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Alternative Band PRETTY AWKWARD New “Get Weird” Album Is A Stand-Out Debut
The eleven songs on PRETTY AWKWARD’s Get Weird range from reflections on personal experiences to anthemic crowd-pleasers that will resonate with young and old alike. Veteran songwriters and musicians Nicholas Wiggins and Austin Held recruited a first-class cadre of collaborators to flesh out their musical vision and they play as a band rather than a glorified solo vehicle for either man. The stylistic dexterity evident throughout the album likewise coheres rather than sounding like a mishmash of conflicting aims. PRETTY AWKWARD’s songs sound like the results of an outfit that began the recording process knowing exactly what they hoped to achieve and clearing every hurdle with room to spare.
You can hear their confident self-assurance in the album’s opener. “Hang Out” presents listeners with a scenario that’s easily relatable to the band’s target audience but, likewise, cuts across age demographics. It’s youthful, without question, but even older listeners of a certain type can remember staying up into the wee hours intoxicated with friends and/or romantic partners. It’s a song portraying the tightly knit confederacies of friendship in a unique way and the lightly atmospheric arrangement helps bring it to unusual life.
PRETTY AWKWARD continues an impressive run to open the album with its next two tracks. “Misfits” is one of the release’s best numbers and a bonafide anthemic gem. It gains much of its power from the deliberate scaffolding that the band erects for the performance; its steady escalatory pace culminates in a soaring chorus. “Get Weird” is a memorable title song that relies much more on atmospherics than the other ten cuts. The band’s command of manipulating light and shadow excels here and Held delivers one of his best vocal performances.
The simmering and often effervescent pop of “Bad Habit” opens with a brief snippet of piano before segueing into the main body of the song. Alternative music fans will latch onto the slinky percussion driving the tune and it gives the track an irresistibly stylish veneer. “Castle Walls” is an especially inspired songwriting clinic that turns the band once again towards the anthemic. They’ve hit upon their idiosyncratic language, however, and write about self-realization and seizing the day with undeniable flair. It’s one of Get Weird’s most impassioned moments.
“Woozy” is one of the album’s marquee cuts. If you want to put forth one song out of the eleven that sounds and feels truly representative of PRETTY AWKWARD’s gifts, then this is it. Each of their cuts has a clear subject matter that relates to everyday life, and this is no different. This pop-influence romp about a dysfunctional yet addictive relationship crisscrosses multiple genres without ever disorienting listeners and has an entertaining melody you won’t soon forget.
They end the album on a melancholy yet ultimately victorious note. “Burn” definitely embraces a “better to burn out than fade away” spirit, but listeners will come away from this sure that PRETTY AWKWARD won’t be fading out anytime soon. It’s an invigorating and thoughtful tune illustrating their range better than other already outstanding songs on Get Weird. This album deserves your attention and more as they’ve written and recorded one of 2023’s best Alt.Pop collections.
Skyler Voss
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Eric Schroeder Releases Album
If you’ve ever heard the music of Eric Schroeder before, you already know that melodic sting is often the backbone of his heady rock sound, but in his latest release Turned on the Stereo, which was released this year everywhere quality indie-rock is sold and streamed, it plays as great a role as the lead vocal does. The guitar is the star in the title track of this LP, much as it guides the grooves of singles “Parting (No. 2)” and “Stayed the Same,” and whether you’re a six-string buff or not, it’s an element that will engage anyone who catches a glimpse of this album’s most powerful moments.
There’s a lot more to Turned on the Stereo than just gilded guitar tones; after all, when listening to songs like “Mother Said,” “The Kind of Wound That Never Heals,” “Plan For Me” and the juggernaut “Never Go Away,” everything from the percussion to the vocal harmony itself is presenting us with a different layer of emotion. There’s scarcely a juncture in this record where Schroeder doesn’t sound deeply invested in the narrative he’s trying to get across, which is something I could only wish to see among his mainstream competitors nowadays.
At the center of every song on this LP is the magnetizing melodicism of the leading man, which despite flexing some legit muscle in past releases bearing the Eric Schroeder name sounds much more relaxed and on-point in tracks like “Do Done Now,” “Claire’s Song” and “Easier Way to Go” than it ever did before. There’s no hesitation on the part of our leading man here; if anything, I’m not sure that he’s come across quite as confident in his performance as he does in a couple of this record’s most climactic fever pitches.
As far as the production quality is concerned, Turned on the Stereo is a superbly tight album that doesn’t leave us guessing how richly textured and full a song like the title track or “Never Go Away” might sound in a live capacity, which is undeniably a tough feat to pull off. It’s perhaps not as evenly mixed as The Crucifixion of Eric Schroeder was, but I don’t know that he was looking to go super-polished in this instance; there’s a certain authenticity that comes with filtering fresh material through a raw, unconventional sound, and that could be why this LP stings as hard as it does.
Though I just started exploring Eric Schroeder’s complete discography a little closer this April, I’ve come to appreciate his approach to songwriting all the more thanks to Turned on the Stereo, which I deem the most mature offering he has released thus far. Schroeder isn’t working with major label assets by any means here, but he’s nevertheless turning in something that feels wholly compelling and different from what his contemporaries are producing in this first half of 2024, and that alone makes it a worthwhile listen for anyone who demands organic quality in rock anymore. Top to bottom, this is a terrific listen for those who love indie riffs and smoldering lyrical emissions.
Sebastian Cole
Artist Spotlight
The Skinny Limbs Unveil Galactic Soundscape with ‘Mozart for Martians’ EP Premiere
The Skinny Limbs have unveiled their latest EP, “Mozart for Martians,” which consists of five stellar tracks that revolve around the complex universe of emotions accompanying a long-term relationship’s end. This EP’s celestial soundtrack for heartbreak, rejuvenation, and reflection seamlessly blends indie-pop with lo-fi vibes and Japanese pop influences, transcending musical genres.
This eclectic mix creates a vibrant tapestry of sound, drawing listeners into a realm that is both familiar and otherworldly. The raw vulnerability in each track reflects band member Max Knoth’s personal journey through love, loss, and life’s unpredictable twists.
Lead single “Too Little Too Late” is a gut-punching anthem that blends poignant lyrics with a sonic fusion of Japanese pop and indie elements, capturing the EP’s emotional core. Meanwhile, “To The Limit” offers a celestial blend of melodies and evocative lyrics, portraying the feelings of confusion and frustration that accompany life’s hurdles.
The EP’s sonic journey is completed by the unreleased gems, “Monday,” a jammy reflection of Max Knoth’s tumultuous breakup week, “I Know You Care,” an older track reborn, and “For So Long!,” a groovy exploration of confusion, patience, and the search for clarity.
Produced by Connor Robertson, Jake Rye, and The Skinny Limbs, and mastered by Mike Cervantes (known for his work with Dolly Parton and MisterWives), this EP is a masterful blend of heartfelt storytelling and musical innovation. The production quality is top-notch, and the EP’s 18-minute runtime provides a concise yet powerful journey that will leave listeners craving more.
