BY: Music Journalism Club

Every Tuesday, our Music Director, Claire, chooses new releases to add to our music library. Here are some recent highlights, presented to you by WSUM's Music Journalism Club.

Stephen Becker, Middle Child Syndrome

HIGHLIGHT TRACKS: “I Held an Echo”, “Ought”

GENRE: Alternative 

RIYL: Hovvdy, beabadoobee, Pinegrove

In his third studio album, the Brooklyn based singer-songwriter heightens the senses with an eclectic, intimate sound. On every track, instrumental intros give way to dreamlike imagery. True to its name, there's a certain vulnerability to Becker's record. His homespun vocals speak to the feeling of falling short, striking a chord with twenty-somethings everywhere. As if thinking out loud, Becker sets his insecurities to a tune, “I'm thinkin' I'm not who I ought to be”. It's a compelling style that sets the mood for the colder months ahead.

— Joely Emerson

Kit Major – “Love.Sick.Major”

STANDOUT TRACKS: “Potion Seller”, “Sponge”, “Fade Away”

GENRE: Alternative rock / grunge

RIYL: Green Day

Kit Major's EP, “Love.Sick.Major.” is truly a unique experience. Kit Major brings the old 90's sleaze-grunge style into the modern day tastefully and faithfully, with tracks like “In a Polite Way,” showcasing the true pessimism of a grunge rocker, and “Potion Seller,” being an incredibly fun, bouncy track, albeit one with some darker lyrics. This project is one of the most interesting takes I've seen on modern grunge, and I'm excited to see where Kit Major goes from here.

— Joseph Martino

PWNT – Volumes i

Highlight Tracks: “Continuo”, “Una”, “Grand Bahama”

Genre: Bossa nova, fusion, jazz, 

RIYL: Pierro Piccioni, Masayoshi Takanaka, Drug Cabin

PWNT demonstrates jazz-fusion in its full form through Volumes i; a stark contrast to their two previous records, which leaned into a bedroom pop sound. “Continuo”, the opening track, crescendos from dramatic orchestral swells to a less than seamless but welcome transition into what will be the record's signature funky bassline, chilled out electric guitar and hypnotic lead accompaniment; be it tenor saxophone, sine wave synthesizers, or, in this case, a sly flute. Most tracks on this record, from 86-120 bpm, include a repeating, eighth note cymbal, carrying us on our way. Exceptions such as “Grand Bahama” wow me in their syncopated elements–incorporating a conga-tom takeover as well as triangular tinges providing backing to a piercing and dreamy lead synth on a funk inspired track. The laziest and likely most aesthetic track off the record “Una” strangely reminds me of synthwave and liminal space aesthetics, while also being the perfect track for a hot and tropical poolside lounge. PWNT brings the heat on Volumes i, establishing themselves as someone who has the ability to not only produce sweet, nova-inspired tunes, but also as an artist that can improve from previous years' experience.

— Ryan Mercer

Little Moon, Dear Divine

Highlight Tracks: “blue”, “bashful lovers”, “now”, “we fall in our sleep”

Genre: Shoegaze, bedroom pop

RIYL: Kate Bush, Cocteau Twins, Beach House, Melanie Martinez

Dear Divine by Little Moon is a stunning blend of ethereal, melodic, peaceful, and atmospheric soundscapes. Little Moon's vocals, ranging four octaves, are the star of the show. One of my favorite songs, “blue,” has an incredible vocal run that gives the sensation of floating above it all, observing from a serene, otherworldly perspective. Lyrically the album deals with many religious themes, a search for inner peace, self love, and love for others, with my favorite songwriting being from “bashful lovers”. It's a beautifully melodic and peaceful experience, with moments of striking vulnerability and clarity, making each song feel like a personal journey. The strings, soft synths, and airy piano melodies create a dreamlike vibe that perfectly complements the beautiful vocals. Subtle electronic touches and reverb effects add an extra layer, making everything feel more immersive and magical.

– Samantha Kent 

Bike Routes – “Rush of Energy”

Highlight Tracks: “You Want It You Got It”, “World Apart”, “Nebraska”

Genre: Folk, indie-rock, indietronica, pop-punk

RIYL: Owl City, Savings, Pinegrove

Bike Routes' David Osterhout is openly emo on their latest EP, “Rush of Energy”. With a solid and fresh indie rock take, the opening track, “You Want It You Got It”, will convince you of this South Jersey singer/songwriter's vocal and instrumental potential. While incorporating acoustics and folk tinge similar to previous works, David manages to create an entirely new sound through emo vocalizations with a tight mix. The title track, “Rush Of Energy”, is an existential piece at its core, maintaining captivating lyrics and a slower pace as we enter the latter half of the EP. Track 4, “Nebraska”, has the indietronica chops you didn't know you needed, and a dreamy, multilayered synth-string lead atop a fuzzy ambient electronic drum kit–if you weren't careful, you might mistake this one for an Owl City track. David closes out the EP with “Killing Cattle In The Valley”, an anxious folk track that shuffles toward its own bitter end; serving as both the perfect closing track for this record and one large step toward a new, refined sound for Bike Routes.   

— Ryan Mercer

Chinese American Bear- Wah!!!

Standout Tracks: “Take Me To Beijing (一​起​回​北​京​),” “Kids Go Down (​孩​子​们​的​时​光​)”

Genre: Synthpop, indie

RIYL: Caroline Polacheck, Melody's Echo Chamber, Crumb

Chinese American Bear presents a new series of fun and unique songs on their Sophomore album, Wah!!!. They expertly blend old vibes reminiscent of the instrumentals of 60s pop with more modern synth, transporting listeners through time. The pop duo's personality shines through their songwriting and lyricism, resulting in a bubbly and easygoing feel. The casual topics of songs make the album perfect to listen to whenever you need to brighten your day. 

— Evelyn Krohn

Japandroids – Fate & Alcohol

Highlight Tracks: “D&T,” “Upon Sober Reflection,” “A Gaslight Anthem”

Genre: Punk rock, indie rock

RIYL: Cloud Nothings, Ty Segall, Screaming Females

This being my first experience with Japandroids, I found it ironic that this is their final album! An interview on National Public Radio (NPR) with half of the indie rock duo, David Prowse, offers a bit of insight into the album, particularly why they're calling it quits here. Touching on a few points in the interview, the main reason for their exit from the music world is simply thanks to the different points the duo are at in their lives. Lead vocalist Brian King is starting a new chapter as a father! The song deals with themes such as substance abuse, life, the future and the past. The second track, “D&T,” reflects the change in both men's lives. Listeners get a glance into King's mind, and his evolution from a young, lively rockstar to a partied-out adult. The aggressive beat and exuberant guitar are paired with King's entrance into the real world. 

Carried on in track five, “Upon Sober Reflection,” Prowse talks about King's personal relationship to those songs, saying “It's hard for him to untangle music with sort of the darker things that have come along with it” (David Prowse, NPR). “Upon Sober Reflection” is actually my favorite song on the track. The track starts with a classic Japandroids fast paced rock/guitar melody, before transitioning into a much slower tempo, reflecting the deviation in King's lifestyle, becoming healthier and his progression into a more professional routine. Prowse leads the vocals on track seven, “A Gaslight Anthem,” showcasing his deep, rich voice contrasting King's whiny, rushed singing style. This is yet another song reflecting on unhealthy habits of substance abuse. This song is raw in a way others aren't, and Prowse's vulnerability creates an emotional response and allows listeners to connect with the duo. Jumping back to track four, “Chicago” is another track that was born from a deep connection between the artists. The consistent guitar lays a great foundation for the authentic lyrics in the song, and is paired by continuous snare drums and strong harmonies. This song is a homage to change, tragedy, and connectivity. I would recommend it to any fans of punk rock with some versatility! 

— Avery Chheda