August 24, 2016 12:06 am


Hot, inescapable energy comes charges through some early distortion and coy guitar strumming on “Other Spooky Is the leadoff track to Hot Panda’s 4th studio album, Bad Pop. But once Chris Connelly’s high pitched hollerings kick-in, everything just snowballs from there.

The song’s pace kicks into a completely frantic pace towards the halfway mark, and by that time, a spookier, modulated voice spelling out the title of the song is introduced. Even before this, the title made absolutely no sense. This idea really just doubled down on the nonsense.  As Bad Pop went on, it seemed as though doubling down on nonsense was, in many ways, all part of the Hot Panda charm. Choosing Hot Panda as a name in the first place evokes a sort of inherent silliness.


There are certainly moments of normalcy to be appreciated on the record, though. Time-travelling Psych-Pop tunes like “Golden Arch are as straightforward and clean cut as they come. The sound is made for the Ed Sullivan show as teens bop their heads back and forth like a newton’s cradle made of skulls. And “On Your Own” provides easily the most tender moment Bad Pop has to offer.

It’s certainly more fun when they decide to embrace their weirdness, though. The perfect example of this being “Linda Ronstadt, a track built on the quirky concept of paying homage to the legendary singer. The quirk also gets a big boost from the charmingly chirpy backing vocals from bassist Catherine Hiltz, whose voice clashes with Connelly’s in a way that makes for a captivating listen.

In an Occam’s razor type of inevitability, however, the true standout here is of course “Bad Pop, the album’s titular track. Not only do their sugar rushed odd ballerey stand out, the lyrics are funny enough to cause some unexpected laughter on a crowded train. An act that still leads to stares from people, even though it should be completely normalized at this point. Regardless, it’s really great hearing Connelly’s maudlin self-awareness that this cheery sounding ditty could easily be used to sling sneakers in a year’s time. I think that’s a self-fulfilling prophecy? I don’t fucking know, I failed psych class.

As Hot Panda powered through their 10 song LP, they displayed a hodgepodge of different ideas. The heavy, fun Power-Pop somehow blends seamlessly with their more psychedelic and jammy moments. It’s all squeezed under their umbrella of strange in Totoro fashion, who wasn’t exactly a panda, but they can’t be too far separated in the animal kingdom.

July 14, 2016 11:12 am

diivAfter three and a half years of silence since the release of their first album Oshin, DIIV finally returned this February with Is The Is Are and stayed true to their shoe-gazey vibes. They’ve already toured around Europe earlier this year, now bringing their new tunes to fans all over the U.S. this summer. So what took them this long to get their new music out?

It’s really hard to write and record a double record when you’re playing all over the world and you’re getting on flights and driving around or whatever -says Zach, vocalist/guitarist of the band.

It’s a lot of work. They work you hard nowadays. You have to tour. That’s what you have to do. (Under The Radar)

Though this New York native band is pretty young in age (they formed in 2011), they’ve been through a hell of a ride through their musical and personal journeys. Remember when Zach Cole and Sky Ferreira were “arrested driving to a DIIV show in Cole’s unlicensed van, where they are found with heroin and ecstasy”? (NME). In addition to that, he cancelled his European tour and ditched his manager. People were starting to see DIIV as a bunch of guys who lived a ‘Rock n Roll lifestyle’ that spent a little too much time on drugs to make music and did whatever they want. Despite all the negative attention they got, they picked back up and continued to write their music as a band. But honestly, who cares if they’ve fucked up in the past when they came back with such a solid album?

It’s hard to know, sometimes, what draws people to the band. When people come up to me after the show and talk to me about the music itself, it makes me really happy because I’m like, “You’re not here for some weird reason. You’re here ’cause you listen to the music and you appreciate it and like it.” That’s what it’s all about for me, just the music. (Austin Chronicle)

The one thing this band does best is that no matter where you hear them – a record in your room, a small 100 person venue in Brooklyn, or an arena – they’ll always sound like DIIV.

The music’s designed so that we can play in a basement and sound great or play in a fucking arena and sound great. Like, we could go up onstage at a U2 show, punch the Edge in the face, steal his guitar and play on all the band’s gear, and we would still sound like DIIV. (Rolling Stone)

So go do yourself a favor and pick up their latest album Oshin to upgrade this summer with some beachy indie-rock tunes.

June 10, 2016 12:35 pm

The music of Swedish 4-piece band School ’94 builds an ethereal soundscape, incorporating driving pop-rhythms and cascading synth, characteristic of classic indie/dream pop. That said, the music doesn’t leave you with a shoegazed wall-of-sound sensation. 

The tonalities are crisp, and the transitions are easy to follow. You almost find yourself waiting for the music to reach an apex, and when the sonic wave breaks, you settle back into the song and Alice Botéus’s propulsive vocals. 

School ’94 hails from Gothenburg, Sweden and is a part of Luxury Records. On Jun. 8th of this year the band released Bound, a six track EP, which includes the popular single “Common Sense.” If purchased through Bandcamp, you receive unlimited streaming of the EP through the Bandcamp App, as well as the option for a quality download in MP3 and FLAC file formats. 

Listening to “Bound,” it’s clear that the band has evolved from their 2014 EP Like You, which is rooted in more characteristically indie, subdued melodies that leave you with a sensation similar to bands like The Drums. Even so, this initial sound behooves School ’94 in the early part of their progression as a band.

In Bound, especially in the EP’s title-track, School ’94 embraces the rock element in their music, drawing on heavy-hitting riffs and a sound that flits around the edges of garage rock bands like Fuzz

Still definitely rooted in indie origins, School ’94 is exploring the edges of the dream pop and alt-rock genres. Their sound is buoyant and refreshing in a realm that many bands get stuck in a rut of repetition and imitation.

School ’94 provides a contrast with the more spirited tracks on the EP with songs like “We Turned Out To Be Lovers,” which emphasizes mellow, bass-centric tones. The sweeping vocals and gentle melodies pick you up and carry you through the song, as if the music is preparing you to dive into the next track. 

“Bound” just feels natural, like the band is giving us an insight into their world, rather than forcing out a particular style of music. 

The EP is available online where you can also buy a 12’’ heavy sided vinyl that contains both the “Bound” EP (side A), and the “Like You” EP (side B).

June 8, 2016 1:18 pm

You can bet those cringe-worthy getups your parents wore in the early-80s are going to be next season’s hot commodity. Human innovation is less about spontaneous combustion and more about an endless mashup of patterns. ‘Dude! What does mine say?  Sweet! What does mine say?’ If only a rock band capitalized on this notion of the never-ending pop cultural Saṃsāra.

There’s no way to properly brace yourself for King Gizzard & the Lizard Wizard’s latest high-octane concoction. Nonagon Infinity dishes out a blissed-out 42-minute jam served with a blitz of viciously fast guitar-play, fist-pumping lyrics, and a time-warping motorick beat. It’s also King Gizzard’s most righteously ambitious effort to date: an album that’s deliberately designed to seamlessly loop back to the beginning, again and again, for eternity. The disorienting bombastity crescendos into a seemingly abrupt end on “Road Train,” which fits back into the first track “Robot Stop.” The beginning is the end and the end is the beginning. I am he as you are he as you are me and we are all together. C-C-C-Combo Breaker!!

Frontman Stu Mackenzie howls out themes of a dystopian future run by robots (The universe is a machine/That has awoken from a dream), evil flying vultures (People-Vultures waiting to begin/Deadly ulcers feeding on my skin), and the nonsensical (Once I’m Mr. Beat/I only miss a beat).

It’s rare to see a band with seven members, but Australian psychedelic rock septet King Gizzard and The Lizard Wizard just wouldn’t be complete without two drummers, four guitarists, and harmonica. Nonagon Infinity was released via According to Our Records (ATO), which features a heady roster including Gogol Bordello, My Morning Jacket, and Old Crow Medicine Show. While certainly conjuring up 70s prog-rock of Pink Floyd and Yes ilk, King Gizzard rev up the ferocity by incorporating the harder edge of metal, and the hallucinatory repetition of Krautrock. Sonically, the band resembles fellow-Melbourne garage-rockers The Oh Sees.

The accompanying music videos also match the novelty-rock theme. “Gamma Knife” features the band circled around a makeshift offering pit as the camera dizzyingly pans around King Gizzard and company shredding guitars and banging drums. Druids adorned in brightly colored robes descend from the surrounding foliage. The video comes to an end as the ritual pit spawns a egg-shaped crystal and knocks out the band and adjoining worshipers. Incidentally this seamlessly leads into the next video, “People Vultures” in which the egg hatches a horrendously lofty paper-mache prop, which King Gizzard and The Lizard Wizard painstakingly lug around while performing their instruments (you know, like a People Vulture). They are sporadically attacked by jump-kicking villains reminiscent of Power-Ranger which are vaporized by the vulture’s lazer beams.

If you hadn’t guessed yet, the band has already confirmed they will release a music video for each of the tracks on Nonagon Infinity–which might seem like a page out of Beyonce’s playbook–but this case clearly hints that, yes, there will be a never-ending music video to accompany their never-ending album.

If you’re a connoisseur of Rock’N’Roll’s rich history of novelties Nonagon Infinity is a must have–it fits in right next to Flaming Lips Zaireeka, synchronizing Dark Side of the Moon with the Wizard of Oz, KISS action figurines, and the complete Guitar Hero collection. Unsurprisingly so, the prized vinyl pressing of Nonagon Infinity is already sold out on their bandcamp. You can start placing your bets on Ebay where I’m sure it’ll fetch a fair price.

I say tuh-may-tow. You say to-mah-to. I call it retro, you call it nostalgia. Certainly you’re familiar with the old adage that Pop Culture comes in cycles.  Some call it the 40-year-rule, but…

May 9, 2016 1:23 pm

The strength of Mish Barber-Way’s voice has been the catalyst to White Lung’s stylistic growth. Her howls made for prime Punk anthems on their 2010 release, It’s The Evil and then contorted that essence into creating some incredibly catchy and effective melodies on Deep Fantasy in 2014. They’ve been able to keep their dynamic energy throughout this progression with great aplomb. Deep Fantasy stayed true to the heaviness of their Punk roots as they branched out to a more sound structure in songwriting.

On Paradise, White Lung proves that they aren’t done expanding sonically, releasing their most eclectic effort that still fits right in at some underground club that uses a specific hair dye color as its password. ‘Below’ blends their harsh drums and Way’s commanding pipes with breezy guitar plucking that provides a gentler foundation than usual.

“Below” could have been a disaster that went committed too much to a less abrasive tone and wound up sounding like an indistinguishable indie band from the early ‘00s. Way’s singing, as well as her ever improving songwriting, made it work. It’s one of the stronger songs on the album because of it. Unfortunately, a good chunk of songs on Paradise are inevitably failed due to of how they mishandle Way’s voice.

Whatever vocal tuning they put on Way for Paradise really puts a number on how effective her usually impactful imprint can be. Too often does it come off like an Avenged Sevenfold or +44 ripoff. It sounds schlocky. The first time listening to “Hungry,” I legitimately thought it was “When Your Heart Stops Beating.”

The problem with Paradise isn’t a matter of selling out or going pop, a banal criticism that Way herself discredited in an interview with Annie Clark recently. There are plenty of great moments from their previous work that had an accessible sound, but by making such a bold modification on Way’s vocals, they killed the potential to build that success. On tracks like “Dead Weight” and “Demented,” the pace is so breakneck that it doesn’t matter as much, but then there’s a track like “Narcoleptic” that’s just too artificial and it doesn’t make for a great listen.

This is a really unfortunate aspect to this album because other than this, the incredible progress both lyrically and musically can’t be ignored. Way’s macabre sensibilities as a writer continue to become more refined, as perfectly shown on “Kiss Me When I Bleed,” and guitarist Kenneth William flaunts his guitar skills more than ever throughout.

Paradise could have easily been White Lung’s best work to date, but falls short due to them dulling the sharpest weapon in their arsenal for some reason. It doesn’t make sense! The high points are oftentimes hindered by this throughout the album and lead to quite a few missed opportunities. It’s a counterintuitive mess that lead to the album being a true missed opportunity.

April 24, 2016 6:14 pm

While he doesn’t have a headshot with duct tape around his mouth, or dub himself an “equal opportunity offender,” Jamie Kilstein has built a name for himself by being one of the biggest risk takers in comedy in the industry today. When he made his TV debut on Conan, he elected to tell a joke that criticized President Obama and our pretty terrifying history of drone strikes.

A lot of people were unhappy with this! But throughout his career, it’s become apparent that Kilstein doesn’t really care if people get mad about something he says. All he cares about is getting his message out there. And in addition to his comedy, Kilstein’s been able to spread that message through a wide range platforms. Him and his wife, Allison Kilkenny, launched the podcast Citizen Radio and co-authored the book Newsfail together as a way to rally against the corporate media machine and provide people with an unbiased look at the news.
For his latest project, Kilstein’s strapped up his guitar, wrangled a band together and made a whole damn album. I was able to talk with him about how it came about, who influenced him and why there probably won’t be any assholes listening to this record. So if you’re not an asshole, be on the lookout for ‘A Bit Much’.


AS: With Citizen Radio, and now this album, you’ve made a conscious effort to release your work independently. While it must be more fulfilling, does it ever get hard to find the money to keep going?

JM: Well, we’ve been able to get help from our label, Don Giovanni Records. They’re completely independent, and in the music industry, the most moral people tend to have the least amount of money, but they there so many awesome female punk bands like the Screaming Females and other great queer acts on this label, so it’s great being surrounded by all these different voices.

But the thing about our podcast is that we started it 8-9 years ago when we were homeless and had no money, and now it supports us the most. We can’t get fired or have our sponsors pulled because we have no sponsors. Glenn Beck’s fans were attacking us a while back and they kept demanding that our sponsors pull out, but we never had any to begin with! We never wanted to work for someone, and to us, that pays off more.

Yeah, a lot of people love your podcast and the medium as a whole has been garnering a lot more respect lately. Do you see that as the old guard starting to crumble?

I know! And the funny thing is now that podcasts are being taken more seriously, we’ve been taking ours less seriously. We’re just getting weirder and weirder with what we’re doing because we have an audience and they’re not going anywhere.

I just want to weed out the hacks who don’t know how to be creative and make it easier for those who are creative to make something. When I started doing stand-up, there were these bringer shows that all the club owners would make us do in order to perform in front of people in the industry. You’d have to bring, like, 20 people to get on and you’d always get screwed over. So taking power away from people like that and going out on your own is an option podcasting has given people.

Ever since you first started doing stand-up, I’m assuming people immediately started shouting the name ‘Bill Hicks’ at you. And when listening to ‘Fuck The NRA’, I couldn’t help but think about Rant In E Minor and his guitar intermissions in between his material. But your song has a more actualized version of the two melded together. Is that something you had in mind when recording?

Bill Hicks was a great guitar player. And he might’ve done something like this had he not passed, who knew what he would have done later in life? When I was working on the album, I sent it to Bill Hicks’s brother, and he really liked it.

I’d really love to do what Henry Rollins does, where he talks for about an hour, then he plays music. I wanted there to be a half and half on this album. Music just makes it easier to feel something. Like, how many shitty movies or commercials have you cried to because the music was perfect?

Your special is also coming out soon, so did you have to pick and choose which material would best fit on the album as opposed to being in your special?

The special got pushed off because the director had to go direct an Oscar winning movie, so it actually worked out for the best. There’ll definitely be music in the special, though. I’ve been doing stand-up for 15 years, and I only felt happy when I started doing these rants. Reggie Watts and I toured together, and at the end of the show, he’d beatbox to my rants.

So the more I’d do my rants, they’d go over better than all my other material. I remember doing a show in LA, fucking Moby was there. And LA’s known for being a place where you can’t really try out new material, but I didn’t care. I did one of my rants there and it killed. So all my rants started doing better than my material and then I started writing songs, and that went over better than the rants.

Humor’s just another instrument. A lot of Frank Zappa’s songs are funny, but nobody ever cut him off when he was playing and shouted, “WHAT ARE YOU?” Which is why I’m not gonna make an album where the music itself isn’t killer.

That’s definitely something that shined through on ‘Fuck The NRA’. The musicality was really well done. Also, the video was hilarious. How much footage of bad Steven Segal inspired karate moves did you have to leave on the cutting room floor?

All of that was done in one take. We came up with the concept and then they improvised on that. All of those guys are in the UCB improv community, so they’re used to working together and building stuff. We’ve been really trying hard to have a bunch of diverse bands open for us for the tour, and as soon as we came up with the video idea, we were like, “fuck, we gotta hire a bunch of my white guy friends.”

So were there any artists in particular you were trying to sound like, if any?

What I love so much about this album is that all the songs sound different. I grew up listening to Phish, our bassist is a huge fan of Fugazi, and we’ve also got a guy who went to Berklee School of Music for violin. I grew up with the craziest spectrum of music. I loved NWA, Stevie Ray Vaugn, The Gin Blossoms. So we want to be influenced by everything for us to create our own community. Just push the limits.

Whenever somebody does something they’re not known for, I always expect the fanbase of that person to flip out, but all your fans seem to be so incredibly supportive of what you’re doing. Has that surprised you at all?

It’s nuts! But they’re my family. I get so personal with them about depression and addiction, they know me so well at this point. Like, when some hot guitarist posts a new photo of himself all sweaty and shirtless, the comments are like, ‘you’re so hot,” but I just posted a photo of me holding a guitar and my fans all comment, “you look so happy!”

Our careers have been hard. I’ve gotten fired from jobs just for saying, “gay people are people,” so our audience gets a lot of credit for supporting us. And at this point we’ve weeded out all the assholes, and now there’s such a big douchebag buffer that we’ve made it impossible for you to like what we do. When I first posted that photo of me with a guitar, they didn’t know I could play it, they just went, “I guess we’ll see where this goes.” That’s the kind of artist I want to be. Allison and I still have scripts we wrote together, so it’s fucking amazing to have fans who allow us to try different things.

Be sure to see Jamie this Thursday, April 28th, at the Bowery Electric. And see where he’s performing next here!

April 20, 2016 5:19 pm

What seems like an overnight development has become the most prolific indie pop artist of the past 10 years. Visiting her BandCamp page will undoubtedly overwhelm, since there are 51 different releases of hers on there. I haven’t listened to each one of them because I am a human being with flaws just like everyone else.

All that productivity does bring to question how someone is able to generate that much work from 2009 to present day. It’s rather impressive for someone to already such a robust catalogue in such a short span of time. Almost too impressive. Suspiciously impressive.. Personally, I think it’s a product of Frankie’s excellent work ethic, as well as her skill as a songwriter. Other fans, however have their own theories.

I will go on record and confidently state that Frankie Cosmos might not be a lizard person. Maybe. Who knows? Regardless of that eternal mystery, what we do know is Frankie recently released Next Thing, her first project of 2016. It’s a collection of affectionate, humorous ditties.

And what’s most endearing about her songs is how she’s able to write a line that’s funny without it being overbearingly jokey. For “I’m 20” no one-liner takes away from the crisp melancholia of the track. The delicacy in which a line as clever as “I’ll sell my soul for a free pen/on it, the name of a corporation,” is delivered helps the song as whole shine through as opposed to any particular witticism.

Many of the songs off Next Thing have an extemporaneous, yet still personal, feel to them, as if they were essays spawned by a creative writing prompt at a workshop. Yet the free flowing nature in the words of songs like “Outside With The Cuties” and “O That Dreaded C Town” live withins tightly paced songs that don’t even touch the three minute mark. The fun pop songs on here like “If I Had A Dog” and “Sinister” make for a better paced listen, but the builds that lead toward less A-to-B endings linger on in the mind longer.

With a seemingly bottomless pit of melodic prose at her disposal, Frankie Cosmos has been able to create her own distinguishable identity as a singer-songwriter. Next Thing is another addition to her expansive discography, and while the work here is as charming and effective as her others, her ridiculous productivity takes away the specialness of this particular record. It’s just another very good piece of work that’s part of a long long string of very good work.

Frankie has yet to release a paradigm shift of a record yet, but even if she doesn’t, the granular treasures in her music that help her stand out are so unique to her own self that it’s really hard to see her getting usurped in any way. Her music will continue being irreverent and engaging, which is something no amphibian creature could ever pull off.

February 24, 2016 3:55 pm

Jack Tatum aka Wild Nothing has returned with Life of Pause, his third full-length installment on Captured Tracks. Once again Tatum builds majestically shimmering dreamscapes that incorporate a varied palette of influences. This is a record dripping with nostalgia, which seems to not only stem from the particular sounds Tatum jives towards, but also the themes from which Life of Praise revolves. Not uncommon among aspiring artists coming of age, Tatum’s sound explorations mimic his own personal experiences as he grapples of themes not unfamiliar to the Dream Pop cannon: identity, coming of age, love.

lifeLife of Pause opening track “Reichpop” grabs you right through the time-space-continuum portal into a Remain In Light-era Talking Heads groove accompanied by nonsensical lyrics “I am the silencer / I am the only one”.  “Japanese Alice” opens with Shoegazey guitar swerves recalling My Bloody Valentine, but then quickly settles into a funk cut more akin to Toro Y Moi. “Lady Blue” sounds like it was penned by Buckingham-Nicks for Fleetwood Mac’s forgotten late-70s synthesizer record.  It’s on “Lady Blue” that Tatum begins one of many spacey inward discussions about love, “will I find a way / to make sense of the way that you love me?” On “Every Women’s Wisdom”, Tatum points out to a perspective lover, “I don’t believe in heaven / but baby, you can be my church.”  Who wouldn’t be flattered by that line? The title track has an odd resemblance both sonically and stylistically to Foxygen’s “How Can You Really”, which makes sense since both artists cup their hands into a similar stream of hazy 70s leisure rock vibes.   On “Whenever I” Tatum comes full circle, realizing, “And I thought you were onto me / And I thought you’d be good for me / But I know what you are now.”

Overall Life of Pause is nothing short of an entrancing, fluid, well-constructed collection of tunes. If you’re into either neo-psych wave of bands currently in vogue such as Tame Impala or the aforementioned Foyxygen, or dream pop standbys like Beach House or Kurt Vile, this record is a shoe in.  The only real critique is that 11 tracks and close to an entire hour’s worth of transcendental psych can really start to drag on.  But perhaps that’s not such a negative, as it allows you to come back another day and still have a few fresh tracks to bring you back in.

Wild Nothing will be touring extensively in support of Life of Pause, check out dates here.

December 8, 2015 6:37 am

Neon Indian is finally back on the road with his new album Vega Intl. Night School and proves that it was worth the two year wait. Who knew he’d be flying halfway around the world to play for a Japanese crowd? Apparently it’s his “favorite place to be on earth.” Maybe he got some of that “popstar” quality from his father who was quite the musician in Mexico back then. Either way, I got the chance to enjoy how he rocked the crowd in Japan last week.


Photo by Youka Nagase


Photo by Youka Nagase

As Alan Palomo stands on stage you could feel the excitement in the room. People were shouting all kinds of stuff from “Neon Indian!”, “You’re awesome!” to “I love you, you’re hot!” His feet start dancing to “Annie” and shows us some bold dance moves to the reggae guitar beat and the girls in the front row are mesmerized by him. Very much like his album, it felt like a drunken memory with echoey vocals on top of the overlapping synth and flashing rainbow lights. The kind of drunken memory that I wanted to last forever. The Glitzy Hive is that song you just uncontrollably dance to like you’re at an 80’s party sporting a neon jacket. I mean, the lyrics literally say “Party, she’s at the monster party. Party, party” with the perfect beat so how could you even stay still during this song?

Unlike other musicians he doesn’t pull the kind of “bullshit” and tease his fans telling the crowd that it’s the “last song” when there’s clearly 3 more important songs that everyone’s been dying to hear. Instead he cruises through the set and tells us that the supposedly “last song” isn’t the last one because let’s face it, the encore is the best part and nobody wants a good show to end! Of course he leaves everyone’s favorite “Polish Girl” towards the end, leaving everyone on a high from all the chillwave.

November 18, 2015 8:00 am

11879282_915512138498784_387818074703786107_oThe weather in New York hasn’t quite made up it’s mind about whether it’s fall or winter yet (Is it even supposed to be this warm?) Luckily for us, Victoria Reed made Baby’s All Right an enchanting evening full of surprises. Detroit-bred Victoria Reed made her NYC debut performance in the heart of Williamsburg, charming the crowd with her calm and soothing voice, very similar to that of Norah Jones. She expresses her heartbroken love stories to the crowd and puts them in a song in the most beautifully sweet and mellow way. She’s basically Brooklyn’s underground Taylor Swift. She emanates the perfect after-work, chill vibe and the crowd seemed more than pleased to encounter this chic musician in fashionable white cowboy boots perform in one of Brooklyn’s most loved venues.
The city is full of surprises when it comes to underground musicians waiting to be discovered. It’s no doubt that Victoria Reed will capture your hearts and reminisce about those past (or current) relationships that you’ve had. Her debut album Chariot being released on February 26th next year will make you want to sit by the fireplace under a blanket with a hot cocoa in hand, which I’m sure will satisfy all of our cravings during that time of year anyway. Go do your ears a favor and give her a listen.