Mimosa Hygiene is the first collection from Nashville based duo The Criticals

Mimosa Hygiene is the first collection from Nashville based duo The Criticals. The talents of Cole Shugart and Parker Forbes are formidable even after a single listen; this is a band who have their songwriting wrapped up far tighter than your average emerging act and I can’t point to a single track among the six included as an obvious example of filler. The Criticals, instead, come out of their corner swinging and intent on making an impact with their brand of modern rock peppered with a variety of secondary influences. The performances and songwriting alike never rely on a cookie cutter approach to the form however and burn with a singular style that, while it has clear influences, never risks imitation.

URL: https://www.thecriticalsofficial.com/

They kick off the EP with “Good Lookin’”. The songwriting shows off a talent for hitting the listener with memorable imagery and he sparse hard-hitting language makes for a great rock vocal. “Good Lookin’” is sleek and streamlined pop rock on the attack with an upfront vocal full of breathy swagger. It achieves a steamrolling pace that, in a first song, rates as an equivalent of kicking someone’s door in. “Treat Ya Better” keeps up that same assertive musical posture but turns it in a very different direction. The uncompromising rock stomp of the first track transitions into a biting stab of funk rock. The Criticals place a strong emphasis on lively bass playing in their songs, this is no exception, and they invariably provide the EP’s best hooks.

Many of the songs are the EP are full of faint punk inspired New Wave though the band never embraces a retro sound. It’s one of those releases where the track burst out of your speakers; there’s plenty of muscle packed into the production. “Homebody” and “Just for the Weekend” are two examples of that aforementioned style in full effect though the former is a greater song. Shugart and Forbes temper the song’s headlong approach with some tempo and atmospheric changes, but it is the rhythm section, particularly the bass, once again standing out.

“Just for the Weekend” may not be as significant on the EP as “Homebody”, but it is nonetheless a solid performance. You won’t find any audible holes in Mimosa Hygiene’s songs. Even the minor efforts such as “Just for the Weekend” help establish the case that The Criticals are one of the most promising indie rock acts active today. “Kate Moss” is closer to a classic alternative rock sound than anything preceding it and it’s hard to feel like it brings a little more firepower to bear on audiences than anything since the opener.

WATCH THE TRAILER: https://www.youtube.com/watch?v=3BmW7jnCd7M

I’d love to hear them perform “Got No Love” live. It’s a readymade track for live encores and plays like a surprise rabbit out of the hat in light of the preceding songs. The Criticals play acoustic rock with as much conviction as electric, but it’s the vocals that, for me, are the star. It’s a tour de force of singing bringing the EP to a dramatic end. There’s a lot to love on The Criticals’ Mimosa Hygiene and a lot to look forward to in the future from this duo.

Kim Muncie

“Don’t Stand a Chance” the new single by Mattia Pironti

Somewhat somber and yet capable of encapsulating the honest optimism of the lyrics in the foreground, the piano plays with a tortured resilience at the start of “Don’t Stand a Chance,” the new single by Mattia Pironti, and its opulence will only grow more noticeable as we press on. Its keys frame a poetic window into the soul of Mattia Pironti that had only been teased in his first two released songs, and in the graceful harmony that ensues between his vocal and the piano, we get a clear picture as to what kind of composer Pironti has become in the last year.

There isn’t a single element at our singer’s disposal that he won’t use in his quest to create the perfect mood in “Don’t Stand a Chance,” but this isn’t to suggest that he toys with

URL: https://www.mattiapironti.com/

overindulgences best left out of the recording studio in this track. For example, the bass parts in this song are really bumpy and acrylic, but they never intrude on the vocal, which is kept in the center of the mix as a sonic linchpin holding all of the other working elements together whilst leading the way with accessible, emotionally tangible lyricism.

While I like the forcefulness of this track, the mix on the percussion is a little cluttered in a few spots and perhaps disproportionate to the other parts in the song. It should be noted, however, that rather than muddying everything behind it, the drums still emphasize the severity of Pironti’s words in the chorus, and more specifically, the passion that he’s got in his vocal whenever the chorus comes pouring out of our speakers. It’s not a flawless single, but “Don’t Stand a Chance” is a lot meatier than most of the similarly stylized songs released in the past month have been.

The vocal could have used just a little more oomph towards the end of the song, particularly when all of the instrumental faceting is coming undone just before the three-minute mark in the track, but I can get why Mattia Pironti wanted to go in a different direction here. He’s obviously trying to distance himself from the minimalistic sounds of American indie pop singer/songwriters (a lot of whom have been making big waves in Canada lately) by making this component of “Don’t Stand a Chance” a bit spread out and sprawling in style, and I totally respect his decision from a creative standpoint.

It’s not quite as quaking as what I was expecting it to be, but “Don’t Stand a Chance” is definitely a great song from a skillful songwriter coming into his own after a meteoric rise to fame in 2018. Mattia Pironti has a humble depth of emotion to his compositions that can only get better with age and experience, and even though he hasn’t been in the spotlight for very long at all, he’s already showing a lot of improvement just between the first appearance of “Get Away” and this track. I’m ready to hear his debut LP, Mirror, for myself, and finally find out if he really is cut out for the primetime in this next era of western pop music.

Kim Muncie

MkX is keeping it real with us in his new song “right place, at the right time”

With an opening stanza that starts off with the lines “Undercover operations takes / A lotta discipline and patient waitin’ / Gotta secretly manipulate / To speed fate up,” MkX is getting real with us in his new song “right place, at the right time” and causing a stir among critics and fans for the third time in 2019. MkX is no loose cannon in “right place, at the right time;” he’s a measured musical mastermind, carefully dispensing his artful poeticisms amid the gravity-altering grooves of a synthesizer and its shadow bassline. If you weren’t already sold on this cat’s work, it’s a safe assumption to make that once you let this song’s cinematic hooks shred through your speakers, you’ll be more likely to change your opinion than not.

INSTAGRAM: https://www.instagram.com/mkxmusic/

One thing that you won’t find in “right place, at the right time” is fluff – there’s absolutely none to behold in the three minutes of playing time that the track lasts, which isn’t something that I’ve been able to say about most of the indie singles I’ve been listening to this September. The big names in the underground haven’t been doing much to keep hardcore pop fans pleased lately, but thanks to the diligent work of sleeper success stories like MkX, the season hasn’t been a total loss for the diehards among us. He’s making it abundantly clear to anyone listening that he has no interest in watering-down his work with a lot of needless excess; he’s gotten this far without it, and there’s really no use in incorporating it now.

Even without the muscular equalization on his vocal, MkX has an amazing presence in this track that makes me excited to see his live act at some point in the near future. If his stylish attack translated well into the stage environment, there would be no way for his contemporaries, good and bad, to slow down the momentum that his recording career has right now. He’s doing all the right things in the booth, making all the right moves and gaining ground on some of the mainstream’s most lauded players, and when you factor in an energy that he could potentially take on tour with him, it’s difficult to imagine his reputation growing anything but stronger as 2019 turns into 2020.

If you like pop music with an R&B rhythm, this righteous new release from MkX can’t be missed this month. “right place, at the right time” doesn’t change the world as we know it, nor does it try to modify a proven formula perfected by MkX in his last few singles; in essence, this track solidifies what most of us already knew about the artist who brought it to life, and further warrants our attention as he looks at upcoming projects. The sky is the limit for this guy at the moment, and for all of the hype that has been surrounding his work recently, he’s been handling the whole process with ease. He’s on his way to the top, and the release of this song basically confirms as much.

Kim Muncie

We last checked out MkX in 2018, with our pieces about Ghost and One Sided Love.

Tummyache releases new EP

Tummyache’s Humpday opens with “Machine”, an often raucous cry from the heart looking to wrest meaning and purpose from a world often seeming to lack both. The five songs included on this EP release embrace that as theme. Songwriter Soren Bryce, through her inter and intra personal relationships, is an artistic voice chronicling how to hang onto your emotions in the general miasma of modern life. The roughhewn musical feel of “Machine” reflects that struggle well and Bryce’s deceptively delicate vocals are more than capable of embodying the impassioned fury guitar-fueled alt-rock requires from its singers.

The EP has a wont for double-tracking Bryce’s voice, but it isn’t to the detriment of the performances. The title song exhibits this tendency but Bryce uses it at key points in the arrangement when such embellishments make sense rather than applying in slapdash fashion. The up-tempo pacing she adopts for the title cut never feels rushed and her vocals pair up well with the compositional approach to guitar. You will not hear many guitar “excursions” loaded into this release; the instrument, in her hands, is part of the overall package rather than leading the way.

“Commonplace” underlines another crucial aspect of this EP. Bryce has great gifts as a lyricist – her writing often has a stream of consciousness feel to it in the sense it chronicles reactions to her surrounding world, but there is no self-indulgence or willful obscurity marring her compositions. She broaches thorny subjects with a great deal of delicacy without ever over-explaining things for listeners – we are, inevitably, left to draw our own conclusions. The spirit of this track, both musically and lyrically, is a little moodier than the surrounding songs, but never dispiriting.

The lyrics for “Median” are, in some key ways, cut from the same cloth as the EP opener “Machine” and they share common musical DNA. No one can say with a straight face Bryce doesn’t sound credible when she decides to “rock” – the slashing blitzkrieg nature of the guitar playing running through this performance is one of Humpday’s highlights.  The final track “In Between” pulls back on that sort of approach in favor of a more layered sound and the breathtaking direct address she adopts for the lyrics will disarm listeners. No other song could have ended this release. “In Between” plays as a near summation of sorts for everything preceding it.

Released by Palo Santo Records, Tummyache is the latest evolution in a professional musical career reaching back six years. Soren Bryce brings her life to her art in bracing fashion – you cannot deny her. There is a cathartic strand running through the five songs included on Humpday but her personal experience resonate with a common humanity that never makes them too private for listeners to connect with. This is quite an achievement. The release looks towards the future as well because, as you listen to these tracks, you cannot help but feel this songwriter has only just begun scratching the surface of her immense talents.

Kim Muncie

John DeNicola The Why Because

John DeNicola might not be a household name, but he should be, because you’ve probably heard his work in one form or another, whether you realize it or not. And his new album is his debut solo record, but it’s not exactly clear to me what’s all original and what is covered concerning both his own past works and covers of other’s work on this disc. What is clear to me though, is DeNicola has an illustrious past and from what some of that entails through his bio, he is a songwriting force in which to be reckoned with across the globe for the last four decades.

To completely cover it all, it would take a lot more space, but it’s important to know where he’s been and it makes all the sense in the world why he’s a superior artist but not well known to the indie world unless you peak behind these scenes. He’s also a world class producer with a fine release entitled; The Why Because, and it’s full of great music including some covers he’s been involved with as well as some others. But the masses would know of at least two of them he’s co-written, and they’re both on the Dirty Dancing soundtrack.

FACEBOOK: https://www.facebook.com/jdenicola1

The album kicks off with the vibrant sound of “You’re The Only One,” which instantly shows the quality of both songwriting and studio performance along with the excellent production skills DeNicola possesses. Not having been a singer that much in his career, it comes as a surprise how good his voice is. “Everything You” follows in the same great fashion with a duet with female artist, Cassidy Ladden. These two tracks really get your attention going for what comes next, which starts to get most familiar to anyone listening.

“Hungry Eyes” should be known by even the most remote music fan, as the hit that was recorded by Eric Carman was co-written by DeNicloa and Franke Previte. It’s well placed in the third spot and it’s also a case of justice well done with not too much variation from the original. The next track is “In God’s Shadow” and it compliments all thus far with an amazing piece of soothing work. In fact, it runs at an epic over 6 minutes long and can be heard previously by John Waite. This is where it becomes evident that The Why Because is a brilliant collection of songs.

“People Make The World Go Around” is a cover of The Stylistics song written by Thom Bell, Linda Creed and George Perry, a big hit in 1972. It’s amazing how the vocals remind of the incomparable Bobby McFerrin, which is a compliment to DeNicola. And the guitar work on “Brand New Day” must be heard along with the eastern string influences on the album. Then it follows with “Butterfly” and “Wait.” These tracks are followed by “All In The Hands Of Grace” and “I am Not Willing.” But the grand finale is “I’ve Had The Time Of My Life” which is also to DeNicola’s songwriting credit. And last-but not least this great album features several well- known musicians including the fantastic NY based drummer, Brian Delaney.

Larry Toering

Black & Blue: Love, Sport and the Art of Empowerment by Andra Douglas

Black & Blue: Love, Sport and the Art of Empowerment is Andra Douglas’ fictionalized rendering of a lifetime loving the game of football and being told she couldn’t play. Good thing for us she never took those words to heart. Readers are treated to an often picturesque account of her upbringing in the American South, her relocation to New York City to pursue a career in the early Eighties, and her later role as one of the leading figures establishing women’s professional football in the national consciousness. It is too easy to say this is an inspirational story. It is, of course, but there’s so much more to it. This is the story of a society in flux, undergoing profound transformation, and football is the backdrop for this particular example of that change. It is also a personal but not uncommon story of someone told from an early age to jettison their deepest held dreams because they aren’t “allowed” to harbor such ambitions and how the human spirit balks at such inane restrictions.

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She makes no bones about how difficult it was for her to get women’s professional football taken seriously. Sponsors are either lukewarm or else disguising their financial/sexual interest in women’s professional sports as a sincere belief in equality. Romantic partners object, parents are baffled and dismayed. Douglas’ fictionalized version of herself perseveres however, enduring life’s slings and arrows, and derives a personal satisfaction from being true to herself that approval from others can never match. Black & Blue does many things in an outstanding way, but its depiction of the author’s resolute character in the face of one adversity after another is dramatic and believable at every turn.

There is no real conclusion to this story. However, like any great fictional work imitates life, Douglas ends the book transformed by her experiences as both an athlete and owner. She has walked the front lines of a revolution in sport and her eyewitness account of incurring casualties and bonding with other like-minded souls, both men and women, along the way gives this book much of its life. It never feels ham-fisted ot riddled with affectations. The story of women’s professional football, however, doesn’t end with Douglas stepping away from the team after nineteen years. The book makes it clear she and others laid a foundation that will continue growing far and long after the book’s final pages.

AMAZON: https://www.amazon.com/Black-Blue-Love-Sports-Empowerment/dp/1733583505

Black & Blue: Love, Sport and the Art of Empowerment is part testimonial, part memoir, part sports fiction. Andra Douglas brings the sweat and crunch of an uniquely American sport to vivid life populated by a cast of characters that are difficult to forget. She has turned to other pursuits since her tenure as owner of the New York Sharks ended, but you can still feel the obvious love she has for this game. Her book is wise, knowing, and filled with a rush of energy carrying readers through from its humble beginnings to an ultimately triumphant conclusion that leaves a smile on your face.

Kim Muncie

AV Super Sunshine takes you to “Candyland”

2019 has been an exceptionally good year for independent musicians, and not very many in the bunch know this as well as AV Super Sunshine does. It wasn’t enough for AV to drop the remix LP Candyland on us over the summer; in his new single, which is also titled “Candyland,” the artist and his eponymous band prove to be the most diverse act in their scene with two mixes of a chaotic but melodic mega-song that don’t ask all that much from their audience in exchange for more chills than you’ll find in any cinema this season. “Candyland” is, simply put, powerhouse pop for the next generation of audiophiles.

The two mixes of this track – rock and radio – couldn’t be any more different unless they were based on separate compositions, but neither one feels confusingly experimental. It’s almost as though we’re listening to two rough cuts of a song that never made it onto an album but instead lived a short life inside of the studio only to disappear forever once recording sessions had come to an end. It’s basement tapes-level eclecticism, but proline production value if there ever was such a thing, and that’s a pretty hard balance to strike.

AV’s vocal is a lot more cutting and vicious in the radio edit than it is in the rock mix, but I think that I prefer the way that it’s situated between the instruments in the latter more than I do the former. It’s always a treat to hear this man sing, but he sounds unusually passionate in this song, as if he’s getting something off of his chest that’s been there for far too long now. It’s a contagious blend of excitement and catharsis, both of which are hot commodities in the overly stressed-out world that we live in these days.

The bassline in the radio edit is soft, simple and surprisingly minute when juxtaposed with the synthetic components in the backend of the melody, but I personally found it to be one of the best basslines I’ve heard in any AV Super Sunshine song; rock, pop or otherwise. The competition definitely could learn something from the use of conservatism on this particular front of his songwriting, as they have (for the most part) shown themselves capable of producing what sounds and looks like the exact opposite for the better part of the last decade. AV on the other hand? Not so much.

It’s been said before, but I might as well say it again now – AV Super Sunshine is dominating the bulk of our conversations in the international underground these days, but with songs like “Candyland” becoming the standard product of his compositional conferences with the performers that he’s aligned the AVSS brand around, he’s bound to stay right where he is in the hierarchy of indie rock for the foreseeable future forth. “Candyland” is helping him to pick up a lot of steam as we stare down at 2020, and if it’s a look at what his next LP is going to be like, the coming year will be even greater for his career than this present one has been.

Kim Muncie

TLA releases New Language (EP)

The five-song EP release New Language from the band TLA is a meeting of the minds with long term potential. TLA has a core of Jon Sortland from The Shins, The Pleased’s Jason Clark, and paper cut artist Tahiti Pehrson and their songwriting talents come together in a tight wound guitar-driven pop confection held together by sharp musicianship and superior songwriting. The material has to the point punch that makes this a winning collection and the founding trip augments the performances with contributions from guests such as The Pleased’s Genaro Vergoglini and Miguel Aldana. The musicians never belabored these cuts; they have off the cuff spontaneity gives each one an added splash of sparkle.

“New Language”, the EP’s title track, begins the release with a definitive statement. It is a track certainly recalling the glory days of British New Wave and similar fare emerging from continental Europe during the early-mid 1980’s, but this style in the hands of TLA takes on added weight. Their wise refusal to mimic any particular artist and the light ominous spirit pervading the recording separates it from ever resembling mere imitation. New Language boasts production that, despite the indie nature of this recording, sounds as polished as anything you would expect to hear from a well-funded major label act; the reverb colored guitar has icy confidence sustaining the entire performance.

URL: https://dowdrecords.com/tla

The second track “Look / Cocklieb’s Journey” slows the tempo and jettisons the strident tone of the opener. Vocals are a striking part of the band’s presentation and the contrast between the lead and backing vocals, the former more declamatory while the backing vocals hit a pleading note, imbues the performance with much of its melancholic soul. The last quarter of the track, “Cocklieb’s Journey”, is a swelling and inspired instrumental with a much happier hue. “Mindbomb” has a much rougher texture than the EP’s first two tracks but continues embracing a languid tempo rather than revisiting the pace of “New Language”. Synthesizers play a much more prominent role in this performance as well.

“Midnight Moan” dispenses with any notions of pleasantries or pretense, puts its head, and bulldozes us instead with a blast of proto-punk taking no prisoners. The track might feel like a throwaway to some, clocking in under a minute in length, but has a surprisingly positive effect on the EP’s listening experience and provides a needed change of mood. The conclusion “Forty Years” includes captivating rhythms and counter-rhythms the guitar work weaves tense phrases around and the vocals have the same emotional, off-the-cuff resonance we’ve heard throughout the release.

AMAZON: https://www.amazon.com/New-Language-EP-TLA/dp/B07TJKBQHH

TLA’s New Language may not be re-inventing the musical wheel, but it is a fresh and invigorating musical statement that gives this band an instant identity they can build off with future releases. The long experience of those involved with the songwriting and playing on this EP pays off with one of the year’s more surprising under the radar collections of 2019. As happy accidents go, this rates among the happiest you will encounter.

Kim Muncie

Gold Light’s fourth album release Zephyr

Gold Light’s fourth album release Zephyr and frames Joe Chang’s songwriting talents in sharper relief than any previous collection. There’s nine songs included spanning a wide variety of thematic concerns and imagery but are anchored by an assortment of character types familiar to anyone who has followed Chang’s career to date. Chang has developed his songwriting talents by leaps and bounds with each successive release. His opening track “Cannon Street” is a panoramic track with light electronic accompaniment fleshing out the initially bare bones arrangement. It isn’t any stretch at all identifying Gold Light’s music and Chang’s songwriting fore in general lying within folk but the addition of light electric guitar and synthesizer gives it an art pop sheen an handful of instances. This is more present in later songs, but “Cannon Street” has that mix of folk and high end pop sensibilities working together.

The third cut “Days of Heaven” brings those qualities together at an emotional pitch few of the other tracks equal. It has a light classical quality thanks to the presence of violin providing the song’s melodic signature that helps shapes its emotional slant. Chang has real ambition as a lyricist; his writing reaches for an unity of narrative and form that helps the material such as this stand out even more. It is one of the album’s finest compositions, in my opinion, and definitely highlights the first half of the album. “Devotion” is another one of the more delicate cuts contained on Zephyr and Gold Light handles the balance between the acoustic and electronic strands of the track well.

AMAZON: https://music.amazon.ca/albums/B07Z45Y6F4

“Blood” has the strongest electronic sound of any song on Zephyr. The wash of synthesizer present throughout the track gives the recording a near progressive flavor without ever losing its folkie heart. This track amply demonstrates just how far Chang can carry Gold Light’s sound, , stretching the definition of traditional music to its snapping point, and emerge with something uniquely his own. “Riverbed” is one of the gentler numbers included on Zephyr and its exceptional musical pedigree once again matches up well with Chang’s capacity for lyrical invention. There’s an added lyrical feel characterizing the music as well, pastoral without even slipping into bathos or predictability, and the track stands as one of the album’s greatest moments.

It pairs very well with the second to last cut “Carolina”. It is obvious even on a first listen this is intended on be one of the album’s centerpiece track and there’s good reason for it. It continues the same meditative feel we heard with the preceding number and Chang’s focus on crafting strong lyrics serves him well once more. Naming an album after a central place in your family history gives us more than a little indication this album is a personal matter for Gold Light and songs such as “Carolina” only underline that fact for listeners. The finale “Zephyr” feels like both a cumulative statement and an ending for the release. Chang consolidates his poetic gifts for this performance and the same artistic control evidenced by his lyrics is rife throughout the song’s musical arrangement. Gold Light’s fourth studio album is another notable addition to Joe Chjang’s discography under any name and a work he should be proud of no matter its commercial fortunes.

Kim Muncie

Lesibu Grand releases debut record

A rollicking beat is adorned with crushing riffage the size of a skyscraper as we listen in on the first couple of bars in Lesibu Grand’s “Miranda,” but as the track presses on, what starts off as a Seattle-style grinder evolves into something that can only be described as pure, unadulterated Pixies worship. In Lesibu Grand’s debut record, The Legend of Miranda, this kind of string-powered thunder is par for the course; whether it be the thrust of “Runnin’ Round” or the confident strut of “Only American in the Room,” this EP is an electrified guitar fantasy that’s been soaked in bleach and then handed over to one of the brightest young voices in Tyler-Simone Molton that I’ve had the pleasure of reviewing in the month of October.

URL: http://www.lesibugrand.com/

The distortion that we hear in “Runnin’ Round” and “Miranda” is, affectionately, straight out of the ‘90s, but in the stylistic counterparts “Hush Hush” and the startlingly jazzy “Mi Sueño,” we find a progressive centering that is anything but a throwback. The fresh, punkish energy of “Only American in the Room” breaks up the textured elements of the two songs that sandwich its garage rock rhythm perfectly, and instead of feeling like we’re listening to multiple variations on the same theme, we end up experiencing the full spectrum of tones that this band can conjure up in the right setting. Their chemistry together is undeniable, and it’s most definitely responsible for all of the big chills that The Legend of Miranda tends to stir up (seemingly) out of nowhere.

TWITTER: https://twitter.com/lesibugrand?lang=en

While some critics might look at it as a negative aspect of this record, I for one think that the production quality’s minimalist aesthetic lends to the postmodern motif of the music here substantially. The parameters of “Hush Hush” and “Runnin’ Round” feel intentionally limited, but rather than this choking the life out of the instrumental fabric in each of these tracks, it actually emphasizes just how raw both compositions are at their most fundamental and unembellished. There’s no filler or needless plasticity for us to sift through in The Legend of Miranda; there is only substance and a legit sonic sorcery that is steeped much more in traditional recording techniques than it is the augmentations of a 21st century soundboard (which, to be fair, isn’t exactly something that you can find everyday in 2019).

INSTAGRAM: https://www.instagram.com/lesibugrand/

If The Legend of Miranda is but a sneak preview of what we can expect from Lesibu Grand in every performance that they share with us moving forward, I’m definitely going to be game for more out of their camp in the next few years. They’re entering the fall season with a nice momentum thanks to the hype that this early-October EP has been generating for their brand, and if even two of its cornerstone tracks make it into steady rotation on American college radio and beyond over the course of the season, they’re going to be on a fast track to success with the release of their virgin LP. They’ve got plenty of room to grow into this sound even more than they already have, but regardless of what they do between now and their debut album, I’ll be eagerly awaiting more of their stylish strain of rock n’ roll heat.

Kim Muncie