As you’d imagine, there’s a lot of in references to the band that the album is about. B-Side “Apollopa” makes nods to countless TMBG songs lyrically but isn’t a cover or a direct rip of any particular song from the They Might Be Giants catalog, it’s literally a song about the band and general fandom of them. Just like it says on the label, these are songs about their idols.

Definitely curious to hear more from this undertaking but am content with this first tease. Let’s hope there are some tribute videos planned as well.

Recently, Idle Bloom appeared on NPR’s World Cafe to play songs from their forthcoming Flood the Dial album and be interviewed by Ann Powers.

The performances are, unsurprisingly, excellent as they pair one song from their previously released Little Deaths and two new tracks. The accompanying interview does a great job of going beyond the typical surface discussion of a band’s history and digs into the landscape of being a mixed gender band, the sexism involved with being called a “90’s Throwback” band and how uncomfortable conversations can lead to change.

Tristen recently released a video for “Partying Is Such Sweet Sorrow” off her latest album, Sneaker Waves. We featured this track back in September on Volume 91 of the podcast so we’re glad to see the song getting the official video treatment (We’re fans).

Along with the video is a lengthy, and informative, essay from Tristen over on BUST Magazine that explores the continuing limitations of women in both pop culture and the wider world. This bit in particular struck me:

Only within the last 100 years, humans have establish widespread radio communication, the television, and finally, in the last 30 years or so, the internet, which for the first time allows instant communication between the users of the technology. According to the Nielsen report, each day, Americans are immersed in their screens for about 5 hours of television, an hour on the internet, and three hours of radio. These screens most likely show images of women created in the tradition of men’s fiction. In all of this, sadly, the rare, oversimplified depictions of women, usually in relationship to men, are hypnotic mirrors for men, too.

And as a great leveler and oppositional reaction, I can swear off male artists forever, but this feels like the tool of the oppressor, just further dividing and reacting, and it feels too simple. How can I become the change I want to see while men’s art is within me still? It flows in the conversation of consciousness, my mimicry, and therefore, my creations. The only solution I can see is to reveal the concealed conversations through my work.

It can be difficult to connect the dots between Tristen’s insightful essay and the depiction of a self-harming male protagonist wallowing in his solitude (clearly yearning for the girl at the bar) but it’s easy to take a moment and give it all some thoughtful consideration. Does the fact that the lyrics are sung by a woman change the message? How would you feel about the video if the lead was female? At the end of the day, the song is a great listen and there’s an open door here to consider a larger context – both great things.

The previous release from Jessie Baylin was 2015’s Dark Place, an aptly named album for a collection of songs with a fittingly dark vibe. She recently announced her follow-up will be available in April in the form of Strawberry Wind, a record made with longtime producer Richard Swift with a conscious effort to make the album accessible to kids.

According to this Garden & Gun interview, she wrote the songs under the influence of Roger Miller and early Beatles songs. From listening to the first single, “Dream Catcher”, it’s clear that she’s still writing Jessie Baylin songs but pulling out from the darker realm of her previous record.

The official video for the song speaks directly to that vibe, as it features an animated world of fun characters frolicking during dream time.

Honestly, the song doesn’t feel like it was composed for kid’s at all but the presentation lends itself to that vibe. On the whole, Baylin’s voice continues to be soothing and melancholy, no matter what the intended audience.

Must give credit where credit is due, local pop punkers Vista Blue teamed up with Connecticut-based The Zambonis to release a split entirely about the sport of curling. Yes, the timing with the Olympics was intentional and, yes, they’re capitalizing on the absurdity of everyone’s favorite ice bowling sport.

The songs are straight forward rockers with a bit of doo-wop harmonies. It’s like a modern day sock hop inspired by Weezer. Not your typical offering but, hey, neither is curling!

The Grape Lung EP from Gram Ash is a scant four songs but manages to dig deep into some well executed psychedelia in its runtime. The pace is a refreshing combination of upbeat drumbeats, exploding guitars and thick basslines all mixed with drowsy vocals.

The last two tracks of the release take a more subdued route, going as far as delving into contemplative spoken musings. Typically this is not something I’d endorse but Ash pulls it off.

For those unfamiliar, D. Striker is a country western act that only performs on Friday the 13th. These festivities are entitled “The RR Party” and D. Striker himself creates a zine for every performance and a setlist of often humorous, completely legitimate, classic country tunes.

This forthcoming April 13th, 2018 will be a Friday and you can catch D. Striker over at Dee’s Country Cocktail Lounge. In the meantime, you can partake in his latest single, “Take Your Time“, a road song featuring some blaring horn parts, fancy guitar work and gang vocals.

As with all things D. Striker, there’s a perfectly amusing air to the whole thing. The song is fun. The video is fun. The whole damn thing is fun. Look at this gif! Or this one! If that’s not fun, I don’t know what is.

Joe Pisapia is likely best known for his production work with Ben Folds, The Silver Seas or Drew Holcomb (among others) but he’s an accomplished songwriter in his own right. His 2015 album Nightvision is a densely layered collection of songs that runs the gamut of introspective melancholy songs to explosive all-out rock numbers. With his latest, Connection, he reigns in the stylistic variety for a more laser-focused, no less dense, pop experience.

The word “pop” in this context can be a bit misleading; as it’s not referencing some sugar coated musical treat manufactured to prick at your earworm sensors but, rather, it’s a style of music that is hook laden and memorable but isn’t a rock record with searing guitars and driving drums. It’s a softer, gentler, record of confessions and observations but still catchy.

Pisapia has a mild Randy Newman vibe sometimes; both in vocal quality and in penchant for song quality. The record is a worthwhile listen from top to bottom but if I had to guide you through some convincing highlights I’d say start with “Feels So Good To be Understood” for a frolicking piano number cut with Jon Brion guitar warbles, dive into “Beautiful Re-arranger” for a pleasant instrumental diddy and give “Nashville Melancholia” a spin for some soaring melodies.