Everything’s Fine With Pan Arcadia
Pan Arcadia returns with their sophomore album Everything’s Fine— its a bold, diverse and very fun rock record with tons of heart and spirit behind it.
Spotlight feature written by Beau Croxton, all photos by Tommy Krause
Pan Arcadia by Tommy Krause
Pan Arcadia’s new album Everything’s Fine is a resilient and joyous display of bold creativity. At the heart of the record lies camaraderie and an unshakeable bond of musical brotherhood.
If you've been around the live music scene in New York City or Brooklyn in recent years, Pan Arcadia is probably a name you've come across.
The band was started by childhood friends in New York City, and expanded into the rock and roll quintet you see today– consisting of Eamon Rush(vocals) Henry McGrath (bass) Dylan Kelly (guitar) Gabe Gonzales (guitar) and Brian Duke (drums).
The band’s core sound feels like a modern take on the rock-revival sound of the early aughts– it harkens back to strummy rock of bands like The Strokes, The Libertines, Arctic Monkeys and even the indie-sleaze LCD Soundsystem. Pan Arcadia is known for high energy performances, interlocking guitar parts and singer Eamon Rush’s charismatic deep crooning.
Their self-titled debut Pan Arcadia was an excellent and rockin’ release– it carried a lively energy, and it was a very New York-sounding modern rock record. It received wide acclaim from the likes of Mojo, Clash Magazine, Rolling Stone editor David Fricke, KCRW, WFUV among others.
Notably, Pan Arcadia has been on a local killing spree since their inception– they went from playing dive bars, to sold-out shows at Mercury Lounge, to multiple sold-out shows at Bowery Ballroom in quick succession.
The band also knows how to throw a hell of party– they've gained a local reputation for playing shows at abandoned churches, hosting epic rooftop parties/shows, and performing public NYC park shows regularly.
Pan Arcadia by Tommy Krause
EVERYTHING’S FINE
This Friday October 10th, the group will release their sophomore album– Everything’s Fine– and although the music is quite joyous, it's been a bit of a tough road to the record. Tragedy struck the band when bassist Henry McGrath’s father Doug McGrath passed away suddenly in 2022. Since then, while the band created the album, seven more friends or loved ones of the band have sadly passed away.
The title of the record , Everything’s Fine, is a reference to the title of (Henry’s dad) Doug Mcgrath’s one man play– but it's also a reference to a phrase that Doug’s father would say to him during turbulent times. This message resonated with the group, and despite all their recent losses, they found solace as brothers in music. Pan Arcadia came together to support one another as they expanded their art into introspective and cheerful places. Through the hard times, they were able to bond, create some beautiful memories, and some great songs. The result is a resounding, free-spirited rock record– it's the sound of a band having a blast while being fearless in their creativity.
Everything's Fine still honors Pan Arcadia’s New York-rocker influences like the Strokes and the Ramones- but the band has totally spiked their sonic punch with something exotic. As many of us know- usually, most bands will largely stick the same formula as their debut for their sophomore effort. It's more common for bands to wait till their 3rd album to drastically switch up their sound.
But Pan Arcadia have released plenty of singles and EPs in between records, and they are keen to shake things up boldly on Everything’s Fine. There's all sorts of adventurous additions to their core sound here– funk, boom bap beats, and beyond.
The album opener “Connected” kicks off with ragtime-esque piano, Brian Duke’s peppy drums and some excellent, sliding basslines courtesy of bassist Henry Mcgrath. The chorus features vocals from NYC band Mayqueen, and the track surprisingly leans into a gleeful, David Byrne-like optimism that the band has never touched on before.
The track is also accented by busy strings and orchestration– this song’s wide palette comes across as a bold move to let you know the record will keep you on your toes. It's a fantastic opener and a very interesting, left-field kumbaya moment. “Connected” feels like Pan Arcadia’s warped take on a more surreal track like “Ob-La-Di, Ob-La-Da” by the Beatles.
Pan Arcadia by Tommy Krause
It's not just the sounds of the album that were diverse– it was the locations as well. Speaking to Occult, singer Eamon Rush added “This album was different from our last one, because it was made over a longer period of time in multiple recording setups. A lot of the songs were done in a live setting with full bleed and no click– but a few others were more pieced together. We recorded some of them at a studio Brian worked at called The Carriage House, but others were done at home setups in a more DIY style. We’ll let the audience try to figure out which ones are which…”
The third track “Into The Glass” is notable in its bold new sounds as well– it revolves around a snapping, 90s boom-bap beat and some incredibly catchy, multi-layered whistles that will be sure to get stuck in your head for weeks. Eamon added that this song was produced by Hugo White of The Maccabees— it proved to be a strong link-up, because if Pan Arcadia has a “jingle”, it's definitely this tune.
If Pan Arcadia’s first record was the band debuting their defining core-sound to the world– Everything’s Fine finds the band practically using the studio as an instrument to expand outward in surprising ways. Speaking on the sound, Eamon added “We wanted to focus more on post-production than we did for our last record, even on the tracks that were done in a live setting. This meant spending more time experimenting with layering and effects. We also moved from Logic to Pro Tools– which gave us more flexibility to pull the sessions up in different studio setups.”
Fans of Pan Arcadia’s debut LP will be happy that there’s plenty more where that came from. “Limousines” carries their trademark strummy 2000s-rock swagger from their guitarists Dylan Kelly and Gabe Gonzales and the aughts-rock vibe of their debut, albeit with some new touches that sound like The Cars. Eamon’s prolonged crooning on the chorus melodies carries the same clever pop sensibilities that made their debut record such a bop.
“Follow Through” kicks off with passionate vocals from Eamon that seemingly nod to the late, great New York Dolls singer, David Johansen– while guitarists Dylan Kelly and Gabe Gonzales kick up a storm with killer guitar parts that land somewhere between The Strokes or The Rolling Stones. It's a total rock and roller that celebrates rock and roll itself, especially considering its classic-rock nods to songs like “I Am Walrus”.
Pan Arcadia by Tommy Krause
Between both their albums, Pan Arcadia have seemed intent on letting you know there’s always going to be one clear, big anthem. Much like “You Are Who You Remain” from their debut LP, "Don't Mean Much (featuring Bec Lauder and the Noise)” leans into an anthemic sound that feels larger than life, more accessible and more universal– it's a huge “throw your lighters up” moment that should be very memorable at their live shows.
Interestingly enough, after such a poppy, serious and big moment, the band playfully follows it up with a loose, rockin’ and feel good bar-room stomper. “Beer Shot Combo” is a purely fun indie-sleaze banger about meeting with girls in mosh pits and finding a hell of a deal at your favorite local watering hole. After all, everyone could use a bit of good, silly fun and rock n’ roll between life’s more serious moments.
All in all – Everything’s Fine is a great listen from a catchy rock band that sounds dead set on expanding any which way they please, and they sound like they are having an absolute blast doing it. Much like their debut, the record is quite potent, but it’s far more unpredictable in a very fun and playful way.
If you're into catchy, hook-heavy modern rock from bands like Wet Leg or The Strokes (...or if you love the entire rock-revival scene of the early 2000s) Pan Arcadia just might be your new fave. After all, Pan Arcadia can throw one hell of a party and write a hell of a sing-along.
As noted before– Everything’s Fine is also an album with a lot of heart, resilience and significance for its authors–Pan Arcadia added:
“This record is dedicated to Douglas McGrath, Mary Bliss McGrath, Frances Molloy, Antonio Maria Gonzalez, Nelida Sofia Hernandez de Gonzalez, Tiger Bech, Jacqueline A. Steven, and Robert Spencer.”
Be sure to catch their release show(s) this Thursday and Friday at Night Club 101!
Get your tickets here for
Get your tickets here for
Everything’s Fine is out everywhere this Friday October 10th! Check out the singles below, follow Pan Arcadia on Spotify, and presave the album.
You can support Pan Arcadia directly here.
Premiere: Camp Saint Helene “Baby Bird” Premiere + Q&A
Camp Saint Helene serves up a divine, zenned-out sound with a rich instrumental palette on their new single “Baby Bird”
feature/ interview by Beau Croxton
Camp Saint Helene by Angela Ricciardi & Silken Weinburg
Camp Saint Helene’s new single “Baby Bird” is a gorgeous sonic oasis to get lost in— and a perfect way to mark the beginning of the new season.
As autumn rolls in, leaves fall, and we move closer to a spooky-adjacent month, I couldn't think of a better house band to honor the season than Camp Saint Helene– Fall is the perfect time for a deep dive on the band, and a perfect time for them to drop some new music. The Catskills-based group has been described as “witchy psychedelic folk” and “occult-folk” by others (and I took that personally)...I’m gonna have to firmly agree with all parties.
Camp Saint Helene is named after a defunct Christian-summer camp turned arts-colony deep within the Catskill Mountains in Upstate New York. The band’s psychedelic folk-rock conjures up a sense of otherworldliness and wonder that feels nearly ritualistic at times– their tunes often build into moments of grandiose for singer Elizabeth Celeste Ibarra to soar with stunning vocal declarations.
Consisting of Elizabeth Celeste Ibarra, Dylan Nowik, Wesley Harper and Alex Wernquest, the band has been inducting folks into their sonic rituals since 2019. “Farfisa Song”, off their 2019 debut record was named KEXP’s Song of the Day and added to KEXP “Music that Matters” by Cheryl Waters. She describes the band as “..call[ing] to mind the ’60s California folk scene with their gentle, waltz-like pastoral sound”
In 2024, they were featured on an Angel Olsen-curated compilation record, Cosmic Waves Volume 1. via somethingscosmic / Jagjaguwar. This compilation included their single, “Wonder Now“ as well as their song, “Farfisa Song” , covered by Angel Olsen.
Today, (appropriately, on the very first official day of fall) Occult Magazine premieres their new single– “Baby Bird”. The track feels like one of the band’s most warm and optimistic studies and it finds the group veering into exotic sounds– flute, bells, and subtle sitar sounds accentuate the track colorfully.
The intro leads with soothing, descending flute harmonies. This main motif is strikingly familiar and almost nostalgic, yet it also hits like some brand new revelation that you didn't know you needed till now. Pastoral acoustic riffs and basslines intertwine and climb like vines in the forest– while subtle sitar sounds drive home the psychedelic, 1960s vibe.
In a stunning yet-subtle moment, Ibarra’s reverb-drenched vocals engage in a call and response with the harmonized flutes in a gorgeous and playful way– this moment is cleverly heightened by intricately crafted panning between the channels.
If you've heard the group before, you'll not be surprised that Ibarra’s vocals throughout are angelic and incredibly smooth, as she glides from major notes in the verses to more bluesy choruses that are met with Nowik’s harmonies and an ominous organ. In the final crescendo, flutes take off, and Ibarra’s vocals effortlessly match up with a majestic flute-frill– a moment which practically serves as a cherry on top.
It's a gorgeous and mystic track that (sonically) feels like it's chasing inner peace, and it's trying to share its findings with the listener. Like a lot of the band’s more pretty tunes– “Baby Bird” feels like the sonic equivalent to finding a spiritual oasis in the woods of the Hudson Valley– one that you never want to leave. Their brand of harmonious psych-folk on “Baby Bird” sounds incredibly nice– it's a very healing feeling to zen-out and let the music wash over you.
Below, you can listen to the exclusive premiere and catch our Q&A with Camp Saint Helene— where we chat about “Baby Bird”, 60s fringe psychedelic bands, their Angel Olsen collab, and more.
Q&A
BEAU: There’s a really rich instrumental palette on “Baby Bird”, it's beautiful— the bells, the flutes, and sitar sounds are amazing. What can you tell me about how that all came together ?
DYLAN NOWIK: I vacillate between the desire to make music that pushes sonic boundaries, versus material that just feels good to listen to, texturally, lyrically and musically. I think this one was more the latter; I wanted to keep it rooted in this woody, acoustic feeling; but I also wanted to keep the sonic palette interesting. I think the idea of the drums, bells and flute all kind of coming in at once was an idea I had from the start.
BEAU: Were there any specific influences that inspired “Baby Bird”?
DYLAN: I was thinking about those fringe psychedelic bands of the late 60s that evoke the feeling of nature, changing seasons, etc. Artists like Philamore Lincoln or The Fallen Angels. I think this song pays some homage to music like that.
BEAU: I would love to hear about collaborating with Angel Olsen for Cosmic Waves Vol I, that's such a perfect link up.
ELIZABETH CELESTE IBARRA: I think Angel was one of the first contemporary artists I heard who was making music that deeply resonated with me. I remember maybe a decade ago when Dylan looked at me in shock and said, “You don’t know Angel Olsen?!” Of course, then I became obsessed with Burn Your Fire and continued to follow her career, listening to all her records and going to her shows. Having her reach out about the Cosmic Waves record was soooo unreal and so so validating. Not to mention, the project itself was incredibly selfless and thoughtful - you don’t see too many artists these days going out of their way to uplift others in the way she did with this record.
BEAU: What have you been trying to achieve with your more recent material, versus your debut?
DYLAN: I don’t have a clearcut answer to that, but we’re asking ourselves these questions: How much do we value the idea of inventiveness or originality? How much do we value leaning into what feels good and true to ourselves, even if it may seem to be somewhat in conversation with something that’s come before us? Are we excited by complexity, or do we seek simplicity?
Above all, we’re trying to make sure that what we make feels compelling, even if only to ourselves.
WESLEY HARPER: This year has been about having fun making music and trying to relax a bit, while still keeping a deep intention. Our first two albums are complete bodies of work that we love and are very proud of. Baby Bird is us putting our energy into one song, instead of a whole album, which feels like a nice treat. It’s full and complete and stands on its own. The Call for Me EP we released in May was a winter project that came out of a “what if…” group-scheming scenario – we had one song, what if we brought it into this 3-part complete concept. And that sounded exciting, so we did it, and now it’s out. I think the difference in more recent material vs. our debut lies more in our personal internal states and approach to the music.
“Baby Bird” by Camp Saint Helene is out on streaming services tomorrow — September 23rd.
You can support Camp Saint Helene directly on bandcamp here.
Artist Spotlight - Matt C. White
Matt. C White’s new album A Cosmic Year is a fun, fuzz-soaked, multifaceted journey through psych-rock, doom and classic rock.
feature written by Beau Croxton
Matt C. White by Kate Cassise
Matt C. White unleashes a hefty dose of psych-rock and doom riffage on his ripping solo LP, A Cosmic Year.
For our next Artist Spotlight - we bring you Matt C. White and focus on his new album– A Cosmic Year.
At a young age, multi-instrumentalist Matt C. White started to learn guitar and spread his roots in the music world with his obsession of swampy blues-licks. He eventually expanded into progressive and alternative rock, and moved to Brooklyn in 2011. Since then, he's been significantly involved in many projects. It’s pretty obvious the dude knows how to rock hard– these days, Matt supplies his guitar expertise to two of Brooklyn’s more notable rock-centric groups – 95 Bulls and Certain Death.
Matt’s album A Cosmic Year just dropped in late August, and it is filled with the heavy riffs, fuzz and excitement he is known for in 95 Bulls/Certain Death. Impressively, White took on all instrumentation by himself for A Cosmic Year. The record leans into heavy psych-rock , doom, classic rock and stoner grooves with a touch of his southern roots.
“Fire Rider” is a ripper that details the fantasy themes on the record, and it has an excellent beat-switch half way through, that indulges in strange rhythms and some fantastic, fuzzy, harmonized guitar leads. “Vicious Cycle” proves White can slow down and spread out his music— and still build just as explosive crescendos as his more uptempo material. “Blood Divine” is an onslaught of 70s wah-wah shredding, Santana-type grooves and distorted bluesy vocals. It all runs head first into Sabbath-y riffs joined by some Alice In Chains-like vocal growls, which all flip the song on its head completely. Wonky tremolo keyboards occasionally pop up and further color the record– it's a great touch.
A Cosmic Year artwork by Matt C. White— out now (and linked below)
White is very calculated with very deep-toned guitar solos and harmonic guitar leads– his attention to detail and tone (as a well-seasoned guitarist) really elevates the album. The arrangements are also super fun– just when you think you’ve got the tune figured out, White throws in a less common time signature just for the thrill of it– it throws you for an exciting loop. “I Gotta Get Out” kicks off with a shrill and ripping octave-up guitar solo that recalls work from Queens of The Stone Age or Jack White– it’s a pure face-melting moment that kicks off one of the album's biggest highlights.
Like most heavy, riff-centric records– White’s new record is a great one to play loud. If you're a fan of heavier rock and satisfying guitar riffs in general– look no further, this record has a whole lot of that. A Cosmic Year could be a hit for fans of Ty Segall, Alice In Chains, Soundgarden, Psychedelic Porn Crumpets, Sabbath, or Nirvana — and those who are hungry for the heavier side of psych-rock should find plenty to dig with A Cosmic Year.
Dig into the full album below.
Premiere: Frankie Sunswept & The Sliver Moons “So Long”
Frankie Sunswept & the Silver Moons switch gears from neo psych-rock to anthemic, 90’s alt-rock with their new single — “So Long”
feature written by Beau Croxton
Frankie Sunswept & The Silver Moons by Lauren Krohn
Frankie Sunswept & The Sliver Moons pivot from psych-rock to an anthemic, 90s alt-rock sound with “So Long”
Today, Frankie Sunswept & The Sliver Moons debut their new single “So Long” on Occult Magazine. This single follows their debut album Nostalgia– which covered an array of neo-psych-rock with heady themes and odd time signatures. Nostalgia sounded like their own take on the type of psych you hear from King Gizzard, ORB, Psychedelic Porn Crumpets or Pipe Eye.
“So Long” is a track that is fronted and sung by band member Kimberly Haven. The track finds the band completely changing gears into a fresh, 90’s alt-rock sound that is much more reminiscent of the Pixies or The Breeders than their previous material– providing an entirely different sense of nostalgia (this track would go hard on VHS skate video soundtrack!).
Speaking about the track, the band said “The song paints a portrait of a cathartic revenge fantasy against the pressures of our current time, conjuring the wild beast that longs to destroy its cage. Everything from the feeling of being catcalled on the street to seeing our human rights stripped away by fascist regimes is the fuel for fury that drives the chorus’.
About that chorus– it's a big one. The bombastic, harmonized choruses feature Kim Haven declaring “I’ll destroy you!” over a huge wall of Pixies/Weezer-esque slow, driving, and fuzzy guitar chords. The way the vocals harmonize and reverberate gives a sense of melancholy and yearning. It delivers a feeling of sadness, and a longing for justice in the midst of the anger of wanting to conquer an abuser– it's very effective and sounds like a moment of catharsis.
The track is also very intricately detailed – the intro shines with weeping, harmonizing guitar leads over moody 90s-alt-rock and distant acoustics. After the last chord, there's a beautiful and ethereal droning that adds a very cinematic effect to the end of the tune. With “So Long” , Frankie & the group have crafted their own anthem for these uncertain times–one that will stand out nicely in their live repertoire of more psych-leaning rock.
Will Frankie Sunswept and The Sliver Moons continue to expand on this nostalgic 90s rock sound or will they completely flip the script? Either option seems to be an exciting outcome, and that's the fun part of following all of Frankie’s projects of recent years– the music always expands in interesting ways.
Catch the premiere below– and be sure to catch them live In Brooklyn in the near future (stay updated with them here)
So Long by Frankie Sunswept & The Sliver Moons is out on all streaming services tomorrow — September 19th.
You can support Frankie Sunswept & The Sliver Moons directly on bandcamp here.
Premiere: Bec Lauder & The Noise “Tease Me”
Bec Lauder & the Noise deliver one more cathartic anthem entitled “Tease Me” before the release of their debut LP— The Vessel.
feature written by Beau Croxton
Bec Lauder & The Noise reflect on New York City on their anthemic new single “Tease Me”. It’s their final single before their album The Vessel drops tomorrow, September 12th.
NYC’s Bec Lauder has been making some serious waves since her debut EP in 2023— She has performed 75 shows in the last year with her band, The Noise (which consists of Lauder, guitarist Soph Shreds and drummer Maggie Bishop). Bec is the first signee to Syd Butler’s new label Killphonic, and she’s been covered in SPIN and Alt Citizen among other publications. Last but not least— Bec Lauder and the Noise have been announced to support Cage The Elephant on tour this Fall in Philadelphia and Washington DC.
Bec Lauder & The Noise are set to release their new album, The Vessel, tomorrow September 12th. The album is a love letter to the youth of the world, and it is meant to provide blissful escapism. On the album title, Lauder said: “When I’m performing, I have to feel the music — that’s the only way I know how to transfer that energy to the crowd,” she explains. “If I don’t lose myself in the moment, it feels fake. I’m a vessel, and the only way this works is if I let the music take over. When I hit the stage, it’s full-body improv — no shame, no filter. Just pure instinct.”
The final single for the record, “Tease Me”, premiers today on Occult Magazine. It opens with beautiful, ethereal droning and revolves around a classic-sounding bass motif that could fit nicely on an early 2000’s Strokes-adjacent record. Lauder paints New York City as a buffet of moving pictures, inspiration and stories— and dubs the city as a carnival, a magazine, and an art gallery. It's a slow burner that builds into a huge, crunchy and anthemic chorus that’s truly radio-ready. This catchy track is prime for singing along passionately into your hairbrush while you do karaoke in your bedroom mirror, or perfect for a sing-along during a pre-game for an exciting Saturday night out on the town with your best friends. In the “Tease Me” video, Bec Lauder gets a solid opportunity to rock out, and to be a “vessel” while she exudes the vibes of the lyrics– all in one take.
“Tease Me” is an cathartic, indie-rock anthem that would have totally popped off in the early noughties — but with the recent indie sleaze revival nowadays, who’s to say it shouldn’t pop off right now ?
Check out the “Tease Me” premiere below, and catch our Q&A with Bec Lauder under the video. Be sure to spin the full album, The Vessel, tomorrow.
Q&A
OCCULT: What does the track “Tease Me” mean to you, and how did it come together?
BEC LAUDER: “Tease Me” came together very fast, it was an instant hit with our friends and loved ones - that’s how we knew it was so special. The song is full of my commentary on “the city”, my home in NYC…the good, the bad and the in-between with a beautiful conclusion of “Whatever, let’s just dance”.
What do you hope folks take away from your new album “The Vessel”?
BEC: I hope they connect to the songs, we have poured our hearts and souls into every song. At least one!! I really do think there’s a little something for everyone in it.
How excited are you for the Cage the Elephant dates in Philly and DC ?
BEC: Cage the Elephant has been one of my favorite bands since I was 12 , and to play with them in my hometown, Philly, will be a very special moment for me personally. We are all so excited and have been working on a killer set for everyone.
How do you plan to celebrate the album release?
The night of— we’ll be with our close friends celebrating at our favorite local bar. The official release party will be September 18th at FNT boxing, where we’ll be celebrating and performing in the ring with support from The Dutch Kills and some sparring female boxers!! It’s going to be a free show with RSVP and we’re stoked for it.
The Vessel by Bec Lauder & The Noise is out everywhere tomorrow— September 12th.
Premiere: Slomo Sapiens “The Mole”
Slomo Sapiens dial up the fuzz on their anthemic, psych-rock headbanger “The Mole”.
feature written by Beau Croxton
Slomo Sapiens by Brittany Boyce
Slomo Sapiens deliver anthemic, psychedelic fuzz-rock on their new single “The Mole.”
Slomo Sapiens have been championing their fuzzy psych-rock out of Philly for quite some time. They have two very infectious garage/psych-rock records to their name– with 2020’s Cabin Fever Dreams and 2024’s The Holy Babble, among a string of many potent singles and EPs. In fact, Slomo Sapiens are such connoisseurs of fuzz-rock, that they even have their own fuzz pedal – The Slomo Fuzz. Their fuzzy 2021 EP “Slomos Vol. I”, was perhaps the biggest testament of their heavier fuzz-rock sound, and their new single would fit snugly on that EP.
Slomo Sapien’s new single “The Mole” premieres on Occult today– it follows their previous single “Carelessly Crumbling”, which was released in late July. Just like their last tune, their new banger comes with fresh, trippy visuals courtesy of Midi Lizard. (see below). The word on the street is there may or may not be a new Slomo Sapiens EP on the horizon…
“The Mole” is an urgent rocker from the group that delivers some of their signature sounds within seconds: it opens with screeching feedback followed by a beat-drop of thick, fuzzy, psych-rock that lands somewhere in between Ty Segall and Black Sabbath. About halfway through the track, it kicks into a double-time krautrock groove filled with haywire guitar solos. The track plays with tempo back and forth in a way that will surely induce serious head-banging. The verbed-out, anthemic, chanting vocals will translate very well in a live setting, as the chants are incredibly catchy and easy to recite. Slomo-singer Cealleigh Corbishley drives up the adrenaline to a peak with his screams that pierce through a sea of distortion, and guitar harmonics get manic towards the crescendo of the track.
Slomo Sapiens tap into a beloved vein of psych-rock that's adored by fans of Ty Segall, Osees, early King Gizzard, and Frankie and The Witch Fingers (...and all of the other psych rock bands that you tend to see on the Levitation Fest and Desert Daze lineups). If you love those bands, look no further– as Slomo Sapiens should be your new favorite garage/psych rockers.
If you're around Philadelphia in early October, be sure to check out Slomo Sapiens (with So Totally and Thantophobe) at St Michael’s Lutheran Church– the show and church which will be covered in some psychedelic visuals by their collaborator, Midi Lizard. Ticket link here!
Check out the Occult premiere of Slomo Sapiens “The Mole” (with visuals by Midi Lizard) below.
Artist & Album Spotlight - Astrud Gardener “Dreaming of Amethyst”
Dylan Nowik leans into luxurious escapism while showcasing his talented friends on his fantastic debut album as Astrud Gardener, Dreaming of Amethyst
feature written by Beau Croxton
Astrud Gardener opens up a vivid dreamworld of luxurious retro-escapism on Dreaming of Amethyst.
Dylan Nowik is a musician who has already made a pretty significant splash in the independent music world. In the 2010s, he founded and led his great psych-rock group Steady Sun with two LPs and a release on Daptone records. In 2019, he co-founded Camp Saint Helene: a remarkable indie group with Jefferson Airplane-esque grandiosity and a very timeless sound heard across both of their albums. Both of these primary projects have a significant output and style; Nowik has a very calculated and commendable high-standard with all of his projects and collabs, and it continues with his latest project, Astrud Gardener.
More recently, outside of his primary groups– Dylan has made a notable contribution to Clairo’s Grammy-nominated record, Charm, and has become a frequent collaborator with El Michels Affair, Lady Wray, Babehoven, Fascinating Chimera Project and many more.
In between all of these potent projects, Nowik found himself in his own creative burst. He adopted the alter ego “Astrud Gardener” for his newest material, and began to include many collaborators– "I brought in a ton of friends, and this record started feeling more and more like a big party, with many in attendance."
Guests ranged from Maeve Schallert (Violin), Mikaela Davis (Harp), Elizabeth Ibarra, Kendra Mckinley, Alex Daud, Holland Belle and Eva Goodman, Amari Jordan (Vocals), Leon Michels (Flute), Kevin Copeland (Pedal Steel). Nowik handled all the other writing, recording, production and mixing, and the record was mastered by Adam Netsky.
Nowik seemed to take on two roles with Astrud Gardener: one as the artist of this sonic canvas, and another as a curator of other artists to paint in additional details. Much like Damon Albarn in Gorillaz, Nowik has his own significant contributions in Astrud Gardener (such as the framework), but he also serves as a creative director of his collaborators. Astrud Gardener’s Dream Of Amethyst is like a vivid gallery of his own art, and he’s assembling other artists’ work that he admires to pair alongside his own.
The title track opens the record, and it's full of gorgeous strings, and endlessly swirling, Dorothy Ashby-style harps. Word-less angelic vocals soar over the groove like some forgotten siren-song by Cortex. This deliciously retro beat would be ripe to be sampled by the retro-groove-loving, hip-hop producer The Alchemist…lets get some Astrud Gardener inclusion on Alfredo III, perhaps? You know, MF DOOM did sample Cortex for “One Beer”…
The second track “Runner of Love” has soulful, R&B-style piano and xylophone moments that sonically recall the rich and soulful world of early 1970’s artists like Roy Ayers– it is dreamy, groovy, and purely infectious. Right off the bat, the record feels very exotic, grand and immersive– Nowik has found a significant new world of escapism, becoming more of a composer and vibe curator.“White Light” uses vocals as instrumentally as the instruments themselves, and features some incredible Thin Lizzy-esque harmonized guitars weaved into its vibey haze.
Dreaming of Amethyst artwork by Casey Taylor. Album out now (and linked below)
The reverb that Nowik has splashed on the canvas for the record feels highly vintage, and it significantly stylizes the record in a retro light. The swanky, old-school influence on this project explores many new and refreshing worlds that Nowik hasn't touched on in his primary projects. Speaking on the record, Dylan said "I tried to disassociate from myself, and I fantasized about a big, lofty, luxurious aesthetic; Hence, the album title, Dreaming Of Amethyst." Nowik considered artists ranging from Dorothy Ashby, Isaac Hayes, Mulatu Astatke and Lion, to be influences on this record.
“Set It All Around Me” shines with prominent pedal steel, while the upbeat, groovy disco of “Wander” is built for the dancefloor. It's a rump shaker, but one with elegant touches– just past the one minute mark, beautiful strings switch the mood with their emotional resonance, and pianos crash down triumphantly.
“Fantasma” is a major highlight– it's decked out with spooky keys, Portuguese lyrics, a Dap-Kings-esque drum sound, and some brilliant fuzz-guitars that sound straight out of Os Mutantes “A Mihna Menina”.
“Yucca Valley” is further proof that Astrud Gardener’s music is absolutely prime for sampling, because it's quite literally a rap banger featuring artful bars by Amari Jordan (of bilingual rap group Tulengua). The instrumental has plenty of layers to revisit, with horns, tremolo guitar riffs, organs, and dubbed-out noises in the background. It flips the record on its head, as it is a surprise-rap-banger that introduces some unexpected (and awesome) bars just before the finish line. “Nobody” strums like a retro, Laurel Canyon-jam with gorgeous strings, harps and harmonies before some more R&B touches enter the frame. It's got a classic sound, and it displays some of the strongest songwriting to close the record.
The biggest takeaway from Dreaming of Amethyst is that there is a very fruitful future in many of the different lanes explored on this record. There is a variety of directions here that are all equally successful. The curation here is the highlight, Nowik expertly weaves the instrumentation together in a way that’s purely dazzling for your ear drums and cohesive in aesthetic, despite the wide variety.
This LP should be a resounding win for anyone who’s into psychedelic, retro, and groovy music in general. There is a significant amount of intricate detail to explore in these mostly instrumental tracks, for a more focused listen. But if you are a bit preoccupied, cooking or going for a stroll— this album also serves as just about the most supreme background music possible, with its rich atmosphere. It also arrives at a perfect time, as the summer starts to fade (but continues to provide beautiful sunsets with more comfortable temperatures) . We highly recommend this album for some late summer, total chill-out music. If you're in the mood for something light, heavily vibey, gorgeous and uplifting — look no further.
Ultimately, every time is always a good time to throw on these types of vibey grooves that lead you through vivid escapism.
Check it out in full below !
Artist Spotlight: Adam Lytle
Adam Lytle explores devotion and the divine on his excellent indie-folk album, Altars.
feature & concert review by Beau Croxton
Adam Lytle by Meg Molli
Adam Lytle explores devotion and the divine on his excellent indie-folk album, Altars.
Adam Lytle is an artist with a very distinctive approach and voice– he brings a unique, folky-style of indie rock led by nylon strings and striking lyricism. He emerged as a solo artist at the beginning of this decade with his debut record, This Is The Fire . With its potent lyricism and evocative arrangements, his solo debut drew comparisons to the work of Leonard Cohen, Townes Van Zandt, and Scott Walker. Lytle embarked on tours across Europe and the United States, further honing his craft and gaining the adoration of new fans along the way.
In May, Lytle just released his new record Altars. Despite the nylon-folk, Dylan-esque foundation of the tunes, the vibe on the record is often western and haunting , with occasional fuzzy guitars that lurk the background; it can get delightfully dark. Like his debut, it’s also reminiscent of sounds that have been championed by greats like Leonard Cohen or Scott Walker– but a new edginess brings a cinematic, Nick Cave-esque feel to his stories. The record presents a more gothic and ferocious version of his indie-folk sound– it contains elements such as over-dubbed screeching metal, blown-out guitars and off-kilter sounds in the mix to pair with some of his darker tales.
Speaking to Occult, Lylte elaborated on the LP: "With this album I wanted to expand on the sonic palette established on my first solo album 'This Is The Fire’. So much has happened in the short period between the two albums and I wanted to communicate directly with the challenges of our time both in sound and lyric. This collection of songs is united by their unwavering examination of Devotion.”
At the forefront of the mix, there is his signature nylon-string folk in a more singer/songwriter fashion, but the production is rich with details that embellish every tune theatrically; such as the beautiful ethereal backing vocals on “Sanctuary”. Opening track “Savage Thunder” leads in with a very mysterious, spooky tone that lures you in. It takes off with gorgeous backing vocals and percussion, and all of the production choices and mixing of Altars sound highly-considered. Eerie, beautiful instrumentals provide a sonic atmosphere that is very transportive– Lytle’s cryptic stories almost feel like they are taking place in a dark, dusty desert. Lytle’s lyricism, perspective, tone, and delivery really drives his narratives thoroughly.
On Altars, Lytle finds his stride as he becomes more manic and passionate on the triumphant, thumping, western-gospel of “Heaven”. Elaborating on the track, Lytle had this to say– "‘Heaven’ is a critique in the form of an odyssey. Drawing on elements of Psychedelic Rock and Kosmische, the song follows one person’s search for meaning through a society that pretends to have all the answers.”
The energy here is not just palpable in Lytle’s vocal performance, it also radiates and builds naturally from every musician in the studio– Lylte added: “The energy you hear comes from the fact that this song was recorded live in the studio. With each take, the sound became more and more unhinged. In a way, perfectly mirroring the unraveling arc of the narrative."
The record finds a great peak between “Heaven” and “Black Masses”, with the first ending in a manic guitar frenzy. “Black Masses” stomps in with a gothic, western, “Blue Monday”-type strut that goes on to detail eerie stories of uncertainty and darkness. The track’s tone is utterly tough and stands out significantly on Altars. Snare drums fire like machine guns to build suspense, while guitars and piano go haywire in the background– it all builds as the stories grow more profound. It all leads up to a cathartic ending with triumphant, choir-style vocals and a grand, bad ass 6/8 section. Speaking to Occult, Lytle had this to say about the single– "Black Masses is a parable. A time-worn story of how the power-hungry use violence and religious fervor to achieve what they feel is their divine right to lead.”
Adam Lytle at The Sultan Room in Brooklyn, portrait by Amghy Chacon
Altars is an incredibly solid and very well produced indie-folk-rock record with luring, dark tones that should definitely strike a chord with folks who are into artists such as Bob Dylan, The War on Drugs, Leonard Cohen, Tom Petty or Scott Walker— and here at Occult we highly recommend it.
ADAM LYTLE LIVE AT THE SULTAN ROOM - BROOKLYN, NYC
Adam Lytle opened his Altars release show with “Lead on Desire”(see below), a minor-chord tune which just slightly resembles Pink Floyd’s strut from “Another Brick In The Wall”, in a much more folky fashion. It was a captivating open that set the mood properly, and his presence got the audience laser-focused on his every word.
Lytle spent a good amount of time between songs showing gratitude for his collaborators on the Altars record, many of whom were in the room. The mix of the live show was significantly (and appropriately) more electric sounding than the record. While the nylon acoustic sits more prominently in the mix on the record, the band that surrounded him on stage really got to shine. Electric guitar leads often sounded more ripping, fuzzy and loud, bringing a heavier rock and roll flavor to his indie folk tunes, while drums thumped and banged in a more primitive way than the studio renditions. There was an infectious energy that kept everyone very present and cheering loudly after every track. It was even more electric and energetic than anticipated, which warrants plenty of excitement for Lytle’s live show as a separate entity from his studio work.
Lytle sequenced his track listing perfectly, as his Sultan Room release party peaked in energy just as it does on the album— “Black Masses” was performed explosively directly into “Heaven” to close the show with a bang, much to the delight of all attending and celebrating with him. (Make sure you check out his in live version of the track below)
At the Sultan Room on that warm night, it was clear the venue was packed by a community of Brooklyn artists, peers of Lytle, and enthusiastic new fans — the show was done beautifully. The wholesome audience clearly had an immense appreciation for Lytle, his excellent song craft, and his new release.
Premiere: ELI “Another day” Video, + Q&A
ELI switches lanes and makes an homage to classic rock and punk with her “Another Day” video — it’s a total Runaways-inspired rock out.
by Beau Croxton
ELI makes a fun homage to retro rock & punk with a rebellious spirit in her “Another Day” video. Watch the new video below, after the Q&A.
ELI, aka Eli Romanova, is having quite a year. She released three singles — “Uneasy”, “Lonely Crime” and “Beautiful Tears” (featuring Angel Haze), and all three tracks had notable production and videos that were highly elaborate. As an artist— she is very much where music, video, art and fashion intersect…to ELI lately, it seems these things are not exclusive, they are one.
Today Occult Magazine premieres her next video, “Another Day”, which is a different lane for ELI— it struts with classic, punk-rock-and-roll swagger. The track is a love letter to bands like The Runaways and retro-rock, and the video is complete with her shaggy-haired girl crew applying Bowie-esque makeup and causing a stir. ELI’s “Another Day” is a refreshing rock-out in a set of multifaceted singles that pull from many genres. It may be brief, but like most punk rock songs, “Another Day” accomplishes a lot in a quick and defiant burst.
Check out our Q&A and video premiere below.
BEAU: How did the visuals/concept come together for “Another Day” ?
ELI: The concept came from a place of emotional release and escape. “Another Day” is about feeling stuck—mentally, emotionally—and wanting to run away from everything, including yourself. There’s collapse, but also rebellion. I was heavily inspired by The Runaways—their raw, defiant energy and the unfiltered spirit of the ’80s: loud, messy, emotional, and unapologetically real. I direct and produce all my videos, and I love building a cinematic world around each track. With this one, I wanted both the visuals and the sound to carry that same sense of urgency and freedom.
BEAU: “Another Day” is a great homage and direction into rock/punk territory— is that something you see yourself expanding on in the future?
ELI: There’s something about the grit, the urgency, the imperfection of rock and punk—it just feels honest. That energy has always inspired me. But my music isn’t defined by a single genre. I’m constantly blending sounds and pulling from whatever feels real in the moment. I like creating without boundaries. So while you’ll definitely hear more of that raw punk influence, it’ll always come through filtered through my own perspective and edge.
BEAU: How has it been working with TROY NōKA on your newest material?
ELI: TROY is incredible. I love co-producing with him—there’s a real trust and creative flow between us. He knows how to build a sound that feels cinematic but still raw and personal. He pushes me to experiment, but also knows how to tap into the emotional core of a song and shape everything around that. It’s been a really inspiring collaboration, and I’m proud of what we’ve created together.
Check the “Another Day” video premiering exclusively on Occult Magazine below!
You can follow/listen to ELI on Spotify here.
“Another Day” drops on streaming platforms (officially) tomorrow, July 11th.
ARTIST Spotlight: Smut
Smut finds catharsis on their energetic new album— Tomorrow Comes Crashing, out this Friday June 27th. Beau Croxton catches up to speak with the band on the record while Blake Peck catches the live show.
Foreword & interview by Beau Croxton, Concert review by Blake Peck
Smut by Jon Salazar
Smut finds total catharsis on their electrifying new album-Tomorrow Comes Crashing, out this Friday, June 27th.
Smut is an exciting band who cut their teeth in the Cincinnati DIY scene a decade ago. They mix alt-rock, shoegaze, indie-rock and dream pop in a unique and melodic way that has garnered them much well-deserved attention.
Their debut album on Bayonet Records, How The Light Felt, prompted the band to relocate to Chicago. The record (which garnered adoration from Pitchfork and Under The Radar) explores grief with intricate melodies and a gorgeous, melancholic dream-pop sheen.
In 2025, Smut finds catharsis with their new album Tomorrow Comes Crashing; a record which displays an explosive chemistry with their new rhythm section (drummer Aidan O’Connor and bassist John Steiner). Recorded here in Brooklyn, NYC, the result is their best material yet; it doesn't just show the band’s ability to write great tunes– it also showcases the often-thrilling musical chops and abilities of each of their band members.
There is a new feverish energy on this record that brings the band to a very exciting peak– from the rollicking drums of “Godhead”, to the guitar freak-outs of “Syd Sweeney” to the bratty breakdowns in “Spit”, and the wall of sound on the melodic closer “Sunset Hymnal”--- Smut’s Tomorrow Comes Crashing is as tight as can be, white demonstrating a great range. Also…it doesn't hurt that everyone in the band is absolutely rocking out to full capacity.
Tomorrow Comes Crashing is also an embodiment of the DIY spirit– the band made a record that carries the intensity and many emotions of their decade-long journey into one big, eruptive celebration.
For our debut Indie Spotlight feature, Beau Croxton caught up with Tay (vocals), Andi (guitar), and Aidan (drums) of Smut for an extensive interview on their new record, and Blake Peck reviews their big show supporting SPELLLING at Music Hall Of Williamsburg.
BEAU: Hi everyone! So nice to meet you! Such an excellent record by the way...
TAY: Thank you so much!
BEAU: I hope your tour with SPELLLING is going great so far! I wanted to start by asking about the start of the band and the scene in the Midwest. How did Smut start and what was it like coming up in the Cincinnati DIY scene?
ANDIE: It was actually really fun. The band started in 2014, I just left another band and I wanted to start a new project. It coincided with me and Tay meeting. Then, our other guitarist Sam helped me flesh out some of the songs and then he later joined full-time. Aidan's been playing drums with us for like, four years?
AIDAN: Yeah, probably around there.
ANDIE: He joined after we moved to Chicago. Cincinnati DIY was really fun. It was a really good place to try out a bunch of stuff.I worked at a record store that would have shows once a week. It was really fun to play there.
TAY: There was a really good community there. A very tightly knit music scene for a good while.
BEAU: Your new album Tomorrow Comes Crashing is a super tight record– What was the typical writing process for the record? Do different members bring in different instrumental ideas…then you build off that?..... Tay, do you ever bring in any raw vocals or lyrics or?
TAY: So generally, all of our releases are a hundred percent collaborative. So everyone writes their own parts. I would say it typically starts with a guitar part, either Andy or Sam will have a riff and then we'll just meet up for practice and then everyone just piles on ideas. Generally I come in last for vocals, because I've just written so many songs and then been like, “Oh, let's actually change the entire structure.” And then I'm like, okay, let's reverse and start over again.
For me, I'm absorbing the instrumentals ….like, what does this sound like? What story is this going to be?
ANDI: Sometimes our songs usually have a clear idea of where they want to end up. There's one song on the record– it was one of Aidan's… “Ghosts.” He pretty much knew what he wanted out of that and we all just kind of collaborated on making it happen.
AIDAN: At the time when I was writing that one, I lived with Sam (the guitarist) too. So we would jam on it for hours and we would just like to really figure it out together. So even the ones that like to start with one person, are always 100% collaborative.
BEAU: It’s great to find that kind of democracy there. Tell me a little bit about coming to Brooklyn for the new record. I'd love to hear about the process– I heard about the 12 hour days and everything!
TAY: Yeah, it was so fun. It was produced by Aron Kobiyashi Ritch, who is in the band Momma. . It was 10 days- recorded in Red Hook, Brooklyn. We would go to the little grocery store and stock up and then just be there like morning to night…going all in. Aron was an amazing producer and we picked him because it's great to have his like… ears for this.
TAY: It felt like we got to do a lot of experimenting too, which was nice.
ANDI: We tried to do the record as live as possible- with everyone playing instruments in the same room. I think we did maybe one or two songs just straight with no click.
BEAU: It definitely translates on the record– it's very lively. Everybody gets a nice chance to shine on the record too, which is really great.
TAY/ ANDY/AIDAN: Yeah ! Thank you.
Smut by Jon Salazar
BEAU: So Tay– I heard you blew your voice out recording. Was it on the end of “Syd Sweeney” or was it on the “So quiet!” lyric on “Dead Air”....which part did it? (laughs)
TAY: It was honestly both of them. The last song we recorded was “Touch and Go”. And my voice was completely gone by that point— which was so tragic. We were running to the grocery store. I had like five bears of honey…just chugging honey and then eating raw ginger …..melting cough drops in my throat coat tea and just chugging it.
And I would do like all three and then I'd be like,” let's do a take, let's do a take!” and then like run it again and then be like, “okay, give me a second” and then…. go eat everything. And Aron, particularly, was like “that's disgusting.” But we got the takes we needed!
AIDAN: I also don't know if it was even a particular song… it was just the rigorous nature of the way we recorded the album….we were on all of the time.
TAY: We were singing all the time. I was singing along with them while they recorded instrumentals. So I was singing for like 10 hours a day. So by the time we got to the last song, I was like, “uh-oh”. But it all worked out!
BEAU: Tell me about the singles a little bit. “Syd Sweeney” and “Dead Air” are sick. I would love to know a little bit of background on them.
TAY: So “Syd Sweeney” was a pretty early track– lyric wise. It is inspired by Sydney Sweeney, the actress. It's a pretty common trope at this point…women who get famous for being sexy… and then everyone hates them pretty quickly? Like…they get a little over saturated.
I was thinking about her, and women in the context of entertainment. Just as a performer generally, how much you have to present yourself in a specific way– in order to be seen the way you want to be seen. You're kind of selling yourself in a strange way. And it's weird when you do everything that you think people want from you, but they're still going to keep finding ways to either objectify you or be like, “Oh, all you are is a poser” or something. And I just think that that doesn't happen as much with men in music. I mean, it definitely still does, but like not nearly to the same extent.
Yeah–I just want to be a rock star! And it's weird that I feel like I have to jump through so many hoops and dress a certain way and act a certain way in order for you to ….believe me? When it's like…..just listen to the album. The album is the rock! Like, you know what I mean? So it's just weird… there's so many unnecessary and unwanted facets to being a performer. When all you wanna to do is rock!
BEAU: That double standard is just crazy. That’s a conversation that needs to happen more often. Seriously, who needs the stereotypical dude at guitar center, mansplaining?! We need to get out of that.
(everyone laughs)
BEAU: How about the song “Dead Air" as well?
TAY: “Dead Air” was actually two songs!
ANDI: Yeah, I had the verses of that tucked away. That was just something I had in the sand while the other guitar player had the choruses mapped up. They were two separate songs and we just mashed them together. And it worked somehow— We didn't have to change any keys.
TAY: It was weird– lyrically, I had written parts for two separate songs and when we put those together, they matched. It became this sort of strange story— we switched up our rhythm section from our last album. There's just an anxiety that comes with that, and hoping that things work out and you can still find that sort of magic that you feel like you had. We were so lucky to get Aidan and John because I think they've unlocked something super energetic and meaningful in the band. But “Dead Air” specifically was about that kind of anxiety and being like, “Oh my God, I hope that this band still works” and is better than before. And very thankfully, it is !
BEAU: There is a really refreshed new energy to this record, it's great. There's great guitar sounds all over the record too, and the production sounds superb— what is some of your favorite gear that you use to achieve some of the sounds on the record?
ANDI: At the studio that had this old 90’s orange OTR 120, which was like this Noel Gallagher spec…orange combo amp. I never played an Orange amp before, but I brought all this stuff to use on the album and I literally use that amp every time on every song because I liked it so much. I think anytime you hear distortion from me, that is layered in there somewhere, if not the main sound.
Also- Aron had this thing called an OTTOBIT from this company called Meris. I don't know if you notice, on some of the guitar solos– It's got a glitchy kind of sound ....Like a vaguely Linkin Park kind of sound (laughs) like, this stuttering. We were all really excited about that.
TAY: I love that because it makes it feel like it's like the music's going so hard, like it can't handle it.
AIDAN: Yeah. Short-circuiting like robots.
BEAU: Well, how excited are we to finally release the new project out into the world?
AIDAN: Oh my goodness. We're very excited. Extremely excited!
ANDI: Only like a handful of people that have heard it so far– so we're only getting feedback in tiny bursts, but everything we're hearing from that, combined with how strongly we feel about it…is making us really stoked for everybody to hear it.
TAY: I think this tour we're on right now with SPELLLING is also just getting us so pumped to release it because we're playing a lot of those songs on this tour to sort of like test waters, and it's getting a really good reception. And we think it's the best thing we've ever done so far! We're super excited to release it!
BEAU: I mean, I would be excited too! Like I said, I feel like the whole band really gets to shine- everybody's firing on all cylinders throughout the whole record. It’s exciting! So, there's a shift in sound with this record versus the last one. Do you hope to continue to expand your sound on future endeavors? Do you have plans to keep pushing the boundaries?
TAY: I definitely think so. I think for us this album and a lot of ways felt a little bit more like a return to form for what we were originally making. The last album, which we love, was very much a departure from our regular sound we were going for. Because it was about my sister passing away. So we had to sort of take a breather, but still wanted to make and release music. So it felt more…. contemplative or something. And I'm proud of it! I think it's beautiful. But performing it live every night, we were like, “Damn, this is sad….”...like…“the sad album.” (laughs) So we were all getting really excited to sort of be a rock band. But I do think we are having even bigger ideas.This album really opened up a lot of possibilities for us in the future. I would love to keep just growing.
AIDAN: Oh, totally. Also the new rhythm section just injected like all this energy. I remember I joined the band and I remember you guys being like “it's a pop band. play the pop part” I was like, all right, let's figure it out. And we kept playing shows and we started stripping away the synthesizers. Nobody wants to be plugging in synthesizers at the show and you want to just rip. And I think just our mentality of just getting more active on stage…it kind of informed our songwriting– and the sound is coming from how we're feeling and the songs. I think it's like we're not going for an aesthetic…I think we're going for just good songs.
TAY: I feel like we're going for….catharsis. We just want the albums to sound the way we feel when we play them. And I think because we figured that out, the next album will probably be even bigger.
ANDI: It feels like we kind of unlocked something on this one– we figured it out. I mean, we know what kind of music we're supposed to make. But we definitely never want to stop experimenting and exploring the sounds.
Smut by Fallon Frierson
BEAU: You kind of elaborated on my next question, which was…how has it been touring with SPELLLING?
ANDI: It’s been really fun. They have a really great audience. It's really fun to play for really enthusiastic, younger audiences. It’s awesome.
AIDAN: They're fans are ride-or-die.
TAY: And they're all incredibly sweet people!
AIDAN: The band and the audience! Both.
ANDI: It's been a really good fit for us. And it came at a really good time.
BEAU: Great! Well, the Music Hall of Williamsburg show is coming right up. How excited are we to play in New York City?
ANDI: Oh yeah— we're really, really excited! We didn't think we'd get to play in New York again so soon. We've been looking forward to it.
TAY: Yeah. We've got a lot of like friends coming out. Our label is also based in New York. Our label people & manager is going to be there. Because they're in New York, it's not that far from Chicago, but we don't see any of those people nearly as much as we'd like to. So we're going to have a big, fun kind of reunion.
BEAU: My last question is… What is next for Smut in the near future?
AIDAN: Songs. Just more songs!
ANDI: We have another single coming out before the album. But yeah, as soon as the album comes out, I think we're going to go back into hardcore writing mode.
TAY: Yeah, hopefully we'll be touring again sometime this year. We're still trying to lock something in. But yeah, mainly the next thing is just releasing the album and getting to play it for people for the rest of the year. It's going to feel really good.
AIDAN: …Grabbing people by the ears and screaming inn their faces!
(Everyone laughs)
BEAU: Sounds great. Well, thank you all so much! Been such a pleasure!
TAY/ANDI/AIDAN : Thank you! Nice to meet you!
SMUT - LIVE AT MUSIC HALL OF WILLIAMSBURG
Written by Blake Peck
Smut’s show at Music Hall of Williamsburg opened with “Godhead,” a track that set a slow, deliberate tone with its shadowy presence and layered textures. It was a measured start, but one that built a steady tension—drawing the crowd in without rushing the payoff. That release came with “Syd Sweeney,” which hit with a sharper edge. The song’s restless energy and nervy vocal delivery leaned into Smut’s more emotionally exposed side, hinting at their evolution without abandoning the grit that’s defined them. The track was restless and raw, blending swirling guitars with nervy vocals that nodded to the confessional heart of Midwest indie while still sounding unmistakably their own. It set the tone for a night where nostalgia met reinvention.
“Crashing in the Coil” kept that momentum alive, all tight coils of distortion and anxious pacing. Then came “After Silver Leaves,” still one of their most affecting tracks, unfolding in a dreamy haze that offered a brief moment of weightlessness. Its melody washed over the room with a kind of bittersweet calm before things turned again.
“Burn Like Violet” was one of the night’s high points—taut, moody, and melodic in all the right ways. Its brooding atmosphere gave way to “Dead Air,” which crept in with a sense of unease before cracking open into moments of distortion that felt more cathartic than chaotic.
“Sunset Hymnal” slowed things down again, leaning into mood and restraint. The set closed with “Spit,” one of the band’s most urgent tracks, where everything tightened into a final burst of energy—loud, raw, and unfiltered.
Smut’s performance was tight and affecting, with a clear sense of direction.
The performance felt like an evolution for the band. With nods to 90’s alt, Midwest indie, and vulnerable expressionism, Smut delivered a set that was both emotionally precise and sonically massive. Smut’s performance was tight and affecting, with a clear sense of direction. They’re not reinventing the wheel, but they’re sharpening it—refining their sound in ways that feel intentional, thoughtful, and still deeply felt.
Smut’s new album Tomorrow Comes Crashing is out everywhere this Friday— June 27th
You can pre-order some epic colored vinyl HERE.
You can watch the video for “Syd Sweeney” here
and you can watch the video for “Dead Air” here.
you can press save the album here.