Welcome, all, to the February 2023 edition of the Rosy Overdrive monthly playlist. While last month’s playlist didn’t yet feature all that much music from the new year, this month I dove into 2023’s new offerings with a vengeance. This is a great one in terms of brand-new songs, truly. I had to cut a lot of good stuff to get it to a manageable length.
Blues Lawyer and Vista House are the fiends that get multiple songs on the playlist this time around.
Here is where you can listen to the playlist on various streaming services: Spotify (missing two songs), Tidal (missing three), BNDCMPR (missing four). 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.
“Smoke”, K. Campbell
From Smoke (2023, Poison Moon)
Oh, it’s nice to see (hear?) that K. Campbell is back. Back in 2021, the Houston-based power pop musician released the “Breaking Glass” single, and I wrote about that in one of these playlists. Anyway, “Smoke” is Campbell’s first release since that one, and this single’s A-side equals “Breaking Glass” in terms of catchiness to me. There’s a lot to commend here–the steady bass groove, the just-right harmonies in the song’s title line, Campbell’s sharp melodies. One way “Smoke” differs a bit is in how it stretches out, letting Danny Kamins’ saxophone run wild in the second half and transforming the tune from a straight power pop anthem into something a bit more.
“The Riverboat”, Downhaul
(2023)
It seems like every time I write about Gordon M. Phillips on this blog, either via his solo work or his emo band Downhaul, he’s done some genre-hopping from the last time we checked in with him. Downhaul’s latest single, the (for now, at least) standalone “The Riverboat”, is no different, but fans of their last record, 2021’s PROOF, should find plenty to like in it as well. The new song represents a turn toward the shinier and punchier for the Richmond group (Phillips cited Cymbals Eat Guitars when he sent me this song, and he’s not wrong to do so), but the core “Downhaul sound” still remains intact as “The Riverboat” builds to its second-half, down-stroked finale.
“Anything”, Frankie Rose
From Love As Projection (2023, Slumberland)
Frankie Rose rose to prominence a decade and a half ago as the drummer/vocalist for noise pop group Dum Dum Girls, although she’s had a fairly prolific solo career for just as long a time. I’m admittedly mostly unfamiliar with Rose’s solo albums, so I don’t know for how long/if she’s ever dabbled in synthpop very much, but she does it quite well on “Anything”. The lead single from her upcoming Love As Projection record, “Anything” has plenty of hooks and memorable melodies–I don’t know if the conversational tone of the verses or the simple-but-effective chorus is catchier.
“Do You Understand?”, The Apples in Stereo
From Velocity of Sound (2002, SpinART/Elephant 6)
Goodness, what a song. This track and the of Montreal one later on this playlist sort of represent me “wrapping up” my foray into Elephant 6 for now. I put on Velocity of Sound basically at random–it’s a mid-period Apples in Stereo record that no one really talks about–and found one of my new favorite songs in doing so. They’re still doing the incredibly power poppy-fuzz rock thing at which the Apples (and, in a way indicating how important Hilarie Sidney was to their sound, The High Water Marks) excelled, but “Do You Understand?” finds a gear I didn’t know the band had. The way Robert Schneider sings the “Why I hold the dagger/trigger in my hand” shocked me the first time I heard it–now I can’t imagine it any other way. We appreciate The Apples in Stereo here. We’re grateful they kept going into this century and made stuff like this.
“Vivista House”, Vista House
From Oregon III (2023, Anything Bagel)
Vista House’s Oregon III is one of my favorite records of the new year thus far; the twangy sound that Portland-based Tim Howe explored in last year’s First Rodeo album is here in spades, in a nice, pleasing country rock package. The busy “Vivista House” is one of the more sonically surprising songs on Oregon III, an excited drum machine-led piece of country-tronica that nevertheless feels right at home in the middle of the album. Read more about Oregon III here.
“Holy Moly”, Young Fathers
From Heavy Heavy (2023, Ninja Tune)
I liked Young Fathers’ last album, but Cocoa Sugar was nearly five years ago, so I wasn’t sure what to expect with Heavy Heavy. Well, the Edinburgh trio’s fourth album is a surprisingly excitable pop record that manages to feel incredibly lean but full-sounding all the same. “Holy Moly” is hidden towards the end of Heavy Heavy, but it feels like a particularly “big” moment on the record–Young Fathers “go for it” with the chorus, which is straightforward, massive, and incredibly catchy. And there’s something ballsy about making something as mild as “holy moly” your big hook.
“Taylor Lautner”, Total Downer
From Caretaker (2023, Just Because)
Cleveland’s Total Downer is lead by guitarist/vocalist Andy Schumann, and on Caretaker, he and the band use hooky power pop as a vessel to tackle a host of wide-ranging and hard-hitting topics. One of the best examples of this on Caretaker (in fact, I’d go as far as to say the best one) is “Taylor Lautner”, a song about body image that uses the genuinely disturbing-in-hindsight way that a literal teenager was treated by the media at large for a conflicted-sounding but empathetic message from Schumann–and it’s catchy as hell. Read more about Caretaker here.
“In Effigy”, Growing Pains
From Thought I Heard Your Car (2023)
I don’t know too much about Growing Pains. They’re from Eugene, Oregon, and for a band with only a handful of songs to their name, they seem to have already built up some goodwill, as the excited reaction in certain indie rock circles to February’s Thought I Heard Your Car demonstrates. I’m happy to report that the band’s new EP is worthy of hype–it positions itself on the alt-rock/power poppy side of noise pop and nü-shoegaze, and highlight “In Effigy” is as infectious as it is loud (listen to that guitar hook!).
“Someone Else”, Blues Lawyer
From All in Good Time (2023, Dark Entries)
The third album from Oakland’s Blues Lawyer, All in Good Time, is so stuffed with excellent, weighty power pop tunes that I didn’t even really touch on my favorite track from the record in my review of it. “Someone Else” begins musically as triumphantly as anything else on the record, with singer-songwriter Rob I. Miller wringing a lot out of the phrase “another parked car conversation” in the opening line. Thematically, the song fits right in with the rest of All in Good Time, with Miller punctuating his frustrating conversation in said parked car with “Don’t wanna be your someone else”. Read more about All in Good Time here.
“Bus Stop”, Tee Vee Repairmann
From What’s on TV? (2023, Total Punk/Computer Human)
Sydney’s Tee Vee Repairmann have thrown their hat into the “Australian garage rock-y power pop” sweepstakes with their debut full-length record What’s on TV? (following a couple EPs over the past two years), and the results are quite compelling. Highlight and single “Bus Stop” is, at two minutes and twenty seconds, one of the “longer” tracks on the record, which means that Tee Vee Repairman have plenty of time to offer up a solid verse hook, a big old power pop chorus, and even throw some pleasing-sounding guitar leads into the between-verses instrumentals.
“Bats”, Lithobrake
From Lithobrake (2023, Cassowary)
Lithobrake is a new and intriguing Washington D.C.-based band whose debut EP is a low-key, 90s-indie-rock-inspired introduction to the group. “Bats” opens EP1 with what feels like a lost slacker rock classic, an incredibly hooky pop rocker with a nice formula of ennui and angst to give it a bit of a bite (“All the nice tomatoes are sold out / Turquoise aviators in a small town”, now there’s a 90s indie rock lyric if I’ve ever heard one). Read more about Lithobrake here.
“Weak Stream”, Closet Mix
From 01 EP (2016, Anyway/Tone Scholar)
Columbus’ Closet Mix are a group of Ohio music veterans led by Paul Nini, who played with Great Plains and runs the Old 3C Label Group. The band is working on a new record (they released a single from it last year), but “Weak Stream” from their 2016 debut EP caught my ear, so that’s what I’m sharing with you today. Like most of 01 EP, “Weak Stream” feels like it was made by people who’ve been playing indie rock for a long time and have learned to build a song subtly and intricately. The guitar work that runs through the entire song is beautiful without being overly showy, and the soft-touch vocals and keyboard accents are just right for the track as well.
“Esconaquito”, Jach Ernest
From Esconaquito (2023, Safe in the Rain/Bordeaux Rock/Tepane)
Jach Ernest are an indie pop group that hail from Bordeaux, France. They have releases on their Bandcamp going back more than a decade, but Esconaquito is the first record I’ve heard from them, and it’s a decidedly French-sounding, incredibly infectious collection of indie rock. The opening title track to Esconaquito is instantly my speed, with a hard-working rhythm section setting up a motorik tempo over which melodic guitars, low-key but warm vocals, and horns (!) all excel.
“For a Good Time”, Shredded Sun
From Each Dot and Each Line (2023)
Each Dot and Each Line is an adventurous, delightfully eclectic indie rock record from Chicago’s Shredded Sun, in which the trio absolutely reflect their years of experience playing together. One of the catchiest songs on the record, “For a Good Time”, is hidden away in the album’s second half, but it’s hard to forget the track once you hear it. The instrumental is quite bouncy, and bassist Sarah Ammerman’s vocals are friendly and full in exactly the right way for the track. Read more about Each Dot and Each Line here.
“Telex Eyes”, Soft on Crime
From New Suite (2023, Eats It)
Soft on Crime waste no time establishing just what you’re in for with New Suite. The Dublin-based three piece band open their debut record (well, cassette tape) with the massive, triumphant jangly guitars that lead off “Telex Eyes”, a moment that recalls vintage power pop groups like The dB’s and The Soft Boys. New Suite is full of excellent guitar pop like this track, although the combination of eager, early punk-pop, nervous post-punk energy, and big hooks here make it the standout. Not streaming, listen on Bandcamp. Read more about New Suite here.
“Valentine”, Lemon Pitch
From Threat of Weather (2023, Repeating Cloud)
“Connecting couplets in your bitter end, a colorectal valentine / A grim suppository truce”. Thanks for that imagery, Alex Merrill. “Valentine” is certainly one of the most memorable songs on Lemon Pitch’s Threat of Weather, a record already overflowing with ideas. It’s a Franklin Bruno-esque melding of classic pop hooks and long-winded lyrical twists and turns (to me, at least–according to Merrill, he was going for “sloppy, American XTC”). It’s kind of like…any song that sticks itself in my brain for as long as “Valentine” has done–well, that’s gotta end up on this playlist, one way or another. Read more about Threat of Weather here.
“This Job Is Killing Me” and “Xenogenesis”, The Telephone Numbers
From Weird Sisters and 14 (2023, Meritorio/Prefect)
The Telephone Numbers’ Thomas Rubenstein is very quickly becoming one of my favorite new songwriters, and we got two brand-new songs from his band in February. “This Job Is Killing Me” is the B-side to their “Weird Sisters” single, and Rubenstein’s bitterly beautiful music industry disillusionment lyrics make it the equal of its A-side (“I’ve tried so hard imagining / A Sisyphus that’s happy”). “Xenogenesis” (this one’s Bandcamp-only) is on Prefect Record’s 14 compilation, and it’s all Scott Miller arresting vocals and emotionally-bruised lyricism, stripped-down but sounding anything but incomplete or unfinished. Read more about 14 here.
“All Up in It”, Samuel S.C.
From High Places (2023, Art Monk Construction/ORG)
Samuel S.C. (originally known simply as Samuel) released 94-95 digitally last December and on vinyl this month; the compilation collected everything recorded by the Pennsylvania band during their initial run (which coincided with the years in the record’s title). At the same time, however, we also have gotten brand new music from the emo-tinged indie rock band with High Places, their debut full-length record. Opening track “All Up in it” indicates that Samuel S.C. still very much “has it”, with Vanessa Downing and James Marinelli’s vocals soaring over a power-pop-punk-y instrumental (High Places is their Majesty Shredding, perhaps?).
“A Good Man”, Algiers
From Shook (2023, Matador)
I promise that I like more songs from the new Algiers album than the one “punk” song. In fact, I think that Shook might be my favorite record from them yet, which is atypical for me–historically, bands lose me when they try to have too many genres going on at once, but it works really well for them here. Still, I’m still taking a lot of Shook in at the time of this writing, but the blistering “A Good Man” was an instant “oh, yes, I like this and want to hear them do this more often” from me. Lee Bains III may be featured later on in the record in a spoken word segment, but “A Good Man” is the track where they most reflect his band The Glory Fires’ southern fuzzy punk rock.
“Something Strange Happens”, The Orange Peels
From Square (1997, Minty Fresh)
“Something Strange Happens” comes from the tail end of my January project, in which I listened to one new-to-me album from 1997 every day for a month. The Orange Peels’ Square was for the 31st, which meant last month’s playlist was already finalized by then, but “Something Strange Happens” is too good not to share here. This is another song that’s mega-boosted by some inspired, melodic bass playing, and the soaring chorus simply can’t present itself humbly enough to hide its massive hooks–it’s indie pop/college rock at its best.
“See You Next Semester”, Stress Fractures
From Stress Fractures (2023, Acrobat Unstable/Old Press)
The Stress Fractures album is one of my favorite emo records of the year thus far. The South Carolina band is led by Martin Hacker-Mullen, who’s also the head of Acrobat Unstable Records ((T-T)b, Cicala) and plays bass for Clearbody. Although it has its Midwest emo moments, Stress Fractures hews towards pop punk anthem/catharsis territory more often than not, and “See You Next Semester” is one of the best examples of this on the record. Hacker-Mullen offers up an excellent singalong chorus in the service of reminiscing about and regretting the fading of a close friendship.
“Sassafras Roots”, Green Day
From Dookie (1994, Reprise)
Yeah, I dunno. There’s something really sweet about this song that I never really appreciated until now, when I recently put Dookie on on a whim. First of all, the bass is (as typical for Green Day at this time) absolutely insane and absurdly melodic in a way that most pop punk bands could only dream of pulling off. The main instrumental break where Mike Dirnt is just going at it is as catchy as anything else in their discography. And then, of course, there’s the lyrics: “So why are you alone wasting your time? / When you could be with me wasting your time?” I mean, who could argue with that? When you put it that way, I mean.
“Mourning Dove”, Screaming Females
From Desire Pathway (2023, Don Giovanni)
Has it really been five years since the last Screaming Females record? Sure, Marissa Paternoster released a solo album (not to mention her work as Noun), but All at Once came out all the way back in 2018. Listening to “Mourning Dove”, however, makes it feel like they never left. It definitely falls into the “power pop” side of Screaming Females’ oeuvre, sounding like it could’ve fit on Rose Mountain or the lighter side of All at Once, but there’s an alt-rock punchiness to it that I’d recognize from them anywhere.
“If I Were a Cowgirl”, The Fever Haze
From An Apple on the Highest Branch (2022)
The Fever Haze’s An Apple on the Highest Branch is an excellent entry into the “album from last year I didn’t hear until the beginning of this year” camp. The fourth record from the Grand Rapids, Michigan band is a comforting and warm mix of fuzzy folk rock, “Americana”/heartland rock, and country-gaze. Importantly, The Fever Haze have the songs to back this up, and none are greater than “If I Were a Cowgirl”, a wide-open, big-sky kind of indie rock song.
“I Wish I Was Your Mother”, J.T. IV
From The Future (2023, Drag City)
John Timmis IV (aka J.T. IV) was an unknown Chicago-area glam-influenced songwriter active in the 1970s and 80s. Timmis passed away in the early 2000s, but Drag City released a posthumous record from him a few years after his death, and they’ve returned to Timmis this year with The Future, another compilation drawn from Timmis’ various cassette recordings. Some of the songs on the record hit the same iconoclastic spot as early Guided by Voices, albeit with a bit more first wave punk/Velvets influence, like this very spirited cover of Mott the Hoople’s “I Wish I Was Your Mother”.
“Trouble from the East”, The High Water Marks
From Your Next Wolf (2023, Minty Fresh)
It seems appropriate that I end my long, extensive journey through the Elephant 6 back catalog by looking toward the future. The High Water Marks have been shockingly prolific in this decade, releasing three records since 2020 (which, I believe, ties them with of Montreal for the most of any E6-related group). If “Trouble from the East” is any indication, Your Next Wolf is looking like another sublime collection of fuzzy power pop like last year’s Proclaimer of Things was, with the band sounding as enthusiastic about it as ever.
“Tarantulangel”, 13 Necklace
From 13N (2023, Candlepin)
One of several highlights from Candlepin Records’ eventful early 2023 is the 13N cassette from New York’s 13 Necklace. On the whole, 13N trades in loud, gorgeous-sounding shoegaze-indie rock, although “Tarantulangel” is the tape’s reverb-y pop moment. It’s still fuzzy and distorted, but 13 Necklace break out jangly arpeggios and chugging power chords in the verses for an excellent song that sounds like a lost 90s indie rock classic. Of course, the song still swells up in the chorus to revved-up, layered noise pop, just to remind you of what 13 Necklace are capable of.
“Limousine”, Fran
From Leaving (2023, Fire Talk)
I’d been aware of Chicago’s Fran since their 2019 debut record for Fire Talk, A Private Picture, but “Limousine” is the song that really first grabbed my attention from them last month. The advance single and opening track to Leaving is a slow-burner, a deliberately-moving piece of electric folk rock led by the soaring vocals of bandleader Maria Jacobson. It hits the same notes as the best songs from Why Bonnie and the less distorted side of Wednesday for me–it’s more “singer-songwriter”y than either of those bands, but that’s hardly a bad thing for Jacobson’s writing style.
“Inspect the Receipt”, CLASS
From But Who’s Reading Me? (2023, Feel It)
CLASS have been putting out music for less than a year, but the Tucson band is already establishing itself as a reliable, round-the-calendar source for great garage rock/power pop. Following last year’s self-titled EP and Epoca de Los Vaqueros full-length, this year’s But Who’s Reading Me? is four new songs (and two re-recordings) of what we can start to call the “classic CLASS sound”; “Inspect the Receipt” eagerly leaps into it with a lassoing lead guitar and landslide bass, and the chorus is pure loose power pop.
“Sound Advice”, Tiny Microphone
From Other Cities (2023, Littlemusic)
Other Cities, the long-awaited second record from the Chicago-originating, Portland-based Tiny Microphone, features no shortage of beautiful melodies carried by Kristine Capua’s friendly vocals. The first half of Other Cities in particular features one excellent pop song after another, with the sublime jangle pop of “Sound Advice” perhaps being the strongest one of them all. The lyrics seem to be a “moving to a new city on my own” feeling (“It pretty much rains here everyday / You’ll get used to it they say / The summers are beautiful, they make it all worthwhile”). Read more about Other Cities here.
“When You Say”, FACS
From Still Life in Decay (2023, Trouble in Mind)
With the lead single from their upcoming Still Life in Decay, it feels like Chicago’s FACS are picking up where they left off with 2021’s Present Tense (which made my best-of list for that year). “When You Say” isn’t quite as accessible as, say, “Strawberry Cough” was, but it still sharpens FACS’ dub/industrial-flavored noise rock and post-punk into something relatively straightforward. At least, aside from the instrumental flare-ups that mark the beginning and end of the track.
“Labrador”, Ottis Cœur
From Léon (2023, Howlin Banana/Modulor)
It seems like there’s a lot of good indie rock coming out of France right now. I discovered Paris’ Ottis Cœur through Howlin’ Banana Records (EggS, Hoorsees, Unschooling), who recently released their Léon EP (as well as a vinyl compilation of Léon and their previous EP, Juste Derrière Toi). Ottis Cœur’s latest opens with “Labrador”, a piece of busy, post-punk-flavored indie pop that drives at a brisk tempo through its verses and then stops and starts agilely in its chorus.
“Crystals 26”, John Vanderslice
From Crystals 3.0 (2023, Tiny Telephone)
New John Vanderslice songs and releases come out at a steady pace these days–they either fall into the category of purely experimental electronica or into the “classic, singer-songwriter-mode John Vanderslice but enhanced with various electronic touches” camp. “Crystals 26”, the lead single from Vanderslice’s upcoming Crystals 3.0 record, is a member of the latter–it features Vanderslice’s distorted acoustic guitar and worried-sounding vocals, but with synths wriggling and crawling all over it. The lyrics are similarly scrambled, taking some pretty universal songwriter-type topics and presenting them in an odd way (“Love: small word / Alcohol: big word”).
“Buhd”, Wish Kit
From Rock Against Bush (2023)
Late January’s Rock Against Bush split EP brought together four like-minded practitioners of power pop, 90s indie rock, and pop punk to create a short but compelling record. The EP opens with “Buhd” by Wish Kit, the one group on the release that I hadn’t previously covered on Rosy Overdrive–and it just might be the best song on the whole thing. Its combination of fuzzy 90s power pop (check those “woo”s out in the chorus) and slacker rock energy is first-rate, and I’ll be keeping my eye on Wish Kit from here on out. Read more about Rock Against Bush here.
“All the Wild Horses”, Outwest
From All the Wild Horses (2023, Candlepin)
On their third EP, Ventura, California’s Outwest employ plenty of distortion in the service of loud, anthemic fuzz rock. Throughout All the Wild Horses, Outwest come off as, more than anything else, a wildly in-the-red punk rock group. The record’s title track is forcefully catchy in a vintage California indie-pop-punk anthem kind of way, barreling its way excitedly into its bellowing of the titular line. Read more about All the Wild Horses here.
“Chance Encounters”, Blues Lawyer
From All in Good Time (2023, Dark Entries)
Blues Lawyers’ All in Good Time opens with a big power pop statement in “Chance Encounters”, which sounds massive but also has a melancholic, almost nostalgic streak to it that evokes their stated influence of Teenage Fanclub (there’s some nice early TFC-esque revved-up lead guitar on the track), as well as countless 80s indie pop bands. Past-evoking instrumental aside, however, lead singer Rob I. Miller’s first line on the album finds him declaring “I wanna stop talking about the way things used to be”–a duality that All in Good Time goes on to explore throughout its fourteen tracks. Read more about All in Good Time here.
“Eklund Garden”, Frightful Places
From Frightful Places (2023)
Connecticut’s Frightful Places is the solo project of Kevin Tiernan (Mighty Tortuga, Moving Brooklyn), and its five-song self-titled debut EP has been about eight years in the making. Frightful Places was produced by Chris Teti of The World Is a Beautiful Places & I Am No Longer Afraid to Die, and it’s a shined-up but still fairly vulnerable-sounding mix of emo and alt-rock; if you’re into later TWIABP or bands like the also-appearing-in-this-playlist Downhaul, Tiernan makes music in a similar vein. “Eklund Garden” is my favorite track from the EP, with a hard-hitting instrumental and a classic emo refrain (“Looks like I got where I wanted / But I lost myself/my love in the process”).
“King of Rock N Roll”, Vista House
From Oregon III (2023, Anything Bagel)
Tim Howe shows a few different sides to himself and his Vista House project throughout its latest record, Oregon III. Advance single and early record highlight “King of Rock N Roll” is a determined-sounding roots rocker that shows off Vista House in loud, anthemic alt-country mode. The instrumental roars along, and Howe gives a characteristically animated vocal performance–it takes a while to get to the shout-along ending part, but it’s well-earned. Read more about Oregon III here.
“Dirty Dustin Hoffman Needs a Bath”, of Montreal
From The Early Four Track Recordings (2001, Kindercore/Polyvinyl)
I find early of Montreal (well, all of Montreal to a degree, I suppose) to be pretty hit-or-miss; I love Cherry Peel, while The Gay Parade and The Bedside Tragedy: A Petite Drama do little to nothing for me. I’m happy to report that The Early Four Track Recordings winds up in the former camp in my book. With its shrug of an album title and absurdities of song titles, the compilation feels pretty low-stakes, but Kevin Barnes was writing great pop songs around this time, particularly the poppy lo-fi charming opening track “Dirty Dustin Hoffman Needs a Bath” (sigh).
“Apology Letter”, Yo La Tengo
From This Stupid World (2023, Matador)
Like anyone with ears, I like the new Yo La Tengo album. I will pump the brakes on the “maybe it’s their best ever?” discussion because it’s not really trying to be on the scale of what I Can Hear the Heart Beating As One or And Then Nothing Turned Itself Inside-Out are, which it’d need to be in order to top those for me. Let’s just appreciate This Stupid World for being a very good Yo La Tengo album (a commodity that maybe has gone undervalued in recent years). I think “Apology Letter” might be my favorite one, although it’s an incredibly close call. This song feels like it’s always been around; Yo La Tengo could’ve put it out at any point in their career and it would’ve been a highlight.
“In This Moment”, Grapes of Grain
From Getaways (2023, Drag Days)
Dutch indie rock group Grapes of Grain formed in 2005, and released an album and a couple EPs in the latter half of that decade before disbanding. 2023’s Getaways is the result of singer-songwriter Alexis Vos becoming inspired to make music again and (remotely) assembling the lineup of his old band from thirteen years ago. The five-song EP is a tranquil mix of jangle pop, folk rock, and indie pop, with the quietly beautiful “In This Moment” sounding like the big standout to me. As muted as the song is, it still builds from a carefully plodding bass guitar riff and steady acoustic strumming to the plateau of a chorus.
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