Dream pop – Page 6 – 7th Level Music

Anika releases title track from her upcoming album – “Change.”

Anika – the project of Berlin-based musician Annika Henderson who is also a founding member of Exploded View – announces Change, her first new album in over a decade, out July 23rd on Sacred Bones & Invada, and shares the “Change” video directed by Sven Gutjahr who also directed the video for recent single “Finger Pies.” The follow-up to cult favorite Anika (2010), Change is beautifully fraught. The intimacy of its creation and a palpable sense of global anxiety are seemingly baked into the album’s DNA. Spread across nine tracks, the central feeling of the record is one of heightened frustration buoyed by guarded optimism. The songs offer skittering, austere electronic backdrops reminiscent of classic Broadcast records or Hi Scores-era Boards of Canada, playing them against Anika’s remarkable voice—Nico-esque, beautifully plaintive, and—in regards to the record’s subject matter—totally resolute.

Having worked collaboratively in the past with the likes of BEAK> and Exploded View, Change was ultimately the product of necessity. After recording the initial ideas by herself at Berlin’s Klangbild Studios, Anika was joined by Exploded View’s Martin Thulin, who co-produced the album and played some live drums and bass. “This album had been planned for a little while and the circumstances of its inception were quite different to what had been expected,” says Anika. “This colored the album quite significantly. The lyrics were all written there on the spot. It’s a vomit of emotions, anxieties, empowerment, and of thoughts like—How can this go on? How can we go on?”

Recorded at a time when literally everyone in the world was being forced to take stock, rethink, and reimagine their own place in the cosmos of things, Anika provides the wizened perspective of an outsider. It’s a perspective that is not lost on the British ex-pat and former political journalist, and despite the subject matter and the circumstances around its creation, Change itself is ultimately a treatise on optimism. The title track presents the album’s message writ large: “I think we can change, we all have things to learn, about ourselves and about each other.” To end the record on such a sanguine note might be one of Change’s most revolutionary gestures.

“There’s a lot of stuff I want to change,” says Anika. “Some things I sat down and decided last year, I had to change about myself and my life. Sometimes it feels helpless because the things we want to change are so huge and out of our control. Starting with yourself is always a good place. I think we can change.”
Watch “Change” Video

Watch “Finger Pies” Video

Pre-order ChangeChange Tracklist
1. Finger Pies
2. Critical
3. Change
4. Naysayer
5. Sand Witches
6. Never Coming Back
7. Rights
8. Freedom
9. Wait For Something Anika European Tour Dates:
Sept. 10 – Offenbach, DE @ Hafen2
Sept. 12 – Dunkerque, FR @ Les 4 Ecluses
Sept. 23 – Nancy, FR @ L’Autre Canal
Sept. 24 – Rouen, FR @ Le 106 Club

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[Thanks to Patrick at Pitch Perfect PR.]

Sharon Van Etten and Angel Olsen combine their superpowers for a fine new single.

oday, Sharon Van Etten and Angel Olsen unveil a true knockout of a song, “Like I Used To,” with a gorgeous accompanying video. The track opens less with a chord than with a crash, an announcement to stop what you’re doing and stand at attention: Sharon Van Etten and Angel Olsen are singing together. “Like I Used To” takes its place among the great anthems: a powerful and joyful ode to reclaiming one’s own space. Sharon’s troubadour swagger is sure-footed and stadium-sized. Angel’s inquisition is piercing, evocative, impossible to dodge. The combination of their voices is so beautiful and electric, it’s almost destabilizing, and it’s only furthered by John Congleton’s production, who has worked closely with both in the past: Sharon on her most recent album, Remind Me Tomorrow, and Angel throughout her career on Burn Your Fire for No Witness and All Mirrors.

The song’s stunning accompanying video, directed by Kimberly Stuckwisch and shot in Los Angeles and Joshua Tree at various locations, elevates the overall vibe and free spirit of “Like I Used To.” It is a visual representation that truly celebrates the collaborative nature of these two special songwriters and performers.
Watch Sharon Van Etten and Angel Olsen’s Video for “Like I Used To”
Both Sharon and Angel have long-admired one another from the close-but-far distance of life on tour, a life that unifies them even as they’ve spent years criss-crossing each other from miles, countries, continents apart. Ask them each about the song’s origin story and they inadvertently stitch a mirror together, a story of mutual admiration and, lucky for us, eventual collaboration. “Even though we weren’t super close, I always felt supported by Angel and considered her a peer in this weird world of touring. We highway high-fived many times along the way…I finally got the courage in June of 2020 to reach out to see if she would want to sing together. I got greedy and quickly sent her a track I had been working on,” says Sharon.

“I’ve met with Sharon here and there throughout the years and have always felt too shy to ask her what she’s been up to or working on,” says Angel. “The song reminded me immediately of getting back to where I started, before music was expected of me, or much was expected of me, a time that remains pure and real in my heart.” To call it magic is to cheapen the connection between these two masters, but when you listen it’s hard to call it anything else.

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[Thanks to Jessica at Pitch Perfect PR.]

Max Bloom’s “Palindromes” is a delightful love song.

Today Max Bloom (previously of Yuck) has shared a second single from his forthcoming solo record ‘Pedestrian’, which is set for release on June 18 through Bloom’s own new label, Ultimate Blends. He will also be playing a socially-distanced show at London’s Oslo on July 2nd.

“Palindromes“ is a wistful, understated love song. Bloom explains: “This song is about how I got together with my girlfriend Anna, who also plays bass in my live band (and co-wrote two songs on the album). We were best friends for years, then she broke up with her boyfriend and we got together quite suddenly. It was completely unplanned, but when it happened it felt like a lucid dream. I wanted to write something to commemorate it (Anna has also written a few songs about it too), and after the darkness and grief of Perfume, it felt cathartic for me to write this song.”

“Palindromes” video:https://youtu.be/Uv7y47iMoNM

The album ‘Pedestrian’ takes its listener into the outside world. And it was here, wandering the city streets and parks against the surreal backdrop of the last twelve months, that Bloom discovered his inspiration for this latest collection of songs. He found himself observing his surroundings and people’s behaviour in a new light.

Over the months, a regular cast of companions (namely Spoon, Beck, and Yellow Magic Orchestra) accompanied Bloom on his increasingly lengthy runs. These references, alongside core influences like Wilco, George Harrison, and Grandaddy, helped bring a fresh pallet of sonic colours and textures to ‘Pedestrian’.

‘Pedestrian’ is the first release on Bloom’s new label, Ultimate Blends, which will be a home to all of his future projects and productions. Bloom has also designed individual artworks for every song on this album, and animations for its forthcoming singles. He also hosts podcast JEW-ISH, a series of one-to-one interviews with Jews from a range of different cultures and backgrounds, aiming to show the nuance that exists within the Jewish world. Listen here.

‘Pedestrian’ will be released on June 18th via Ultimate Blends.
Max Bloom will play Oslo in London on July 2nd. Ticket info here.

‘Pedestrian’ track list:
1. Pedestrian – Official video
2. Palindromes – Official video
3. All The Same
4. America
5. The Weatherman
6. Imposter Syndrome
7. Under Green Skies
8. How Can I Love You
9. Twenty-Two
10. Cat On Your Lap

Links:
JEW-ISH podcast
https://maxbloom.bandcamp.com/
https://www.facebook.com/MaxBloomMusic/

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[Thanks to Kate at Stereo Sanctity.]

Review: Remington Super 60 – Nouvelle Nouveau

Imagine being in a relationship with someone for almost two decades, as well as being in band together, and then deciding to end the relationship but continuing on as a band. How would that affect the writing and recording processes, let alone touring?

If you’re Remington Super 60, and if you’re songerwriter / producer Christoffer Schou and singer Elisabeth Thorsen, you realize that the end of a relationship doesn’t have to mean the end of a friendship or an artistic collaboration, and, along with Magnus Abelsen, you make a fine EP like Nouvelle Nouveau.

Perky, poppy “Talk with You” instantly makes you feel warm and nostalgic for quiet European cafes and mellow afternoons with your lover. The EP is full of references to Schou and Thorsen’s break-up, of course, and the first track alone has lyrics like “All I want is to get close to you so I can talk with you.”, but the EP isn’t gloomy. It’s too bright to be a downer.

The Cure-like bass and guitar on “I Won’t Change My Mind” backs up Thorsen singing, “I don’t know what I can do to make this easy for you…I tried to tell you, but you never understand, but it’s too late now.” The song is a sad tale, but one of shared grief. Both she and Schou know they have to move on from what they had and both know that being okay with it is far better than being spiteful or bitter. “All I Want” has a neat acoustic guitar sound that seems to blend country and psychedelic folk.

Electo-lounge keyboards (vintage ones, no doubt, as Schou loves using and collecting them) start “Still Near,” with Thorsen claiming, “I don’t want to see you again. It hurts when you’re around.” and “I just want to disappear even though you’re still near.” “See This Through” has a bit of a bossa nova flair to it with Schou and Abelsen’s synths and beats and Thorsen’s vocals that are somehow sad and upbeat at the same time. I don’t know how she does it.

“Misconception” has Thorsen tells us (and, let’s face it, Schou) that she doesn’t need saving. Schou and Abelsen’s synth work on it is great, mixing synthwave with dance-pop grooves. Believe it or not, “All Alone” was written many years ago, long before Schou and Thorsen’s break-up. Schou sings lead vocals on it, and one can’t help but marvel at its predictive nature. The acoustic guitar and hand percussion on the track mix well together, and it’s a dreamy send-off.

I don’t know if Remington Super 60 will continue to make music together, but Nouvelle Nouveau is a good sign that they can still create lovely, dreamy art and embrace change. The world would be a better place if we could all have that presence of mind.

Keep your mind open.

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[Thanks to Christoffer Schou.]

Review: Situation Chicago 2

Situation Chicago 2 is a fine compilation of Chicago bands and artists, and proceeds go to helping artists and venues affected by the pandemic (which, by the way, is pretty much all of them). The project is part of the CIVL SAVE fund, which needs all the help it can get to support independent music venues throughout the Windy City (full disclosure, some of these venues are my favorite venues in the country).

“Sinistry” by MIIRRORS is a fiery live rock cut with some light goth touches. Robust‘s “Dont Know Why” is a smooth example of Chicago’s vibrant rap scene. The bass line alone on it make impregnate you. Speaking of great example of Chicago’s music culture, Fess Grandiose‘s “Keep the Rhythm Goin'” is a prime one of Chicago house music (a genre that, while popular, still deserves to be better known around the globe). Umphrey’s McGee and Bela Fleck team up on the bouncy and bright “Great American.” Reduxion‘s “The Imperial Boxmen” is sweet funk jazz that will make you want to spin your lover around the room. Speaking of fun, Jeff Park delivers a great instrumental cover of WAR‘s “Slippin’ into Darkness.”

“Drowning” by Neptune’s Core starts side B of the vinyl with strong power-pop hooks. Goth country makes an appearance with The Goddamn Gallows‘ “The Maker.” V.V. Lightbody‘s “Really Do Care” is a slice of dream-pop complete with birdsong and cat’s purr-like guitar. Erin McDougald‘s lovely, sexy “The Parting Glass” is a wonderful exemplar of Chicago’s jazz club scene and makes you want to seek out her live performances.

It’s a good compilation, and proceeds go to a great cause. You can’t miss.

Keep your mind open.

[Thanks to Jim at Pitch Perfect PR.]

Brijean shares Buscabulla’s remix of “Moody” from upcoming EP.

Earlier this year Oakland-based duo Brijean released Feelings, “an album that’s as soothing as it is grand” (Bandcamp). Today, Brijean announces the Feelings Remixes EP coming out August 13th on Ghostly International, and presents the “Moody (Buscabulla Remix).” In addition to the Buscabella remix, the EP extends the relaxed reverie of Feelings with contributions from Sam Gendel, DRAMA, and Rick Wade. Brijean Murphy and Doug Stuart’s deep roots in jazz, pop, electronic and Latin spheres inform the music they make as Brijean, and these influences are reflected in the diverse group of remixers they tapped for this project.

Puerto Rican synth-pop duo Buscabulla accentuate the percussive downtempo flair of “Moody.” Keeping Murphy’s stream-of-consciousness lyrics at the forefront, the polyrhythmic percussion is sparing and, well, moody. Sprinkles of subtle yelps, harp flutters, gauzy synths, and sinuous synth grooves give this rework a unique neo-tropicalia vibe. Murphy elaborates, “I first heard of Buscabulla from a club poster at Baby’s All Right in Brooklyn. I was playing at that venue with a band I was touring with around the same time and fell in love with their music. They play with time signatures, levels and expression in an enveloping and inspiring way. They are insanely talented artists and I’m so so stoked to have their lush, experimental and moving touch on our song ‘Moody.’“

Buscabella adds, “We had plans to meet Brijean the next time we swung by San Francisco on tour before the pandemic hit. We love their vibe and doing this remix is as close as we can get to jamming together in the same place. We aimed to deconstruct the original and to explore the point where our separate influences converge. Fusing together the futuristic synthesized drums and bass with organic syncopated Caribbean percussion. Here’s to a jam in real life.”

Rhythm is the driving force of Feelings; each featured remix plays with that force, adding, subtracting, and altering percussive elements to build a range of sonic environments — true to Brijean’s mission of encouraging uninhibited imagination and new possibilities.
Stream “Moody (Buscabulla Remix)”

Feelings Remixes EP Tracklist:
1. “Moody (Buscabulla Remix)”
2. “Ocean (Sam Gendel Remix)”
3. “Hey Boy (DRAMA Remix)”
4. “Day Dreaming (Rick Wade Remix)”

Watch/Share/Listen:
“Wifi Beach” Video
“Hey Boy” Video
“Ocean” Video
“Day Dreaming” Video
“Moody” Stream
Purchase/Stream Feelings

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[I’ll be moody if you don’t subscribe.]

[Thanks to Patrick at Pitch Perfect PR.]

Dizzy team up with Kevin Garrett on “Sunflower, Are You There?”

Following their recent JUNO Award nomination for Alternative Album of the Year, Dizzy are excited to release their new single “Sunflower, Are You There?” featuring Kevin Garrett. The new track is the second offering from a forthcoming collaborations EP titled Separate Places. The EP will be released by Royal Mountain Records and Communion Records on 11th June, and features recent single “The Bird Behind The Drapes” featuring Luna Li.

LISTEN: to Dizzy’s “Sunflower, Are You There?” feat. Kevin Garrett on YouTube

The Separate Places EP sees the Oshawa four-piece reimagine some of the standout tracks from their second album, 2020’s The Sun and Her Scorch. Each track features a different guest artist: “Sunflower, Are You There?” is a reworking of the album’s lead single “Sunflower”, now featuring Grammy-nominated musician Kevin Garrett, known for his work on Beyoncé’s Lemonade.

On the collaboration, vocalist Katie Munshaw explains, “We opened up for Kevin back before we had released any music as a band. I remember looking up to him as someone our age touring, writing perfect songs and just doing the damn thing so well. Having his seal of approval on “Sunflower”, a song about self-doubt, felt very full circle.“

Upon its release, The Sun and Her Scorch album was praised for its “lyricism paired with their dreamy indie-pop sound” (MTV) and its candid exploration of the messiest, most raw emotions young people experience in the modern age. “I wanted to be completely honest about the things nobody ever wants to admit, like being jealous of your friends or pushing away the people who love you,” frontwoman Katie Munshaw says. “So instead of being about romantic heartbreak, it’s really about self-heartbreak.” The Sun and Her Scorch has been nominated for Best Alternative Album at the Juno Awards, a feat previously achieved by the likes of Arcade Fire – and Dizzy themselves, for their 2018 debut Baby Teeth.

Unable to tour the record due to the pandemic, Dizzy returned to the studio, bubbling with a fervent creative energy and drive to make the most of a bad situation. “The Separate Places EP has allowed songs from The Sun and Her Scorch to go on tour without us,” Katie explains. “Following some of our favourite artists around the globe from Birmingham, London, New York and back to Toronto, each song has been reimagined. “Primrose Hill’” is now fiery and tough. “The Magician” and “Ten” returned to a state of naive, solemn bliss. “Beatrice” gains solace with felt piano and harmony and “Sunflower” sounds like something out of a Super Mario Brothers video game. It’s kind of a ride.”

Each track draws inspiration from Dizzy’s chosen collaborators, breathing new life into an already stellar collection of music, enriched by the excitement of artistic synergy in a time when collaboration hasn’t always seemed possible. It’s a celebration of the new ways we have found to be together, even though we’re all in separate places.

The Separate Places EP will be released on 11th June on Royal Mountain Records and Communion Records, including the below tracks. The featured artist for each track will be announced by Dizzy in the build up to EP release. You can pre-save it here.

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[Thanks to Conor at Hive Mind PR.]

Angel Olsen to release box set of three albums and a 40-page book due out May 07th.

Today, Angel Olsen announces Song of the Lark and Other Far Memories, a box set featuring All Mirrors and Whole New Mess, plus a bonus LP titled Far Memory, and a 40-page book collection, out May 7th on Jagjaguwar. In conjunction with the announcement, she presents “It’s Every Season (Whole New Mess).” Originally conceived as a double album, All Mirrors and Whole New Mess were distinct parts of a larger whole, twin stars that each expressed something bigger and bolder than Angel Olsen had ever made. Now, with Song of the Lark and Other Far Memories, these twin stars become a constellation with the full extent of the songs’ iterations: all the alternate takes, b-sides, remixes and reimaginings are here, together. Alongside, a 40-page book collection tells a similar story, not just through outtakes and unseen photos but through the smaller, evocative details: handwritten lyrics, a favorite necklace, a beaded chandelier. As if it could be more plainly stated (there’s nothing more), Angel adds one cover here: a loving, assertive rendition of Roxy Music’s “More Than This.”

“It’s Every Season (Whole New Mess)” was recorded during the All Mirrors session, and is an alternate version of “Whole New Mess.” It has an acoustic backbone, blooming with Olsen’s singular voice. As it continues, the song erupts with drums, electric bass, and Nate Walcott’s brass arrangement.

Watch/Listen to “It’s Every Season (Whole New Mess)” Via the Visualizer

Released in 2019, All Mirrors is massive in scope and sound, tracing Olsen’s ascent into the unknown, to a place of true self-acceptance, no matter how dark, or difficult, or seemingly lonely. All Mirrors is colossal, moving, dramatic in an Old Hollywood manner. Recorded before All Mirrors but released after, Whole New Mess is the bones and beginnings of the songs that would rewrite Olsen’s story. This is Angel Olsen in her classic style: stark solo performances, echoes and open spaces, her voice both whispered and enormous. All Mirrors and Whole New Mess presented the two glorious extremes of an artist who, in these songs, became new by embracing herself entirely.

In first speaking about Song of the Lark and Other Far Memories, Olsen said, “It feels like part of my writing has come back from the past, and another part of it was waiting to exist.” What better way to articulate timelessness. If Whole New Mess holds the truths of Olsen’s enduring self, and All Mirrors documents her ascent toward a new future, Song of the Lark and Other Far Memories exists out of time, capturing the whole artist beyond this one sound, or that one recording, or any one idea. It is a definitive collection, not just of these songs, but of their revelations and their writer, from their simplest origins to their mightiest realizations.

Song of the Lark and Other Far Memories is limited to 3,000 physical pieces. To celebrate the announcement, Olsen filmed an unboxing video to show the scope of the package.
Watch the Song of the Lark and Other Far Memories Unboxing Video

Pre-order Song of the Lark and Other Far Memories

Far Memory Bonus LP Tracklist:
1. All Mirrors (Johnny Jewel Remix)
2. New Love Cassette (Mark Ronson Remix)
3. More Than This
4. Smaller
5. It’s Every Season (Whole New Mess)
6. Alive and Dying (Waving, Smiling)

All Mirrors Tracklist:
1. Lark
2. All Mirrors
3. Too Easy
4. New Love Cassette
5. Spring
6. What It Is
7. Impasse
8. Tonight
9. Summer
10. Endgame
11. Chance

Whole New Mess Tracklist
1. Whole New Mess
2. Too Easy (Bigger Than Us)
3. (New Love) Cassette
4. (We Are All Mirrors)
5. (Summer Song)
6. Waving, Smiling
7. Tonight (Without You)
8. Lark Song
9. Impasse (Workin’ For The Name)
10. Chance (Forever Love)
11. What It Is (What It Is)

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR.]

Zoee releases first single, “Microwave,” from debut album due June 25th.

London-based musician Harriet Zoe Pittard aka Zoee has previously released singles through Ryan Hemworth’s ‘Secret Songs’ imprint and Vegyn’s label Plz Make It Ruins, as well as guesting as a vocalist on tracks with Hot Chip’s Joe Goddard and with hyper-pop collective PC Music. Over the past two years Zoee has taken some time to nurture her voice and her sound. Her debut album ‘Flaw Flower’ is due on June 25th via Illegal Data.

The first single & video from the record “Microwave” is online now. Speaking about Microwave, Zoee said “it’s a many-sided song about familial dynamics, oppressive domestic settings and the joy found in self validation.”

Watch & listen to “Microwave” here: https://www.youtube.com/watch?v=N7gZoDZ6lm8

Listen to “Microwave” via other streaming services here:https://smarturl.it/zoeemicrowave

‘Flaw Flower‘ is an honest and vulnerable glimpse into Zoee’s interior world, a world she creates through marrying her real-life phone notes with imagery taken from modern works of literature such as “The Flowering Corpse” by Djuna Barnes, Sylvia Plath’s “A Winter Ship” and Maggie Nelson’s “Bluets“. Through these 11 new songs, Zoee delves deep into her own emotional life, combining aspects of the everyday with the surreal in order to uncover the beauty found in being flawed.

The record nods to the avant pop of the 80s, an era that Zoee has always been drawn to thanks to the expressive and trailblazing music of women including Anne Clarke, Joan Armatrading, Cyndi Lauper, Rose McDowall and Anna Domino.

The album is characterised by a mix of hi-fi and lo-fi instrumentation. ‘The Loft’ features a free jazz solo from acclaimed experimental saxophonist Ben Vince alongside stock GarageBand synths. ‘Host’ combines home demo backing vocals with an elaborate baby grand piano solo. Zoee sources foley sounds from YouTube and pulls from her own domestic field recordings, such as a microwave buzzing in ‘Microwave’ and a shower running in ‘Evening Primrose’, often using these sounds as the starting point for the songs. Maintaining intimate bedroom elements whilst developing a more expansive band sound, felt integral to the project, since that’s where Zoee’s writing process often starts, sat on her bed with her laptop and midi keyboard.

Writing for the album began in October 2018 when Zoee started working closely again with friend and long-term musical collaborator Rowan Martin. As the material for the record began to take shape the writing and recording process also evolved with the addition of bassist Kyrone Oak and keys player Laura Norman, as well as contributions from Ben Vince and London pop artist Saint Torrente.

“I feel like the songs on this album took me deeper into myself, the sad song that I thought was about a boy is still about that but it’s also about loss, about self-determination, about not losing hope, about memory, about domesticity, about detachment, about my dad, about my mum, about change, about feeling incredibly alone, about growing up.”

‘Flaw Flower’ is set for release digitally and on cassette on June 25th via Illegal Data.

Keep your mind open.

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[Thanks to Frankie at Stereo Sanctity.]

Review: Kalbells – Max Heart

Max Heart, the new album by Kalbells, is lovely synth-pop created by four ladies who have a love of grooving and jamming. Led by Kalmia Traver, the band started as a solo project for her but she and her touring bandmates bonded so tight that they became a regular thing and started creating funky psych-synth tunes that seem effortless. The band (Angelica Bess, Zoe Becher, Sarah Pedinotti, and Traver) have often spoken about this Zen-like state of locking into each other’s energy and letting thins naturally occur. Much of Max Heart is centered around love – finding it, embracing it, losing it, and rediscovering it – and the Zen mantra of “Let go or be dragged.”

“Red Marker” begins with spacey lounge vocal stylings as Traver tells us to “kiss her inner bouncy ball.” and that she’s “in her element although the skies are getting darker.” “Flute Windows Open in the Rain” is a peppy tale about Traver finding happiness in self-isolation and moving forward after a break-up. The warped bass and sexy groove of “Purplepink” make it a standout on the album. It’s great for rainy late night drives, making out, or even dancing around in your kitchen while making backed macaroni.

The simple beats of “Poppy Tree” blend well with the space-age airport hangar keyboards throughout it. Besides having a fun title, “Hump the Beach,” also has sexy French vocals, bubbling synths, and even a weird horn section piece. “Pickles” is full of double entendres, especially when guest rapper Miss Eaves unloads some fun lyrics on it. The beats on “Bubbles” sound like a sped-up ping-pong game played underwater in a dream in which you’re also playing hide and seek with a lovely woman who might be a mermaid. It’ll make sense once you hear it, trust me.

The electro beats on “Big Lake” sizzle like water flicked into a hot skillet. “I woke up with a fish tank in my hips,” Traver sings on “Diagram of Me Sleeping.” It’s a witty, weird, and sensual lyric that puts into mind the joke of Groucho Marx watching a femme fatale walk away from him with her hips swaying, and then Groucho turning to the camera and saying, “That reminds me, I need to get my watch fixed.” The saxophone solo on the track is a nice touch, too. The title track closes the album with a joyful sway, keyboards that sound like giddy birds, a jazzy piano solo, and fat synth-bass.

It’s a fun record, and a much-needed uplifting album as we (here in the U.S., at least) emerge from winter and isolation to embrace the sun and, hopefully, the beginning of a return to human interaction.

Keep your mind open.

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[Thanks to Cody at Clandestine PR.]