EU1OGY (Baltimore, MD) is an artist who defies almost all classification. An artist who has developed a style that is truly his own. 

His music exists on a plane somewhere between heavy electronic, metal/hardcore, noise, and hip hop. In his new release and music video, WAGON V.2— a reimagining of their 2017 release, WAGON, the tendrils of Metal have infiltrated the track creating one of the most punishingly aggro songs I’ve ever heard with an 808 trap beat.

WAGON V.2 maintains a lot of integrity musically to the original WAGON in certain elements while also completely reinventing itself in others. The melody of the signature Skream sample from the original track is still present however it was reworked to be more dissonant and is  overlaid, with heavy distortion and a riff that will shove you in a locker between classes. The vocals as well have been injected with hardcore and while the lyrics remain the same as the original track they now feel guttural and evil. 

The video forces the viewer to be a bystander to a Froot-Loop-laced Hellscape that oozes Baltimore out of every pore. Director Monique Juliette Baron creates an experience that makes me feel like Alex Delarge of A Clockwork Orange, eyes clamped open and force fed imagery of death. She sucks the viewer into a jaundiced, Gummo-esque fever dream complete with balaclavas and spaghetti-o’s in the bathtub. The two collaborated before on EU1OGY’s first music video for the track “TOP DOWN” and together have more material coming down the pipeline. It is unique art like this that makes me feel excited for the future of music in the Maryland scene.

Watch Here:

-D. G.




The OSYX keeps bringing one word to my mind: serious. Every track from start to finish, through multiple listens I couldn’t escape that serious thing. And I loved it. With the opening track, “Carry it With Me,” I’m transported to a live venue. The music is kicking and the drums are in control. The guitars keep me on my toes and the music leaves me wanting more.

“Six Feet Under” pulls me in with its power and construction, and a catchy riff that had me humming it all day long.

“Bicoastal” pumps the brakes a little bit and makes me think about things. Big rhythm guitars with subtle melodic lines and the guitar’s feedback take me to the early Radiohead albums; not a bad place to be.

While “Dog Fight” is an Instrumental (except for the shouts of the title a couple times) it still fits perfectly among the rest. Splatty fuzz guitar, bass grooves, and vocal skills keep you hanging on.

“Scavenger” is a song you sway with. The bass/rhythm section makes it easy for the words of the beautifully haunting tune to take control of your imagination in all of the ways a song like this should. And did I mention the strings are amazing?

“Driving Intervention” had me dancing with its funky elements, pop rock essence, waves of vocals and drums that tell you when and where to move.

Serious. That word, that feeling that runs through The OSYX is powerful and right on time. The last tune, “Bad Omen,” does what that last runner in the relay does–drives it home and seals the deal. “Bad Omen” lets me know the show is over. It explains everything. It ties the themes and feelings of the album together while marching me back into my everyday life. I hear the words of people who are serious about sharing their experiences through song. I hear a band taking their music seriously.

I have a feeling if you don’t get the chance to give The OSYX a listen you will still come across these tunes. Maybe you’ll hear them in your next favorite film or TV series, a video game, or recommended by friends. Songs with such composition and power tend to get out and about.

FFO: Veruca Salt, Belly, The

Listen Here

-V. V


Catscan! : Yucca Mountain

UNADJUSTEDNONRAW_thumb_56ee.jpgCatscan! is a two-piece electronic rock band out of Washington, D.C. Formed in the early 2000s by elementary school friends Mason Shelby and Paul Tsiaperas. Yucca Mountain (Dec 2019) is the culmination of almost two decades of sustained collaborative writing experience. This shows on the album, as every song from the gleefully sardonic opener “Stickup” to the sweeping grand finale “Yucca Mountain Theme” feels complete, polished, and intentional.

With a wide variety of interesting and beautiful sounds featured all across the album, each track manages to feel fresh, but they remain cohesive when taken as a whole. Their style is hard to pin down, to their credit, but the album contains definite nods to post-punk predecessors They Might Be Giants and the influence of other punk and new wave bands. However, with the advent of modern digital technology and effective use of acoustic instrumentation on Yucca Mountain, Catscan! has managed to forge a sound all their own. Paired with healthy doses of irreverence, absurdism, and insight, Yucca Mountain is a joy to listen to and an impressive accomplishment to behold.

Highlights: Skulls, Graveyard Shifters, Context Clues, Yucca Mountain Theme

FFO: They Might Be Giants, Talking Heads, Ween

Listen here:

-E. H.

Catscan! : Yucca Mountain

Scott Siskind: Old Ghosts | New Homes


Tension is a key factor in this release- driving tempos, the attack of instrumentation, and a vocal delivery that ranges from introspective statement to extreme expression. Siskind sets the stage for this intensity with textural field recording- playground sounds, the sound of a pencil scrawling quickly on paper, footsteps- reinforcing a sense of intimacy as songs about the human experience, from his viewpoint, come tumbling forth.

The writing explores coming to terms with oneself as an individual, addressing the veil of “normalcy” as maturing experience lifts it to find only oneself looking back in question. The production keeps the edge on these performances, which serves to support the nature of urgency embodied in each piece. Even the instrumental ‘Partition’ serves to support the overall brooding tone.

Siskind does give us one thing to hold onto- self-realization is not a unique experience. It is an often dark but necessary journey, and will follow us regardless of were we go.

FFO: Death Cab for Cutie, Ani DiFranco, Conor Oberst

Listen Here:

-D. K.

Scott Siskind: Old Ghosts | New Homes

Signal 30: Generations

UNADJUSTEDNONRAW_thumb_56c8.jpgListening to Signal 30’s Generations I move upward, creeping almost out of the Earth’s atmosphere. For just over a minute I move as graceful as the guitar melodies allow me to. Epic arrangements of strings and lead guitar assure me soon I will be on my way to another land. With a clever and inviting intro, “Say it Like You Mean It” has the weight to make most things adhere to its size, and is a great tune to kick things off.  Once I land back in reality, I am greeted by riffs and familiar rock tones that let me know exactly what’s going down.

Although the heart and veins of Generations can for sure be tagged (Rock Genre) the body that surrounds those veins take on a few forms and styles. Tracks like “Cartel” and “Picking Up Change” have an anthem feel to them, with “Cartel” having more of a hit-the-dance-floor feel, driving you forward with lyrics and drums that say “Rock N Roll.” “Eat You Alive” got me fast with its intro riff and drums. I hear that straight ahead punk sound like Nirvana’s Bleach with the catchy hook and and sprinkles of pop on a punk piece.

My favorite, and the most thoughtful in composition and feeling, is “Hit Back.” I don’t say this just because, placed in the middle of a mostly modern rock EP, “Hit Back” instantly pulled me in for a harder listen with e-bow sounds and clean guitar progression normally found in songs of yesteryears. I say it’s my favorite because it’s a well written tune that really glues things together. This song really moves me. The guitar solo rips and hits with purpose, Brian May style.

In the end it’s great to be able to hit play and just let things do the cruise control. I find myself wanting to hit the skip a lot more these days, and I get the feeling many bands and their works likes Albums and EPs are going for, “I hope you like two out of ten.” I don’t get that feel with  Generations. It’s rocking and thoughtful collection all the way through that will be in my rotation for a minute.

FFO: Pink Floyd, Elliot Smith, Brian May

Listen Here:

-V. V.

Signal 30: Generations

Melanie A. Davis: Allegoria

Unapologetic, brilliant, and beautiful, Allegoria (2020) is the latest release and first studio album of Kentucky singer-songwriter Melanie A. Davis. Recorded in Nashville, TN at Welcome To 1979 and in Paducah, KY at Loud & Clear Studios, the production quality of this album is excellent.

The songs blend moving social commentary and incisive self-reflection in the best folk tradition with captivating delivery and ethereal accompaniment. The guitar is elegant and unobtrusive from clever finger-style rhythms to washed out dreamy shimmer, and most tracks are adorned with simple but effective percussion. Moods build and flow effortlessly across wide ranges of emotion, and her jazz-influenced style is original and unmistakable.

Allegoria is complex but relatable, airy yet down to earth, and intelligent while managing to convey incredible emotion. In it, Melanie A. Davis has delivered us a more timely than ever call to address and question our very modes of being both within and without. A better album for right now is hard to imagine.

For Fans of:  Phoebe Bridgers, Mazzy Star, Lana Del Rey, Joan Baez

Highlights: Gallowman, Sisters, I Don’t Really Care, Do You?

Listen here:

-E. H.

Melanie A. Davis: Allegoria

Day Aches: Self Titled


Day Aches is a heavy shoegaze band from Washington, D.C. This release has a gigantic, otherworldly feeling to it. This album is engaging, led by stunning, ethereal vocals. Melting guitar leads keep building with huge percussive fills. This is a sound that is easy to get lost in. The high energy drum beats drive swelling guitar leads. The emotional vocal resonance brings the listener into Day Aches’ impassioned, moving world.

For Fans of: My Bloody Valentine, Mazzy Star,  Slowdive, Joy Division, Depeche Mode.

Highlights: Drift, Dormant


Listen here:


– JO


Day Aches: Self Titled

Lotion Princess: Take Care

Take Care Cover

Released February 1, 2019

In their latest release, Take Care, Lotion Princess unveils five sweetly luscious heartthrob songs. Melodies adorned in graceful harmonies lead the way, opening into a beautiful sprawling sadness reminiscent of Beck’s Sea Change (albeit more hopeful).

Sasha’s vocals are worthy of pop star acclaim; clear and polished, precise, and with a softness that soothes. These songs speak of simply observed truths, candid feelings, and kind wishes for loved ones near or far. Subtle complexities in songwriting do the songs favors and repetitive lyrics will echo all day, leaving anyone who hears Take Care longing to listen again.

For fans of: Imogen Heap, Mirah, Sade 



Lotion Princess: Take Care

Debrider: Gift Horse

debrider - gh

Debrider is a dreamy indie pop shoegaze dive into a world of beautiful despondency. Based out of Richmond, this is the third album that the band has released. Gift Horse is stunning, the vocal harmonies by Lia Pisa-Relli are dazzling and unforgettable. The raw power in her voice shines through in every song, and with help of new band members are elevated by their skillful and dynamic creativity. Debrider excels at channeling vulnerability and loneliness and making it feel authentic.

There’s a lot of catharsis to be found in Gift Horse. Times are hard for a lot of people, and sometimes just knowing that another person out there is going through the same thing can be so reassuring and inspiring. Many musicians get into songwriting with the mindset of writing something that would make people feel more okay about their lives. By writing about the most painful experiences, the anguish and heartache of others can be lessened. Debrider has absolutely achieved that with Gift Horse.

“I forget what it even feels like to feel right” – Lover’s Lullaby

For fans of : Warpaint, Slowdive, Bon Iver



Debrider: Gift Horse

Fellowcraft: Three


Fellowcraft is a grunge-blues trio from Washington, D.C.

Over three years in the making, Fellowcraft has gone above and beyond with the production and composition. This album reflects the D.C. party vibe while still getting that fuzz in. This is very evident in the track, That’s That. It’s refreshing to have some positive vibes in these dark times. D.C. has been a battleground since 2016, but it’s still a beautiful, unique place that has so many things to offer both residents and tourists. It’s a city of travelers and vagrants, of transition and government oppression. This album at times feels like a love letter to the life in the city and a condemnation of the evils within.

Raucous guitars give way to quiet, somber reflection that comes from a cold D.C. street after last call. Special note that there are many special featured guests, I won’t spoil them here but if you are into live music in the district they will be familiar.

This album is fantastic in that there is something for everyone, while keeping things fresh and original with their organic take on the blues, grunge, and everything in between.

Favorite Track: Believe in We


For fans of: Pearl Jam, Rage Against the Machine, Foghat, Buffalo Springfield, Stevie Ray Vaughn.



Fellowcraft: Three