Friendship Commanders released their Steve Albini produced full-length BILL back in October of 2018 and proceeded to hit the road for some impressive bouts of touring; spreading their emphatic, big riff, rock styles across the country (vaguely unrelated side note: they sold some pretty great neckties as merch items; a true rarity in that world). Now the band has announced a brand new EP entitled Hold On To Yourself set for release on April 3rd, 2020 that is “dedicated to anyone who is living with, or has lived with, abuse.”

The first single from the release, “The Enemy I Know,” tackles that subject matter head on. Musically, the song is what you’d expect (and hope for) from the band; very loud, very big and very cathartic in its delivery from every conceivable angle. Lyrically, it casts the protagonist into the unfortunate position that many in abusive relationships find themselves in; as the cause of all problems, regardless of the truth of the situation. It’s a heavy reminder of the awful position many get trapped into but, fortunately, the song provides a hopeful message:

where are we now?
do we give up and disavow?
or tunnel through the shit somehow?
I think I’m moving on and living this out loud

I’m still alive!
I lived to tell and have some pride
your suffering can not be mine
no, not this time

We won’t know the full contents of the EP until its release in early April but this preview track shows that the band isn’t planning on going gently into that good night. The album is dedicated to those living with abuse but may also provide a light towards escaping it.

Following up on his challenging-yet-rewarding album Little Lady #2, Iven has been slowly releasing a stream of new tracks that will culminate in a collection entitled Eight New Songs; a succinct and possibly very descriptive title.

The latest of the two preview tracks released into the world is “Weren’t You At My House Last Week?” – an exemplary track for the “Iven sound.” It rides the line between a comfortable, warm, bedroom vibe and a highly produced, intricately layered, affair. Isaac Q. Horton, aka Iven, drives the track with his unique vocal styling that is often reminiscent of a youthful Echo and the Bunnymen; lamenting for beloved visitor to come around more often. It’s vulnerable, authentic and quite catchy.

If I had to pick one thing to complain about it would be the cover art; depicting four baby dolls all in various states of distress. I find this unnerving, so much so that I feel compelled to mention it here in the review despite the fact that it has no bearing on the music or my enjoyment of it. I’m just weirded out and can’t stop myself from commenting on it.

Eight New Songs will be released Friday, February 21st. Hopefully it will contain at least seven more songs in this style and 100% fewer creepy babies.

I became aware of Sundaes with the release of the single “Pretty Wife” back in the spring of 2018. In the time since, they’ve been regularly releasing songs, performing locally and regionally and, apparently, recording a good bit of material. With the release of “The First Waltz” also comes news of a debut album, entitled Sundaes Volume 1.

Not having heard the full record, it’s difficult to say if “The First Waltz” is emblematic of the whole or an outlier. What we can say is that it’s a beautifully executed ballad that registers as an honest expression regarding the mixture of fear and optimism when entering a relationship. While the choral refrain of “Are You In Love With Me?” is the most accessible inquiry, I was particularly struck by the leading line, “Don’t You Wanna Risk Everything?” Being in the position of opening up to another human being and allowing yourself to possibly be rejected, scorned or, even worse, ignored is a risky endeavor but it’s table stakes for sharing a life.

Musically, Sundaes mixes influences from various electronic and dance scenes, quality use of vocoder and a touch of ambient soundscapes. The tender landscape this creates is a delicate backing to the vulnerability portrayed in the lyrics; a deceptive feeling of minimalism that serves as a real testament to Sundae’s ability to layer a track succinctly.

Sundaes Volume 1 will be released digitally on April 3rd but you can hear it on cassette right now.

If you’re a regular listener to the WOTT Music podcast, you’ve likely heard mention of the latest from Donors multiple times. The track “Help Yourself” was included on a playlist and every subsequent episode since then has mentioned the gripping power of the whole release. Let the record show, no amount of effusive compliments could capture our appreciation for this one.

The runtime of the release clocks in just over 15-minutes and manages to maintain a dark, foreboding and forceful presence for the duration; providing only the briefest of respites during the end of lead track “Game Seven.” From that point onward, the band (comprised of the elusively and singularly named Gabby, Linda, Kathryn and Naomi) puts forth a blast of angular guitars, pounding drums and just the right amount of noise. The lyrics augment the somewhat dystopian setting with a confrontational confidence; often delivered in a way that feels like they’re cutting a path to their destination, roadblocks be damned. It’s entrancing in that “Get In Line or Be Destroyed” kinda way.

In the two years since the bands prior release (2018’s Donors, also self-titled) it’s clear that the bands core intents haven’t changed but they’ve garnered more focus and loads more intensity. From the anthemic “Help Yourself”, to the possessed “Always Sometimes Never”, to the slow burning album closer “Fine Print”, Donors (2020) is a proverbial pounding at the door; if you weren’t paying attention before, you have to be now.