and subtly whispers truths that may either come from a therapy session or from a psychotic episode. There’s a certain terrifying, sexual element in that murky voice that begs for attention. Too bad this demo only contains three tracks.
—Ombretta Di Dio
Tim Brown
Oh My and North of North
Just like so many men before him did, Tim Brown has a guitar and a lot of things to say. Things that have to do with girls, loneliness and seasons. And sure, Tim Brown is no Jackson Browne or Cat Stevens, but he still deserves some credit for trying to express those universal feelings. North of North is a bit rawer than Oh My. Probably because it came out some 15 years before Brown’s second album. But in those 15 years, Tim hasn’t changed much. Wherever “north of north” is on the map, it certainly is a place crowded with guitars and girls and loneliness and seasons. timbrownmusic.com
—Ombretta Di Dio
Kimmi Bitter
West Side Twang EP
I listened to this immediately after reviewing Kimmi Bitter’s ’70s rock outfit, The Night Howls. In her solo project, she sounds like a completely different artist. From the first line of Western-drawled notes backed by twangy slide guitar, all I can think is how this chick is really versatile. She glides effortlessly from Janis Joplin powerhouse vocals to smooth Patsy Cline stylings. It’s a little too ’60s country jukebox-ey for me, but one thing is for certain: Whatever Kimmi Bitter does, she does it well. soundcloud.com/kimmibitter
—Lauren Kershner
Brent Hollingworth
“Treat Her Right”
“You don’t treat her right / so I will”—ain’t no fucking around with this classic ’80s boogie funk. This band’s sex jam comes complete with synth washes and a wicked talk-box solo. Dam-Funk has a much more tender touch, but I appreciate the willingness to commit all the way. soundcloud.com/brent-hollingworth
—Peter Holslin
Calculon, Neve & Jaybee
“Leads” and “Comfort Zone”
A very British-sounding slab of dub-inflected drum ‘n’ bass. “Leads” has some nice sculpted bass and a little snap in the snare, while old-school ravers will dig the hardcore hoover accents and pulsating vocal samples of “Comfort Zone.” The sound effects are a little too late ’90s sounding, and it could be a bit more soulful, but I’m sure this sounds good on molly. soundcloud.com/calculon
—Peter Holslin
Cola James
“Black & White”
This kind of thing always happens to me. I don’t really care for electronic music but then I’ll watch the music video, which usually involves a lot of cool dancing, and just like that, I have the song on repeat. The same thing goes for Cola James’ “Black & White.” The new project from former Verigolds frontwoman Jenna Cotton, this song is pretty catchy and it grew on me. I could see this playing in a soundtrack to a movie about badass chicks kicking butt. instagram.com/colajames_
—Andrea Lopez-Villafaña
The Colour Monday
4 songs
This is easy-listening music that struggles to find its way. While it’s clear there are talented musicians within the band’s ranks, it seems as if each band member is playing to a different genre while hiding under the “psychedelic” umbrella. I’m most distracted by the vocals, though. It’s like every time a pretty, meandering guitar riff tries to fight its way through, it’s covered up by a flat voice and forgettable lyrics. soundcloud.com/thecolourmonday
—Jackie Bryant
COMMANDc
Demo
If COMMANDc were a season, they would most certainly be an extremely cold winter. The four algid tracks on their first demo are heavy on synths, conservative with lyrics and designed to appeal to the most sentimental and patient among us. Mike Turi is behind this project, but the music here stands more than a few steps away from Wild Wild Wets. commandc.bandcamp.com
—Ombretta Di Dio
Daytrip
Come Alive Now EP
These youngsters play a nice little combo of ’00s emo-pop and early Elvis Costello. The songs are catchy, but they need to move beyond the reggae-inspired guitar and stick to their pop-punk strengths (“Lucky Penny”) and earnest balladry (“Stalemate”). soundcloud.com/daytripsd
—Seth Combs
Levi Dean & The Americats
Free & Untethered
I’m not a huge fan of country or bluegrass, but I respect Levi Dean and The Americats for their purity. By that, I mean they don’t try to commercialize or popify their music like the majority of what gets played on country radio. There’s also a carefree spirit to these songs, which makes us feel as if we’ve stepped inside a small-town honkytonk where the bartender pours doubles for the price of singles. levidean.com
—Ryan Bradford
Dive Vibe
Take the Vibe, Feel the Vibe
Their name may really push you to feel it, but that vibe is still quite hard to catch while listening to Dive Vibe. The feel-good sound of the ’60s falls flat in these seven, repetitive tracks, and it gets closer to a tired Eagle-Eye Cherry than anything The Beach Boys ever did. divevibe.bandcamp.com
—Ombretta Di Dio
DJ Pnutz
2019 Music Preview EP
Some of these beats seem to be works in progress, but they’re coming along nicely. While the moody psychedelic soul of “Snakes” could stand to be a lot moodier, “Epic” is a truly gargantuan stomper with basslines descending like UFOs and dirty drums cracking bones. “Rising” is another killer beat, topped off by gospel voices and wailing organs, while “Fly Style” rides on a sweet flute sample. I could imagine a Kanye-type rapper spitting over some of this stuff, although it sounds pretty good as is. djpnutz.bandcamp.com
—Peter Holslin
Down Big
High in the Valley/Down on the Boulevard EP
The horns in this EP’s first track, “High in the Valley,” clearly reveal the fact that there are Beirut fans in the band. Though a little copycat-ish, it’s done well and makes for a great single. This is a road trip soundtrack, with twangy guitar riffs and dusty vocals that are perfectly suited to the open road. downbig.bandcamp.com
—Jackie Bryant
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Dre Trav x Tall,Drk
Yamms
This outstanding album reminds me of Madlib and Freddie Gibbs’ 2014 collaboration, Piñata, in the way both explore a contrast between psychedelic beats and grounded rhymes. Using jazz samples, cinematic colors and trunk-rattling bass, producer Tall,Drk creates a powerful backdrop for rapper Dre Trav to offer up impressionistic storytelling and insights about life and death. His husky voice sounds weighted with experience. His rapping style is relaxed and measured, as though he’s thinking on every verse before delivering it. On the stunning “Skies of Violet,” Trav opens up about the passing of his mother, outlining the impact she left on his world and wondering how he should process his emotions as he visits her in the hospital. But the mood never gets too heavy on Yamms—the celebratory wordplay of “My Ppl/Authentic Ones” and the trippy low-rider funk of “Geddituhp! Interlude” shows that Trav and Drk also have fun reveling in hip-hop’s more elemental pleasures. Rap music often doesn’t get the attention it deserves in San Diego, but we should be proud to have artists of this caliber in our midst. fanlink.to/YAMMS
—Peter Holslin
The Ethos Project
The Ethos Project
Self-professed “progressive folk,” but I liked the songs that didn’t really try to act folky. Trey McCullogh’s dreamlike, distorted vocals pair best with his compositions when things are not straightforward. Each piece was incredibly long (possibly too long), but all were richly composed and layered. I’d love to see what this band could sound like with a good producer. At times, I got major late ’90s Sea and Cake or Gomez vibes, particularly on tracks like “Went Away to Limbo (for Holiday),” and “Slow Goodbye.” Would listen again. youtube.com/user/TheEthosProject
—Julia Dixon Evans
Fig Court
The Gross Chills EP
I think I was more intrigued by the song titles (“Ghetto Love” and “Black and Beautiful”) than I was by the songs themselves. Perhaps that’s because, put together, the sum of the words in the titles outnumber the quantity of lyrics I can decipher collectively from the four tracks. The riotous punk vocals are often washed out by strains of static-y guitar and clanging drums, which is perfect for angsty headbanging, but not for singing along. figcourt.bandcamp.com
—Lauren Kershner
Final Path
In the Way of Salvation EP
Escondido’s Final Path makes metallic hardcore that sounds like it was carved out of a mountainside, with extra attention paid to the suffocating guitar riffs, ten-ton drum beats and scowling vocals. Opening track “Will to Act” is like being run over by the treads of a tank, while the closer, “Salvation,” is like being shot from said tank into a churning swirl of pure anger. Roar! finalpathca.bandcamp.com
—Ben Salmon
Finnegan Blue
Finnegan Blue
There’s a thin line between folky and folksy, and I’m afraid that Finnegan Blue—while they’re certainly fun, spirited and talented—fall into the latter category. Even when I try to overlook the fact that they pepper in elements of funk and reggae (really?) into their ham-fisted folk, I can’t help but feel like this is music I’d try to ignore at a farmer’s market. Then Finnegan Blue starts in with their Jesus and God lyrics and my eye twitches and I’m squeezing an heirloom tomato way too hard. soundcloud.com/finneganblue
—Seth Combs
Tony Ford and Lindsay Gella
Echoes of 852
Shambolic country tunes from a couple Minnesota transplants. Tony can’t sing, and I’m honestly kinda sorry if nobody’s ever told him that before. They seem to make a good pair, though their songwriting needs work. (facebook.com/TonyAndLindsay). Speaking of which…
Tony Ford
Mpls
I hesitate to call this an “album”; it sounds more like the demos of someone just beginning to learn how to write songs. After failing to muster enough energy to sustain a melody on the previous two tracks, shaky-voiced Ford finally gets somewhere in an achingly slow folk balled called “The River,” setting the mood through gentle strums and ghostly organs. (tonyford.bandcamp.com) But wait, there’s more…
Lindsay Gella
“Hazy Hills”
Quaint little country tune about heading west to the wind and waves. Ideal for playing as background “atmosphere” in a coffeeshop.
—Peter Holslin
Kate Rose Gold
“Shooting Star”
This track off Gold’s upcoming album is a solid R&B jam about two lovers who decide to end things in order to pursue their respective dreams. Not exactly novel territory, but the song itself is a nice little bop that’s as mellow and smooth as a Newport on a warm day. Hopefully the rest of the album is just as pleasing. soundcloud.com/kassrosegold
—Seth Combs
Grim Glum
“Herons” and “Champion”
“Grim” and “glum” are definitely suitable adjectives for the melancholic soundwaves drifting out of my speakers. With the first reverb-drenched a capella notes in “Herons,” it’s reminiscent of The xx’s minimalistic dream-pop. Sad, yet seductive. soundcloud.com/grimglum
—Lauren Kershner
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Shane Hall
West EP, River EP and Queen EP
Shane Hall’s latest triple EP is a road running in three different directions. On the first road—West—I feel like I’m riding on the back of a motorcycle with Hall’s bluesy vocals crooning sexy, desert rock into my ear en route to the next dive bar. The second—River—is a long, dead end road where we’ve picked up ‘harmonica and fiddle’ who are hitchhiking to the county fair square dance. I’m not sorry to leave them behind in the rearview as we travel down the third road—Queen—which simmers in sultry R&B soul (and, damn, where was he hiding those high notes before?). The whole time I’m listening, I’m trying to pinpoint who he sounds like. Otis Redding? James Brown? Maybe a little Jimi Hendrix? Regardless of who he reminds me of, I feel like I’ve unearthed one of the music world’s best-kept secrets. Even with the square dance detour, the overall journey is one I’d gladly take again. shanehallofficial.com
—Lauren Kershner
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The Hand of Gavrilo
The Hand of Gavrilo EP
It’s extremely difficult to sound smooth in an art-rock band. Yes, there is a level of badassery that comes from being able to pull off jarring time signatures and spastic dynamics, but style? Not really. The Hand of Gavrilo, on the other hand, has it in spades, which is why their three-song EP feels so revelatory. The sound they create is that of a dark romance—vampiric and tinged with danger. If Interpol had jarring, frightening love with Fugazi, the result might be something close to The Hand of Gavrilo. “Left for Dead” explodes out of the gate with a throbbing bass and and driving syncopated drums—all at a breakneck pace. It doesn’t sound sexy at first, but then vocalist Franco Rakigjija swoops in with a croon so smooth that it’s hard not to fall under the spell. Throughout the album, his voice fits between a jittery (and masterful) rhythm section and shimmering, post-punk guitars. When Rakigjija shrieks—a sound akin to Refused’s Dennis Lyxzén—we’re not repelled, but pulled deeper in. This is the sound of night creatures when they hunt, and we’re the willing prey. thehandofgavrilo.bandcamp.com
—Ryan Bradford
Sirenna Harris
“Who”
Listening to this single, I feel like I’m caught in a ’90s R&B time warp. A sonic hybrid of Ashanti and SZA, Sirenna Harris’ smooth vocals outshine the archaic computer-generated beats they float over. With some glossier production, I could hear this on the radio. If she was going for a cross between retro, pre-millenium hip-hop and modern, albeit low budget electro-pop, then she nailed it.
—Lauren Kershner
Hectorpoof
Life Like EP
This was categorized on Spotify as “dream rock,” though I would say it veers closer to sleepy. Less like the liminal space between consciousness and unconsciousness and more like the weight of a cat napping on your lap, it’s nice, but only if you really don’t feel like doing anything else. hectorpoof.bandcamp.com
—Christin Bailey
Hello Noon
Into Place
Listening to this album is like sipping Slurpees at the beach with your high school crush, but definitely without any booze snuck into it. Into Place is wholesome pop with early ’00s influences (anyone remember Keane?). They’re a little too saccharine for me—it’s feel-good music for people who already feel good—but if you need some clean, hopeful tunes, this is for you. hellonoon.com
—Carolyn Ramos
Mike Holmes
“Simba”
Despite the fact that Holmes starts this hip-hop track by rhyming “lava” with “lava,” this in absolute head-bobbing track with a haunting beat courtesy of Yondo. Two minutes of reflection and wisdom to what I assume is Holmes’ son, these are lessons we could all take to heart. This track made me want to listen to the rest of his music and it’s just as good. soundcloud.com/supimholmes
—Seth Combs
The Humble Crab
The Humblezt
The struggle of being a critic is that I love being an evil bitch. For all the fun he’s having, I cannot enjoy this Ween pastiche. As in “Sir Kid of House Rock,” where the band proclaims “witches… give zero fucks for as long as they live.” Well, they got me there. thehumblecrab.bandcamp.com
—Christin Bailey
Hurricane Kate
Mayday
You will find Hurricane Kate somewhere at the corner of Cockney Rejects and Public Image Ltd. The band still has some teenage angst to express. And although teenage may be a thing of the past for these guys, nostalgia definitely isn’t. Mayday seems to be an ode to that. Which brings us right to…
Hurricane Kate
Amaizing
Amaizing is quite literally almost identical to Mayday. The majority of the tracks featured in Mayday can be found on this album. What changes is mainly the order of the songs. But I couldn’t say whether that’s a rational decision or not. I guess it’s sometimes good to shake things up? hurricanekate.bandcamp.com
—Ombretta Di Dio
Idiot Bombs/Ninja Night Race
Techno Remix ’86 Split
Music for adults who self-identify as Ghostbusters fans and who, in any form of media consumption, principally value getting the reference. If thinking “Yes, I’ve seen Gremlins” is not enough for you, then there’s little else to carry you through even though the songs are only thirty-seconds long. shredthegnarrecords.bandcamp.com
—Christin Bailey
Iran Rayú
Leisure
Lo-fi hip-hop tracks that unfold like long, druggy daydreams. Some of this sounds a bit too rudimentary and sorta like the rap equivalent of “eenie-meenie-miney-moe,” but the dark vibes keep it interesting. Rayú could do a lot with his mellowed monotone, and the creeping, lock-step beats of tracks like “Magic” and “Dear Diary” are crude in a cool way. soundcloud.com/iranrayu
—Peter Holslin
IZE
Friends
The beats bump and they can rap, but when it comes to the lyrics, IZE covers money, women and haters in predictable ways.There’s an effort to tap beneath the surface with the subject of betrayal on the last track, “Trends.” In their email, IZE tout themselves as an Asian-American collective, but drop “n**ga” a few times in the first track <FACEPALM>. Too PC? Maybe. But it feels like a lack of creativity. Gonna Tiger-mom these dudes and say, “Do better, fellow Asians.” soundcloud.com/ize_music
—Carolyn Ramos
Jahori Dub
The Southern Californian Way
What would a group named Jahori Dub know about being distinctly Southern Californian? Last time I checked, reggae doesn’t have its roots in Southern California. So, right off the bat, The Southern Californian Way is a lie. It doesn’t get better after listening to it either—it’s classic frat reggae and that’s about it. facebook.com/SoCalWay
—Jackie Bryant
JR Music Club
Demo
JR Music Club sound like they have just emerged from a cryogenic chamber after accidentally falling into it in the year 2000. Seriously, it’s scary how good they nail the sound of turn-of-the-century pop bands like TLC (acoustic guitars over programed beats? Check!), Destiny’s Child (fantastic trade-off vocals? Check!) and Backstreet Boys (earnest admissions of love free of irony? Check-plus!). Seriously, this wormed its way into my head so hard that I forgot what year it was and considered getting frosted tips.
—Ryan Bradford
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Daniel Koestner
Donut County (Original Soundtrack)
Donut County is a quirky video game where you play a hole in the ground. You cruise around, encountering colorful characters of all kinds while trying to suck things into your orbit, and Koestner—a PhD candidate at the Scripps Institution of Oceanography—helps bring the world to life with a mellow soundtrack of glitchy hip-hop and sweetheart indie pop. This album has the blunted, laid-back feel of a Low End Theory beat-tape, only everything is rendered on a miniature scale—like mice with tiny guitars and Roland samplers. Highlights “Breaking Ground” and “Pup Odyssey” are perfect lullabies, while the funky “Bk Squad” plugs into the great Technicolor beyond. Put this on when you need to study, or if you’re hoping to reenact some fond childhood memories.
—Peter Holslin
Left In Company
PRJCT BLUBYRD
Left In Company doesn’t make albums. They create dynamic little worlds. The long-running project revolves around Generik and Aneken, two multi-talented musicians with a take on hip-hop that’s both deeply rooted in the genre’s glory days and decidedly forward-thinking at the same time. Like the group’s past albums (including a couple “ExtraSpecialGoods”), PRJCT BLUEBYRD is a sort of sonic diorama packed with booming beats, synth zip-zaps, psychedelic vibes, tractor-beam melodies, a variety of voices and plenty of atmosphere. It’s a world well worth exploring.
—Ben Salmon
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Jessica Lerner
After (h)Ours
In After (h)Ours, pianist and singer-songwriter Jessica Lerner gives a completely transparent view or the different stages of being in a relationship. There’s the seduction, the love, the sadness and the hope. “Under These Sheets” is one track that particularly stands out, with lyrics like “memorizing your perfect face.” It perfectly describes the feeling of happiness that comes from spending time with a special somebody. The song is slow, but picks up toward the end, giving a sense of determination to be there for a special someone even when times are bad. Another favorite from this album is “Come On.” Lerner manages to encapsulate the desperation that comes with wanting to be with someone you love (but can’t have) with lyrics like, “Come on / come on / don’t leave me this way / I know you think about me.” This is an album to get lost in. jessicalernermusic.com
—Andrea Lopez-Villafaña
The Libras
Rivalry
When it comes to goth and new-wave, The Libras did their homework. Channeling Alien Sex Fiend, Clan of Xymox and even a bit of Adam and the Ants, The Libras would have probably found a spot into one of my high school mixtapes. If only they had been around 15 years ago! rivalry.bandcamp.com
—Ombretta Di Dio
Loosen the Noose
Loosen the Noose
OK, let’s just put aside how highly problematic it is that a bunch of white dudes named their band Loosen the Noose and literally have a song that references “slave labor” (“Bones”), albeit about how it’s bad or something. Honestly, I couldn’t get over the wretched chorus. While all four members of this band are individually talented, their collective blues/rock/funk hybrid is derivative, soulless and unlistenable. loosenthenoose.bandcamp.com
—Seth Combs
Lucid Dream
4 songs
If you want evidence of San Diego and, specifically, blink-182’s lasting legacy when it comes to pop-punk, look no further than Lucid Dream. Multicultural and co-ed, the quartet mostly specialize in punk-by-numbers with the same power chords and subject matter that’s been done a million times over. Still, there’s a market for this kind of music right now so I can’t help but feel like songs such as “Family Business” and “Love Yourself” will garner a lot of local fans. Luciddreamsd.bandcamp.com
—Seth Combs
MAG00N
Barf
I went into this expecting it to be terrible (seriously, who calls their album Barf?), but it turned out to be a set of fully formed, rather excellent trap-rap bangers. MAG00N has a twanging drawl resembling that of Vince Staples, and he spits rhymes like a star pitcher with a mean curveball. The track “dats rad” is the obvious highlight, but I also dig the trippy synths of “mojo” and the meditative “wassup creeps.” Hit that weed pen and enjoy. ffm.to/barf
—Peter Holslin
EXTRASPECIALGOOD
Manuok
Spirits EP
Listening to the three songs on Spirits is like sinking into a hot tub in the black of night while snow falls around it. “Ides,” the first track, is slow, ethereal and light. The bare vocals have a forced weakness to them that lay the groundwork for the build to come—kind of like winter’s first snow dusting. The slightly deeper second track, “Cellars,” continues the momentum with additional backup instrumentals while still retaining a modicum of mellow restraint. “Breaks,” the final song, ends the EP with a bang, exploding into heavier guitar, echoed vocals and drumming that becomes a room-filling jock jam. Overall, Spirits is a trip through early-’00s indie rock: Each song has a distinct style that seems representative of a varied line-up at a hyper-indie music festival, like, say, Iceland Airwaves. Maybe all the snow references are due to the fact that I’m writing this from a snowbound landscape, but Spirits is a small collection that reminds me of the beauty in melancholy and contemplation.
—Jackie Bryant
Boone Mayer
“Sand”
This wobbly instrumental could soundtrack a scene in a western by Wes Anderson. (Here is Bill Murray feeding his horse. Here is Bill Murray brushing his horse.) Mayer keeps it casual by coughing just after the Spanish guitar intro, then continuing on by highlighting each instrument with its own 8-bar solo. Innocent GarageBand fun. itunes.apple.com/us/artist/boone-mayer
—Carolyn Ramos
Me + Not Me
Demo
I liked this. The opening track is delightful: a steady melody that feels like an entire crowd could belt it out together, plus the texture of some sort of Casiotone descant that never feels as cute or twee as you’d expect. The vocals are a deep-voiced, moody presence with lushly layered harmonies but also an edge of British new-wave bounce. The artist’s voice feels timeless and ’80s pop-goth at the same time. He’s a total mystery and I think the songs are even better on account of the only internet presence: a yahoo email address.
—Julia Dixon Evans
Mesten
Visitor
It sounds like it’s made on a big gray computer sitting on a maple veneer computer hutch with a pull out keyboard tray in a hermetic room that needs to be vacuumed. If this is the reality, I recommend opening a window. If it’s a stylistic choice, I kinda like it. mesten.bandcamp.com
—Christin Bailey
Mikey Sykes
“Blind”
This track was just on the verge of being an “ExtraSpecialGood,” but I just couldn’t help but wish there were more. Over a perpetual drum machine beat, this seven-minute jam mixes some synthy darkwave vocals over some garage-rock guitars that results in a sound that recalls Suicide or even San Diego’s own Crocodiles. And just when you think Sykes is going to go on like this forever, he breaks it down to just that beat and then throws in droning keyboard and a guitar solo. Looking forward to seeing how this project shakes out. soundcloud.com/mikeysykes
—Seth Combs
NAEL
Do We Stop Living?
Wait, there are three separate tracks here? It’s a little difficult to tell where one song ends and another begins. NAEL’s generic new-wave instrumentals ape Chromatics and New Order, and it’s not a bad sound, but I quickly got annoyed at the redundancy. This would be good if you’re Ryan Gosling in the movie Drive, and you spend hours in your car being psycho and shit. naelsd.bandcamp.com
—Ryan Bradford
The Naked i
Grin and Bear It EP
This band says they’ve been called “you’re mom’s favorite local band.” And while I can’t picture my mother enjoying this (she’s a Juan Gabriel and Luis Miguel kind of gal), I really liked this EP. It’s catchy and makes me want to dance. Does that make me a mom? thenakediband.com
—Andrea Lopez-Villafaña
Never Say Never
No Filter
Never Say Never sounds like a band that was put together by parents in a well-meaning but misguided attempt to appeal to “the youth.” Their earnest rap-rock and pop-punk anthems sound about 20 years out of date, and their super-positive, motivational messages will make you want to cut yourself just to spite them. Still, at least they don’t traffic in the toxic misogyny common to so many mainstream emo bands. neversayneveraz.bandcamp.com
—Peter Holslin
The Night Howls
The Night Howls EP
There isn’t a single moment or note that falls flat on The Night Howls’ self-titled EP. In a blaze of 70s rock-inspired glory, the fiery vocals of lead singer Kimmi Bitter spew infectious choruses over wailing guitar riffs and anthemic drum lines that had me unapologetically headbanging while listening in a coffee shop on a quiet Sunday afternoon. thenighthowls.com
—Lauren Kershner
No Kings
No Kings EP
There’s nothing about reggae band No Kings’ music that distinguishes it from other local reggae bands. For those who are local reggae fans, this is probably a good thing. For the rest of us, it’s hardly surprising. No Kings are a typical OB reggae band and nothing more. nokingsband.com
—Jackie Bryant
One Hot Planet
Bom Kulu EP and “Scarlett”
Way over yonder on the East Coast, bands like Moon Hooch and Horse Lords are making weird rock ‘n’ roll using the saxophone as a featured element. One Hot Planet seems to be the West Coast wing of this trend, with a lineup of two saxes and a drummer that have so much energy, you’ll hardly notice that it’s the brass that’s moving your ass. The Bom Kulu EP is fun and punchy, even if it does start to wear a bit thin across three songs. onehotplanet.bandcamp.com
—Ben Salmon
One Inch Punch
It’s Complicated
I’ve listened to enough Rock 105.3 to know there’s no lack of plodding, mid-tempo nu-metal, but it still catches me off guard when I hear new bands willingly create this kind of adult angst. But I’ll give credit to One Inch Punch for taking the best of that genre as their influences. The melodic heaviness of Deftones mixed with the operatic vocal stylings System of a Down isn’t good per se, but it also could’ve been a lot worse. A lot worse. At least there isn’t any scat-rapping. oipmusic.bandcamp.com
—Ryan Bradford
Palomino
From the Stretch
It’s been a minute since lo-fi, drunken garage rock was all the rage, and listening to Palomino’s sassy From the Stretch, I realized how much I’ve missed it. Forget Red Hot Chili Peppers or Sublime—this is Sourthern California music. It’s what I want to listen to when the sun is shining, the temperature hits 90 degrees, and I’ve got a six-pack of Miller Lites to kill. The album is quick and dirty, but has a disarming confidence about it. It’s nothing new, but this is a case of “if it ain’t broke, don’t fix it.” palomino.bandcamp.com
—Ryan Bradford
Cici Porter
Demo
Porter has been in the music business for some time now and spent over 20 years with San Diego band Bordertown. She took a break from music but she’s apparently about to release a new project. Porter’s vocals in “Not to Care” showcase her abilities as an artist and they pair well with the bluesy tune. However, she should try to avoid tunes like “Mermaid” and “This is Not a Love Song.” They don’t do nearly enough to demonstrate what she’s capable of because the lyrics are simple, almost lazy. reverbnation.com/ciciporter
—Andrea Lopez-Villafaña
Courtney Preis
Halfway There
This is that kind of feel-good music that’s smooth with a little hint of cheerfulness mixed in. Preis is a pop/indie artist who likes to switch up the tempo of her songs for a unique sound. “Wild Things,” in particular, is my favorite and I love how the music speeds up as she realizes she might have been too “wild” and free for the guy who left her. soundcloud.com/courtneypreismusic
—Andrea Lopez-Villafaña
Pruit Igoe
Tag
Damn, didn’t expect to get my head fucked with this hard. Ted Washington is a well-known poet and writer in San Diego, and when his words are matched with experimental and avant-garde sounds, the result is a Lynchian trip. It’s made even more bleak by Krista Coppedge’s noir-movie trumpet, but as ominous as the music is, Washington’s lyrics are beautifully positive, as he often sings/shouts/yells about the purity of art as it intersects with social issues. Basically, it’s like listening to someone screaming from the void about how beautiful life can be—which might be the most poignant metaphor for creating art in our current political era. pruittigoe1.bandcamp.com
—Ryan Bradford
Qui-Gon Jae
“Warning”
I’m impressed by Qui-Gon Jae’s rapping skills. He has a laid back confidence where he’ll hang back on the beat, and then go in hard with triplets and double-time flows. Not sure how I feel about the name though. And I can’t help but feel like something is missing. More personality? More eccentricity? A good backstory? A little extra can go a long way. soundcloud.com/quigonjae
—Peter Holslin
Marklyn Retzer
Dandelion Tattoo
Well-produced as it is, this shit is cheesy. I’m going to try to be positive here, so [cracks knuckles] Marklyn Retzer is an earnest songwriter. His lyrics are as basic and simple as the type of love he lauds, and maybe that’s OK. The overall effect—the songwriting, the tone of his voice, the simplicity of the melodies—made me feel like I was listening to a children’s album, and yeah, maybe that’s OK too. Album art includes a barefoot-on-the-beach pic and a special thank you to yoga. marklynmusic.com
—Julia Dixon Evans
Rightovers
Die Cruisin’ and Kruise Kontrol EP
If you wear flannel even in summer and drink a lot of cheap beer and Singles is your favorite movie and you have a poster of every indie rock band that was popular from the years 1990-2002 on your bedroom wall, then Rightovers is definitely for you. “That’s Good” is the perfect grime-pop anthem, like if Oscar the Grouch turned out to be a huge Paul Westerberg fan. “Go” is a shameless Strokes ripoff while “Along for the Ride” has the rustic varnish of a Guided By Voices gem but ends up falling flat. The B-side, “Want You,” goes straight for the shoegaze pleasure centers with its driving drums and pealing guitar noise. Derivative but not too shabby. therightovers.bandcamp.com
—Peter Holslin
Andy Robinson
Andyland
The things you’ll find in Andyland:
-Instrumental music that could be best described as better than elevator muzak and worse than everything else.
-Palm trees, but the kind that need to be trimmed and may impale you with a dead branch
-The greatest album art ever (is he really surfing a wave on a mandolin?!)
-One otherwise pretty cool middle-aged guy with a Jimmy Buffet sense of style and way too much time on his hands. andyrobinsonmusic.com
—Seth Combs
Rommii
“all my love”
If this isn’t already being played in dance clubs across the country, it really should be. Rommii’s slick electronic production—mixed with Ashley Mehta’s soulful, honeyed vocals—is tantalizingly infectious. After only one listen, I find the bass-bumping chorus playing on a loop inside my head, gripping me with the urge to shake it out on the dancefloor.
—Lauren Kershner
Corina Rose
Our Love is Freedom
I have mixed feelings about Our Love is Freedom. On the one hand, Rose’s talent as an artist especially shines in “Love is Everywhere (Acoustic),” which is a better version of the pop one she released in 2015. And in “Sweet Potato,” Rose perfectly captures the “giddy” feelings of being in love. However, the rest of the pop songs on the album fall short by comparison. They are just too repetitive even if they manage to get stuck in your head in an annoying way. soundcloud.com/corina-rose
—Andrea Lopez-Villafaña
Rudy Blue
“Passionfruit Bats”
The chorus is literally a guy cumming the words “paaasssssionfruit bats” and then the song segues into some kind of epic guitar hook. They sound like that band of drunks (Flickerdick? Dickerstick?) that ended up winning over the overachieving San Diego band on that VH1 reality show Bands on the Run (VH1 needs to bring that show back). Yeah, it sounds bad, but I have to say “Passionfruit Bats” got stuck in my head so there could actually be something here. Paaasssssionfruit bats! Paaasssssionfruit bats! 💦 🍆 soundcloud.com/rudyblue
—Seth Combs
EXTRASPECIALGOOD
Julia Sage and The Bad Hombres
“Ni De Aquí, Ni De Allá”
I’m a sucker for a ballad especially one in Spanish. Sage has a beautiful voice that pairs well with this kind of Mexican folk song. This song breaks my heart and makes me want to open up a bottle of tequila to help wash down the lyrics. It’s the ideal song for a border town. After listening to the band’s new song, I did a little digging and I found a video of Sage performing a cover of “La Llorona,” which is one of my favorite songs by Chavela Vargas. Sage does the song justice and has made a new fan so I will be keeping an eye out for any upcoming songs. soundcloud.com/juliasage
—Andrea Lopez-Villafaña
EXTRASPECIALGOOD
The Sea Monks
Gasoline
I had all of my family band jokes (insults) ready for this one but, alas, this rockabilly album—stuffed equally with originals and covers—is actually impressive and fun. Sixteen-year-old Noah Kapchinske fronts the band, his younger brother Kai plays the drums, and daddy-o plays bass. It’s easy to forget these are kids, partly because Noah’s voice is gritty beyond his years, and partly because they’re all so goddamn talented. I loved the cover of “Memphis,” but originals like “Liar Liar” and “Gasoline” also pack a lot of songwriting promise and style. The kids are all right. seamonks.com
—Julia Dixon Evans
$eem
WeedTape
At one point during the last track in the five-song WeedTape, $eem raps: “I’m fucking serious about this weed shit.” Bear in mind that he’s just rolled through four tracks respectively titled “Marijuana,” “Smoke Hella Weed,” (which features the refrain: “Smoke hella weed that’s what I want to do / That’s what I do, I smoke hella weed”), “Smoke With My Guys,” and “Blunts to Paper.” So even though the beats are derivative and the rhymes are as inspired as Wesley Willis, I’m just happy that $eem uh… seems to have found his calling. soundcloud.com/seemkparks
—Ryan Bradford
Shakedown String Band
In the Key of OB
While OB may be the main theme of this album, Shakedown String Band would probably better fit somewhere on the Blue Ridge Mountains of West Virginia. Still, this band does its best to prove that banjos, harmonicas and mandolins can find their place by the beach. And the result may surprise you. shakedownstringband.org
—Ombretta Di Dio
Shark Jones
Dream Come True
Odes to women, troops and a closed Dick’s Last Resort franchise, Shark Jones is like a band that was algorithmically generated by a 30-years-divorced uncle’s Facebook timeline. But their jarringly analog existence is even more startling—to buy their CD, you need a stamp and a checkbook! raisedeyebrowrecords.com
—Christin Bailey
Darren Sherrill
“Think About It”
OK, who brought their smooth-ass uncle to this party? Listening to this track is like watching your parents dancing to Smokey Robinson. Or like sipping free cocktails at a bayside Maxwell show [Edit note: Yassssss, queen! —S.C]. I wish it had an original edge somewhere, anywhere, but this is a cheesy, easy, throwback R&B listen.
—Carolyn Ramos
SHINDIGS
C h ill a nd
SHINDIGS know where they are going and how to get there. Their relaxed dream pop hits all the right notes, which is why you should listen to their album while looking at paintings by Chagall or discussing your next trip around the world. This band makes music that belongs in the soundtrack of a coming-of-age movie, and I hope it does end up there some day. shindigs.bandcamp.com
—Ombretta Di Dio
The Snack Packs
Three live tracks
Once you get past the chatter of the SPACE bar crowd that clutters these recordings, it’s quite apparent that Snack Pack knows how to lock into a sweetly soulful groove and stay there until the night has been sufficiently swayed away. The only real surprise comes about three minutes into “Believe,” when the duo shifts from a drowsy Jack Johnson vibe into a legitimately funky jam. Here’s hoping there’s more of that on any future studio recording.
—Ben Salmon
Sol Orchid
Sol Orchid EP
It was the summer of 1999 and “Maria Maria” by Santana was everywhere. Despite my best efforts to avoid it, I just couldn’t escape that song. Now, a SoCal version of Santana, with the addition of a powerful female vocalist who reminds me of Janis Joplin, has somehow found its way back to me. solorchid.com
—Ombretta Di Dio
SOLV
Chrome Serferz
No one can ever say that Ariel Iribe isn’t trying to do something serious with SOLV. It’s dissonant, mesmerizing and inherently confrontational. What his soundscapes lack in engineering, production and accessibility, they almost make up for in sheer provocative insistence. Almost. It is not an easy listen and the band truly doesn’t give a shit to be so. And Iribe wants—no, seriously needs—you to know that. solv.bandcamp.com
—Michael Gardiner
Sometimes Julie
Breaking EP
Sometimes Julie is enjoyable some of the time, but highly unoriginal all of the time. Monica Sorenson is a very capable singer, but mostly this quartet plays the kind of upcycled, classic rock gibberish one might hear at The Rock church when the pastor really wants to get the crowd pumped. sometimesjulie.com
—Seth Combs
The Star Channels
“Wayside”
It’s hard to judge a band off one track, but this co-ed duo seem to be going for something a little rockabilly with some surf-rock mixed in for good measure. Ali Kurzeja’s singing voice is serviceable for that kind of vibe, but limited enough in that it won’t exactly earn her a starring role in a community theater production of Grease anytime soon. They could play at a Hot Rod show or a tiki festival or something. IDK. Rockabilly is stupid.
—Seth Combs
Mike Stockapler
Light and Dark EP
Multi-instrumentalist Mike Stockapler’s first solo project could easily be the soundtrack to a bad ’80s road trip flick. The four tracks waver between obnoxiously upbeat Tears for Fears synth-pop, and melodramatic piano ballads that sound like Radiohead B-sides. Don’t get me wrong, there is true musicianship here. I just can’t stop picturing a neon-clad couple cruising down the highway in an ’80s roadster, top down, hairsprayed manes flying behind them in a breeze of John Hughes-manufactured optimism. soundcloud.com/user-894145868
—Lauren Kershner
Strange Creatures
Demo
After numerous failed Google attempts to find Strange Creatures and only getting images of strange sea creatures, I decided to listen to their demo. Nothing particularly stood out to me other than their song “Swansins,” which has no lyrics but has a very intoxicating sound. I had that one on repeat but not the rest.
—Andrea Lopez-Villafaña
Suge KNice
“Simple Green” and “M4L Magic”
I grew up in a time when the prevailing wisdom among most of my peers was that guitars ruled and drum machines weren’t “real” instruments. That’s bullshit of course, which is why now I can’t help but support anyone willing to take the time to make some chill beats. Suge KNice does exactly this—“Simple Green” was even a final project for his studio recording class. I can’t imagine these rudimentary productions leading to booty-shaking on the dancefloor any time soon, but you gotta start somewhere. soundcloud.com/suge_knice
—Peter Holslin
Sulk Slogan
slappað af {beat tape}
Sulk Slogan produces sleepy beats, which isn’t to say that they’re boring. Rather, it’s the type of music that would sound good on a rainy day, drinking chamomile tea and being really, really high. The dreamy, indie instrumentals add an intriguing pop element—a mix of hip-hop lite and The Eels. The music starts to sound the same after awhile, but it’s a pleasant sameness. I imagine a lot of weed goes into producing this type of music. sulkslogan.bandcamp.com
—Ryan Bradford
Sunset at Duck Pond
6 Songs
There was something cinematic about this stuff, particularly the first track of this ambient album, what with its haunting, wordless female vocals floating atop a steadily rhythmic landscape. The second track had a bit of a new-age driving grind to it, and kinda felt like it could be the menu music to a futuristic horror DVD. If you’re into that. I think these tracks could each be twice as long, maybe with more phases and movements to each. I know it’s just a demo, but it still felt over way too soon. soundcloud.com/bklyn05
—Julia Dixon Evans
Super Senior
Your Inner She Dragon
Every year, this issue brings in at least one band that gives me pre-Bleach Nirvana vibes. This year, that band is Super Senior. The two songs Super Senior submitted rumble and lurch like some of Kurt and company’s early grunge salvos, but with more classic rock vibes than punk. The guitars are crunchy, the bass lines dig deep, the arrangements show potential and, in a bit of twist, the singer is a woman. There are some promising parts here but work left to do. superseniorsd.bandcamp.com
—Ben Salmon
The Swedish Models
3 Songs
Listening to The Swedish Models makes me miss eras I never even experienced. Swirling in vintage vocal distortion, dreamy harmonies, and classic rock ‘n’ roll, this is Beach Boys meets Buddy Holly meets The Mamas and The Papas. Cue nostalgia.
—Lauren Kershner
T. Ka$h
“White Horse”
This is by far the least frightening trap-rap song about the apocalypse I’ve ever heard. T. Ka$h carefully enunciates every word like he’s Bill Nye in the middle of science class. He references Drowning Pool’s “Bodies” and rhymes “funny” with “money.” It’s not good and the Grim Reaper would be ashamed. soundcloud.com/tkashmusic
—Peter Holslin
Tonëriche
The Collective
This album is a discordant hip-hop dance pop mash-up that is best as a sum of its parts, but falls apart when listening to tracks out of order or on their own. Overall, there are too many other competing sounds and styles to listen to multiple songs in a row without any kind of beat drop. soundcloud.com/toneriche
—Jackie Bryant
Trains Across the Sea
Before it Ends
Trains Across the Sea should really be called Truckers Across America because the album’s full of rootsy, American trucker rock that just oozes “authenticity.” Or maybe a 1960s TV sitcom simulacrum thereof. Sometimes it seems like frontman Andy Gallagher is in on the joke—and the album’s certainly filled with good songwriting—but then I remembered this is supposed to be an album, not a sitcom. trainsacrossthesea.bandcamp.com
—Michael Gardiner
Tweez Babii
“Car Head”
I really don’t know why anyone needs to hear an entire song about getting oral sex in a car. A sticky (no pun intended) line or two to make someone laugh or fill in a lyrical gap? Sure. But hearing, “I want some head in the car,” which is the main hook of this jam, over and over again until my brain threatens to seep out my ears is cringe-worthy at best. That said, that hook is really catchy. facebook.com/FdwTweez
—Jackie Bryant
Vlush
Vlush
The instrumentals behind Vlush’s self-titled album recall classic SoCal beach rock vibes that are decent enough. But the vocals are flat as hell and, when paired with the dreadful “I hate myself” lyrics, listening to this is just plain painful. They perform better on the more upbeat screamy songs, but that’s about it. vlushsd.bandcamp.com
—Jackie Bryant
War for Candy
War for Candy EP
War for Candy is not the kind of band I would normally listen to but I honestly enjoyed the band’s six track EP. Vocalist Leigha Shaker’s voice is beautiful and I was particularly fond of “Madly,” as it gave me more of an ’80s hard rock vibes but a little more, well, hardcore. warforcandy.bandcamp.com
—Andrea Lopez-Villafaña
Wellington, Jr.
Multiverse
West Coast, conscious-rap lite with a pseudo-Ghostface flow. Wellington is introspective, but his reflections lack poetry. His lyrics are common, but not like Common. “Sometimes I feel infinite / Sometimes I feel like shit.” See what I’m saying? soundcloud.com/wellington_jr
—Carolyn Ramos
Year of the Dead Bird
Year of the Dead Bird
The noise and prog metal elements are all there: guitars, distortion and instruments upon instruments. Zero lyrics. But Year of the Dead Bird is not your typical Tool or Russian Circles simulator. The band knows how to pick up the pace and throw some punk in there the as well. “Panda Pass Out” is a good example of that. yearofthedeadbird.bandcamp.com
—Ombretta Di Dio
YL the Hippie
Sucka Free
Standard-issue San Diego street rap with generic beats and bravado rhymes. Normally it’s cool if a rap album sounds like it was recorded in somebody’s bedroom, but in this case it just sounds wack. soundcloud.com/heippie
—Peter Holslin
Young Wants
Happy Boring EP
Happy Boring might have complied with the Truth-in-Advertising laws if only they sounded a bit more “happy.” Instead, these five songs sound like punk on Valium, only with more reverb. There’s a mildly pleasing retro sound to some of it, but it just doesn’t quite make up for the vapid lyrics and the utter lack of any innovation. youngwantsforlife.bandcamp.com
—Michael Gardiner