ANCHR's 21 Best Songs of 2021

As we’re all aware, 2021 has been a year of ups and downs, highs and lows, but through it all, new music got us through it at ANCHR. While the year winds down, ANCHR contributor Michael Perez and editor Rachel Zyzda put together a list of 21 of our favorite songs to come out of 2021. In no particular order, tune into the music that made our year.

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Michael’s picks

“The Divine Cord” by The Avalanches ft. MGMT & Johnny Marr

We Will Always Love You came out in mid December but that was not nearly enough time to process how lovely it was for an album released in 2020.  Plus, I was way too hung up on “Running Red Lights.” That song was beautiful.  “The Divine Cord,” however, is just as beautiful. Andrew VanWyngarden of MGMT on vocals and Johnny Marr of The Smiths and Modest Mouse on guitar make a wonderful pair to add to an Avalanches collaboration. 

Briefly, the song seems to be narrated from the VanWyngarden point of view about how he wasn’t all he was cracked up to be once the honeymoon phase of his romantic relationship eroded. The opening line of “I still remember you” seems to indicate that it didn’t work out and VanWyngarden is romanticizing the other person from memories they shared before his true self peered out. 

Maybe I'll Become the Person You Wished I Was Before You Ever Met Me

“Scratchcard Lanyard” by Dry Cleaning

I’m just going to be honest, I have no idea what this song is about. The lyrics seem nebulous and random, thus humorous. I do not have a clue why the woman in aviators is firing a bazooka, but I’m here for it. That being said, this song slaps. I’m talking “what did the five fingers say to the face?” type of slap. 

Do Everything and Feel Nothing

“Caroline” by Arlo Parks

My favorite song on Collapsed In Sunbeams is “Black Dog,” but it was released as a single in May of 2020 so I thought using that song would be cheating.  The album as a whole though is outstanding so it was very easy, and hard, to decide on a second favorite. “Caroline” is a smooth and soothing song where the lyrics paint a frustrating and angry picture of a couple fighting in public. One could listen to it while decompressing in a bubble bath as long as they tune out the words. 

I Swear To God I Tried

“Paprika” by Japanese Breakfast 

When this song comes on I feel like it should be playing for those crazy people that wake up in the morning feeling happy, energized, and refreshed as if it were a scene in a movie. I personally have never had one of those sunny and chipper mornings, but I’ve heard it’s not actually folklore. Some people actually experience them.  Anyway, “Paprika” is the fantastic opening track fit for one of the best albums of 2021 and I’m probably going to continue playing it throughout 2022 as well. 

Oh, It’s a Rush 

“Mystery” by Turnstile

In late summer when I kept seeing this album being talked about nonstop, I was like “that hardcore band I saw at Riot Fest a few years back?” I remember them being wild but I hadn’t ever given them an honest listen. When I finally listened to Glow On though, I saw what all the hype was about. This album is super fun whether you like the harder stuff or not. It’s great to listen to in the car, making pasta, working out, intense makeout sessions, or wherever you like listening to anything lively. 

“Mystery” is the opening track and it is easily my favorite from the album. It makes me think about head banging, stage diving, non-stop mosh pit types of shows. I will definitely be seeing them again next time they come around. If you don’t usually listen to this type of stuff and what you usually listen to is starting to get stale and you’re looking for something outside of your usual music bubble, maybe check this one out. The album is just over half an hour so it’s a quick listen. 

I Know You're Scared of Running Out of Time, But I'm Afraid Too

”Take 3” by Inner Wave

Apoptosis by Inner Wave is another album where I enjoyed listening start to finish. I saw their show at Cobra Lounge in August and the song that stood to me the most was “Take 3,” and I’ve been stuck on it ever since. It’s impossible for me to blast this song in my house or car and not dance and sing along. The entire song causes me to groove, but once the music drops after the bridge, it’s over for your boy. I’m full on dancing like John Travolta in Pulp Fiction.

Someone Helped Me Out Today. I Hope I Could Do the Same

“Afrique Victime” by Mdou Moctar

I, as I assume a large percentage of ANCHR’s readers, do not speak Tamasheq. That, however, did not stop me from loving “Afrique Victime” by Mdou Moctar. I enjoy music that’s going to make me move my body and this song accomplishes that. This song is melodic, anthemic, and simply rocks even though it covers the very serious topic of corruption in Africa. If I didn’t already have a show the night they stop by Chicago again with Parquet Courts I would be all over it.  

If we stay silent it will be the end of us (translation)

“Canary Islands” by Goth Babe

“Canary Islands” is possibly the song I listened to the most this year. It came out in January and I’m still not sick of it.  Griff Washburn aka Goth Babe paints a scene of jubilation and delight while on the seashore. It’s very dancey and wonderful to just sit and listen to. I was sad when Goth Babe had to back out of Lollapalooza but hopefully he is all healed up so he can bring all of his catchy tunes back to Chicago.  

I’m Waiting For You

“How Can I Make It Ok?” by Wolf Alice

My absolute favorite song from 2021 is this bop from Wolf Alice. When I saw my Spotify wrapped a few weeks ago, in not as many words, Spotify basically told me “You should chill out with this song dawg.”  It starts off soft, picks up in the middle, and has one shouting “I Just Want You To Be Happy!” in the last third of the song.  I view it as a song on motivation and encouragement. There isn’t a lousy track on the entire album so it’s best to listen to the whole thing, but when you get to this song, imagine you’re sharing the microphone with Ellie Rowsell. She seems like the type of person that would just laugh off how tone deaf you are. 

To Live In Fear Isn’t To Live At All

“Anything At All” by Bachelor

Let’s all be thankful Palehound and Jay Som realized how good they sound together. In my opinion, their friendship and chemistry is made clear in “Anything At All.” I wonder if their kinship was realized in the making of this song. It sounds so good. The rhythm section and the guitar meld so well. Bachelor, if you’re reading this, please reschedule your show at the Bottle. We need you. 

Every Dirty Word Becomes Your Name

“Sinking” by VNSSA & Lenny Kiser

Going against what ANCHR usually covers, I can not leave out this absolute banger.  Years ago I used to love listening to DJs like Kaskade and Deadmau5, and that love still lies deep in me. “Sinking” brings me back to those days where you would get lost in warehouse dance parties and not care that you couldn’t find your friends. (Do kids still do those?)  I swear, I could listen to this song 20 times in a row and not be tired of it. I’m sad I had to miss the VNSSA set at Lollapalooza but maybe she’ll come around again so I can shake my booty. 

When You Speak, I Get Weak.  I Cant Think, And I Sink

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Rachel’s picks

“Wet Dream” by Wet Leg

After Covid vaccines, Wet Leg may very well be the best thing to come out of 2021. Needless to say, we’re very glad that musical artists Rhian Teasdale and Hester Chambers rode a Ferris wheel together in their native Isle of Wight and decided to start a band— and subsequently released their debut single in June of this year. “Wet Dream” followed as the pair’s sophomore single, but it’s just as peppy and quirky as their first song “Chaise Longue.” The upbeat and repetitive nature of the song only lends to the stickiness and unforgettable nature of Wet Leg’s short but sweet music catalog to date. If you take one piece of advice from ANCHR this year, make sure it’s listening to Wet Leg’s upcoming record and attending their shows in 2022.

“The Motions” by Gustaf

Here at ANCHR, our appreciation for NYC’s Gustaf has not gone unknown, so having to pick just one song from their debut record as a favorite was tough. One of the band’s most endearing facets is their authentic and raw energy that’s often embodied by rallying call-and-response style vocals. Gustaf made a name for themselves by jumping on gig opportunity after gig opportunity, and being flexible in live arrangements, and they’ve come up with a knack for improvising and pushing boundaries.

In “The Motions,” the song starts out with a smattering of drum rolls followed by a grooving bass line before vocalist Lydia Gammill chimes in and she’s met by the echoes of her bandmates. Talking about the story that the song tells, Gammill said, “‘The Motions’ is a rip on the motions we go through every day, and I thought of it as someone having their inner monologue and set of rules to try to keep them on track as they go through their life, but not being able to suppress the hysteria inside.”

“Alphabet” by Shame

*Technically* this song was released as a single in late 2020, but since its official release was on Shame’s sophomore album Drunk Tank Pink, it had to be included on our 2021 round up. The album was released on January 15th, 2021—which honestly feels like ages ago at this point, but many of the songs from this record remain in my regular rotation. “Alphabet” opens with a faded guitar distortion that bleeds into steady drum beats and vocalist Charlie Steen’s punchy musings. The track, along with its counterparts on Drunk Tank Pink has an air of built up maturity and ferocity from the group’s earlier material, which allows for it to still hold up nearly a year later.

“G.S.K.” by Squid

When I think of the band Squid, I think fluidity and shape-shifting because they’re a band that truly refuses to be pinned to one style or genre. Their music pulls in touches of punk, jazz, new wave and experimental rock to deliver a refreshing take on the influences that brought the members together.

The track “G.S.K.” from Squid’s debut album Bright Green Field does an excellent job of highlighting the controlled chaos that is their sound. The song features punchy vocals layered over a brass-infused groove, and it has so much to unpack that you discover something new with each listen.

“Color of the Pool” by Lala Lala

The second track off of Lala Lala’s new album I Want The Door To Open, “Color of the Pool” stands among some of my other favorite songs of this year, so again it was tough to pick just one from this record.

Lala Lala is the brainchild of Chicago based songwriter, producer, and musician Lillie West, but West expands upon her creativity and artistic boundaries by often collaborating with other musicians. Throughout this album, Lala Lala features musicians like Sen Morimoto, OHMME, Kara Jackson, and Benjamin Gibbard, but this song in particular features a saxophone moment from Adam Schatz of Landlady. West describes “Color of the Pool” as being about the feeling of wanting to embody the characteristics of something pure and uncatchable, like a flame, and she was able to depict that in the tones and texture of the song.

“Bunny Is A Rider” by Caroline Polachek

There are many components of “Bunny Is A Rider”— from the whistling preamble to the avant-garde musical production to Caroline Polachek’s operatic vocalizations, these elements combine to make the track a masterpiece. The sonic territory of “Bunny Is A Rider” reaches far, and blends with lyrics that explore the mysterious and intriguing protagonist: Bunny.

At Pitchfork Festival this year, I heard part of an interview with Polachek where she discussed drawing influence from Celine Dion in her newer material, and while that definitely comes across in her vocal delivery, Polachek shares a unique flair that’s entirely her own in this song.

“Across That Fine Line” by Nation of Language

Nation of Language is a trio from Brooklyn consisting of Ian Devaney, Aidan Noell and Michael Sue-Poi, and the group has an aptitude for pairing pondering and vulnerable lyrics with melodies that make you want to dance. The lead single “Across That Fine Line” from their sophomore record A Way Forward is no different, as it showcases hypnotic synths and an infectious hook that can help listeners like us escape from reality for a brief moment in time.

Songwriter and vocalist Devaney describes the lyrics as being a story about a non-romantic relationship crossing over to something different. “Sonically, it’s meant to feel like running down a hill, just out of control. I had been listening to a lot of Thee Oh Sees at the time of writing it and admiring the way they supercharge krautrock rhythms and imbue them with a kind of mania, which felt like an appropriate vibe to work with and make our own,” he adds.

“Silk Chiffon” by MUNA with Phoebe Bridgers

Besides being a stellar collaboration between two artists ANCHR loves, this track had to be included in this round up for being the bright glimmer of sunshine we needed for this roller coaster of a year. The song’s hook that begins with “life’s so fun, life’s so fun” may have been the antithesis of how most of us felt at any given point in 2021, but it also embodied the sliver of hope some of us felt when vaccines rolled out and the world started opening up more.

“Silk Chiffon” also joins a list of Tik Tok trends from this year, so that provided us all with further entertainment and happiness during a dim time. When in need of a pick me up, MUNA has never let ANCHR down.

“Like I Used To” by Sharon Van Etten & Angel Olsen

I, like many people, am a sucker for nostalgia. Not only do the title of this song and the lyrics call back to that feeling of recalling former habits, but the musicality of “Like I Used To” is drenched with nostalgic riffs that sound like they were plucked from the credits of a teen movie in the 1980’s.

On top of that, Sharon Van Etten and Angel Olsen’s voices meld together in a harmonic and powerful blend, providing another iconic collaboration we didn’t know we needed. The studio version of this song is amazing on its own, but ANCHR had the opportunity to witness the duo perform it live at Pitchfork Music Festival earlier this year, and you can all relive that magic below.

“Keep Moving” by Jungle

We’re all familiar with the line “keep swimming” from Finding Nemo, and for me, “keep moving” has been a sort of mantra for 2021 and the entire pandemic era. It’s been easier to cope with hard times when keeping busy, and it’s even better when bands like Jungle provide the soundtrack for distraction tactics.

The song “Keep Moving” from the London-based group’s third album Loving in Stereo starts off with a cinematic intro that’s reminiscent of a horror movie score, but then their signature funky and disco vibes kick in and lighten up the move. Like the vast majority of Jungle’s discography, it’s impossible not to start dancing when “Keep Moving” comes on.

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Honorable mention: “All Too Well” (10 Minute Version) (Taylor’s Version) by Taylor Swift

It’s no secret that we tend to cover less mainstream music and artists at ANCHR, but yes even we are Swifties and can’t let the year go by without acknowledging Red (Taylor’s Version) and the glory that is the 10-minute version of “All Too Well.” The song and the album re-release speak for themselves, but it’s too great not to be included as an honorable mention.

Listen to all of these songs on our Spotify Playlist below and stay tuned for more music coverage in 2022.

ANCHR’s Artist of the Week: Wet Leg

Photo by Hollie Fernando

I first heard of Wet Leg very recently when I got an excited text from a friend telling me to listen to their single “Chaise Longue” (thanks, Bonnie). The song begins with a steady drumbeat and pulsing bassline that drives into cheeky and playful lyrics, including a callback to the iconic line in Mean Girls “is your muffin buttered?” With a mix of head-bobbing melodies and slightly absurd lyrics, Wet Leg has a quirky magnetism that easily (and quickly) attracts positive attention.

The aforementioned song only debuted earlier this year in June of 2021, so Wet Leg’s journey is still in the beginning stages. The band came together quite simply when musicians and songwriters Rhian Teasdale and Hester Chambers rode a Ferris wheel together in their home place of Isle of Wight and decided to start a band. The pair say that they are inspired by artists like The Ronettes, Jane Birkin, Ty Segall and Björk— and in the handful of their released songs, you can certainly pick up nods to those influences.

While it’s been a whirlwind for Wet Leg so far, the best is still yet to come with the recent announcement of their debut, self-titled album and a slew of upcoming tour dates, including their live premiere in the United States. You can pre-order the album ahead of it’s April 8th release date here, and see where they’ll be playing next here. If you’re in Chicago, make sure to join us at their Thalia Hall gig on March 4, 2022.

ANCHR’s Artist of the Week: Snapped Ankles

This week’s ANCHR AOTW is going to be a short one because the band I am highlighting is somewhat mysterious. They only go by surnames, they call themselves forest people, and they perform in Ghillie suits which cover them head to toe.

Photo Credit: Tom Morley

The band I’m talking about is Snapped Ankles. They came together in 2011 when a group of friends with the same artistic head space started performing at warehouse parties in London. They have three albums under their belt with their most recent one, Forest of Your Problems, coming out just this past July. Their most played track on Spotify is “I Want My Minutes Back” and it's definitely, to me, a song that makes me bob my head. From listening to a number of their songs, I can't help but hear some Animal Collective, some Thee Oh Sees, and maybe even a hint of Jay Reatard.

I first heard of Snapped Ankles while at the Iceland Airwaves Music Festival in Reykjavik. They performed a late night set at Gaukurinn, but since I had never heard of them before, they weren't even on my radar of acts to see. That night I, and the group of friends I was there with, ended up in a basement watching Icelandic heavy metal band Une Misere. It was one of the more violent mosh pits I had ever been in and someone kept pinching the back of my arm throughout the performance. The Une Misere sweat fest was totally fine, but when looking at Iceland Airwaves Instagram stories once I got back to the Airbnb, I realized we may have made a mistake. The crowd at the Snapped Ankles show looked lit. Everyone was jumping and dancing and have a grand ol’ time. I wasn't sure what I was looking at as the band on stage looked like a bunch of bush people playing instruments.

The next day, a number of people were talking about how awesome the Snapped Ankles show was and that I missed out on one of the best sets of the weekend. I'm hoping to remedy that mistake when they open their U.S. tour here in Chicago at Empty Bottle in March, 2022. If anyone reading this is curious to see what a Snapped Ankles live show actually looks like, I hope you'll join me at the Bottle.

ANCHR’s Artist of the Week: Mdou Moctar

Here at ANCHR, we don't really dive too deep into rock music from the Sahara, but when the music hits, you just gotta take your licks and do what you can to spread the musical gospel for all to enjoy. I, Michael Perez, feel that I am the man for the job and all you readers should feel very lucky to have me. That being said, I present to you: Mahamadou Souleymane, professionally known as Mdou Moctar. Mdou is a self taught virtuoso guitar master from Agadez, Niger who specializes in the Taureg style of music called assouf, aka Desert Blues. Coming from a religious household, his family was averse to rock music because of the flaunted lifestyle of partying, chicks, and booze that's exhibited, but Mdou realized his calling after attending a concert and proceeded to make his own guitar out of wood and strings he took from bicycle breaks. Thankfully for us, his makeshift guitar helped him become the musical artists he is today.

Photo credit: WH Moustapha

Mdou Moctar has recently found success in the states after releasing his triumphant album Afrique Victime. The album is sung in Tamasheq, which I do not speak, but from reading past reviews, song themes range from love to politics with women's rights and even religious radical terrorism being some of the topics. Whether you speak Tamasheq, or are just a general music lover, this album slaps. Afrique Victime is anthemic, melodic, dancey, and filled with beautiful guitar riffs. The song that sticks out most to the American ear is the title track “Afrique Victime.” Give it a listen and if that song doesn't cause you to either tap your foot, sway your shoulders, bop your head, or just plain dance, slide in my DMs and let me know. I'm interested in knowing who all of ANCHR’s readers are insane.

Mdou's band is rounded out by Ahmoudou Madassane on rhythm guitar, Souleymane Ibrahim on drums, and Michael "Mikey" Coltun on bass. Along with being the bands bassist, Coltun also produced and engineered Afrique Victime throughout the bands touring in 2019. Based in Brooklyn, Coltun travels 20 hours by air and 28 hours by bus to reach Agadez so the band can practice and record. Fairly safe to say Coltun does not have commitment issues. When I saw Mdou Moctar perform at Lincoln Hall in September, I arrived minutes before their set since I was coming straight from Riot Fest, and the house was packed. I slithered my way to the center back of the floor, right in front of the sound stage, and it was as good of a spot I could ask for to see and feel the Mdou Moctar performance. Being in my thirties, I would usually not be all that excited to have to continue standing at another show across town after walking and standing all day at a music festival, but my lack of enthusiasm was swiftly purged after the first song. They had the crowd swaying and dancing right off the bat and even had some of their friends accompany them on stage to dance for a number of songs.

Afrique Victime is very much worth a listen and an Mdou Moctar concert is definitely worth the ticket price. Your next chance to see Mdou Moctar is in March when they open for Parquet Courts at the Riv. If my spidey sense is as good as I think it is, I wouldn't be surprised if they make it back to Chi-city during festival season as well.

Premiere: Charlie Reed's "Don't Drop Me"

Today, ANCHR has the honor of premiering Charlie Reed’s debut single “Don’t Drop Me” from their upcoming record Eddy, out May 1, 2022.

Charlie Reed is Luke Trimble, Colin Croom, Nick Beaudoin, Nora Chin, Nolan Chin, and Justin Vittori

Charlie Reed is the project of Chicago musician and songwriter Luke Trimble, who is joined by bandmates Colin Croom on guitar and pedal steel, Justin Vittori on guitar, Nick Beaudoin on bass, Nolan Chin on piano and organ, and Nora Chin on backing vocals. The collaborative project began after Trimble experienced an apartment burglary that resulted in the loss of his music gear and his self-recorded demos for Charlie Reed. Out of the unfortunate event, Trimble was inspired to partner with his bandmates to work more collaboratively and step out of his comfort zone for a fresh start. “The physical reality of losing my stuff became this emotional metaphor for starting over in every way,” he says— and the end result became the new album material.

The lead single “Don’t Drop Me” came to fruition when Trimble began to reminisce about one of his first long-term relationships in which his partner decided to break things off with him. About writing this song, Trimble says, “I couldn’t believe that it was happening and what I had done to be ‘dropped’  or left behind. In retrospect I realize that I was in such a deep depression that I had no capacity to love this person anymore. In their eyes I was taking the relationship for granted."

Elaborating on the recording process of the song, Trimble adds, “The bones of the song were first tracked live. Bass, drums, acoustic guitar.  Starting off I didn’t think much besides I liked the hook. Since we hadn’t really rehearsed it I wasn’t sure how it would turn out. That enabled me to have some fun with the song. I pieced some of the instruments together at my home. Vocals, electric guitar, and Nolan on My upright piano. Later, Colin added some awesome guitar lead and keys that really brought the song together making it one of my favorites on the album."

You can watch the official video for the song below, and make sure to follow Charlie Reed on Facebook // Instagram // Twitter.

ANCHR’s Artist of the Week: KennyHoopla

The project of musician and songwriter Kenneth La'ron, KennyHoopla crafts nostalgia-tinged songs that blend pop punk, emo, and rock influences with modern and experimental touches.

KennyHoopla began releasing music as early as 2016 via SoundCloud, but his most popular release to date was his single “how will i rest in peace if i’m buried by a highway?//”— which came to be the title track of his May 2020 EP that also included tracks like “sore loser//” and “the world is flat and this is the edge//.” From the genre-defying sounds and artistic exploration in his music to the specific stylization of his song names, the creative element of KennyHoopla continues to shine through in everything he releases.

Later on in 2020, KennyHoopla collaborated with the artist grandson on a version of the track “lost cause//” before releasing yet another version of the single with Jesse Rutherford. In 2021, he worked with Travis Barker on the song “hollywood sucks//,’ which ended up on the collaborative EP called SURVIVORS GUILT: THE MIXTAPE//.

I’m looking forward to see what other work KennyHoopla puts out in the future, and who he’ll partner with next. As far as his live show, I caught most of his set at Riot Fest this year and had a lot of fun watching his performance. He had a minimal stage set up but made up for that with his presence and the energy he projected.

He’ll be touring again this month, including two sold out shows at Schubas Tavern on November 27 and 28th, and you can see all of his upcoming tour dates here.

ANCHR's Artist of the Week: Kacy Hill

Photo by Lauren Dunn

My first introduction to Kacy Hill dates back to 2016 when I saw her perform as a support act for Jack Garratt. In addition to touring together, Hill also worked with Garratt as a producer of her single “Foreign Fields” from the 2015 EP Bloo. That track, like much of Hill’s further music catalog, showcases her thrilling falsettos and crisp production style in a blend of indie and electronic pop music.

Following the Bloo EP, Hill released her debut full length album Like a Woman in 2017, which delivered empowering lyrics and introspective musings alongside her goosebump-inducing vocal performance. After a little bit of a break, fans of Kacy Hill got the gift of new music in the form of her sophomore album entitled Is It Selfish If We Talk About Me Again. We were also quickly topped up with even more new music in 2021, when Hill announced her third album Simple, Sweet, and Smiling. The third record features collaborations with John Carroll Kirby, Ariel Rechtshaid, Jim-E Stack and it continues to highlight Hill’s vulnerable nature behind her songwriting. At the beginning of recording the new record, Hill’s father suffered a heart attack, and Hill says this album is part of her confrontation of these feelings of powerlessness in the face of her own mind and mortality, while also being a vehicle to give thanks to the partners, friends and family who have helped her through.

In celebration of the new record, Hill has embarked on her first US headlining tour, which includes a stop at Schubas on November 18th. Snag your tickets to the show here, and watch the video for “Easy Going” below.

ANCHR's Artist of the Week: SUSU

Photo from SUSU’s Thalia Hall performance

Sometimes I prefer going to a concert having done the homework and having listened to all of the bands on the bill ahead of the show. Other times, I like the thrill of surprising myself and going into the show blind to the support acts’ music.

Last week I chose the latter, and I went in blind to the second band on the line up for Low Cut Connie’s show at Thalia Hall, and the unknown blew me away much more than if I had prepared myself for.

The aforementioned group is SUSU, a project based in New York City and fronted by vocalists and songwriters Liza Colby and Kia Warren. The pair met while working on separate projects, but as soon as they started collaborating, they realized the potential of their power together. At SUSU’s Thalia Hall performance, Colby and Warren burst onto the stage in matching, brightly colored uniforms, and they kept entertaining the packed house for the entirety of their set. On top of delivering stellar, harmonized vocals, the duo wowed with coordinated dance moves, gravity-defying jumps, and the splits. Their performance packed a punch of swagger and rock and roll all at once.

In their bio, Colby says that she and Warren hadn’t realized how much they needed one another until they began working together. “We aren’t shy about being black women in Rock and Roll. There is an aliveness, an awareness, and a spirituality to SUSU that are both timely and timeless,” she says. The project’s name comes from the Patois term, which loosely translates to the act of creating “a chatter around something,” and it’s a tribute to Warren’s Jamaican roots and Colby’s West Indian heritage, and directly inspired the movement of SUSU; a tribal sense that SUSU is USUS.

To experience the magic of SUSU yourself, tune into their EP Panther City, but also make sure to catch them performing live as soon as possible. You can see their upcoming tour dates here. Be sure to also take a look at our photo recap of SUSU’s Thalia Hall show here.

ANCHR's Artist of the Week: Vérité

The project of Brooklyn-based singer and musician Kelsey Byrne, Vérité delivers electro-pop anthems that are driven by Bryne’s dynamic and powerful vocal range. As an independent project, Vérité has seen amazing streaming and touring success, garnering millions of streams online.

Vérité’s extensive catalog dates back to 2014’s EP Echo and includes two independently released albums as well as several other EPs. The most recent single “he’s not you” starts off with a staccato drumbeat and falsetto vocals from Byrne before a funky bass line kicks in with layered harmonies. While Vérité songs always seem to push into new realms and explore different sounds, they’re all almost certain to get you dancing or singing along with the chorus.

On top of that, Vérité has always put on such a captivating performance every time I’ve seen her, and I’m excited to see her back on the road this Fall. Check out her upcoming tour dates here, which include a stop at Chicago’s Lincoln Hall on November 10th.

ANCHR's Artist of the Week: Wet

The first song I heard from Wet was 2014’s “Don’t Wanna Be Your Girl” from their self-titled debut EP. The song begins with a swirl of reverb-drenched synths and guitar melodies as lead singer Kelly Zutrau’s vocals fade in and begin to tell the story of recognizing the end of a relationship. Thanks to its hypnotizing production and the vulnerable nature of the lyrics, the track still remains one of their most popular songs and has racked up more than 71 Million streams on Spotify alone.

Composed of Kelly Zutrau, Joe Valle, and Marty Sulkow, Wet officially formed in 2013 in Brooklyn after the members had been introduced through mutual friends. Since then, the band released their 2016 debut record called Don’t You, which has some of my all-time favorite songs on it; “Island” and “Small and Silver.” There’s such a mesmerizing yet calming presence to Zutrau’s voice, which blends beautifully with the electronic production that Valle crafts. Wet followed up that debut with 2018’s Still Run and most recently released their third album called Letter Blue yesterday, October 22nd. The new album stays true to the beauty of Wet’s earlier material, but there’s a subtle refinement that showcases their growth as artists. Their second album was recorded while Sulkow was on hiatus from the group, so this third record also marks the reunion of the original trio.

In support of the new music, Wet will be hitting the road next month, including a stop at Chicago’s Lincoln Hall. See all of their tour dates here, and listen to the new album in full here.

ANCHR's Artist of the Week: Lewis Del Mar

photo credit: rubberband.

Chances are you’ve heard the song “Loud(y)” by Lewis Del Mar, which attracted the ears of many music fans with its cinematic production and swelling chorus. If you were living under a rock circa 2015-2016, allow ANCHR to introduce you.

Composed of childhood friends Danny Miller and Max Harwood, Lewis Del Mar officially released their debut self-titled album in 2016, but the pair began making music together long before then. The duo played trumpet together in grade school band before ultimately forming a garage rock band in high school that took them to New York City. Their debut release has pockets of that rock influence, but heavily leans toward an experimental side with some hip hop and electronic nods as well.

Since the touring success and critical acclaim that Lewis Del Mar saw following the release of their self-titled record, Miller and Harwood took some time to step back and reflect before setting out to work on their sophomore album. The second record, entitled AUGUST, came out in August 2020— nearly four years after Lewis Del Mar. Recording for the second album began in 2017 and spanned more than two years as Miller and Harwood worked out of their converted studio in a Rockaway Beach bungalow. The band says the emotional framework of AUGUST is rooted in the tension between the spiraling New York City summer that awaited them and the critical year-long period of reflection that followed, and that the songs depict the way life fractures and comes back together in new forms. That sentiment rings especially true following the start of the pandemic, and now the beginning of live music coming back in new ways.

Speaking of live music, Lewis Del Mar is currently back on the road and wrapping up their current tour in Chicago on Friday, October 15th. We hope you snagged your tickets because not only does Lewis Del Mar have their second album to showcase, but they also released a new EP entitled BOUQUET earlier this year, so there will be plenty of new songs to experience for the first time. See where you can catch them on tour next here, and watch a live performance of “Rosalie” below.

ANCHR's Artist of the Week: Renée Reed

Louisiana singer-songwriter Renée Reed has a timeless feel to her music— her sound combines wispy, ethereal vocals with vintage-washed acoustic melodies. There’s a comforting sense of familiarity to the folk backbone in Reed’s songs, but she also supplies listeners with invigorating injections of different sonic stylings throughout her 2021 self-titled debut record. Songs like “Où est la fée” and “Drunken Widow’s Waltz” showcase Reed singing in French, while the guitars on the track “I Saw a Ghost” give nods to Flamenco music.

Reed’s unique sound likely stems from her wide array of influences growing up. Her parents owned a one-stop Cajun shop that hosted many jam sessions, and Reed also absorbed the sound of Cajun and Creole music legends in her native region of Southwest Louisiana. From music festivals to her own front porch, Reed was continuously exposed to live music at a young age. She also cites The Beatles, Kate Bush, the films of Rankin/Bass, video games and 60s folk music as creative inspirations.

During high school, Reed played in a band called Shrugs, playing with the group at house shows around Louisiana. Eventually, she began to experiment with writing and playing solo material, interspersed with performances of Cajun songs with other musicians in her community. In 2020, Reed began recording her music for the first time using a Tascam cassette four-track that her partner had brought home. The majority of songs that she recorded ended up making it onto her debut record, and perhaps the most impressive fact about this impromptu recording session is that some of the tracks were written from scratch during the process.

I have yet to see Renée Reed perform live, but I have faith that her performance will be nothing short of mesmerizing thanks to her extensive variety of influences and history with music. If you live in Chicago, she’ll be playing a show at Sleeping Village on Monday, October 25th with Half Gringa. Get your tickets to that show here, and check out all of her upcoming tour dates.

ANCHR's Artist of the Week: Cannons

I first heard of Cannons’ hit “Fire for You” when I had XRT playing in the background during a work day, and the song’s grooving bass line and hypnotic chorus was so captivating that it made me immediately stop to find out who was playing this song.

Formed in Los Angeles in 2013, Cannons came together when guitarist Ryan Clapham and keyboardist/bassist Paul Davis put an ad in Craigslist for their singer. They met Michelle Joy and began playing and recording music together—releasing their debut EP in 2014. The trio has since perfected their own dreamy blend of indie and electropop and released two full length albums, including 2019’s Shadows, which features “Fire for You.” The song also garnered large-scale success after being featured in an episode of Netflix’s Never Have I Ever.

Most recently, Cannons released an EP full of cover songs in August, aptly called “Covers by Cannons.” The EP features Cannons’ take on songs from Kings of Leon, The Isley Brothers, Harry Styles and more, showing their chameleon-like musicality.

I had the chance to catch Cannons’ set at Lollapalooza this past summer, and their creativity and artistry carries over to their live show. Michelle Joy’s silky vocals and the band’s upbeat and fun attitude had the crowd dancing along the whole set. If you missed out on the Lolla appearance from Cannons, the group will be touring with lovelytheband and Sir Sly this Fall. You can catch them at the House of Blues in Chicago on November 23rd. Get tickets here, and check out the video for “Fire for You” below.

ANCHR's Artist of the Week: Bartees Strange

If you read ANCHR’s Pitchfork Festival recap, you’ll know that Bartees Strange is an artist I regretfully did not have on my radar until very recently.

Musician Bartees Leon Cox Jr. was born in England, grew up in Oklahoma, spent some time in Brooklyn as a member of the band Stay Inside, and now resides in Washington D.C. Performing under the name Bartees Strange, his solo project began in 2017 with a debut EP, and has garnered praise for the craft behind his soulful and unique combination of jazz, hip hop, and rock.

Bartees Strange’s 2020 debut album Live Forever showcases intricate and polished production, but the real magic happens with his live shows. At both his festival set and Pitchfork after show, Bartees Strange put on one of the most raw and powerful performances I’ve seen in recent years. As an audience member, it was impossible not to connect with Bartees’ passion for sharing his words and his creativity. His stage presence radiated with heartfelt energy that only happens when an artist truly believes in what they’re creating.

If you missed out on the last Bartees Strange shows in Chicago, you can catch him back here on October 11th at the Vic Theatre with Lucy Dacus. Grab your tickets here, and tune into Bartees’ Tiny Desk concert below.

Premiere: "Sweaty" by Catty Cline

We’re thrilled to be sharing the premiere of Catty Cline’s brand new single “Sweaty” today. The project of Kanas City singer-songwriter Anna Redmond, Catty Cline swirls together indie pop and neo-folk with influence from 90’s punk.

The new single drops in advance of Cline’s EP "Scratch,” which is out September 24th via Manor Records. Cline says these songs on the EP are a product of her “guitar song” initiative— where she shifted towards writing music on guitar for the first time, rather than on the piano. Cline only started learning guitar at the beginning of quarantine in March 2020, and she shares, “[These songs] are really special to me. I had help recording some of these songs from some very talented guitarists since I’m a newbie- and I’m super happy with how they’ve turned out.”

Talking more about the single “Sweaty,” Cline says, “I know it probably seems innocent and goofy, but my single ‘Sweaty’ makes me feel very exposed to my listeners because I’m talking openly about my sexuality. It honestly took me a while to decide whether or not to put the song on the EP because I was scared of being too open. The version it is now is even scaled back a bit from the original version because I was nervous it was too raunchy. But now, I’m even brave enough to make it my single, and I’m excited for people to hear it. I think writing and releasing this song has been significant in helping me to censor myself less in the music I release and reveal more about myself.”

Overall, the EP “Scratch” sees Cline in a state of self-examination and contemplation about what makes her happy. When you peel back the lighter and upbeat outer layer of most of these songs, Cline says you can see a crucial aspect of her personality, describing herself as a sensitive, romantic, goofy, and sometimes angry and lonely human being. “It portrays me struggling to be vulnerable, and that’s why it’s so significant that I’m sharing these songs with you. Being vulnerable is difficult even for the strongest of us. But, what better way to get better at being vulnerable than to release music that reveals the most intimate parts of me? I hope you can see a little of yourself in some of these songs and can laugh and have fun with others,” she adds.

Take a listen to “Sweaty” below, and keep an eye out for the full EP next week.

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: DRAMA

Have you Vaxed & Waxed beauties been looking for some vibey dance music to wind down these final remaining weeks of Summer? Well thank goodness you are an ANCHR reader because we've got just what you're looking for. I present to you: DRAMA. If any readers know the dynamic of the relationship between myself and the editor-in-chief of ANCHR you'll know “Drama” is essentially a nickname I have given her for her anxious rambles and over-the-top reactions. Well, that's not the Drama I am talking about now. The match made in heaven duo of Na'el Shehade and Via Rosa is the only DRAMA that you all need in your life.

With Shehade on beats and Rosa on vocals, DRAMA has produced a lovely R&B and dance blend, which has transcended the Chicago scene and permeated the ears of many music lovers all over the country. Shehade is a home-grown Chicago boy that grasped onto the house scene as a teen and began DJing around the city until he started making music of his own. His talents lead him to eventually working in collaboration with the likes of Kanye West, Chance the Rapper, and Vic Mensa before he was introduced to Rosa via another Chicago talent, Jean Deaux. Rosa was born in Texas, grew up in Northern California and had a taste of the music world early in life, seeing that her parents were in a reggae band. According to DRAMA's bio, Rosa began showing interest in poetry in her teen years and that information revealed to me the correlation of her poetry and song writing, especially in songs like “Low Tide.” Outside of the song being a certified bop, it reads like a poem to me and I was able to tell that Rosa is one of those ultra talented people that uses one talent to fuel another in artistic coalescence. In 2010, Rosa moved to Chicago and eventually joined the THEMpeople collective. Hop in your DeLorean and fast forward a couple years, DRAMA is putting out music that gives us all the feels while simultaneously making our rumps shake.

A few years back when DRAMA played JBTV I was all set to go but something came up and I wasn't able to make it. I was sad I missed them, but all that sadness went away once I finally got to see them at Lollapalooza. Everyone reading this that wasn't at Lollapalooza should actually be sad they missed them because that means they didn't get to see the blouse Rosa was wearing. She was like a pink cloud. Via is short for Lluvia, and in Spanish, Lluvia means rain, and her pink cloud shirt was definitely raining dance grooves because not only was she dancing all over the stage but the audience caught the dance contagion and were also doing their part in the booty shaking department. With the 4 o'clock time slot at the Grove stage, it was the perfect setting to get your groove on in the middle of such a beautiful and sunny day. They're only playing a couple dates out west at the end of October, but you should definitely consider checking them out whenever they hit your city next.

Keep up with the latest DRAMA updates here, and check out the official video for “Years” below.

ANCHR's Artist of the Week: Mamalarky

This week’s spotlight falls on Mamalarky— yet another group on the ever dependable Fire Talk Records.

Photo by Sara Cath

Originating between LA and Austin, but now based in Atlanta, Mamalarky officially began in 2018 with a fateful meeting sparked by Tinder. The band’s singer and guitarist Livvy Bennett put out a call for a bass player on the app and ultimately connected with bassist Noor Khan. Bennett had already been working with drummer and longtime collaborator Dylan Hill, alongside friend Michael Hunter on the keys and synth bass, but once Khan rounded out the band lineup, they set to work on their debut album. Released via Fire Talk in November 2020, Mamalarky’s debut is just one of those albums that keeps rolling bop after bop. Throughout their catalog, the quartet produces a carefree air of joy, intertwined with warm tones and intricate audio effects. With tracks like “Almighty Heat” and “You Make Me Smile,” listeners are taken on a dynamic journey, and left with an experience of omnipotent delight after absorbing Mamalarky’s album.

Months after the debut’s release, the band will be hitting the road with their sonic sunshine later this year, and they’ve even gifted us with two new singles “Moss” and “Meadow” in the meantime, which both live up to the magic of their prior releases. The video for “Meadow” perfectly captures the sunny and bright vibes conjured up by its plucky guitar and dazzling melody. Bennett wrote both of the new singles outdoors, and each focus on different experiences of nature.

Talking about the songs, Bennett says, “Monotony is an illusion, or at least it’s a very tired way to look at things. Nature always has something new to offer when we slow down enough to absorb it - isolation made me appreciate and deepen this relationship significantly. I realized I’m never actually alone when I’m out under some trees. Moss offers more of a coming to terms that the surrounding landscape could be my anchor and company for the time whereas Meadow is a spark of excitement at finding a less traveled path on my daily route that opened out onto a beautiful stream with singing frogs. I wrote both these songs outdoors which I had never tried before. I still go to these spots often and they hold me up!"

You can check out Mamalarky's self-titled debut here, and see all of their upcoming shows here.

ANCHR's Artist of the Week: The Mysterines

The Mysterines are Lia Metcalfe, George Favanger, Paul Crilly, and Callum Thompson

I hope you guys are ready for some hot new rock out of Liverpool, because The Mysterines are going to be the next band you're blasting in your car, headphones, and/or speakers. The Mysterines are the creative love child of Lia Metcalfe and George Favanger. Metcalfe is the guitarist/singer-songwriter and Favanger rips the bass. The band is rounded out by Paul Crilly on drums and Callum Thompson on guitar. Although they have yet to release their first album, they have garnered much attention in the UK with the singles and EPs they have put out. Even more, touring with The Amazons, Royal Blood, and Miles Kane has captured the attention of their respective fans as well. If any ANCHR readers are Paul Weller fans, you'll hear Metcalfe on "True" from Weller's latest album Fat Pop.

I can't wait until they come to The States. Thompson's guitar work combined with Metcalfe's thunderous vocals can't help but set my expectations that their live show will be raucous. From what I have read about them, Metcalfe states that her influences vary from Bob Dylan all the way to Billie Eilish, but when I listen to songs like "In My Head" or "Who's Ur Girl", I get a Queens of the Stone Age vibe from them. Listening to the tracks The Mysterines have out there give me the same energy and aggressiveness as QOTSA and thus takes my mind straight to songs like "Go With The Flow" and "If I Had a Tail.” On the flip side, songs like "Take Control" and "Love's Not Enough" seem more melodic and like a classic, fun, fist-pumping, rock and roll show similar to what you would get with bands like Angels & Airwaves or old Arctic Monkeys. Regardless of whether you agree with my comparisons or not, you should give them a listen because I have a feeling we're going to be hearing more about them in the near future.

Make sure to keep up with the band on Twitter and Instagram, and tune into the video for “In My Head” below.

ANCHR's Artist of the Week: Porridge Radio

Photo by El Hardwick

Welcome to our dystopian present. The wide streets of downtown are completely vacant, the people there are few, the restaurants have signs in the windows promising there is no cash to steal. It is March of 2020, so I turn on Porridge Radio. Frontperson Dana Margolin is always mercilessly interrogating her own thought patterns “It's been a long, long, long, long time/ I still don't know what's on my mind” (Don’t Ask Me Twice). In its thrashing, their album Every Bad is almost cleansing at times. There is perhaps no more relatable line uttered on this album than “I’m bored to death let’s argue” on ‘Born Confused’. ‘Born Confused’ is a bittersweet part incantation pulled taught and tense by violins. “What is going on with me?” asks Margolin, and that thought seems to plague us both throughout the album.

Porridge Radio is both self assured and perplexed; the band uses contradictions in a big way, Every Bad a fragmented internal dialogue that thrives on instability. They know emotions are not absolute and the tones and tempos of the album shift minute to minute. The thing is, the band really is charming. Every Bad wouldn’t feel like such a successful pummeling if they weren’t. There’s a sheer magnetism to Margolin’s sardonic delivery. It’s unmatched, moving from bitter to liberated in a matter of 90 seconds, often finding catharsis in her originally droning mantras. Porridge Radio doesn’t slide easily into one genre, playing with post punk and art rock elements. But why would they? 

The band allows for emotional and sonic friction, shifting like tectonic plates with heavy guitars and dramatic crescendos. ‘Pop Song’ is a title turned on its head with Margolin exorcising her sharp self critiques “my bitterness subsides sometimes for a while/but I'm jealous to my core, so I'm never coming back”. “Please make me feel safe” she begs. And I think I understand that rocking, gentle moment so much it hurts. “You will like me when you meet me” (‘Sweet’) she recites as if stirring a potion, “you might even fall in love”. At one point the track collapses inwards, Margolin repeating “I bite my nails right down to the flesh” as if pulling the bloody slit of a cuticle off while she sings. She often sounds bored in the way that busy, interesting people often do when forced to explain themselves, “you’re wasting my time” (‘Long’). But the moments when Porridge Radio play with dissonance are some of their most interesting. They repeat what they wish to be true, or possibly more often, what is unfortunately true. “There’s nothing inside” Margolin repeats on ‘Homecoming Song’ before declaring “I’m coming home”. I can’t stand the sight of my apartment and it’s ugly yellow lighting and my catatonic partner and everyone who seems to have left me. “Thank you for leaving me, thank you for making me happy”. I take daily sanity walks to the art museum that I can’t even enter and sit on the grand steps with my big noise cancelling headphones on. I watch the park across the street from the steps and the people who also seem to find sanity in a short walk and sitting outside in the newly spring air. In the center of the album whirls ‘Lilac’, echoing out the phrase “I’m stuck” over and over again as the guitars pick up and Margolin’s voice strains, insisting “I’m kind!” It’s the fever break before the body just heats up again. “I don't want to get bitter, I want us to get better, I want us to be kinder to ourselves and to each other”. Porridge Radio speaks with a certain assured wisdom no matter how adrift they find themselves. I am trying not to take this all personally but I am in my twenties so my life does feel more ruined than everybody else’s. I promise I’m just trying to establish boundaries, I’m not trying to make things harder, “how do I say “no” without sounding like a little bitch?” cries Margolin, “I say what I need”. I like to think I get it when she says “and you want to be wanted” on ‘Give/Take’. I don’t know what is want and what is need at this point, I don’t know who or what I want anymore. And admittedly, I might be forgetting how to give. 

The thing is, my personal life and crises don’t really matter in relation to Every Bad. Porridge Radio is uncompromising and whatever you manage to project onto their album feels somewhat like coincidence. But there’s a bravado I see myself in; in an interview with NME Margolin playfully responds “I’ve always known that we’re the best band in the world”. Her drone is always accompanied by a bit of a playful eye roll. Maybe it’s not that I’m projecting onto the album and more so that the questions we’re asking at this point in our lives are overlapping.

Over a year later I’m up too late in my kitchen making pasta and it occurs to me I missed a line. I remember the other lyric to ‘Born Confused’: “but I’m not”. Maybe in our interrogations and our repetition and our breakdowns we figure out exactly who we are.