It’s the October 2026 Playlist! We’ve got a bunch of great songs from albums I enjoyed in the past month below.
Artists with multiple songs on this playlist: The Olivia Tremor Control (3), Old Joy (3), Paper Jam (2), Charlie Kaplan (2), Fish Narc (2), Dummy (2), Bliss? (2), Pet Fox (2), Dazy (2).
Here is where you can listen to the playlist on various streaming services: Spotify (missing one song), Tidal. 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.
“Lovely Girl”, Paper Jam
From This and That (2026, K/Perennial)
The Texas indie pop group Paper Jam quietly debuted last year with a self-released album called This and That, a brief and infectious collection of twee pop music made with a clear reverence to classic K Records bands like Tiger Trap. Much like their fellow Texas twee revivalists Touch Girl Apple Blossom, they were then summarily conscripted into K Records itself, with the Pacific Northwest label re-releasing This and That for a wider audience this year. This and That is ten songs and twenty minutes of everything good about the “peppy” and “brisk” sides of twee music, as songs like the jangle pop hit “Lovely Girl” prove. Read more about This and That here.
“My Brother”, Old Joy
From Why Burn Bridges You Can Live Under (2026, Candlepin)
Why Burn Bridges You Can Live Under, the third Old Joy album, is something of Alex Reindl’s goodbye to Chicago–shortly after he recorded it at Jamdek with Keifer Douglas and Doug Malone and a long list of Windy City musicians, Reindel relocated to Austin. On this oversized guitar pop LP, Old Joy invoke greats from Big Star to Elliott Smith to Fountains of Wayne to Death Cab for Cutie–it’s a mixture of classic power pop and sprawling indie rock that feels very fresh. Read more about Why Burn Bridges You Can Live Under here.
“Failed”, Charlie Kaplan
From Dobro (2026, Glamour Gowns)
After releasing the relatively intense and personal art rock double LP A Hat Upon the Bed, last year, it makes sense that New York folk rocker Charlie Kaplan found himself embracing a “back to basics” approach on his next album, Dobro. Coming in at a clean twenty-eight minutes and nine songs, Dobro is the polar opposite of A Hat Upon the Bed; it’s Kaplan’s breezy, jaunty, and sometimes even funny version of classic folk-country-rock. Album highlight “Failed” is a piece of folk rock brilliance with an appropriately silly music video to go along with it (it’s a song that references “Peyton Manning’s chicken parm”, mind you). Read more about Dobro here.
“Much Less Me”, Fish Narc
From Uncle (2026, K)
Having returned to guitar music in recent records like last year’s frog song, Uncle is a different kind of new frontier for Fish Narc: shiny, professionally-produced guitar pop. Ben Funkhouser, a punk musician from the Pacific Northwest and sometimes emo-rapper, takes inspiration from names like The Lemonheads, Gin Blossoms, Paul Westerberg, and Dinosaur Jr. on his project’s latest album. The earnest power pop of the first proper song on Uncle, “Much Less Me”, is damn near orgcore in its unassuming, raspy vocals and vague rootsiness. Read more about Uncle here.
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“Unwritten Rules”, Song People
From Tho I Seem Tame (2026, Strange Mono)
Song People’s Tho I Seem Tame reminds me a lot of 10,000 Maniacs, who perhaps similarly built beautiful pop rock (with bits of dream, jangle, and post-punk) via a few talented musical ringers and a striking lead singer (in this case, Shaina Kapeluck, who “began her music life as a ballad singer, drawing from traditions of the British Isles, the US and Maritime Canada”). Rounding out the trio, Benjamin Schurr’s post-punk bass work and Darian Scatton’s jangly guitar playing contribute to the gentle “push and pull” feeling we get in songs like “Unwritten Rules”, the album opener. Read more about Tho I Seem Tame here.
“Halfway Down”, The Olivia Tremor Control
From The Same Place (2026, Elephant 6 Recording Co)
I’ve been listening to The Same Place a lot ever since it finally came out last month. I wasn’t sure if we ever would actually hear the long-in-the-works, posthumously-released third Olivia Tremor Control album at all after twenty years and the deaths of both of its primary architects, let alone that it would be as good as this. There are three tracks from it on here, and narrowing the album down to that was incredibly difficult: almost every song that wants to be a hit very much is a hit. That includes “Halfway Down”, a triumphant psych-pop tune that’s probably my favorite “pure pop” song on The Same Place and deserves a place alongside Dusk at Cubist Castle’s strongest Beatles-worthy moments.
“Full Spectrum Dominance”, Dummy
From Do You Love the Color of the Sky? (2026, Polyvinyl)
Beloved Los Angeles noise pop quartet Dummy broke away from their shoegaze beginnings on their excellent 2024 sophomore album Free Energy, embracing slick and smooth alternative-dance/electronic pop-rock. Their first album for Polyvinyl, Do You Love the Color of the Sky?, continues to paradoxically streamline and expand their sound–they’re further than ever from their fuzz-rock roots, but the pop hooks feel almost as natural as they’ve ever been on this gliding, crystal clear psychedelic dance-pop album. “Full Spectrum Dominance” has just a bit of trip hop in it, redirecting a palpable love of anything-goes late-90s “alternative” into massive pop music.
“Give Me a Reason”, Aluminum
From Iconoclast HaHa (2026, Felte/Dandy Boy)
Over the past few years, San Francisco shoegaze/noise pop quartet Aluminum have established themselves as one of the best and most exciting rock bands to come out of the Bay Area, as impressive as that is with all the competition they have out there. Their second album, Iconoclast HaHa, comes out swinging with the swirling wall of sound opening track “Give Me a Reason”; it feels like Aluminum proving they can still make loud, electric, guitar-overload 90s-style shoegaze with the best of them. Read more about Iconoclast HaHa here.
“Suddenly (The Joy Pt. 1)”, Bliss?
From The Freezing Light (2026, Psychic Spice)
Emerging from Baton Rouge, Louisiana in early 2025, Bliss? are a college rock/power pop/reformed punk group who’ve been on an incredible run ever since. Their sophomore album, however, represents a marked departure: described by drummer/vocalist Robert DeMouy as “a song cycle about growing up in South Louisiana’s schools, kitchens, and chemical plants, told by a narrator attempting to escape the state’s oppressive institutions and cycles of poverty and addiction,” the sixteen-song, sixty-eight-minute The Freezing Light is an overwhelming Americana album delivered out of nowhere from a couple of red state punks. Read more about The Freezing Light here.
“Holding On”, Pet Fox
From Balance (2026, Exploding in Sound)
Pet Fox are royalty in the realm of 2010s New England indie rock, with its members having connections to Ovlov, Palehound, Grass Is Green, and Gouge Away, among other acts. It’s surprisingly been four years since the Boston-based trio (vocalist/guitarist Theo Hartlett, bassist Morgan Luzzi, and drummer Jesse Weiss) put out an album, but Balance picks up right where 2022’s A Face in Your Life left off, more or less. The sparkling post-punk of “Holding On” has a kinetic energy, blunted but not halted by the more subdued material surrounding it. Read more about Balance here.
“Unreasonable Person”, Dazy
From MAXIMUMBLASTSUPERLOUD Vol. 2: 24 Songs from 2023-2026 (2026, Lame-O)
James Goodson still has a pop fastball after five years of burning through miscellaneous Dazy EPs and singles. Oddly enough, he chooses to use that fastball on the quieter songs among the MAXIMUMBLASTSUPERLOUD Vol. 2 compilation’s new tracks: “Unreasonable Person” immediately sticks out as unusual and very welcome entry into the Dazy discography. Read more about MAXIMUMBLASTSUPERLOUD Vol. 2: 24 Songs from 2023-2026 here.
“Bury You”, Female Gaze
From Linea Nigra (2026, Fort Lowell)
Female Gaze have returned this year with their second album, Linea Nigra, another collection of southwestern desert-psych that frontperson Nelene DeGuzman says is inspired by “navigating labor, delivery, and the prospect of mothering while the world is on fire”. Like their debut album, Tender Futures, Linea Nigra is a quietly intense album in which it’s easy to get lost. The songs on this one are a little more discrete this time, but Female Gaze are still pretty far from embracing traditional rock/pop structures here–the closest they get to them is in single “Bury You”, which is a welcome outlier. Read more about Linea Nigra here.
“Wanna Wish”, Classic Traffic
From Real Music (2026, Same View)
Classic Traffic are a trio from New Jersey; their fourth full-length album, Real Music, displays an obvious reverence for 1990s power pop acts like Sloan, Teenage Fanclub, and Matthew Sweet. There’s a noticeably fuzz rock/pop punk/hard rock edge in Classic Traffic’s music–it sort of sounds like if Thin Lizzy loomed just as large over the Blue Album as the Beach Boys do. Fans of the aforementioned Sloan will love the electric crunchy power pop of “Wanna Wish”, an early highlight on Real Music. Read more about Real Music here.
“Sludge Metal”, Roxanne Izzo
From Made (2026, Hell for Breakfast)
This isn’t a “Sludge Metal” song; not even close, to be clear. It’s a really good emo-tinged pop punk song in an album full of them, courtesy of Montreal-based singer-songwriter Roxanne Izzo. Made dips its toe into fuzzy indie rock of the late-2010s variety, but “Sludge Metal” is spiritually pop punk from its hometown-resenting refrain (“You’ll drown in the water if you don’t paddle / But this city’s so shallow maybe it won’t matter”) on down.
“Simple Matters”, Summer Sleeves
From I’m Shelling Real Daggers (2026)
If any album I’ve written about recently deserves the “college rock” tag, it’s probably Summer Sleeves’ I’m Shelling Real Daggers; bandleader Jeremy Wayne’s list of influences (The New Pornographers, The Rentals, Elvis Costello) share a fondness of new wave glitziness, 60s pop fluency, power pop catchiness, and (and this is important) blaring keyboard hooks. Throw in a bit of that pre-1990s jangle pop rootsiness and you’ve got I’m Shelling Real Daggers, an underdog power pop album that nonetheless isn’t shy about wrecking balls of key-led hooks in tracks like “Simple Matters”. Read more about I’m Shelling Real Daggers here.
“Mess”, Sadurn
From The Underworld (2026, Run for Cover)
On their sophomore album, The Underworld, Sadurn sound quiet and tired–just like they did on 2022’s Radiator, but quite possibly even more so. The alt-country quartet have played together quite a bit in the four years between records, but their chemistry is more subtle than other road-tested, well-oiled-machine rock bands I write about on this blog. The players continue to leave plenty of space for frontperson G DeGroot’s writing and their voice; the band meander through the electric numbers, content to ride out the plain-delivered country of “Mess”. Read more about The Underworld here.
“Accolades”, Lydia Loveless
From Accolades (2026, Honey, You’re Gonna Be Late/Bloodshot)
It’s now been over a decade since Lydia Loveless’ wildly beloved initial three-album run on Bloodshot Records; since then, they’ve transitioned nicely from an insurgent 2010s alt-country star to an elder statesman in the genre. Loveless claims a Tom Petty influence on the Accolades EP as well as a desire to “focus more on telling stories than dumping my life on everyone”; thankfully, though, the master of uncomfortably-personal-lyric alt-country songwriting still gives us a bit of the latter on the EP’s opening title track. Read more about Accolades here.
“Don’t Slouch”, Pardoner
From Target Practice (2026, Bar None)
I don’t know precisely what spurred Pardoner to sharpen their hooks, shorten their songs, and make their most straight-ahead pop album yet with Target Practice, but I’m glad they did it, because it suits the San Francisco 90s indie rock revivalists very well. Despite the pop-centric writing, frontperson Max Freeland doesn’t assert himself any more as a lead vocalist than he typically does–but I can hear what he’s saying just fine on “Don’t Slouch”, which might be one of my favorite choruses of the year so far. Read more about Target Practice here.
“Garden of Light”, The Olivia Tremor Control
From The Same Place (2026, Elephant 6 Recording Co)
“Garden of Light” was initially released as an advance single for The Same Place (alongside the album’s title track) on November 29, 2024, the same day that Olivia Tremor Control co-founder Will Cullen Hart passed away at the way-too-young age of 53. Neither Hart nor the other Olivia Tremor Control head, Bill Doss, are here for The Same Place finally seeing the light of day twenty-seven years after their last album, Black Foliage, but at least Hart saw the release of this incredible jangly, orchestral, 60s-sun-drenched pop song. It sounds great on its own, but it’s even better in the context of The Same Place, which I’m listening to pretty much every day right now.
“Election Day”, Lily Seabird
From Lightspheres on Their Way (2026, Lame-O)
Lily Seabird has released three albums in three years, and each one of them has added another wrinkle to the Vermont folk rocker/alt-country musician. The ambitious, electric (Magnolia-Co.-style) Lightspheres on Their Way takes a step back from the more pensive moments of last year’s Trash Mountain and instead looks back to the explosive fuzz-rock moments found on 2024’s Alas,. The main difference is that Seabird, who’s grown exponentially artistically in a short period of time, brings sharpened songwriting to the fray: see “Election Day”, a dramatic, frantic, roaring country-rocker that’s light years (or -spheres) away from anything on Trash Mountain.
“Gut Shot”, Old Joy
From Why Burn Bridges You Can Live Under (2026, Candlepin)
The final Old Joy LP of the project’s Midwestern era is nothing less than bandleader Alex Reindel’s finest work yet, an ambitious thirteen-track, fifty-five minute affair that ping-pongs between immediately-hitting guitar pop anthems and more “involved” indie rock numbers. Look no further than the crazy eight-minute opening track “Cinco de Mayo” spilling into the sparkling guitar pop of “Gut Shot” to get an immediate sense of what Why Burn Bridges You Can Live Under is capable of doing. Read more about Why Burn Bridges You Can Live Under here.
“Banyan Trees”, Wagging
From Wagging (2026, We Are Busy Bodies/Having Fun)
After establishing themselves as an intriguing indie pop band on their 2024 debut album My Own Private Rodeo, the Asheville, North Carolina quartet have embraced their roots a bit more strongly on their second, self-titled album. Wagging isn’t a full-on alt-country record, but, taking advantage of their hometown being the epicenter for the genre’s current movement, the band enlisted Alex Farrar to record a record with a bit more twang that reminds me a lot of classic Ratboys. That being said, “Banyan Trees” is every bit a twee-pop hit single; as best as I can tell, the song’s about growing up in Florida, and the sunny, vibrant thoughtfulness of frontperson Alison Antaramian’s performance is exactly how something like that should be delivered.
“Chemical Reaction”, Charlie Kaplan
From Dobro (2026, Glamour Gowns)
Once again, Charlie Kaplan has gathered up a few regular collaborators (his Office Culture bandmates Winston Cook-Wilson and Jason Burger on piano/organ/keys and drums, respectively, Julian Cubillos on bass, Little Mystery’s Ivy Meissner on backing vocals, Market’s Nate Mendelsohn on engineering and organ, and Andrew Daly Frank on guitar) to give stripped-down, casual, but nonetheless polished readings to his latest album Dobro’s tracks. The upbeat songs on Dobro are some of the most fun songs I’ve heard in a minute–such as the drinking song “Chemical Reaction”, featuring “honky-tonk piano” from Cook-Wilson. Read more about Dobro here.
“Cadillac Horses”, Jacob T. Simons
From Shadow Creek (2026)
As one might expect, Shadow Creek sounds like folk rocker Jacob T. Simons’ most recent band, Moon Orchids, only more stripped down; I would chalk that up to a combination of the record’s relatively short gestation time (coming a year and change after Moon Orchids’ first album), Simons’ self-imposed restrictions he outlines on the album’s Bandcamp page (ranging from “no doubling of vocals” to “no slide or steel guitar”), and sheer necessity. The power chord-featuring heartland rock of “Cadillac Horses” is somewhat of an exception, but hardly sounds out of place. Read more about Shadow Creek here.
“Not to Guess”, Fish Narc
From Uncle (2026, K)
I don’t talk about Rosy Overdrive’s main rival website, Pitchfork, very much, but their take on Fish Narc’s Uncle, specifically one of my favorite songs on it, “Not to Guess”, has stuck with me a bit for whatever reason. Basically, the author of that mixed review expresses frustration that the lyrics aren’t direct enough for him to enjoy, a criticism I couldn’t relate to any less. Maybe it’s because I’m a Guided by Voices fan, but I can’t get enough of esoteric-leaning guitar pop. If you can’t do anything with “When you call me cancer, you could ask for directions / And I offer you the hammer I’ve been using on myself,” I think that’s on you. We could all use a bit more imagination when it comes to power pop. Read more about Uncle here.
“Space in Between”, Exploding Flowers
From Alphabet Window (2026, Meritorio)
Los Angeles quartet Exploding Flowers bucked the typical long gap in between their albums this time by only waiting about a year and a half after last March’s Watermelon/Peacock to release Alphabet Window, their fourth LP. Like their previous record, Alphabet Window is another strong guitar pop album over which “college rock”, their region’s Paisley Underground, and Dunedin’s Flying Nun Records loom large. Alphabet Window is perhaps a bit more of a laid back Exploding Flowers, but it’s still a very upbeat album with all the “vibrant jangle” one could want. Read more about Alphabet Window here.
“You Ought to Know”, Dropkick
From Throughlines (2026, Hurrah! Musica/Sound Asleep/Rock Indiana)
Andrew Taylor remains one of the most consistent and prolific sources of Teenage Fanclub-inspired power pop between The Harmonizers, The Boys with the Perpetual Nervousness, Space Jaguar, and his more-or-less solo project Dropkick. Less than two years after 2025’s Primary Colours, the Scottish musician has helmed yet another strong guitar pop Dropkick LP, this one a 27-minute affair called Throughlines. The vibrant, jangly guitar melodies and vocal harmonies are all in the right place in immediate highlight “You Ought to Know”.
“Roaming Eyes”, Paper Jam
From This and That (2026, K/Perennial)
The ever-so-slightly post-punk/new wave vibes of “Roaming Eyes” are just one more reason why Paper Jam’s This and That is capable of packing more pop hooks per second in a twee-pop album than just about anyone else has in recent memory. One can’t go wrong with any of the all-too-brief record’s ten songs, but “Roaming Eyes” in particular is a nonstop success from its 80s-invoking beginning to the wistful indie pop immediately starting when the vocals kick in. Read more about This and That here.
“When You Smiled and Turned Away”, The Cat’s Miaow
From When You Smiled and Turned Away (2026, Slumberland)
Australian 1990s indie pop quartet The Cat’s Miaow were inspired by the reception of two recent retrospective compilations to get back together and record their first-ever proper studio album–some thirty-four years after they initially debuted. The minimal, refined, guitar pop band that I heard on Songs ‘94-’98 is very much alive on When You Smiled and Turned Away, a fourteen-song, thirty-one-minute LP that breezes through melancholic, simply-executed indie pop songs with the same paradoxically speedy slowness of The Cat’s Miaow’s past work. Read more about When You Smiled and Turned Away here.
“Things I Deserve”, Blair Gun
From Nonstop Bullets (2026, sonaBLAST!/Enabler No. 6)
When I first heard San Diego group Blair Gun in 2024 (upon the release of their second album, There Are No Rival Clones Here), I commended their mixture of “garage rock, post-punk, and classic 90s indie rock”, all of which continue to go into the group’s third LP, Nonstop Bullets. Perhaps my favorite song on Nonstop Bullets is “Things I Deserve”, a nice and snotty ninety-second garage-punk song that marries Pixies-style “ugly-pop hooks” with the garage-y noise rock of Blair Gun’s home California city.
“Omen Globe”, Dummy
From Do You Love the Color of the Sky? (2026, Polyvinyl)
The second Dummy song on this playlist, “Omen Globe” is another sterling example of how Do You Love the Color of the Sky? does more with less over and over again. The Los Angeles art rock/post-shoegaze/psychedelia/post-rock/alt-dance et cetera group build “Omen Globe” out of a basketball-dribble main beat, clear and melodic vocals, and increasingly bold psychedelic sound effects (which, according to the band’s Joe Trainor, are probably “guitars we processed/self sampled or vocals we processed/self sampled”).
“Pocket”, Old Joy
From Why Burn Bridges You Can Live Under (2026, Candlepin)
In terms of sheer volume, Old Joy’s Why Burn Bridges You Can Live Under has to be under consideration for one of the best power pop albums of the year–thirteen songs and fifty-four minutes and chock full of quietly-successful guitar pop brilliance like “Pocket”. There’s a certain niche of relatively sensitive, pop-forward 90s indie rock revivalist bands that get regular coverage on Rosy Overdrive–Buddie and Poppy Patica both come to mind–and Old Joy deserves to be mentioned among those names with this one. Read more about Why Burn Bridges You Can Live Under here.
“Ugly”, Dazy
From MAXIMUMBLASTSUPERLOUD Vol. 2: 24 Songs from 2023-2026 (2026, Lame-O)
The first MAXIMUMBLASTSUPERLOUD cassette tape came out back in 2021, and it marked the passing of an incredibly fruitful year for the Richmond, Virginia musician James Goodson’s solo project Dazy. I’ve been talking about Dazy and their recognizable mixture of power pop, pop punk, Madchester, and turn-of-the-century electronic-y alt-rock since before MAXIMUMBLASTSUPERLOUD even came out, and I’ve been happy to follow them over the next five years. MAXIMUMBLASTSUPERLOUD Vol: 2 is pretty much every Dazy song since the first compilation came out except for the 2022 album OUTOFBODY, plus seven new songs, one of which is the excellent “Ugly”. Read more about MAXIMUMBLASTSUPERLOUD Vol. 2: 24 Songs from 2023-2026 here.
“Blue Earth”, Spiral XP
From Blue Earth (2026, Danger Collective/Den Tapes)
In a world full of indie rock bands (often on the West Coast) making not-so-memorable music that falls under the “shoegaze to dream pop” spectrum, Seattle’s Spiral XP remain one of the strongest song-based bands in the field. While I believe the quartet has experienced some lineup changes since their flurry of activity in 2023 and 2024 (when they released an EP, an LP, and a collaboration with TV Star), “Blue Earth”–the opening title track to a new EP of the same name–continues doing what Spiral XP does best: fuzzed-out but strongly melodic indie rock.
“Phone Calls”, Vegtable
From Hit by a Car (2026, Field Work)
The press release for Hit by a Car, the second album from Singaporean trio Vegtable, calls them “Singapore’s only slowcore band”. I’m not yet well-versed enough in Singaporean indie music to properly vet that claim (the only other Singapore-based group I’ve written about that I can remember off the top of my head is the more dreamy-power-pop Subsonic Eye), but I do know that Hit by a Car is a successful journey into that greyscale, low-key style of “indie rock”. “Phone Calls” starts with a slow and beautiful guitar riff and then creeps into a plodding tempo and whispered vocals–what more could you want?
“Avoidant”, Pet Fox
From Balance (2026, Exploding in Sound)
Pet Fox do the “pop music via math-y 90s indie rock bands” thing that several vintage Exploding in Sound Records bands have done (see: Astronaut, Two Inch), but their version has always been a smooth, unhurried, and low-key take on it. Inspired by his work on Truth Club’s Running from the Chase, Pet Fox enlisted superproducer Alex Farrar to record Balance at his Asheville studio Drop of Sun, and it’s apparent that Farrar understands what makes Pet Fox as potent of a band as they are. The chilly ballad “Avoidant” is a highlight of this team-up, featuring some good music-and-lyrics synergy. Read more about Balance here.
“Good People Bad People”, Jordan Krimston
From Halcyon (2026, DHCR)
San Diego indie-punk underground ringer Jordan Krimston has played in bands like Weatherbox, The Obsessives, and Oso Oso over the past twenty years, but he also makes strong pop music under his own name. Hot on the heels of last year’s emo-pop experimentations of Count It All Joy, this October’s Halcyon is a more subdued, synth-touched affair. “Good People Bad People” is a meditative, repetitive number, an earworm that practically begs to roll around one’s head.
“The Spinning Continuous”, The Olivia Tremor Control
From The Same Place (2026, Elephant 6 Recording Co)
The Same Place starts with three hit singles–for most bands, “Begin Now!”, “Advice from the Oceans”, and “Timewaster” would be the crown jewels of any of their albums, but none of them even made this playlist due to extreme competition from the rest of The Olivia Tremor Control’s final LP. The album’s fourth song, “The Spinning Continuous”, might be my favorite thing on The Same Place, as difficult as that is to say right now. The six-minute (relatively) dark psychedelia pop of “The Spinning Continuous” marries the busy paranoia of Black Foliage with hooks on the level of Dusk at Cubist Castle (or “the first three songs on The Same Place“).
“God Hates Cops”, Bliss?
From The Freezing Light (2026, Psychic Spice)
Bliss? give us plenty of great rock songs on The Freezing Light–it’s somewhere between Elvis Costello and early 1980s Los Angeles punk rock, with a bit of stuff like The Silos and Alejandro Escovedo’s solo work in there now too. Arguably its best moment is completely new terrain for the Baton Rouge trio, however, in the six-minute jawdropping acoustic (mainly) folk ballad “God Hates Cops”. There’s a lot to sift through in this one, a mess of small-time Louisiana petty thieves, police state anxiety, Greek philosophy, and Biblical agricultural creationism. Read more about The Freezing Light here.
