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Song of the Day: Warpaint – New Song (Live in Dallas, 2024)

Posted on
22 Oct 2026
by
Paul

Warpaint are one of the best live acts I’ve seen in recent years. On record, their sound is impressive enough, but in concert is where they really shine. So it’s no big surprise that the LA quartet will soon be releasing Artifact, their first live album, and first full-length since 2022’s Radiate Like This. Check out the live version of “New Song,” recorded in concert in Dallas in 2024.

Artifact is out December 11 via Rough Trade Records.

Concert Review: mercury, October 21, Mod Club

Posted on
22 Oct 2026
by
Paul

“Thanks for coming out early. It means a lot.”

It was a modest sentiment, but one that felt fitting for mercury. Touring alongside Holywatr, the Nashville-based band fronted by Maddie Kerr occupied a slightly different musical world from that of their tourmates, offering a much more subtle, atmospheric vibe than the headliners’ “Let’s open up this pit!” energy.

Frankly, on paper, the pairing felt like a bit of a mismatch musically, but Holywatr’s crowd seemed pretty receptive to mercury’s more subdued approach. Taking to the stage just after 8:00pm, mercury brought a moody, slow-burning sound, pairing grungy instrumentals with ethereal, almost folky vocals. Think Phoebe Bridgers’ vulnerability crossed with Chelsea Wolfe’s darker, gothic edges.

The band closed out their brief set with “Roar of the Heliac Goat,” a song introduced, again in a fairly modest and understated fashion, by Kerr as “a song that just came out.” Kerr also offered up a quick thank-you to their hosts, adding that they put on a really good show.

If I’m being honest, I didn’t really dig what Holywatr were laying down, but I knew going in that they would not be my thing. Thankfully, mercury’s set offered something that was much more my speed. Their music asks for a different kind of attention, drawing listeners in through texture, mood and just the right balance of heaviness and softness

Song of the Day: Tashaki Miyaki- Moving

Posted on
21 Oct 2026
by
Paul

“Moving’ is the latest single from LA duo Tashaki Miyaki, taken off their upcoming album Eternity Chaos, out January 6, 2027 via Blonde Dog Records. Check it out.

Concert Review: Bloodsports, October 19, The Baby G

Posted on
20 Oct 2026
by
Paul

Anything can be a hammer.

On the surface, it’s simply a factual statement. Any item, with the proper heft and applied with a suitable amount of force, can indeed be a hammer. Got a nail you want to nail down? Grab, I dunno, a sturdy shoe, or a nearby rock, and it’ll get the job done. Easy-peasy.

Anything Can Be a Hammer is also the name of the latest album from Brooklyn four-piece Bloodsports, and when paired with the band’s name, things could conceivably take a more sinister turn. Place the words “blood” and “hammer’ in each other’s vicinity and suddenly you’re thinking of some maniac going on the attack. Or maybe that’s just me – after all, I did watch The Slumber Party Massacre the other day, a film where a household tool is famously used as a weapon. But I digress. Back to the review. 

Actually, the more that I think about it, the more apt my reference to an ’80s slasher flick seems when discussing Bloodsports’ set. Like a good horror film, the band can unsettle and entertain in equal measure. And their herky-jerky shifts between slowcore vibes and angular noise rock riffage (think Slint with a dash of Shudder to Think) paired with all-out bursts of screaming could certainly qualify as jump scares if you weren’t expecting them. Much like a hammer, Bloodsports can be quite forceful and effective when they need to be. And that includes the live show.

Touring alongside Kansas trio Flooding (who mine a similar sonic territory as their tourmates), Bloodsports put on a compelling performance. They may not be much for stage banter, but the music is more than capable of speaking for itself.

In a way the band’s sound reminded me of the kind of stuff that used to jolt me awake while listening to CBC Radio 2’s Brave New Waves back in the day. And if you don’t get my use of yet another reference to media from a bygone decade (congratulations, you’re young!), radio programs like Brave New Waves (or your chosen campus radio show of choice) were how we used to find out about cool, weird new music like this back in the day, before the almighty algorithm found everything for us. It was a simpler time. No less noisy, but perhaps a bit simpler.

Concert Review: The Jayhawks, Julian Taylor, October 16, Danforth Music Hall

Posted on
19 Oct 2026
by
Paul

Just before The Jayhawks took the stage on Friday night, Canadian sportscaster Dave Hodge came out to give the band a glowing introduction.

He began by reading from a recent No Depression review of the band’s latest, Sanctuary Park. In that review, writer Peter Blackstock, in turn referenced an old Rolling Stone review of Toronto’s own Blue Rodeo, which made the claim that “The best new American band may very well be Canadian.” As Hodge continued to read from the review, he got to the part where Blackstock flipped the script, proposing that, “The best new Canadian band may well be American.”

Now, this might be a bold statement. While Jayhawks frontman Gary Louris may have married a Canadian and moved to Canada, neither he nor the band is technically Canadian, and perhaps more importantly, 40 years into their career, they’re not a new band by any stretch. But with Sanctuary Park, The Jayhawks do make a strong bid for Canadiana status – after all, the album’s title track (itself named after a park in Dundas, Ontario) references both Teenage Head and “smoking darts.” And, hey, if the Americans now get to claim Joni as one of their own, I say, sure, why not draft The Jayhawks over to the Canadian side?

Hodge made another interesting point in his introduction, mentioning how if a new listener were to hear all of The Jayhawks’ albums without seeing the release dates, they might have a hard time putting them in order. It’s true that there is a certain consistency to the band’s sound. And truly, the new stuff sounds better than one might expect from a band 40 years in, with new tunes like “Keeping Our Head Above Water” and “Mr. Lincoln” fitting in seamlessly with the older stuff and even standing out as some of the highlights of the set, thanks to their instantly catchy melodies.

While the new stuff sounded great, though, the most memorable moment likely came via one of the band’s classic tunes: “Blue,” off 1995’s Tomorrow the Green Grass. As the band ran through the classic track near the end of its set, it inspired plenty of singalongs, bringing to mind something opener Julian Taylor said during his own set. After encouraging the crowd to sing along to his song “Seeds,” Taylor commented that singing together is one of the most important things we can do as humans.

“When we sing together, we are one,” he said. “One voice.”

As the crowd sang along to “Blue,” it was easy to understand what he meant.

Song of the Day: Bess Atwell – The Act

Posted on
16 Oct 2026
by
Paul

“The Act” is the latest single from English indie folk singer Bess Atwell, taken off Cut a Figure, her upcoming fourth album. Check it out.

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