Bitter Calm "Eternity in the Lake of Fire"
Birmingham, AL is the third rainiest city in America, but unlike its counterparts in the Pacific Northwest, the rain in Birmingham is not a gentle mist that rolls in quietly over the mountain; the rain in Birmingham falls with an unrelenting ferocity, like it’s punishing the ground for having ever been dry— and then, as quickly as one would discard an unpleasant thought, it’s gone.
Bitter Calm is a band from Birmingham, AL. They make music that one would call “sad”, but much like the torrential rains that punctuate their lives, it’s a different kind of sad— less like a breakup at the dinner table and more like a breakup in the atmosphere. Deeply, loudly, profoundly sad.
That’s not to say their music isn’t enjoyable, because it is. Their performances easily invite the vulnerability they require by virtue of their commitment to something completely sincere. Singer/guitarist Michael Harp grimaces and broods his way through songs that are so evidently beautiful that they could easily mask the more unfortunate emotions beneath.
With support from violinist Meg Ford, bassist Alex Guin, and percussionist Chayse Porter— all Birmingham heavyweights in their own right— Harp eschews the uncomfortable trauma-dumping of his more whispery peers in favor of something darker, meaner, more “results oriented”.
In other words, Bitter Calm’s newest record is more about the destination than the journey— the destination being “hell” and the journey being “self-annihilation”. There is no relief to be found in the music itself save for the catharsis of accepting one’s own hopelessness. The relief comes from the fact that the songs were ever written, recorded, and performed in the first place. On the other side of this endless descent, descent, descent… something beautiful happened. Thank G–d it did.
Cathedral Ceilings "La La La… Whatever"
Dromedary Records is proud to present you with La La La…Whatever!, the band’s second album, due September 6th, courtesy of Ralphie, Nicky, and Tommy. It’s an album that presents a dozen hot, guitar driven rock numbers in quick succession, with the same intensity as their growing word-of-mouth live shows will attest.
But don’t mistake the band’s simplicity of style for lack of depth. Consider their first single, ‘My CEO,” which is a love song. “But not in the typical romantic partner sense,” says Ralphie. “This is a love song about money, and how it can cloud a person’s identity, trajectory, and moral standing. It’s about how people turn a blind eye to the evil wrongdoings of their bosses or the companies they work for, in order to pay rent, or pay back their student loans. I almost feel bad for these people who tackle the moral dilemma of working for Raytheon, Halliburton, or the Trump org. Almost. The three of us play on this song with a kill or be killed mindset. Rip them off, before they rip us off. The main riff was ripped off from Cheap Trick. Which they ripped off from The Move. Lie. Cheat. Steal. Smile. Repeat.”
Then there’s “Bill Berry,” a name that pays homage to the R.E.M. drummer, but more accurately serves as a tribute to that once-ubiquitous musical distribution system, the mixtape. “This song is kinda a period piece as people don’t make mixtapes anymore. But when I was younger, mixtapes were a massive part of the culture. It was a way to connect with people, and get turned on by a song you may have never heard before. (no internet, yo) This song is kinda a microcosm of a typical mixtape I would make. It’s upbeat with a great walking bass from Tommy. It’s got a couple of nice melodies with a soaring chorus. Bill Berry, being the drummer for REM, were a fixture on a lot of my mixtapes. I still have a milk crate in my basement full of tapes I made or traded in high school.”
And if you love those songs—and we’re sure you will—there are ten more equally fine, fiery rockers to be had. We’ll leave it up to you to choose which one will go on your mixtapes.
Ibibio Sound Machine "The Black Notes EP"
Ibibio Sound Machine on The Black Notes EP:
Moments of joy and feeling grateful for the sun on your face. “Black Notes” and “Honey Bee” are two sides of a coin—soulful dance and an electronic take on highlife for 2024. Captain Planet’s funky Afro house remix take on “Pull the Rope” and Vanguard’s acid-tinged version of “Got to Be Who U Are” round out the selection.
The Black Notes EP follows on the heels of 2024’s acclaimed Pull the Rope and follows that album in revealing even more facets of Ibibio Sound Machine’s perpetual groove.
Little Hag "Now That’s What I Call Little Hag"
Little Hag is working through her issues and has a brand new album to prove it. Now That’s What I Call Little Hag aptly showcases the wide ranging songwriting of Avery Mandeville. Using 8 different producers and studios she delivers punk rock bangers, deep disco dives, torch songs, folk ballads and much more.
She rages against capitalism when things go awry while working at a Jersey bar in “1000 Birds.” She skewers an ex in “Would It Kill You?” and “You Blew It!” but she can also turn the lens around and scrutinize herself (“God I’m So Annoying,” “HHSTTHN”). The songs “All 3” and “Oops!” ponder the private vs. the public persona, while “Suck Out The Pain” imagines a way to surgically remove heartache. Finally, she finds new love on the sappy sapphic track “King Cake.” Oh yeah, there’s also an ode to her vibrator (“The Machine”) that might just be a metaphor for the coming AI revolution.