Song of the Summer? It’s got prerequisites: A breezy melody, a chantable chorus, laconic raps and a great video. Peak Vile jam as the weather warms and pollen proliferates.

Greg “Oblivion” Cartwright supplies backing vocals and solos, his aching Memphis drawl unmistakable for us old heads.

The track is from the forthcoming album Philadelphia’s been good to me and the video captures a Philly Saturday night in Fishtown. It's fun, features Schooly D and other cameos you can google. You’ll be joyfully singing the vocal hook out the car window this Summer: “Old time, lo-fi, DIY, Rock & Roll…Nights!”

Loop it.

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The Cut Worms have transformed from the solo vision of songwriter Max Clarke to a collective of collaborators, with Jeff Tweedy jumping on board as a producer and player.

Striking a more melancholic tone than 2023’s self-titled release, Transmitter brings Kinksian songcraft to jangly mid-tempo guitar pop. The melodies provide ample aural canvases to Clarke’s witty wordplay, highlighted on tracks like Evil Twin, Long Weekend, and Shut In. He captures a 21st-century loneliness we all feel.

Tweedy features the band’s sound well, but you can hear his knob twisting, bringing noisy flourishes that punctuate the album’s complicated introspection.

Buy it.

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I am a Kurt Vile-O'phile. Classic Love is quintessential Vile. Warm. Weird. Funny.

A collaboration with Luke Roberts centers the EP. They team up on a version of Roberts's title tune, and KV takes a solo pass on another version of the song. Two versions? Both work.

They co-wrote “Hit of the High Life,” which sounds like a lost song off Neil Young's On The Beach LP. It's confessional, raw, and angsty about the world, macro and micro.

Mix in a Beach House cover, an updated catalog song, and you’ve entered the creative playground Vile calls home.

Stream/Buy it.

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Hailing from the enchanted lands of Seattle, Who Is She? is a supergroup of Indie Rockers from bands I don’t know. What I do know is that this platter is a cauldron-brewed mix of jangle pop, sing-songy vocals, and lo-fi production. 

What separates this from typical retro la-la-las is sassy, funny lyrics, with songs about witchiness overload, a defense of Anne Hathaway, nostalgia for Movie Pass, and an ode to Marianne Williamson. 

The record doesn’t even clock in at 30 minutes. Do you dig labels like Teen Beat, hyper-aware cultural references, and build altars to the divine feminine? Stream it.

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