Paul Kintzing is best known for his work under the pseudonym German Error Message. His compositions under that name are sublime and a bit fragile but not without their doses of optimism. After a five year hiatus, he’s released a full album as German Error Message, a standalone single and a collection of instrumental compositions created between 2017 and 2018, released as Other Nothing.

At the core, there are many similarities to his primary undertaking; the production has the same tape hiss feel to it, there is a lot of space in the tracks and they evoke a reflective nature. However, the instrumentation here is more otherworldly, found somewhere deeper down the rabbit hole. There’s backward masking, instruments struggling to fully express themselves and a notable lack of acoustic guitars and drums.

According to Kintzing, these tracks were recorded “quickly and compulsively” as he “explored new sounds and processes.” Ultimately, the learnings from these would inform Mend but the two are best considered siblings; similar in their genetic makeup but altogether individual. These songs were meant to be sketches and fleeting thoughts but they don’t come across that way. Despite their short track length, they feel fully formed and wholly expressive.

Let’s take a moment to review the good news spilling out of the world of Faux Ferocious. To begin, if you haven’t heard their 2019 release Pretty Groovy, please do so now. If you happen to live in Europe and enjoy a bit of Kraut rock infused with Southern styles, see them in September. If you’re not able to attend said shows, watch their wonderfully simple video for “Price of Progress,” featuring a collection of construction footage literally depicting the price of “progress.”

Lastly, enjoy the news that they signed to 30th Century Records, the imprint owned and operated by Danger Mouse. One of Nashville’s finest is now label mates with the likes of Grandaddy and Autolux. How’s that last bit directly impact you beyond being happy for others finding success? Optimistically, it means a follow-up record to Pretty Groovy looms on the near horizon.

German Error Message, aka Paul Kintzing, already released the sublime full-length Mend in March of 2019 but is already following that up with the single “Fine.”

Musically, “Fine” continues to subtle-y tweak the gently strumming, gently cradling, gently immersive sounds of previous releases; incorporating swirling keyboards, layers and layers of vocals and rumbling percussion. Lyrically, Kintzing manages to skate a fine line between oppressively melancholy and potentially optimistic. It’s an odd combination but the words feel open to interpretation of the the narrator’s intent; are they lamenting an emptiness or comforted by it? I suppose that’s up to the listener.

At one point in time, the release of a single signaled a full-length on the horizon, a promotional tool to help you pay attention. These days, a single doesn’t signal anything except a new piece of work to enjoy… singularly. Any new German Error Message is welcome in our book, whatever form it takes.

Styrofoam Winos are an improvisational three-piece comprised of Trevor Nikrant, Lou Turner and Joe Kenkel. Their full-length Winos at Home! is a collection of ambient creations, some jazzy numbers and, occasionally, a bit of country flair.

“Pecan Shoulders”, the track and video embedded above, does a good job of embodying the Styrofoam Wino Aestheticâ„¢ as far as I can decode it. It’s a little bit homemade, a little bit trippy and a good bit languid. These songs lumber along; taking a casual stroll through your brain with the leisurely pace of observing every little thing along the way. Some time spent with a siamese cat, a houseplant or a peek through a crack in the door is a reminder to enjoy those little things.

That’s an esoteric and emotional response to the music but that seems to be the point. These aren’t songs you go to for the big pop hooks or guitar solos (see Joe Kenkel solo for that) but these songs serve as a means of decompressing, reflecting on the day or simply letting yourself be immersed in their journey.

The debut album from Depression Breakfast is a full-on blast of punk rock energy with every song exploding with unbridled energy before (somewhat quickly) wrapping up. This is par for the course with Punk Rock but I’ll be damned if it doesn’t leave you seething with energy.

Fortunately, it serves as a vessel for the disenfranchised to rally against The Establishment and The Patriarchy. The final track “Believe Me (I’m Not Lying)” encapsulates this message pretty aptly by vocalizing the disillusionment that women must undergo to convince someone that they’ve been abused, assaulted or manipulated. “My body is not my own” and “Who would believe me?” rings out repeatedly from the narrator as a disgusted but all-too-familiar inquiry.

“There’s No D in Privilege” is the shortest track on the album, clocking in at just 49 seconds, but manages to cover toxic masculinity and the systematic changes required to disrupt it. “Professional” clenches through the refrain of “Fuck You, Pay Me” as a middle finger to the stinging income imbalance felt by women (and the fashion requirements that often come with it).

Just Because I’m a Womxn continues the punk rock tradition of expelling demons politically and socially but it’s a damn shame it has to exist at all. On one hand, it’s a cathartic record to hear these issues spoken to so directly. On the other hand, it absolutely sucks that we still live in a world where these things even need to be written about. Fortunately, silence is not the answer and Depression Breakfast is proof of that.