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Softmax connects through disjointed isolation in her Lynchian installation of electronica, Swishers

Softmax

Silence fell after the 2022 debut EP, But What If There Isn’t?, from the Chicago-native Softmax; in her time away from the airwaves, she honed her craft and primed herself for her latest single, Swishers.

Co-produced by Joel Ford, of How to Dress Well fame, and Berlin’s premier electronica producer, Gabriel Gifford, Swishers sets a dramatically Lynchian tone to create a dystopian synthpop backdrop for the portrayal of inwardly imploding isolation while everyone falsifies their lives online.

The sentiment is just as resonant as the score orchestrated to depict the agonisingly disjointing feelings. Clearly, Softmax has a talent for reflecting the rawest facets of the human experience back at us. The syncopated beats and oscillating synths paint a portrait of how it feels when black holes of alienation form as a fixture in the arrangement of your bedroom furniture.

In her own words: “It’s about wanting to connect with the world and understand people while feeling further and further from it,”

Swishers will hit the airwaves on August 9th as a courtesy of the London-based indie record label, Psychotic Reaction Music. Stream it on Spotify.

Review by Amelia Vandergast

Subatlantic bled etherealism into indie post-punk with their latest single, Critic

Say It Again by Subatlantic

Illinois’ premier indie outfit, Subatlantic, is on scintillatingly atmospheric form in their single, Critic, taken from their hotly-anticipated LP, Say It Again.

With angular guitar lines that will reel you into the centre of their darkwave pop universe, vocal lines that could give Debbie Harry a run for her money and the coldly beguiling tones spilling from the reverb-heavy keys, if Dead Can Dance, they’d dance to Critic, which unravels as a revelation of ethereal ingenuity.

With Becca Rice at the helm of the fourpiece, which has been dropping the temperature on the airwaves since 2008, Subatlantic has established itself as a dynamic powerhouse to watch; with soundscapes to suit every conceivable mood, there is undoubtedly something for you lingering in their artfully textured discography.

Stream and download Critic via Bandcamp or snag yourself a limited-edition colour vinyl pressing of the LP, Say it Again.

Review by Amelia Vandergast

The 1930s Hot Club Jazz Scene is in Full Swing Once More in Bowmanville’s Seminal Single, Annie & Me

Almost 100 years stand between today and the Parisian 1930s Hot Club Jazz scene; listening to the raconteurs of sonic nostalgia, Bowmanville, you would be forgiven for thinking that it was only yesterday when beatniks with affinities for wild time signatures, swinging grooves and foot-tapping beats crowded clubs and started a movement that will never be lost to history.

Especially on the basis of the Chicago-hailing outfit’s swinging, smoky rhythmic drive and cinematically vibrant fusion of Jazz and Blues in Annie & Me, taken from their eponymous debut LP, produced by none other than the Grammy-nominated producer Doug Nelson.

Violinist Ethan Adelsman, harmonicist and vocalist Graham Nelson, percussionist Noah Plotkin, bassist Oliver Horton and guitarist Mason Jiller on guitar know just how to synergistically spill baroque alchemy as they blaze through the progressions in the instrumental score, which gives each pays ode to Chicago blues and the unmistakable timbres of Parisian Jazz.

Annie & Me is now available to stream on Spotify.

Review by Amelia Vandergast

Motel TV is in ‘Cruise Control’ on their cerebrally poetic new wave indie single.

MOTEL TV (EP) by MOTEL TV

The Chicago, Illinois indie evocators, Motel TV, are fresh from the release of their eponymous debut EP, featuring the introspectively transcendent single, Cruise Control; with one half of the four-piece outfit employed as successful psychotherapists, the single unravels as poignantly as expected.

With the post-punk-y electronic drum fills snapping against the ethereal reverb that spills from the accordant synth and guitar lines, a beguiling atmosphere is created for Motel TV to induce you into a deeper hypnotic state with their cerebral lyricism.

Just when you think you’ve got Motel TV all figured out, Cruise Control evolves from the psychedelia-instilled new wave dream pop synthetics to immerse you in a riff-powered chasm of garage rock as a reflection of the living discordance we all have to resist to keep on a path towards inner peace.

Naturally, any and all reminiscences are fleeting in Cruise Control, but fans of The Smiths, Joy Division and The Psychedelic Furs will easily accommodate the single in their playlists.

Stream Cruise Control which is part of the Motel TV EP on Bandcamp.

Review by Amelia Vandergast

Chicago hip-hop duo, It’s a Cool Day, extrapolated ‘The Butterfly Effect’ in their debut

The Chicago duo, It’s a Cool Day put the trip in trip-hop by unveiling their elevated debut single, The Butterfly Effect, which fuses lush RnB melodies and harmonies with smooth rap verses and a pseudo-trap beat that becomes the centre of sonic gravity in the wavy, gravitas-packed single.

Craig Lowe and Derion Scroggins ripped up the urban rulebook and scattered the confetti through the vibe-steady hit, which spills a smorgasbord of soul as it mellowly progresses around the poetically ardent wordplay. Cathartic and convictive in its sense of passion, The Butterfly Effect is all the evidence you need that romance isn’t dead and that It’s a Cool Day has exactly what it takes to reign supreme in the Chicago scene and beyond.

The Butterfly Effect is now available to stream on Spotify and Apple Music via this link.

Review by Amelia Vandergast

Tune into Rebels in Stereo’s riotous punk rock anthem, Lace of Steel

CoVault by Rebels in Stereo

‘Lace of Steel’ is the riotously hooky seminal single from Chicago’s premier pop-punk-influenced outfit, Rebels in Stereo. Taken from their EP, CoVault, the overdriven to the nth degree hit reels you in with the edged and tight anthemics, but it is the vignette weaved through the high-octane release that keeps you immersed.

With a similar narrative to Thrash Unreal by Against Me! any female-identifying outliers that are looking for resonance will get more than they have bargained for when they delve into the punk rock anthem, which gains momentum through the modernist melodic power metal licks and the songwriting chops that are as sharp as a butcher’s cleaver.

With a new LP in the pipeline, there’s little doubt that 2023 will be the year of Rebels in Stereo. It takes far more than a powerful set of pipes to become an arresting frontwoman; thankfully, Cassidy’s vocal range is as wide-spanning as her talents in weaving soul into her superlative harmonies.

Stream and purchase Lace of Steel by heading over to Bandcamp.

Review by Amelia Vandergast

Ipe defied the laws of gravity in his funk-grooved feat of disco-pop, Stratosphere

If you could imagine what the output would be if Nile Rodgers, Nic Hanson, and Daft Punk stepped into the studio together, you will get an idea of the electrifying funk-grooved euphoria which organically spills from the latest single from the Chicago-based singer-songwriter and producer, Ipe.

Stratosphere is the ultimate euphonic aphrodisiac for the way the cosmic lyricality lifts you higher than the upbeat instrumentals, which pay an ode to the heritage of disco while bringing in an electrifying new wave of pop.

The infectiously enlivened vocal lines from Ipe, who has been racking up tens of thousands of Spotify streams since making his debut in 2019, are the ultimate aural pick-me-up. His hedonistically honeyed vocal lines are all you need to get in the groove.

Stream Ipe’s latest single, Stratosphere, on all major platforms via this link

Review by Amelia Vandergast

Alex Thorn paid homage to the hair-raising 80s rock era in his revivalist anthem, Bleeding Youth

Chicago 80s rock revivalist Alex Thorn found a riotously anthemic way to affirm that everything is transitory, including perception, in his latest Sunset Strip cruising single, Bleeding Youth. Prickly by name, prickly by nature, the one-man powerhouse used his thorns to draw the blood from the protagonists that deserve to be left in the rearview mirror after they have drained you of sanity and patience.

The stabbing rhythm section punctuates the earworm with galvanising tension to create an addictively exhilarant hit which pays homage to the literally hair-raising 80s rock era while in the same riff-driven breath bringing something completely new to the arena with the pop-punk nuances.

His confronting vocal presence, which teases playful provocativeness into his vocal lines, was the perfect way to package the release that is worthy of pride of place on your playlists next to the likes of KISS, Dokken and Crashdiet.

Bleeding Youth is now available to stream on Spotify.

Review by Amelia Vandergast

Chicago punk three-piece, Torch the Hive, delivered relatable hardcore rancour in their latest single, deku

The Chicago-hailing punk three-piece, Torch the Hive, is fresh from the release of their latest feat of relatable hardcore rancour, deku. Never ones to shy away from the facets of society that are like paint-stripper to sanity, Torch the Hive are staunch advocates of mental health awareness in an era which laces the atmosphere with off-kilter dejection.

The lyric, “just make it go away, I don’t want to feel constrained, I swear I’m not insane”, stands as an undeniable testament to the fact that if you’re not disillusioned at this point, you’re the flawed one for your inability to see the obscurity that is sending even the most resilient to the brink.

Sonically, deku leaves nothing to be desired. The jangly indie rock guitars in the intro lose their angular form when the grungy chorus kicks into full momentum, but the punk pioneers saved the best for their colossal breakdowns that hammer home the extent of frustrated friction. Torch the Hive have exactly what it takes to become the Fugazi or At the Drive-In. We can’t wait to hear where they take their sound next.

deku was officially released on February 24th. Hear it on Spotify.

Review by Amelia Vandergast

Interview: Chicago’s Dust Biters guides us through the redemption on Progeny

Dust Biters is a Chicago-based indie alternative 4-piece post-hardcore metal band who savage the speakers with a spellbinding reaction on each one of their heavy tracks. They speak to us about, coffee, risk-taking, Progeny and much more.

Hello there Dust Biters. We appreciate you having a chat with us today. Where in the world are you located as we speak and what did you all have for breakfast?

Dust Biters: Hi! We’re from Chicago. We’ve all had lots of coffee and need more.

Let’s start at the beginning. Where/how/when did the band start and who are the current members?

Dust Biters: Nick Miller and Nick Kinsley actually met back in high school in Michigan. Kinsley was a fan of Miller’s technical metal band, Flesh and Blood Robot. They became friends and started writing music for a new project. Kinsley ended up moving to Chicago and Miller ended up moving to Pittsburgh, but a decade or so later Miller relocated to Chicago and convinced Kinsley to pick up the guitar again. They started writing 80’s hair metal riffs on Miller’s couch which became the foundation for the songs “Unholy Gospel” and “Creature Man”. Initially, the idea of the band was to write songs that were straightforward 3-chord punk and rock, but that didn’t last very long. Nick Miller and Tommy van Arsdale were colleagues and had talked ad nauseam about music and Tommy’s previous bands in which he played drums, guitar, and piano. Miller asked Tommy to session with them on drums and the three booked time at a studio in Chicago. It became clear after the first session that this was something to pursue, so they found a permanent rehearsal space and began practicing as a trio. Bryan Fonseca joined Kinsley’s work, and again through the serendipity of talking about music learned that Kinsley was looking for a bass player for the new project. Bryan, traditionally a guitarist, was quick to pick up the bass and learn the parts. Bryan’s personality fit seamlessly with the group so we decided to move forward and thus Dust Biters was formed.

Please let us more about your latest single Progeny and the vision behind the release.

Dust Biters: “Progeny” is a song Nick Kinsley wrote about his kids. It’s a song about redemption, forgiveness, and growth. We just released a companion music video, and in contrast, the narrative revolves around a narcissistic cult leader who grows tired of the perpetual, blind worship of his harem and secretly poisons them in a final move of selfishness and desperation to start a new existence. You can watch it on our YouTube channel now.

Guilt is the name of your new 12-track album. Please guide us into the process of completing the project in the way you wanted.

Dust Biters: The first and most important step to getting Guilt recorded was finding an engineer that understood our songs and the goal for our sound because we didn’t really know what we were trying to do. Once Alex Lackner (Accelerated Sound Studios, Lazarus AD) was signed on to engineer the record, it was full steam ahead. We tracked a majority of the record in our studio while the vocals and finishing touches were recorded at Alex’s studio. We spent a lot of time getting the mix right. Guilt is a record that we are very proud of and we’re excited that people are responding so positively to it.

What’s an important piece of advice you’d recommend to anyone working in the music industry?

Dust Biters: Be genuine and ruthless with your art. Take creative risks. Embrace limitations. Practice consistently. Make real connections and support others. Seek feedback and consider all forms of criticism. In 2023, writing good music is only half of the work to get noticed. Be ready to put yourself out there.

What is the vibe like at the local underground music venues in your local area after all the closures previously due to COVID?

Dust Biters: We’re lucky. Chicago has a great, supportive local scene and awesome venues like Empty Bottle, Live Wire, The Burlington, Liar’s Club, Cobra Lounge, and Reggie’s which thankfully all weathered Covid. Like many of our friends, we spent the majority of lockdown writing and practicing so that when it became safer and venues began opening up, we were hungry and prepared to get on stages and play live.

Last, if you could tour with any band in the world, who would it be and why?

Dust Biters: Ha! I think we would all answer this differently, and I don’t think we could decide on just one without a lengthy debate, but if we had to name two bands it would be Glassjaw and a resurrected Every Time I Die.

Listen up on Spotify. Check out the IG page for more.

Interview by Llewelyn Screen