New Playlist: December 2022

It’s the new year, yes, but that doesn’t mean that all the music from 2022 has expired like–I dunno, some kind of food that expires. Anyway, I spent December catching up on a bunch of records from last year that I missed the first time around, listening to some December releases, and exploring some older records (1997 this time around–stick around for the January playlist for more of those selections). I probably won’t start talking about 2023 releases until next week, but I’ve already got some picked out to cover–It’ll be cool!

Big Rig, Buddie, and Thousandaire get multiple songs on the playlist this time around.

Here is where you can listen to the playlist on various streaming services: Spotify, Tidal, BNDCMPR (the latter two missing a couple songs). Be sure to check out previous playlist posts if you’ve enjoyed this one, or visit the site directory. If you’d like to support Rosy Overdrive, you can share this (or another) post, or donate here.

“Lucky”, Model Shop
From Love Interest (2022, Meritorio)

“Lucky” is one of these songs that I can try to describe, but–just listen to it. You’ll like it, especially if you’ve been following this blog already. Seattle’s Model Shop are a trio who just released their debut record on Meritorio, and, as one might expect from the label, it’s really sharp guitar pop. “Lucky” is a beast of a song–the chorus is gigantic, but the verses are sneakily the catchiest parts of the song, and the single most memorable moment might just be the quietly-uttered “I’ve been wasting so much time” in the instrumental break. Or maybe it’s the delivery of “You were first to admit there might be something else you wanted” (oof). Or the bouncing bass in the chorus. 

“Hit the Breaks”, PLOSIVS
From PLOSIVS (2022, Swami)

I figured I’d like the PLOSIVS album; I didn’t think it’d end up being one of my favorite things John Reis has ever done. The debut record from Reis’ new band with Rob Crow (Pinback), Atom Willard (Rocket from the Crypt), and Jordan Clark (Mrs. Magician) is ten songs’ worth of nonstop, catchy rock and roll that shows no signs of slowing down from the garage rock veterans. Opening track “Hit the Breaks” sets the scene nicely, cannonballing right into chugging alt-rock excellence.

“Bar Song”, Thousandaire
From Ideal Conditions (2022, Knife Hits)

I’ve done more than enough ranking of music over the past month, but: Thousandaire’s Ideal Conditions, I can say pretty confidently, was my favorite discovery of December. They’re an Atlanta-based three-piece group that pulls from everything I like about 90s indie rock. Songs like their shining achievement “Bar Song” hit it all: the casual, everyman feeling (The full title lyric is actually “That’s a hat you wear to the beach, not to a bar”), the adventurous but tuneful guitar play, and a killer hook. I’m trying to say that it sounds like a lost Silkworm song, which is a very good thing to make. 

“New Skin / Good Life”, fine.
From Love, Death, Dreams, and the Sleep Between (2022, Subjangle)

Whoa, what a record. Love, Death, Dreams and the Sleep Between is a massive album befitting of its title, a nineteen-song, hour-long late entry into the indie pop album of the year running. And yet, “New Skin / Good Life” still stands out as the best song on the Boston, England duo’s second album of 2022 (apparently they made a just-as-large record at the beginning of the year, which I haven’t heard yet). Liam James Marsh and Alice Kat know the power of the “I never meant any harm, I just wanted to leave” line, and they pull out all the stops to show it here.

“She Stopped Making Art”, Kate Ferencz
From You Will Love Again (2022, Magic Pictures)

Kate Ferencz has been making music for most of this century, but You Will Love Again is the first record of hers I’ve heard. It’s a weirdly captivating lo-fi pop album, and the clanging “She Stopped Making Art” is one of my favorite things I’ve found in late-stage 2022. A simple, fuzzy keyboard riff, some pots-and-pans percussion, and a thumping sound make up the bulk of the song, and Ferencz’s vocals are something else, delivering the title line and its follow-ups with a forceful casualness.

“Venus in Retrograde”, Big Rig
From Big Rig (2022, Peaceful Tapes)

“Venus in Retrograde” closes Big Rig with another excellent chorus from The Courtneys’ Jen Twynn Payne, a loose banjo-and-acoustic-guitar folk rock sensibility, and a few choice lyrics that have particularly stuck with me since I’ve heard them. Payne shrugs with “You always appear right when I open my eyes” as a way of introducing the situation, and the string of questions in the chorus is presented incredibly casually, but I’ve been there and I know better than that. Payne closes the song and the record with “Take your time, it’s fine / I’ll wait on the line”–she’s left in suspense, but we were already there, no?

“After Silver Leaves”, Smut
From How the Light Felt (2022, Bayonet)

Smut don’t really sound like how I’d think a band called Smut would sound, but that’s fine. The Chicago band deftly occupies the poppier end of dream-jangle-college pop rock; if you like The Sundays, for instance, you’ll like their newest record. The undeniable hooks of single “After Silver Leaves” make it the obvious highlight for me–it’s another song on this playlist that has a great chorus that’s outflanked in pure catchiness by its verses (“Feeling rebellious, feeling gigantic,” there’s a delivery).

“Indecision”, Buddie
From Transplant (2022, Crafted Sounds)

“Indecision” is the big finish at the end of the Transplant EP (did a four-song EP need a “big finish”? Perhaps not, but Buddie were not to be dissuaded), and it feels like a manifestation of the record’s title and the cross-continent move by lead singer Dan Forrest that preceded it. It’s a hurricane-rocker, taking the uncertainty at the center of the song and spinning it into a strong and firm declaration. “A deluge of relentless indecision / A fork in the road, nothing will be the same again,” Forrest and the band effectively roar at the song’s conclusion. Read more about Transplant here.

“Shame on You”, Indigo Girls
From The Shaming of the Sun (1997, Sony)

This song is just too undeniable to leave off this playlist. “Shame on You” opens The Shaming of the Sun with one of the most successful Indigo Girls songs to ever folk-rock–the three-chord track is built off of an electric guitar bed but still throws in all the acoustic, harmonica, and banjo accents you could want. And who’s Amy Ray casting shame upon here? Quite a bit of people, but most notably those in Georgia espousing anti-immigrant sentiment (so, yes, Amy Ray, shame on them indeed).

“It Will Never Stop”, Sparklehorse
(2022, Anti)

Man, Sparklehorse was so good. Those four records all sound like classics, still, and if you’ve ever explored their EPs and B-sides, you know a lot of good songs didn’t make it to those albums. The posthumously-released “It Will Never Stop” is very much in line with that–apparently it was discovered by late Sparklehorse leader Mark Linkous’ brother Matt while he was going through his archives, and while the sub-two-minute track could’ve just been an unfinished curiosity, that’s not what we get here. We get, in fact, a sharp fuzz-pop song that, if anything, was probably shelved by Linkous for being too straightforward and hooky.

“Your Doubt”, Lovewell
From Around the Flowers (2022, Clever Eagle)

New England’s Lovewell is a duo that’s been making music together since 2018, and their recent Around the Flowers cassette EP is their most substantial release yet. Early record highlight “Your Doubt” is a shiny and punchy example of Lovewell’s shoegaze-y, emo-ish indie rock sound, given an edge from Mark Palladino and Joe Bradshaw’s hardcore backgrounds. Both musically and vocally, “Your Doubt” is incredibly hooky and is more substantial than merely being the product of playing around with some effects pedals. Read more about Around the Flowers here.

“Meaningless”, Jon Brion
From Meaningless (2001, Straight to Cut-Out/Jealous Butcher)

The title track to Meaningless is not one of the songs I remember loving when I first found this record, but upon listening to Jealous Butcher’s reissue of Jon Brion’s sole “pop” solo album, it’s one of the standouts (perhaps the standout). In classic Jon Brion fashion, it balances the simple and the complex (the main/intro part is just two chords; the rest of the song contains…a lot more than that) and the song’s subject (the places and things that were “meaningless” before a since-ended relationship gave them meaning) is, yes, a good enough one to take the album title. Is Brion saying that the previously-“meaningless” things are now meaningless again as the relationship is in the past tense? Or, perhaps more accurately, that he merely wishes they were meaningless again?

“Born Yesterday”, Gladie
From Don’t Know What You’re in Until You’re Out (2022, Plum)

Gladie is the post-Cayetana project of Philadelphia’s Augusta Koch, and their second record (following 2020’s lo-fi debut Safe Sins and a few EPs) is maybe the point where I stop referring to Gladie as just “August Koch’s post-Cayetana band”. For starters, Don’t Know What You’re in Until You’re Out really does sound like a band–listen to album highlight “Born Yesterday”, a ripper where Koch matches the recently-solidified Gladie line-up’s full-sounding alt-rock with a tough-sounding vocal that holds its own in the music.

“Carolina”, Adeem the Artist
From White Trash Revelry (2022, Four Quarters/Thirty Tigers)

White Trash Revelry appears to be something of a breakout record for country singer-songwriter Adeem the Artist, and listening to songs like “Carolina”, it’s not hard to hear why. Adeem’s latest album is a heavy one thematically–they write about growing up queer in the American South holistically, in a way beyond your modern soap-drama-type deal, and I recommend listening to the full thing. “Carolina” is a perfect album opener–restrained musically, anything but lyrically, as Adeem effectively paints their origin story in three minutes.

“Another Realm”, Houseghost
From Another Realm (2022, Rad Girlfriend)

Another Ohio band? You bet! Dayton’s Houseghost are a “spooky” pop punk band whose latest album (December’s Another Realm) is probably the most fun record I’ve ever heard that starts with a cover of Daniel Johnston’s “Funeral Home”. The closing and title track is my favorite cut from it, with brother-and-sister duo Nick and Kayla Hamby singing that chant-along chorus over top of Tyler Beaty’s steady drumming.

“Ladders”, Galore
From Blush (2022, Paisley Shirt/Safe Suburban Home)

San Francisco’s Galore are a ramshackle jangle pop group that evoke Flying Nun Records with their lo-fi, catchy indie pop songs. Their five-song Blush EP is a bit more laid-back than their 2020 self-titled debut, but the sharp songwriting is still there, especially on “Ladders”. The biggest pure pop success on Blush, it’s a mid-tempo, jangly tune with a vintage, hooky college rock refrain that Galore nevertheless use sparingly. Read more about Blush here.

“No”, Moon Pics
From Memoria (2022, Midsummer Madness)

The Memoria EP (at eight songs and twenty-nine minutes, it could be an album if it wanted to be, but “EP” is the Bandcamp description) came out in January, but I only just now came across this solid cassette from Brasilia’s Moon Pics. It’s a record of warmly-familiar-sounding lo-fi, dreamy indie rock–there’s fuzz and reverb, but Adriano Caiado’s vocals are too clear for it to be straight shoegaze. And that’s a good thing, too–“No” features a soaring melody that I’d hate to have to strain to hear.

“Universe”, Thanks for Coming
From You Haven’t Missed Much (2022, Danger Collective)

You Haven’t Missed Much (which made my Best Reissues and Compilations of 2022 list) is a cassette overview of the last decade of Rachel Brown’s work as Thanks for Coming, a discography spanning sixty-something-odd releases. “Universe” was, like a lot of the tape, new to me (it appears it’s originally from 2018’s Back at It Again EP), and it’s quickly become one of my favorite Thanks for Coming songs. It’s a short track, but none of Brown’s brief lyrics are wasted, from the “I’ll believe you when you tell me it’s just a simulation” setup to the “I won’t believe you when you tell me we’re not real” conclusion.

“Cry Alone”, Abi Ooze
From Forestdale Sessions (2022, Rotten Apple)

Shout out to the Post-Trash year-end list for putting this one in front of me. Abi Ooze is a garage punk artist and/or band out of Hammond, Indiana (nice), and neither they nor the label that put out the Forestdale Sessions EP (St. Louis’ Rotten Apple) appear to have any kind of social media presence (also nice). Opening track “Cry Alone” is as catchy and loud as it is a bummer lyrically, with its loose but spirited interpretation of classic punk rock contrasting with Abi’s adventures with the titular activity.

“Crying in a Corn Maze”, Big Rig
From Big Rig (2022, Peaceful Tapes)

While awaiting the third record from Vancouver’s The Courtneys, the trio’s Jen Twynn Payne (vocals/drums) quietly recorded a solo tape earlier this year as Big Rig. And I do mean quietly–I was big on the last Courtneys album, but I didn’t discover Big Rig until about six months after its release. A seven-song, twenty-minute, cassette release screams “low stakes”, but it’s very good, and “Crying in a Corn Maze” in particular excels at melting the Velvets/Flying Nun guitar pop sound of Payne’s main band with a folk/country feel (banjo is excellently provided by Geoffo Reith).

“Dancing to Dance Music”, Waving
From If and When I Fall (2022, Klepto Phase)

There’s something about this brief four-song, ten-minute EP from Toledo’s Waving that caught my attention earlier this month. In particular, opening track “Dancing to Dance Music” is the one that stuck with me; it’s probably the biggest-sounding song on If and When I Fall, a two-minute pop punk bummer tune that raises the stakes several times over its length while nevertheless keeping things relatively straightforward. By the time we get to the end of the song, where Jacob Scott declares “We don’t dance to dance music / All we ever do is cry,” and then starts shredding their vocals, it feels earned.

“The War at Home”, Racetrack featuring Sean Nelson
From Go Ahead and Say It (2006)

Okay, so Racetrack were a 2000s-era Bellingham trio that released one album and one EP and then broke up. Bassist Chris Rasmussen plays in [b r a c k e t s] now, drummer Jackson Long has been with BOAT for a while, and I’m not sure if vocalist/guitarist Meghan Kessinger is doing anything musically. “The War at Home” is, according to Rasmussen, his “attempt to rip off [Silkworm’s] ‘Cotton Girl’”, and I’m not sure if I hear it, but the end product is an excellent 90s-indebted indie rock tune. Oh, also, yes, that’s Harvey Danger’s Sean Nelson singing here too–his “Ba ba da da da”s are more than welcome up against Kessinger in the chorus.

“I Never Really Knew”, Gloop
From Maze Maker (2022)

Baltimore’s Gloop dropped the Maze Maker EP (their second of 2022) in late December, and the four-song release stakes out a position in the world of blues-damaged noise punk pretty much from the get-go with opening track “I Never Really Knew”. The song giddily deploys a Stones-y riff and an insistent drumbeat for Dominic Gianninoto to howl over gamely–fans of the distorted Americana brand of noise rock (from Beefheart to Butthole Surfers to The Grifters) will find a lot to like here. Read more about Maze Maker here.

“Esopus”, Field Guides

“Esopus” is a one-off single from Brooklyn dreamy jangle pop project Field Guides, coming a few months after their Whatever’s Clever-released full length Ginkgo. It’s a brief track, not even breaking the two-minute mark, but it establishes itself as a remarkable piece of guitar pop all the same. The synth touches give it as much of a 1980s sheen as Benedict Kupstas’ vocals and lyrics do (his delivery of “At the botanical garden, I was telling you / All the names that I knew” is, in particular, a New Romantic gesture hidden in a lo-fi jangle pop tune).

“Faces”, The Fours
From Shaking and Moving (2022)

The Fours are a Columbus, Ohio-based lo-fi indie rock group, and their latest album, Shaking and Moving, is a worthy entry into the wide world of Buckeye State guitar pop. If bands like Connections, Smug Brothers, and, yes, Guided by Voices are your thing, you’ll find plenty to enjoy in this record, especially “Faces”. This album highlight has a 90s slacker rock, lightly crunchy feel with an effortless, Tobin Sprout-ish simple but effective melody, making its mark in two and a half minutes.

“Soap Disco”, Kara’s Flowers
From The Fourth World (1997, Reprise)

Lmao, sorry for putting a song by the proto-Maroon 5 band on this playlist. But it’d be dishonest if I didn’t; “Soap Disco” has been playing in my head almost non-stop since I first heard it. In several senses, it’s not a particularly “good” song–the lyrics, for instance, are absolute nonsense (“The children had the time / To overthrow the slime / The super-children said they could see…”), but these California teeangers basically stumbled onto a song that does everything you’d want a 90s power pop/alt-rock single to do. It’s two-point-five minutes of all business and hooks. Now, stay tuned for my twenty-year retrospective look at Songs About Jane….

“Buttercup”, Angel Apricot
From The Pink Sunset Over You (2022, Apricot)

The latest record from Toronto’s Angel Apricot is everything one could want in a “bedroom pop” album–The Pink Sunset Over You’s thirteen songs are all subtly beautiful, slow-moving lo-fi indie rock tunes. The chorus to “Buttercup” puts it slightly above the rest of the record for me–Angel still sings it relatively quietly, but they inject the performance with a front-and-center energy, and the keyboards and floating guitar leads make the song feel wide open despite the relatively humble setup. 

“Blind Contour”, Signals Midwest
From Dent (2022, Lauren)

Cleveland’s Signals Midwest have been at it for a while, I think, but Dent is the first full-length of theirs I’ve heard front-to-back (although I did enjoy vocalist/guitarist Max Stern’s EP with Gordon Phillips from late 2021). There’s something about the frantic punk rock of opening track “Blind Contour” that’s stuck with me; the whole album is good, a nice J. Robbins-produced gruff-side-of-pop-punk specimen, but the band really nail the best of the genre in under two minutes with this one.

“Generic America”, Blue Mountain
From Home Grown (1997, Roadrunner)

Blue Mountain’s third album, 1997’s Home Grown, is not the front-to-back success that 1995’s Dog Days was, but it does include “Generic America”, one of their best tracks hands-down. The lyric is a well-worn topic for both country and rock and roll (the two genres of which Blue Mountain found themselves squarely in the middle); “I’m a rambler, I don’t fit in your bullshit modern, empty society”, that kind of sentiment. But it’s a tractor-trailer truck of an instrumental, with everything from the “sharper than it needs to be” drumbeat to the “90s southern rock” guitar heroics kicking it up a notch.

“Toward Fire”, Jon the Movie
From The Holy Parking Lot (2023, Jon)

Jon the Movie (Long Island’s Jon Gusman) released the A Glimpse That Made Sense EP at the beginning of last year, and it found the hardcore frontman exploring a “prog-punk” sound that incorporated everything from Dream Theater to Smashing Pumpkins to Guided by Voices in addition to his history with hardcore punk. Jon the Movie’s debut full-length record, The Holy Parking Lot, is coming in late January, and judging by lead single “Toward Fire”, Gusman is still exploring this axis, throwing together a pleasing combination of shout-along vocals, blistering guitar work, and some “parse this!” lyrics.

“Chupacabras”, Super Furry Animals
From Radiator (1997, Creation)

I finally got around to listening to Super Furry Animals last month via Radiator; I don’t really have much of a strong opinion on it. As I expected, I liked it more than the average Britpop record (that genre’s excess leaves me cold more often than not), but it hasn’t stuck with me, really–other than this dumb one-minute song about the chupacabra. I don’t know why Gruff Rhys is yelling “soy super bien” over and over in the chorus, I don’t know why he calls the chupacabra a “bat”, and I don’t know why this weird unhinged pop punk song is so catchy.

“New Roman Gods”, Tuxis Giant
From In Heaven (2022, Candlepin)

The six-song In Heaven EP is a subtle but vital highlight among Candlepin Records’ large 2022 discography. Boston’s Tuxis Giant make a gorgeous version of folk rock that contains shades of slowcore and 90s indie rock, although EP highlight “New Roman Gods” is one of the record’s more upbeat songs. Matt O’Connor’s delicate vocals holds their own against what’s effectively a country-rock instrumental (and if the instrumental isn’t enough, “Sometimes love is a trick you gotta pull on yourself” is a great country lyric, too).

“SWAG”, Christine Fellows
From Stuff We All Get (2022, Vivat Virtute)

Another underappreciated singer-songwriter who quietly released a full album towards the end of the year, Christine Fellows has given us something that I’m still digesting with Stuff We All Get. The record’s standout track to me so far is the oddly-titled “SWAG” (it’s an acronym for the record’s title, yes, I get that), a song that reads like it’s built from Internet detritus (“Give us feedback, send a screenshot / Colon bracket, take a 10-minute survey”) in a way that reminds me of a dizzier, less defeated version of John K. Samson’s “Select All Delete”. The closing lines and its demands (patience, grace, peace, space, kindness…) are the key here.

“No Good”, Thousandaire
From Ideal Conditions (2022, Knife Hits)

“No Good” opens up Ideal Conditions a bit more subtly than the (relatively) in-one’s-face “Bar Song”, but it’s just as effective in its own way. Since I’ve already started the Silkworm comparison, let’s keep it going–the way “No Good” rolls in with a steady drumbeat and building guitar reminds me of how SKWM started It’ll Be Cool with the six-minute ‘“Don’t Look Back”. “No Good” isn’t quite that large in scale, but it does quite a bit in three-minutes–Thousandaire certainly catch fire over the course of the track.

“Human Kind”, Straw Man Army
From SOS (2022, La Vida Es Un Mus)

SOS is the sophomore album from New York’s Straw Man Army, and it’s really just a solid front-to-back record of punk-peeking-into-post-punk. Album highlight “Human Kind” stews in a pleasing way, much like the rest of the record, with a prominent bassline guiding along a minimal but effective instrumental and spoken word, serious-guy vocals. And the song revs itself up just enough times over its two minutes, too.

“If I Think of Love”, OP8
From Slush (1997, Thirsty Ear)

Tucson’s OP8 (terrible band name, by the way–I just got that) was basically a desert rock supergroup: it was made up of Giant Sand’s Howe Gelb, Calexico’s Joey Burns and John Convertino, and, in something of a geographical outlier, Lisa Germano. “If I Think of Love” (incorrectly labeled as “Sand” on streaming services) was written and sung by Germano, and it’s the clear standout from the one record the band made together, 1997’s Slush. It’s a weird but beautiful alt-country/folk ballad, with stabs of violin and cello balanced by Germano’s even vocals.

“Joined in the Sky”, Hankshaw
From Nothing Personal (1997, NS/New Granada)

Ah, damn, major suicide/self-harm content warnings for this song. But I don’t want to leave out good music just because it makes me a bit uncomfortable to write about, and Nothing Personal is a very good 90s emo record. Apparently Hankshaw came out of Tampa, Florida, and their 1997 debut record got re-released last year through New Granada, but I only just now discovered them. Harold Hasselback’s high vocals are the most striking part of Nothing Personal, as others have pointed out–but the rest of Hankshaw are important in putting together this clean, catchy emo-pop-punk sound that’s very accessible even when Hasselback is painting as dire of a picture as he is in “Joined in the Sky”.

“I’m Insane”, Dinosaur Jr.
From Hand It Over (1997, Blanco y Negro/Reprise/Cherry Red)

I’m fairly certain that Hand It Over was the last Dinosaur Jr. album I hadn’t listened to in full yet–unsurprisingly, I wasn’t in a hurry to get to what’s effectively a J. Mascis solo album, and one without the recognizable radio hits of their other 90s records. As a whole, the album is…just fine, with the exception of “I’m Insane”, which is probably the weirdest Dinosaur Jr. single. The trumpet (played by Donna Gauger) blaring over top of the whole song is such an odd choice–I’m not going to say “it works” in an unqualified sense, but it doesn’t take away from a sharp alt-rock song that sounds kind of Frankensteined together in a good way.

“Jay”, Hobby
From Nombre Parfait (2022, Hidden Bay)

Like their 90s “slacker rock” forebearers a few decades ago, Paris’ Hobby condense post-punk, The Velvet Underground, and friendly but offbeat New Zealand and C86 guitar pop into something barebones and familiar, but inspired. The six-song Nombre Parfait EP is full of pleasing guitar pop anthems, with the triumphant, full-sounding opening track “Jay” being chief among them. Read more about Nombre Parfait here.

“I Was a Stranger”, Smog
From Red Apple Falls (1997, Drag City)

I’ve wanted to put Smog songs on a couple of these playlists, but they’ve always ended up on the cutting room floor. So, thanks to things slowing down a bit in December, we can enjoy “I Was a Stranger”, the highlight of Bill Callahan’s 1997 record Red Apple Falls. I still prefer Knock Knock, but I see why so many people rank this one as Callahan’s best album, and there’s something special about listening to “I Was a Stranger” and hearing him walking from lo-fi striver to elder statesmen folk singer and ending up with just a nice country song while in between.

“Broken Limbs”, Alayne May
From Strange Beings (2022)

I found Strange Beings from a list of everything Seth Engel (Options) worked on in 2022–he drummed on, co-produced, and mixed this record. Chicago’s Alayne May doesn’t make the chilly emo of Engel’s main project, exactly–their debut full-length record (also featuring, among others, Nick Levine of Jodi) is full of casual but well-written folk/country tunes. “Broken Limbs” is particularly memorable to me–the first line of the refrain (“It hurt when the limb I went out on broke…”) continues to stick with me, in both substance and in May’s delivery.

“Sunday Morning”, Buddie
From Transplant (2022, Crafted Sounds)

The Transplant EP is the latest release by Buddie since bandleader Dan Forrest moved from Philadelphia to Vancouver, and “Sunday Morning” opens the four-song record triumphantly. It continues Buddie’s fuzzy and poppy sound that evokes the softer, more melodic side of 90s indie rock, and “Sunday Morning” in particular is a delicate but hefty track with a sleepy, not-yet-awake-enough-to-deal-with-dystopia feel. Read more about Transplant here.

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