ifitbeyourwill S06E03 • Field Medic

Kevin Patrick Sullivan, the creative force behind Field Medic, invites us into the intimate world of his songwriting process in this revealing conversation about musical authenticity, vulnerability, and the realities of life as a touring musician. From his early days performing solo with just a boombox playing cassette drum beats to his current evolution as an artist, Sullivan offers a refreshingly honest look at his creative journey.

"Touring is a 24-hour job where you only work for one hour," Sullivan reflects, capturing the strange dichotomy of performing life – moments of intense connection with audiences followed by the disorienting reality of being "somewhere random" immediately after. This vulnerability extends throughout his music, where he's discovered that the lyrics making him most uncomfortable often resonate most deeply with listeners.

What makes Sullivan's approach particularly fascinating is his disciplined creative routine combined with moments of pure inspiration. He practices what he calls "full-time freestyle," sometimes capturing songs in single, inspired moments, while other times meticulously crafting them over time. "I work on music or songwriting for at least an hour every day, even when I don't want to," he shares, explaining his prolific output with a new album nearly every year.

His latest record, "Surrender Instead," continues his tradition of heart-on-sleeve songwriting while navigating the tension between artistic authenticity and desire for recognition. As Sullivan prepares for his upcoming tour and already begins writing his next project, his philosophy remains steadfast: focus on the feeling rather than technical perfection, stay true to yourself, and don't get too caught up in the small stuff. For anyone who values authentic creative expression or simply enjoys thoughtful, vulnerable songwriting, Field Medic's music offers a welcome reminder that sometimes the most powerful art comes from sharing our most uncomfortable truths.

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https://fieldmedic.net/

Living Hour • Best I Did It • 2025

“Some of the most heartsick synth-pop since Cocteau Twins. We're talking sweeping casios, massive hooks, and lovey-dovey feelings big enough to float on.”

- Noisey

 

“a piece of hooky, delicately-noisy indie rock that maintains their reputation as one of the better contemporary bands doing the shoegaze thing right now.”

- Stereogum

“Living Hour combine fuzzy, melodic, psych-rock riffs with washed-out textures and powerful, stirring vocals to create a sound that pours over the space and engulfs its audience.”

- The Underground

 

“Like your favorite sweater or a bowl of cacio e pepe, “Wheel” is warm and comforting, with perfect fuzzy guitar tone, a whispery descending chord progression, and a verse melody that gives way to a soaring, gloriously noisy chorus with twin leads. This really, really hits the spot.”

- Brooklyn Vegan

"Slowdive just returned, but shoegaze music was already in good hands with Living Hour."

- NPR

https://tellallyourfriendspr.us

Field Medic • simply obsessed • 2025

m_surrenderinstead

Kevin Patrick Sullivan takes a meta-narrative turn on his latest album, pondering career success in candid, if somewhat straightforward, folk songs. PF

Avery Lynch • Sweetheart • 2025

averylynch.com

The Cords • 2025

lnk.to/cords-goodbye

 

WHEN YOU SAY GOODBYE is a heart-rending pop song: it’s deeper, heavier and more immersive that the first two singles, but somehow it’s just as catchy. Grace and Eve Tedeschi may be young, but this is the sound of a band who are already totally accomplished at writing pop classics.

 Their first show was with The Vaselines, and since then they have played with Camera Obscura, Belle and Sebastian, BMX Bandits and others, while also sharing stages with the new generation of indiepop stars: the Umbrellas, Chime School, Lightheaded.

ifitbeyourwill S06E02 • Robert Forster

Ever wonder what keeps a songwriter creating fresh music after four decades? Robert Forster, the legendary co-founder of The Go-Betweens, takes us on a fascinating journey through his musical evolution—from meeting Grant McLennan at Queensland University to recording his latest solo album "Strawberries" with Swedish musicians.

The conversation unfolds like a masterclass in creative persistence. Forster reveals how The Ramones' debut album gave him the confidence to write his first songs, declaring "if they could do it, I could do it"—while artists like Bowie felt too intimidating with their virtuosic musicians. He candidly shares his struggle with the fundamental songwriter's dilemma: how to create something new when there are only so many chords. His solution involves constant experimentation—inverting chords, using capos, exploring different positions on the fretboard—and the patience to play for months until something genuinely fresh emerges.

Most surprisingly, Forster opens up about nearly abandoning music twice when faced with two-year creative droughts. What kept him going? Simply the joy of creation and, later in life, diversifying his creative outlets through music journalism and writing. This multifaceted approach actually revitalized his songwriting, removing the pressure and allowing new perspectives to emerge. The result is what he considers his most consistent body of solo work over the past decade.

"Strawberries," his latest album recorded with members of Peter Bjorn and John, represents this artistic renaissance. Forster speaks about it with rare satisfaction, suggesting he'd be content not to record for several years because "I don't know how I'm going to top that." Beyond music, he shares exciting news about completing his first novel, set for publication in Australia next year.

Want to witness the magic that happens when an Australian indie legend joins forces with Swedish pop sensibilities? Catch Robert Forster on his European tour this September-October, where he'll be performing with the same musicians who brought "Strawberries" to life.

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www.robertforster.net/Strawberries

The subtext, of course, is awful. Forster – like anyone who has watched parents die and loved ones suffer – knows that the worst is never over. However, Strawberries concludes that raging against the dying of the light is a mug’s game; the only sensible response to mortality and pain is to live (and love) harder. Some of the stylistic choices here may give regular listeners “the shits”, but Forster is quite possibly beyond worrying about what people think about him now. His debut novel is in the works; he is writing some of the best songs of his life. That delicious fruit won’t be fresh forever, enjoy the sweetness now. mojo

Field Medic • surrender instead • 2025

https://fieldmedic.net/

On “the journey to the center of nothing,” the closer of Field Medic’s eighth studio album, surrender instead, Kevin Patrick Sullivan starts singing about me. Not literally me—but when he gets to the line about “some journalist in Flatbush/Who’ll write the headline that’ll give you the push,” my instinct is to respond that the coffee shop where I’m drafting this review is technically in Crown Heights and that this probably isn’t the one he’s been waiting for. PF

Robert Forster • Stockholm 24: The Making of Strawberries • 2025

“Picture one of our greatest living singer-songwriters in a kitchen. He is on holidays, he’s just had a swim. His wife is out on the beach, and he finds himself faced with a bowl of irresistible strawberries. They’re meant to be shared, of course, but their taste is “out of the ordinary,” so he just can’t help himself. Minutes later all of the delicious fruit is gone, but there’s the germ of a song as the phrase “Someone ate all the strawberries” has popped into Robert Forster’s mind, sounding “so weird, but normal.” Thankfully, he has his guitar with him. tinni

ifitbeyourwill S06E01 • Oh, Rose

Olivia Rose of Oh, Rose opens Season 6 with a candid conversation about musical origins, creative evolution, and embracing life's next chapters. From her early days in Asheville, North Carolina, where her friend's mother taught her guitar at age twelve, to becoming the frontwoman of a respected indie band, Olivia's journey reveals the deep connections between personal experience and artistic expression.

Music flows naturally for Olivia, who recalls waking up as a child with songs already formed in her mind. "I will just start, a song will just come to my head, I can sing about anything that I'm doing at any given moment," she explains. This instinctive approach to songwriting has matured over time, as she translates personal moments into universal themes that resonate with listeners. Her process often begins with a thought or phrase that strikes her as particularly true, developing into fully-formed compositions that sometimes reveal their deeper meanings long after they're written.

The conversation takes a meaningful turn as Olivia, expecting her first child in September, reflects on how motherhood will influence her creative path. Rather than viewing this transition with trepidation, she approaches it with curiosity and openness. Drawing fascinating parallels between the chaos of touring life and the unpredictability of parenthood, she shares advice from a bandmate who recently became a father: "I think you're going to be surprised at how equipped you are for this and how much being in a band and this strange form of chaos that we have chosen over the years is actually going to come in handy."

Olivia's recently released EP "For Art" stands as both a creative milestone and a musical gift for her unborn child, who has been present for the creation of these songs. Though she plans to take a well-deserved break from performing, she assures us that her musical journey continues: "As long as I am writing and playing and recording music, O Rose will continue to exist and evolve." Her story reminds us that art, like life, thrives through transformation and growth.

https://www.ohrosemusic.com/

Exploring themes of long-term commitment and partnership—both in romantic and platonic relationships, as well as to artistic practice itself—the six tracks on 'For Art' navigate the complexities of closeness. Wading through feelings of disillusionment, the album is ultimately a hopeful work, one of recommitment and perseverance.

FROG • BITTEN BY MY LOVE VAR. XI • 2025

https://linktr.ee/heyitsfrog

“In late August of ’25, a peculiar man known only as THE COUNT began to appear at various locales throughout the New York metropolitan area, drinking heavily and raving about various offscreen women. He was tall, skinny, but muscular in a way that only comes from manual labor, and he wore J. Crew slacks with a wife-beater. If you were in his presence, even if only for a moment, you could feel the power that hid behind his dark eyes, eyes that would stare out at you like deep oceans of hazel and blue, beckoning. He was intensely aware of the presence of every woman within a 2-square-block radius and made a lasting impression on all of them that they didn’t completely understand. He was like a black hole that curved all of space, where the trajectory of every object that passed near him wavered and became blurry. He was the kind of man, in short, that you could stare at for ages, if only he wouldn’t stare back. But the Count always stared back.

Tiberius • Felt • 2025

https://linktr.ee/Tiberius

Following the more frantic Emo Rock sounds of the "Sag" and "Felt" singles, the rustic warmth of "Moab" sees Tiberius embrace their Country and Folk influences, while still flirting with Pop melodies and an Indie Rock crunch. 

 

Tiberius was originally a solo outing for songwriter Brendan Wright (they/them), with the project growing to a four-piece band upon Wright's relocation to Boston. As demonstrated on "Moab," this expanded lineup produces a catchy and cacophonous sound that blends Indie Punk, Alt Country and Psychedelia with confessional, conversational lyrics.

 

Named after the city in the sprawling Colorado Plateau desert, "Moab" has long been a live favorite, and now offers our third preview of 'Troubadour,' a unique, genre-bending LP that's bursting with ideas and ambition. Alt Country-esque songs like "Moab" meet the Midwest Emo of "Sag," the meathead Shoegaze Rock of "Redwood," the Psych-ballad sound of "Barn," and the downtempo ache of October 10th's "Painting of a Tree" single.

Good Good Blood • Little Sparrow • 2025

Written in the throws of grief, "Little Sparrow" is an album of questions, of wondering, of wanting, of asking “will we make it through?”

A line in the sand, leaving behind a monolith of pain and sadness, this record charts a journey from shock and disbelief through to acceptance and, although uncertain, hope for the future.

Featuring re-worked versions of previously released 'Flowers Bloom' and 'Forever Scars', each song was initially recorded at home, sparse arrangements of just acoustic guitar and vocals.

After encouragement from family and friends to flesh out these embryonic versions, an opportunity arose to work on the songs with Paul Brown in his West Yorkshire studio.

Paul's ear, knowledge and expertise proved invaluable in fleshing out the songs, bringing a fuller, more vibrant sound to the production. Taking them from solitude and isolation into a blossoming world of shared experience, hope, love and joy.

The Planet Smashers • Wasted Tomorrows • 2025

On the Dancefloor was crafted with the band’s famously chaotic live show in mind. From the swaggering brass of lead single “Meet Me On The Dancefloor” to the walking bass groove and cheeky hooks of follow-up “Things You Do,” the album captures the raw joy and connection that has defined The Planet Smashers since day one. Songs come fast and tight, laced with self-deprecating humour, a healthy dose of cynicism, and a whole lot of heart. Whether it’s love, loss, burnout, or late-night release, the record taps into the emotional fuel that keeps people coming back to ska punk, decade after decade.

https://stomprecords.com/shop/on-the-dancefloor/

Case Oats • Bitter Root Lake • 2025

Website

The debut album by Case Oats is a remarkably assured record, the band—Spencer Tweedy (drums), Max Subar (guitar, pedal steel), Jason Ashworth (bass), Scott Daniel (fiddle), and Nolan Chin (piano, organ)—gelling around Casey Gomez Walker’s voice and guitar. Last Missouri Exit is a collection of sharply drawn character studies, Gomez Walker’s background in creative writing expressing itself in wry observation and a disarmingly easy sense of the lyric, the profound and profane tumbling out of songs like “Bitter Root Lake” with the weight of a confessional poem and the ease of a conversation between friends.

The Boojums • Wings of Fire • 2025

Formed in late 2024 and known for uploading fuzzed-out live VHS tapes to Reddit, Instagram and YouTube, The Boojums have quickly built a reputation for their refreshingly raw and unfiltered sound—equal parts nostalgic and forward-looking. Recorded live off the floor, their debut album channels themes of small-town escape, personal reckoning, and full-throttle freedom.

“‘Wings of Fire’ is about chasing something bigger before it disappears in the rearview,” says guitarist and vocalist Willie Stratton. “It’s that feeling when you’re flying down the highway—gold on your engine, nothing but dreams in the tank, and someone you love in the passenger seat.”

Oh, Rose • For Art • 2025

Exploring themes of long-term commitment and partnership—both in romantic and platonic relationships, as well as to artistic practice itself—the six tracks on 'For Art' navigate the complexities of closeness. Wading through feelings of disillusionment, the album is ultimately a hopeful work, one of recommitment and perseverance.

meg elsier • spittake dress rehearsal • 2025

“Why can’t a rock show be theatre? Why can’t it be camp? Why can’t it live somewhere not based in reality, while still being raw?” says meg. “I’ve pretended to perform in my living room with a remote as a mic, and on stage, I feel like I’m back in that safe space where I can rage without nerves. That’s what I wanted to capture."

spittake dress rehearsal arrives on the heels of spittake (deluxe), the expanded edition of meg’s acclaimed debut album. The 17-track project features unreleased demos, raw live recordings, and intimate B-sides, offering a deeper dive into the emotional and creative core of the original record.

One of indie rock’s most exciting new voices, meg elsier pairs sweet, airy vocals and lush melodies with grungy guitars and weighty production. Since making her debut in 2024, meg has earned praise from tastemakers like DIY Magazine, Ones To Watch, DORK, and CLASH for her unflinching storytelling and distinctive, genre-blurring sound

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Cuddle Magic • Hundred Million • 2025

Underwater by Cuddle Magic

In an intimate recording studio in Los Angeles, I sit in a packed room as Cuddle Magic plays their new songs for a willing crowd, the band clustered in the center of the room, puzzle piecing together, pump organ into bass clarinet, tiny synthesizer resting on organ, a single drum. Kristin Slipp sings. Ben Lazar Davis sings. Alec Spiegelman sings. Christopher MacDonald sings. Dave Flaherty sings. Beautifully. You're never sure what sound is going to come from who, the bass clarinet plays what a bass guitar would normally play, the pump organ drones what might normally be a string quartet, a willing suspension of disbelief dominoes throughout the room. Soon enough, the notion of "normal" is in the rearview, and we're quicksand in the hourglass of the band, chasing them from song to song, feeling to feeling, willing participants in Cuddle Magic's worldbuilding.

Blondshell • Full Performance (Live on KEXP) • 2025

https://www.blondshellmusic.com http://kexp.org

Jeff Tweedy • "Feel Free" (Twilight Override) • 2025

https://wilcoworld.net/

Jeff Tweedy is set to release the forthcoming triple album, Twilight Override, on September 26th via dBpm Records, and tour extensively across North America and Europe this fall. Today, he releases the new single and one of many album standouts, “Feel Free,” alongside a performance video directed by Lance Bangs. On this acoustic, breezy, meditation on self-expression, belonging, and being present, Tweedy sings: “Feel free // Taking it slow and easy // Even though your heart is racing // Feel free.”

 

The freedom I'm talking about in this song comes in both small doses and large doses. It arrives at me, at the most free I feel in my life. Which is making a record with my friends and singing a song that I feel like is a part of the past, present and future. — Jeff Tweedy