Musical Impulses as of June 21st, 2026

I recently read Hua Hsu’s novel Stay True. In the novel, Hsu explains that he ran a zine and often published reviews of the music he was currently into. Being that this blog functions of my own sort of zine, and I do often include music I am listening to in my posts, why not dedicate an entire post to it? Maybe it will be a series, as my rotation of artists shifts often. I’ve read a lot of music publications and I’ve always admired how they can describe music. I often struggle to describe the sound of music beyond “I like this song,” “it’s a happy/sad/cheery/upbeat song.” I have to consciously ask myself, if a deaf person were to read my words, would it capture the essence of the music? I suppose (as Kobe would say) this is my writing prompt. Anyway, here’s what I’ve been listening to:

Carnival, The Cardigans

I’ve been listening to The Cardigans a lot, mostly because they sound like the ancestor to one of my favorite bands, Sobs. Like Sobs, they lean into a deceptively bright and cheery sound, with happy-go-lucky vocals, but the lyrics uncover more cynical sensibilities. I started with their most popular album, First Band on the Moon, because lovefool is a serious earworm. Recently I’ve been digging into their album Carnival, whose title track spins like a merry-go-round, with twisting, begging lyrics of unrequited love encased in the cotton candy taste of carnival snacks. The basslines in this track and throughout the album tie everything together, dancing with the guitars and the occasional violin, sloping upwards to maintain a general air of happiness. Tracks I love: Rise and Shine, Tomorrow, Sabbath Bloody Sabbath.

Why The Light Flicker, Telescreens

I saw Telescreens a couple months back as the opener for Quarters at the Crescent Ballroom. They were good then, so I kept them on my radar and checked out their album Why The Lights Flicker when it dropped two weeks ago. I like that all their songs have a big sound, like each song is an important declaration of something, like God of Nothing. The basslines also match this level of importance, with low toned, consistent strumming that add a layer of depth to the song in contrast with the echoes of the vocalist. I also liked how they incorporated synths (?), especially in Gimme All You Got. Tracks I love: God of Nothing, Gimme All You Got, Eternity

bloweyelashwish Loveliescrushing

Loveliescrushing, perhaps I’ve mentioned them before? I can’t recall, but I first read of them in an article about Chicago area shoegaze. Their music requires many careful listens to truly understand, and I have to admit, the mystery of it all is why I am still listening, entranced. It’s the most shoegazey shoegaze I’ve heard, a blur of reverb and whispers of lightly layered sounds that will put you in a dreamlike state, like, wait, where am I? I think I am also in love with their band name, and the titles of their songs (like darkglassdolleyes and babysbreath), and their abstract album covers. Sometimes, it’s the whole aesthetic that appeals to me. Tracks I love: crushing, darkglassdolleyes, spidervelvet

King of the Beach, Wavves

I was playing Sunset Overdrive when I heard a song, and I thought, hey that’s catchy! I looked it up, and it by Bass Drum of Death (who I’ve been liking a lot, but they’re not the focus here). Digging more, I saw that they would be on tour with this band, Wavves, so I thought, well let me see what they’re about. I have to say, they’re the perfect summer band, and King of the Beach is the perfect summer album. What grabbed me especially: the brooding, super-smooth bassline of Linus Spacehead alongside the existential lyrics, and the clap-clap happy sound of the title track, King of the Beach combined with the crashing guitars. King of the Beach! Yeah! Tracks I love: Linus Spacehead, King of the Beach, Idiot

Eight Arms to Hold You, Veruca Salt

I read a review for Wishy’s EP Planet Popstar and they mentioned Veruca Salt, so of course I had to check them out. What I love about Wishy: they sound like sunshine and longing. Does Veruca Salt channel that same energy? Somewhat, but I would say they have a tougher sound. Not a bad thing. It’s very 90’s, very guitar heavy. I don’t think I’m supposed to call them “grunge,” but when I think of the word grunge I think “crunchy” guitars and that’s what I’m hearing. I liked the lyrics from Awesome, which start like this: Goodbye 25 / You were a good year for the girls. I think that’s kindaaa real af. Tracks I love: Awesome, Stoneface, The Morning Sad

WHACK’S MUSEUM, Tierra Whack

Tierra Whack is back, and I was so excited to hear her shoutout Phoenix in WHACK JOB (rappers is my sons / Phoenix, Arizona). Yay! Honestly, 99% of boy rappers annoy me (besides Saba and Black Thought), and I think the girl rappers are where the real talent lie. Tierra Whack is evidence, she slides on beats with ease, whisking through carefully positioned tempo changes as a way of flexing her lyrical ability. It’s rhymes in between rhymes in between crisp vintage beats in compact 3 minute or less bites. Like a really tasty rap ice cream sandwich. Also, I like when she said “Sometimes I’m so generous / you know what I mean, Ellen DeGeneres.” Tracks I love: TOTEM, WAX PAPER, WHACK JOB