Album Review
Wastelander’s New Album “What is Left of Me”

From the poetic folk-rock rundown that we encounter in “Get Older” to the more eclectic feel of “Room Full of Elephants,” the pastoral qualities found in “Broken Leg,” and simplistic melodicism of the rather rousing “Never Trust a Man,” there’s scarcely a moment in Wastelander’s new album What is Left of Me where veteran singer/songwriter Cooper Formant doesn’t sound completely at ease in the recording studio. It can be said that he’s turned in some quality work before now, I think that this latest effort might just be the most confident he’s ever sounded. Under the Wastelander moniker, Formant goes out of his way to reject the filler that many in his age group have come to lean on when crafting a new album, instead favoring a concept that gets back to the basics of folk-rock rhythms and haunting new school harmonies while still allowing himself to explore his depth as a songwriter and arranger. The aptly titled What is Left of Me covers a lot of ground both emotionally and artistically, and I think it’s this player’s most intriguing work to date.
The tempo is as expressive as any of the melodies are in “I Just Want to Be Your Friend (featuring Erin Rae),” the mildly restless “Figure it Out,” superbly paced “Caduceus” and the churning yet wistful “Be Where (also with Rae),” and from where I sit, I think it was important to make it as prominent a feature in What is Left of Me as it wound up being. There’s a great warmth to the fretwork we find throughout this tracklist, and honestly, had the rhythm not been given a little extra panache from Formant, I’m not sure that this record would feel as multidimensional and versatile as it does in this particular instance. Formant’s vocal is challenged for authority over the harmony in “Natural Light” and the similarly absorbing “Get it Right,” but even when the backing instrumentation is giving him a serious run for his money, I don’t believe there’s ever a moment in this LP where he isn’t sounding like the true star of the show from top to bottom. What is Left of Me sports a terrific production quality, but it’s clear to me that all twelve of its obstinate songs would likely sound just as charming in a stripped-down arrangement as they do here.
If what I’m hearing in this latest release from Cooper Formant is essentially just a taste of what he’s planning on filling this unfolding chapter in his career with, then I think it would be safe for his fans and critics to assume that he’s far from finished as a singer/songwriter. Formant has magnificent energy and enthusiasm in this album that is reminiscent of some of the best singers to pick up a guitar, and if he’s able to bring the same trademark tonality he’s injected songs like the title cut and “As You See” with here, I believe he’s going to see a lot more success on the mainstream side of the industry than he has in previous outings in bands like the Fluids. He’s not necessarily breaking any rules in What is Left of Me, but he’s signifying some outstanding consistency as an artist.
Christian Gardenhire
Album Review
Jangus Kangus shatters melodic boundaries with her debut album “Fortune Cookie”

Jangus Kangus, the intriguing musical force helmed by Jasmine Sankaran, has just cracked open her most audacious project to date, “Fortune Cookie,” an album that intricately weaves genre fluidity and emotional resonances. This collection of eight tracks serves as both a sonic manifesto and a significant milestone in contemporary indie-pop, characterized by unvarnished lyricism and engaging, jangly hooks.
The album commences with “You Only Love Me When,” a seemingly serene acoustic-pop track that establishes the thematic groundwork for a narrative exploration of desires, internal conflicts, and acts of defiance. It poignantly laments love that manifests only through revealed strength, portraying love as a timeless entity, even when entangled with the vices of broken individuals intoxicated by addictive substances. After this introduction, Kangus transitions into the introspective “Double Lives,” a shimmering soul-infused piece that methodically dissects the paradoxes inherent in love and the subdued anguish that frequently accompanies the double lives.
Progressing to “No Future In This,” the album’s melancholic yet assertive dive into romantic realism presents bold lyrical insights. This sentiment escalates into the heartbreak elegy “Our Love Is Dead,” here, rhythmic piano chords evoke a mournful grace that encapsulates the heaviness of lost love, distrust, and betrayal. The track underscores the necessity of relinquishing specific attachments to pivot away from unsafe circumstances, echoing the fortune teller’s chilling proclamation: our love is, indeed, dead. Then comes the wild card “Janakita Kirakita,” an intoxicating burst of sonic dynamism and gleeful experimental composition that injects curiosity and electric charm into the auditory tapestry, boldly challenging convention with every note.
Listeners will find “Goldilocks” particularly captivating; this genre-defying number draws from stylistic influences reminiscent of St. Vincent and The Smiths, skillfully merging nostalgia with contemporary innovation. It conveys an urgent yearning to reclaim lost love during periods of solitude. The penultimate track, “Honeymooners in Venice,” narrates a cinematic experience rich in post-modern nuances. Finally, the concluding piece, “High Rise,” offers a deep plunge into Sankaran’s introspections, leaving a reverberating and haunting impact.
Meticulously crafted with the dexterity of a seasoned lyricist and the fervor of a punk priestess, “Fortune Cookie” commands attention as a contemporary coming-of-age narrative rich with lo-fi grit and artistic ambition, all presented through a unique lens.
Featuring an outstanding lineup that highlights the intricate interplay of Steph Anderson on keys and backing vocals, Antonio White on lead guitar, Dan Perdomo on drums, and Ryan Kellis on bass, Jangus Kangus delivers a performance that harmonizes technical proficiency with emotional transcendence. The music constitutes a distinctive addition to diverse playlists, serving as an ideal backdrop for a heartbreak soundtrack or late-night contemplation, thereby ensuring its relevance and recurrence among discerning audiences.
CLICK HERE TO STREAM Jangus Kangus’s Album “Fortune Cookie“ on Spotify.
CONNECT WITH Jangus Kangus | Instagram | Facebook |
Album Review
Eric Schroeder drops a riveting dare into his emotionally charged new album “Cat’s Game”

Eric Schroeder, a distinguished innovator within the indie rock-pop sphere, born and raised in San Diego, has unveiled his ambitious latest album, “Cat’s Game,” a masterful project that deftly explores intricate emotional landscapes. Comprising ten meticulously woven tracks, traverse through landscapes of confessional intimacy, introspection, and sonic defiance that revitalizes classic rock ‘n’ roll aesthetics. Recorded at Mant Sounds under the expert production of Rob Schnapf and engineered by Matt Scheussler, this striking new album premieres today and signifies a potential shift in the contemporary rock narrative.
As a pivotal player within San Diego’s eclectic music scene, Eric Schroeder adeptly navigates the dynamics of chaos and clarity, and “Cat’s Game” showcases his most sophisticated orchestration to date. Collaborating with a tight-knit ensemble featuring Matt Scheussler (bass), Jake Richter (drums), and Aidan Finn (keys), Schroeder breathes life into every lyric, wrapping each composition in swirling authenticity and unfiltered emotional gravity.
Commencing with the soaring rock gem “High And Low,” listeners are immediately plunged into the heart of Eric’s introspective lyricism, capturing a spectrum of euphoria tinged with unintentionality, where moments of sorrow transmute into uplifting sentiments. The follow-up single “Emily” floats a unique form of bittersweet poetry, allowing audiences to resonate with a profound longing through emotive acoustics and nostalgic melodies. Furthermore, the slow-burning “Don’t Wanna Let You Go” effectively merges vulnerability with assertive musical grit in one unforgettable, gut-punching anthem.
Tracks like “As I Sit Here In My Car” and “I’ve Got Problems” demonstrate Schroeder’s exceptional proficiency in turning everyday occurrences into deeply relatable stories, marrying lyrical poetry with infectious grooves and cinematic soundscapes. Meanwhile, “Leave Me Sleeping” arises as a notable highlight, functioning as a haunting lullaby drenched in longing and lucid dreamlike clarity, further underscoring his capacity to encapsulate solitude in a captivating sonic framework.
Mid-album highlights, such as “My Big Brother,” “Slipstream,” and “Summer In The Psych Ward,” explores the chaotic interior of memory and identity, enhancing the psychological dimensions of Schroeder’s artistry. Finally, the closing track, “The Road To Recovery,” presents an achingly beautiful exhale, a tender, tremulous resolution to a defiant, emotionally rich album.
“Cat’s Game” is a crucial addition to any rock enthusiast playlist, reminding us of the enduring significance of music in contemporary culture. The album is an immersive manifesto of emotional honesty, dynamic storytelling, and fearless creativity. Eric Schroeder doesn’t just participate in this artistic endeavor; he is rewriting the rules with his enchanting vocal delivery. His rare gift for transmuting vulnerability into visceral musical encounters cements his reputation as a mesmerizing songwriter, a burgeoning force in today’s evolving music landscape, poised to make a significant impact.
For more information about Eric Schroeder, please visit [website].
CLICK HERE TO STREAM Eric Schroeder’s Album “Cat’s Game“ on Spotify.
CONNECT WITH Eric Schroeder | Instagram |
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