ANCHR'S Artist of the Week: Alice Phoebe Lou

This week’s artist of the week goes to Alice Phoebe Lou, a singer-songwriter hailing from South Africa but now based in Berlin.

Photo by Andrea Arie

Lou started performing at the age of 18, and over the span of her career, she has released four albums. Her first album Orbit was released in 2016, with her sophomore not following up until 2019, entitled Paper Castles. While fans waited a few years for the second record, they didn’t have to wait long for the third and fourth albums—both of which were released in 2021 and titled Glow and Child’s Play respectively.

My first listen of Alice Phoebe Lou didn’t happen until this year (I know, I’m late to the party!) when she released the single “Shelter” from a forthcoming album in March. The song lured me in with its breezy, easygoing melody that melds beautifully with Lou’s celestial vocals— it makes for the the perfect summer vacation soundtrack by conjuring sunny beach-day vibes. “Shelter” contrasts with Lou’s most recent single called “Open My Door,” which was just released last week. This track abruptly cuts to Lou singing the phrase “I used to open my door” as a jazzy piano melody kicks in on the second beat. In this second single, listeners get to experience a richer, velvety texture from Alice Phoebe Lou.

Much of Lou’s earlier catalog, like the 2020 single “Witches” or the 2021 album’s title track “Glow,” have a distinct yet versatile sound that I’d describe as mythically quirky. With Lou’s newer material, there’s still a sense of her unique artistry in the music, but there’s also a sense of maturity and exploring new territory.

If you’re a fan of Faye Webster, La Luz, and Hand Habits, you should add Alice Phoebe Lou to your playlists, and be sure to catch her on the road soon. She’ll be performing at Thalia Hall on May 13th if you’re in Chicago.

ANCHR's Artist of the Week: The Backseat Lovers

Photo by Alex Justice

We’ve all had that experience when we hear a song for the first time and need to know who it’s by so we can immediately look up more songs by them. That was my experience listening to “Kilby Girl” by The Backseat Lovers for the first time while checking out a Lollapalooza playlist ahead of this year’s festival. With over 55 million streams on Spotify, it’s clear I’m not the only one hooked on this song.

Upon that first listen of the band, I thought that the band’s lead singer Joshua Harmon sings with a hint of British inflection, so I was surprised to learn they were actually from Utah. The Backseat Lovers were formed when Harmon asked their now drummer Juice Welch if he wanted to start a band together, and the two began forming full arrangements of songs that Harmon had written. Their lineup further came together when Hamon met the lead guitarist Jonas Swanson in line for an open mic night in Provo City, Utah. As Harmon and Swanson played their music for each other, Harmon finally decided to share his song “Out of Tune,” and that was the first piece the entire group worked on arranging together.

From there, The Backseat Lovers moved on to start recording together in 2018, releasing an EP entitled Elevator Days later that year. They soon followed up the first release with a debut album called When We Were Friends in early 2019, and they’ve said they’re continuing to work on even more new material at the moment.

If you enjoy the pep and warm Summer vibes that the likes of bands like Two Door Cinema Club, Wallows, and Cage The Elephant conjure, make sure you check The Backseat Lovers’ album. “Kilby Girl” has one of those choruses that makes for an easy crowd sing-a-long, and that was certainly the case for their packed afternoon set at Lollapalooza and their sold out after show.

See where you can catch the band performing next here, and watch the music video for their song “Heavy” below.

ANCHR's Artist of the Week: Gustaf

Gustaf is Lydia Gammill, Tine Hill, Melissa Lucciola, Vram Kherlopian, and Tarra Thiessen

Thanks to their notoriety around the New York live music scene, Brooklyn’s Gustaf attracted the attention of many music fans without releasing a single recorded piece of music for their first two years of being a band. Gustaf garnered their initial buzz by sharing the stage with the likes of Omni, Dehd and none other than Beck.

After forming in 2018, the group released singles “Design” and “Mine” in the later part of 2020— finally allowing listeners around the world a chance to experience all their magic. Produced by Chris Coady, who has worked with bands like Beach House, Future Islands, and TV On The Radio, the debut singles showcase a captivating and lively energy from Gustaf. Both tracks deliver art punk vibes laced with recurring call-and-response style vocals that egg listeners on. The band will be touring with Idles this fall, and that playful tone of their music will be the perfect provide the perfect way to ramp up the crowd for Idles’ rowdiness.

Be sure to check out all of Gustaf’s upcoming tour dates here, and pre-order their debut album entitled Audio Drag for Ego Slobs here.

ANCHR's Artist of the Week: Glove

Glove is Rod Woolf, Brie Denicourt, Michelle Primiani and Justin Burns

What combines dancey synths with cracking snare drums, peppy guitar melodies, and moody vocals? That would be the band Glove from Tampa, Florida, composed of Rod Woolf, Brie Denicourt, Michelle Primiani and Justin Burns. Formed in 2019, the group has already shared the stage with acts like The Growlers, Surfbort, and Omni, with many more tour dates on the way.

Following up their 2019 debut singles “Enervate” and “Personality Change,” Glove’s recent track “Glass” lays down a mix of Krautrock and New Wave vibes that will provide the perfect afternoon dance break during their upcoming set at Lollapalooza. The song precedes Glove’s brand new single called “Behaviour,” which the group just released today. Produced by Cage the Elephant’s Brad Shultz, the new song delivers the signature punchy and upbeat spirit of their earlier catalog.

Be sure to keep up with Glove on Instagram for all of their music release news and upcoming tour information. If you’re in Chicago, you can catch them at the Grubhub Stage at Lolla on Saturday, July 31st at Noon. They’re also playing a sold-out aftershow at Subterranean if you were lucky enough to snag your tickets early!

In the meantime, tune into “Personality Change” below or head to Glove’s Bandcamp for more music.

ANCHR's Artist of the Day: Retirement Party

Maybe it’s trite to write about a band right after they’ve announced a new album. My convictions of them and opinion could all be upended after the release. But I’ll do it anyways because I think about frontperson Avery Springer singing “I think cancer’s gonna kill me 'cause I got a real bad sunburn when I was 13… Maybe I shouldn't have fallen asleep in that hot, hot sun without a little bit of sunscreen. Don't let this reflect too badly on my character” at least two times a week. The painful modesty of it, the reflection of it as a wrongdoing instead of a child’s mistake. The humor of it. The entire song is playfully confronting death and thinking, maybe instead of fixating on this I should focus on being a little kinder. Retirement Party’s last album Somewhat Literate (2018) perfectly captures that moment of waking up and realizing “oh shit, I think I’m an adult.” A common horror. But Springer doesn’t pull away from the moment but rather reassesses herself. Retirement Party is an apt name for a band that writes lyrics and has a work ethic years ahead of their peers. They’re a Gen Z/Millennial cusp band with growing pains of their own. And to an extent they embrace not knowing and instead trying to learn as much as possible. It’s introverted but not insular; Retirement Party are not only not alone in their feelings but they play with an infectious energy that can fill much more than a basement. They play big, with ever moving riffs and frantic drum beats. I’m hesitant to call them emo or pop punk when they have a good amount of rock n’ roll breaks and jangling chord progressions. There are practiced breakdowns and guitar solos that never break from the story but instead bring it home, rarely unaccompanied by Springer’s clever narrative. The band’s self awareness is always unmatched, they’re nimble musicians but Springer presents herself as unvarnished- maybe sipping on that passion fruit tea you probably shouldn’t be wasting your money on. Retirement Party questions how to be an adult. Or probably more accurately, how to grow up. How to just keep getting better. How to “shoulder it” to put it in their terms. Retirement Party are figuring it out just like the rest of us.

Keep up with Retirement Party on Facebook // Twitter // Instagram

ANCHR's Artist of the Day: Camp Cope

Camp Cope makes music first and foremost for themselves. Then maybe, as an inside joke, for all of us who have suffered at the hands of the patriarchy or all of us who have seen and held death up close. Though often galvanizing, the title of their most recent album How To Socialise and Make Friends (2018) later revealed to be the title of a man’s self help book, the more I listen to Camp Cope the less I hear their cheeky retorts and the more I hear the tenderness there. Of course they’re not here for Sensitive Indie Boy(™) . Maybe he’s being genuine when he suggests they change their bass frequency? He’s not like that. No. But Camp Cope are masters at seeing through bullshit and cutting to the meat of things. Their wittiness is baked into something bigger. I don’t know if lines like “hearing cat calls from police cars” are a symptom of being an observer or of being bold enough to sing about the sexism that becomes almost white noise by the time we are adults. Their production quality is always no frills, keeping it rough around the edges (which hints to an almost punk influence). This highlights frontperson Georgia Maq’s raw vocals and Kelly-Dawn Helmrich’s solidarity bass licks that sometimes function as musical eye rolls. Camp Cope will not take up less space physically or emotionally so that you can feel more comfortable. But it’d be an utter misread of their sound to describe the band as a sort of Kill The Patriarchy Girl Power matter. It’s a deep dive into experiences and people who have been taken from you or won’t let go (“I slept in the middle of my bed, with the comfort of my own choices”). Maq sings jaggedly about people who are defined by the full emotional impact they’ve made on her. There are fingerprints all over their tracks. There’s an anger and an acceptance. Camp Cope can feel empowering one moment and have you in tears the next (“sometimes making love is the only time I’d ever feel love, there was never any middle ground”). There is a deep self reflection when Maq is riding her bike to the hospital and understanding that humans are simply “flesh and electricity.” At times Camp Cope have an element of protection, like big sisters putting an arm around you and saying we’ve been there too. We want to put up with it so maybe you don’t have to. Camp Cope says “me too.” Not as much in the hashtag movement but in a way that they have seen it before and will walk with you through it- no matter what pain or relief it is. 

Keep up with Camp Cope on Facebook // Twitter // Instagram

ANCHR's Artist of the Day: Sincere Engineer

What happens when you don’t get into dental school? You put out a pop punk record. Or at least that seems to be Deanna Belos’ (AKA Sincere Engineer) approach. In 2017 she put out Rhombithian, an introverted yet vibrant album about trying to surpass disaster. A sort of goofy ambition undercuts most tracks, like in ‘Corn Dog Sonnet No. 7,’ her ode to dealing with depression ("It's been a few days, I took a shower/watched some TV, fed a sunflower/I'm still learning how to be.”) Her brand of punk is punchy and earnest, as she growls through melodic riffs her lyrics keep a tender charm. It takes a lot to make your own screw ups the focal point of your music. Her songs about feeling like shit tend to have an off-kilter sense of humor, on ‘Ceramic Tile,’ a promise that this is the last hangover, Belos sings “I welcome forehead kisses from the floor.” Recording with a full band adds fast paced drumming and heavier hooks to her severely catchy tracks. With her raspy voice as an anchor she spits out references to Lake Michigan and creates anthems for the most anxious Midwesterners. Belos takes a gutsy and earnest approach to confronting your past and figuring out how to maybe do better (“I'm running late again, I'm gonna explain why in all the texts I send.”) But she has fun with it. Her latest music video for ‘Dragged Across The Finish Line’ features the band wearing literal trash cans over their bodies while training for a marathon, if that gives you a sense of Sincere Engineer’s style. It doesn’t seem like Sincere Engineer are waking up on the bathroom floor so much these days, just trying to finish the race on their own time. Maybe we’re all garbage people just trying to get through it. Corn dogs and all.

Keep up with Sincere Engineer on Facebook // Twitter // Instagram

ANCHR's Artist of the Day: Gouge Away

I once worked with an oldhead who used to ask me a lot about current punk. Always deeply worried that kids these days were not listening to punk and that his beloved genre would be lost forever. After a particularly worried conversation I promised I’d make him a list of all the current punk bands out there that I like. He liked maybe three of them, my guess being that none of them were the punk he remembered. Which is part of what makes Gouge Away so good. Despite their allusion to the Pixies, they’re not your dad’s (or in my case ex punk co-worker’s) punk band. They’re as far from replica as you can be. Instead staggering through and around hard labels. All snare and open chords Gouge Away’s 2018 LP ‘Burnt Sugar’ is a Pandora’s box that can’t be shut until frontperson Christina Michelle decides she’s released enough unto us all. It’s a sound that’s foaming at the mouth and gasping for breath, Michelle’s coarse vocals sometimes leaving her sounding ragged. Though the sound is dense Michelle’s frank lyrics can still be understood as she openly broaches mental illness and sexual assault. Admitting that she has begun welcoming pain as company she tells herself “I’ve just been trying to quit, whatever that means.” There are fingernails on the wall from where the band is just trying to hang on, “hurt is a commodity.” Gouge Away is an onslaught always toying with instability, on ‘Ghost’ drawing out the heavy bass and building the crash of drums, Michelle even briefly singing before her howls take over the track. A whiplash guitar teases us on ‘Dis S O C I a T I O N’ adding to the band’s varied sound. But what I like best about Gouge Away is how unafraid they are to be ugly, to be visceral, to get their spit on you when they’re leaning in and talking real close. 

Keep up with Gouge Away on Facebook // Twitter // Instagram

ANCHR's Artist of the Day: Floral Tattoo

Floral Tattoo’s new record You Can Never Have a Long Enough Head Start starts with a manifesto of sorts, giving explicit mission to the album. “Young gay people, living our lives in radical self-love/in an act of defiance against the people/who would like to see us torn down” they speak, softly. With a warm low-fi tone Floral Tattoo lets us know exactly who they are. They’re unapologetically trans and anti-capitalist, capturing a radically different coming-of-age narrative with soaring reverb. They question whether or not they’re good people, and in the same song questioning “when they’re tired of your abuse/will you tremble at the sight of the barrel?” of rich businessmen. Floral Tattoo works in a careful crescendo. There’s an exclamatory, even rowdy nature to some tracks (see ‘Leaving’) and a minimalist meditation in others. There’s a palpable pulse working through the album that desires survival. With crunchy guitars and full bass tones they create relief amongst the confusion. The band is revelatory despite minimum wage dredge and not being able to leave the house. Floral Tattoo are often miserable but they’re brave, brave enough to temporarily push aside the hurt and anger to celebrate themselves and their ability to carve out revolutions with their music. They’re willing to consider true moments of joy even when doom feels heavy on their chest and inevitable.

ANCHR'S Artist of the Day: Sir Babygirl

Sir Babygirl’s 2019 release Crush On Me can only be described as a haunted house painted pink and run by a bisexual Barbie doll. Sir Babygirl AKA Kelsey Hogue lives in hyperreal and excess. Sticky and relentless she moves through a head rush of crushes on the cheerleader, parties that have gone on for far too long, and self love. All with the dial turned as far up as possible. Crush On Me is fueled by anxiety and electro pop, it’s crying at the function and flirting with the wrong person. Hogue’s brand of pop, although bombastic and flirtatious, is tough and earnest. Perhaps a constant oxymoron she is sincere yet tongue-in-cheek, boy and girl, funny yet utterly serious. Hogue is trying to love herself and also not lose her mind- the two ideas not necessarily happening in response to each other. Although at times near histrionic Sir Babygirl is far from satire. Crush On Me is precise, ambitious, and sincere. There is extremism in both love and in self deprecation. She sometimes borders existential but the moments where she stops to observe and fine tune are the ones that allow for us to soak it all in. And there’s catharsis to it, in Hogue yelling “I changed my hair, I changed my hair” while being swept up into a high vibrato. Because like any gay she knows the ultimate way of dealing with crisis is with hair dye. When her voice is riffing and puncturing the top of the scale her vocal training shows and she is certainly representing her fellow Theatre Gays. Her climaxes shift from sweet to gritty, for as explosive or exaggerated as she sounds she’s never unrelatable. Hogue has a keen eye and careful introspections baked into each song. She’s a true craftsman as much as she is a party host. Sometimes I wonder if Hogue is Extra or really just enough.

Keep up with Sir Babygirl on Twitter // Facebook // Instagram

ANCHR'S Artist Of The Day: Claud

Claud makes dorm-pop music. It’s sad, it’s grooving, it’s self-conscious, and it’s a big, big mood. Chicagoland born, Claud Mintz’s first breakthrough project began at Syracuse University, opening for alum Clairo under the name Toast. Since then, Claud, along with Toast-mate Josh Mehling, have been signed to Terrible Records and put out an EP “Sideline Star” and a handful of singles. The latest of which recruits the talent of Brooklyn Trio, Del Water Gap to perform an ambling, wistful, slow jam with a chorus lamenting: “you only want me for My Body.”

The stress of grey-area intimacy is the foundation of many of Claud’s lyrics. In “Want To” the nonbinary singer places us in the POV of someone realizing the one-sidedness of their relationship, “you only call when you want to, you only call me what you want to.” Whether the lyrics refer to relationship titles, pronouns or pet names, the lyric hits all the same & is sure to bring up a few sour memories.

One of the largest acts of bravery is to speak openly about your feelings. So consider for a moment that nearly every one of Claud’s songs contains expressions so private and intimate, each could fill up their own diary. And they’re SINGING it. Talk about bravery.

Check out Claud’s Tour Dates, Instagram, Twitter & Merch Shop!

ANCHR's Artist of the Day: Awakebutstillinbed

For Awakebutstillinbed frontperson Shannon Taylor, emo isn’t a phase, it’s a lifestyle. And naming her last album after an old Facebook post proves that she isn’t just talk. Awakebustillinbed shouldn’t be limited to the dimension of one genre though- tracks like ‘life’ progress with a disarming pop jangle and ‘fathers’ turns at a rock angle. This doesn’t mean Taylor is ditching her signature howl anytime soon. Her scorching vocals give the idea that she’s experiencing 2010 for the first time everyday. But Taylor isn’t some overgrown Hot Topic Kid, her music is often representative of what can feel true when you are struggling. In this case, being emo is almost an act of reclamation from all those who previously condescended to or manipulated her. You don’t like it? Watch her dig deeper. It’s nuclear, with the uncanny ability to take the most frenzied of feelings and spit them out into something profound. Despite her album being seismic, she’s detailed in how she crafts each song. Awakebutstillinbed is sporadic but Taylor manages to use that energy to thoughtfully dissect internalized guilt and shame. With Taylor refusing to hold back conceptually, emotionally, and instrumentally, it doesn’t exactly make for easy listening. But you wouldn’t want to hear any less.

Tune in below and keep up with Awakebustillinbed on Twitter and Instagram.

ANCHR's Artist of the Day: Mannequin Pussy

“If you’ve never seen us before you’re probably wondering what the fuck my problem is” said Mannequin Pussy frontperson Marisa Dabice, taking a break in between songs at their First Avenue performance. After beating on her chest with her fists and dangling the microphone above her throat like a snake about to unhinge its jaws the dads in the crowd definitely had some questions. She performs the way her music lives: visceral, intense, cathartic. Because a big part of Mannequin Pussy’s appeal is the way they’re unafraid to scream and cry and make a scene in public. Their 2019 album ‘Patience’ was an emotional exorcism of her past relationships, the good ones and the toxic ones, and the ones with herself. Instead of being another jaded punk, Dabice makes music for the uncontrollably empathetic. She sets fire to everything around her and you can hear it. Dabice, individually and in her music, is complex, showing women as capable of rage, and strength, and defiance, and fragility (“and everyone says to me "Missy, you're so strong" but what if I don't wanna be?” on ‘Drunk II).’ Mannequin Pussy is seething with teeth clenched and hot breath on your face, but they’re also painfully vulnerable. With unflinching lyrics and intricate melodies they create music that is no longer ashamed of who it is. In venturing to the most brutal of places they bring a pure pleasure in listening.

Tune into Mannequin Pussy below and follow them on Instagram and Twitter.

ANCHR's Artist of the Day: Goth Babe

Perpetually beginning the next leg of his US tour is Tennessee native, Griff Washburn, better known as Goth Babe. The 23 year old multi-instrumentalist musician has been publishing music for half a decade and in 2018 committed to a nomadic lifestyle, driving up and down the west coast in an RV with his blue-eyed pup, Sadie. 

The music that’s come from this experience is adventurous, dreamy, echoing synth rock. And much like the road before him, Griff’s music never stops coming— though no more than four tracks at a time. His latest Single “The River” was released at the end of February. 

You can follow along Griff’s journey by listening to his music on all major streaming platforms or catch him touring along the west coast through April.

ANCHR's Artist of the Day: Katie Toupin

“Are You Dreaming of Me?  I’ve Been Dreaming of You!”  That is a lyric from the chorus of “Magnetic Moves,” the title track of Katie Toupin’s album which came out in the summer of 2019 that I thought would be a great new pickup line, but it hasn’t really worked yet. Regardless of my lack of game, today’s ANCHR Artist of the Day is going to Katie Toupin. Toupin is a singer-songwriter from a town on the southern tip of Indiana called New Albany, which is directly across the Ohio River from Louisville, Kentucky.  If you put her name in whatever search engine you use, the images that come up might cause you, if you’re also a live music lover like myself, to possibly recognize her.  That would be because she was once a member of the band Houndmouth.

Taste of Chicago 2015 was the first time I noticed Toupin when Houndmouth was opening for Spoon.  I remember her being stylish and had a vibrant smile. Toupin was on vocals and keys but one of the highlights from the set was when she took over the guitar to sing “Gasoline.”  About a year later my brother-in-law and I were in Memphis for Beale Street Music Festival. I brought him to the Houndmouth set, but when the band came on stage, Toupin was missing. If there are any Houndmouth ”stans” out there reading this, please do not direct any anger of what I’m about to say to ANCHR since this is only my opinion, but they weren’t as good anymore.  We only stayed for 3 songs.

Toupin has released an EP, Moroccan Ballroom, the aforementioned album, Magnetic Moves and just this past week, on March 6th, a single called “Don’t Wanna Die.”  This coming May 14th you could catch the aural pleasure of Katie’s vocals and songwriting for yourself when she performs at Schubas.

ANCHR's Artist of the Day: Joanna Connor

Here in Chicago we are spoiled with a copious number of blues clubs.  Any night of the week you could see some great music being performed at clubs all across the city.  Our focus today is going to zero in on Kingston Mines where the Chicago queen of blues rock, Joanna Connor, will melt your face off.   Joanna is originally from the east coast, but has called Chicago home since the 80s.  You can catch her at Kingston Mines most weekends, starting on Thursdays, holding down the north stage.  If she's not at Kingston Mines, then she's on the road blowing away audiences somewhere else in the world. 

Joanna Connor has gifted us with 13 albums.  Her latest of which, Rise, just came out this past November of 2019.  Her vocals are sweet on the ears, but her guitar playing is mean.  She's recently gotten shout outs from other guitar heroes like Joe Bonamassa, Tracii Guns, and even the living legend Bootsy Collins.  Whenever any of my family or friends come in from out of town, outside of getting a pizza Vito & Nicks or a breaded steak from Ricobene's, I always take them to Kingston Mines for a Joanna Connor show.  There isn't anything quite like stumbling into Kingston Mines at 3 am and seeing Joanna on stage with her band, shredding her guitar as if it owes her money.       

ANCHR's Artist of the Day: 070 Shake

Only one year after launching her music career, New Jersey-native Danielle Balbuena signed to GOOD Music. Four years later, donning the name of her hometown area code, 070 Shake is taking major strides with her first solo album, Modus Vivendi. Latin for “Way of Life,” Shake invites listeners into a world of intimacy, trust-issues and loneliness. The album features production by GOOD Music collaborator Mike Dean. 

In the 22 year-oldʼs fast paced career, 070 Shake has contributed to group- mixtape The 070 Project: Chapter One, been featured on albums by Kanye West, Pusha-T & DJ Khaled, released an EP entitled Glitter and in January 2020 dropped her first full length album. She is currently touring Modus Vivendi in the US, then will run a festival circuit through August in several countries abroad. 

Listen to Modus Vivendi on any major streaming platform & follow 070 Shake on Instagram and Twitter.

ANCHR's Artist of the Day: Bad Bad Hats

Today’s focus falls on a long-time ANCHR favorite— Bad Bad Hats. The Minneapolis-based trio, consisting of Kerry Alexander, Chris Hoge, and Connor Davison, craft bright, effervescent indie pop-rock. Throughout the band’s two albums Psychic Reader and Lightning Round, you’ll hear melodies that you can’t help but bop your head along to, which accompany thought-provoking lyrics written by Alexander.

Bad Bad Hats followed up 2018’s Lightning Round with EP Wide Right last year, and they’re continuously touring to share their songs at live shows. In March, the band will tour the east coast and mid-west, including a stop at Schubas Tavern on March 15th. Keep up with Bad Bad Hats on Instagram and listen to “Midway” and "Nothing Gets Me High" below.

ANCHR's Artist of the Day: Shea Salisbury

Based out of Austin, Texas, Shea Salisbury stands out with an impeccable knack for storytelling through her lyrics. Salisbury’s musical stylings fall all across the board, dabbling in folk, soul, and even alt-country. Although she just started releasing music in 2019, there’s already a diverse catalog of singles built up on Spotify, and just last month, Salisbury released a debut EP called Making My Way Back. As a relatively new project, there’s not too much other information out there about Salisbury just yet, but her songs are definitely worth a listen.

Stay tuned for more new music from Salisbury by following her on Instagram and tune into “Messy Life” and “Somehow I’m Happy” below.

ANCHR's Artist of the Day: Cheekface

What would happen if our government was overthrown in favor of an anarchist utopia? The “green juice” at 7-11 would be free. Or at least that’s what we can gather from Cheekface’s ‘Dry Heat/Nice Town’. The track was written after co-writers Greg Katz and Amanda Tannen attended a Women’s March and takes a sardonic approach to our dystopian present. Where many bands might fail in discussing politics, creating something overtly dark or ham-fisted, Cheekface’s approach is bright and witty. If anything the trio are charming, Katz deadpanning his way through their 2019 album Therapy Island. Think if Lou Reed had a pop-y jaunt and a fear of late stage capitalism. Cheerful as ever the band list everything that is Cancelled™ (eyesight, memory, feelings, and Chipotle) on ‘Eternity Leave’ and give an anthem to the hand-wringers and over-apologizers of the world on ‘I Only Say I’m Sorry When I’m Wrong Now’. With Tannen’s steady yet upbeat bass lines and Mark Edwards’ bobbing drums the band are somehow impossibly catchy and incredibly anxious. Cheekface are cockeyed narrators, clever observers taking note of all things tragic and absurd.

Listen to “Glendale” and “Dry Heat/Nice Town” below, and keep up with Cheekface on Instagram.