Month: June 2025

“Fading” – Steel Wool

Laid back melodic fuzz

“Fading” – Steel Wool

There’s a deep Wall-of-Sound blur to the aural landscape here–try as the ear might to discern what exactly is doing what and when to create the murky clamor of noise that underpins “Fading,” explanations are not forthcoming. No matter: the song’s amiable melodies and Sean Lissner’s laid-back vocals combine with the amorphous noise to create an oddly welcoming environment.

But things change. At 1:37 a trap door opens and the background din shifts forward and seems now to be constructed, at least partially, of intersecting screams. For some 35 seconds we are embroiled in something of a sonic bad dream, where strangled words fall short of comprehension, the listener offered no immediate way out except to focus on the unflappable lead guitar line that competes concurrently with the noise. (The screaming is real, and credited to bassist Jaden Amjadi.) Things slide back to the previously established noise norm but with a residual edge; there’s a sense of waiting for the other shoe to drop. The song goes on to revisit its two previous responses: at 3:04, Lissner reprises his reassuring “oo-oo”s, first heard around 1:07; but, as before, these are followed by the disorienting scream-noise. The song seeks simultaneously to soothe and agitate. As does the world at large.

Steel wool, a material at once tough and fuzzy, seems oddly apt to the sonic palette this Los Angeles-based quartet produces. “Fading” is a track from the band’s five-song self-titled EP, which was released in April. You can listen to it and buy it, for a price of your choosing, via Bandcamp.

“Take It Out On Me” – Smug Brothers

Incisive, immediate, well-built

“Take It Out On Me” – Smug Brothers

The Columbus, Ohio-based Smug Brothers return to Fingertips with more of their durable lo-fi pop rock, in which the “pop” has little to do with its contemporary usage but refers rather to the platonic ideal of modern music that’s incisive, immediate, and admirably well-built. This is the pop of “power pop” and “jangle pop” but less confining. It’s music made by humans with three-dimensional instruments and a reflexive predilection for the Beatlesque.

This song’s particular charms are rooted in the way it ongoingly anchors its melodies away from the downbeat (i.e., the first beat in a 4/4 measure). This creates a slinky, seductive atmosphere in which the song becomes its own backstory–a propulsive backbeat on the one hand, melodies that weave between the lines on the other. Kyle Melton’s sturdy vocals begin the verses within a megaphone filter, inviting us to lean in, before allowing his Tweedy-ish tone to fully inhabit a song that eschews narrative for the stringing together of evocative lyrical phrases. All in all these guys operate so far from what passes for popular music here in 2025 that I can nearly imagine a moment of cultural whiplash that would bring them straight to the forefront of the zeitgeist. Don’t laugh: any indie band forever remains one canny song placement away from if not fortune then at least fame.

“Take It Out On Me” is a song from the 11th Smug Brothers album, entitled Stuck on Beta, released earlier this month on Anyway Records; check it out via Bandcamp. MP3 courtesy of the band. The band has also released seven EPs and nine singles, all of which are also up there on Bandcamp. The band has previously been featured here in 2023 and 2019.

“Solar Babes” – Storm Recorder

Brisk, poignant guitar rock

“Solar Babes” – Storm Recorder

Driven by brisk, clangy guitar chords, “Solar Babes” has an unmistakable poignancy about it, even as I can’t quite put my finger on what’s driving that impression. Some of this seems built into Jesse LeGallais’ voice, with its fetching, slightly nasal timbre. Some of it may be generated by the verse’s insistent, two-chord melody, the sing-song-y quality of which creates an underlying innocence to the proceedings.

The chorus, comprising little more than the word “fight,” creates a passing sense of movement even as it’s still built on the same two-chord foundation. The breakthrough happens around 1:15, after one more round of verses: we find ourselves in an extended bridge or bridge-like section that offers the ear the sorts of chord progressions the song has previously withheld from us, and which sound all but heroic in context. Equally heroic is how the opening chords are re-cast at the end in a brief, quasi-Springsteen-esque conclusion (2:07). Wrapping up in under three minutes, the song invites and rewards multiple listens.

Storm Recorder is the Nova Scotia-based duo of LeGallais and Palmer Jamieson. LeGallais was based in Montreal for 15 years, playing in an assortment of bands, before moving to Halifax; Jamieson is a Halifax-based producer who runs his own studio. LeGallais initially intended to record a solo project with Jamieson. Their level of affinity ended up turning the record into a new, joint project called Storm Recorder. “Solar Babes” is the opening track on the album Always Coming Home, which they position as an homage to the Ursula LeGuin novel of the same name. A particular inspiration for the duo comes from a LeGuin quotation the band has posted on its Bandcamp page: “We live in capitalism, its power seems inescapable–but then, so did the divine right of kings. Any human power can be resisted and changed by human beings.” These are words that feel especially welcome right about now. Thanks to LeGallais for the MP3.