TOPS: Bury the Key Tour
ALL AGESSTANDING ROOM ONLY TOPS has partnered with PLUS1 so that $1 per ticket goes to Chez Doris and their work supporting and empowering any woman in precarious situations to achieve her full potential. TOPS TOPS — musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge. STARCLEANER REUNION New York City-based Starcleaner Reunion is a new band of old friends. Singer Jo Roman, guitarists Pat Drummond & Neil Torman, and bassist Adam Kenter have been making music together in various configurations since they were high school students together in New Jersey, but never all together in the same group. After Drummond moved back to New York from Montreal and connecting with drummer Sam Unger through a mutual friend, the band solidified and began rehearsing in 2022. Their new EP, Café Life, is the result of a newfound home-recording and production process, an inspired project in which the band felt they could explore and experiment for the first time. Listen closely and you’ll hear samples of rain and thunderstorms, rumbling 808 sub-bass, digital synthesizers ripped from a decade old copy of GarageBand, and ghostly spoken poetry buried deep in the mix of the 4 tracks. Café Life is indebted and dedicated to not hurrying and taking your time. ANDY BOAY (Tonstartssbandht) Primary psychedelia; hard pop; heartache hymns. Headset vocals, sheets of shimmering guitar, self-oscillating alchemy, looped pulse percussion. Andy Boay has been the solo moniker of Andy White since 2011. He has played in the duo Tonstartssbandht with his brother Edwin since 2007. He spent six years playing guitar in the touring band for Mac DeMarco. Andy Boay’s music taps the euphoric and the sorrowful, both onstage amongst friends and strangers, and tracking alone at his 8-track in the studio. These days he lives and works in the East Village neighborhood of New York City.
Night Tapes
ALL AGESSTANDING ROOM ONLY NIGHT TAPES Night Tapes’ debut album portals//polarities is a deeply immersive, genre-blurring journey shaped by place and emotion. Created by London trio Iiris Vesik, Max Doohan, and Sam Richards, the album weaves global field recordings—from Estonian swamps to Mexican mountains—into dreamy, electronic soundscapes. Originally recording quietly in a shared house, the group embraced their constraints, crafting music that became time capsules of their surroundings. Their process blends traditional instruments with laptop production, drawing from synth-pop, shoegaze, trip-hop, and ambient music. Songs often shift unpredictably, blurring the line between band and studio project. Much of the album was made on the road, in Airbnbs and hotels between gigs, emphasizing creativity within limitation. Their use of tapes and spontaneous sampling adds raw, human imperfections that digital methods lack. For Vesik, the album explores inner dualities and personal freedom, with emotional depth conveyed more through sound than lyrics. portals//polarities is a bold debut—personal, political, and vibrantly alive. The band’s previous releases have been supported by DIY, Clash, NME, Future Music, Gorilla vs Bear, BBC Radio 1, BBC 6 Music and many more. CULT OF VENUS Cult of Venus is a multi-disciplinary performance artist who has played MOMA PS1, Fotografiska’s Chapel Bar for David LaChappelle’s “FAITH”, and The Women’s March NYC. Her music is the meeting point of art and activism with powerful songs that critique the impending environmental collapse, Disaster Capitalism and social media as a surveillance tool.
Sextile + Automatic
ALL AGESSTANDING ROOM ONLY SEXTILE Some bands find their groove and stick to it while others choose to reinvent themselves and keep on moving. Sextile can attest to the thrill of an ever-changing road map. The LA duo comprising Melissa Scaduto and Brady Keehn ply their trade with a lust for life and a love of everything from no wave to hardstyle, having merged some of these influences on their striking 2023 debut for Sacred Bones, Push. The group’s new LP, yes, please., fuses anarchic electro fire with raw personal recollections —and enough beefed-up bass to bust a speaker or two. yes, please. is an album of contrasts: a vulnerable record that bares its soul as much as it revels in excess, showing just how far you can push your sound when you shake off your inhibitions. Together, the pair betray a confidence that never wavers, making a bold splash on the speedy intro with a rave siren cut from a ‘00s New York house party. Seemingly by the same token, the unruly spirit of electroclash stalks the yes, please. building, flashing its ID on the cowbell-peppered thunderbolts of “Freak Eyes” and “Rearrange”, and turning in a scuzzy dancefloor bomb with “Women Respond to Bass.” High on endorphins, “Push-ups”—which features vocals from Jehnny Beth—is pure muscle music, fortified by hoover bass and fleshed out by synths that hammer as hard as lumps of hail on a glass roof. AUTOMATIC With their second album ‘Excess’, Automatic — Izzy Glaudini (synths, lead vocals), Lola Dompé (drums, vocals) and Halle Saxon-Gaines (bass) — synthesizes a new strain of retrofuturist motorik pop. It’s often said yesterday’s science fiction reads like today’s grim reality. On their new album ‘Excess,’ Automatic channel both. The LA trio’s second album for Stones Throw rides the imaginary edge where the ‘70s underground met the corporate culture of the ‘80s; or, as the band puts it, “That fleeting moment when what was once cool quickly turned and became mainstream all for the sake of consumerism.” Using this point in time as a lens through which to view the present, Automatic takes aim at corporate culture and extravagance, weaving deadpan critiques into cold wave hooks. The album’s overarching themes of alienation and escapism emerged as Automatic wrote ‘Excess’ together, fleshing out songs before decamping to the studio for sprint recording sessions with producer Joo Joo Ashworth (Sasami, FROTH).On “New Beginning”, they reject the false hope of leaving behind a scorched planet in search of “a better place”, at a moment when the ultra-rich are eyeing manned space travel: “In the service of desire / We will travel far away”. Imagining the “nihilism and loneliness” of attempting to escape the planet once unchecked consumerism has reached its logical conclusion, the song pictures being “stranded in a space-void with no connection to Earth or humanity.”
U.S. Girls
ALL AGESSTANDING ROOM ONLY U.S. GIRLS Originally from Illinois, Meg Remy is established as one of the most acclaimed songwriters and performers to emerge from Toronto’s eclectic underground music scene where she currently lives. As the creative force behind the musical entity U.S. Girls, her celebrated discography spans 15 years from early experimental works released on the Siltbreeze label and includes three Polaris Prize shortlisted albums on 4AD: Half Free (2015), In A Poem Unlimited (2018), and Heavy Light (2020). All three albums also garnered Juno nominations for Best Alternative Album. Remy has toured extensively through Europe and North America, establishing a reputation for politically astute commentary and theatrical performances with her extended U.S. Girls band, leading her to be named the best live act of 2018 by Paste Magazine. During this time, she has maintained a visual arts practice, exhibited collage work and directed several music videos and other video art works including her short film Woman’s Advocate (2014), in which she also performed. Recently, Remy published her first book, a memoir called Begin By Telling (2021), and she also made her first foray into film-scoring this year, having been tapped for filmmaker (and fellow Torontonian) Grace Glowicki’s surreal horror-comedy Dead Lover (which world-premiered at Sundance Film Festival and featured at SXSW). As a platform and persona, U.S. Girls operates on a uniquely out-of-time wavelength, alternately wronged and rueful, classic but contemporary, bruised vignettes of poetic Americana through a feminist lens. Her most recent album, Bless This Mess (2023), marked both a divergence from and deepening of Remy’s songbook, more at peace with her restless truths and moods. New music is set to follow in 2025. FAUN FABLES Troubadours of animist, avant-folk since 1998, FAUN FABLES are known for exquisite, visceral adventures in songwriting, live shows and theater. Their work became internationally widespread by 2004 with their Drag City Records debut ‘FAMILY ALBUM’ (2004). For over two decades, the group has seasonally toured grass roots, night club, theater & festival circuits in the USA and Europe (including stints in the UK & Oceania.) Dawn McCarthy’s voice (which THE NEW YORKER described as “one of the more compelling instruments in contemporary music”) opens hearts and minds from a whisper to a rallying battle cry into her mythical world, animated by the adventurous musicality and vocals of partner Nils Frykdahl (Sleepytime Gorilla Museum). Their new album ‘COUNTERCLOCKWISE’ marks their eighth release with Drag City; the songs and production offer the most encompassing, richly lived-in sonic world of all their releases. Their timeless ‘songtelling’ practice is entwined with a holistic view of a life in music – celebrating the mundane details of home and family, elevated by a mystical and fantastical perspective. Their daughters- growing up alongside the writing, recording and touring since infancy- now join them with vocals, flutes, keyboard, bass, percussion & dance. Guitarist/singer Arild Hammerø joins them from Norway with his elemental guitar work featured on their new album. FAUN FABLES are currently based in Nevada County, California.
Ginger Root
ALL AGESSTANDING ROOM ONLY GINGER ROOT A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Cameron Lew has crafted his Ginger Root project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound — handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul — takes shape through Lew’s lens as an Asian-American growing up enamored by 1970s and ’80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking “exactly what Ginger Root should sound and feel like,” he says. “In terms of instrumentation and musicality, it’s the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I’m coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self.” Since his first release of “aggressive elevator soul” music and dispatch from his beloved weekly YouTube cover series during college, Lew has captained the ship of Ginger Root, able to write, record, and mix the music while creating the art and videos from scratch. What makes Ginger Root special is the project’s ability to weave influence beyond pastiche into a bigger picture, exploring that rarified pop pleasure center where referential meets refreshing. With much of Rikki’s release feeling lost to the moments of that year, Lew decided to take a step back and try to write a succinct project to engage listeners for as long as possible. His redirected energy, paired with the newfound influence of Japanese art and culture from his experience learning to speak the language, yielded City Slicker in 2021. On the strength of breakout songs like “Juban District” and “Loretta,” the project connected with a massive audience on the internet, with his YouTube amassing 160,000 subscribers and his Spotify nearly hitting 1 million monthly listeners. Ginger Root released the Nisemono EP in 2022 and has since played sold-out shows across North America, Europe, and Asia as fans await new music. In 2024, Ginger Root presented SHINBANGUMI across a sequential music video series, resuming the conceptual narrative from his 2022 EP Nisemono, which follows Ginger Root as a newly-fired music supervisor in 1987 starting his own media conglomerate, Ginger Root Productions. “If you watch music videos one through eight, you’ll be presented with a story that’s comparable to a traditional movie; something I’ve always wanted to do.” MINORCAN MINORCAN stands distinct in presence, character, rock ‘n’ roll spirit and creates songs that come from an intimate heart, embracing the world and all within. These are songs bred in the aligning differences of intuition and instinct, music that merges impassioned energy with creative guile.
The Antlers & Okkervil River
ALL AGESSTANDING ROOM ONLY IMPORTANT UPDATE :: From The Antlers: “Hi Friends. I’m very sorry to say that I’ve lost my voice and unfortunately can’t play the show tonight at @thegreyeagle in Asheville. I’ve got some meds and am going to make every effort to be ready for tomorrow’s show in Atlanta. Okkervil River is still playing! Will Sheff is going to play a request-heavy solo set and will be joined by founding Okkervil River member Zachary Thomas. Julie Odell has also just been added to the bill. 7pm Doors 8pm @juliekodell 8:45pm Okkervil River All tickets will be honored at the door. Anyone who would like a refund can request one via [email protected]” THE ANTLERS The Antlers are Peter Silberman and Michael Lerner. In 2021 the band released their first album in seven years titled Green to Gold, a bucolic record which Pitchfork described as “a post-rock orchestra playing around a campfire… the sound of hard-won peace of mind, rendered in the lightest brushstrokes.” The release was followed by the Losing Light EP, a reimagining of four tracks from Green to Gold. Peter Silberman has also co-produced the recent Wild Pink album ILYSM, marking Silberman’s first foray into producing a record for another artist outside of the context of The Antlers or his solo work. Since 2021, The Antlers have been releasing stand-alone singles “I Was Not There,” “Ahimsa” and a Brett Arnold reworking of “Green to Gold”. OKKERVIL RIVER Over the course of his career, Will Sheff has released ten albums that have given the front man of esteemed indie rock band Okkervil River a reputation as one of the greatest working songwriters in the country. As Sheff and his shifting lineup of players have traveled the world many times over, they’ve made fans ranging from Lou Reed to Barack Obama. Praised as “One of indie rock’s most ambitious thinkers” (Pitchfork), Sheff released his debut solo album ‘Nothing Special’ in 2022 to critical acclaim from The New Yorker, NPR, Uncut, Pitchfork and more…with The New York Times saying it “Harnesses both the glow of poetry and the gravity of hymns.”
Gooseberry + Dr. Bacon
ALL AGESSTANDING ROOM ONLY GOOSEBERRY Brooklyn-based trio Gooseberry, formed in 2019, melds alternative rock, indie, and blues to craft their distinctive sound. Comprising Asa Daniels (guitar, vocals), Evin Rossington (drums), and Will Hammond (bass), the band has racked up millions of streams and has garnered praise from editorial stalwarts Galore, Under the Radar, and more. They’ve become integral to NYC’s music scene, headlining venues like Bowery Ballroom, as well as supporting notable touring acts such as Ringo Starr, BabyJake, and Tanner Usrey. In September 2024, Gooseberry released their debut full-length album, All My Friends Are Cattle. They delivered the first taste of the LP in the form of gritty alt-rock single “Kikiyon”. The album was tracked over the course of three months, predominantly at Precision Sound Studios in New York City. Drums were recorded by Grammy-winner James ‘Jimmy T’ Meslin (Dream Theater, John Petrucci, Rush). Grammy-nominated engineer Colin Bryson (Zach Bryan, J Balvin, Willow Avalon) served as producer and recording engineer (reprising his role from the Validate Me EP). Grammy-winner Phil Joly (The Strokes, Lana Del Rey, Daft Punk) mixed the record, and Jennica Best (Colatura) mastered it. Honorary fourth member Dan Janis (Baked Goods) provided saxophone and flute for a handful of tunes. The record has already been streamed 600K+ times and counting. This debut full-length record represents Gooseberry’s most ambitious project yet, showcasing the expansive distance they cover, from punch-you-in-the-mouth punk rock to lyrically-driven singer-songwriter to atmospheric prog rock. According to Glide, “Gooseberry is positioned to have a significant role in the modern rock scene.” Though powered by heavy 90s alternative influences, this LP showcases what Gooseberry can be: an exciting amalgamation of many genres and sounds, taking the listener on a journey that never once leaves the ear tired and consistently keeps the mind guessing where they will head next. DR BACON DR. BACON is a 4 Piece touring Appalachian Rock, Funk, Grass and Soul band. Blending diverse instrumentation, inspirations, and influence allows the band to perform a synthesis of styles creating a unique musical expression. The Dr. Bacon live experience is truly a spectacle to behold, bringing the audience on a musical journey, caressing ears with lush beauty then whipping crowds into a down-home tribal romp, shaking booties and shedding inhibitions. An undulating wave of energy and styles leads to massive and manic versatility ensuring that no matter what genre of music suits your taste, you will hear something that resonates. Bacon goes good with everything! FO DANIELS Fo Daniels combines the raw intensity of a rock and roll band with a singer-songwriter’s attention to lyrical and emotional detail. With a general disregard for trends and genre restriction, Daniels and his band blaze their own trail, quickly growing their diverse catalog of records- which contains a wide variety of influences but is united by the common themes of originality, heart, and rebel spirit. Their tenacious touring schedule has left audiences deeply inspired up and down the East Coast, spreading the word about a sound which can be best described as “pretty and gritty”.
Florry
ALL AGESSTANDING ROOM ONLY FLORRY A far cry from the cool, calculated distance and reserved posture that is all-too-familiar to the indie-rock sphere, Florry, the Philly-bred septet and songwriting vehicle of bandleader Francie Medosch, are marking their territory as a band resolving to do something very different: they are having a really good time out there. Cutting her teeth in the Philadelphia DIY scene starting in 2019 as a student at Temple University, the early days of Florry found Medosch at the end of her teenage years releasing a slew of singles and EP’s in a familiar idiom of lo-fi bedroom recordings tinged with country melancholy. A lot has changed since then. Most importantly, perhaps, the project snowballed into a barn-burning seven piece rock band in the proceeding years; and without sacrificing any of the emotional immediacy that’s come to define Medosch’s brashly earnest, bleeding-heart lyrical style, you’re unlikely to find her lingering as much on the melancholy these days. Or, as Medosch plainly puts it in regards to Sounds Like… , the band’s forthcoming LP. The release of their 2023 formal full-length debut The Holey Bible (via Dear Life) found Medosch now flanked by six bandmates and trafficking in a wider, more rock-oriented approach with the bravado of someone with a new lease on life. With Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Colin Dennen on bass, Will Henrikson on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culturr) on drums, Florry 2.0 had arrived. The retooled seven-piece embraced a lengthy run of tours dialing in their new kinetic sound and freewheeling chemistry including runs with Fust, MJ Lenderman, Greg Freeman, and Real Estate. Greeted to critical acclaim upon its release, with positive notices from outlets including Pitchfork, Stereogum, Paste, and Brooklyn Vegan, the album quickly introduced Florry to an expanded audience and pointed a way forward for Medosch and the band at a time when the future wasn’t so clear. On the winkingly titled Sounds Like, the band’s second full-length release via Dear Life, Florry is picking up right where they left off in 2023. Again upping the ante with a bigger, brighter, more abrasive sound that resembles something closer to Rolling Thunder Revue-era Bob Dylan than their humble DIY roots. Across ten tracks, the band wear their influences on their sleeve while carving out a space that is distinctly their own, blending raw honky-tonk grit and rich instrumental textures with the disarming sincerity and intimacy of the group’s lo-fi beginnings. It’s a record about searching—searching for home, for love, for meaning, and for a sound that captures it all. TOMBSTONE POETRY Caelan Burris has a landscape for a voice. A landscape smattered with rocky hills, empty Steel Reserve bottles, and dense Western Carolina forests. A landscape populated by what became of the kids who played Super Mario Bros. 3 on the Game Boy Advance, burnt out cruel rural soccer cliques, and a healthy dose of classic Appalachian hicks. “How Could I Be So In Debt?” takes the living world trapped within Burris’ voice and expands it into a statement. Tombstone Poetry constructs dynamic and distinct auditory images of that world- intentionally and meticulously assembling a blown out sonic diorama with a remarkable level of skill. Strikingly honest and unabashedly of its place, Tombstone Poetry’s long-awaited full length is something to behold.
Frankie and the Witch Fingers
ALL AGESSTANDING ROOM ONLY FRANKIE AND THE WITCH FINGERS Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, Trash Classic (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next. Hooks so infectious they rot on impact. Trash Classic marks a feral mutation for Frankie and the Witch Fingers—a record that snarls with proto-punk venom, angular melodies, and electronic textures that cough and sputter like dying neon lights under a poisoned sky. This record pushes the Witch Fingers’ sound to a razor’s edge. Wiry and twitching, it bends into synth-punk and fractured new wave, with fragments of industrial grime caked under its nails. Guitars detonate and slice like cinder blocks through glass, while gnashing basslines slither through the sludge, alive and seething. Buzzy synths take the forefront, driving relentless rhythms that crack and pop, drenched in a chemically saturated sheen—part bug-eyed speed-freak pogo, part dance-floor delirium. The vocals cut through like static-laced transmissions—balancing both smirk and sneer—layering playful unease over themes of escapism, decay, and overindulgence. The songs were born in the grime of Vernon, Los Angeles—a wasteland littered with gutted RVs and rusting machinery, where the air tastes like asphalt and dog food. But the real alchemy happened in Oakland, at Tiny Telephone Studio, where producer Maryam Qudus (La Luz, Spacemoth) helped transmute the tracks into their final forms. Unhinged tones, unconventional recording experiments, and wild sonic detours transformed the songs into something alive and unpredictable. Every day of recording began with cartoons blaring at full volume—a Looney Tunes ritual that turned the madness of the recording process into something child like. Late at night, sugar-fueled candy binges kept the energy spiking, pushing the sessions into a fever dream of jittery, spastic playfulness. POPULATION II is a band dedicated to its disengagement, constantly working on refining their imposing, yet unpretentious sound. A trio consisting of singer/drummer Pierre-Luc Gratton, guitarist/keyboardist Tristan Lacombe and bassist Sébastien Provençal, Population II are masters at both improvised madness and sophisticated composition, delivering heavy psychedelic rock infused with feverish funk rhythms, a hint of jazz philosophy, a burst of energy reminiscent of punk’s early days, and a love of minor scales that harkens back to the roots of heavy metal. The band’s uniqueness is reinforced by Pierre-Luc’s unique voice and his introspective, nostalgic, and offbeat lyrics.
Black Moth Super Rainbow
ALL AGESSTANDING ROOM ONLY BLACK MOTH SUPER RAINBOW Black Moth Super Rainbow – now two decades into their candied up career – emerges from the technicolor pollen puckered Pennsylvania landscape with a new and reformulated fructose-blasted seventh album. Soft New Magic Dream is here and with it comes that familiar rush of flavors that pump directly from the BMSR soda fountain; that signature blend of strange neon nostalgia, sweetly melancholic synth pop wizardry, hip hop head bobbing, and citric acid tinged freak out flourish. It’s been seven years since the more sinister Panic Blooms, and in that time plenty has happened in the house of Rad Cult, but with Soft New Magic Dream, we are invited to bask in the analog sweet and sour embrace of that classic and here notably chilled out and snoozled up BMSR sensibility. Soft New Magic Dream has a nuanced flavor profile; these are freaky love songs, they funk up crunchy and rattle the speakers here and there, they melt down gelatinous at the right temperatures, and even go full ballad in a few extra-soft spots. The album balances sugar kinked romance with their distinctive and here notably downtempo funky production. Never fully eschewing BMSR’s signature strange liquid centers, these songs still flirt with the uncanny while honing in on the deeply melodic and approachably groovy tendencies they’ve have been exploring in their twenty years of lid flipping. Soaring synth leads ribbon through taffy colored chord changes and highly tactile and fractured drum programming and breaks. Tobacco’s classic vocoder vocals, puckish as ever, burble fawning tenderness and body horror quasi erotic double dares in the fizzy saturated mist. These gummy serenades will leave you blissed out with a cavity-crumbled ear to ear grin. As the BMSR project has evolved, from the scuzzier and folk-tinged backwoods leaf worship of the first albums into the more anthemic roller disco fog machine scenes of their mid-career, and then darker turns in the last few recent albums, Soft New Magic Dream feels like another subtle and surprisingly tender twist on that now-classic sound you’ve come to expect from BMSR. A turn towards something more serene, more direct, playfully wooing us without totally ditching that enigmatic crooked smile. Lose your toothbrush in the clouds and get ready to guzzle down this potent marshmallow cloudscape concoction optimized for falling into face first. GIANT DAY
