Tag Archive: “Dirtnap Records”

The One Where Everything is Enjoyable

On this episode: our dear cousins talk about American Idol and Katy Perry, they get into God Talk early and keep talking about their history with religious institutions,

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne bring you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One Where Everything is Enjoyable

Sir the Baptist feat. Killer Mike and ChurchPpl – Raise Hell from ____ out ___ on Atlantic

Lo Tom – Overboard from Lo Tom out July 14th on Barsuk

Jamilla Woods – Holy from HEAVN out now on Soundcloud with a proper release soon from Jagjaguwar

Broken Social Scene – Hug of Thunder from Hug of Thunder out July 7th on Arts & Crafts

(Sandy) Alex G – Bobby from Rocket out this Friday, May 19th on Domino

Danny Brown – Kool Aid from Silicon Valley: The Soundtrack out June 23rd on Mass Appeal Records

The Drums – Blood Under my Belt from “Abysmal Thoughts” out June 16th on Anti-

Lost Balloons – Numb from Hey Summer out June 16th on Dirtnap

This is Past Sounds. Every Friday Ghettoblaster Magazine is looking back and finding great music from various eras. This week we present some of the best music videos for great songs because, why not?  Below are songs and videos that sound and look great no matter what decade they’re played in. So strap in as we take a musical journey, back in time.

The Marked Men – Fix My Brain (Fix My Brain, Dirtnap Records) 2005


Texas punk band The Marked Men made music informed by old school punk rock, but with a bit of a twist.  Their ability to create such fast and ferocious pop songs is really remarkable and truly what set them apart from other similar bands.  Fix My Brain is the title track from arguably their best album and the song is one of the many highlights on an absolutely stellar album.  Fix My Brain rips through hard guitar riffs, relentless drumming and wonderful melodies, doing more in two and a half minutes than a lot of bands can do in twice the time.  It sounds like the Ramones drank a ton of caffeine, got much more aggressive and decided to have a more intricate arrangement.  All in all, this is one of the best pop punk songs around and proves that The Marked Men were truly playing in a league of their own.


 

Iron and Wine – Grey Stables (Woman King EP, Sub Pop Records) 2005


Iron and Wine’s Woman King EP sits at an interesting spot in their history.  Their first two albums were largely lo-fi and somber affairs and then they ended up pivoting to a much bigger sound with different influences and more jam band tendencies, especially live.  However, in between these two identities sits this EP and it is probably the best batch of songs they’ve ever put together.  The entire EP is worth a listen and it is really hard to pick out the best track, but Grey Stables shows off the intricate subtlety that Woman King operates in.  The melody of Grey Stables is a real stand out, which should surprise no one, but where the song really transcends is in the surrounding music.  Again, this is intricate and subtle at the same time, layering acoustic guitar, strings, percussion and some ambient touches together in such a seamless way.  In Grey Stables you can hear where they had been and where they were going and it makes you wish they would have lingered in this territory a little longer.


 

Eric B and Rakim – I Know You Got Soul (Paid in Full, Def Jam) 1987


I Know You Got Soul features some of the most solid drums in hip hop history.  They really propel the song forward and just sound awesome, transcending the “dated” label that plagues so much of 80s hip hop.  Eric B and Rakim’s album Paid in Full is one of the most enjoyable classic hip hop albums and I Know You Got Soul is a true standout from the album.  Both Eric B and Rakim are the best versions of themselves over the course of this track, as Rakim’s seemingly never ending flawless delivery flows over Eric B’s solid beat and scratches.  It’s just a great example of what makes some 80s hip hop so much fun to listen to.


Lawnmower – Tetherball (Major Head Injury, Save Your Generation Records) 2015


Full disclosure: I am friends with members of the band Lawnmower, but please don’t let that take anything away from how good this song is.  Tetherball is one of my favorite rock songs, from its grungy beginning to catchy chorus and awesome backing vocals, it’s just a joy to listen to.  It seems like it should be a lost classic 90s indie rock song, as it definitely transports listeners back to the heyday of indie rock.  Everything is clicked into high gear and hits all the right notes: the guitars cutting out to that awesome chugging bass, propulsive drumming with some really great fills, and then the song is over before you know it, leaving you wanting more.  It is an exciting song from an up and coming band, so do yourself a favor and get to know Lawnmower.  They’re really great and talented guys, believe me.

Every Monday Ghettoblaster is looking back to new albums released the previous week.  Below you’ll find several albums released on Friday, September 9th that we believe are definitely worth a listen.

Nick Cave and the Bad Seeds – Skeleton Tree (Bad Seeds Ltd.)


 

Skeleton Tree is an absolutely gut wrenching and heartbreaking album to listen to.  In July of 2015 Nick Cave suffered the loss of his 15 year old son after he fell off of a cliff to his death.  Skeleton Tree opens with Nick Cave in his classic spoken vocal delivery uttering the words “You fell from the sky, crash landed in a field near the river Adur” and that direct honesty continues through the rest of the album.  As is always the case with Cave’s songwriting, literal lines like the opener are mixed with surreal passages making for a mesmerizing listen.  Musically the songs are largely ambient pieces, heavy with electronic elements, piano and string sections, which all really takes a backseat to Nick Cave’s songwriting.  Although this is a mostly dour affair, however there are some moments of light shining through, which is most evident in the closing lines of the album: “And it’s alright now / And it’s alright now / And it’s alright now.”  – Words by Brian LaBenne


 

Low Culture – Places to Hide (Dirtnap Records)


 

Low Culture is a raucous garage pop-punk band made up of members from the Marked Men, Total Jock and Shang-A-Lang.  Places to Hide is their second album as a band and it finds them really honing in on their sound, while at the same time reaching out to new territory.  There are fourteen songs and most of them sound like a more aggressive and faster take on 70s punk rock.  Seriously, these songs are really fast with blistering drums and guitar riffs flying by over and over again, making for a really fun listen.  As good as these punk songs are, Places to Hide is even more exciting when they deviate from the norm.  There are songs that are close to slower paced ballads, a Low Culture take on bubblegum pop and even some sonic similarities to David Bowie.  Low Culture proves with Places to Hide that they are a band to pay attention to. – Words by Brian LaBenne


 

Grouplove – Big Mess (Atlantic Records)


 

Big Mess has to be the hugest sounding album of 2016, these songs are absolutely massive.  Grouplove finds their sweet spot over and over again on this album, proving themselves a forced to be reckoned with.  These are some of the loudest pop songs around and are absolutely begging to be turned up as loud as your ears can take.  It really is an interesting mix of radio ready pop sounds mixed with loud indie rock music.  Imagine if MGMT made an entire album of songs like “Kids” or “Electric Feel” but with a ton more rock muscle to them.  There are some more toned down tracks on the album, but overall this is an exhilarating album.  Big Mess is for those who like their power and their pop in equal measure. – Words by Brian LaBenne


 

Adam Torres – Pearls to Swine (Fat Possum Records)


 

Adam Torres has a voice that you have to hear to believe.  There is a special tone to his falsetto delivery that is something to behold and his effortless shift between registers is breathtaking.  Pearls to Swine is fantastic front to back and showcases Adam Torres in his best form.  The songs are largely scaled back folk numbers, which really allow Torres’ voice to shine.  That is not to say the music is boring, quite the opposite.  This is a great album for fans of beautifully finger picked acoustic guitar and orchestral folk music sung with one of the most interesting voices in a while.  It really does have to be heard to be believed. – Words by Brian LaBenne


 

Local Natives – Sunlit Youth (Loma Vista Recordings)


Since Local Natives emerged in 2010, I immediately took to their earthy indie-rock sound and followed them adoringly. When they released, “Past Lives” the first new single off of their third album, it was clear this new record would be a departure. They had seemingly breathed new life into their style, with this powerful and energetic track, reminiscent of early Arcade Fire. However, that is not the case for all the songs on the album. For the majority of the album their new, poppy-er sound outfitted with electronic elements, suits them quite well, but there are a handful of track where is comes across as overproduce and too mainstream. There are certain moments that lack the originality that we’ve come to expect from Local Natives. The third album is often a turning point for a band, venturing into new territory, and that is the case here, though it is a bit uneven. The songwriting and melodies are still strong, and the vocal performances of Taylor Rice and Kelcey Ayer remains the group’s greatest asset. Some standout tracks on the album like “Past Lives” “Fountain of Youth” and “Masters” are on a level with their previous work, the album as a whole however does not quiet measure up.


clipping – Splendor & Misery


Daveed Diggs has been on fire recently: winning a Tony and Grammy for his role in the hottest musical in years, Hamilton; a role in Baz Luhrman’s Netflix series The Get Down, and now he’s released a new album with his experimental hip hop group, clipping. This is a concept album that, “follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him.” Jonathon Snipes and William Huston provide backing “intrumentals” that completely set the scene with all manner of electronic sounds. Static cuts in and out throughout and different sounds resemble alarms or machinery of the ship. The beats are minimal with a subtle musicality. There are occasionally steady beats and obvious melodies, but more often than not they are muted and fractured. The concept of the album aside this album is quality on it’s own. Daveed Diggs songwriting and lightning-fast delivery are consistently staggering. I would put my money on Diggs to take Eminem’s Guinness Book of World Records spot. Some songs are lead only by Diggs’ voice, feeling like spoken word, some have hip hop swagger, and some have a gospel tone. Though all the songs feel connected the album remains engaging and unpredictable throughout. It feels like some other-worldly mixtape that fell to Earth in a blaze of Splendor & Misery.


Wilco – Schmilco (Dbmp Records)


Last year Wilco surprised everyone with Star Wars, an addictive  fuzzed out rockin’ record. Now they already released a new album and it’s completely different from the last. It is mostly acoustic and much more restrained, feeling more intimate but still effectively catchy. It feels kind of like a middle ground between their classic country influenced indie-rock with glimpses of the dissonant fuzz rock of Star Wars. As you can tell by the cover, Schmilco feels much more playful and childish, with Tweedy reflecting on childhood memories and relating them to his modern self while navigating life and relationships. You know a band is great when the can keep changing their sound, keep doing something new and still making quality work.


 

Okkervil River – Away (ATO Records)


The eighth album from the veteran folk-rock band feels like the ghost of itself, because Okkervil River as we know it doesn’t exist. After band members left for various reasons, frontman Will Sheff thought it was the end for the band. This was, “a confusing time of transition in my personal and professional life.” His music career was seemingly crumbling and he spent a lot of time by the Hopsice bed of his grandpa, his personal and musical hero, as he died. All of this pain and uncertainty is heard on the album: whether it’s the mourning for his old band in “Okkervil River R.I.P.” or his struggles with the music business in “The Industry” or the imaginative telling of his grandpa’s death on “Comes Indiana Through The Smoke,” where he sets the scene of the battleship his grandfather was on in WWII coming to take his grandpa to the next plane. Sheff’s grandpa was a jazz musician, so he sought out jazz players for the album and his grandpa’s trumpet is played on this song by yMusic’s C.J. Camarieri. This album is much more bare and intimate than the previous work, because it’s played by different people. This album feels more influenced by old school folk like Joni Mitchell and Bob Dylan, with long, vivid stories masterfully told in a rambling manner. We now know that, like Kevin Barnes is of Montreal, Will Sheff is Okkervil River. There is no chance of the band breaking up because he is the band. This album is most personal and most powerful songwriting, a beautiful examination of how the end of things makes way for something new.


 

Every Monday (in this case Tuesday because of the holiday), Ghettoblaster is looking back to new albums released the previous week.  Below you’ll find several albums released on Friday July 1st that we believe are definitely worth a listen.

Maxwell – blackSUMMERS’night (Columbia)


blackSUMMERS’night, the first album from Maxwell in the past seven years, is an elegant and challenging soulful R&B album of epic proportions. Maxwell’s voice soars and croons, sometimes beautifully soft and sometimes grainy, building both comfort and conflict over the course of the album.  Musically, the album mirrors what Maxwell does with his voice.  Intricately placed puzzle pieces of sound are perfectly combined to create these moments of beauty and conflict.  Most songs find incredible live drums and bass settling into fantastic grooves, with different movements of horns or strings or guitar.  Some songs are hypnotic in their complexity, while some revel in simplicity.  It really is a very special album, which has been seven years in the making.  Obviously, it was time well spent for Maxwell and company.


 

Stephen Steinbrink – Anagrams (Melodic Records)


Anagrams is Stephen Steinbrink’s seventh full length album and it finds the songwriter producing some of the lushest songs of his career. Lyrically, the album is incredibly personal, focusing on struggles with addiction and mental illness.  Steinbrink says of working on this album “Lately writing songs almost makes me feel like I’m losing it, like I keep digging up and reburying the same old bone;” while this sounds like it could result in a depressing album the effect is actually the opposite.  These are wonderfully joyous songs, upbeat and poppy in the best possible way.  There are shades of Lindsey Buckingham in Steinbrink’s vocal delivery, which mixes with the music beautifully.  The songs kind of sound like Jon Brion producing a Real Estate album, which means these songs are beautiful and bright and jangle along.  Stephen Steinbrink has pushed through the maddening monotony to produce one of the most enjoyable albums of the year thus far.


 

Blood Orange – Freetown Sound (Domino)


Dev Hynes music as Blood Orange is, for better or worse, stuck in the 80s. Amongst all of the 80s nostalgia happening in music these days none of it sounds like it actually belongs in the 80s like Blood Orange does.  Again, this is for better or worse.  At times the music soars and is made modern by different vocal deliveries, while at other times it embraces the cheese maybe a little too heavy handedly.  This is all subjective, of course and really depends on the listeners sensibilities.  Objectively speaking, the music he puts together is expertly crafted.  Smooth synths and intricate beats mix with breathy vocals and take you back in time in a mesmerizing way.  Freetown Sound is the most ambitious album that Blood Orange has produced and really is impossible to ignore.


 

Martha – Blisters in the Pit of My Heart (Dirtnap Records)


Blisters in the Pit of My Heart is the sophomore album from English pop-punk quartet Martha and it finds them honing in on their sound, which results a more cohesive and even better album than their debut. The songs on Blisters in the Pit of My Heart are aggressive and punchy, with incredibly poppy, soaring choruses.  Martha has both male and female vocalists, which is a nice mix and keeps the album even more interesting throughout.  All of these elements work wonderfully together and are anchored by Martha’s best weapon: the guitar riffs.  Blisters in the Pit of My Heart is chock full of powerful and just awesome guitar riffs, making this a true joy for fans of ‘guitar albums.’  Overall, if you’re in the mood for some real solid pop-punk with riffs galore, Martha has the album for you.


Other Notable Releases:

Terry – Terry HQ (Upset the Rhythm)


 

Broken Beak – Some Nerve (Near Mint Records)

Dirtnap Records has announced plans for a new LP from Steve Adamyk Band and unveiled the first track which features guest vocals from Colleen Green.

Blame Canada. Or for that matter, Ottawa. The Capital’s kings of punk- power-fuzz are back and better than ever. After a whack of records and worldwide touring, Graceland (out July 29) is Adamyk’s most dynamic and cohesive record to date, without breaking the mould. Colleen Green (Hardly Art) sings on it, Mike Krol (Merge) croons on it and members of Sonic Avenues are now staples in the band.

This time, the band bunkered down in Montreal with engineer Adrian Popivich (Solids, The Dears) to bring Graceland to life. In the meantime, scream along to “Through My Fingers”, or get lost in the depths of “High Mile”; the choice is yours. Mr. Adamyk has been nothing but prolific since coming aboard the Dirtnap roster, this is already his fifth LP, with a sixth is in the planning stage.

“We here at Dirtnap find that his trademark brand of speedy, caffeinated, catchy-but-not-too-wimpy pop perfectly exemplifies that aesthetic that the label strives for,” says Ken Cheppaikode from the label, adding “We’ll keep putting these out as long as he keeps makin’ ’em.”

Nervosas
Nervosas

Hard-touring Ohio dark art-punks Nervosas will release their second self-titled LP on July 10 via Dirtnap Records. It marks an improvement on Nervosas’ (already awesome) first album in every way. The fast songs are meaner and more aggressive, the slower songs are more textured and atmospheric.

Impeccable recording, truly impressive musicianship and songwriting inspiration to burn. This goes way, way beyond the “punk kids playing post punk” thing going around these days, and it fits in perfectly on the darker end of the Dirtnap Records spectrum (alongside such fine company as The Estranged, The Splits, Autistic Youth).  Truly an important and epic mind-bender of an album.

We at Ghettoblaster have been spinning it non-stop and can’t wait to see them open for Chameleons Vox in late September in their hometown. But before that, the band are heading out for more touring in support of their upcoming LP (dates below).

Additionally, Ghettoblaster has the pleasure of sharing “The Well” from the forthcoming LP below. Enjoy:

6/25 Chicago, IL @ Burlington (w/ Red Dons, Mac Blackout Band, Daylight Robbery) 6/26 Milwaukee, WI @ Bremen Cafe

6/27 Minneapolis, MN @ Pork Haus (w/ Brain Tumors, Junkbomb, Chuckleheads) 6/28 Minot, ND @ Blue Rider

6/29 Missoula, MT @ The ZACC 6/30 Spokane, WA @ Baby Bar

7/1 Seattle, WA @ Narwhal

7/2 Vancouver, BC @ Railway Club (w/ Aging Youth Gang, Flagpolers)

7/3 Olympia, WA @ Flophouse

7/4 Portland, OR @ Blackwater (w/ Vivid Sekt)

7/5 Oakland @ House Show (w/ Birthday Girl, Freak Vibe)

7/6 Santa Rosa @ TBA (w/ Audacity, Useless Eaters, Vial, Together Pangea)

7/7 Oakland, CA @ 1234 Go Records

7/8 San Francisco, CA @ Hemlock Tavern (w/ Street Eaters, Silent Era)

7/10 Los Angeles, CA @ Redwood Bar

7/11 Los Angeles, CA @ Dog Haus (w/ Generacion Suicida, War Path, Benny and the Roids)

7/12 Fullerton,CA @ The Continental (w/ White Murder)

7/13 Las Vegas, NV @ Womb Room with Good Grief

7/14 Salt Lake City, UT @ TBA 7/15 Denver, CO @TBA

7/16 Omaha, NB @ TBA

7/17 Kansas City, MO @ FOKL (w/ Nature Boys, Red Kate, Polish Gift, Horace Grant)

7/18 St. Louis, MO @ Bad to the Boner Zoner (w/ Veil)

(Visit Nervosas here: https://nervosas.bandcamp.com/.)

Radioactivity has a new album called Silent Kill coming out next week on Dirtnap Records, but you can get an early listen now (see Noisey debut)….

Listen/Post “Silent Kill” Full Album Stream

Radioactivity’s first LP was rightly hailed as a sort of sequel to the Marked Men’s remarkable run through the first decade of the millennium, and while Silent Kill bears the unmistakable hallmarks of that band’s tightly wound “Denton sound,” Radioactivity can now lay claim to a sonic territory of their very own.  Frontman and chief songwriter Jeff Burke (the Marked Men, the Reds, the Potential Johns) has certainly done more than enough to earn pressure to follow up each release. But Silent Kill, which finds Burke backed by Marked Men compatriot Mark Ryan and two-thirds of Bad Sports (Daniel Fried and Gregory Rutherford), does more than merely match the virtues of its self-titled predecessor and has already won the band praise from the likes of Billboard, NPR, Noisey, Impose, Ad Hoc, Dallas Observer, and more.  Admirers of Burke’s legacy will be not only satisfied, but pleasantly surprised.

Catch them on tour here:

July 22nd – Minneapolis, MN – The Triple Rock (w/ Birthday Suits)

July 23rd – Milwaukee, WI – Linneman’s (w/ Sugar Stems)

July 24th – Chicago, IL – The Empty Bottle

July 26th – Toronto, ON – Adelaide Hall (w/ Sonic Avenues)

July 27th – Ottawa, ON – House of Targ

July 29th – Boston, MA – O’Brien’s

July 30th – New York, NY – Baby’s All Right

July 31st – Philadelphia, PA – PhilaMOCA

August 1st – Baltimore, MD – Ottobar

August 2nd – Richmond, VA – Strange Matter

August 3rd – Atlanta, GA – The Earl

Boston’s Great American Ghost have teamed with MetalSucks to unveil “An Ever Changing Cast of Characters,” the next single off debut full-length, Everyone Leaves. Stream the song, here.

Out July 10 on Good Fight Music, Everyone Leaves is a wicked slab of dark, downward-spiralling hardcore, carrying on the New England legacy built by bands like Converge and American Nightmare.

As evidenced on “An Ever Changing Cast of Characters,” frontman Ethan Harrison’s end-of-rope vocals convey true desperation atop his band’s overcast riffage and charging beats. The album was recorded, mixed, and mastered by Defeater guitarist Jay Maas (Ceremony, Title Fight) at Getaway Recording. Pre-order Everyone Leaves, here.

Nervosas are heading out on tour this summer. The band recently joined Dirtnap Records and will be releasing a new self-titled record on July 10.

Date City Venue
6/24 Bloomington, IN Madison Square Garden
6/25 Chicago, IL Burlington
6/26 Milwaukee, WI Bremen Cafe
6/27 Minneapolis, MN Pork Haus
6/28 Minot, ND Blue Rider
6/29 Missoula, MT The ZACC
6/30 Spokane, WA Baby Bar
7/1 Seattle, WA Narwhal
7/2 Vancouver, BC Railway Club
7/3 Olympia, WA Flophouse
7/4 Portland, OR Green Noise Records
7/4 Portland, OR Blackwater
7/5 Oakland House Show
7/6 Santa Rosa Location TBA
7/7 Oakland, CA 1234 Go Records
7/8 San Francisco, CA Hemlock Tavern
7/10 Los Angeles, CA Redwood Bar
7/11 Los Angeles, CA Dog Haus
7/12 Fullerton,CA The Continental
7/13 Las Vegas, NV Womb Room with Good Grief
7/14 Salt Lake City, UT Location TBA
7/15 Denver, CO Location TBA
7/16 Omaha, NB Location TBA
7/17 Kansas City, MO FOKL
7/18 St. Louis, MO Bad to the Boner Zoner

The Splits came together in Helsinki, Finland in Fall of 2010. The band, which consists of Helena (guitar/vox), Maiju (bass), Kiti (guitar/vox) and Jussi (drums), will release their new album II on April 21 via Dirtnap Records.  You can check out the first single from the album here…

Listen/Post “Melody”

After recording what were originally intended to be demos, a friend of theirs sent the recordings, (without the band’s knowledge) to Germany’s iconic P Trash Records. P Trash offered to put out an LP on the spot (and local Finnish label Airiston Punk Levyt a 7″), without the band having played so much as a single show. Shortly after the album’s release, the recordings also came to the attention of Dirtnap Records, who promptly flipped out, began helping to distribute the album in the USA, and told the band to get in touch once they recorded more stuff.

Things took a downturn in 2013, though. Multiple breakups left most of the band heartbroken and homeless. This dark era in the band member’s personal lives is captured perfectly in the music and lyrics, sometimes quite directly.

The Splits and their new LP defy easy classification. They are the kind of band that can be well received at hardcore fests, and then turn around and go on tour with garagepunk bands. There are definite dark undertones and a slight post-punk influence to their music and lyrics, but this is still far more aggressive and stripped down than the sounds of the currently fashionable goth-revival thing.

The band lists some of their favorites as Poison Idea, Testors, Dead Moon, Pagans, Wipers, Marked Men, and Varuas, all of which make sense after listening to the album. (They also want you to know that they like beer, hamburgers, cats, and bicycles, which proves they are good people!) Think of the dark, driving sounds of the bands born of American Pacific Northwest winters, mixed with the trashy rock n’ roll sensibilities of Memphis, along with an abiding love of obscure 70’s punk.

Kalamazoo’s Legendary Wings are back with the second LP for Dirtnap Records (out on November 11).  Do You See improves upon the template set by their first album (Making Paper Roses, Fall 2012), alternating bursts of caffeinated punk-pop with mid-tempo jangly numbers, all served up raw and catchy as hell.  The band recently unveiled the first track from the album…

Listen/Post “Weather Advisory”

The band has kept busy since their debut album, touring the East Coast, playing Gonerfest and the Dirtnap Records NYC Showcase, with members playing on well-received records by I Get Mynze and No Bails. While Making Paper Roses was a sprawling 16 song epic, Do You See goes for the opposite effect: at a relatively brief 10 song set, this winds up being a tighter, more focused, more concise effort, which really allows the top-notch songwriting (Seriously, listen to the song “Weather Advisory” and tell us that wouldn’t be a monster hit in a perfect world!) shine through.