#but more importantly a love letter to julien baker

[dykehayleywilliams]

okay FINE here’s a photo of JB from the time I bought a $30 round trip flight to London to see her open for Belle and Sebastian in 2018 purchased during a depressive episode during which I listened to TOTL at least twice a day and needed to see her as soon as humanly possible and I stood in line outside the venue to be at the front row for two hours in a snowstorm and was sick for weeks afterword but that didn’t matter because it was one of the most sacred spaces I’ve ever been in, to be in her presence and after her set I went with another JB fan I met in line outside to her merch table which was being run by Ava her manager and we chatted with Ava for half an hour about Historian which had just come out a few weeks earlier and all sorts of other things and then Ava was like hey Julien is going to come meet y’all and then Julien came out and was so so so lovely and talked to us and told us that she’d be touring with Lucy and Phoebe in the fall but it wouldn’t be announced for a while but to look out for that and she was like do you want a photo and the other person I was with was like yeah! and they took some photos hardstyling and she asked if I wanted one and I was like no it is very visible that I got into London at 3 am this morning and stood in a snowstorm for several hours but then Ava was like just take one for your own memories so we did and I am so clearly staring at JB in awe in the photo that it’s embarrassing but also not at all because we should all look at her like that anyways we missed the first half of the Belle and Sebastian set just talking and then I left because the snow was getting worse and I was worried about the trains getting shut down before I could get back to my friend’s apartment so yeah. I love Julien Baker.

[euphorial-docx]

“graceland too” by phoebe bridgers is james about regulus. nobody asked, but i will explain that statement in a lot (i really mean a lot) of detail.

buckle in y’all.

the song’s meaning, according to phoebe herself, is about “caring for somebody who hates themselves and how that can be really hard.” i don’t feel the need to say anymore about that, because we already know, don’t we?

furthermore, i see “graceland too” as kind of an idealized dream in the form of a love letter.

the song is (partially, at least) about phoebe’s friend, julien baker, and pays homage to “friends in rehab or who are going through a tough time." i can see james having those kind of dreams about regulus getting through the worst part of his life and emerging happier and independent, but it’s just that: a dream. that’s not to say it can’t happen, but that for now (“now” in relation to the song), it’s only james’s wish and hope.

now for the very long lyric-based analysis that i worked way too hard on for no real reason:

no longer a danger to herself or others

in this sort of daydream james has about regulus’s brighter future, regulus is just safe. safe from his parents, from outside forces, and most importantly, from himself.

i feel that it’s not uncommon for people to see regulus as someone with a lot of heavy mental health issues. in this, james imagines that regulus has put in the work to reach a point in his life where he is stable in that regard.

she made up her mind and laced up her shoes / yelled down the hall but nobody answered / so she walked outside without an excuse

taking a few things from the original meaning of the lyrics, regulus would be used to having people checking up on him, keeping him in line.

but he’s now free from that. he can do what he wants without having to justify it, and that’s all james wants for regulus.

she can do anything she wants to / she can do whatever she wants to do / she can go home, but she's not going to

“she can do anything she wants to do” has a similar meaning to the lyrics before: regulus is free to do as he pleases now.

with that freedom, however, regulus could go home (ie back to his parents). that’s an option james wouldn’t take away. it’s a choice regulus could make, but in this dream, james is hopeful that he wouldn’t.

so she picks a direction, it's ninety in memphis / turns up the music so thoughts don't intrude / predictably winds up thinkin' of elvis / and wonders if he believed songs could come true

here are where some of my creative liberties take place.

regulus wouldn’t actually drive to memphis for obvious reasons, so that lyric is more symbolic in this. regulus can explore anything he wants— the world, career choices, any aspect of his life. he can choose any direction, and james would support whatever direction regulus would choose.

as for music, i see regulus as someone who relies on it. the idea of him playing music to keep all his thoughts and anxiety at bay seems very realistic for him, at least in my interpretation of regulus.

i’m asking for it if they do / doesn’t know what she wants or what she's gonna do / a rebel without a clue

more creative liberties!

i see the “i’m asking for it if they do” as a continuation of the lyrics before “wonders if he believed songs could come true.” like, it just asks do songs come true? but that’s more of a lyrical analysis for phoebe’s song more than it is for the song in a jegulus context, so i will leave it at that.

“doesn’t know what she wants or what she's gonna do / a rebel without a clue” is pretty straightforward to me. regulus wouldn’t know what to do, he wouldn’t know how to start a life that would be in complete retaliation (rebellion) against his parent’s plans for him.

james would know that regulus would feel that way, if this dream were to come true. regulus would be lost for a while.

so we spent what was left of our serotonin / to chew on our cheeks and stare at the moon

these lyrics are actually about the effects of mdma, but just the literal imagery of regulus and james looking up at the moon in silence, comfortably sad and maybe anxious together, is a nice one to me.

said she knows she lived through it to get to this moment

james would want regulus to say this, to feel this way. but he’d also want regulus to just be happy with being alive. that’s all i have to say about that, really.

ate a sleeve of saltines on my floor, and i knew then i would do anything you want me to / i would do anything for you / i would do anything, i would do anything / whatever you want me to do, i will do

whatever she wants / whatever she wants / whatever she wants (whatever you want) / whatever she wants (whatever you want) / i would do anything (whatever you want) / i would do anything (whatever you want) / whatever she wants (whatever you want) / whatever she wants (whatever you want)

we all know these are very james-coded lyrics.

as of now in this fandom, james is popularly characterized as a person who tries so hard to help everyone else around him. he’s no different with regulus.

he would, in fact, do anything regulus would want him to do. he would do anything for the people he loves.

as phoebe put it: “caring about someone who hates themselves and is super self-destructive is the hardest thing about being a person, to me.”

in return, regulus would be doing whatever he wants. he has independence, and james would help supply that for him and be right there with him through it all.

essentially: james would want to do what regulus wants, and regulus would finally do what he wants.

but with those being the last of the lyrics, it’s important for me to bring back up that this is just a fantasy james would have (in my interpretation of this song in how it relates to them).

as i said before: it’s an idealized dream in the form of a love letter.

thank you for suffering through my ted talk :)

[chorusfm]

In the Spotlight: 50 Bands You Need to Hear in 2018

Last year we brought back, and re-branded, one of my favorite features from the AbsolutePunk days: the “Absolute 100.” And as we enter May and the weather finally starts to turn around a little bit, it’s the perfect time to once again team up with our contributors to bring you a whole bunch of new music to check out. Just like years past we’ve compiled a list of 50 artists we think are worth your time. Some of the artists recently released their debut albums and some have been around for a while now but have flown under the radar. However, the one thing they all have in common is that we think they should be in the spotlight and are worthy of your ears. You’ll find the first group of 25, along with blurbs, recommended songs, and sounds like comparisons, below. Liis by Anna Acosta Up-and-coming dark-pop duo Liis may have started with busking and acoustic coffee shops, but the end creation between dual vocalist/guitarists Lisa Haagen and Dana Cargioli is anything but simplistic – or even acoustic. The independent release duo’s debut EP Put It On; Show It Off (to be released May 12, 2018) is a beautiful tapestry of haunting melodies and wistful, starkly honest lyrics that manage to never once lose their poetic feel. Sleep on this group at your own risk – they’ve got nowhere to go but up. Recommended Track: “Thief” RIYL: Daughter, Julien Baker, Lydia Florrie by Jason Tate I can’t think of a single artist I’m more excited to finally get a full-length album from than Florrie. She’s released a variety of EPs and single songs since around 2010, with the last coming a couple years ago. However, it looks like this is the year we’re getting more music and that rockets my anticipation up to a whole new level. Florrie’s music takes a few different forms but it’s almost always catchy and perfect for a summer day. I see sparks of Charlie XCX, Little Boots, and even a little Carly Rae Jepsen in there, but it’s the energy and creative diversity in her work that makes me think she has something really special in her. Recommended Track: “Real Love” RIYL: Little Boots, Dragonette, Foxes Ruston Kelly by Craig Manning Ruston Kelly is probably best known at this moment-in-time as Kacey Musgraves’ husband. 2018 feels destined to be Kelly’s year, though, so don’t be surprised if you’re reading a lot about him by December. Kelly has already racked up songwriting credits for country artists like Tim McGraw and Josh Abbott Band, and he recently scored some rock ‘n’ roll cred by opening for Brian Fallon on the Sleepwalkers tour. The time is ripe for Kelly to release his proper debut album, which should be out later this year on his new label, Rounder Records. Expect the album to build upon the foundations Kelly established on 2016’s Halloween, a stellar EP that sounded like a lost document from Ryan Adams’ ultra-prolific mid-2000s period. Just like Adams, Kelly is the kind of artist that could comfortably be classified as country, rock, or folk. In other words, he’s got the kind of universal appeal that not a lot of his Nashville contemporaries can’t match. That factor should set him up for big success whenever his new record does hit the streets. Recommended Track: “Black Magic” RIYL: Ryan Adams, Brian Fallon, Afraid of Ghosts-era Butch Walker Cecil Frena by Mary Varvaris A few months ago, I stumbled upon my favorite song of 2018 so far. That song is called “All Of My Heroes”, from the stunning, eclectic album The Gridlock by Edmonton artist Cecil Frena (previously known under the monikers Gobble Gobble and Born Gold). “All Of My Heroes” is the ultimate pop-rock song – it’s anthemic, and Frena utilizes cool distorted guitar, synths, and most importantly: his fantastic voice. Throughout The Gridlock’s 43 minutes, Cecil Frena never takes himself too seriously. There’s a distinct element of dark humor framing self-deprecating lyrics, but the melodies mostly remain upbeat. There’s a range of styles on display throughout this album, it’s almost too difficult to keep up. Take the raucous punk track “Unknow Yourself” where Frena is furious, and his words are scathing. Later, there’s the tongue-in-cheek “I Believe In Dancing”. “I Believe In Dancing” is the only acoustic-led track on The Gridlock, and it’s gorgeous and fantastic. Then, see him try balladry with the lovely piano-led “Hyphen”. But, The Gridlock doesn’t end on an optimistic note. Album closer “Human Math” is a dynamic, shattering song to end the record with. “Human Math” begins so gently, with quiet and mournful keys, and Frena’s hushed vocals before an urgent climax brought by intense, rollicking guitars; which complement crushing words that deal with an impending personal loss (“and it’s not your fault the coffin waits”). Cecil Frena doesn’t take the easy way out, and isn’t afraid to make music that asks questions without answers or happy endings. It’s real. It’s human. It’s also one of the coolest albums I’ve heard in a long time. The Gridlock might be the best, but also the most overlooked album by the end of the year. I desperately hope this isn’t the case, because Cecil Frena can and should be one of the biggest stars in indie rock. Recommended Track: “All Of My Heroes” RIYL: Born Gold, Quiet Friend, Long Neck The Penske File by Jason Tate Over the past few years my ears haven’t been as perked up by the gravely voiced singer over loud guitars thing. Yet, I find there to be something captivating by The Penske File’s recently released album, Salvation. It’s not really that they’re doing anything new, but their spin on this sound calls to me anyway. There’s some really good stuff in here. Recommended Track: “Spin My History” RIYL: Spanish Love Songs, Youth Decay, Red City Radio No Thank You by Drew Beringer Philly is the scene that just keeps on giving. The latest and greatest to emerge from the City of Brotherly Love is the incredible trio No Thank You. While the band’s debut Jump Ship was a solid albeit brief introduction to their brand of emo-tinged rock and roll, 2018’s All It Takes To Ruin It All is one of the genre’s better sophomore releases in recent memory. The record ultimately revolves around the passing of singer Kaytee Della Monica’s father and how she’s navigating through this loss. The band sounds more confident on record two – ping-ponging sonically from the likes of Rilo Kiley to The Get Up Kids – while Della Monica struggles to find the balance within the freshly introduced pain and grief into her world. All It Takes To Ruin It All is a brisk yet heavy record that’ll wring your emotions through the gauntlet, cementing No Thank You as one of the bands you absolutely cannot miss out on in 2018. Recommended Track: “New England Patriots” SeeYouSpaceCowboy by Zac Djamoos You could listen to SeeYouSpaceCowboy’s entire fifteen-song discography in just about as many minutes, and it’ll still be the fifteen most exhilarating minutes of your day. The band features members of screamo and grindcore heavyweights Flowers Taped to Pens and Letters to Catalonia, and it shows. Their grindy Fashion Statements of the Socially Aware EP is some of the most punishing metalcore I’ve heard in a long time – I fell out with metalcore years ago when Risecore became the dominant style. But if there’s any band I believe can revitalize the genre, it’s SeeYouSpaceCowboy. Recommended Track: “Jimmy Buffet Doesn’t Even Surf” RIYL: Daughters, Blood Brothers, Botch Caroline Rose by Aaron Mook Caroline Rose is the kind of eclectic songwriter that only comes along once or twice a year, and Loner is the unexpected debut that very well may end up on everyone’s EOTY lists. Her personality is on full display in her music, which hops from genre to genre over the span of a mere 11 tracks and 34 minutes. One moment, she’s mimicking the dream-like textures of Beach House and the next, she’s recreating Haim’s vintage vocal melodies – sometimes, all within the same song (“Getting To Me”). From the Phoenix-inspired synth-pop of “Jeannie Becomes a Mom” to the Modest Mouse guitar work of “To Die Today,” Loner is irresistible, that rare record that truly has something for everyone. In her own words, she’s got soul. Recommended Track: “To Die Today” Mammoth Grinder by Jake Jenkins When multi-instrumentalist Chris Ulsh isn’t busy behind the kit with modern day thrash metal titans Power Trip, he’s taking the helm in Mammoth Grinder, an old school death metal band that also features members of Iron Reagan. Like Power Trip, Mammoth Grinder’s particular brand of metal pulses with hints of hardcore punk, staying true to the raw and primal roots of the genre. On their latest full length, this year’s Cosmic Crypt, Ulsh has moved from guitars to bass, but the band’s guttural and intense bursts of death metal are still fully intact. Clocking in at just under half an hour, Cosmic Crypt is a quick, brutal assault that should please both new school and old school fans of death metal. Recommended Track: “Blazing Burst” RIYL: Power Trip, Genocide Pact Paperwhite by Jason Tate I’ve been a sucker for groovy-synthy pop-music over the past few years and Paperwhite have that in spades. So far this Brooklyn duo have released a couple EPs and a few singles and should have a new EP out later this year. Their pulsating tracks sparkle behind Katie Marshall’s vocals and they have an undeniable ability to shine in the uptempo and somber dream-pop. Recommended Track: “Unstoppable” RIYL: Great Good Fine OK, Say Lou Lou, Ryn Weaver Holy Fawn by Trevor Graham Holy Fawn may have emerged from the desert, but their brand of spacey post rock is nothing short of otherworldly. Crafting dreamy, oceanic atmospheres with each track, this Arizona-based quartet blends influences from the finest in experimental rock and shoegaze with an undeniably palpable energy that’ll leave you emotionally winded. 2015 saw the release of their debut EP, REALMS — a vehicle for introducing their broad dynamic range, deliberately set to satisfy head-trippers and head-bangers alike. Their visceral knack for layering sound shines brightly through a familiar formula that Holy Fawn have mastered the art of frequently concocting: start quiet, then get loud. Like, really, really, tremendously loud. I hate to use the word “epic” here, but… this band brings the capital E. Amidst their stormlike compositions, vocalist Ryan Osterman pours velvet falsetto whispers, hushed and reverberated just enough to somehow both stand out and blend in at once. Their latest single, “Arrows”, features a dizzying array of shimmering, cavernous guitar loops, eventually delivering the listener to the group’s fiercest display of cacophony yet. It comes from their forthcoming Whelmed Records debut, which the band aims to release in late 2018. Recommended Track: “Arrows” RIYL: Gates, O’Brother, Sigur Ros American Aquarium by Craig Manning In the Americana world, American Aquarium tends to be a pretty well-known and well-respected enterprise. If you don’t venture down that musical avenue much, though, then I’d wager you’ve never heard of these boys from North Carolina. Ever since 2006, this band has been quietly cultivating one of the most solid discographies in roots music. In 2012, they brought in Jason Isbell to produce their LP Burn. Flicker. Die., a record they intended to be their swansong. Six years later, they’re still trucking—though frontman BJ Barham recently had to reboot the band with new players. No matter: the band’s newest record—the forthcoming Things Change—is arguably their most fully realized to date. Starting with a song about the day Trump got elected president (the fittingly titled “The World Is on Fire”), Things Change is in turns political and deeply personal. The wistful “When We Were Younger Men,” for instance, charts the pains of growing up and the fluctuations of friendships to the sound of Tom Petty hits. The record as a whole is a reminder of what makes these guys special: they can be introspective, incendiary, personal, or political. Recommended Track: “The World Is on Fire” RIYL: Drive-By Truckers, Whiskeytown, Jason Isbell Pale Houses by Deanna Chapman The latest music from Pale Houses landed in my inbox and in typical fashion, it took me a while to get to it. Once I did, though, I was thoroughly impressed with the band’s sound. If you’re looking for new indie pop to listen to, these are your guys. Song of the Isolation is their new EP and all six songs keep you engaged with the music. I’ll be keeping an eye on this band going forward because they’re one of the pleasant surprises of 2018 for me. Recommended Track: “Tenderfoot” RIYL: Death Cab For Cutie, Bon Iver, Bleachers Wild Pink by Drew Beringer It’s only been a little over a year since Wild Pink released their criminally underrated Tiny Engines self-titled debut but that didn’t stop the New York City trio from expanding their introspective yet sensitive indie-rock sound on their upcoming second album, Yolk In The Fur, this July. The first single, “Lake Eerie,” leans even further into the spacious soundscapes created by lead person John Ross. Clocking in just over five minutes, it’s just a taste of the leap the band has made from album one into their sophomore effort. Let’s just all promise each other that Wild Pink dominates our speakers all summer into the fall. Recommended Track: “Lake Eerie” Spielbergs by Jason Tate Spielbergs released their debut EP, Distant Star, last week (April 27, 2018) and it is full of sing-a-long choruses that just beg to be shouted in sweaty nightclubs. They are a band and sound that feels almost instantly recognizable and familiar, but when performed with such gusto are still undeniably addicting. Recommended Track: “We Are All Going to Die” RIYL: The Japandroids, Latterman Nora Rothman by Anna Acosta It’s said that the simplest things in life can be the sweetest, and that ethos has never been embodied the way it is in singer-songwriter Nora Rothman. Embodied by a certain ethereal quality that’s difficult to fabricate, there is very little outside from a sweet, lilting vocal and a lightly plucked ukulele to distract from Rothman’s straightforward, heartfelt storytelling. And there’s nothing like taking one’s craft and applying it to a cause: this spring Rothman’s self-titled EP (released summer 2017) was remixed by five separate female producers (Birch, Ah-Mer-Ah-Su, QRTR, Suzi Analogue, and Libra Rising, respectively) and re-released via Electric Bird Records as a fundraising initiative for Planned Parenthood. Recommended Track: “Strange” RIYL: Phoebe Bridgers, Sufjan Stevens, Sarah McLachlan Middle Kids by Adam Grundy Middle Kids are not your average indie rock band. Typically a band with this type of following would have been expected to have played multiple shows before being noticed for a record contract. Not the case here, as this Australian 3-piece band released their first single in 2016 without having played a single show. Singer/songwriter Hannah Joy found limited success by self-releasing songs via Bandcamp, but she finally got her big break when Elton John endorsed Middle Kids. Their music can be best described as upbeat, classic sounding, pop-rock built for audiences as close knit as the club scene yet polished enough for arenas. Check out their debut LP Lost Friends on May 4th via Domino Records. Recommended Track: “Mistake” RIYL: Fleetwood Mac, Smallpools, Gang of Youths Hop Along by Mary Varvaris Hop Along is an American indie rock band from Philadelphia, PA. Their latest album Bark Your Head Off, Dog can be effectively summed up in its album opener “How Simple”. When I watch the music video, I’m unsure if Frances Quinlan is poking fun at herself while reflecting on the unpleasant things about falling in love: “how simple my heart can be frightens me” or if she mourns for relationships that don’t end up working: “don’t worry, we will both find out / just not together”. Quinlan’s lyrics are straightforward in their honesty here, but elsewhere, her lyrics fall in the abstract with religious imagery and references to World War I (see: “One That Suits Me”). Frances Quinlan’s voice is indescribable. She howls, croons, screams, and yelps, her voice cracks – she gives everything when she sings. Bark Your Head Off, Dog is full of wacky, memorable instrumentation – “Somewhere A Judge” is groovy, and Quinlan briefly uses a vocoder towards the end of the song. “The Fox In Motion” is full of unforgettable indie rock riffs. “Prior Things” is lead by optimistic, beautiful strings. There’s a harp and strings in the outstanding “Not Abel”. “Not Abel” starts as a fascinating little folk ballad, combining gentle picking on the acoustic guitar with a harp. “Not Abel” feels like a revelation. Quinlan references the story of Cain and Abel, and for the last minute and 36 seconds, “Not Abel” becomes an anthem. Before then, though, she channels her anger at the men who affected her self worth and confidence, contemplating how it’s “strange to be shaped by such strange men”. Bark Your Head Off, Dog is a refined and cohesive effort, taking all the elements of Hop Along’s previous album Painted Shut, and expands on them. Hop Along give every song room to breathe, and develop a warm, spacious atmosphere. The instrumentation is creative and experimental. Bark Your Head Off, Dog will end up being one of the best, most ambitious indie rock albums of the year. Recommended Track “How Simple” RIYL: Modest Mouse, Joanna Newsom Soccer Mommy by Jason Tate You can choose to get caught up on the band name if you want, but if you do, you’ll be missing out on one of the more exciting voices in music right now. Soccer Mommy is the brainchild of Sophie Allison and her latest studio album, Clean, was released earlier this year. The music has a breezy angst to it that walks between this folksy-grunge sound and soft acoustic ballads. It seems perfectly tailored to be performed in a bedroom alone, sung to a few empty beer cans and tired eyes, or belted on stage to a room that will soon be learning every word. Recommended Track: “Your Dog” RIYL: Alvvays, Anna Burch, Liz Phair Travis Meadows by Craig Manning Invoking the spirit of the great Bruce Springsteen has become an increasingly trendy thing for songwriters to do in the past decade. In songs by The Gaslight Anthem, Titus Andronicus, Eric Church, and more, Bruce has been elevated to the status of rock ‘n’ roll’s patron saint. Still, there might not be a song that captures what it’s like to hear a Springsteen song in the car on a weekend summer night better than “Pray for Jungleland.” The song, a core cut from Travis Meadows’ 2017 album First Cigarette, is a wistful look back at the days before iPods or Spotify (or car CD players, for that matter) where your only option was to wait around to hear your favorite song on the radio. Meadows takes that idea and turns it into a song that feels as alive and full of possibility as any summer evening you’ve ever witnessed. Elsewhere on the record, he takes you to the deepest depths of human regret and hopelessness, purging his own struggles with alcoholism in songs that hurt like bruises. Suffice to say there’s a lot of darkness in Meadows’ music. Songs like “Sideways” and “First Cigarette” feel like they exist on a brink, one step away from giving up or giving in. But it’s songs like “Pray for Jungleland” or “Pontiac” that make First Cigarette a masterpiece, because they shine a light through the darkness and make it shine. Recommended Track: “Pray for Jungleland” RIYL: Bruce Springsteen, Tom Waits, Eric Church We Were Sharks by Adam Grundy Victory Records’ latest prized possession is We Were Sharks, whose crunchy guitar riffs and New Found Glory-esque pop hooks have certainly gained listeners’ attention. This 6-piece post hardcore band from Ottawa, Canada are poised for a big 2018 with the release of Lost Touch (February 23, 2018), which happens to be their second album, and was produced by Silverstein guitarist, Paul Marc Rousseau. Recommended Track: “Hotel Beds” RIYL: A Day To Remember, Silverstein, Four Year Strong Author by Trevor Graham These Minnesota natives released a debut full length in 2015 that straight up stole my heart. Channelling the wintery ambience of indie darlings like Copeland, Of Brighter Days was the sound of a band exerting themselves on all fronts. The sense of melody, rhythm, instrumentation, lyricism — it was all there. Three years later, the band has released their new album, IIFOIIC — an acronym for the enthralling title track, “Is It Far Or Is It Close?”. The song, like many others in their discography, features haunting falsettos and soaring harmonies, glitchy electronic flourishes, trippy delayed guitar leads, and a powerhouse rhythm section. Their ability to bounce energy off of one another is unmatched in this scene, as they work like tiny parts of a well-oiled machine to push each other to the next level. At other points in the record, Author kick up the tempo to show off some of their most kaleidoscopic arrangements to date (looking at you, “Want”), where you may have trouble deciding whether to air drum or air guitar. Pro-tip: you’ll have time for the one you didn’t pick when you hit replay — you’ll want to hear that vocal hook again anyway. This is most certainly music made to soundtrack the leaves changing color, but don’t let that allow you to sleep on this fantastic band. Recommended Track: “Is It Far or Is It Close” RIYL: Copeland, From Indian Lakes, Valise, Mutemath The Night Game by Jason Tate Martin Johnson is an annoying good songwriter. Look, you can have your qualms with Boys Like Girls, but there’s no denying the earworms this asshole can write. His latest project has only released a handful of songs, but already they’ve run the gamut from 80’s nostalgia (“The Outfield”) to destined for pop radio (“Bad Girls Don’t Cry”). It’s nice to see Martin flex his songwriting chops and as he aims for a summer release with this project, I wouldn’t be surprised to see him once again with songs on the tips of everyone’s tongue. Recommended Track: “The Outfield” RIYL: The 1975, LANY I Don’t Know How but They Found Me by Adam Grundy This dynamic duo is comprised of ex-Panic! at the Disco bassist, Dallon Weekes and ex-Falling in Reverse drummer Ryan Seaman. These recent “cast offs” shouldn’t be written off yet as they plan to release an album filled with synth pop reminiscent of the 80’s. Recommended Track: “Choke” RIYL: Tears For Fears, Elvis Costello, Orgy Caitlyn Smith by Craig Manning If there were any justice, Caitlyn Smith would be the biggest star in modern country music. I don’t care whether you listen to country music or not: Smith’s debut album, this year’s Starfire, will knock you on your ass. The first time I heard her sing, it reminded me of the first time I heard Chris Stapleton. They both have these big, epic voices—voices so good you can’t believe they stayed secret for so long. It’s the kind of voice that can send shivers down your spine with a climactic key change (“Tacoma”) or leave your jaw on the floor with a theatrical torch song (“East Side Restaurant”). But Caitlyn Smith isn’t just The Voice-style good. On the contrary, she’s also a dynamite writer, someone who can silence a room with the sharpness of her pen just as much as she can with the hugeness of her voice. On “Scenes from a Corner Booth at Closing Time on a Tuesday,” she turns vignettes about nameless characters into a tongue-in-cheek treatise on modern loneliness, and on “This Town Is Killing Me,” she poignantly illustrates just how much it costs to chase a dream. If you listen to my recommendation once ever, make it this one. Recommended Track: “Tacoma” RIYL: Chris Stapleton, Maren Morris, Taylor Swift Part Two will be released tomorrow and a playlist of all the recommended songs will be coming on Friday. If you missed it last year, you can check out 2017’s feature here. --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/in-the-spotlight-50-bands-you-need-to-hear-in-2018-part-one/