Social media has become the primary conduit for independent artists to give context to their works. New album dropping? Let the people know what it’s about, where it’s at, who was involved etc. etc. But what happens when your social media has gone dark and a new full-length album appears? We only need to turn to Jordan XX and the new album R E T R O G R A D E to find out. Outside of one post announcing that the album exists, there’s nothing to frame the record. Quite frankly, this may be the ideal way to experience any record — just dive right in.

Across the nine tracks, Jordan XX crafts a dive through soundscapes evoking hazy atmospheres. It’s a slow paced dive, feeling elevated by substances taking you to another plane – like Hunter S Thompson stumbling through a casino – but, lyrically, Jordan XX is consistently sharp. “BIG STEPPA” kicks off the record with a reverb drenched croon that comes with a wry grin as Jordan remarks “We don’t step.” It’s a coy remark and indicative of the kind of verses that exist throughout the release; self-deprecation, cutting social commentary and the occasional lost-in-your-own-mind gazes. “BORN TO LIVE FLY” is the albums longest track and the pinnacle of the albums commentary – a distorted question rings out right at the center of the song before a verse with the album’s utmost clarity breaks through. It’s a subtle and brilliant use of undermining the album’s production for just a moment.

While it’s fascinating to ponder the intent and messaging of the record (and I’m positive there’s a through line there), it’s also important to note that it’s simply an enjoyable listen. Jordan XX’s flow is smooth and effortless. Tracks like “SMOKIN TOO MUCH” and “VICES 2 VICES” are a blast of fun. Bonus track “CRAZY 4 UR LOVE” leaves the record on a upbeat note with a wild abandon in the vocal delivery, some crunched out drums and an unexpected guitar solo.

Jordan XX has always brought a unique approach with each of his releases. The energy is there, it’s just expressed in a different way. There’s a musicality to the immersive approach that does not go unappreciated. There may be no social media posts to follow to gather additional context but there’s doesn’t need to be. The album is all you need, just queue it up, crank it up and float along.

The latest EP from Nehoda arrived in the inbox with an intriguing note – “It starts off a bit more in the vein of who we were and finishes out the last 4 songs showing who we have become.” A transformation in the course of six songs? Okay, I’ll bite!

Taking the band at it’s word, it’s seems that Nehoda takes the band from a rootsy tinged undertaking into a transcendent rock experience, a ticket into space-y compositions with some prog tendencies. “Fingertips” serves an excellent bridge between these two worlds as it unfurls with some familiar huge riffs mixed with fresh and floaty pontifications on losing your way. “Bloody Blues” adopts some stoner rock psychedelic vibes that slowly climb into a giant wall of sound even on the smallest speakers. “Screaming Out Your Name”, the EP’s closing track, feels like a direct nod to the influence of Pink Floyd on their sound, a melancholy slow burn riding an expertly executed guitar soul that carries you along the cosmic ebbs. It’s not a derivative song but David Gilmour would be honored.

Even without intimate familiarity on the back catalog of the band, the band seems to be embracing a more dynamic sound. The loud parts still have a place but they’re woven into a more varied landscape of sprawling contemplations. For a band with a pretty deep catalog, Nehoda is the first step into new territory that the band is stepping confidently into.

Dialup Ghost first caught my eye with their 2018 EP release; particularly the cover art depicting some clipart of an individual mainlining a computer directly into their veins. That combination of band name and imagery hooked me instantly. The recordings were DIY and loose but “If You Want To Die” was all you needed to hear to know that this was a band that was capable of writing catchy commentary on the distressing world around us. Over the ensuing years they’ve written plenty of additional noteworthy songs; the sloppy punk anthem “Tennessee Senator Marsha Blackburn is a Drug Dealer” is a good start but the country-addled friendship ballad “Transphobes and Fascists Hate Our Guts (So What???)” should not be missed. With the release of of their 2024 album May You Live Forever in Cowboy Heaven expectations were high and, unsurprisingly, the band does not disappoint.

Listening to the album start to finish you’re going to be struck by two distinct observations. First, the band has refined their sonic delivery impressively. It’s not that they’ve reinvented themselves but there’s a clarity to these recordings that was missing in the past (perhaps intentionally, perhaps just a product of experience). It’s nice. Secondly, the band does not shy away from style diversity. Trying to take any singular song on the record as an example of what the whole sounds like is an exercise in futility. Opening track “Rhinestones” is driven by acoustic guitar and mournful trumpet, giving funeral dirge vibes. “Small Deck” rides a wave of fiddle unlike the band has ever had before until it erupts into a manic, fiery, guitar solo. “777” floats along on blissful feedback. “Disc Golfing” is an upbeat ditty that feels like a wholesome late 90’s indie classic. The new found sonic improvements brings together this diversity in sound to keep the record from feeling all over the place; it’s a cohesive piece of work that explores a number of ideas quite successfully.

The bands lyrics continue to be a source of earnest interest. Throughout the record there are multiple references to lost family members and the hardships of daily life but it’s not a sad record. In fact, there are so many references to love and friendship and disc golf and invincible stray cats and good bands we all love.. well, it may just be their most positive and uplifting record yet. May You Live Forever in Cowboy Heaven doesn’t shy away from the band’s continued devotion to commenting on the world around them but it seems they’ve built themselves into a loving unit. I can’t say for sure but I’d like to believe you can hear the band smiling together and boosting each other up, making a better life for one another. May we all be so lucky.

Are You Mad At Me? is a collection of demos from brand new band Hamsterdam (they’ve played 1 show). It’s 24-minutes of big guitars, relentlessly driving drums and emotive vocals. Listening back, you can pick up on how well these songs will translate live and flourish with a future pass at capturing them. “Downtown Sally” absolutely rips with a knowing sneer, “Round & Round (Pelican)” has a cheeky pop charm to it and “Maniacal” absolutely struts from start to finish. That said, the songs really reveal themselves when they let sincerity bubble to the surface. “Devil’s Hand” is a raucous explosion but, lyrically, it’s a confession of substance abuse. “Love to Give” provides sonic hints of Caustic Resin and Heatmiser but it seems to be an aggravated expression of unrequited affection. Closing track “Glossary Song” opens up the floodgates of vulnerability to maximum levels with a thick dose of nostalgic yearning, frustration and sweetness. It’s not the noise-y guitar outburst of the rest of the release but it hits the hardest.

Of course, context is key for any recording and there’s more to this one than just a batch of eight demos from a new band you haven’t heard of yet. Hamsterdam actually consists of some notable folks from the Nashville independent music scene. Let’s review:

• Vocalist and primary songwriter Joe Blankenship brought plenty of pleasure to the scene with Shoot the Mountain back in the early aughts.
• Bassist Bingham Barnes has been holding down the low end in Glossary, Jasmin Kaset Band and Electric Python for more years than I can count, not to mention his life’s work at Grand Palace screenprinting.
• Tyler Coppage plays drums with Black Bra, Chris Crofton and also Jasmin Kaset Band – not to mention a litany of bands that I’m not even aware of.
• Charlie Zaillian spent his formative years with Seattle’s Chung Antique and has contributed countless journalism pieces to Bandcamp, The Nashville Scene, Rolling Stone and loads more.

The recordings take on a different life when you listen back knowing that the musicians involved are reflecting lived experiences. Blankenship told me over email “The lyrics can be dark and the topics range from mysticism, reincarnation, heart break, nostalgia for times passed, black magic, serial killers, good and evil, substance abuse and addiction, and what it’s like to really lose your way, but hopefully finding your way back. ” That’s a journey that’s hard to come by without having gone down the rabbit hole and back out again. While I certainly don’t think Hamsterdam falls into a category of “tortured artists” – I do find an additional layer of appreciation for the energy of these songs knowing where it comes from.

Hamsterdam will play at The 5 Spot on November 9th with Outerworld and Scott Collins – possibly their second show ever? You can pick up the demos over on Bandcamp.

Back in 2021, The Phantoms of Saturn released their debut LP Strange Tales of Horror. It’s an excellent guitar driven record that evokes exactly what the title says.. strange tales of horror! The band has played at Spooky Ghoul Fest every year since the release and always put on an immersive spectacle of their shows. Frontman and primary songwriter Michael Frankenstein is one of the founder’s of said festivities! The point here is, The Phantoms of Saturn are immersed in horror, it’s in their bones. In the three years since their debut release, they’ve been gestating on something new and “Run Run Run” is the first peek at what they’ve conjured up.

Unlike Strange Tales of Horror, this new track is built on a wall of synth, keyboard flourishes and drum machine dance beats. John Carpenter’s DNA runs deep here but it’s been put through a blender with hints of Ministry, a gothic disco and some modern synthwave. Like the entirety of the horror film genre, it’s a swirl of influences put together to make something familiar but decidedly unique. Decoding lyrics is always open to interpretation but we’re fairly confident this one is an ode to the chase – particularly by a film antagonist that gives pursuit!

Hopefully this is the first of a new batch of songs from the undertaking. It’s great to hear a change in sound that finds a balance between dance-y upbeat and dramatically spooky. Follow @thephantomsofsaturn on IG to keep up with future releases!