Atomic Cafe - "Stranger" (self-released)
We love a good charity single. Especially if it's as good as "Stranger." Atomic Cafe follow up their Flamingo EP from May with this one-off; all proceeds go to the Battered Women's Justice Project.
If I didn't know that this single came out last month, you could have easily convinced me it came in the mid-20th century. The folk-y guitar and vague sheen of psychedelia paint a vivid impression of what your dad listens to in the car (and I mean that in the best possible way). The only thing that might clue you in that "Stranger" didn't come out in the late 1960s is the recording quality - the song has a stellar, clean mix. From the idyllic cover to rollicking lilt in the rhythm, Atomic Cafe rest easy with a pure and classic tune. If only it had been released in August, it could have soundtracked the unhurried end of summer. Purchase the track below (c'mon, it's for charity) or stream it wherever.
Shrinking Violets - "Ghosthunting" (self-released)
We're a bit late on most of the songs in this column (a predictable side effect of our busy schedules), but things not to be too time-sensitive. Unfortunately, we missed the boat on the Halloween-adjacent-but-not-actually-spooky new song from Shrinking Violets.
"Ghosthunting" is as back to basics as a band with three songs can get. What I mean to say is that it reminds me more of the band's debut single "Holding You Back" than this fall's other throwback anthem "Nightclub Ballroom." The focus is back on the dueling weapons of Joe Cristo's voice and snaggle-toothed lead guitar lines. Shrinking Violets are in and out in a swift fashion - they kicked down the door, performed a séance that resurrected classic rock, then burned down the building.
I'm looking forward to hearing the band continue to refine their brand of rock on future songs like "Ghosthunting" and expanding their palette slightly on stuff like "Nightclub Ballroom." As we patiently wait for a more substantive release, stream "Ghosthunting" below.
Natalie Fideler - "Power Move" (self-released)
To be completely honest, I'm kicking myself for not discovering Natalie Fideler earlier. Her particular brand of tongue-in-cheek alt-rock toes the line between politics and personal. For the sake of clarity, I mean political in that everything is political - in this case, the power dynamics of a relationship. The song isn't political-political, unless there's some sort of deep state Epstein-didn't-kill-himself BS buried in there.
Fideler follows up last year's Steak & Eggs with new single "Power Move." It's a break-up song, but instead of being malicious, it's just funny. Flexing on an ex brings a very specific type of pride, and Fideler finds that in two things: her nudes and her jeans. "This used to be yours, but now it's all mine" goes the kiss-off subtext. It typifies the best kind of modern songwriter: exceptionally self-aware, willing to inject humor into what could be a morose situation, and capable of coming up with hooks for days.
Check out the forever-catchy "Power Move" below. Fideler also helped make a track for She Rock She Rock's 2019 Fall Fundraiser - go download it here.
I've never been more unnerved by a stuffed panda than I am by the one in the cover art.
Mister Wes yet again prove to be undefinable. On new single "The House of Clöth," Mister Wes trade in the uproarious energy of their other recent singles for pure menace. The song's muted intro is going to sneak up on me and stick a pillowcase over my head. From there, it ramps up in intensity layer-by-layer; instead of getting faster, it grows in density, like a sonic black hole. Vocalist/guitarist Caleb Bakke screams as he tries to get away.
While the title might seem kind of silly (especially with the umlaut), "The House of Clöth" takes advantage of the same fears that horror movies do when they turn our childhoods into our nightmares. It's an adventure in discomfort I never would have expected from the band. Stream the song on Spotify below or wherever (it's up to you).
WONDERFUL
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