Holding on to what was and confronting certain devastation in the face are the foci of The Matinee ’23 v. 038, which features 10 songs from indie innovators, revivalists, titans, and future stars. To further help us overcome past pains and disappointments and to cherish the things we have, spin The Songs of March and April playlist on Spotify and SoundCloud. 

For today’s music selection, click on the track in the list below to go directly to it or scroll through the post to hear all ten tunes.

Bully – “Days Move Slow” (Nashville, USA)

RIYL: Speedy Ortiz, Swearin’, Paramore

We had an inkling that Alicia Bognanno somewhat scratched with the February release of “Lose You”, but it was only yesterday that the Bully singer-songwriter confirmed that her new album, Lucky for You, will be released this year. The news obviously had us ecstatic because few artists can revive ’90s rock like Bognanno, and this despite her being just an infant when grunge and alternative dominated the airwaves. She showcases her ripping, adrenaline-fueling artistry once again with “Days Move Slow”.

This tune is the perfect track to start the day with its energetic and anthemic approach. It will get you moving and excited about the day. But if you’re like Bognanno and still grieving over the loss of someone you loved dearly, then “Days Move Slow” will help you get through another day. The emotion that Bognanno sings with is the grief that still lingers after her loyal companion, best friend, and fur baby, Mezzi, passed away nearly a year ago to the day. Her life is no longer the same. It’s emptier without the unconditional love of Mezzi (and we can empathize having recently lost our own fur baby).

“And I’m stuck somewhere in between
Your death and my lucid dream
I’m no help lately I know
But I’m tired of trying to prove my worth
To be accepted on this Earth
Baby I’m ready to go”

Pre-order Lucky for You ahead of its June 2nd release at these links and Bandcamp. Sub Pop has the honors. The ’90s-style video is up on YouTube. 

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Geese – “3D Country” (Brooklyn, USA)

RIYL: Black Midi + Tim Darcy + Alex Cameron

Two years ago, Geese were not just one of the most exciting bands to arrive on the scene, but the Brooklyn outfit also released one of 2021’s great records in Projector, which we described as “an unpredictable thrill ride full of sonic and lyrical surprises.” Instead of resting on their laurels and staying stagnant, Cameron Winter (vocals, keyboard), Max Bassin (drums), Gus Green (guitar), Dominic DiGesu (bass), and Foster Hudson (guitar) continue to push the envelope. Last month’s “Cowboy Nudes” saw the quintet mix some Rolling Stones-esque rock ‘n roll with some twangy country. It was awesome. And the band again go neo-retro on “3D Country”, which is another fantastic gem.

Geese’s newest single is multi-genre genius, as it melds many of the great sounds of the ’70s, including rock ‘n roll, neo-soul, R&B, and even a bit of glam. Heck, there are even backup singers! Like every song they’ve released, this one twists and turns. So instead of being entertained, we’re taken on another grand adventure. In this case, Geese take us back to the Wild West days and following “a cowboy with a one-track mind” who “drank a cup of the Devil’s moonshine.”

Winter brilliantly assumes the protagonist’s identity, who has seen more than the average person. “And I saw the dead come alive Allulah, no Anna, see Ray yah / What I saw could make a dead man cry, I’m goin’ home,” he sings. Exactly where home is is unknown, as it could be his comfortable ranch in Oklahoma or six feet under. Whatever the case may be, Geese show once again why they’re arguably one of the five or six most exciting bands around today.

Geese’s sophomore album, 3D  Country, will be released June 23rd on Partisan Records and Play It Again Sam. Pre-orders available here and on Bandcamp. Follow the retiring cowboy’s story on YouTube. 

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Lauren Early – “Good Girl Bad Boy” (Los Angeles, USA)

RIYL: Girlpool, Frankie Cosmos, Colleen Green

One word could define the early ’90s: angst. Grunge and alternative music were not just “new” genres, but they were movements. They captured the frustrations, uncertainties, and fears of a generation that was living during an era of great economic, social, and political upheaval. Today’s mainstream music lacks this element. Within indie spheres and TikTok, however, several artists are trying to do what Nirvana, Hole, Elastica, and Soundgarden did three decades ago. One such artist is listed later in this piece, and another is Lauren Early.

The young LA-based singer-songwriter isn’t mirroring what the aforementioned, legendary bands did in that her music isn’t entirely based in grunge and alt-rock. However, her songs undoubtedly have an angsty element, which is heard in her words and vocal delivery. Take “Good Girl Bad Boy” for instance.

A rummaging, reverb-drenched guitar buzzes through a melodic drum beat and quirky, boppy beats. Early’s take on grunge-pop is lo-fi but it is infectious, and you might find yourself waving your head from side-to-side. Her voice, meanwhile, constantly changes octaves to match the identity she is at that moment. When it is soft and embracing, Early reveals her considerate and compassionate side. When her vocal gets a bit deeper, her words are more direct. This is her assertive side, where when she wants something she’ll let it be known. In this case, she wishes for that other person to stay a little while. Well, she says this in much more direct way. 

Watch the amusing video, which sees Early and her friend skip school and then seize a private jet plane, on YouTube. Early’s debut album, Don’t Take My Dream Away, is out May 19th on Danger Collective Records. Pre-order it on Bandcamp.

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headboy – “Cement” (London, England)

RIYL: Goat Girl + SORRY + Mutemath + Big Thief

While many young artists and bands have gained popularity through TikTok, headboy have done it old school. With only a handful of singles to their credit at the moment, they’ve garnered a sizable following by playing in numerous venues in and around London. And their gigs have sold out. Imagine how popular guitarist/bassist and vocalist Mars West (they/them), bassist/guitarist vocalist Jess Collins (she/they), and drummer Oli Birbeck (they/them) would be if they had an LP or even an EP in their arsenal. We’re about to find out because their debut EP, Was It What You Thought, will be released later this spring via Blitzcat Records. The record’s lead single explains why headboy is trending within the UK music scene.

“Cement” is a kaleidoscope, and we say that as a compliment. The best songs in our opinion are those that do not stay stationary but offer plenty of surprises. At first, the tune sounds like the perfect jangly, pop-rock number to be playing while you’re skipping in the park with your bestie. Then it gets a bit groovy and bouncy, briefly gets urgent, and then descends into math-rock territory. That’s not all, however, as the outro gets slightly trippy and hazy. The song is unorthodox yet addictive, and that is the genius of these three young artists. And we haven’t even addressed their songwriting, as the wavering approach provides the ideal frame to headboy’s tale of how the strongest bonds can overcome anything and everything. Even unorthodox situations.

Pre-order Was It What You Thought on Bandcamp prior to its June 9th release.

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BC CAMPLIGHT – “She’s Gone Cold” (Manchester, England via Philadelphia, USA)

RIYL: Father John Misty + John Grant + Dan Mangan

The world needs more artists like Brian Christinzio. There isn’t a single song in BC Camplight‘s deep discography where he’s cheated on the lyrics – which is to say he doesn’t depend on repetition or tiresome clichés to fill space. The Manchester resident by way of the City of Brotherly Love is simply a great storyteller, and he often takes little life events and makes them bigger and even occasionally extraordinary. On “The Last Rotation of Earth”, for instance, Christinzio sang about how one person’s life was crashing on him, making him think that the planet is about to end – or more like his world is about to end. The vivid illustrations he painted were clever and brilliant, and he continues to sketch such grand scenes on “She’s Gone Cold”.

Musically, the track is cool and embracing, and it would be perfect in a little lounge bar in Soho. Christinzio’s story, though, is cool in a different way. “It’s May 17th” but “it feels like Christmas,” explains Christinzio because the woman with whom he shares his home is no longer warm nor welcoming. A chill exists between them, and the spark has gone out. He tries to find humor in their situation, blaming the Tories for the high inflation and energy costs, hence why the water in the fishbowl is frozen. However, their issues run far deeper, and even their dog knows it.

“And then I see my dog
He’s packing up our things
He said, ‘I’ll take it from here
I hope you land on your feet.'”

Simply creative and brilliant (and heartbreaking), which is what Christinzio’s new album, Last Rotation of Earth, should be. It arrives May 12th via Bella Union. Pre-order are available here and on Bandcamp.

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Durand Jones – “That Feeling” (Hillaryville, Louisiana USA)

RIYL: Leon Bridges, Samm Henshaw, Sam Cooke

Durand Jones is arguably one of the great front-persons in music. Along with The Indications, he’s brought new life to neo-soul, transporting the music of the ’50s, ’60s, and ’70s to contemporary times. For his next project, Jones is stepping into the spotlight alone so that he can tell the stories of his family, his friends, and his hometown of Hillaryville, Louisiana. The lead single from Wait Til I Get Over, “Lord Have Mercy”, was an eyebrow-raising and incredibly powerful song of hope and redemption. The album’s second single takes a different focus but it is equally astounding. 

“That Feeling” is pure, unfiltered soul music – and this is Jones’ story. Musically, it is the sound of Sam Cooke, Otis Redding, and Wilson Pickett, where the dramatic music draws you but Jones’ stupendous, bellowing voice keeps you where you are. Music this great causes you to reach out to the person beside you, even if they are a stranger, and embrace them. Jones’ lyrics also are about reconnecting with the people that we left behind. Or in this case, Jones tells a person from his past that he had and will always love him. This is Jones’ tribute to queer love and his public revelation of who he is and who he has loved.

“Remember that night?
When I called you up,
And told you bout that fire, fire shut up in my bones
And oh how we cried
We cried all night long, yeah
And I told you, I would never do you wrong?”

Simply beautiful. Simply “Wow!”

View the great video on YouTube. Jones’ debut, solo album, Wait Til I Get Over, is out May 5th via Dead Oceans. Pre-orders are available here and on Bandcamp.

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Holiday Ghosts – “Favourite Freak” (Brighton via Falmouth, England)

RIYL: Dick Diver, Ultimate Painting, Yo La Tengo

Some people fear the end of days, but others are too busy living life that they cannot be bothered. They instead will have “one more dance” and spend whatever time remains with the people they love. Samuel Stacpoole (vocals, guitar) and Katja Rackin (vocals, drums), the masterminds of Holiday Ghosts, are most definitely the latter. They’re the types to be dancing in the rain instead of running for cover, diving into the deep end instead of wading in shallow waters, and playing right until the club closes. And in the midst of the oncoming apocalypse, they’ll be singing about the butterflies and and chills that come with falling in love, as they do on “Favourite Freak”.

This little ditty is a jangle-pop delight that sounds like it came right out of the technicolor years. The song is bubbly, warm, and fun, and the track would make great background music to a scene where two people are being chased by zombies. They, however, are oblivious to the impending dangers because they’re so in love with one another. Nothing can come between them nor even have them temporarily take their gaze off each other. 

The duo’s new album, Absolute Reality, is out April 21st on FatCat Records. Pre-order it here or head to Bandcamp.

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PACKS – “EC” (Toronto via Ottawa, Canada)

RIYL: Hole (unplugged), Momma, Wallice

In her brief career as PACKS, Madeline Link has impressed with ’90s-inspired indie-rock and thoughtful lyrics. The young Canadian has lived numerous lives that extends from Ottawa to Mexico to Toronto and back home. During her career, she’s learned that to get one’s point across does not have to involve a lot of words. Rather, a few words can say an awful lot, as she’s revealed on “Abalone”, “4th of July”, and “Brown Eyes”. Even when dealing with death, Link opts to keep things short and crunchy, but the song still strikes a few chords. 

“EC” centers around a man that Link did not personally know, yet his passing has had a profound impact on her. As she strums her acoustic guitar and a twangy, electric guitar plucks in the distance, Link shares the few things that she can remember about him, such as the car he drove and his fearlessness. Maybe it’s the latter that sticks with Link, as she sees a person possibly close to her in age but who lived a fulsome life. He left this planet doing what he loved, which might be the best way to say goodbye. 

“Time didn’t slow him
Now he’s riding the tip of a
Tidal wave in the ocean
Making snap decisions with seagulls
But look no further for the answer”

PACKS’ new album, Crispy Crunchy Nothing, is out next Friday, March 31st on Royal Mountain Records and Fire Talk Records. Pre-order / pre-save it on Bandcamp or at the label’s stores (RMR / FTR).

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Country Westerns – “Grapefruit” (Nashville, USA)

RIYL: The Men, Titus Andronicus, Cloud Nothings 

Maybe the person that PACKS sang about is the same person in Country Westerns‘ newest single, “Grapefruit”. Blasting with the rock ‘n roll intensity that once filled every New York City bar in the ’90s, Joseph Plunket (vocals, guitar), Jordan Jones (bass), and Brian Kotzur (drums) pummel on their instruments and deliver a track that will kick everyone and anyone in the butt. This is rock at its best, which the trio have been doing for a half-decade.

Beyond the rumbling rhythms and stirring riffs lies the tale of a man, a bartender to be specific, who has had enough of being everyone’s low-paying therapist and hearing their problems. This is not the life he signed up for, and he’s ready to start all over. Or maybe do something worse. He just wants to be freed of the demons that others have placed on him. As Plunket howls:

“It’s bitter and it’s sweet like antifreeze
All the dogs in the street think they’re running free
A taste could kill you hell it might be worth it
Forget the town when we could leave the Earth, yeah”

Awesome, which is what Country Westerns’ new album, Forgive the City, should be. It is out April 28th on Fat Possum Records. Get it on Bandcamp or these links.

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Hippo Campus – “Yippie Ki Yay” (St. Paul, MN USA)

RIYL: Tokyo Police Club, Tipling Rock, The Band Camino

In the face of danger, John McClane, the protagonist of the Die Hard franchise and performed by Bruce Willis, famously uttered the words, “Yippie ki yay, motherf*cker!” Since the release of the greatest Christmas movie in 1988, these words have become a part of our vernacular because they give us strength. Jake Luppen, Whistler Allen, Zach Sutton, Nathan Stocker, and DeCarlo Jackson – the musicians behind Hippo Campus – are no different than you and me, as they use the catchphrase as the title of their latest single.

Delving into a new space, that of art-rock, the quintet unleash a rousing and soaring anthem of perseverance. It commences with a fantastic guitar line, which glistens with urgency and energy, while the rhythms are patiently restrained, waiting for their moment to shine. Luppen’s vocal is similarly controlled, and he sets the scene of a man grappling with the doom that exists around him and within him.  

“Followed a mirage to a dried up stream
When I heard it like a voice from the sand and the wind
You ought to wake up or get lost to the noise
Ride on, sunrise in the east
with the whole world laying right at your feet
It’s coming into focus”

Then the moment comes. As the song detonates, Luppen’s voice briefly turns into a wail. The final minute is cathartic, and you might find yourself shouting like you are the NYC police officer coming to save the day in Los Angeles, Dulles Airport outside Washington D.C., and midtown Big Apple. 

The song is taken from Hippo Campus’ forthcoming, new EP, Wasteland. It is out April 14th via Grand Jury Music. Pre-orders available on Bandcamp and these links. 

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