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Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing.Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 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Shedding thumping 808s and intricate production in favor of a no-frills band and sparse live recording, the album is a stirring collection of hazy folk rock songs that prove Wicca Phase Springs Eternal can truly be anything.  \"I always kind of thought that as long as I have the Wicca Phase Springs Eternal name that I can do whatever I want,\" Andrzejewski explains. \"The name provides a framework for the lyrics and aesthetics of the project-my songwriting with a mystical overlay to it-and as long as I can make something work within that, then the genre doesn't totally matter.\" That daring creative mentality is what steered Andrzejewski when he first started the WPSE project, through his work as a co-founder of the influential GothBoiClique collective, or as member of Thraxxhouse and Misery Club, and even with his punk side project, Pay For Pain. Still, few could have guessed that the new proper Wicca Phase Springs Eternal release would be a set of country-leaning folk songs performed without a wink in sight. As with all things Wicca Phase, Mossy Oak Shadow finds Andrzejewski fully committed. Mossy Oak Shadow might seem like a drastic pivot for the Wicca Phase Springs Eternal fans who got on board through his beat-driven modern classic albums, like 2016's Secret Boy or 2018's Suffer On-but it shouldn't come as a total surprise. WPSE releases have always dabbled in stripped-down acoustic songs, and even further back there's Andrzejewski's earlier work as a member of emo\/indie stalwarts Tigers Jaw. When he left that band to focus on Wicca Phase in 2013, he was met with skepticism from listeners who were hesitant to embrace his new persona and experimental trap sound. Ironically now Andrzejewski has so thoroughly established Wicca Phase Springs Eternal that he's once again challenging his fans with a stark sonic shift-but this time by returning to the guitar-oriented songwriting he'd set aside. \"Dylan, Will Oldman, Richard Thompson-what I like most about those songwriters is that I'm able to trust them,\" Andrzejewski explains. \"If they do something that's totally strange I trust that they know what they're doing because it's coming from the same person that wrote all these other songs that I love. 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Runnner's first studio record, it recalls the larger-than-life highs of the early aughts rock that Weinman grew up on, bands like Coldplay, Radiohead, and Snow Patrol with their pristine vocal presence, scintillating guitar riffs, and astral synth sparkle. This is rock music in it's most delicious form, music that gave Weinman something to look forward to when he could finally play live again.  But as high as the sonic highs may be on A Welcome Kind of Weakness, we also see Weinman struggling gracefully with the questions that emerge from moments of physical and emotional undoing. As he sings about spackling holes in the house he shared with his ex and reckoning with a long span of physical futility, we're reminded, too, of all the spectrums of experience we endure. We are all perpetually pulled between polls-weakness\/resolve, nostalgia\/presence, powerlessness\/control-but it takes a certain bravery to sit in the murky middle long enough to write about it. 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Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. \"I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music,\" says Giannopoulos. \"The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward.\" Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. 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In the wake of releasing two full-length records in 2021 - We Are Always Alone and CHRISTFUCKER - they followed up 2022 with a year of relentless touring. In the middle of their frantic schedule, the band took time to craft the five new songs that would make up Devil Music with Viva Studios' Matt Michel (Majority Rule) in Virginia. They then took their creative vision to the next level with Ben Greenberg (Uniform), by tracking alternate versions of each song with orchestral arrangements in place of the three piece's standard instrumentation. On Devil Music, Portrayal of Guilt's goal is to create a visceral listening experience. On either version of these songs, whether it be the a-side's more familiar heaviness or the orchestral b-side takes, the band is determined to drag the listener with them through what feels like a reckoning. Lyrics on songs like the opener \"One Last Taste of Heaven\" feel burdened with a sense of finality - \"I've carried this body for miles... 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In mid-2017, the critically acclaimed indie three-piece packed their bags and collectively relocated from Albany, NY to a shared house in West Philadelphia. This move signaled not only the start of a new chapter for the trio, but also a deepening of the bonds that would come to define their captivating debut LP, 'New Music and Big Pop.'\"It's hard for a group of people to get closer than living together,\" says bassist and producer Nick Sebastiano. \"The stronger our connection grew, the more it shaped the music we found ourselves making.\"It should come as little surprise, then, that 'New Music and Big Pop' is Another Michael's most collaborative work yet. Recorded in a small A-frame house-turned-makeshift studio outside Ferndale, NY, the record finds the trio pushing their sound in a dreamier, more folk-influenced direction, building songs around vulnerable, intimate performances using an ethereal palette of breezy guitars, subtle keyboards, and layered harmonies. 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It's been a whirlwind few years for the Fairfield, Connecticut five-piece - since the release of their debut album Little Green House, there's been little time for anything other than consistent touring with bands like Bayside, Drug Church and The Wonder Years. Somewhere during that endless grind, vocalist Grady Allen was sitting in a hotel room and stumbled upon a name typed into a long-forgotten memo on his phone: Bambi. \"We should have named the band Bambi,\" he recalls admitting to his bandmates. Bambi stuck with the band after that night and eventually it evolved from a \"what-if\" into the name of Anxious' second full-length album.Bambi is a record of remarkable growth, depth, ambition, and energy. It takes all the unsolvable and unavoidable problems of exiting adolescence and makes them resonate in urgent and authentic new ways. The album has deep roots in the storied lineage of Northeast tri-state hardcore and emo, but it also fully embraces the widescreen alternative rock songwriting at which Anxious have previously only hinted. It's a statement of purpose, the kind of album that comes from a band reconciling where they've been with where they want to go. Bambi is the sound of Anxious putting everything on the line-and coming out on the other side better than ever. Inspired by \"big swing\" records like Blink-182's self-titled or Jimmy Eat World's Clarity, Anxious set out to redefine the band without losing sight of what made them work in the first place. 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What he doesn't love so much is being told he's \"maturing\" as a musical artist. His last solo album had what could be described as a jangly, '60s-ish sound, and some listener reactions threw him off a bit. \"I kept hearing: 'Oh, he's maturing, he's getting into other shit, writing more mature stuff,'\" he says. \"I thought, 'Man, that's kinda lame, no I'm not...' Any time somebody expects something of me, I'm usually gonna do the opposite.\" Running the other way isn't exactly how his new record came about, but writing and recording In the Fade, Molina's first under his own name in four years, did provide occasion to look back in time through his lengthy musical history while also blazing a new path forward. In early 2020, embarking on recording a new album, he started taking inventory in a way he hadn't really done before, delving deep into his personal archives for songs that might fit alongside the new material he'd been writing and demoing. Many of the ostensibly \"mature\" musical elements that some listeners have latched on to in his recent work - piano, Mellotron, the occasional English accent - actually date back well over a decade to Ovens, the criminally underrated band with whom Molina wrote and recorded five albums in the early to mid-2000s. In the Fade revisits a few songs from those days. \"I had a bunch of old stuff that I had tried recording in the Ovens days [as well as] some songs that only got to the demo stage back then and I kind of forgot about,\" he says. There were several gems to be found in there, and they helped set him off on the path to making a record that's arguably his best yet. Molina likens In the Fade to a compilation, encompassing every phase of his recording career to date while also fitting together as a tight, endlessly listenable album. \"The main thing I was trying to tie everything together with was just really good melodies for the entire record, all the way through,\" he says. \"Every song I wanted to have a really solid hook, because there are different styles.\" These hooks permeate the record's heavier guitar-pop tunes as well as it's more delicate folk-rock and indie-pop tracks. As he describes it, In the Fade is a very \"pop\" album. It's a return in part to the Ovens sound, but also features elements of his more recent material and introduces some intriguing new wrinkles. The record has an audible, effortless-sounding ease and coherence to it. This is remarkable given not only the album's musical range but also the time span over which it was written and recorded. Sessions began in March 2020, days before things began to shut down due to Covid, and occurred on and off over a long stretch of time. Every time cases died down a bit, longtime friend and recording whiz Jasper Leach would book a flight into town and they'd hit the studio. Recording took place with Bay Area recording engineers Jack Shirley and Bart Thurber, both of whom Molina has worked with for years now, at their respective studios. Sessions were productive, but the fluctuating nature of the pandemic meant some of them occurred as much as a year apart. The long gaps between sessions sometimes prompted Molina to wonder if they would ever get to finish what they started. He recalls one particular trip to the studio on an empty BART train (an exceedingly rare sight in the pre-pandemic Bay Area) that made him wonder whether he was supposed to be doing what he was doing. They were, thankfully, able to complete the record, and they also achieved one of Molina's chief aims entering the process: having fun with friends in the studio. That sense of fun is something you can hear throughout, and he's delighted about his friends' many contributions to the record. Sarah Rose Janko of Oakland band Dawn Riding, who's also Molina's bandmate in The Lost Days, provides added vocal harmonies (a first on a Molina solo record) to a number of songs. Leach's contributions are all over the record, perhaps most notably on \"I Don't Like That He.\" Molina describes it as the \"most indie pop-sounding song\" on the record, and a tribute to \"Chicago New York\" by Bay Area indie-pop legends The Aislers Set. \"I was just doing these really simple acoustic guitar parts and Jasper laid down this really solid drum take, and he added piano and organ to it, and it just filled the whole song... he added those solos, he did the harmony on a 12-string, and then he doubled the harmony on a piano.\" The album evokes the sounds of some of his favorite bands: Fastbacks, The Flaming Lips, The Muffs. The simple yet ornate \"Burn Everyone,\" which evokes Teenage Fanclub's Norman Blake at his wistful best, is one of a few songs for which he cites listening to a ton of Belle and Sebastian at the time. Another one of these is \"Not Worth Knowing,\" where he wanted a verse with a '65 Stones sound and a chorus unlike any he had done before, with a countermelody from the Mellotron. \"Years Ago, Pt. 2\", meanwhile, gracefully channels Abbey Road-era Beatles, and the record closes with a cover of \"Fluff\", one of Tony Iommi's gentle acoustic guitar instrumentals for Black Sabbath. It would be impossible to encapsulate the entire Tony Molina musical worldview in a single record. This is a man whose home stereo, in a single day, could be blaring The Move, Malo, Internal Bleeding, Dear Nora, and The Melvins. 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