The intersection of these two titans' talent is truly a blessing to the coinciding fanbases of emo rock and alternative comedy. What may seem like a slim Venn diagram has actually proven to be quite robust, as fans' recognition of this track at Phoebe Bridgers' recent live shows implies Punisher wasn't the only album this ghost-and-skeleton-clad crowd has been spinning. "That Funny Feeling," originally written and performed by Bo Burnham, one of comedy's premier talents, is a standout from his most recent special Inside, which landed on Netflix in May of this year and nearly broke the internet in the process. If you're familiar with Bo and Phoebe, it shouldn't shock you that she heard this song and loved it. The intelligence and poignance fit the bill of what she imbues in her own work. The articulation of general complacency in the midst of societal collapse, climate crisis and international neural numbing is crystal clear and sharp as a knife in this rendition. There's a certain brand of nihilistic nuance shared by the two that strikes a chord with fans. 

If this description seems abstract, it's intentional. I'd rather you take a moment to listen to Bo's original track (which you can find on streaming services, or even better, in context while watching his special on Netflix) and then take a moment to listen to Phoebe's cover. Not long ago, the two performed this song together for the first time at Largo in LA, an undoubtedly special experience for the audience; "That Funny Feeling" has since become a part of her setlist, a pleasant and near-perfect fit for the live show, as the song itself melds seamlessly into the narrative of Punisher, an echo or sister song to "I Know The End." If I wasn't already privy to Bo's work, I might mistake it for one of her original songs. The folk base of it appeals to her roots, while Phoebe brings a more explosive element to the track by adding horns and a longer, evolving outro. I'm thankful Bo and Phoebe sparked a friendship clearly built on philosophical and artistic similarities, and I hope it means we'll see more collaborations between the two of them in the future. Photo by Daria Ritch.

Each day this week, New York-based psychedelic indie-pop quintet Strawberry Launch offers insight on tracks from their debut self-titled EP. Follow along as different members offer insight to the background and songwriting process of four tracks in their own words. Photo by Will Montgomery. 

"Fork" is one of the most upbeat, danceable songs on the EP. It’s a commentary on the strange world of online dating and how it skews our perception of ourselves and others. It’s an extremely fun song to play, loaded with chromaticism and glitched-out synth melodies. Tiger [Darrow]’s production brought it to a new level, with the addition of strings, call and response in the vocal tracks, and drone synths. "Fork" is the type of song that always gets the crowd amped up whether they know it or not. —Abby, Strawberry Launch

Lo-fi ukulele strums and distant hums introduce boywithahalo's "Dontsaveme" with such gentleness, you may not notice that he's voicing the anxiety rooted in his mind. The soft tune echoes the sentiment of sitting alone in your room, strumming chords in a futile effort to make time pass faster while sitting idly at the whim of factors out of your control. While it's a feeling 2020 has imparted on us all, there's an added layer for boywithahalo, who sings of staying at home because simply existing as an LGBTQIA+ Asian American during this pandemic is dangerous; "It feels impossible to be safe out there" is a fear I personally know too well. Hauntingly, the lyrics for the track were written in September of 2020, long prior to the massive influx of anti-Asian hate crimes. "It’s scary how all of my fears became true," boywithahalo has said on the track. And while scary, it's sadly not surprising, foretold by subtle changes in the ways I was treated as early as January 2020, "kung flu" jokes made to my face, people eyeing me on the train and moving further away. 

But in the final minute, a commanding drum beat and lofty reverbed guitars join his choir-like vocal layers as the track fades out on a more assertive and hopeful note. It'd be careless to say that just because the news cycle is no longer saturated with anti-Asian hate crimes, things have gotten better. With the vulnerability of artists like boywithahalo, though, it's not impossible to believe that they can.

Each day this week, New York-based psychedelic indie-pop quintet Strawberry Launch offers insight on tracks from their debut self-titled EP. Follow along as different members offer insight to the background and songwriting process of four tracks in their own words. Photo by Will Montgomery. 

Over quarantine, I saw that an old flame of mine was in a new relationship a few months after we had been together. So I found myself looking through her Instagram and comparing myself to her, wondering what she was like...and the words just poured onto the paper. When we started to build the song I was unsure about the dissonance in the guitar chords, but it really enhanced the conflicting feelings in this song—of wanting a past lover to be happy but not happy enough to forget you. And since we finished writing this during quarantine, it's such an interesting way to encapsulate that time period. The drop of the guitar into the first chorus is probably my favorite "sound" on the entire EP. — Riiza, Strawberry Launch

Courtney Barnett recently delivered her second single, titled “Before You Gotta Go,” off her upcoming record Things Take Time, Take Time. It’s a heartfelt, bouncing track that acts as a reminder that hurt is never the goal out of an argument. Barnett’s charming and steady voice holds a sense of gratitude as she explains to the other person what they really mean: “You’re always on my mind / If something were to happen my dear / I wouldn’t want the last words you hear to be unkind.” The spinning instrumentals provide a smooth momentum as she thoughtfully recaps the end of the fight. The track pulls you into a reflective space of your own just like most of Barnett’s music has the power to do. It takes a slight detour compared to her first single “Rae Street," which is more reminiscent of her 2017 collaboration project with Kurt Vile, Lotta Sea Lice. As always though, Barnett leaves space for everything to breathe and be absorbed. While the track fades out, there's no blame or passive-aggressiveness left, only an effort to have perspective and appreciation for someone else. Things Take Time, Take Time officially comes out via Mom + Pop on November 12, 2021. Photo by Mia Mala McDonald.

Each day this week, New York-based psychedelic indie-pop quintet Strawberry Launch offers insight on tracks from their debut self-titled EP. Follow along as different members offer insight to the background and songwriting process of four tracks in their own words. Photo by Will Montgomery. 

“That’s on Me” is a longtime fan favorite, and it’s always such a surreal feeling to see our own crowd singing the lyrics right back at us. It’s a simple song instrumentally with not many chords, but still one of my favorites to play because of the emotions that fly through the song. Due to its instrumental simplicity, I was really excited to see how we could use the studio and Tiger Darrow’s production to elevate the song. With its swelling effects, stereo sound and vocal stacking, I’m extremely proud of the final product and feel like it is an excellent representation of our newly matured Strawberry Launch sound. — Taylor, Strawberry Launch

Nolan Garrett’s latest single "Finish Line" breathes life and meaning into the word “warm." The lyrics are earnest and sweet, delivered in a stilted, lilting, half-hesitant voice that slowly finds itself transformed into a steady forward current. Each verse is a confession of, perhaps not love, but certainly tenderness nestled amongst gentle acoustic guitar arpeggiations. Synth flourishes fill the spaces between words, like a feeling you can’t quite name rising up and up until it sits just underneath your tongue. It's a visceral, blushing and intense, yet temporary feeling. That’s what "Finish Line" sounds like: a song so warm you can’t help but feel it in your cheeks. It’s like laying in the grass at the park on a hot night late in August. The air is warm and humid, and it sticks on your skin like glitter. You’re so at peace, you almost might be alone if not for the warm body breathing next to you. You meet their gaze and think about how you might experiment with vulnerability, trading secrets and smiles under clouds and stars. Or maybe you’ll just hold their hand and watch the breeze blow the clouds across the moon without saying a word. You almost wish you could stay here forever, listening to the cicadas chitter and feeling warmed deep into your bones. Soon enough, though, it’ll be time to get up and move on. But not yet. In the meantime, you think to yourself, “I’m excited to see where this goes. I’m excited to see how we grow.” 

Each day this week, New York-based psychedelic indie-pop quintet Strawberry Launch offers insight on tracks from their debut self-titled EP. Follow along as different members offer insight to the background and songwriting process of four tracks in their own words. Photo by Will Montgomery. 

I wrote this song one Summer as just a random instrumental. I was bored at home most days and wanted to experiment more with recording my own music since that’s basically what I’m in school for. It wasn’t anything serious and there’s really no deep meaning for the song, I was just messing around with a couple chords and layered a bunch of stuff on top of it. It sounded very glittery to me, which is why I came up with the name. We started playing it in Strawberry Launch when trying to write new songs. At first, it was tricky to try to implement it into a full band, but I’m so happy with what it turned into; it’s probably my favorite track on the EP and super fun to play live. — Matrianna, Strawberry Launch

A wall of distortion and feedback introduces the newest track from Ontario quartet Basement Revolver. “Skin” is a dream-pop, shoegaze-inspired track that could hold its weight next to veterans of the genre like Beach House and Slowdive. With Chrisy Hurn’s dreamy vocals atop of building guitars and massive sounding drums, the song feels like simultaneously floating and sinking into the floor. From their first release, Basement Revolver’s lyrics have presented an emotional and introspective look at the world, and “Skin” is no exception. The track meditates not only on self-image but the way in which others affect the way we feel about ourselves and our bodies. With the burning chorus lyric “I wanna feel at home / In my skin, in my skin,” the song hits on the important connection between our minds and our physical bodies that is still too often overlooked. The music video for the track is a reflective reverie that reinforces the themes of the song and deepens the imagery created. Photo by Steph Montani.

Premiering today is the sweet new single "Higher" by Abby Huston, a hometown signing to Richmond's EggHunt Records, which flaunts Virginia's flourishing local music scene. Akin to the delicate, emotionally resonant crooning of artists like Raveena and Arlo Parks, Huston blends a mellow R&B sensibility with the impassioned intensity of the emo revival music they cite as a major influence. Crafted alongside collaborator Cameron Smith, who also produces under the moniker Not Kevin, "Higher" finds Huston approaching insecurity with gentle nuance. Fellow RVA singer/songwriter Benét joins to say "I just got a feeling that things will change," their rich vocals a nicely rounded foil to Huston's own airy delivery. Together, they make space to raise themselves up in a world that might not always be as forgiving as we need. Sometimes, the most meaningful gift is to honor oneself. 

In Huston's words, "'Higher' was such a pleasure to make with Cam and Benét. It was a kinda rainy day...Benét and I stepped out on the porch and wrote through the walls while Cam was laying the beat and we had a really beautiful conversation about how I had been feeling. Sometimes we aren't feeling uplifted in our lives but ultimately it is only our onus to honor our worth and not internalize every little thing people could be thinking about us."

Preorder their sophomore record AH HA here, due out this fall via EggHunt Records. Photo by Ryan Gary.

New Big Thief! Everyone rejoice! The Big Thief fandom was well-fed in 2019, getting back-to-back albums from the indie-folk quartet in a matter of months. The self-identified "earth sister" albums garnered critical acclaim, with U.F.O.F. earning a Grammy nomination in 2020. While the band hasn't made music together in some time, their lead vocalist and songwriter Adrienne Lenker released an album titled songs and instrumentals, which also received critical acclaim and was easily my personal favorite record of the year. "Little Things" is one of two singles that dropped this week from Big Thief, the other track being "Sparrow." These tracks operate best when played side by side, embodying what Lenker does so well as a songwriter: world-building. Every song has its specific place within a purpose-driven order of play. The vibrant and glistening musicality of "Little Things" quickly becomes more and more chaotic and disjointed as the song plays on, elevating and squeaking as the lyrics escalate in tension and worry. The speaker feels used, out of place and claustrophobic. But there are still ruminations of deep affection, leaving her obsessed and restless.

These songs are a fascinating introduction to whatever new project Big Thief has in the works, and I personally can't wait for them to blow our minds again. Listen to "Little Things" wherever you stream! Photo by Josh Goleman.