Vancouver Special: PUP at the Wise Hall

PUP

PUP returned to Vancouver, British Columbia on March 29th to a sold-out crowd for the first leg of their 2019 “Tour-Pocalypse” in support of their third record, Morbid Stuff

KCR Canada special correspondent checking in here! I finally did something on a Friday night other than drinking beer in bed alone and ventured out to catch Toronto’s beloved punk rock sons, PUP, at the Wise Hall and Lounge on March 29th. Having seen PUP one rowdy night in 2016 at the now-shuttered Cobalt Cabaret, I knew this was a show I shouldn’t miss.

I ran into a slight complication in my plans to attend this show: the tickets to PUP’s Vancouver show sold out in minutes. Granted, the Wise Hall is a pretty small venue, but PUP really seems to be blowing up in recent years. They’ve sold out tons of their upcoming North American tour dates, including all of their Canadian dates, the Fillmore in San Francisco, and both nights at the Teragram Ballroom in Los Angeles. For what I once considered a small Canadian punk band, this is unheard of. I managed to get two tickets a week before the show when the band tweeted that they’d released some more.

The Wise Hall is located just off of Commercial Drive in East Vancouver in the Grandview-Woodland/Little Italy neighborhood. It’s sort of reminiscent of the Irenic in that it’s on a residential street, has a capacity of about 250 people, and was clearly never meant to be a punk rock venue. It’s the type of place that feels homey and welcoming, with gothic chandeliers and a disco ball giving it added charm. Barricade status: none. Hooray!

I arrived at the Wise in time to catch the second opener, Pkew Pkew Pkew.

While I really enjoyed their set, I despise saying their name aloud. They reminded me a bit of The Gaslight Anthem, but I also haven’t listened to The Gaslight Anthem in about eight years, so that might be completely off the mark. Pkew Pkew Pkew is also from Toronto, so they’ve spent a lot of time with PUP over the past few years, both as label-mates and as tour-mates. As such, the crowd welcomed them with open arms and an open mosh pit.

While I really enjoyed their set, I despise saying their name aloud. They reminded me a bit of The Gaslight Anthem, but I also haven’t listened to The Gaslight Anthem in about eight years, so that might be completely off the mark. Pkew Pkew Pkew is also from Toronto, so they’ve spent a lot of time with PUP over the past few years, both as label-mates and as tour-mates. As such, the crowd welcomed them with open arms and an open mosh pit.

PUP took the stage at 10:45, opening with “Free at Last” from their not-yet-released (at the time) third record, Morbid Stuff.

Morbid Stuff wasn’t released until April 5, but the band played four other songs from the record in the middle of their set: “Sibling Rivalry,” “Kids,” “Scorpion Hill,” and “Morbid Stuff.” Lead vocalist Stefan Babcock prefaced their performance of “Morbid Stuff” by asking us not to film it, in part because it hadn’t been released yet and in part because they “fucking suck at playing it”. While the first reason may have been true, the second certainly wasn’t. The song sounded great, and I’m excited to hear it again once the record comes out.

Fan favorites like “Guilt Trip” and “Sleep in the Heat” were well-received by the crowd; these moments were punctuated by fans (crowd) surfing and (stage) diving overhead. This is the closest thing I have to a day at the beach now that I’m not in San Diego. Anyway, if you’re a big fan of Netflix’s Stranger Things, you should check out PUP’s music videos for these two songs, which both feature Finn Wolfhard. I myself recently almost walked into Finn Wolfhard while coming out of an Urban Outfitters in Vancouver’s affluent, yoga-loving Kitsilano neighborhood. Welcome to Vancouver, aka Hollywood North.

Recently, PUP tweeted that they would be partnering with a local charity for all of their headlining shows on this upcoming tour (and for the foreseeable future).

They’re additionally committed to giving the charity a space at future shows to provide information about their cause. For their show at the Wise, they partnered with Urban Native Youth Association. UNYA provides support for Indigenous youth, empowering them to excel in life and inspiring them to become leaders in their communities. Towards the end of the show, guitarist Steve Sladkowski took some time to talk about the organization, praising them for their work and condemning the government’s abhorrent treatment of Indigenous people throughout Canada’s history. He urged us to fill UNYA’s donation box at the merch table, emphasizing how much work the organization does not only in Vancouver, but particularly in the very neighborhood in which we were attending their show.

Punk has always been about expressing yourself and finding acceptance among likeminded individuals who challenge the status quo. However, initiatives like these really exemplify the shift that’s been happening in the scene recently, a shift in how bands use their platforms and how they prioritize inclusion and safety for everyone at shows. This doesn’t mean that we have to cancel mosh pits and put up barricades at every opportunity. It means that bands are becoming more accountable for how their fans are treated at shows and doing their best to use their platforms to give back to the communities their fans are a part of. Clearly, being punk rock and being a good person don’t have to be mutually exclusive anymore.

Towards the end of the night, the band invited us to participate in a special activity called “PUP Karaoke.”

It’s exactly like it sounds: they invite someone from the crowd to come up and sing one of their songs. Tonight, that song would be “Reservoir” from their 2013 debut self-titled record. While Babcock said that “no one should know the words to any PUP song,” he also said the karaoke participant at their Calgary show had never heard the song before. That would not be the case for tonight’s volunteer, “Seth” (wearing a Space Jam-esque “Abolish ICE” shirt), who knew every word and took this opportunity to live out his punk rock dreams.

When I saw PUP in 2016, they opened the show with what I consider to be their two biggest crowd-pleasers: “If This Tour Doesn’t Kill You, I Will” and “DVP,” both off their second album, The Dream Is Over. The first song segues perfectly into the second with no gap in between, both on the record and at their shows. This time around, the songs were shifted to the end of what was a pretty short set. Probably a better spot for them, as a band’s de facto anthem(s?) are usually best reserved for the finale.

A note about PUP: they don’t do encores, claiming that they “feel like assholes” playing their (fake) last song, leaving the stage for a couple minutes, and returning to play a couple more. As someone who hates clichés, I am in total agreement with their views on encores. With this in mind, PUP sent us off with the aforementioned twin bangers and thanked us for what they said was one of their favorite shows they’ve ever played. I might miss San Diego every minute of every day I spend in Canada, but shows like these suggest that maybe there’s hope for the Vancouver music scene after all.

Catch PUP at the Irenic on June 19th, supported by Ratboys and Beach Bunny. Don’t miss your chance to see ‘em while they’re still playing venues this small!
Written by: Andrea Renney

Vancouver Special: Vundabar at the Fox Cabaret

Vundabar playing at the Fox Cinema

Boston-based “sludgy jangly pop” (per their Facebook About page) trio Vundabar went on an expansive North American tour with a number of different supporting acts.

Vundabar came to Vancouver’s Fox Cabaret with support from El Monte, California’s The Red Pears and Washington’s Le Grotto.

The Fox Cabaret is a historic venue in Vancouver’s hip Mount Pleasant neighborhood that hosts touring bands, themed dance parties, and intimate comedy shows. Until 2013, the Fox was actually an adult movie theater known as the Fox Cinema. After a thorough cleaning and a major facelift, the Fox Cabaret was opened in 2014 among the craft breweries, vegan donut shops, and themed bars that populate the area.

I arrived at the Fox around 9:00 and Le Grotto was midway through their set. The venue wasn’t full yet, but everyone who was there seemed into the band’s ‘70s-inspired rock (including me). I’d call them garage rock, but their Facebook genre is listed as “Vaping Rules”. Take my label with a grain of salt, I suppose.

The Red Pears were up next. For a sad Canadian girl like me who’s perpetually missing the Southern California music scene, they were a nostalgic treat to have in Vancouver. They reminded me so much of all the local San Diego surf/garage rock bands that I miss dearly. As The Red Pears concluded their set and began packing up their equipment, the familiar sound of the Growlers rang out over the speakers. If you read my review of the Growlers’ Snow Ball show, you know that for me, there is only the Growlers. I danced around to “Who Loves the Scum?”, inadvertently clapping at the end as if I were actually at a Growlers show.

Fortunately, The Fox Cabaret really knows how to get people excited for their next act.

Vundabar came out around 10:00 as the crowd moved in toward the stage that has had countless pornographic films projected above it. They opened with “$$$”, a six-minute-long song from 2018’s Smell Smoke. Things were immediately off to an uproarious start.

I find Vundabar’s sound a bit hard to describe. I hear a lot of grunge in the tracks from their newest record, Smell Smoke. However, the first single from that record, “Acetone”, leans much more towards pop punk. Their self-imposed “sludgy jangly pop” label feels pretty accurate, especially for 2015’s Gawk. Genre labels aside, the energy they put into their shows is infectious, and the crowd at the Fox reciprocated by keeping things rowdy throughout their set.

The band played all their well-known favorites, including “Alien Blues”, “Holy Toledo”, and “Oulala”. Lead vocalist Brandon Hagen’s signature rapport with his bandmates and with the crowd made everything extra fun, particularly when a piece of the drum set went missing and we had to wait for a replacement to be brought out.

Unfortunately, Vundabar’s set was cut short to allow time to set up for the 80s vs. 90s dance party that was scheduled after the show. For once, the band’s “last song” actually was the last song, as the crowd’s cheers for an encore were left unfulfilled. I, however, was treated to yet another song by the Growlers as the 80s vs. 90s DJs set up their booth. If we weren’t going to get a Vundabar encore, dancing around to “City Club” was good enough for me.

Written by: Andrea Renney

A “Vancouver Special” is a popular style of home that was built in Vancouver, British Columbia, Canada in mass quantities between the years of 1965 to 1985. The homes are boxlike and visually unappealing, often featuring a second-floor balcony on the front of the house and a stucco exterior with brick accents. Vancouver Specials are still seen in most Greater Vancouver neighborhoods despite the city’s major gentrification and increase in property development over the last few decades.
Vancouver Special is also a new series on the KCR College Radio Blog featuring show reviews, interviews, and maybe other things located in/related to Vancouver. The series is written by KCR member and ex-SDSU exchange student Andrea Renney. This is KCR Canada.

The Growlers’ Snow Ball III (Night Two) at the Wiltern

The Growlers bring their signature Beach-Goth style to Los Angeles’ Wiltern Theatre for two nights of Christmas-themed theatrics!

It’s the second week of January. Christmas is over, and you’ve got the credit card bill and weight gain to prove it. The excitement of New Year’s Eve has disappeared, replaced with morning-after regrets and the realization that you’re making the same bad decisions that you were in 2018. All you’ve got to look forward to now is the upcoming semester of school and, if you’re me, your impending return to Canada. The going is getting tough.

Allow me to transport you back to a more magical time. A time full of whimsy, mischief, and light debauchery. It’s December 22nd. Christmas is approaching, you’re finished with school and work, and your best friend Mariah has just arrived in San Diego despite almost having her entire vacation cancelled the day it was supposed to begin. You drive to Los Angeles for what will become one of the most special concerts of your life: it’s night two of The Growlers’ Snow Ball, the self-proclaimed “beach goth” band’s third annual holiday extravaganza at the Wiltern Theatre.

Havin’ a ball at Snow Ball III.

The Growlers are big in the Southern California surf/garage/psych rock scene, and for good reason. Formed in 2006, the band has developed a unique sound that’s immediately recognizable as distinctively their own. Despite numerous changes to their lineup, frequent label switches, and explorations of new musical styles, one constant that underpins The Growlers’ music is vocalist Brooks Nielsen’s signature raspy vocals. When they’re not making music, The Growlers also host their annual Beach Goth festival (now put on independently by the band after legal issues with the Observatory in 2016) and frequently tour the globe. During their live shows, the band is known for their wild costumes and elaborate stage designs. Even knowing this, I still wasn’t prepared for what I’d see at Snow Ball.

Leading up to the show…

Despite not being die-hard Growlers fans, Mariah and I planned to make the trip to LA for the second night of Snow Ball. When tickets went on sale, we were aghast at the roughly $60 price tag. “Who do they think they are, Beyonce?” “No openers? How egotistical!” Surprisingly (to us), the Saturday show sold out and people were reselling tickets for upwards of $100 each. Despite this, we set off for Los Angeles on December 22nd with the hope that we’d end up at the show that night. After dealing with numerous people from Craigslist who we believe were scammers, we finally secured tickets from two people we found on The Growlers’ subreddit (pro tip for finding legit resale tickets!). An hour before doors were set to open, we found ourselves in a line that extended down Wilshire Boulevard and wrapped around the corner.

The big reveal

Have you ever actually stopped in your tracks? I used to think that was just a phrase used in novels for hyperbolic effect: “She stepped through the doorway and stopped in her tracks.” However, upon having my ticket successfully scanned to enter the Wiltern, I stepped through the doorway and stopped in my tracks. I had not anticipated the level of production The Growlers had curated for this show.

Red and white striped candy canes lined either side of the path into the main lobby. Upon closer inspection, these “candy canes” were actually joints, or “doobies” as Mariah called them. She is actually a middle aged dad. “Snow Ball” was spelled out in glittery letters suspended from the ceiling. To our right was a spot to take photos with Biker Santa, straight ahead was a spot to take photos with the Grinch. Christmas carolers covering The Growlers’ songs greeted you as you descended the stairs to the lower level of the venue. Balloons, signature holiday-themed drinks, inflatable snowmen – there was so much going on we surely didn’t see it all. Decorations aside, the Wiltern is a beautiful and historic venue worthy of commendation on its own. Mariah and I immediately realized why ticket prices were so high for the Snow Ball shows and felt bad for being so ruthlessly critical of The Growlers in the weeks leading up to the show.

“Candy canes”

The DJs that kept us occupied before the main event were spinning straight bangers for an hour and a half – fun old tunes, Motown, The Smiths, nothing pretentious. Just after 8:30, they made an abrupt exit as the lights dimmed. Christmas music began playing, and a feeling of excitement and suspense was palpable throughout the sold-out crowd. As the curtains were whisked open, shrieks and gasps could be heard throughout the venue.

The stage was unveiled, revealing a life-size recreation of the hotel and vacancy sign from the Problems III music video, now dubbed the Snow Ball III Hotel. Set against a mountainous backdrop, the color of the lights illuminating the set would change throughout the night to fit the mood of each song. The musicians were wearing white pants, bow ties, and red, fur-trimmed coats. However, this wasn’t quite The Growlers yet – after dealing with some lineup changes in 2016, the “official” members (as far as I know) are only Brooks Nielsen on vocals, Matt Taylor on lead guitar, and Kyle Straka on keyboards and guitar. We’d have to wait a little longer for the full band.

Rooms 4 rent by the hour.

The never-ending setlist

The night started off with a rendition of “You’re a Mean One, Mr. Grinch”, complete with a horn section and a cameo appearance by the Grinch himself. The aforementioned carolers then took the stage for a few songs, closing with “We Wish You a Merry Growlers Christmas”. Finally, we were asked to welcome to the stage “what’s left of The Growlers” as Nielsen, Taylor, and Straka joined the rest of the band (lineup changes, am I right?). They opened with “Night Ride” from 2016’s City Club amid deafening cheers.

Standout songs from the night’s setlist were plentiful and included: “One Million Lovers” and “Pet Shop Eyes” from 2013’s Hung at Heart, which everyone sang along to. “Black Memories” and “Love Test”, both from 2014’s Chinese Fountain. A cover of The Shirelles’ “Mama Said”, the perfect song for my preferred style of dancing. The 2017 single “Monotonía”, which I’d only been introduced to a few weeks before. “Navaeh”, heartfelt and acoustic, from last July’s Casual Acquaintances. The songs were really just a vehicle for Brooks’ top-notch dancing, which Mariah and I spent the night mimicking. I’m happy to say I’ve added some new moves to my arsenal (left hand over stomach, right hand in the air as if holding a microphone, rocking side to side).

The only two songs they didn’t play that I would have liked to hear were “The Daisy Chain” and “World Unglued” from City Club. Other than that, I heard every Growlers song I’ve ever wanted to hear. In one show. Talk about bang for your buck. I’m surprised I didn’t burst into spontaneous tears when “Someday” started and I finally heard my favorite Growlers song live. I’m more surprised I didn’t cry during “Lonely This Christmas”, as Brooks serenaded each and every one of us while fake snow cascaded over him.

The only snow I ever want to see is fake snow floating down onto Brooks Nielsen’s head.

Like I said, The Growlers were never my favorite band. I like their music a lot, but there was just something about them that prevented me from entering obsession territory. Since Snow Ball, everything has changed. Mariah and I listened to their cover of “Lonely This Christmas” on repeat (literally, we put it on repeat) for seven days.  I’ve begun my descent into watching every video related to the band on YouTube. If your Tinder anthem is a Growlers song, I’m swiping right. The obsession grows each day. There is only The Growlers.

The Growlers closed out Snow Ball III with “Going Gets Tough” from Chinese Fountain. It’s a song of hope and happier days to come, and also a song that gave me momentary comfort during the hellish two hours on December 20th wherein I thought Mariah’s vacation to San Diego was cancelled and I was going to be Lonely This Christmas. It was a beautiful and pure send off after a dreamlike, awe-inspiring night. Post-Growlers, the opening notes of Mariah Carey’s “All I Want For Christmas Is You” (naturally) rang out. Mariah (not Carey) and I grabbed each other’s hands, I kicked off my shoes for some reason, and a holiday dance party and sing-a-long ensued.

All in all, The Growlers played for about two and a half hours with no breaks. The costumes, the stage design, and the decorations throughout the Wiltern were completely over the top (in the best way) and exceeded any expectations I had had for the show. Whatever your opinion of their music is, you have to respect the level of effort, planning, and heart that The Growlers put into these Snow Ball shows. And while I’m sure the band does get enjoyment out of playing them, I like to believe shows like Snow Ball exist as a way to give back to their fans at the end of the year. So thank you to The Growlers for giving me what ended up being one of my favorite memories of 2018.

Andrea Renney loves crying to The Growlers, writing for KCR, and crying about not writing for KCR anymore. She wishes everyone at San Diego State a beautiful spring semester.

Written by: Andrea Renney
Pictures by: Andrea Renney
--From all of us at KCR, we'll miss you Andrea!

Top Music Picks of 2018 (That I Actually Listened To)

2018 was a year of new music from established favorites, debut full-lengths from up-and-coming artists, and singles in advance of forthcoming releases

As 2018 comes to a close, so too does my time at KCR, at San Diego State, and in San Diego in general. Between bouts of crying and while avoiding thinking about returning to Canada (the land of arctic boredom and a much more affordable healthcare system), I’ve spent some time reflecting on the new music released in 2018 that has soundtracked my California existence.

Southern California is a melting pot for the surf, garage, and punk genres, music that’s perfect for cruising down the freeway in the sunshine to (check out the undercard for this year’s Tropicalia Festival lineup and you’ll get a sense of what I’m talking about). As such, the majority of the new music I’ve been listening to and seeing live this year has come from bands based in California. However, the Golden State is almost always a stop for touring bands, so I’ve also had the chance to hear new stuff from those that hail from outside our perfect West Coast bubble.

So as a final parting gift to the loyal readers of my KCR blog posts (read: people on my Facebook friends list), I present to you: California Andrayah’s* favorite music released in 2018. As a fun bonus, I’ve included the most fitting freeways and neighborhoods to serve as a backdrop for your listening, based on my personal experiences. Let’s be real: you need a car to get around in San Diego, and since you can’t pick up AM 1610 all over the county, you’re going to need to play your own music if you can’t listen to San Diego’s Best AM/FM Radio Station according to The San Diego Union-Tribune 2018 Reader’s Poll. I’m talking about KCR here. It’s us. We’re the best.

*as an (un)interesting aside, every person I’ve met in California has pronounced my name like An-DRAY-ah. Technically, I am actually AN-dree-ah. I might stick with my new moniker, though, in an effort to try to convince myself I’m still in San Diego, going to Better Buzz four times a week and drinking alone at the Ugly Dog Bar when they’ve got a sour on special for $3 Tuesdays.

Records:

hoodratscumbags – Beach Goons

hoodratscumbags

Logan Heights’ Beach Goons released hoodratscumbags this August, and my introduction to the band was through this record on the day it came out. If you were lucky enough to catch them at The Live Wire, KCR’s new flagship concert series, back in September, you know that Beach Goons offers SoCal surf/garage rock with a Cumbia twist. hoodratscumbags marks the first release for Beach Goons in a couple years and the new record was highly anticipated by their fans. Founding member Pablo Cervantez sought to recognize Beach Goons’ Chicano/Mexican heritage with their new music, and songs like “Chunti” and “A.M.” really emphasize this influence.

Top picks: Vatos Tristes, Hrsb

Best use: Is it lame to listen to Beach Goons while driving down Logan Avenue? Maybe, but I’ve done it. Otherwise, hoodratscumbags is a good choice for driving around Ocean Beach. Consider playing it as you roll up to the Robb Field Skate Park so the skaters know you’re down with the local music scene. I recently bought my first skateboard, and this is a fact that I like to make known as much as possible.

My Own Mess – Skegss

My Own Mess

Australian garage/surf trio Skegss released their debut full-length back in September before embarking on a tour of their homeland with Chicago’s Twin Peaks. Maybe it’s Australia’s similar climate and its cultural emphasis on surfing, but My Own Mess fits right in with our SoCal music scene. It’s chock-full of slacker anthems about partying, watching TV, and fucking up. My favorite track on the record, “Margarita”, is one of those rare songs that I heard and instantly fell in love with, immediately qualifying it for Banger Status. If you’re a fan of bands like The Frights, SWMRS, or FIDLAR, you’ll probably be stoked on Skegss.

Top picks: Margarita, My Mind

Best use: Skegss is the band you want to start your day with. Not if your day consists of school or work, but when your day will be spent doing something fun, like laying on the beach or skateboarding. I have a skateboard now, so I can relate to this. My Own Mess is reserved for the 8 West (never the 8 East – this ain’t for driving home at the end of your fun day) on your way to the beach, or maybe the 5/805 North, if you’re bougie and heading to a beach in La Jolla.

I Don’t Run – Hinds

I Don't Run

This April, Hinds released I Don’t Run as a follow up to their debut record, 2016’s Leave Me Alone. Their sophomore effort is similar to Leave Me Alone musically, but it’s not a carbon copy. The all-girl garage rock group from Madrid, Spain digs a little deeper on I Don’t Run, and lyrically the songs get personal and serious at times. That’s not to say the music is slow and sad – the record still largely consists of the irresistibly fun and catchy songs Hinds is well known for.

Top picks: Tester, Rookie

Best use: Take a girls-only day trip to Los Angeles and put on I Don’t Run as you roll down Melrose Avenue scoping out your next Instagram photo op. Otherwise, a fun and semi-manipulative idea is to play “Tester” when driving with a guy who you suspect could be cheating on you, particularly for the lyric “Should I have known before you were also banging her?” I’m not actually speaking from experience here (give me a little credit), but I could see myself doing this. Or at least considering it.

Onion – Shannon and the Clams

Onion

I think Shannon and the Clams is one of the most underrated bands of our time. They blend doo-wop, surf, and garage rock into a unique sound that’s perfectly nostalgic, a sound that’s not often heard these days. I’m usually more of a music person than a lyrics person, but the lyrics on Onion‘s tracks stand out with their raw emotion and poignant themes. Set to the Clams’ signature retro instrumentals, the result is foot-tapping, danceable songs that are painfully beautiful underneath.

If I had to pick one record from this list to recommend to someone who hadn’t heard any of them, in the hopes that they would discover a new band to obsess over, it would be Onion. Send tweet.

Top picks: If You Could Know, The Boy

Best use: I like to listen to Shannon and the Clams during the rare times when I’m in 5:30 PM traffic, because I can be safely reckless and dance along to it while driving. A favorite spot is getting off the 163 and onto the 8, near Fashion Valley. It takes fifteen minutes to move half a mile – you can dance through the first five songs on the record while you wait.

The Dream and the Deception – The Aquadolls

The Dream and the Deception

Like Shannon and the Clams, I think The Aquadolls don’t get nearly the amount of recognition they deserve. The tracklist for The Dream and the Deception features nineteen songs that span the emotional spectrum, from sad to silly to pissed off. Singer, guitarist, and songwriter Melissa Brooks’ commitment to The Aquadolls is admirable – she self-released this record online in October and has plans to press it in on vinyl via her own label in the new year.

Top picks: Cigboi, Communicationissexy/Idkhow2communicate

Best use: My top picks above are fitting for driving home on the 94 East on a moody, rainy Friday night. You’ve left-swiped through everyone on Tinder and you’re feeling hopeless and lonely. “Why am I so alone?” you cry, as you ignore everyone and make no effort to meet people. Switch over to something more upbeat and positive, like “I’m a Star”, to remind yourself that you are, in fact, a star.

3 – Sextile

3

Good god, do I love Sextile. I love getting into music that’s a lot different than the usual things I listen to (see every other record on this list), and Sextile stands in stark contrast to the reverb-heavy surf rock that’s so popular in Southern California.  The Los Angeles based duo is not like anything I’ve ever heard – all the headbang-inducing and moshpit-inciting energy of punk with the added twist of a new wave dance beat. If you’ve ever wanted to go to a club and dance all night amid cool visuals, but you’re a bit too punk rock for something like that, check out Sextile.

Top picks: Spun, Paradox

Best use: Don’t listen to this in your car. See them live! Dance around in the strobe lights! Inhale the smoke machine smoke! Get slammed into and have your front row spot taken by a psycho ex! It’s all part of the experience.

Hypochondriac – The Frights

Hypochondriac

The Frights put out their third record, Hypochondriac, on Epitaph Records after signing with the punk label earlier this year. It’s quite a departure from 2016’s You Are Going To Hate This, and an even farther trip from 2013’s The Frights. Many of the songs are a lot softer and sadder, with the exception of the pop-punk/emo track “CRUTCH”. The new sound is good in its own right, but if you’re looking for the same surf-inspired tunes that put The Frights on the map, you’re going to need to look elsewhere.

Top picks: Alone, Whatever

Best use: The Frights will always remind me of driving on the 8 East and taking the College Avenue exit to get back to State (shoutout to “Cold” from The Frights for being my spring 2018 anthem). Otherwise, the driving vibe can vary: sometimes I’m shouting along angrily to “Over It” as I drive to the Taco Bell at University/College, sometimes I’m crying to “Goodbyes” on the 5. It’s a spectrum.

Singles:

“Drip” – The Marías and Triathalon

Drip

A definite outlier on this list, but if Statistics 101 taught me anything, it’s that…outliers exist? They validate your data? I don’t know. Anyway, this is a cool song. The Marías call themselves a “psychedelic soul” band, and Triathalon makes lo-fi R&B. The union of the two results in a multi-layered song that coalesces flawlessly – The Marías come in first with their signature funky-yet-smooth sound, Triathalon enters with a slowed-down, dreamy verse, and they link up in the outro. It is, in a word, a vibe.

Best use: This one’s a bit tricky. It’s definitely a nighttime song, but it’s not a party song. Play this at the end of the night, when you’re winding down and driving home after drinks at Sycamore Den in Normal Heights. The freeway is nearly empty and you can really feel the groove.

“Are You High?” – FIDLAR

Are You High?

Where can I download this damn song, FIDLAR? One of four tracks released by the band in 2018 (together with “Alcohol”, “Too Real”, and “Can’t You See”, from their upcoming third record Almost Free), it seems “Are You High?” was only released along with a music video on YouTube. It’s a shame, as this song is catchy as hell. It’s FIDLAR through and through, with strong guitars and lyrics referencing struggles with addiction. Guess you’ll just have to catch it at one of their live shows.

Best use: I’ve only ever listened to this on my Macbook while sitting in bed. So that, I guess.

“Glo Ride” – Hot Flash Heat Wave

Glo Ride

When I asked Nathan Blum and Ted Davis of Hot Flash Heat Wave (flex) if “Glo Ride” was indicative of what was to come for the band, Davis confirmed that their next record would be full of “headier, but still pop-oriented songs” like it. That appears to be the case, as they’ve since released two more songs that are in the same vein as this one. HFHW definitely seems to be heading in a more psychedelic direction, and “Glo Ride” is leading the way.

Actually, now that I’m listening to it again, this song is more similar to “Drip” than it is to the other music featured in this list. I’m not sure how this data affects the validity of my claims here. Oh well. Who really needs statistics? Just kidding. Stay in school, Aztecs.

Best use: I don’t really want to say this is a good makeout song, but… this is a good makeout song. Find a spot to park, and I’ll leave it at that.

Check out this Spotify playlist for all of the songs mentioned here.

Written by: Andrea Renney