It’s time for a ton of new music this Monday. Today sees the grand unveiling of Rosy Overdrive’s May 2023 playlist, and boy, this one’s an all-timer. I would call it a classic (a word I would also use for many of the songs which make it up).
PONY, Poppy Patica, Greg Mendez, Rob I. Miller, and William Matheny all have multiple songs on the playlist.
Here is where you can listen to the playlist on various streaming services: Spotify, Tidal, BNDCMPR (missing one song). 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.
“Down South”, Cal Rifkin
From Better Luck Next Year (2023, Really Rad)
It’s always nice when a new power pop band spawns. Or, new-to-me ones, at least. Washington, D.C.’s Cal Rifkin have just released their second EP, Better Luck Next Year, and it rides both the “fuzzy and loud” and “gentle and melodic” ends of the genre. Better Luck Next Year opens with “Down South”, their version of an unstoppable, massive jangly power pop anthem–lead singer Erik Grimm can sing that chorus as understated as possible, but it’s still going to be a runaway train. Read more about Better Luck Next Year here.
“Lost Keys”, Nicole Yun
From Matter (2023, Kanine)
Eternal Summers were/are a Richmond band that showed up around the beginning of the 2010s, making a kind of reverb-heavy, pop-heavy indie rock that had a brief moment around this time. They were pretty good, but they’d kinda slipped from my radar. I’m not sure if the band is still active (their last album was in 2018), but lead singer Nicole Yun has put out two solo albums since then, and her most recent one (April’s Matter) is very good. Album highlight “Lost Keys” is, I think, impossible to dislike, a breezy pop rock tune that Yun really sells in a way that I’m not sure most distortion-heavy frontpeople would be capable of doing. There’s a Guided by Voices-esque effortless catchiness to a lot of Matter (which I thought before I learned that GBV’s Doug Gillard contributed guitar to her previous solo album, 2019’s Paper Suit).
“Trouble”, Fust
From Genevieve (2023, Dear Life)
One of the best albums of 2021 was Fust’s Evil Joy, an excellent country record from the Aaron Dowdy-led project. For whatever reason, I was relatively lonely in my acclaim of Evil Joy, but it already feels different this time around, as I’ve seen the lead-up to their next album, Genevieve, gaining some steam. For one, there’s legitimate star power (fellow North Carolinians MJ Lenderman and Indigo De Souza play on the album), and there’s also “Trouble”, a transcendent country rock tune that might be the best Fust song yet. Steady electric guitar and piano let Dowdy’s typically excellent vocals soar as he unspools a hell of a lyric here. I’ll have more to say about Genevieve soon.
“The Habsburg Jaw”, Califone
From Villagers (2023, Jealous Butcher)
The new Califone album opens with “The Habsburg Jaw”, which is to say that it opens with some odd-sounding synths that give way to a beautiful acoustic-based indie rock tune that still flirts with giving into those odd synth sounds throughout (and does towards the end). Horns rise when Tim Rutili sings “Talk to me in the voice you use to talk to the cat,” and then he sings along with a corrupted-sounding voice. Nobody does songs like this better than Califone (or comes even close, really).
“Sick”, PONY
From Velveteen (2023, Take This to Heart)
The second PONY album is a monster of a pop record–plenty of bands have mined this style of formerly-radio-friendly 90s alt-rock in recent years; few have done it as deftly and catchily as the Toronto do on Velveteen. “Sick” feels eternal, aided in large part due to an excellent frontperson performance from Sam Bielanski–here, they sound like they’re grabbing the mic aggressively to vividly try and wrest control of something. “Break my spine just to prove I have one,” they memorably offer in the chorus (equally memorable is their enunciation of “comp-licated” a couple of lines earlier). Read more about Velveteen here.
“Awful Sound”, Poppy Patica
From Black Cat Back Stage (2023, House of Joy)
Black Cat Back Stage opens with a perfect indie-pop-rock tune in “Awful Sound”, a track that excellently synthesizes the ramshackle poppiness of Stephen Malkmus at his most accessible with some sparkling new wave-y synths. It’s the perfect bait for a certain kind of indie rock fan to be drawn into Peter Hartmann’s bright sounding, incredibly stuffed, complex tribute to his former home of Washington, D.C. that is the rest of the record. Read more about Black Cat Back Stage here.
“Wedge”, Rob I. Miller
From Companion Piece (2023, Vacant Stare)
Companion Piece gets better and better the more I hear it. It’s a breakup record with something of a dark cloud hanging over it, but Rob I. Miller is an excellent power pop songwriter, and the hooks here are only “subtle” in comparison to his quite eager-to-please “main” band, Blues Lawyer. Single “Wedge” is a massive piece of Teenage Fanclub fuzz-pop that glazes over some lyrics that…well, they sound like what I imagine a San Francisco-area breakup sounds like. Read more about Companion Piece here.
“Stop Breakin’ Down”, Hunter Senft
From American Love Songs (2023, New Morality Zine/Best Life)
Last year I wrote about The Brass Tax, an intriguing EP from Oklahoma heavy shoegaze band Downward. The Brass Tax flirted with a few genres outside their wheelhouse, but none of them quite prepared me for American Love Songs, the latest EP from Downward’s lead singer Hunter Senft. “Stop Breakin’ Down” is one of–probably the most catchy power pop song I’ve heard this year. Senft mentions Tom Petty and Roy Orbison as influences for the EP, and they’re in this song, among many other things–it’s got a big 80s pop sheen, some saxophone, a big old recurring riff, and a chorus that’s so massive that it’s basically showtune-esque.
“The Cut Off”, En Attendant Ana
From Principia (2023, Trouble in Mind)
I wrote about Principia back in February, but I didn’t put anything from it on the playlist for that month. This was a mistake; “The Cut Off” should’ve been on it, and now it’s here. Seeing En Attendant Ana live and being struck by how effective a frontperson Margaux Bouchaudon is helped me to realize this, but the exuberance of this song’s chorus (“Something’s missing!”) comes through just as clearly on record. Read more about Principia here.
“Tonight and Every Night from Now On”, William Matheny
From Moon Over Kenova (2018, Misra)
“Tonight and Every Night from Now On” is tucked away on William Matheny’s 2018’s Moon Over Kenova EP–what little attention that EP has gotten has mostly centered on the transcendent, spiritual title track and an ace cover of Songs: Ohia’s “Just Be Simple”, but “Tonight and Every Night from Now On” is no slouch. It’s a slick moment for Matheny’s narrator, the surety of the refrain bouncing off against verses that cast a much wider net.
“Nutrition Facts”, Parister
From Here’s What You Wonder (2023, Candlepin)
Parister’s Here’s What You Wonder is excellent Kentucky indie rock, with distortion and twang coloring guitarist/vocalist Jake Tapley’s songwriting. Album highlight “Nutrition Facts” is pure twinkling, jangly power pop, and the titular line is beautiful in an offbeat way (it has the MJ Lenderman thing of hanging on a seemingly mundane image for just long enough). Read more about Here’s What You Wonder here.
“Jupiter”, Upper Wilds
From Jupiter (2023, Thrill Jockey)
Should’ve been on the April playlist, whoops! Anyway, new Upper Wilds is always a momentous event, and “Jupiter” is no different. The Dan Friel-led power trio are continuing their planetary explorations, following 2018’s Mars and 2021’s Venus (both of which were among my favorite records of their respective years). The title track to Jupiter was released along with the also-very-good “10’9””–this is the punchier, more playlist-friendly one, but it still manages (unsurprisingly) to do justice to our solar system’s largest planet in a three-minute screeching noise-pop-rock tune.
“Clearer Picture (of You)”, Greg Mendez
From Greg Mendez (2023, Devil Town/Forged Artifacts)
Like several highlights on Greg Mendez, “Clearer Picture (of You)” is a really raw, close-cutting song that very bluntly deals with the hurt that can only arise from being intimate (in some form another) with someone. It’s not exactly similar songcraft-wise, but “Clearer Picture (Of You)” hits on Exile on Guyville-level subject matter in its lyrics, particularly that really rough second verse. And also like Greg Mendez’s highlights, “Clearer Picture (of You)” just sounds beautiful. Read more about Greg Mendez here.
“D. Boon-Free (A Ninth Grade Crime)”, Centro-matic
From The Static vs. the Strings Vol. 1 (1999, Quality Park/Idol)
So, I’m mentally ill, and sometimes this negatively impacts my life. Last month was a really really good/bad example of this. One of the ways I coped with this was asking for song recommendations on Twitter that fit a very specific messed-up 90s indie rock vibe. “D. Boon-Free (A Ninth Grade Crime)” wasn’t quite what I was looking for (it’s too poppy), but it turns out it’s the song I needed. I’ve never really listened to Centro-matic–I’d probably like them, I like a lot of similar bands, I just haven’t gotten around to it. This is still the only Centro-matic song I’ve heard, and it’s perfect. I could say it sounds like the Archers of Loaf trying to make a power pop No Depression song about the Minutemen or whatever the fuck but the point is I’ve lived my whole life without hearing this perfect song, and one day I just stumbled on it (well, I mean, Sebastian Stirling suggested it to me, but you get the point). There are a lot of songs like this out there that I’ve heard, and probably an infinite number of ones like this I haven’t heard yet. Maybe Centro-matic have another song like this. If they don’t, somebody else will, and I’ll find it. Shit, I have to keep living, I guess.
“We Don’t Fuck”, Leor Miller’s Fear of Her Own Desire
From Eternal Bliss Now! (2023, Candlepin)
Eternal Bliss Now!, the latest album from Leor Miller’s Fear of Her Own Desire, is an adventurous and multi-layered collection of experimental, electronic-colored indie rock. “We Don’t Fuck”, one of the album’s singles, is an eerie, frayed take on bedroom rock that is still a pop song against all odds. I feel like I could write an entire essay just on Leor Miller’s opening couplet alone (“We don’t fuck / But I give birth to myself in your truck”–to me that’s a particularly vivid way of capturing the unusual, inexplicable-feeling nature of queer relationships, with more than a bit of Eternal Bliss Now!’s theme of merging the intra- and interpersonal also present, but that’s just me). Read more about Eternal Bliss Now! here.
“I’m Glad He’s Dead”, Charles the Obtuse
From Charles the Obtuse (2023)
Charlie Wilmoth has been making good music with Fox Japan and Oblivz for a while now, and his debut solo EP (as Charles the Obtuse) only continues the trend. The impossibly cheery “I’m Glad He’s Dead” closes Charles the Obtuse, and it has lived in my head rent-free ever since I first heard it. Wilmoth sends everyone off by explicitly encouraging the listener to cheer, celebrate, and toast the death of some asshole (deliberately kept vague, so you can break this one out on any number of occasions). It’s both a good argument and a good soundtrack for such a party (apropos of nothing, happy Pride Month). Read more about Charles the Obtuse here.
“I Can Handle It”, Radiator Hospital
From Can’t Make Any Promises (2023, Salinas)
Sometimes simplicity is the way. Radiator Hospital open their latest album, Can’t Make Any Promises, with the blunt melodic pop rock of “I Can Handle It”. “If we’re really going through with it, I gotta know right now,” Sam Cook-Parrott begins the song, which presents a few more “If, then, okay if not” statements from there. Maybe I’m projecting a bit, but I hear a lot of pain and frustration in the way that these major requests and assertions have been boiled away to their essence. “If you really wanna make it right, you better make it right now / I can handle it if you won’t, but I gotta know”.
“What Does It Mean?”, Cusp
From You Can Do It All (2023)
Back in 2021, I wrote about Cusp’s debut EP, Spill. The then-Rochester-based band (now living in Chicago) made an intriguing mix of spiky, thorny indie rock with pop hooks not infrequently sticking out among the noise. Cusp’s self-released first full-length album, You Can Do It All, came out last month, and if you liked Spill, it continues and expands on that sound. My favorite track is the penultimate “What Does It Mean?”, a very catchy song that zags very pleasingly in its chorus.
“Secret Freezer”, Deep State
From Diary of a Nobody (2023)
I hadn’t heard of Deep State before, but they’ve been around for a decade or so, and I was intrigued due to Christian “Smokey” DeRoeck (Blunt Bangs, Little Gold) being involved. DeRoeck plays guitar and sings, although it seems like primarily the project of Taylor Chmura, who’s singing “Secret Freezer” (and shouting DeRoeck out explicitly in the chorus). It’s an excellent piece of gently-swaying, slightly twangy guitar pop, and Chmura’s delivery of “Smokey don’t feel so good!” in the final chorus is so charming.
“Fracture”, Downhaul
From Squall (2023)
Downhaul get a little weird and (for them) experimental on their latest release, the four-song Squall EP, but they’re still the same recognizable Richmond emo-alt-rock band, and opening track “Fracture” is vintage Downhaul through and through. It’s the song on the record that makes the biggest bid for “big-chorus anthem” status, and there’s a surprise in the form of a blistering guitar solo that kicks in at the end of the song. Read more about Squall here.
“Edible Arrangements”, Grave Saddles
From There You Ain’t (2023, Really Rad)
Hemet, California’s Grave Saddles’ latest release is the relatively brief three-song There You Ain’t EP, but the four-piece fuzz rock band leave their mark with it, particularly on the excellent opening track “Edible Arrangements”. It’s the most Dinosaur Jr.-esque song on There You Ain’t–clearly a shoegaze-influenced band, the vocals are relatively buried here, but both their inflection and the loud pop sound of the song are very Mascis. “Thank you for the fruit / I didn’t know just what to do with it” is a hell of a refrain, too.
“Hide”, Rob I. Miller
From Companion Piece (2023, Vacant Stare)
“It was just after dark, and you were light on your feet”. I’ve heard this story before. It doesn’t end well. I’ve listened to “Hide” quite a bit over the past month or so, but it still floors me how Rob I. Miller married these lyrics with the sound of a massive jangle-power-pop anthem. Miller sends the song into the stratosphere, kicking off the chorus with “I’m sure about you / But I wish I didn’t have a clue”. The brief guitar solo is the sonic equivalent of screaming into your hoodie sleeve. Read more about Companion Piece here.
“Jim Watson You’ve Had It Too Good for Too Long”, Dart Trees
From Consider Two Beers (2023, Club)
What’s this chord progression called, again? It’s an oldie but a goodie. “Jim Watson You’ve Had It Too Good for Too Long” is my favorite song from Consider Two Beers, the latest EP from Ottawa’s Dart Trees. Their Bandcamp calls them “college drunk rock for good times and bad times”– “Jim Watson…” isn’t so much a slacker rock tune as a burnout anthem (“It’s ten A.M., I’ll guess I’ll chug a Gatorade”). I’ve known the narrator of this song before–I wonder how he turned out.
“All Flowers Grow”, The Fever Haze
(2023, The Stooge)
The Fever Haze’s An Apple on the Highest Branch came out in December 2022–if I’d discovered it before early 2023 it probably would’ve been on my year-end list, but now I’m fully on board with the Michigan widescreen indie fuzz rockers. “All Flowers Grow” is a one-off single that just came out, and it expands on An Apple on the Highest Branch’s distorted country-Americana sound. Jackie Kalmink pushes her vocals in an exciting way here in the chorus, helping The Fever Haze really commit to turning in an anthem here.
“Lead Paint”, Ryan Wong
From The New Country Sounds of Ryan Wong (2023, Rocks in Your Head)
Back in 2021, I wrote about Joy, a collection of psych- and folk-tinged basement indie rock from Ryan Wong, released under the name Supreme Joy. Wong also plays in San Francisco psych revivalists Cool Ghouls, and now the Bay Area-by-way-of-Denver musician is a full-on solo artist with The New Country Sounds of Ryan Wong. As the album title suggests, Wong indeed embraces his country side here, dressing up tracks like highlight “Lead Paint” with pedal steel and delivering songs with a slow, longing vocal style (though he wisely doesn’t overdo it). It’s not actually a world away from Wong’s lo-fi psych-folk side, but it still qualifies as a “new country sound”.
“Holding in a Cough”, Liquid Mike
From S/T (2023, Kitschy Spirit)
Rosy Overdrive moves at its own pace. I was aware of Marquette, Michigan’s Liquid Mike before I saw any social media chatter about them, and now I’m finally getting around to writing about them after the Liquid Mike Hype has died down a bit. Liquid Mike’s S/T moves at a much quicker pace than I do–it roars through eleven beefed-up power pop songs in eighteen minutes, including the frantic-sounding, nonstop hook-fest of “Holding in a Cough”. The song is a bit dire (the titular activity being a metaphor for pointlessness), but Liquid Mike don’t sound like they’re going to roll with it quietly.
“Shine”, American Levitation Co.
(2023, Superfuzz)
Thanks to the album/EP-centric nature of Rosy Overdrive, I don’t really cover a lot of bands’ debut singles. There’s something about “Shine”, the first song from American Levitation Co., however, that wormed its way into this playlist. American Levitation Co. (who are, of course, not American, but Swedish) are noise poppists in the vein of Spacemen 3, LOOP, and (definitely) The Jesus and Mary Chain–“Shine” is an inarguably pleasing pop song wrapped in the most distortion possible that still leaves its core intact.
“Grand Old Feeling”, William Matheny
From That Grand, Old Feeling (2023, Hickman Holler)
It’s been six years since William Matheny’s last full-length album (the excellent Strange Constellations), so I’m excited for That Grand, Old Feeling to come out in August (on his friend Tyler Childers’ Hickman Holler label, no less). Lead single and semi-title track “Grand Old Feeling” is vintage Matheny, a power pop/alt-country hybrid tune with a sprawling set of lyrics. Matheny’s music is at the intersection of a few genres of music that favor tight craftsmanship, but he and his band also know how to rock out, and “Grand Old Feeling” feels like Matheny’s letting just a bit more of that creep into the studio than previously.
“Talking to Girls (On the Internet)”, Kicking Bird
From Original Motion Picture Soundtrack (2023, Fort Lowell)
Kicking Bird’s debut album, Original Motion Picture Soundtrack, is a nonstop pop rock blast from the Wilmington, North Carolina five-piece, and “Talking to Girls (On the Internet)” might be the strongest of the batch. The track’s breezy surf-garage-pop is a great distillation of Kicking Bird’s Pixies-as-straight-power-pop sound, with the band’s various vocalists shouting at each other playfully but sharply in the chorus. Read more about Original Motion Picture Soundtrack here.
“Did You Know There’s a Tunnel Under Ocean Blvd”, The Reds, Pinks and Purples
From You Know You’re Burning Someone (2023, Burundi Cloud)
Glenn Donaldson doesn’t slow down. The prolific nature of his group The Reds, Pinks and Purples is well-documented, but it’s still worth noting that less than a month after his very good album The Town That Cursed Your Name, Donaldson has returned with a four-song EP that showcases his uniquely strong skills as a pop songsmith and–hold on, I’m being told that “Did You Know There’s a Tunnel Under Ocean Blvd” is a cover of a song by someone named “Lana Del Rey”. Well, whoever they are, they’re an excellent jangle pop songwriter!
“Hatchet”, Langkamer
From The Noon and Midnight Manual (2023, Breakfast)
I’ve been aware of Bristol’s Langkamer since last year’s Red Thread Route EP, but “Hatchet” is where they’ve really grabbed my attention. The clearest highlight from their latest album, last month’s The Noon and Midnight Manual, “Hatchet” is a two-minute slice of very catchy, quite British post-90s-indie rock guitar pop. It’s a very jaunty tune about mortality, with the titular hatchet proclaiming to the tree its about to fell that anyone’s lucky to be alive for any time at all in the chorus.
“Totally Cool”, Magazine Beach
From Constant Springtime (2023, Take This to Heart)
Magazine Beach are a Washington, D.C.-based pop-punk-emo-power-pop group–their debut album, Constant Springtime, is a fun listen, with single “Totally Cool” being my favorite track on the record. It’s a big anthem of a track, with whoever’s singing the song (the band seems to have a couple different vocalists) really selling the swirling of emotions that somewhat contradict the song’s title, and also getting plenty of help as other voices in the band join in to sing along.
“NASA T-Shirt”, Slime City
From Death Club (2023, Last Night from Glasgow)
“NASA T-Shirt” is nuts, which makes sense because most of Death Club is nuts. “I see you wearing your Ramones T-shirt, well name five of their albums / I see you wearing your Gap T-shirt, well name five big holes,” begins the track over a big, loud alt-rock sheen. Slime City feel fairly indebted to Mclusky sonically (the unhingedness does it), although that band is not writing anything anywhere near as improbably dancefloor-ready as “NASA T-Shirt”.
“Mystery”, Daisy Clover
From State Fair (2023)
Here’s what I know about Daisy Clover–they’re based in Long Beach, California, they’re led by vocalist and multi-instrumentalist Aldo Elizalde, and their new album, State Fair, is being sold in “CD + zine” form, perhaps one of the most blessed forms in which an album can be sold. Daisy Clover make a lo-fi, quietly pretty version of jangle pop–there’s some distortion in “Mystery”, the album’s best track, too, but it only pops up for a brief moment and lets the song get back to jangling joyously.
“Manny’s Song”, Marni
(2023)
Marni is the project of Nicolas Lara, a Los Angeles-based indie rock musician who plays guitar with the excellent Garb, and their one-off single “Manny’s Song” follows last year’s Whiskey Girl full-length. Like Lara’s other band, Marni trades in downcast but frequently noisy 90s-inspired indie rock–“Manny’s Song” is a fuzzy, swirly shoegaze-inspired track that also features Lara’s vocals trending into post-hardcore territory towards its end.
“Haircut”, PONY
From Velveteen (2023, Take This to Heart)
“Haircut” is the final song on Velveteen, and the carnival synths and slick guitars that kick it off let us all know that we’re in for one final rousing tune. It’s a triumphant, down-but-not out dog anthem that hits the same spot that Charly Bliss’ Guppy does for me, and Sam Bielanski really sounds just exasperated enough in the “I feel dumb and I feel old and I just want somebody to hold” chorus. The song’s bridge says a lot (“She’s so cute, she’s so resilient…”) but it resists spelling out a straightforward narrative and lesson that a lot of bands would feel obligated to shoehorn in. Read more about Velveteen here.
“Best Behavior”, Greg Mendez
From Greg Mendez (2023, Devil Town/Forged Artifacts)
There are a lot of good songs about sad subject matter, but Greg Mendez is a truly masterful example of spinning ugliness into prettiness on his new self-titled album. The pin-drop quiet of “Best Behavior” is the best of the bunch–hearing Mendez sing “I’m on my best behavior, do you like it?” feels chilling in a too-close way. I should claim a conflict of interest here–not that I know Mendez personally or anything, but I feel like “Best Behavior” knows me personally. Read more about Greg Mendez here.
“Karaoke”, Pynch
From Howling at a Concrete Moon (2023, Chillburn)
Pynch’s Howling at a Concrete sounds like a combination of Captured Tracks-esque “chill” indie pop, 2000s “landfill indie”, and Britpop, and against all odds the London band pull the sound off pretty well. Some of the album is a bit “much” for me, but “Karaoke” is the just the right amount, a twinkling piece of indie pop with clear, melodic vocals from Spencer Enock that say a lot but do so in a plain enough way, leaving the necessary empty space for the song to chug along.
“Ruptured Lung”, Stimmerman
From Undertaking (2023, Invisible Planet)
Eva Lawitts is a Brooklyn-based producer and guitarist (she’s worked with Oceanator among other bands); she also leads the band Stimmerman. Fittingly for a producer-led band, Undertaking is an eclectic album, bouncing between genres and taking a lot of left turns, but closing track “Ruptured Lung” is pure cathartic indie rock. Lawitts’ vocal performance is key in how it matches the explosive guitars that rise and fall on the song, and “I’ve got a reason to live now, but it’s somebody else” in particular is quite a line.
“Is It Any Wonder?”, Daisies
From Great Big Open Sky (2023, Perennial/K)
Great Big Open Sky, the fifth-full length album from Olympia’s Daisies, is an intriguing record that harkens back to a time in the late 90s when both mainstream and indie music were flirting with incorporating electronic elements into their sound. The acoustic, Mazzy Star-esque dreamy country of closing track “Is It Any Wonder?” doesn’t sound like anything else on Great Big Open Sky–it’s both a great record-capper and an excellent dream pop single in its own right. Read more about Great Big Open Sky here.
“Kiwi”, Poppy Patica
From Black Cat Back Stage (2023, House of Joy)
“Kiwi” is a fascinating song. Poppy Patica excel at stretching the song out–it starts out in a weird new wave-y place and somewhat morphs into a golden pop chorus (both the sudden repetition of the title and the “It’s hard to catch you…” part qualify as this). Over six minutes, Peter Hartmann and his collaborators close the excellent Black Cat Back Stage on this head-scratching but beautiful note. I’m choosing to believe that this song (which, unlike the rest of the album, was recorded in New Orleans with Video Age’s Ross Farbe) is about the bird. Read more about Black Cat Back Stage here.
Rosy Overdrive 