ANCHR's Artist of the Week: Beach Fossils

Photo by Sinna Nasseri

This week’s artist of the week goes to a long-time favorite of ANCHR’s; Beach Fossils, in honor of their new album Bunny.

Released just last week on June 2nd, Beach Fossils’ fourth studio album follows up 2017’s Somersault. The band’s lineup currently consists of vocalist and songwriter Dustin Payseur alongside Tommy Davidson on guitar, Jack Doyle Smith on bass, and Anton Hochheim on drums. Payseur has been releasing music with Beach Fossils since 2009, and their latest release acts as a culmination of their previous works met with a refined lens. Bunny’s opening track “Sleeping On My Own” has the dreamy, epic feeling of a song from a 1980’s coming-of-age film—picture it playing as the main character experiences a pivotal moment. The second track “Run To The Moon” introduces a twangy, western sound and feels like the perfect road trip track. The twangy vibes weave in and out throughout some of the other songs, but as we get further into the album, listeners can also hear some psychedelic rock influences on “(Just Like The) Setting Sun.”

Payseur produced and recorded Bunny himself, and has stated the record was inspired by the psych-pop of early Verve and Spiritualized albums and perennial influences like The Cure, Wire, The Byrds, and The Velvet Underground. Talking about the songwriting structure of these news songs, Payseur adds, “When I wrote the first record, there were no choruses; it was instrumental guitar parts in between verses. This is the first record where I’ve consciously thought about writing a chorus.” Lyrically, the album examines some of his most personal experiences, including a family member’s battle with cancer and the journey into fatherhood.

Tune into Bunny here, and watch the video for “Don’t Fade Away” below.

ANCHR's Artist of the Week: Grapetooth

Photo by Alex Hupp

This week’s ANCHR Artist of the Week goes to another Chicago group— Grapetooth!

The duo of Twin Peak’s Clay Frankel and Chris Bailoni (Home-Sick) made a splash with Grapetooth’s debut single “Trouble” that released in the summer of 2018. It’s one of those ear-wormy songs with a hook that will latch onto your brain and remain there for hours, or possibly days. “Trouble” featured whimsical synths and an air of giddiness alongside its massive hook, characteristics that rang throughout the majority of Grapetooth’s self-titled debut record, which was released later in 2018. Bailoni and Frankel’s artful blend of New Wave influences and blissful dance beats crafted the perfect recipe for their rowdy and effervescent live performances. Off the back of their album’s release, Grapetooth performed sold out shows across the US and even play at Pitchfork Fest in 2019.

Every time I saw them perform there was an unwavering sense of joy and camaraderie that filled the venue, so it was sad to see Grapetooth take a bit of a hiatus after their bout of success. If you, too, enjoyed Grapetooth’s short-but-sweet stint, then you can rejoice in knowing they’ve made a resurgance at the end of 2022. This past December, Grapetooth released a double single (their first music drop since February 2020) with “Infinite Source,” featuring Knox Fortune, and “Shining,” featuring Squirrel Flower. There’s something slightly refined and subdued about the new material, but at the heart of it, Grapetooth’s wild and youthful nature remains just below the surface. And of course, they’re still just as addictively hooky as before.

Talking about the new track “Infinite Source,” the band says the song captures the “endless well of creativity, gratitude, and positivity that exists within all of us.” “We’re turning that feeling into dance music and feel blessed to have Ella (Squirrel Flower) and Kevin (Knox Fortune) singing on these songs. They’re both so talented and have incredible voices,” they add.

Grapetooth also returned with a live performance at The Empty Bottle on NYE 2022. Be sure to follow them for any additional show or music updates, and tune into the video for “Infinite Source” below.

ANCHR's Artist of the Week: The Linda Lindas

Photo by Zen Sekizaw

The future of punk rock seems to be safe. For live music fanatics like myself, we know and see young punk bands regularly. Every major city in the US has a scene, Chicago being no different with bars and venues like Delilahs, Cobra Lounge, Reggies, and Liars Club. Not the to mention the countless basement, garage, back yard, and living room parties, but with The Linda Lindas breaking out of the LA scene with such incredible talent and ferocity, they have shown us another example of age just being a number.

The Linda Lindas are composed of Lucia de la Garza, age 15, Mila de la Garza, age 11, Bela Salazar, age 17, and Eloise Wong, age 14. The de la Garza duo are sisters, Wong is their cousin, and Salazar is a long time family friend. Many may recognize The Linda Lindas from when their performance of “Racist, Sexist Boy” in a LA public library went viral in 2021. I remember the first time I saw the video was when RATM's Tom Morello shared it on his Instagram. Seeing these teens and tweens rock out like if they were seasoned punk vets was refreshing. The music was raw, loud, and sincere. Learning that the drummer was just 10 made them even more impressive.

I got to catch The Linda Lindas in Barcelona, Spain at the Primavera Sound Music Festival. Salazar did most of the speaking since, I assume, her Spanish is a bit more fine tuned than the others. When she introduced her band mates, along with their ages, there was a collective "Whoa!" from the audience coupled with cheers and adulation. They rocked their entire 50 minute set playing a number of songs from their debut album Growing Up and ended with the crowd favorite "Oh!" There was headbanging, guitar shredding, fist pumping, and even moshing. I've been to my fair share of rock shows, but this was the first time I've seen grown men mosh to a band with an eleven year old drummer. The band is stirring and inspiring. I hope they continue to see success and make great music.

The Linda Lindas are currently on tour. See all upcoming tour dates here, and watch the video for their debut album’s title track below.

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: 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.

ANCHR's Artist of the Day: GRLwood

GRLwood are a scathing two piece out of Louisville, Kentucky that surge with a blend of pop and screamo. Rej Forester’s vocals blaze through each track while Karen Ledfordignited’s drums punctuate each statement. Searing and urgent, the pair reclaim the aggression that often ousts young queer people from mainstream society. The two can go from angsty to raging in a matter of seconds, critiquing not only the adults around them but the binary systems they operate inside of (on ‘I Hate My Mom’ slurring “why can’t you just fuck boys like a normal girl would?”). Often turning characters on their head for wry commentary (see track ‘Vaccines Made Me Gay’), their dark humor makes for something powerful and unapologetic.

Tune into GRLwood’s Audiotree session and their song “Bisexual” below, and keep up with them on Instagram.

ANCHR's Artist of the Day: FOURS

You know those songs that sound like driving around on a summer day with the windows down? Well, FOURS’ most popular single “Fade to Love” has that exact vibe thanks to its infectiously happy melody and lead singer Edith Violet’s emotive and distinct vocals.

The four-piece from London built up a catalog of singles throughout the last few years, and every song of theirs features a pop hook surrounded by an alternative edge that makes their sound unforgettable. To follow up a double single “Late Replies” and “Last Summer” from August of 2019, FOURS just announced their highly anticipated debut album Soak comes out March 27th. If you’re always looking for some feel-good tunes to boost your mood, make sure to add FOURS to your rotation. You can listen to “Fade to Love” and “Late Replies” below, and sign up to preorder the new album here.