Wow, that was fast, wasn’t it? It seems like just yesterday I compiled a group of songs for my Checkpoint for the first half of 2022. With only a few weeks left of the year, this could be the perfect time to plan those New Year’s Resolutions for 2023.
On second thought – nah, I’m good. With most of this year being a steady dumpster fire, I can’t see next year being much better. However, since the music has been great all year, I decided to share some of my favorite music since July.
This is Checkpoint – 10 Hits From The Other Half of 2022!
Since Bearded Gentlemen Music is already prepping our year-end lists, I’ll keep this post to single songs. Think of it as a preview or an opening act to next month’s big lists!
I also want to point out that these are songs I’ve really dug over the past few months. Thus, it’s not an end-all-be-all list. In fact, it’s not even numbered! It’s not a race. We’re still dying a slow, agonizing death, so why make it a competition?
Hurts To Laugh – “What’s In Your Way”
Combining elements of thrash, punk, and psychedelia, Hurts To Laugh has been somewhat of a dark horse in the Nashville scene. They’ve seen a few lineup changes through their handful of releases, (including a split with The Dead Deads, which we covered here), but one thing is certain – they keep moving forward.
Their growth continues with an almost hypnotic droning metal riff and a lyrical battle cry. Regardless of where you stand politically, spiritually, or mentally, “What’s In Your Way” is a call to arms, the soundtrack to a revolution only YOU can start. Just what IS in your way?
High Waisted – “Tan Lines”
I was introduced to High Waisted in 2016. They were my first in-person interview at this very publication! I was awkward, nervous, and nearly sank the entire thing because I forgot my notes. Not to mention, singer Jessica Louise Dye’s outfit was a little … blush … distracting). But after a minute or two, the band’s relaxed demeanor made me feel like I right at home hanging in the tour van. That exact vibe is on full display with their latest single, “Tanlines”.
Trading in some of their former jangly surf vibes for a more mid-60s, neo-jazz aesthetic, High Waisted has certainly evolved over the past few years. “Tanlines” is a sophisticated summer romp that sounds like the sun itself learned the value of melody. It’s bright, cheerful, and the epitome of fun. I’ve been a fan of this band for a while now, and I’ve never been more excited about where they’re going next! Blushes and all.
Gilla Band – “Backwash”
I kinda hate the term “post-punk.” It essentially pigeonholes a band into a genre with poorly defined rules. Even if we better understood those rules, it would still be hard to label Gilla Band. They’re noisy, bizarre, and unlike most other band out there.
“Backwash” is a great example of this. The song possesses this weird stream of consciousness vibe, like an audio version of a fever dream. But somehow, it’s still oddly danceable. I think? Who knows. Gilla Band is just cool. But remember: no one looks cool around a wasp.
The Lazy Eyes – “Imaginary Girl”
I’m a sucker for any song with a phase effect on the drums. The Lazy Eyes contain everything I like about Tame Impala but without all the eye-rolling hipster elements. “Imaginary Girl” might be weird, whimsical, and sugary, but the aesthetic never gets in the way of the song. While that seems to be an issue for a lot of 60s-flavored bands these days, The Lazy Eyes are the real deal.
Rihanna – “Lift Me Up”
In 2018, Black Panther was not only one of the better MCU films, it was a cultural phenomenon. Thus, the sequel, Black Panther: Wakanda Forever, had to raise the stakes. On the soundtrack side, they brought the big guns by coaxing the legendary Rihanna out of pseudo-retirement!
With “Lift Me Up,” Rihanna doesn’t go for the over-produced and bombastic banger but delivers a ballad instead. While the production and lyrical content are simple and breezy, her performance is stirring and flawless. It’s a perfect theme for a film about finding hope in times of grief and emotional conflict. I’d be lying if I told you I didn’t get a little misty-eyed the first time I heard it.
Joe Dilillo – “Mend Your Heart”
I have a special affection for producers who step from behind the board and up to the mic themselves. Joe Dilillo has been engineering and producing records for over 25 years including artists such as The Smoking Popes, and various projects even I’ve worked on! So, it warmed my heart to hear him put his musical and technical knowledge to his own music.
“Mend Your Heart” is Beatles-meets-Brian Wilson power-pop at its absolute finest. Both verse and chorus are sugar-coated hooks with slick Jeff Lynn-inspired production without the superficial bloat. It’s the kind of bright-eyed pop songs I would’ve worn out on my turntable if I were a kid in the early 70s. The world is an ugly place right now, but maybe if we had more music like this, it wouldn’t be so bad.
Tennessee Jet – “Garth Brooks”
I’ve never been one for country music. Well, the current breed of country anyway. It’s the lack of honesty and integrity that gets me. If it’s trying to be something else (be it pop or hip-hop), what does it say about justifying its own existence? Thankfully, that’s not an issue with Tennessee Jet. If there’s a genre that needs saving, it’s country, and Tennessee Jet is the guy to do it.
On the surface, “Garth Brooks” is a rather straightforward ode to early 90s country (obviously). But a deeper listen to the song reveals that it’s more about being transported to a time when the world was a little more innocent. A time when small-town relationships had less to do with social media statuses and more to do with where the world could take you once you grow up. I grew up in Chicago despising country music. But somehow, Tennessee Jet has convinced me that the there might be more to the genre than I’d realized.
Exigent Waves – “I Know All I See All”
In 2019-20, Kendon Luscher had a sci-fi/dark comedy podcast at this publication known as Ad Read. After a couple of seasons, Luscher moved on to other creative endeavors (such as the post-punk project da.daer). To give a proper send-off to Ad Read and what would’ve been its third season, Luscher repurposed skits, performances, and ideas into a completely separate entity. The result is the Exigent Waves album, And Then I Ripped Myself Apart.
The album’s opener “I Know All I See All” acts like a makeshift preview that sets the tone for the entire project. Despite being a post-punk album, there are elements of industrial and even new wave. In fact, it’s ominous, unsettling, and surprisingly upbeat! And Then I Ripped Myself Apart is a bizarre experiment in audiovisuals but one that hooks you from the start. It’s sad there was no official season 3 of Ad Read, but this is a fitting farewell and tribute.
Weyes Blood – “It’s Not Just Me, It’s Everybody”
Checkpoint believes that Weyes Blood has one of the most interesting voices in music today. It doesn’t matter what she’s singing or singing about, her voice is like a much-needed hug. “It’s Not Just Me, It’s Everybody” is a candid look at the human condition delivered in a soft, dream-like ballad. Who knew singing about crippling anxiety, suffering, and mercy could be so beautiful?
Johnny Goth – “Come 2 Me”
I’ve been listening to Johnny Goth for a couple of years, but it always boggled my mind why he hadn’t broken into the mainstream. Equal parts Robert Smith and Trent Reznor, Johnny Goth has all the ingredients of what could make for a modern-day David Bowie. But I appreciate how he seems to be taking his time building a worthy career instead of clout-chasing.
Needless to say, I was both shocked and excited to hear one of his songs featured in Halloween Ends. “Come 2 Me” is sleek, melancholy, and oddly menacing. Not only perfect for what emotion the film tries to convey, but it’s a perfect pop song for those who like their bops to be a little on the darker side.
Mourning Noise – “…at The Seville”
After reissuing the short-lived early ’80s horror punk band’s discography earlier this year, drummer (and long-time Glenn Danzig collaborator) Steve Zing has resurrected Mourning Noise! However, this isn’t a nostalgia dump or an easy cash grab, but an actual, living, breathing band. Dire and urgent, “…at The Seville” is a gnarly, grizzled, horrific punk ditty fit for the dance of the dead.
As a die-hard fan of Danzig and a card-carrying member of the 138 Union, you would think my allegiance to Zing would merely superficial. But even if you don’t like your punk slightly on the undead side, “…at The Seville” is exactly what’s been missing in punk these days: attitude and atmosphere.
