LISTEN: Sick Day – ‘Overexposure’

A sonic exploration of insecurity, whether rational or otherwise, Chicago-based guitar band Sick Day have shared their latest single, ‘Overexposure’. Taken from their upcoming EP of the same name, which is set for release in March 2024 via Substitute Scene Records, the track is a swirling, grungy reflection on feelings of self-doubt, and the way that this affects us as we move through the world.

Formed in 2019, just before the Covid-19 made sick days perpetually relevant, Sick Day consists of songwriter and vocalist Olivia Wallace, drummer Ryan Donlin, bassist Kaity Szymborski and cellist Chaepter. Together, the band create emotionally charged guitar tunes about the everyday struggles of life, romance, and as the band put it themselves: “the general difficulties of being alive.” They deliver these sentiments wrapped in infectious pop rock melodies and relatable lyrics, with their latest single ‘Overexposure’ being a prime example of these talents.

“‘Overexposure’ evokes feelings of anguish, turmoil, self-doubt…a reclusive state where everything feels bigger than usual and you begin to doubt your perception of the world around you,” explains bassist Kaity. “Is everything out to get me? Probably not. But in a death by a thousand cuts, you begin to pin yourself as the common denominator, and thus amorphously the cause of your daily struggles…It makes me think of the state of mind when ordinary daily occurrences and minor inconveniences can topple you over because of your own inner turmoil. A sort of breaking point that sends you spiraling inwards, doubting yourself and your perception of reality”

Despite this melancholy context, the single and the band’s upcoming five track EP, Overexposure, will provide a cathartic, buoyant space for listeners to spiral in solidarity. Listen below.

Follow Sick Day on bandcamp, Spotify, X, Instagram & Facebook

Kate Crudgington
@KCBobCut

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ALBUM: Horsegirl – ‘Versions Of Modern Performance’

With their debut album, Versions of Modern Performance, Horsegirl have translated the world of underground underage Chicago into 30 minutes of sludgy jubilation. Thudding drums, strangled guitar lines and catchy choruses: it’s a time-honoured formula, executed here with vigour and original flair.

The band produced this record as college freshmen and high school seniors and it is bursting with a fine balance of youthful exuberance and nuance beyond their years. Within a tight instrumental framework, the group explore a range of emphases and styles, from the more straightforward guitar pop of tunes like ‘Anti-Glory’ to textural instrumental interludes and the unusually weighted ‘Fall of Horsegirl’, in which the guitar foregrounds the vocal line.

The integrity of the artistic scene from which Horsegirl have emerged defines the sound, attitude and presentation of this music. The group are keen to champion the work of the network of fellow creatives too young to get into most concerts going on in Chicago and forced to organise shows and create among themselves. Their videos employ the talents of friends and peers who put their directorial and kitchen dancing skills to use in assertively homemade productions (check out the video for ‘Billy’). There is an infectious DIY enthusiasm in everything this band does, and this reverberates through Versions Of Modern Performance.

Undaunted by the transition from high school band to signees with heavyweight indie label Matador, the group have made a deliberate effort to remain faithful to the simple setup that has taken them this far. Describing this self-consciously as “the debut bare-bones album”, they bring the sound of their various basement rehearsal rooms to the studio. The choice of John Agnello as producer suits this aim to be true to the band’s roots, given that his CV, which includes Dinosaur Jr. and The Breeders, reads like a list of the influences you can hear working throughout the record.

Though this record takes many cues from the sound and approach of much of that American brand of alt rock that has been around since the mid-80s, the group make this sound their own. It feels like the natural outcome of three imaginative rock musicians playing in someone’s basement; an honest, instinctive debut free from contrived affectations.

Listen to Versions Of Modern Performance on bandcamp or Spotify

Follow Horsegirl on Twitter, Instagram & Facebook

Photo Credit: Cheryl Dunn

Lloyd Bolton
@franklloydwleft
@lloyd_bolton

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ganser

FIVE FAVOURITES: Ganser

Formed of Nadia Garofalo (keyboards/vocals), Alicia Gaines (bass/vocals), Charlie Landsman (guitar) and Brian Cundiff (drums), Chicago-based Ganser have garnered comparisons to the likes of 90s noise-makers Fugazi, Shellac, and Sonic Youth. The band have recently shared their new album, Just Look at That Sky, via Felte Records and it’s a defiant fusion of jolting rhythms, confrontational vocals and manic riffs.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with bassist & vocalist Alicia Gaines to ask about her “Five Favourites” – five songs that she believes have inspired Ganser’s song-writing techniques on their latest record. Check out her choices below, and scroll down to watch Ganser’s video for ‘Projector’ at the end of this post.

 

1. Yeah Yeah Yeahs – ‘Date With a Night’
There is a songwriting mode we’ve utilized at times which I’ve jokingly called “Doom Hoedown” or “Doom Shuffle.” Before really getting into The Birthday Party and their ilk, my first concert back home with my high school friends was Yeah Yeah Yeahs. I remember being blown away by their raw delivery and Karen O’s command of her particular vocal style. It took us a while to tease out what songs lean into Nadia and my strengths as vocalists, but man the music’s like a glove for O’s voice here. Listening to this really makes me miss the chaos of playing live.

2. Ultravox – ‘Distant Smile’
For Ganser, it’s about contrast. The violence and serenity in this track really compliment each other. Red looks more red against green, and so on. In a way the form of this one is a backwards version of our track ‘Emergency Equipment and Exits’. I love how the back half of this song sounds like its running away from itself.

3. Talking Heads – ‘Life During Wartime’ (Live in Los Angeles 1983)
This live version has an inevitability that’s hard to escape. The faster tempo and incredible work by the band’s support vocalists adds to the urgency on this classic. Tina Weymouth is just a monster. I have a strained and complicated relationship to the history of particularly Black women backup singers for white bands, but my affinity for this song and album (Stop Making Sense) remains.

4. These Immortal Souls – ‘The King of Kalifornia’
When there isn’t really a template for voice or perspective, it’s a journey to find what feels natural or what you need to try on to see how it fits. I think this album (I’m Never Gonna Die Again) is the first time we’ve really waded into “cockiness” as an attitude, which isn’t something women are encouraged to do. It felt really good to really absorb the energy of Rowland and some of the 90’s British bands we love. Bravado feels like a lounge lizard to me. We free associated in that direction and that attitude crept into several songs on our new record.

5. Liars – ‘No.1 Against the Rush’
I’m so amazed every time I look at Liars’ range. I have a soft spot for ambivalent tone bands like Liars and Radiohead have. There’s always a sinister edge, a wistfulness to their music throughout their discography that’s extremely admirable. Our album Just Look at That Sky is really comfortable for ambivalence, but that takes time and living in the grey. We’re just here to eavesdrop.

Thanks to Alicia for sharing her favourite songs with us.
Watch the video for Ganser’s latest single ‘Projector’ below.

Order your copy of Ganser’s new album here.

Photo Credit: Kirsten Miccoli

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Track Of The Day: Dehd – ‘Flood’

A captivating observation on the volatile nature of love; Dehd have shared their latest single, ‘Flood’. Lifted from their upcoming album Flower of Devotion, set for release via Fire Talk on 17th July, the track is a sultry blend of brooding bass lines, emotive vocals and melodic guitar riffs.

Based in Chicago, Dehd are formed of Emily Kempf (vocals/bass), Jason Balla (vocals/guitar), and Eric McGrady (drums). The trio explored how minimal they could make their sounds on previous album Water, but on Flower of Devotion they’ve leaned more towards the ethos of making something “that’s really powerful”, whether that’s minimalistic or not. This seems to be the case on ‘Flood’, which explores the strength and vulnerability that comes with opening yourself up to new love.

“Falling in love with someone is like becoming water” explains vocalist Kempf. “A flood is powerful, uncontrollable, devastating. Water can nourish or destroy.” These themes are reflected in the accompanying video to ‘Flood’, directed & choreographed by Kempf and Andrew Miller. The cinematic visuals show Kempf by the sea, adorned in a beautiful white dress and gracefully moving in and out of the water.

Watch the video for ‘Flood’ below and follow Dehd on Instagram & bandcamp for more updates.

Photo Credit: Alexa Viscius

Kate Crudgington
@KCBobCut

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