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                        <loc>https://sound-is-free.com/editorial</loc>
            
            
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.86; color: rgba(0, 0, 0, 0.85);&quot;&gt;Alex G - Headlights &lt;span style=&quot;--font-scale: 1.86; color: rgba(0, 0, 0, 0.85);&quot;&gt;[Review (Unarchived)]&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;
        &lt;span style=&quot;--font-scale: 1.32;&quot;&gt; Because of his devoted fans, Alex G has cultivated a vast musical archive, with &lt;a href=&quot;https://www.google.com/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://www.youtube.com/%40blockperce&amp;ved=2ahUKEwje0Jry286OAxU5F1kFHbopJ0YQFnoECBsQAQ&amp;usg=AOvVaw3-bbsMRqANIhHu9ccfJKVj&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;entire profiles&lt;/u&gt;&lt;/a&gt; dedicated to unearthing his unreleased music, beginning with his noisy teenage &lt;a href=&quot;https://theskincells.bandcamp.com/album/nude-years-2013&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;garage band&lt;/u&gt;&lt;/a&gt;. If you found out about Alex G through a Youtube recommendation of this sort or from (some of) his Tiktok hits, you might be surprised to hear the slick production and mostly radio-friendly nature of his newest album, &lt;a href=&quot;https://www.google.com/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://www.youtube.com/watch%3Fv%3D2WYzy0kc-2A&amp;ved=2ahUKEwiPq_T9486OAxUECnkGHRFbJSkQ78AJegQIGhAB&amp;usg=AOvVaw3Qikb2QHMts5L5ion6AGkr&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;&amp;#x22;Headlights&amp;#x22;&lt;/u&gt;&lt;/a&gt;. &lt;br /&gt;
&lt;br /&gt;
    However, the same themes and sounds that crop up across Alex G’s entire discography, like his love for &lt;a href=&quot;https://www.youtube.com/watch?v=N8DJSur7ymU&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;Yamaha presets&lt;/u&gt;&lt;/a&gt; and &lt;a href=&quot;https://www.youtube.com/watch?v=AaIf4X_wgA8&amp;list=RDAaIf4X_wgA8&amp;start_radio=1&amp;pp=ygUJYnJpdGUgYm95oAcB&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;pitch-distorted&lt;/u&gt;&lt;/a&gt; vocals, appear on his newest record as well. As his sound has evolved from the lowest of lo-fi recordings on a Scarlett and a laptop to being &lt;a href=&quot;https://www.sonymusic.ca/press_release/alex-g-releases-headlights#:~:text=%5BFriday%2C%20July%2018th%2C,comes%20a%20visualizer%20for%20&#039;Oranges.&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;bankrolled by a major&lt;/u&gt;&lt;/a&gt;&lt;u&gt; label &lt;/u&gt;for the first time on Headlights, Alex G has continued to hold onto the stories and instruments that he loves. On this record, he pushes towards a new place in his lyrics: adulthood. “I’ve been on the road for a long time / I’m about to lose my mind” sounds full of distress without the cheerful, lilted delivery and heavy downbeat t&lt;span style=&quot;--font-scale: 1.32;&quot;&gt;hat accompanies it &lt;/span&gt;on the album’s closer, &lt;a href=&quot;https://www.youtube.com/watch?v=mwQA_ow0JTs&amp;list=RDmwQA_ow0JTs&amp;start_radio=1&amp;pp=ygULbG9nYW4gaG90ZWygBwE%3D&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;“Logan Hotel (Live)”&lt;/u&gt;&lt;/a&gt;. This line doesn’t feel like it comes from one of the &lt;a href=&quot;https://medium.com/@seymourmusic/something-left-unclear-the-characters-of-alex-g-d7e8dcf304d7&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;characters&lt;/u&gt;&lt;/a&gt; that Alex G often conjures up, even (for example the reoccuring football star on the cover of DSU, and now as a character in &lt;a href=&quot;https://www.youtube.com/watch?v=rk6LdBQfP9M&amp;list=RDrk6LdBQfP9M&amp;start_radio=1&amp;pp=ygUKYmVhbSBtZSB1cKAHAQ%3D%3D&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;“Beam Me Up”&lt;/u&gt;&lt;/a&gt;, one of my favorite songs on the new record), but a blunt opening--not shrouded in any metaphor--to a track about reckoning with change and growth. &lt;br /&gt;
&lt;br /&gt;
    This angle from a 32-year-old Alex G does not mean that “Headlights” lacks experimentation or playfulness, however. &lt;span style=&quot;--font-scale: 1.32;&quot;&gt;After being probed by a Pitchfork interviewer on what makes Logan Hotel any more live than the other studio-produced tracks on the album, Alex G replied: “I like putting “live” on shit.”&lt;/span&gt; For tracks that veer into new territory, &lt;a href=&quot;https://www.google.com/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://www.youtube.com/watch%3Fv%3D7lOHp6r0oIs&amp;ved=2ahUKEwjZltuI5M6OAxVavokEHeblFi0Q78AJegQIFhAB&amp;usg=AOvVaw2FzE74D_OacZrAUTCIt83q&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;“Louisiana”&lt;/u&gt;&lt;/a&gt; and &lt;a href=&quot;https://www.google.com/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://www.youtube.com/watch%3Fv%3DedOaK3lcLeg&amp;ved=2ahUKEwjZjteO5M6OAxXkrokEHdZVDzEQ78AJegQIDxAB&amp;usg=AOvVaw12v57t5ZPQSnISbtrKyf2G&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;&amp;#x22;Bounce Boy&amp;#x22;&lt;/u&gt;&lt;/a&gt; come to mind, the former a slow head-banger with vocals that feel coated in pitch-altered molasses; and the latter an upbeat dance-track with a mathy bass riff and &lt;a href=&quot;https://www.jsonline.com/story/entertainment/music/2023/05/16/milwaukees-lowend-rap-scene-certified-trapper-ayoolii-jp/70146209007/&quot; rel=&quot;noreferrer noopener&quot; target=&quot;_blank&quot;&gt;&lt;u&gt;Milwaukee lowend&lt;/u&gt;&lt;/a&gt; claps ( I hope). &lt;br /&gt;
&lt;br /&gt;
    The live show was great. He’s kept the same band--Sam Acchione (guitar/keys), John Heywood (bass) and Tom Kelly (drums)--pretty much his entire career, and although they were still working out some new songs at the start of the tour, they have the whole act pretty much locked. I asked him to play “Boy” during the encore and he did. He never gets too wasted in NYC, but it seemed like Boston was the right place to do it. No Elton John covers or yelling at the audience though, sadly.  At risk of sounding jaded, I did notice that as the years have gone by of seeing Alex G live, the crowd knows less and less of the old songs, which is natural for an artist getting more popular, but Tiktok definitely fast-tracked that aspect in particular. Still, you can’t really get mad at people for seeing music they like.  
 
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.86; color: rgba(0, 0, 0, 0.85);&quot;&gt;Otto Benson - Peanut [Review]&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;    &lt;span style=&quot;--font-scale: 1.32;&quot;&gt;Otto Benson has had a few different aliases since he started releasing music publicly as a teenager. These different names (mostly) coincide with experimentations in genres and styles. As &lt;a href=&quot;https://memo-boy.bandcamp.com/album/wnoadiarwb&quot; target=&quot;_blank&quot;&gt;Memo Boy&lt;/a&gt;, Benson made catchy 4-track-style indie rock. Under the moniker &lt;a href=&quot;https://plzmakeitruins.bandcamp.com/album/clam-day&quot; target=&quot;_blank&quot;&gt;OTTO&lt;/a&gt;,  he sways more to upbeat dance-pop with skittering drum machines and chipmunk vocals. There are a few more out there that I haven’t mentioned. I first got into his music from seeing the artwork for his album “&lt;a href=&quot;https://wnoadiarwb.bandcamp.com/album/songs-before-bed-2022&quot; target=&quot;_blank&quot;&gt;Songs Before Bed (2022)”&lt;/a&gt;, (then, the artist name was Pudding Club, and it is still like this on Apple Music because they suck with artist profiles) which is a painting of a cat perched on top of a large equally-orange moon, both sporting similarly smug expressions to the characters you see in the Peanut art above&lt;text-icon icon=&quot;upwards-arrow&quot;&gt;&lt;/text-icon&gt;. Benson describes the record as its title might suggest, &lt;a href=&quot;https://wnoadiarwb.bandcamp.com/album/songs-before-bed-2022&quot; target=&quot;_blank&quot;&gt;“a soundtrack for winding down before bed”&lt;/a&gt;, and the beautifully calm and melancholy compositions of this record have lulled me to sleep, or at least a state of calm, many times.&lt;br /&gt;&lt;br /&gt;     Since then, I’ve made my way through his backlog and waited on new releases from Benson. In the first couple tracks of “Peanut”, it becomes clear this is a uniquely different record than previous projects. His voice is sharp and unaltered, at the center of the recording, accompanied only by sparse instrumental motifs that mostly hang in the background, apart from acoustic guitar which is a mainstay. His writing is witty and unassuming, and each song has a careful balance of mystique and appeal. If you look through Benson’s Bandcamp, a few of his albums are outlined with clear intentions for the listener, like the previously quoted description for “&lt;a href=&quot;https://wnoadiarwb.bandcamp.com/album/songs-before-bed-2022&quot; target=&quot;_blank&quot;&gt;Songs Before Bed (2022)”.&lt;/a&gt; In &lt;a href=&quot;https://effectivepower.substack.com/p/otto-benson-interview&quot; target=&quot;_blank&quot;&gt;interviews&lt;/a&gt;, Benson often gravitates towards a cosmic explanation for his connection to music, which aligns with these written instructions for the listener that are meant to guide one through the project in a grounded way. Human connection, or lack thereof, is at the center of Benson’s music, and on Peanut, the intentionality that was always present in Otto Benson’s music is at its most focused yet.  &lt;/span&gt;
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.86; color: rgba(0, 0, 0, 0.85);&quot;&gt;Drake, Worldpeace DMT and contemporary digital archiving, or, how to stay connected with your fans in the 2020s [Essay]&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;    &lt;span style=&quot;--font-scale: 1.32;&quot;&gt; The internet has always been a great place for pirating music. &lt;a href=&quot;https://en.wikipedia.org/wiki/Napster&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;Napster&lt;/a&gt; took advantage of this truth and &lt;a href=&quot;https://www.musicbusinessworldwide.com/sony-music-sues-napster-over-9-2m-in-unpaid-royalties-up-to-37-5m-in-copyright-claims/&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt; are now paying for it&lt;/a&gt;, but that hasn&amp;#x27;t really stopped anyone. P2P file-sharing sites like &lt;a href=&quot;https://www.slsknet.org/news/&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;Soulseek&lt;/a&gt; are still active, even though my account was banned after using it three times. In spite of the streaming era, Carti fans have amassed hundreds of his leaked songs in &lt;a href=&quot;https://heystacks.com/doc/1467/playboi-carti-tracker&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;meticulously organized spreadsheets &lt;/a&gt;and &lt;a href=&quot;https://open.spotify.com/artist/0bC6e2YtIRLbKx2txHFmEo&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;anonymous accounts&lt;/a&gt; make pretty good money uploading Alex G’s viral unreleased tracks to streaming services.&lt;br /&gt;&lt;br /&gt;   Increasingly, artists have combatted this issue by beating leakers to the punch and putting out their own unreleased music off-streaming, like Drake making a&lt;a href=&quot;https://www.instagram.com/plottttwistttttt/?hl=en&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt; “burner” Instagram&lt;/a&gt; account full of screen recordings of voice memos. This seems to work well, and I can imagine that for lovers of the 6 God, your IG algorithm serving you a post from @plottttwistttttt is like a warm, tender embrace from Aubrey Graham himself :).&lt;br /&gt;&lt;br /&gt;   This kind of faux-indie self-releasing is good for business, but it’s not real. I’m sure some executive on Drake’s marketing team thought it up as a way to redirect traffic from online leakers and [ultimately] send it back to Drake’s Spotify. At the same time, you have the bonus of giving fans the feeling that even though Drake is the most popular artist in the world, he’s still niche! And so are you for knowing about his finsta!&lt;br /&gt;&lt;br /&gt;   What feels a lot more organic is using the same free-to-use sites that leakers take advantage of (Youtube, Soundcloud) as another way to just put out your music - as opposed to doing it as as a reaction to the unauthorized releases. Worldpeace DMT (Leo Fincham) is uploading his self-produced noise-rock covers of Young Thug and The Kinks with help from &lt;a href=&quot;https://bassvictim.net/&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;Bassvictim&lt;/a&gt;’s Ike Clateman and &lt;a href=&quot;https://thefemcels.bandcamp.com/&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;The Femcels&lt;/a&gt; on &lt;a href=&quot;https://www.youtube.com/@psychedelicdump&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;Psychadelicdump&lt;/a&gt;, a faceless Youtube account with a little over a thousand subscribers. On streaming, WPDMT has only a single, a few features and a fantastic debut album with Rowan Please, but Psychadelicdump reveals the dozens of covers, rehearsal tapes, demos and performances that fill in the gaps of how Fincham got to the freaked-out sound that is so well-defined on The Velvet Underground &amp;#x26; Rowan.
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.32;&quot;&gt;&lt;span style=&quot;--font-scale: 1.86; color: rgba(0, 0, 0, 0.85);&quot;&gt;British Underground, Y2K, and (maybe) the birth of Laptop-Twee [Essay]&lt;/span&gt;&lt;br /&gt;
 &lt;/span&gt;&lt;span style=&quot;--font-scale: 1.32;&quot;&gt;&lt;span style=&quot;--font-scale: 1.32;&quot;&gt; &lt;br /&gt;    Nostalgia is powering the independent sound! In reaction to the uncontrollable push to the future of tech, there is a potent desire for organic and real-sounding music. It seems like the easiest way to achieve this is looking to the aesthetics of music on the internet in the unregulated infancy of the 2000s-10s. This means saturated visuals in 400fps, glitches, loops, distortion, and lo-fi emulation abound. The most commercially successful example of this I can think of is the current UK underground rap scene, and the entire trend can be boiled down to &lt;a href=&quot;https://www.youtube.com/@LAUZZA&quot; target=&quot;_blank&quot;&gt;Lauzza&lt;/a&gt;’s video for &lt;a href=&quot;https://www.youtube.com/watch?v=ek6dQ9IGOvQ&quot; target=&quot;_blank&quot;&gt;YT &amp;#x26; Lancey Foux’s “Black &amp;#x26; Tan”&lt;/a&gt;. Taking the &lt;a href=&quot;https://www.youtube.com/watch?v=1Az2J7ONvWw&amp;t=68s&quot; target=&quot;_blank&quot;&gt;bounce&lt;/a&gt; and &lt;a href=&quot;https://www.youtube.com/watch?v=z5u6eYq-UtA&quot; target=&quot;_blank&quot;&gt;swag&lt;/a&gt; of early 2000s &lt;a href=&quot;https://www.youtube.com/watch?v=1Az2J7ONvWw&amp;t=68s&quot; target=&quot;_blank&quot;&gt; &lt;/a&gt;beats and videos and cranking up the pastiche until it itself is a contemporary artifact. It doesn’t hurt that&lt;a href=&quot;https://www.goat.com/editorial/lancey-foux-interview&quot; target=&quot;_blank&quot;&gt; Lancey Foux &lt;/a&gt;is one of the most reliable features you can get. This style unabashedly pays homage to its forefathers, and that homage is a crucial part of the appeal. &lt;br /&gt;
&lt;br /&gt;
    In other burgeoning scenes pulling from the 2000s, these influences are splintered and harder to trace. Lower-fi or otherwise less polished indie music with electronic sounds has always been my favorite stuff to listen to, and recently I’ve seen a new strain of this kind of music that draws from early internet aesthetics in a similar way to the UK underground.&lt;a href=&quot;https://www.ninaprotocol.com/hubs/laptop-twee&quot; target=&quot;_blank&quot;&gt; Laptop-twee&lt;/a&gt; is an emerging term that many seem to be attached to, but I prefer the idea that this genre is based on a kind of soft abstraction and blending of notoriously hard-style genres to ultimately create nostalgic pop. For example, low-passed screamo vocals are a hallmark on tracks like &lt;a href=&quot;https://www.youtube.com/watch?v=Fo1peSQSo-E&quot; target=&quot;_blank&quot;&gt;Worldpeace DMT’s “Hello Marshmallow”&lt;/a&gt; and &lt;a href=&quot;https://www.youtube.com/watch?v=SV-Maxz_pMo&quot; target=&quot;_blank&quot;&gt;b7lanket’s “pitcher! not a belly itcher”&lt;/a&gt; (check out the rest of &lt;a href=&quot;https://music.apple.com/us/album/frogtopia-ep/1809320787&quot; target=&quot;_blank&quot;&gt;frogtopia&lt;/a&gt; for a delightful listen). Also, muted versions of classic club instrumentation like on &lt;a href=&quot;https://www.youtube.com/watch?v=h4qAegtmZyg&quot; target=&quot;_blank&quot;&gt;Nikki Nair’s “Juliette” with Harmony &amp;#x26; Blaketheman1000&lt;/a&gt;, which would be a &lt;a href=&quot;https://www.youtube.com/watch?v=aXZJbQLl_3k&quot; target=&quot;_blank&quot;&gt;Moldy Peaches&lt;/a&gt; song if it wasn’t for the jersey club kick pattern. &lt;br /&gt;
&lt;br /&gt;
        At its core, the Pop-y blending of drum-machines, guitars and synthesizers to make compelling love songs has been a fool-proof strategy for niche success since the 90s.&lt;a href=&quot;https://www.youtube.com/watch?v=DDqNL0js0iU&amp;list=RDEMXY-cXyrJsSefOEGJwp7ZmQ&amp;start_radio=1&quot; target=&quot;_blank&quot;&gt; Broken Social Scene&lt;/a&gt;, &lt;a href=&quot;https://www.youtube.com/watch?v=aC6C1UXl2Io&quot; target=&quot;_blank&quot;&gt;Yo La Tengo&lt;/a&gt; (&lt;a href=&quot;https://www.youtube.com/watch?v=hTzHIBr_WB8&quot; target=&quot;_blank&quot;&gt;after the fuzz-phase&lt;/a&gt;), and &lt;a href=&quot;https://www.youtube.com/watch?v=JOyF5FI3fIo&amp;rco=1&quot; target=&quot;_blank&quot;&gt;The American Analog Set&lt;/a&gt; come to mind as members of this sect that achieved critical adoration and cult fans, and these bands stand out against the larger landscape of American indie because of their quirky (or you could say TWEE) styles. But AmAnSet just so happened to be one of the only American bands signed to &lt;a href=&quot;https://morrmusic.com&quot; target=&quot;_blank&quot;&gt;Morr Music&lt;/a&gt;, a German label at the height of their operations at the turn of the century. After doing some exploring of their roster, which has a few artists that have broken into the mainstream, it becomes clear that these bands that seem like anomalies in the US scene were part of a larger movement across the Atlantic. I recommend listening to:&lt;br /&gt;
&lt;ul&gt;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=XHRTnS62UD8&quot; target=&quot;_blank&quot;&gt;B. Fleischmann&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=ixP2mFnwqEw&quot; target=&quot;_blank&quot;&gt;Dntal&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=44ipNcAr9QQ&amp;list=OLAK5uy_l6jFo4DhDCFNFWFuQCjne-RJoEltzraJY&amp;index=2&quot; target=&quot;_blank&quot;&gt;Guitar&lt;/a&gt; (more shoegaze here)&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=VK5Up0JUguM&amp;list=PL_RdJ0q8iQQe817kqd4d0-Vq_4Nb153rs&amp;index=5&quot; target=&quot;_blank&quot;&gt;Guther &lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=J3z_E4fRGnY&amp;list=RDEM7PpE7VMJmvUdT1VF8SM0dg&amp;index=5&quot; target=&quot;_blank&quot;&gt;Lali Puna &lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=spqm59oJbmc&amp;list=PLgiF6PIW3TGL6MOSjHnVvWHzXn6JRxyFb&amp;index=6&quot; target=&quot;_blank&quot;&gt;Hermann &amp;#x26; Kleine&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.youtube.com/watch?v=NkzSHos5_y8&quot; target=&quot;_blank&quot;&gt;The Go Find&lt;/a&gt;&lt;/li&gt;&lt;/ul&gt;
       Or, &lt;a href=&quot;https://music.apple.com/us/playlist/quirked-2ks/pl.u-MDAWbpgTWdV7y4y&quot; target=&quot;_blank&quot;&gt;this playlist&lt;/a&gt; that I made with all of them and a lot more cool artists from adjacent labels (Hood and Manual in particular!).There is an extensive mosaic of artists around the world that were making this type of unique and experimental music in the early 2000s, and I feel that these bands are collectively one of the main precursors to the nostalgic-pop genre-blending renaissance that is happening on the internet today. &lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.32;&quot;&gt;&lt;span style=&quot;--font-scale: 1.86; color: rgba(0, 0, 0, 0.85);&quot;&gt;Chanel Beads LIVE at JWAR &lt;span style=&quot;--font-scale: 1.86; color: rgba(0, 0, 0, 0.85);&quot;&gt;[Review (Unarchived)]&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;    
 &lt;span style=&quot;--font-scale: 1.32;&quot;&gt; This past weekend &lt;a href=&quot;https://chanelbeads.bandcamp.com/&quot;&gt;Chanel Beads&lt;/a&gt; headlined the last day of JWAR Fest, a three-day residency for over a dozen bands at Philadelphia’s &lt;a href=&quot;https://www.ukieclub.com/&quot;&gt;Ukie Club&lt;/a&gt;, organized by &lt;a href=&quot;https://www.juliaswar.com/&quot;&gt;Julia’s War&lt;/a&gt;. My girlfriend and a few friends of mine drove down in a mini-van to see the band on Sunday. Ukie Club is just one part of the Ukrainian American Citizens Association, a multipurpose space in Fishtown (“The Williamsburg of Philly”, according to my cousins). The building is massive in size, but has an unassuming cement facade. It looks like an unlikely venue for hip rock bands, but the endless number of mustache-ioed, cargo-short-and-trucker-hat wearing patrons of JWAR Fest made it clear that we were in the right place. Between sets they could be found adorning the front steps, smoking cigarettes in the courtyard, or dealing out merch in the back of the basement concert hall of Ukie Club. Each band took a half-hour set on the same stage, accompanied by live analog projection work.&lt;br /&gt;

&lt;br /&gt;
    Inside was dimly lit and wood-panelled. It looked as though it used to be much more of a bar than it is now. We caught all but two of the six bands that played, including a break for a dodgeball tournament halfway through. After &lt;a href=&quot;https://stabhorrormovie.bandcamp.com/&quot;&gt;Stab&lt;/a&gt;, self-described as a “&lt;a href=&quot;https://www.instagram.com/p/DLgR-tht-xd/?hl=en&amp;img_index=1&quot;&gt;shoegaze-adjacent alt-rock quartet&lt;/a&gt;” played a set of distorted guitar work and crooning, their frontman joined a sea of graphic tees lined up on the pitch in the grassy backyard of Ukie Club. As I watched bands and audience members alike pelting balls at each other, JWAR Fest began to make sense to me. It was equally as much a music festival as it was a way for the indie-rock enthused 20-somethings of North Philly to get together and hang out. &lt;br /&gt;

&lt;br /&gt;
    Chanel beads were not a part of this niche as the headliners of the day. Shane Lavers and Maya Colle make up the duet, and I’ve been avidly following them for about a year now. As a touring band, they expand to a trio with Zachary Paul on electric violin. I saw the three of them as Chanel Beads at Public Records last winter, and without Paul as Maya Colle’s solo project, &lt;a href=&quot;https://c0ll3.bandcamp.com/album/montalvo-tru008&quot;&gt;Colle&lt;/a&gt;, in the spring. The band has developed a clear palette of sound with only a debut record and a handful of singles over the past few years. &lt;br /&gt;

&lt;br /&gt;
    Colle was on lead guitar, easily replicating the moody, alluring sound of the record with only an old &lt;a href=&quot;https://www.boss.info/us/products/me-50/&quot;&gt;Boss ME-50&lt;/a&gt; guitar processor and a Wah pedal. Zachary Paul was fantastic on the violin, providing drones and textures that filled out the performance. Lavers gave the show some bite, his on-stage mannerisms a mismatch to his quiet and polite chatter with fans after the show. As the opening to “&lt;a href=&quot;https://www.google.com/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://www.youtube.com/watch%3Fv%3DseFpfSEr0Io%26pp%3D0gcJCfwAo7VqN5tD&amp;ved=2ahUKEwjh07CIq9aOAxXPlIkEHafVHyIQuAJ6BAgIEAY&amp;usg=AOvVaw1teuzXeNvDOE6wGtnpUv-7&quot;&gt;Unifying Thought&lt;/a&gt;” played, he leered at the audience, his pacing of the stage interrupted only by ad-libbed hisses into the mic. His vocal delivery was sharp and unpredictable, certain words erupting into screams, and others subdued to a whisper. It was a 50-minute set, but the three performers made it through the band’s entire catalog, excluding the first EP listed under Chan\l Beads on major streaming, &lt;a href=&quot;https://www.google.com/url?sa=t&amp;source=web&amp;rct=j&amp;opi=89978449&amp;url=https://m.youtube.com/watch%3Fv%3Dd23XwglLmBQ&amp;ved=2ahUKEwj-_KKdq9aOAxW9lIkEHdcXMQEQtwJ6BAgIEAI&amp;usg=AOvVaw3I4pkeWSZeC9cdxsIoV3k7&quot;&gt;&lt;i&gt;Zut Alors&lt;/i&gt;&lt;/a&gt;, a solo project by Lavers (there’s more early work from Lavers on Bandcamp). &lt;br /&gt;

&lt;br /&gt;
Full list of performers:&lt;br /&gt;

&lt;br /&gt;
&lt;a href=&quot;https://kettlekettle.bandcamp.com/album/blown-up-days&quot;&gt;Kettle&lt;/a&gt;, &lt;a href=&quot;https://stabhorrormovie.bandcamp.com/&quot;&gt;Stab&lt;/a&gt;, &lt;a href=&quot;https://loadcard.bandcamp.com/track/turn-toward-you&quot;&gt;Loadcard,&lt;/a&gt; &lt;a href=&quot;https://www.instagram.com/mtvh1n1/?hl=en&quot;&gt;MTV&lt;/a&gt;, &lt;a href=&quot;https://explodinginsoundrecords.bandcamp.com/album/bad-history-month&quot;&gt;Bad History Month&lt;/a&gt;, &lt;a href=&quot;https://worldsworstslc.bandcamp.com/&quot;&gt;Worlds Worst&lt;/a&gt;, &lt;a href=&quot;https://chanelbeads.bandcamp.com/&quot;&gt;Chanel Beads.&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;color: rgba(0, 0, 0, 0.85); --font-scale: 1.86;&quot;&gt;New Jersey&amp;#x27;s Most Famous Car Wreck&lt;/span&gt;&lt;br /&gt;
&lt;span style=&quot;--font-scale: 1.32;&quot;&gt;    &lt;br /&gt;    
The other day I was listening to Earl Sweatshirt’s side of the first single for his &amp;#x26; MIKE’s long-awaited collaborative album, &lt;a href=&quot;https://www.pompeiiutility.com&quot; target=&quot;_blank&quot;&gt;Pompeii//Utility&lt;/a&gt;. It’s a 33-track double-LP produced entirely by the minimal-sample-based-beat-collective, &lt;a href=&quot;https://surfgang.nyc/releases&quot; target=&quot;_blank&quot;&gt;Surf Gang&lt;/a&gt;. The double backslash in the title breaks the album up into two sections: the first 15 tracks being MIKE’s and the next 18 being Earl’s. It’s an homage to Outkast’s&lt;a href=&quot;https://www.okayplayer.com/the-secret-history-of-outkasts-speakerboxxx/the-love-below-the-last-truly-great-double-album/619680&quot; target=&quot;_blank&quot;&gt; Speakerboxxx/The Love Below (2003)&lt;/a&gt;, an epic record with the same concept. Earl and MIKE have never been quiet about their influences, and their music is often a vivid patchwork of references to and representations of the art, music, and &lt;a href=&quot;https://pitchfork.com/features/interview/mike-knows-a-thing-or-two-about-showbiz/&quot; target=&quot;_blank&quot;&gt;people&lt;/a&gt; that they &lt;a href=&quot;https://www.ssense.com/en-ph/editorial/music/earl-sweatshirt-live-laugh-love&quot; target=&quot;_blank&quot;&gt;love&lt;/a&gt;. I recognized one of these artifacts in the instrumental for “&lt;a href=&quot;https://www.youtube.com/watch?v=wV5lfQq-jfY&quot; target=&quot;_blank&quot;&gt;Earth&lt;/a&gt;”. Along with an iPhone charging sound effect, a car crash sound plays two or three times in the instrumental. This was a sound I’d heard dozens of times now, and I’d used the exact one in beats myself…..so I decided to do some research and answer the question: Why are there so many producers using this one sound effect?&lt;br /&gt;
&lt;br /&gt;
    I heard “&lt;a href=&quot;https://samplefocus.com/samples/car-crash-and-siren&quot; target=&quot;_blank&quot;&gt;Car Crash and Siren&lt;/a&gt;” for the first time in 2022, after downloading a &lt;a href=&quot;https://www.reddit.com/r/Drumkits/comments/tmt71c/twerknation28_drum_kit_decided_to_make_a/&quot; target=&quot;_blank&quot;&gt;fan-made Twerknation28 drumkit &lt;/a&gt;from a Reddit thread. &lt;a href=&quot;https://www.ringtonemag.com/articles/in-memoriam-twerknation28&quot; target=&quot;_blank&quot;&gt;Twerknation&lt;/a&gt; was a Soundcloud collective that specialized in mash-up-based Jersey Club remixes, and they had been gaining momentum that year. This was a few months before “&lt;a href=&quot;https://www.youtube.com/watch?v=UhbixyxgsiU&quot; target=&quot;_blank&quot;&gt;Just Wanna Rock&lt;/a&gt;” came out and spread the genre to America’s youth at large. Granted, at this point Jersey Club was already quite saturated. The genre has borne witness to multiple rounds of virality on different scales across nearly 3 decades. The early origins come from the &lt;a href=&quot;https://soundcloud.com/brickbandits&quot; target=&quot;_blank&quot;&gt;Brick Bandits&lt;/a&gt; producers &lt;span style=&quot;--font-scale: 1.32;&quot;&gt;in Newark in the late 90s&lt;/span&gt;: &lt;a href=&quot;https://www.youtube.com/watch?v=hih3s-A2bL8&quot; target=&quot;_blank&quot;&gt;DJ Tim Dolla&lt;/a&gt; (RIP), &lt;a href=&quot;https://soundcloud.com/throwbackjerseyclub/mike-v-feelings&quot; target=&quot;_blank&quot;&gt;Mike V&lt;/a&gt;, and &lt;a href=&quot;https://www.youtube.com/watch?v=FzM0RnbqvAk&quot; target=&quot;_blank&quot;&gt;DJ Tamiel&lt;/a&gt;. These were DJs who burned CDs of Baltimore and Chicago-inspired club mixes made in &lt;a href=&quot;https://en.wikipedia.org/wiki/Acid_Pro&quot; target=&quot;_blank&quot;&gt;Sony Acid Pro&lt;/a&gt;, an early DAW that turned out to have good UI for remixes. Into the early 2000s, the sound got more complex, splintering into different styles across the state of New Jersey. From there, it picked up radio play and early-internet MySpace popularity quickly. Then &lt;a href=&quot;https://futureaudioworkshop.com/jersey-club-goes-viral/&quot; target=&quot;_blank&quot;&gt;Myspace &lt;/a&gt;-&amp;#x3E; &lt;a href=&quot;https://www.youtube.com/watch?v=aWLusU4MGVo&quot; target=&quot;_blank&quot;&gt;Dubsmash &lt;/a&gt;-&amp;#x3E; &lt;a href=&quot;https://soundcloud.com/twerknation28/dj-elm-park-dj-verrazannos?si=90d53151f7f1434eaefc9927123a5344&amp;utm_source=clipboard&amp;utm_medium=text&amp;utm_campaign=social_sharing&quot; target=&quot;_blank&quot;&gt;Soundcloud&lt;/a&gt; -&amp;#x3E; Tiktok, etc up until the present. This is an EXTREMELY abridged history of the genre, and I recommend you read “&lt;a href=&quot;https://finals.blog/posts/Greetings-from-Planet-Newark:-An-Extensive-Look-at-the-New-Generation-of-Jersey-Club&quot; target=&quot;_blank&quot;&gt;Greetings from Planet Newark: An Extensive Look at the New Generation of Jersey Club&lt;/a&gt;” for a more detailed breakdown spanning the 90s-2021. The general point of all this is that the sound is infectious and has maintained relevance as a genre for almost 30 years, starting &lt;span style=&quot;--font-scale: 1.32;&quot;&gt;(roughly)&lt;/span&gt; from &lt;a href=&quot;https://www.facebook.com/watch/?v=951694021554360&quot; target=&quot;_blank&quot;&gt;one 4-bar triplet kick pattern&lt;/a&gt;.&lt;br /&gt;
&lt;br /&gt;
    From that pattern, the sound has evolved to encompass a library of many more drum sounds and effects.  One of them is the Car Crash and Siren, a sample with so much influence it has a &lt;a href=&quot;https://lostfrog.bandcamp.com/album/car-crash-and-siren&quot; target=&quot;_blank&quot;&gt;beat tape named after it.&lt;/a&gt; The actual origins of the sound are hard to trace. Since it’s sometimes referred to as the GTA Crash, some have theorized that the sound gained popularity through the game. Sifting through &lt;a href=&quot;https://www.youtube.com/watch?v=20LhueM2KPQ&quot; target=&quot;_blank&quot;&gt;GTA V Car Crash compilations&lt;/a&gt;, you can hear–clear as day–the glass shatter of the Car Crash and Siren is layered with some other impact sounds when you crash. Others credited &lt;a href=&quot;https://www.passionweiss.com/2016/06/21/i-still-have-so-much-to-learn-and-digest-an-interview-with-cakedog/&quot; target=&quot;_blank&quot;&gt;Cakedog&lt;/a&gt;’s &lt;a href=&quot;https://www.youtube.com/watch?v=MEM5ccpWT6Q&quot; target=&quot;_blank&quot;&gt;WERKS&lt;/a&gt; album with popularizing the sound in the underground. Both of these theories are compelling, particularly because GTA V and WERKS came out in 2012 and 2013, suggesting a possible Car Crash and Siren renaissance in the early 2010s. My best guess is that the sound came from a &lt;a href=&quot;https://www.ebay.com/shop/sound-effects-cd?_nkw=sound+effects+cd&quot; target=&quot;_blank&quot;&gt;Stock Sound Effect CD &lt;/a&gt;a few decades earlier (accounting for the radio chatter and clear quality), and was ripped by club DJs from Hot 97 radio play. From there, it must have circulated through remixes and internet forums, but the meteoric rise and exact origins are still a mystery to me. On Youtube there’s an &lt;a href=&quot;https://www.youtube.com/watch?v=jrtP8MhUBjU&quot; target=&quot;_blank&quot;&gt;upload of the sound effect&lt;/a&gt; with almost 50,000 views, and the comments are full of people citing their favorite underground producers as the true pioneers of the Car Crash and Siren. The world may never know. There’s no doubt, however, that Jersey Club is deeply entrenched in pop culture and cutting-edge music today, and the popularity of sound effects like the Car Crash and Siren plays no small part in that.&lt;br /&gt;
&lt;br /&gt;
    A reason why this kind of sample-heavy dance music is so addictive to listen to is, without a doubt, the use of these atonal sound effects to denote emphasis on a bass hit or as a rhythm section itself. Jersey club makes mattress squeaks, whip-cracks and breathing chants melodic, creating soundscapes that will stick in your head for their repetition and reworking of the sampled audio. I think it boils down to people being generally more receptive to weird music than one might think, especially when it comes to dance music. That&amp;#x27;s why it&amp;#x27;s such a trend for mega-pop hits to have odd time signatures or strange instrumentals, because everyone just wants to hear something new and surprising that they haven’t heard before, and as long as it sounds good, you can probably sneak in a car wreck or two. &lt;br /&gt;&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.48;&quot;&gt;Portrait courtesy of Milkreset.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.35;&quot;&gt;&lt;b&gt;Earth Cycles (2025)&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;
Set of six stop motion animations drawn with pencil and printer paper, projections used for reference. This piece was featured in RUBY/DAKOTA art gallery for New Ola’s Summer 2025 Exhibition. Accompanied by The Beach Boys’ “Till I Die (Alternate Mix)”, 1998.&lt;/span&gt;&lt;br /&gt;
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.35;&quot;&gt;&lt;b&gt;Star Bird - Milo g (2025)&lt;br /&gt;
&lt;br /&gt;
&lt;/b&gt;8 songs of self-produced and sample-heavy electro-pop, now on streaming. Collaborations with good friends: Mazie Chamberlain and Luko M. More coming soon!&lt;b&gt;&lt;br /&gt;
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.35;&quot;&gt;&lt;b&gt;Untitled Tapestry (2026)&lt;br /&gt;
&lt;/b&gt;&lt;br /&gt;
6’  by 18’’ canvas tapestry, design made using alphanumeric stamps and linocut ink. Collaborative piece with Zach Sutton for New Ola’s Winter 2026 exhibition.&lt;b&gt;&lt;br /&gt;
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.35;&quot;&gt;&lt;b&gt;Soundcloud Backlog (2019-2025)&lt;br /&gt;
&lt;br /&gt;&lt;/b&gt;A collection of EPs, remixes, and demos over a 6-year span. Will be updated semi-regularly. The frog is pencil and watercolor.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;&lt;br /&gt;
 
 &lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 1.35;&quot;&gt;&lt;b&gt;Wilco Essay (2023)&lt;/b&gt;&lt;/span&gt;</image:caption>
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        </url>
    
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