The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Every Tuesday, the Sounding Board is a space for a short-ish review of a recent-ish release and conversations about new-to-you music. We’ll get things started with a write-up about a newer, likely under-heard album, and invite you to share your music musings in the comments.
Yeule couldn’t have timed the release of their new album any better.1
That’s not because any of Evangelic Girl is a Gun ‘s 10 tracks radiate Song of the Summer potential.2 Pop instincts are on display, but so too is a predilection for weird noise. There also isn’t anything about the fourth album from Singaproean artist Nat Ćmiel’s mononymous musical alter ego that specifically evokes the warmer months. Some of its glitch-touched dream pop can put you into the snug blissful surrender state that presages an open-window nap on a summer afternoon. But that’s only a sometimes thing with Evangelic Girl is a Gun, which also indulges some wonderfully jarring impulses.
Instead, the album’s May 30 release date feels fated because it coincides with two wildly different celebrations that nevertheless speak to aspects of both yeule and their new album that are worthy of notice and adulation.
The first of those celebrations is obvious — June is Pride Month and yeule’s music is the work of a queer artist. Ćmiel is a self-described “Glitch Princess” and nonbinary. That’s central to the image and sound of yeule. who fits the adroit, artful and androgynous trope established by acclaimed aliens and androids (David Bowie and Janelle Monáe).3 June is a month to celebrate LGBTQ+ people, communities, arts, culture and history. It’s fun that a good, relevant album was released as May gave way to June. I don’t expect Evangelic Girl is a Gun with its occasionally gritty guitar tones and cannibalistic lyrics to benefit from rainbow capitalism, but the world would be a cooler place if corporate tokenism could line up behind the pleasant drone of the languid and libidinal “What3ver.”
The other coincidence is a longer walk. About a week before Evangelic Girl is a Gun came out, Demon Days, the appropriately beloved second album from the cartoon rock band Gorillaz, celebrated its 20th anniversary.4 As people reckon with that album’s landmark status and wonder about the long-term influence of Damon Albarn’s lore-heavy side project, they should look no further than yeule and their new album as an example of an artist actively working within a similar milieu musically and conceptually.
Gorillaz, famously, aren’t a real band. They’re a revolving cast of real-life musicians led by former Blur front man Albarn who give voice to virtual characters created by Tank Girl artist Jamie Hewlett.5 Yeule, similarly, is a virtual construct and an aesthetic exercise.6 Like Gorillaz, yeule’s album cover’s tend to feature striking digital depictions rather than an accurate portrait of the person making music happen behind the scenes. Ćmiel is much closer in appearance and spirit, to yeule than Albarn is to his cartoon counterpart, but no one looks exactly like the being on the cover of Glitch Princess.
That album’s uncanny valley cover speaks directly to the world it’s music inhabits. Evangelic Girl is a Gun’s stark, nearly industrial cover image similarly informs the album’s content, too. Its filmic quality is in step with an album that features more analog instrumentation than past yeule LPs, contrast-heavy grayscale coloring channels the goth music that influences the album’s sound, the comically large gun yeule is holding hints at a vein of volatility that runs through the album and the small square symbol in the upper-right Forging a connection between visual presentation and music is an important part of yeule’s process.7 It’s an approach that’s more connected to reality than the literal comic book world of Gorillaz, but both projects place an emphasis on using visual cues to deepen musical storytelling.
But it’s sonic connections between Demon Days and Evangelic Girl is a Gun that are more evident.
Evangelic Girl is a Gun blends hypnagogic singing; poetic, sometimes profane, lyrics; and music that heavily incorporates elements of ’90s alternative music and both hip- and trip-hop. That’s a description that could aptly be applied to Gorillaz. There’s a patina of glitched-out noise experimentation to yeule’s music, yet there isn’t a world of difference between something like their song “Dudu” and “El Mañana” by Gorillaz. However, instead of guest verses from rap legends, yeule picks up interesting textures from guest producers, like A.G. Cook and Clams Casino. Also, while Albarn’s musical sensibilities serve as Gorillaz’s compass, yeule’s latest is built on a foundation poured by the likes of Shirley Manson, Tori Amos, Bjork and Beth Gibbons.
It’s a sound that echoes the past without being beholden to it and that stays true to the distortion-heavy consistently off-kilter sound that’s all yeule’s. It’s music that is sometimes exuberantly bright and other times placidly staid, but the first impression is never the full story. Weird electronic squelches, abrasive feedback, hissing static, corrosive guitar and chopped-up percussion sounds have a habit of popping up in unexpected places. If the Cardigans ever made a song that featured a brief bridge sung by Poo-Chi, the toy robot dog from the early ’00s, it would sound a lot like “Eko.” Album-opener “Tequila Coma” sounds like it could have been on Fiona Apple’s Tidal, if it wasn’t for a stuttering back beat and the presence of serrated guitar squeal in the place where an unfortunate snake charming outro would have appeared 30 years ago.
On Evangelic Girl is a Gun, There’s always something darker or more complex churning its way from the depths, ready to burst to the song’s surface and emanate oddball ripples. You never know when it’s going to arrive, but you can be sure it’s coming up. It’s coming up. It’s coming up.
About the writer
Ben Hohenstatt
Ben Hohenstatt is an Alaska-based dog owner who moonlights as a music writer and photographer.
For more information, consult your local library or with parental permission visit his website.
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The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Department of
Conversation
What Did We Watch?
The Kids In The Hall, Season Three, Episode Seven
– “Pick her.”
– I’ve brought this up before but it fascinates me how many KITH sketches are about people who fall into the cracks of America – Nath compared this show with Mr Show in terms of both their influence on him and how KITH clearly draws on the influence of theatre vs Mr Show drawing on television, but I also think they parallel each other in that KITH draws on real, often downright banal people who wouldn’t even get on television.
– “Tonight, conveniently located at Carlo’s Italian Eatery.”
– “May I assume that your last boyfriend was a bastard?” / “Yes. He had a cabbage for a head.”
– “Master, she is quite clearly a bigot.” / “Yes, and yet I quite clearly want to sleep with her.”
– “No, Hecubus, just profoundly sexually frustrated.”
– “Well, for one thing, I’m not a big fat bald guy.” / “Well, not yet.”
– “Cunnilingus? My father drove one across America.”
– “This is my show, this is my scene.” / “Bruce?! Bruce?!”
– “How do I know you’re the real Bruce?” / “Oh shut up, Kevin.” / “He’s the real Bruce.”
I’m seeing Buddy Cole tonight!
Tomorrowland – Undoubtably a common reclamation project when the next generation of film writers comes of age. It’s maybe the only true disappointment of Brad Bird’s career that this failed at the box office on its own merits. Had a better movie delivered its thesis on optimism in trying time, well, tough to say it would have made a difference, unless you believe in the kind of inspiration of Tomorrowland (Matt Singer points out that the awesome Mad Max: Fury Road got the lion’s share of attention in 2015, a much better movie which could also be seen as an example of the kind of self-fulfilling doomsday prophesy Tomorrowland warns against).
There’s three simple but critical issues to be fixed here: 1) most every main character is not just sassy, but sarcastic in the exact same way (I believe at least three different people say “Terrific” with irony and it’s not a callback). This gets quite old.
2) When not cracking wise, the characters spend their downtime between setpieces repeating some version of “What is going on?” “I can’t tell you?” “Why can’t you tell me?” “(Vague reference to unrevealed but guessable plot point).” You know what would be way more interesting? “What is going on?” “There’s an alternate dimension where the geniuses of the world have sequestered themselves and we have to find a portal to get there.” Now we’re going somewhere! I’m tempted to chalk this keep-the-story-secret approach to Lindelhof, but it’s not like Bird takes marching orders from a co-writer.
3) The ending to this inventive take on saving the future boils down to fighting robots and blowing something up. My kids have a higher tolerance for the first two items but this one they called out. A celebration of the ingenuity of the human race to solve problems should come up with something more memorable than another explosion.
Everything else here is pretty great, though, so good you’re frustrated by what doesn’t work. And it’s good enough to be fondly remembered by kids who have its unique qualities stick out in their memories of regurgitated Disney cynicism from this era.
Heathers
Fuck me gently with a chainsaw! I loved this, and I should have watched it a long time ago. Tart, funny, smart, vicious, bold, cool, and ultimately purposeful, choosing Veronica’s embattled, sarcastic teenage angst and tough heart over JD’s charismatic nihilism–but never denying there’s something compelling and even sexy about staring into a violet void every now and then. Every scene feels like it’s juggling a lot and keeping all the balls up in the air so well that it seems effortless.
Take the famous “I love my dead gay son” moment: the line itself is funny in its baldness and specificity, but it evokes some real emotion–this does feel like a baffled, grieving father groping for the best way to express that, to his surprise as much as anyone else’s, his love for his son has continued, that it’s the loss that hurts, not the “revelation.” But simultaneously, JD’s crack about him probably not being as wild about a “son whose limp wrist still has a pulse” also rings true–the acerbic satire, the puncturing of the sincere, is both effective and inviting, bringing Veronica (and potentially the audience) in on a kind of knowing, above-it-all superiority that sees the joke. But also the big throughline here is that yeah, there’s a lot of bullshit and shallowness in the world, but it’s worth engaging with and caring about people anyway. Be perceptive enough to satirize, but empathetic enough to see past the satire and also deal with the world as it is, not as you’d like it to be.
Awesome lead performances from Ryder and a very Nicholson-esque Slater, and those two have chemistry for days.
Possible favorite comedic moment: the cop pulling out the bottle of mineral water: “Does THIS answer your question?!”
Primal, “Sea of Despair,” “Shadow of Fate,” and “Dawn of Man”
Finally started S2! This keeps up a lot of the strengths of the first season–gorgeous animation, incredible and highly dynamic fight sequences, clever looks at prehistoric politicking in terms of negotiating sustainable vs. unsustainable dynamics–and adds the complication of bringing Spear and Fang into more and more human societies and conflicts. We’ve got Picts! We’ve got Vikings! We’ve got the rediscovered Mira and her people, whom she won’t leave behind! (Spear has had family before, but not community, and you can see him slowly coming to terms with the idea in this set of episodes. I feel like being with the Picts for a while in “Shadow of Fate” helps him more easily accept Mira’s insistence that she’s not leaving enslavement on her own.)
Particularly fantastic sequence in “Shadow of Fate” when Spear tries to keep the Picts from harming Fang and Fang tries to keep Spear and Red from harming each other … dramatic and visually interesting, and also a time when you can feel the characters’ limitations in a way that Spear, at least, may also be starting to: they can’t explain themselves to each other, not as much as they need to, not without language. But plenty can still be done without words, from Red and Fang’s courtship (Red getting the leaves over his eyes makes me laugh) to Spear and Fang’s well-choreographed tortoise hunt.
The Righteous Gemstones, “For Out of the Heart Comes Evil Thoughts” and “Burn for Burn, Wound for Wound, Stripe for Stripe”
Two absolute bangers here:
The Judy-BJ conflict gets some awesome and incredibly painful development in “For Out of the Heart.” Judy’s at her most desperate and agonized here, searching for both reassurance and, ideally, a quick way out of the morass of guilt and blame; BJ’s fight is so spectacularly constructed, switching seamlessly back and forth between comedy (the ball-tug!) and drama (his face on seeing strangers react to his brutal fight with a naked Stephen) but saving the real gut-punch, with a devastating twist of a call-back, for his return home: “I hope you like me now.”
I love Martin deliberately telling Jesse and Kelvin that the apology to Stephen’s wife was happening on a different day, just so Judy could keep a little bit of her dignity: that revelation and the comforting hug he gives her are really lovely, and it’s a great reminder that as much as they irritate him and as thankless a role as it is to corral them, they really are “the children” to him as much as they are to Eli.
Jesse, Judy, and Kelvin being held for ransom is a spectacular dramatic setup, leading to awesome moments like May-May calling Peter’s bluff (her assertion that he’s not a killer makes sense–and subsequent events bear her out–but I love Amber immediately pointing out that he has literally killed someone before), the siblings’ debate over who will die swerving into Jesse’s teary-eyed gratitude at their assumption that he’d be treated as strong and a natural threat, BJ recognizing Keefe’s right to be in the family circle, and Gideon’s monster truck ownage. The Gemstone siblings quietly singing along in the silo to Peter’s church’s performance of “All the Gold in California” is one of the great small, offbeat, heartfelt moments the show does so well, too.
Comedic highlights: Jesse giving the Redeemer to his cousins as a grand gesture and instantly regretting it; Jesse’s weeping sideburns. Baby Billy showing up for the kidnap vigil to repeatedly shoehorn in requests for Bible Bonkers to get a guaranteed pick-up no matter what.
Andor, “Kassa”
Saving this for the weekly TV round-up.
The naked fight scored to “Part Time Lover” is amazing, credit to both actors but especially Balz for tapping into a darker, rougher place with BJ. My brother in law apparently saw him at Second City and he’s an alumni of the same college.
My heart shattered for BJ in that “I hope you like me now” moment. I’m glad they had an end of episode break between that and the following action: Judy sweeping into the pharmacy in full pink marabou golden age Hollywood loungewear, demanding meds to “take her man’s pain away”.
And grabbing handfuls of random prescription medications!
BJ’s “I hope you like me now” is so brutal and heartbreaking.
The Phoenician Scheme – obviously to some extent you know what you’re going to get with a Wes Anderson film but Asteroid City had some ambitious ideas that pretty much all paid off for me, so I was a little disappointed that this one feels less inspired – in fact a lot of it feels like a direct retread of The Life Aquatic: eccentric man with a degree of notoriety reconnects with an estranged child while trying to get together the resources to complete a large project. There’s some delightful stuff along the way – Michael Cera is hilarious, and the scene with Tom Hanks and Bryan Cranston is a riot – but I didn’t feel like the emotional stuff really hit home this time around, maybe because for once I did feel a bit like I’d seen it all before.
Lilo & Stitch
Rewatch. Planned to watch just the intro (which jumpstarts the movie’s offbeat sense of humor and genuine stakes – still love the reveal of the Hawaiian archipelago on the map just when the aliens think their job is done) ended up watching the whole thing with my wife. Lovely movie still, and doesn’t shortchange that when they say they have a broken family they really are broken, which you can hear in so many of Daveigh Chase’s line readings. The animation is more subdued than in other comtemporary movies of its era but it’s still sprinkled throughout with terrific yet understated images, like an overheard shot of Lilo, Nani and Stitch quietly surfing above a giant turtle, Stitch emerging from his crash site or the rollicking mayhem that ends up destroying Lilo’s house. The thing that jumped out of me more this time is how it draws similarities between Lilo and Stitch’s personalities before they even meet. Great movie, easily top tier Disney.
Last watched this with a niece who has certain Lilo-ish tendencies and she was captivated, you’re right about how great Chase’s work is here (and everyone else is bringing their A game too). Absolutely top-tier Disney.
The “Aloha” scene made me weep like a baby, for such a gleefully destructive movie – in the best way – it packs a real emotional whallop.
Always Sunny, “Child Beauty Pageants” – If I had to explain America to an alien with one tv episode, I might pick this one with it’s savage attack on how “freedom” here actually means the right to exploit and sexualize everyone, even little kids, in the constant quest for money and status. Famously “There is nothing that makes people think you are diddling kids than writing a song about it!” came back into pop culture thanks to one possibly predatory YouTuber, but you also have “Samantha GETS to be mean!” and “I assumed we’d be heavily involved.” DeVito in panic mode is rare for the show and also very funny.
What Did We Listen To?
Run Devil Run, Paul McCartney
This is a bunch of covers (with a few originals thrown in) of rock’n’roll songs McCartney loved that he made to deal with the grief of losing Linda McCartney; from that perspective, his energy to have a good time comes off a little desperate, but it’s otherwise a good time.
After The Gold Rush, Neil Young
I like this a little less than his earlier stuff, mainly because it’s more polished – there’s always a certain shagginess to Young’s music that I’m attracted to. I did enjoy “Southern Man” and “When You Dance I Can Really Love”.
emails i can’t send, Sabrina Carpenter
I like this a lot more than Carpenter’s earlier stuff. Wikipedia describes it as “pop and folk-pop”, and I enjoy its stranger, more unique tone – the lyrics are more vulnerable and the music makes some strange but effective choices, Carpenter playing with the sound of the music itself and pushing itself somewhere nearly alien. It really does convey the feeling of contemplating one’s problems in a bedroom.
Southern Man is soooo good. This is still my favourite of the Neil Young albums I’ve heard so far and possibly the highlight of the whole 1001 Albums project for me, I’m not sure why this particular album connected so hard but it did.
Our Lady Peace – Was doing some nostalgia listening the other night with friends and when this band came around I had absolutely no memory of them or any of their songs. I’ll take my friends’ word that this is unusual, but for me it’s like reaching through a portal and grabbing a CD from a parallel 90s, with a familiar sound but completely new songs. Don’t know if I’m in a Barensta(e)in Bears situation or just always happened to turn the dial before these Canadians came on, but it’s fun to find a fresh vein of 90s.
“Starseed” was a proper banger, along with “The Birdman” and “Naveed”. First album has the issue of trying-too-hard syndrome, especially from the vocalist, second album was more nuanced but no true bangers. But they’re absolute legends in Canada from what I hear.
This name instantly set off a “wait, where do I know them from?” alert, and I remembered that I need to add “4 A.M” and its delectable ’90s father issues angst to my Spotify.
1001 Albums, etc.:
Eagles – Hotel California: Funny that this came directly after the Boston album in the book – it does a lot of the same harmony-rich classic rock thing but Boston fuckin’ rule and the Eagles…. yeah, I’m with The Dude here.
ABBA – Arrival: There are many ABBA singles that I love but I’ve never really explored the albums. This one was decent, although with quite a few songs that felt like they fell significantly below the high standard I expect from their songwriting and arrangements. Also Dancing Queen is the one ABBA single I really can’t get on with, maybe just overfamiliarity.
KISS – Destroyer: A guilty pleasure perhaps, but a pleasure nonetheless. These idiots knew how to write a big chorus!
11:11, Come
A very cohesive album with a lot of raw feeling. I’ve never thought of sounds in terms of colors before, but I feel like this creates a great blue-black soundscape. “William” is a particular favorite, and “Power Failure” has some A+ nihilism and despair.
Writer’s Block, Peter Bjorn and John
This, on the other hand, feels healing–not without melancholy, but poignant and reflective about it. Highlights: “Young Folks,” “Amsterdam,” “Up Against the Wall” (especially its beautiful wordless section), “Paris 2024,” and all of what I’m thinking of as the “ending” songs. This has an odd Return of the King feeling where I kept hitting songs that felt like the natural conclusion to the album–the ocean sweeping in on “Let’s Call It Off,” the lovely, triumphant ending of “Roll the Credits”–but weren’t. But that feels like it fits with the album’s mood.
Permission to Land, The Darkness
The slightly calmer songs here work better for me than the early lead-ins, just because (while still energetic), they’re toned-down enough that I can consistently understand the lyrics, and I’m big on that. “I Believe in a Thing Called Love” is an obvious, earmwormy classic, but I also love “Growing on Me,” “Love Is Only a Feeling,” “Givin’ Up,” and “Friday Night” (there’s such an ordinary sweetness to that one). Also, the wailed “motherfuuuuuuucker” in “Get Your Hands Off My Woman” delights me to no end. All in all, really fun and exuberant.
Heathers: The Musical (World Premiere Cast Recording)
An excellent musical adaptation of the film. This has more emotion, and it paints everyone a little more sympathetically (leaning into showing JD’s own damage as well as his destructiveness; portraying Veronica’s fall from geeky innocence, so to speak, as opposed to opening with her at the jaded height of her popularity), and while some parts of that work better for me than others, the overall angsty, poppy, funny, colorful, epic tone is right up my alley. Feels like the best possible way to do a Broadway Heathers, keeping most of the film’s tone but also leaning into Broadway traditions and nailing them: this is a separate beast from the film, sure, but an incredibly engaging one in its own right. And almost all the songs are excellent, though “Our Love Is God,” “Candy Store,” “Dead Girl Walking,” and “The Me Inside of Me” are probably my favorites. I’d love to see this live.
Fever to Tell, Yeah Yeah Yeahs
Lots of great vicious, sexy, kinky energy here (check out “Cold Light” and “Man,” for example), but there’s also some good wistfulness, like with “Modern Romance.” And I love the gender flip in “Black Tongue,” where the boy is a stupid bitch and the girl is a no-good dick. But the highlight is obviously the sweet and mournful “Maps”–“My kind’s your kind, I’ll stay the same”–which Spotify tried to sell me merch for. I could be tempted.
Our Beloved Revolutionary Sweetheart, Camper Van Beethoven
I had to resort to YouTube for this one, but someone thoughtfully put the album together as a playlist, and I’m glad they did: this is weird and specific and imaginative and delightful. (And has a good cover of “O Death” in the bargain.) Favorites: “One of These Days,” “Never Go Back” (nails both the universal–the struggle to avoid falling back into bad habits and slumps–and the extreme particulars of the band’s personal experience), “Fool” (engaging instrumental piece that has real movement to it: it feels like there’s a wordless story here), and “Tania” (which sounds completely different from everything else).
Fever to Tell is amazing, count me as a huge YYY fan who somehow never saw them live.
On the bright side, it’s not too late to.
Woo more albums from the list! You’ve hit most of my favorite songs on them beyond the biggest singles (“Young Folks,” “I Believe in a Thing Called Love,” and “Maps” respectively). “Let’s Call It Off” was actually the first PB&J song I heard; “Amsterdam” is pretty great too. I’m also a big fan of opener “Objects of My Affection,” per what I said in The Big 2000s List And Seriously I Must Have Been Crazy To Write All That.
“Man” is probably my second-favorite song on “Fever to Tell,” though I also really like “Y Control.”
And similarly with the Darkness, my two favorites beyond the obvious are probably “Friday Night” and “Get Your Hands Off My Woman.” (I can still hear “Love on the Rocks with No Ice” in my head, too, though.)
Sadly, I still haven’t gotten to see The Darkness or Yeah Yeah Yeahs live. I saw… some of Peter Bjorn & John opening for Depeche Mode in 2009, but we were running late so I didn’t catch the whole set.
I cannot believe it took me until this comment to realize that they were PB&J.
per what I said in The Big 2000s List And Seriously I Must Have Been Crazy To Write All That.
Hey, all those words are paying off now! At least for me!
Listening to Heathers (again) myself. And “Blue Balls” is also worth singling out just for how incredibly silly the lyrics are and how much fun it must have been for those performers to do.
I am very curious how many times they had to rehearse “Blue Balls” before they could sing it without breaking.
Hell yeah Come and Camper! Come is definitely music you need to be in a mood for, a neat double whiskey rather than a cold beer, CVB is more open and an extremely porch-friendly band. But like you note, there is detail and depth here, “Tania” and its spiraling coda hit uneasy notes and “One Of These Days” is cheerfully mournful, almost a koan. The following album, Key Lime Pie, is just as good but with a darker vibe, if “Jack Ruby” is not Ellrovian in tone it is in scope and “When I Win The Lottery” is a scruffier, harder luck take on “One Of These Days.”
Oh, I’ll definitely have to check out Key Lime Pie. As a lot of us here would say, you had me at Ellrovian.
That neat double whiskey comparison is perfect.
How to Succeed In Business Without Really Trying’s original 60’s recording is wonderful, with Robert Morse being the perfect choice for this odd, sweet, but also ambitious and slippery character* and this clever, virtuosic musical score. Baffled by reviews of the revival critiquing it as “retro”, did people get that this is clearly a satire? Apparently not. The music alone gleefully mocks corporate rulemaking (and breaking), upward mobility, gender roles, and ass-kissing. (“Coffee Break” is still funny 60 years later, nothing has changed in our total addiction to caffeine.)
*You see what Mad Men was doing with his casting, as there’s a similar concept in Bert Cooper, as with J. Pierrepoint Finch, of a seemingly eccentric guy hiding his ambition and ruthlessness. Also makes me think of his unforgettable and hilarious “Mr. Campbell…who cares?”
Some recent songs that on second listen I’ve decided will probably go somewhere on the 2025 list:
Sour Magic “Chocolate & Shrooms”
Good Neighbors “Ripple”
Laufey “Silver Lining”
The Galentines “Sweet Cream”
Destroyer w/Fiver “Bologna”
The Bug Club “How to Be a Confidante”
I like this as a preview of coming list attractions.
I dunno if you saw it, but I posted a little bonus preview in my Discord a while back of the first, I think, 16 songs that are definitely gonna be on there somewhere (and these are an addition to that list).
Oh, nice, I’ll check that out.