Matthew Gallaway invites listeners into the haunting, dream-lit world of Death Culture at Sea, a project born from restless imagination and sly nostalgia. In one early post, the reflection begins:
“A young boy wanders into the woods of Harlem and witnesses the abduction of his sister by a glowing creature. Forty years later…”
That unfolding tale of memory, myth, and the surreal sets the tone for the music—introspective yet cinematic. The tracks are intimate confessions, like “Star‑Crossed Lullaby,” which Gallaway shared in December of 2022, layering gentle vocals over propulsive, echoing guitars—thankfully available alongside his Saturnine material
Fast‑forward to November 2024, and Death Culture at Sea reveals a newer side: “Free Ride on Me” carries a bold, mythic intensity, even as Gallaway ties it back to his novelistic sensibilities (he’s also behind The Metropolis Case and a forthcoming Orpheus‑inspired novel) thegayrecluse.com
The result is a sonic landscape that feels both deeply personal and mysteriously expansive. Each track—a lullaby, a reverie, a folklore fragment—makes Death Culture at Sea an invitation: step into Gallaway’s storytelling waters, where memory, myth, and melody swirl together in beautifully disquieting waves.
What happens when a band decides to record not just one album, but a complete 52-song deck of cards? Ryan Walsh of Hallelujah the Hills takes us deep into his most ambitious creative undertaking yet.
"DECK" represents what Walsh calls "revenge creativity" – a defiant response to the pandemic that halted their momentum following their acclaimed 2019 album "I'm You." Rather than producing a standard follow-up, Walsh finally brought to life an idea he'd contemplated for two decades: creating a complete musical deck of cards with four distinct "suits" (albums) each containing thirteen songs.
The concept is brilliantly executed – Diamonds features polished, radio-friendly tracks; Clubs delivers faster, punkier "bangers"; Hearts showcases emotionally vulnerable material; while Spades explores experimental territory. Beyond the musical organization, Walsh designed custom artwork for each song, available as an actual playable card deck that fans can purchase alongside the music.
Most fascinating is how the project reimagines listener engagement in the streaming era. Walsh encourages fans to "shuffle the deck" by randomly selecting 13 songs to create unique playlists that statistically no one else will ever duplicate. This transforms passive consumption into something participatory and personal, giving listeners agency in how they experience this massive body of work.
The album features notable collaborations including Cassie Berman (Silver Jews) and Jeremy Gaudet (Kiwi Jr), reflecting Walsh's collaborative songwriting approach. As Hallelujah the Hills celebrates its 20th anniversary in November 2025, "DECK" stands as both an artistic milestone and a defiant statement against disposable music culture: "You work on something for two years. It gets attention for 48 hours and then everyone's on the next thing... we made this in defiance of that idea."
Listen to "DECK" when it releases this June and catch Hallelujah the Hills on tour across the Northeast as they share this extraordinary musical achievement with the world.
For 20 years, Boston’s Hallelujah The Hills have made full-blast rock ‘n’ roll that manages to be literate without ever losing its sense of humor. So it’s appropriate that the band is celebrating with its biggest and most eye-popping concept record to date: a four-LP set of 52 songs called “DECK".
Pieter Van Dessel is not one to stand still when it comes to music: the driving force behind Marble Sounds keeps challenging himself, exploring new horizons on every album. After the more melancholic eponymous fifth album, synths and drums take centre stage for a pure and almost electronic pop sound on sixth effort ‘Core Memory'
Between recording the songs, Blondshell sat down with Julie Slater and Jason Friday to discuss the recording of the album, her creative process, and finding traction as her performer. During the interview, Blondshell explains that much of If You Asked for a Picture was written at home – literally in her room- with demo tracks captured on her phone. Emphasizing this point, she explains how that mind space is so important, “ It has to feel really everyday for me to feel comfortable,” she shared. “If there’s too much ceremony around it, it stops feeling natural.” socal
Nick Bendzsa sits down with us to peel back the layers of his musical metamorphosis from synth-pop architect to folk-trap innovator. The Newfoundland native, now based in Montreal, candidly reveals how his sound has evolved alongside his personal journey.
Growing up with a music professor father who specialized in experimental and improvised compositions, Nick absorbed the spirit of musical freedom from an early age. While his teenage years found him playing bass in a blues band and performing for crowds of 2,000 at just 17, his true artistic voice was still developing. Nick reflects on how these formative experiences shaped his approach to music-making: "I think it was very much like being around him and going to his concerts and picking up this spirit of freedom through music and the joy of creation."
The conversation delves into the fascinating transition from his previous project Hello—characterized by densely layered electronic soundscapes—to his current solo work under his own name. This shift wasn't just stylistic but represented a deeper change in creative philosophy. "I'm not trying to add frivolous stuff," Nick explains. "I want to just communicate a bit more directly." His self-described "trap folk" sound merges fingerpicked guitars with trap beats and ambient textures, creating something uniquely authentic that flows from genuine emotional experiences rather than genre conventions.
Particularly illuminating is Nick's discussion of how producing for other artists has informed his own work, teaching him to consider what elements truly serve the emotional core of a song. This perspective has helped him embrace minimalism and authenticity over the pressure to create attention-grabbing pop songs in today's saturated music landscape. With his album "Very Soft Glow" set to release on May 24th, Nick Bendzsa invites us to witness the next chapter in his evolving musical story—one that promises to continue blurring boundaries while remaining firmly rooted in emotional truth.
Subscribe to hear more conversations with boundary-pushing indie artists who are redefining genres and creating deeply personal music on their own terms.
"..a splash of jangle rock..['Canary'] has a carefree yet grounded energy. Surf-pop-inspired riffs give it a familiar but fresh feel, perfect for fans of alt-folk with a summery edge."
"Smoldering and emotive, gentle and driving..a refreshing breath of indie rock-laden fresh air that soothes the senses and warms the soul."
“'The Painter'” offers up a casual swagger disguised as a smooth groove, an intrepid mix of ’70s AM gold with the crystalline echo of 2010’s indie”
When does a musical project truly end? Scott Garred of Super XX Man thought he had written the final chapter when he crafted an obituary for his 30-year-old band. Yet somehow, what began as a nostalgic blog post excavating old flyers and cassettes transformed into an unexpected resurrection.
The creative spark reignited when longtime collaborator Allie Wesley reached out after seeing Scott's posts. "It'd be so fun to do something together again," she wrote, not knowing those words would breathe new life into a project Scott had considered complete. That simple connection opened the floodgates to what Scott describes as "the community that was Super XX Man." Soon, songs that had been sitting in limbo found their way to Portland producer Adam Seltzer, forming the foundation of "Rusted Hues" - the first Super XX Man album in a decade.
Throughout our conversation, Scott shares fascinating insights into his creative process, describing how he immerses himself in music daily as both a music therapist and a perpetual student of the craft. "I play music every day," he explains, detailing how creativity generates more creativity once he begins recording. We journey back to his formative musical moments, from the friend who taught him two simple guitar chords that "changed my musical life right then and there" to his first experiences with home recording on a four-track that made songwriting feel accessible.
Most movingly, Scott reflects on what performing means after three decades of making music. "I don't think it's bravery," he says about sharing deeply personal songs. "It's a privilege to be able to go play a show and stand in front of one person, two people, a thousand people." Whether playing in a church basement in Wisconsin or to hundreds in Japan, the feeling remains the same: "When I'm really singing, and it's resonating in my own heart - there's nothing like it." Join us for this intimate look at musical resurrection, creative persistence, and finding renewed purpose in artistic community.
“The music of Super XX Man is often introspective and deeply personal. It's sometimes playful, bittersweet and dreamy, but Garred's songs are also heartfelt and reflective. ” - Bob Boilen
RxHx, the new solo project from Bruce Wilson, releases its haunting debut single “Star FKD” on May 23 across all streaming platforms. A bleakly beautiful dispatch from the edge of spiritual disintegration, “Star FKD” blends dissociative synth-punk, post-existential pop, and nocturnal new wave into one gripping sonic diagnosis.
Garage punk with heart and soul? Australian band Delivery proves it's not only possible—it's transformative.
When Rebecca Allen and James Lynch first connected romantically eight years ago, they weren't immediately thinking musical collaboration. Despite James gifting Rebecca her first bass guitar and both gravitating toward punk sounds, they maintained separate musical journeys until COVID lockdowns created the perfect environment for creative fusion.
"We were at home where you couldn't go out with nothing to do," explains James, "and somehow the idea of 'should we try and make some songs together' happened." That spontaneous decision launched what would become Delivery—a five-piece powerhouse featuring three guitars and four vocalists across their catalog.
Their latest album "Force Majeure" showcases a band that understands the delicate balance between intensity and accessibility. Songs like "Digging Holes" deliver raw garage punk energy while tracks like "New Alphabet" reveal a more melodic, Pavement-inspired sensibility. This thoughtful approach to sonic dynamics creates what host Chris describes as a "soothing" quality unusual for the genre—a testament to the band's mature songwriting approach.
What truly defines Delivery is their commitment to genuine collaboration. "We definitely wanted it to be a band, not like a duo project," James emphasizes. This democratic ethos allows each member to contribute ideas freely, resulting in music that feels both cohesive and delightfully unpredictable. Whether workshopping riffs together in rehearsal or meticulously layering guitars in the studio, the process maintains an "anything goes" attitude that keeps their sound fresh.
The band's live performances capture this collaborative spirit perfectly—high-energy affairs where, as Rebecca puts it, "we have a lot of fun on stage playing together, and that feeds into the crowd too." This authentic connection with audiences has helped Delivery build an expanding international following.
From bedroom recordings to world tours, Delivery represents what happens when musical community prioritizes genuine expression over rigid formulas. As they continue crafting new material for 2025, their journey stands as inspiration for anyone seeking to create art that balances power with nuance, intensity with melody, and individual expression with collective joy.
Force Majeure - rarely does a title so aptly describe the contents - opens with the controlled explosion of recent single Digging The Hole. The track is three and a half minutes of precise forward motion that's heavy enough to do serious damage, brilliantly breaking down into a percussive middle eight before one final burst of fireworks that feels powerful enough that it could propel the listener through a brick wall.
Super XX Man marks 30 years with Rusted Hues, their 19th album, co-produced by Adam Selzer (Peter Buck, M. Ward). Founder Scott Garred reunited with former bandmates, blending home and studio recordings. NPR’s All Songs Considered once featured the band, with host Bob Boilen saying, “If we’re going to choose 10 songs every week, let it be Super XX Man,” and later inviting them for a Tiny Desk Concert. The album explores themes of decay and renewal, with standout tracks like “Rusted Hues” and “Hold On to Me,” showcasing heartfelt lyrics and lush arrangements.
Meet liz uninvited, an emerging voice in Toronto's indie folk scene whose journey from classical pianist to DIY songwriter reveals the beautiful alchemy that happens when traditional training meets raw creative necessity.
Our conversation uncovers how Liz's 12-year classical piano background initially hindered rather than helped her songwriting ambitions. The structured nature of classical training left little room for improvisation—until inspiration struck through the music of Elliott Smith and Alex G. What's particularly striking is how Liz found permission to create through Alex G's "subjectively good" vocals. "His voice is not the best, but it matches what he makes," she explains, illuminating the moment she realized authenticity could transcend conventional notions of musical "goodness."
When Liz describes her creative process, you'll feel the urgency that drives her art. Songs emerge from "pressure internally" that demands release, with lyrics serving as the essential connective tissue binding her musical ideas. As a self-described "sensitive person," uncomfortable situations often become the catalyst for her most authentic work. Yet before discovering songwriting, she felt emotionally "stuck," unable to translate her feelings even through her visual art practice. Music became the unexpected but perfect medium for expression.
We also explore the practical side of breaking into Toronto's music scene—from finding band members through Reddit and Band Mix to preparing for first live performances. Liz shares candid insights about the challenges of ADHD and how deadlines ultimately force her creative focus. Her definition of success is refreshingly genuine: creating meaningful connections with listeners who see themselves in her music.
Discover Liz's music on Spotify, YouTube, or Bandcamp, and follow her journey as she brings her intimate, lyrically-rich songs to stages across Toronto and beyond. If you connect with artists who transform personal struggle into universal emotion, Liz Uninvited's music will feel like a conversation you've been waiting to have.
“Event of a Fire” showcases Blondshell at her most cinematic, building from a hushed, intimate guitar arpeggio into a slow-burning epic culminating in a powerful howl. The track, born from tour-induced burnout and inspired by a real 4 a.m. hotel fire evacuation near Boston, layers piercing vocal harmonies over its evolving instrumentation. The accompanying music video, directed by Émile Moutaud and starring French actress Ghjuvanna Benedetti, delves into the internal struggles of a diver, juxtaposing the mundane aspects of her daily life with the weight of her inner turmoil. iinag
Composed, performed, and recorded completely by Perkins in his Dayton, OH studio, What’s the Matter… is both the most stripped down and expansive within his tryptic of albums. The headphone symphonies move with a deliberate, composed sophistication while the lyrics explore fresh territory, turning the camera away from the “butterscotch revue” and pointing it into a mirror. "The touchstones of psych pop remain: flourishes of Nilsson are still here, but so are Gram Parsons and Jonathan Richman. If you want to assign geography to What’s the Matter, M Ross?, the album is equal parts Laurel Canyon and Big Pink, more Woodstock the town than the festival. Perkins is a self-contained (late-period) Teenage Fanclub with George Harrison’s spiritual sense of inner wanderlust.
Ever wondered how music that feels so effortless and dreamy actually comes together? Bill from Darksoft pulls back the curtain on his creative process, revealing the fascinating intersection of mathematical precision and emotional resonance that defines his signature sound.
Growing up surrounded by music—with a cellist mother and pianist father who pioneered home recording—Bill's path to becoming a musician feels almost predetermined. Yet his approach to creating atmospheric indie rock is distinctly his own. "Maybe I never grew up fully," he reflects, describing how childhood musical experiences laid the groundwork for his DIY ethos. Rather than seeing this hands-on approach as limiting, Bill embraces it as both practical and ethical in an industry where margins are thin.
What truly distinguishes Darksoft's music is Bill's conceptual framework. Each album begins with an overarching philosophical idea—his latest release "Rationalism" explores how we understand the world through thought rather than direct experience. This thoughtful foundation supports songs built through meticulous layering: starting with chord progressions (often in drop D tuning), adding sub bass, plucky bass guitar, rhythm guitar, and finally jangly leads. "I've kind of built my own formula or algorithm," he explains, embracing rather than resisting the mathematical patterns inherent in music creation.
The result is music that creates a "swell," gently cradling listeners in waves of sound that feel simultaneously comforting and subtly complex. It's an approach that's connecting with a growing audience, with tours planned across the US and new music on the horizon. Whether you're drawn to the philosophical underpinnings or simply love getting lost in dreamy soundscapes, Darksoft offers a musical experience that rewards repeated listening—each layer revealing itself with time, just as Bill intended.
Darksoft is a multi-instrumentalist songwriter and producer who creates dreamy indie rock sounds. Blending dream pop, shoegaze, and alternative rock with lush melodies and introspective lyrics, Darksoft explores universal truths and existential themes.
"Return Of Youth" was written before our son was born, a projection, zooming in until the larger existential dilemmas were out of frame. Where "Fender On The Freeway" found peace in the patterns of a gigantic macro, this one finds it in a mundane and simple micro. I imagined seeing myself through the eyes of my child, a rebirth of sorts, laced with fear and insecurity, discovering beauty and serenity together in the simplest places.
The stock of Shopfires/Neil Hill has significantly increased in just eighteen months since he began releasing music in his vibrant corner of Bandcamp. Fortunately, this release, We Are Not There But We Are Here, demonstrates that his artistic vision is not confined to uniformity, which is essential for achieving lasting musical success.
"If you're into intense, dreamy, subtly imaginative singer-songwriter-ly pop, people like Squirrel Flower or maybe the softer moments of Big Thief, don't miss the debut album by the Brooklyn singer Avery Friedman. Her songs are a cocktail of anxiety and uneasy beauty with chiming, ringing arrangements that really get under your skin." – NPR MUSIC (All Songs Considered)
“Her full-length debut, New Thing, is a work of raw singer/songwriter confessionalism, evoking the knotted melodies, homespun arrangements, and searing edges of musicians like Squirrel Flower, Babehoven, or Adrienne Lenker.“ –UNDER THE RADAR MAGAZINE
“The promise you are left with as a listener, that there is a beauty in uncertainty and becoming, that flowers that die will surely grow again.” – THE LINE OF BEST FIT
"Damn, I adored this record. I loved the writing. So image-rich and vidi, each song feels like its own universe. This is to say nothing of the diversity of soundscape – truly felt like a Writers Album." – HANIF ABDURRAQIB
“New Thing, the scarily accomplished debut album from Avery Friedman, is all about change and growth…Friedman inhabits a complex emotional realm where nervousness can coexist with (and inform) ideas of sexiness, sadness, tenderness. Her world is fragile but appears to have arrived fully-formed.” – KLOF MAG
“New Thing is as much about community as it is Friedman’s individual journey. The album will thrill those who yearn for the days of sad indie bands in Williamsburg clubs. While Friedman and her band might be further along on the L train, they’ve moved past the detached melancholy of that cohort and instead utilize the same musical strains to confront and move beyond the pain that holds them back.” – NO DEPRESSION
“New Thing is a conduit for emotions too frenetic to hold on your own. This record is a collection of the first songs I’ve ever written, after many years of orbiting the music world but denying myself my own musicianship. Many of these tracks were born of anxiety—from my turning to a guitar to externalize (and organize) a sense of chaos that otherwise felt trapped inside me. We recorded the bulk of it with a live band as a means to maintain the raw energy at the center of the record. What results is a time capsule for a year of intense personal expansion in my life—and the layers of warmth, wonder, sensitivity, and sharpness that come with growing.” – Avery Friedman
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