The Matinee ’22 v. 147 is a whirlwind of sound that sways with lush, melancholic tones while exploding with the fury of post-punk bands on a mission. In-between, there are songs that soothe, exhilarate, dazzle, yet they still provoke.

All nine tracks are included on The Songs of November playlist. Spin it on Spotify or SoundCloud.


Heather Woods Broderick – “Blood Run Through Me” (Portland, USA)

RIYL: Cross Record, Shearwater, Land of Talk

So many artists fit the label of “underrated”, and Heather Woods Broderick is undoubtedly one of them. Actually, she might be in the top 1% because she is more than a singer and songwriter. Broderick is a multi-instrumentalist, who is a master of the cello, guitar, flute, synth, and piano. Her wide array of talents allows her to compose sprawling yet meditative instrumentals, as heard on her 2022 EP, Domes. She is to the US north as Jonathan Meiburg (Shearwater) is to the US south. To prove this point, Broderick unveils a song that will stop all listeners in their tracks.

“Blood Run Through Me” is what tastemakers like to say, “An absolute stunner.” It moves with the patience of a person slow dancing with the person they’ve loved for years, and they’re savoring and holding on to every second. This fragility is heard in the feathery percussion, the light drones of the bass, and the piano and keys that gently mourn in the background. Broderick’s voice is equally vulnerable and tender, as she describes how she has become tired from constantly “running around” and chasing after “recurring scenes”. Now, all she wants to do is for her slow dance partner to join her and “find peace”.

Again, this track is an absolute stunner.

The single is out on Western Vinyl, who also will release Broderick’s new album sometime next year.

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Roller Derby – “Say How Come” (Hamburg, Germany)

RIYL: Alvvays, Krakòw Love Adana, Makthaverskan

Roller Derby are one of our favorite bands to emerge over the past two years, as the trio turn dream-pop into an elevated drama. They also show that the genre can be versatile, as they demonstrated on recent singles, “Starry-Eyed” and “Only You”. How does the Hamburg outfit keep the nostalgic fresh and inviting? They add a touch of shoegaze and Goth-pop to heighten the emotion and uncertainty that sweeps through “Say How Come”.

At first, the song dazzles with the breezy and radiant keys, a deliciously gauzy guitar, and a mesmerizing bass line. Just as Roller Derby are about to ascend further into the skies, they quickly pull the track back, as guitarist Manuel Romero Soria channels his inner Robert Smith and adds a darker, Gothic tone. The track then returns to its serene melody with Philine Meyer’s smokey and gorgeous vocal at the center. She sings emotively about two people going their separate ways, as they realize that the distance between them is too great to overcome. As Meyer slowly embraces the truth, the single blooms once more and becomes both breathtaking and desperate. She sings defiantly against the reality:

“No more heartaches
Running through my veins, love
No more heartaches
Running through my veins

Say how come I’m
Always feeling lonely by your side
I swear it’s true you will
Never see the teardrops in my eyes”

Roller Derby are: Philine Meyer (vocals, keys), Manuel Romero Soria (guitar), and Max Nielsen (bass). The band recently signed with boutique label Practise Music.

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Dream Wife – “Leech” (London, England & Reykjavik, Iceland)

RIYL: Bikini Kill, L7, Dead Pony

One of the great and most influential indie bands of the past decade have returned after a brief hiatus. Dream Wife also are one of the great DIY success stories, as Rakel Mjöll (lead vocals), Alice Go (guitar, vocals), and Bella Podpadec (bass, vocals) combine high-energy, dance-punk with hard-hitting, often politically- and socially-charged lyrics. The trio’s last album, 2020’s So When You Gonna…, for instance, was unrelenting in every facet, making it one of the great records of the early decade. Their live shows, meanwhile, are the stuff of legends, where the three leave everything on the stage. When Dream Wife hit the stage again, we can only imagine what the concerts will be like, especially when they perform “Leech”

The London-based outfit’s newest song is an absolute titan of a post-punk number. Even in the more “controlled” moments, the track reeks of urgency, anger, and resilience. Go’s guitar work is sublime, moving from methodical to super-charged and everything in between. Podpadec adopts a similar approach, occasionally dropping pounding pulses to light stutters. Between the two is Mjöll’s transitioning vocal, which goes from pointedly nonchalant to a defiant wail. Her lyrics are jarring, as she directly confronts a womanizer and the patriarchal society that protects him. He is an abuser, an assaulter, and manipulator, who has taken advantage of far too many young women. Mjöll delivers lyrical arrows that will pierce every single soul that listens to this tune. 

“Proven guilty until nothing is wrong, eh?
Did you take that picture of me asleep laughing about that time you got kicked out of your uni?
I don’t do this often, but do you?
Do you use and abuse your power to the young women that listen to what you say? So you call me a friend?
Someone to hide behind?
Do you hide behind those so-called friends?
Do you hide behind the perception of power, the illusion of power?

Of power let me take this mic, let me scream, let me tell you who I am, and what comes is loose in the seams.
A loose woman that was never yours to please.
Now that I’m on this side of the wall and I’m holding up the wall do you even acknowledge that there is a wall?
Do you hide behind your parents.
Hide behind my youth.
Hide behind my inexperience.
My lack of judgement.
Do you hide behind the position you hold. Do you hide behind the illusions of power. The perception of power.

Just have some fucking empathy!”

Awesome. Just fucking awesome.

The single is out on Lucky Number. An album surely is coming next year. 

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Work Wife – “Too Young to Understand” (Brooklyn via Seattle, USA)

RIYL: Skullcrusher, Tomberlin, Ada Lea

Despite the nascent stage of her solo project, Work Wife, Meredith Lampe has repeatedly left us floored. With “Creases”, “Ride, Ride”, and “December Summer”, she already has a collection of standout tracks that any artist or band would be proud to share. The NYC-based Lampe, however, has done this while juggling a full-time job and performing as guitarist, synth player, and vocalist for Colatura. Being busy often does lead to greater productivity, but Lampe’s output is beyond ordinary. And extraordinary is what “Too Young to Understand” is.

Of all the songs Lampe has released to date, “Too Young to Understand” might be la crème de la crème. Its melancholic beginning is heart-ripping, as Lampe’s lightly-distorted vocal hovers over gently plucked guitars. She tenderly describes watching her mother struggle. While Lampe attempts to help, her mother refuses to accept her situation. The tension between the two is felt in the amplified guitar, which becomes over-driven and drenched in reverb. Lampe’s voice lightly rises before falling back, as she tells her mother, “I don’t know what’s going, but I’m here for you.”

This is yet another incredible tune from an artist that is as resilient and stubborn as her mother. And we’re glad she is.

Lampe’s debut EP, Quitting Season, will be released December 2nd via Born Losers Records. Pre-orders are available on Bandcamp.

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Dot Never – “In Parallel” (London, England)

RIYL: Atoms for Peace, Son Lux, Moderat

Another exciting band to arrive over the past two years is Dot Never. While many electronic outfits attempt to make music made for raves and nightclubs, Calum Duncan, Avi Barath, Jonny Coote, and Joss Brightwell prefer to enrapture, making songs intended to fill concert halls like the Royal Albert, or be the mood setter for sci-fi fantasy. The quartet’s music, in other words, resides in a different dimension than the one we live in, where they rub elbows with the likes of Son Lux, Moderat, Mt. Wolf, Zola Blood, and Radiohead.

Until last Friday, we only could dip our toes into Dot Never’s enchanting waters since they had released a handful of singles, including “Landfill”, “Escapism”, and “Wrong Again”. Now, we can fully dive in since their debut album, In Parallel, is out everywhere. While the LP features several standout numbers, the title track best captures the exotic nature of Dot Never’s world. 

“In Parallel” is a song to completely get lost in and lose oneself for a moment. Spatial beats and rhythms softly percolate around Duncan’s cool, focused vocal. The arrangement gradually builds and reaches eye-opening levels before shifting back into the calming darkness. During this third act, the track reaches hypnotic levels, where unconscious may result. The approach provides the perfect canvas for Duncan’s story of how lives are now governed by the internet and social media. How so many of us are addicted to artificial, distant connections and desire to live someone else’s life.

Brilliant. The whole LP is worth listening since it, too, is a stellar output. Purchase or stream In Parallel at these links or head directly to Bandcamp.

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Una Rose – “In the Garden Digging” (Montreal, Canada)

RIYL: Helena Deland, Sam Valdez, Steady Holiday

Una Rose (Rosie) Long Decter is best known for her work in shoegaze duo Bodywash, but that’s about to change because she recently released her fantastic debut EP, Myth BetweenOn the EP, Decter effortlessly melded her hypnotizing voice with equally captivating electronics while presented human stories, big and small. The last single Una Rose released from the record, “In the Garden Digging”, is perhaps the best example of what makes Myth Between an outstanding debut.

“In the Garden Digging” is built on something small: growing vegetables in the garden. However, Una Rose quickly builds that into something much bigger. Taking the idea of gardening and some inspiration from her mother, she turns the moment into one of connection over food and the body, of connection between people. It’s presented on top of a similarly unassuming combination of synth, bass, and drums. But like the lyrics, there’s so much hiding under the surface, from the gorgeous harmonies that chime in, the warm synth that leads, and the guitar that punches through right before the song comes to a close. 

“A good meal grows
And your body knows
How to be still alone
I’m keeping well
Sleeping through telephone
Scams and smoke
And the blue light glow

(I don’t need you to be
anything but a garden to me)”

Rose’s new EP, Myth Between, is out everywhere. Get it on Bandcamp.

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Kate Davis – “Consequences” (New York, USA)

RIYL: Sharon Van Etten, Caroline Rose, Julia Jacklin

Kate Davis‘ path to being ANTI Records‘s latest artist is a unique one. Davis started out as a young jazz musician, playing double bass, and releasing her own jazz records. It led her to playing some big stages, including the Kennedy Center. She began writing her own music and singing as a teen, and years later she co-wrote “Seventeen” with Sharon Van Etten. In 2019, she released her debut record as a songwriter, Trophyan intelligent, creative, and immersive record (and likely would have been on one of our Favorite Albums of 2019 list if we were not on hiatus). Last year, she released Strange Boywhere she covered Daniel Johnston’s Retired Boxer in is entirety. 

With the label-signing announcement comes her first original single since Trophy, “Consequences”. The song starts out with Davis painting a picture of leaving a wallet and keys in a cab. It’s that descriptive nature that makes Davis’ songwriting so compelling. As the song grows, it turns introspective. Synth and drums come in, as she sings about being self-sabotaging. It’s honest and at times sounds defeatist, but the track’s catchy synth and inviting guitar make it a real pleasure to listen to. 

“without being emotional
just going through the motions of
one big self sabotaging empty bitch
Its scary to realize the reasons why
you wanna die
and that you would spare them of
the consequences”

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Dead Patrons – “Lover” (London, England)

RIYL: Interpol + Arcade Fire + early U2

The post-punk renaissance might last just as long as The Enlightenment because the swell of great bands emerging within this genre grows by the week. Whether it is in Scandinavian, Australia, North America, or South America, the next Joy Division is lurking in the shadows. One country, however, remains the standard bearer, and unsurprisingly it is the UK. With the likes of the aforementioned Dream Wife, IDLES, TV Priest, Black Midi, and a host of others, post-punk will only grow and become the dominant guitar-driven genre, if it isn’t already. The arrival of Dead Patrons further supports this hypothesis, as their debut single is an eye-opener.

Plodding, hammering rhythms open the track while a glistening, delayed guitar sound percolates in the background. For nearly 50 seconds, the London-based quartet keep this steady tempo before it slightly ignites and the intensity grows. Front-man Paul Killengray’s raspy vocal than emerges, and he channels his inner Paul Banks to tell a tale of one person’s struggle to live. Through the shifts in the melody, which includes strings and added Gothic layers, he recounts how the protagonist is on the verge of giving up. “You want to say / You want to act / And I’ll be your slave again,” he cries out to the image staring back at him.

Here’s a band to watch next year and beyond. 

Dead Patrons are: Paul Killengray (vocal), Ross Davies (guitar), Rob Good (bass), and Terry Edwards (horns).

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Night Shop – “Harness” (Los Angeles, USA)

RIYL: Kevin Morby, Michael Nau, Steve Gunn

Earlier this year, Justin Sullivan – a.k.a. Night Shop – released the perfect road trip album in Forever Night. Even more recently, Sullivan released a single, “Universal City”, which had a B-side to come later. The long-time touring drummer for Kevin Morby, Flat Worms, and The Babies captured the inspirational spaces still out there to enjoy in this sometimes soul-crushing world. It was a song full of beauty, and one that had us eagerly awaiting the release of its follow-up, “Harness”.

The wait for “Harness” was well worth it. Starting with that same beauty that drew us into the expanses of Forever Night, reverbed percussion and pristine piano fill the air. Sullivan has a voice that soothes the soul, and that’s prominent on “Harness”. There isn’t much more to the sound of the track, but that’s okay. It’s inviting by its very nature, and it puts what Sullivan is saying in a clear focus. It’s what he does besttaking uncertainty and potential disaster and turning it into something exciting and beautiful.

“And when you said: “Just come and take my hand.”
I thought: “There’s danger up ahead.”
We closed our eyes and then we jumped right in.
We closed our eyes and I don’t want to open them.
You hold the harness in your hand. I run to strap myself right in.”

The single is out on Dangerbird Records

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