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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58 Second Song opens The Lemonheads' first album of new material in nearly twenty years. It's three minutes and twenty-two seconds. Typical.

Love Chant is as shambling, warm, and weird as their one consistent but mercurial member, Evan Dando. I'm a lifetime member of the Dando Apologists Club, so I'm already lost, but this is a fun, fuzzy batch of '90s Guitar Rock. 

The back half of the record swings more than the first, and begins soaring when Juliana Hatfield and Erin Rae harmonize their way into the chorus of Cell Phone Blues. 

Reminiscent of the Lovey album. Stream it.

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