Megan Park’s second written and directed film, “My Old Ass,” premiered in select theaters on Sept. 13 and was released nationwide on Sept. 27. Park, known to many for her acting role in “The Secret Life of the American Teenager,” also wrote and directed “The Fallout,” which garnered several awards.

Set in a cranberry farm in rural Ontario, the film unfolds during the summer before Elliott (Maisy Stella, “Nashville”) departs for college in Toronto. On her birthday, Elliott and her two friends — played by Maddie Ziegler (“The Fallout”) and Kerrice Brooks (“The Cypher”) — decide to take mushrooms. During her psychedelic journey, Elliott encounters her 39-year-old self, portrayed by Aubrey Plaza (“Parks and Recreation”).

The unexpected encounter with her older self becomes a turning point for Elliott. The 39-year-old version of her offers advice, helping her navigate the challenges of growing up and moving for college, reconnecting with family and understanding the intricacies of romantic relationships.

The film stands out with its wit and humor, yet also delivers tear-jerking moments. The cast has undeniable chemistry, especially in the sweet, heartfelt scenes between Elliott and her mom, which are sure to resonate with many viewers.

Chad, played by Percy Hynes White (“The Gifted”), is a boy who comes to help Elliott’s father with the farm for the summer. His dynamic with Elliott is electric, and the two actors work well together, adding depth to the film.

The film also uses visual symbolism to deepen its narrative. The cranberry farm, for example, can be seen as a metaphor for both fertility and stagnation. Elliott’s life is “about to begin” as she says, yet she remains stuck in the comfort of her familiar surroundings. 

One notable drawback in the film is the cinematography. While the saturated color palette aims to portray summer, it comes across as overly stylized, reminiscent of a commercial rather than a feature film. The hyper-saturated visuals occasionally feel disconnected from the emotional depth of the story, as if the film is trying too hard to appear aesthetically pleasing without adding any real texture or mood to the narrative.

The soundtrack is also somewhat forgettable. Though there are a few nostalgic needle drops from the early 2000s, the music does not offer any standout moments that leave a lasting impression.

Additionally, there is perhaps one too many boat-riding montages. While these scenes seem intended to highlight Elliott’s connection to her hometown, they feel more like filler and do not significantly add to the film’s depth.

What the film does surprisingly well is its portrayal of queer characters in a refreshingly normal light. The characters’ sexualities are integrated naturally into the story without unnecessary focus or negativity. It is refreshing to see fully developed characters, allowing for more authentic and nuanced representation.

“My Old Ass” is a great blend of wit, emotion and insightful storytelling. While its script is funny, it does not shy away from heartfelt moments. Despite some critiques, the movie shines in its portrayal of genuine relationships and personal growth. It is a must-see for fans of coming-of-age stories.

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Tiffany Majette, known by her stage name Orion Sun, released her third album, “Orion,” on Sept. 20. She has been on a steady rise since she dropped her first album in 2017, “A Collection of Fleeting Moments and Daydreams.”

The album begins with “When I Was In Love.” The first sounds are footsteps in grass, followed by Majette humming as the instrumentals slowly come into the picture. She sings about a love that felt too good to be true: “Don’t wake me up, oh what a dream it was.”

Three of the album’s singles follow: “Already Gone,” “Mary Jane” and “Sweet.” “Already Gone” is the most popular of the three, and it is also the most Orion Sun sounding. It has a dream-like sound to it, as Majette’s soft vocals seem to float over the subtle synth and guitars.

An interesting detail to note is the first song on her 2017 debut is also titled “Orion.” It is likely the 2024 record is a nod to her earlier work, suggesting a full-circle moment in her artistic journey. Perhaps she revisited her past projects, using the latest release to connect with her roots while showing her growth.

In “Sick,” Majette sings of a different love than she began the album with, this time a deep, unrequited love: “Purple rain, I’m in pain, you don’t love me the same.”

She also makes a clear reference to Prince’s “Purple Rain,” comparing her own feelings of heartbreak and sadness to the themes of this song. She directly references his lyrics with her own: “I never meant to cause you any sorrow.”

Majette has spoken on the meaning behind her stage name in a 2020 interview with Schön! Magazine: “‘Orion’ is in reference to the constellation and his profession as a hunter. To be a good hunter you need patience and focus which is what I strive for in art and in life. ‘Sun’ is in reference to my favorite star in the sky. Sometimes I feel like I’m a better friend, daughter, sister from a distance. If the sun was closer to earth I’m sure we would be hurt in some way. It’s at the perfect distance, we can still feel its warmth and being more introverted than I would like to be, I strive to give warmth to the people I love even when I can’t see them every day.”

Another standout is “Twilight Zone.” Majette brings back the theme of dreaming from the beginning of the album, this time questioning if her relationship was all a dream. The song is consistent throughout, and it has a notable Orion Sun R&B sound.

The final single, “These Days,” is the eleventh song on the record. The chorus features strings, which is different from most of Majette’s other songs. She sings about the ups and downs of life, saying, “These days, these days, I swear it’s so cyclical, merry-go.” Again, she is tying in themes of reflection.

“Rather Be” is one of the best tracks. Its production is rich with synths and layered instrumentation. The guitar after the chorus is particularly memorable.

“Don’t Leave Without Me” starts to slow down the album. Majette sings about a girl, who could also be herself, as she “learned to grow, she can bloom in any season.” In the second verse, she feels anger like fire, but as the chorus repeats again, she sings, “Don’t you leave without me though.”

 The final song is a soft, sweet tribute to Majette’s grandmother. In “Gannie,” she recalls her grandmother singing to her as a child. Even though she has passed, she sings, “Grandma don’t stop singing for me / I stop to listen / Came to me in a dream.”

Majette’s unique blend of R&B, jazz and indie, paired with her introspective and vulnerable songwriting, truly makes her stand out, not to mention her incredible vocals. Her other two albums are definitely worth the listen as well, as they help put “Orion” in perspective.

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Released on Sep. 6, “Beetlejuice Beetlejuice” picks up a few years after where the 1988 Tim Burton classic left off. Michael Keaton is back as the mischievous Beetlejuice, Winona Ryder reprises her role as Lydia Deetz and Jenna Ortega joins as Lydia’s daughter Astrid. Catharine O’Hara returns as Delia Deetz, and Willem Dafoe shows up as the quirky “policeman” Wolf Jackson.

The plot kicks off with a twist: Lydia is now the host of a talk show called “Ghost House” with her boyfriend Rory, but things take a dark turn when she has to head back to her childhood home after her father’s passing. Meanwhile, Beetlejuice, the demon with a marriage proposal that Lydia did not accept the first time around, is still causing mischief.

Beetlejuice’s ex-wife, Delores (Monica Bellucci), is back from the afterlife and is on a quest to track him down. Beetlejuice recruits Wolf, the oddball cop, to help him out, and the plot thickens from there.

The opening sequence stands out, as the viewer is taken through an aerial view of the town, only to realize that it is actually a model. This playful touch sets the tone for a sequel that is just as self-aware as its predecessor. Even the title itself is a cheeky nod to the original: say “Beetlejuice” three times to summon the demon himself.

The special effects in the new movie have a nostalgic charm that is reminiscent of the ‘80s original. Rather than opting for modern CGI, the film embraces practical effects and quirky visuals that give a nod to its predecessor’s unique style. The mix of practical effects and animation make the supernatural elements feel retro.

Keaton’s performance stands out among the rest. He plays the role of Beetlejuice with the same eccentricity and offbeat charisma that made the original film a cult classic. 

Ryder shines once again as Lydia Deetz, bringing an effortless quality to her performance. It is a treat for fans of the original film to see her play the same role she did as a teenager. She perfectly captures the character’s growth while honoring what made her memorable in the first movie.

Ortega continues her streak of playing slightly gothic characters. While her performance is solid and consistent, it does not venture too far from what audiences have come to expect. Ortega delivers with her usual melancholic flair, but there are not many surprises as far as her acting execution.

Rory (played by Justin Theroux) is designed to be somewhat irritating, but it is clear that is exactly the point. Theroux’s commitment to the role adds a layer of humor, even if it occasionally tests the viewer’s patience.

The film’s humor, while often hitting the mark, is sometimes too on-the-nose. However, it manages to find a good balance, delivering enough laughs to keep the overall tone enjoyable.

Astrid’s subplot, on the other hand, feels cringeworthy. It comes across as cliché and predictable, and it is unclear if it was meant to be intentionally overdone.

Despite these issues, “Beetlejuice Beetlejuice” is a fun and entertaining sequel. With its nods to the original and quirky charm, it is worth the watch for old and new fans alike.

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Alternative indie band Crumb recently kicked off their US and Canada tour for their third studio album “AMAMA.” On Aug. 25, they made their way to Atlanta and played at Buckhead Theatre.

They have two openers for the first leg of their tour: Discovery Zone and L’Rain.

Discovery Zone kicked off the show with a dynamic blend of techno and experimental pop. She performed solo with mesmerizing visuals projected in front of her. This backdrop featured everything from abstract shapes to scenes of sea life. One of the highlights of her set was “Dance II” from her 2020 album “Remote Control.”

Do not miss her latest album, “Quantum Web” — a captivating collection of experimental yet catchy tracks.

L’Rain took the stage next, with three other musicians accompanying her. She also makes experimental music, but it is more rooted in jazz and R&B. Her voice is incredible, and she truly pours all of her emotion into her performance. Most of the set was from her 2023 album “I Killed Your Dog.”

Finally, Crumb began their show. The band consists of four members: Lila Ramani (lead singer and guitarist) Bri Aronow (keys and saxophone) Jesse Brotter (bass and vocals) and Jonathan Gilad (drums). They all met while attending college at Tufts University in 2016.

They kicked off the set with “AMAMA,” the most popular track off of their new album of the same name. The song opens with a sample of Ramani’s grandmother singing. The song pays tribute to her in a beautiful way, as the lyrics delve into their disconnect due to not speaking the same language. 

They followed up with “Cracking” off their 2019 album “Jinx,” a short song about not letting negative emotions overrun you or “crack” your stability.

The backdrop consisted of four large moving sculptures that resembled Jacob’s ladders. One side of the blocks was metal, and the other was a bright pattern. The section on top rotated so that each side would alternate between the two, creating a simple yet interesting background. 

Another standout song that was played was “The Bug.” Ramani’s vocals especially stood out, as she and the rest of the band sound nearly identical to the recorded version.

They also played the opening song on their recent album, “From Outside A Window Sill.” Romani’s vocals echo nicely along with soft electric guitar and drums. The bridge features a sample of a police radio scan about a flock of geese in Brooklyn, where Ramani is from. 

This song has slight ties to “The Bug,” as some lyrics feature insect descriptions: “Buzzin’ when the air is hot… and humans and the critter sounds.”

Aronow’s piano and saxophone skills were a highlight of the show. Keys back many of the tracks that Crumb plays, making them an essential element of the band’s sound. The saxophone adds a distinctive layer, giving each song a unique and memorable quality.

“XXX” was the final track they performed from “AMAMA,” a fitting choice as it is also the album’s closing song. The lyrics are heart-wrenching: “Be still and kiss my face now, maybe it feels so wrong but don’t stress.”

They performed two of their most popular songs, “Ice Melt” and “Ghostride.” “Ice Melt” is the title track from their 2021 album, which played a significant role in solidifying Crumb’s reputation as a standout indie band of this era.

They closed their set with “Locket,” a track from their 2017 EP. This song has a more bedroom pop sound compared to their recent work, offering an interesting glimpse into the band’s evolution over time.

While Crumb might not stand out as a massive name in the indie music scene, their ability to reinvent themselves with each project sets them apart. If you are looking for calm study music, their discography is definitely worth exploring.

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After releasing the song of the summer, “Espresso,” Sabrina Carpenter’s long-awaited album “Short n’ Sweet” was released on Aug. 23. This is her sixth studio album, and her second album with Island Records, her most recent label signing after her five-record deal with Disney.  

Although Carpenter has been in the industry for over ten years, her latest singles have topped charts and drawn significant attention to her work. The album’s second single, “Please Please Please” was her first number one song on Billboard’s Hot 100, and “Espresso” was her first song to reach one billion streams on Spotify.

Jack Antonoff, one of the most well-known producers in the pop sphere right now, worked on the record’s production. His recent collaborations include Taylor Swift, who Carpenter recently opened for on her tour.

The album starts off strong with “Taste,” an energetic pop song beginning with the line “I leave quite an impression / five feet to be exact.” 

Carpenter sings to her ex’s new lover, saying that her own presence is still lingering despite them being separated. Olivia Rodrigo’s “Obsessed” is similarly themed.

“Please Please Please” is the second song. Carpenter brings out more of her dark humor with lines like “I know you’re cravin’ some fresh air, but the ceiling fan is so nice.” The production has almost an 80s feel, with funky synths and electric guitar.

“Good Graces” starts out with an almost R&B sound but quickly turns into a pop track. Carpenter describes her approach to a relationship from beginning to end; she will put herself all in, but if her partner disrespects her, she will “switch it up like that so fast.”

The fourth song “Sharpest Tool” is where the record starts to slow down. Carpenter’s voice softly starts out singing, “I know you’re not the sharpest tool in the shed” as light guitar builds in the background. Essentially, she is calling her ex unintelligent and confusing during their relationship, and she plays into her own words by saying, “If that was casual, then I’m an idiot.”

Carpenter’s bluntness is a defining trait throughout this album. While her straightforward approach can sometimes seem uncreative, there are other times when it works well with her humor and verbiage.

The next song, “Coincidence,” is another acoustic song with a similar theme of a toxic relationship. With hints of Carpenter’s twang, it almost reads as a country song.

Things speed up a bit with “Bed Chem,” a sensual song filled with innuendos about Carpenter navigating the chemistry and tension of a romantic relationship. Word play and puns are a theme throughout this project, which Carpenter has expressed enjoying and always tries to incorporate into her songs.

The infamous “Espresso” follows, appearing in the final third of the record. Its simplicity and recognition make it feel somewhat out of place, as if it does not quite belong on this album. It is more of a standout single than a piece in the puzzle.

“Dumb & Poetic” is a short ballad that shows off Carpenter’s vocal range. She sings about a manipulative ex who thinks he is all-knowing and well-read, expressed by lines like “Try to come off like you’re soft and well-spoken / Jack off to lyrics by Leonard Cohen.”

“Slim Pickins” is another country-esque track, where Carpenter reflects on the challenges of dating men, emphasizing her struggle to find any with potential and eventually settling.

Another love song lyrically similar to “Bed Chem” is “Juno.” The song’s title references the 2007 movie of the same name that tells the story of a pregnant teenager. Carpenter sings about how much she desires her partner, making the song’s theme easily inferred.

One potential issue for some listeners could be the cringe-worthy nature of certain lyrics. For instance, “God bless your dad’s genetics” from “Juno” does not quite roll off the tongue and comes across as tacky.

“Lie to Girls” is a heartfelt ballad where Carpenter showcases some of the more memorable lyrics on the album like “You don’t have to lie to girls / If they like you, they’ll just lie to themselves.” Carpenter’s emotional delivery makes it one of the standout tracks on the album.

The final track “Don’t Smile” might be the best song sonically. The dreamy sound paired with  Carpenter’s layered harmonies creates an ethereal atmosphere. In the chorus, she repeats, “Don’t smile because it happened, baby / Cry because it’s over,” playing with the popular saying “Don’t cry because it’s over, smile because it happened.” This twist adds emotional depth, capturing the bittersweetness of letting go of a relationship.

Carpenter has an incredible range, and although it is highlighted a bit more on this project than in her previous works, it seems like it could have been emphasized even more. A few moments hint at her full potential, but expanding on those would have made the album’s impact even stronger.

Many of the songs on this record have similar themes, but they do not flow together to form a cohesive narrative, which in turn makes it sound repetitive. It is definitely an improvement from her previous albums, but Carpenter still has room for growth in terms of creating a more coherent and dynamic record.

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Former bedroom popstar Claire Cottrill, better known by her stage name Clairo, released her third album on July 12. With production from Leon Michels of soul group El Michels Affair, “Charm” is a record that blends Clairo’s songwriting with her ‘70s musical upbringing.

Clairo is widely known for her self-released song “Pretty Girl” and hits “Bags” and “Sophia” off her debut album “Immunity.”  

Many fans were hoping for an album that blended the lyrical maturity of “Sling,” her second album released in 2021, with the sound of “Immunity,” but they received something completely different.

The album opens with “Nomad,” the second single, which she played on the “Sling” tour. With the addition of Michels’ production, the song has a vastly different sound than the live version. A notable part of the song is the change in the bridge and the pacing changes as cellos are introduced.

The first single, “Sexy to Someone,” is the next track. Clairo perfectly describes wanting to feel desired with the line, “Checking out of the hotel or moments at a bar / Ask if I’m in a movie, no, I didn’t get the part.” 

The production starts to get more jazzy with “Second Nature.” Clairo uses this common phrase to illustrate how someone can become deeply comfortable with a person in a relationship. She also incorporates nature imagery with the line “Like the sap from the cedar / Rolling down to be near her.”

“Slow Dance” has a similar production to “Second Nature.” The lyrics seem to describe a one-sided relationship; Clairo wants to be closer with this person, but she is not their priority: “And, too, when candles burn out… I know you’ve got people to turn to.” The flutes and Rhodes piano after the chorus are standout elements of the song.

“Thank You” portrays another unbalanced relationship. Clairo says, “I don’t invest the way I prefer someone to in me,” and going as far as, “When I met you I knew it, I’d thank you for your time.” Clairo admits to being aware that she was the one with the power in the relationship, and it is refreshing to hear such honesty. Once again, the flutes and wind instruments in the bridge shine in this song.

Things slow down with the introduction of “Terrapin.” The jazz piano is definitely the standout part of this song. Clairo sings about feeling comfortable enough with herself to socialize and meet new people.

“Juna” might be the most instrumentally diverse song on the album. Piano is at its core while percussion joins in with a triangle on the chorus. Her voice layered with the instruments is almost psychedelic when she sings, “You know me, you know me.” 

Near the end of the song, Clairo does a trumpet sound with her voice followed by an actual trumpet. It’s a unique part of the album and shows her growth as a producer.

A final catchy song is up next: “Add Up My Love.” The structure is more traditional, with clear-cut verses, chorus and bridge. Clairo dives into an intimate exploration of the relationship with “Do you miss all the ways I put you in your place? You say you like all of my attitude.”

“Echo” seems to take inspiration from Elliott Smith, with acoustic guitar at its base and synths sprinkled throughout. It is eerie but sweet, the chorus echoing “Our love was meant to be shared, while our love goes nowhere.”

“Glory of the Snow” is Clairo allowing herself to explore sweet memories she had with an old relationship. It contains one of the most beautiful and poetic lines in the entire album: “I pull on the string that binds me to memories of the way I loved you.”

There is an immediate transition to “Pier 4,” which many have said is the “Blouse” (a song off “Sling”) of “Charm.” There are hints of The Beatles throughout, and it is mostly acoustic with some buildup at the end. 

Clairo reminisces about past relationships and her role in them. Some especially hard-hitting lines are “Where’s your line, when do you draw? / When close is not close enough” and “Opened my hands and I know I’ve shut some.”

Clairo’s growth throughout all of her albums is clear, with her songwriting, production and focused tone. She has always had a way of clearly describing specific feelings without complicating them.

Similar to “Sling,” Clairo said in an interview with NPR that her placement of the first and last songs on the album were very intentional: “There was something I wanted to do with the album, and I intentionally made ‘Nomad’ and ‘Pier 4’ the first and last songs on the record, because I do feel that ‘Nomad’ is the daydreaming about somebody, the yearning that you have of a person, and then ‘Pier 4’ is kind of at the end of your experience.”

With its unique production and profound themes, “Charm” will surely be one of the best albums of 2024.

The post Third Time’s the “Charm” – Clairo’s New Album appeared first on Technique.

“Chestnut,” a film that originally premiered at Frameline Film Festival a year ago, just released in select theaters this June. Written and directed by Jac Cron, it stars Natalia Dyer (“Stranger Things”), Rachel Keller (“Tokyo Vice”) and Danny Ramirez (“Top Gun: Maverick”).

The film follows Annie, a recent college graduate, who is stuck in Philadelphia for the summer. It opens with a scene of Annie’s dad waking her up with a phone call, and they discuss when she will move out to Los Angeles for her job.

The majority of the film takes place in Annie’s apartment and between a few bars, making the storyline feel realistic and personal. No extravagant events or destinations, just a typical person doing normal things in her college town.

Annie spends her time in her apartment alone or occasionally hanging out with her friend Jason, but one night, she finds herself alone at a local bar. This is when she first meets Tyler and Danny.

Tyler asks Annie what she’s drinking, to which she responds, “Just wine.” The two girls end up talking for a few hours before going back to Tyler and Danny’s apartment.

Annie sits on the couch with Tyler while Danny makes some drinks. There is palpable tension, but it is unclear as to why. After Tyler and Danny get upset with each other, Annie decides to leave.

This marks the beginning of Annie’s summer with Tyler and Danny. The three of them, and sometimes Danny and Tyler’s friend Connor, hang out by going out to bars and clubs.

The exploration of Danny’s character stands out. At first, he is a fly on the wall, but he comes into the spotlight and his real personality shows throughout the course of the film.

Tyler is a different story. She is confusing yet elusive to Annie, and she remains a mystery for most of the film.

An interesting note is that the names of her two companions, Tyler and Danny, are androgynous. Annie and Tyler speak about this in an early scene where Tyler says she used to hate her name as a kid. This seems to represent the undefined relationship dynamic between Tyler and Danny, and eventually Annie.

The entire cast did an amazing job, but Dyer’s performance takes the cake. It felt like we were watching her, not a character. From her delivery of wispy lines to her mannerisms and facial expressions, this role felt personal and lived-in.

Having a smaller cast also made the plot easy to follow. Each character had a purpose and contributed to the story in some way, even if it was just for part of the movie.

This film was a rollercoaster of mixed emotions, but it was entertaining throughout. At just 90 minutes, it offers a compact yet impactful exploration of love, friendship and self-discovery. It is a must watch for everyone, especially those at the crux of young adulthood.

The post Natalia Dyer Shines in “Chestnut” appeared first on Technique.

Following the release of her third studio album, “Don’t Forget Me,” Maggie Rogers began her tour of the same name in early May. She made her way to Alpharetta to play at the Ameris Bank Amphitheatre on June 11 with opener The Japanese House.

Rogers played a collection of songs from all of her past projects, including the infamous “Heard It In A Past Life” that kickstarted her rise to fame.

She opened the set with the first four songs on “Don’t Forget Me”: “It Was Coming All Along,” “Drunk,” “So Sick Of Dreaming” (the lead single for the album) and “The Kill.” 

“The Kill” tells a story of a toxic relationship. The song’s chorus switches up the possessive pronouns each time, emphasizing the relationship’s back-and-forth nature. Rogers told the audience that a group had signs with “you,” “I” and “we” to indicate the correct pronouns, but they were not in the correct order. The audience laughed, as did Rogers.

This part of her show was filled with a dynamic energy from the crowd and from Rogers herself. Some of her newer songs are folk-inspired, reflecting her roots in suburban Maryland where she was raised. Some of her older music can be heard on her compilation album “Notes from the Archive: Recordings 2011-2016.”

Many parts of her performance were reminiscent of young Taylor Swift. Her blonde hair, black dress, and acoustic guitar looked like Swift during her “Speak Now” tour.

She then went onto play songs from “Surrender,” including “Anywhere With You,” “Shatter” and “That’s Where I Am.” 

Rogers’ vocals shined throughout her performance. Many of her songs ended with long riffs or high notes, and she was perfectly on key for each one. Her voice is severely underrated in the indie realm.

She finally played the famed “Alaska,” but an acoustic rendition, which likely disappointed some people. This song jump-started her career with the well-known Pharrell reaction video from her NYU class. 

Although she made “Alaska” acoustic, she did bring in some synths and electronic beats to “Fallingwater” and “Light On” (of course the phone lights went on during this song). She closed the set with “That’s Where I Am.”

A significant part of her live shows that has changed over the years is her dancing. During her “Heard It In A Past Life” era, Rogers danced around stage in a unique, flowy way. Although she did dance during this show, it was not similar to her old dancing at all.

Rogers and her band exited the stage, but they soon came back on to perform her encore song “Don’t Forget Me.” It is the last song on her album, so it was fitting.

Lastly, she did a cover of Bonnie Raitt’s “I Can’t Make You Love Me.” It was just her voice and a piano: a beautiful way to close out her set.

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On Oct. 28, 2023, Madison-turned-Chicago-based band Slow Pulp played a show at the Masquerade in “Hell,” the smallest of its three venues. They are currently on tour for their latest album release, “Yard.” Notable tracks from the band include “Falling Apart” and “High,” which both made their way onto the setlist.

The band formed in 2015 and contains four members, a group of friends originally from Madison, Wisconsin.

Due to the show being near Halloween, Slow Pulp requested via their Instagram that the attendees should come in costume. When the band members came out on stage, they revealed their Scooby-Doo outfits, with the keys player dressed in a Scooby onesie. The audience was a sea of characters and creatures alike. 

They opened with two songs off the new album: “Slugs” and “Carina Phone 1000.” The latter song brings up conflicting feelings shared by playing phone tag with a friend. The repeated line at the end, “That’s life I guess,” resonates with many people who are beginning their adult phase, whether it be college-aged or beyond.

They also played songs from their first album “Moveys,” including “Track” and “Falling Apart.” One unique song from this project is “Trade It,” with some of the back track echoing Alex G’s instrumentals.

Another standout moment was Emily Massey’s Phoebe Bridgers-esque vocals during “Cramps,” a new release off of “Yard.” Her range and ability to hold notes with only small breaths in between is nothing short of impressive. The lyrics repeat, “But I want everything,” and Massey’s voice added much power to the song. 

One of their singles, “At Home,” was fun to hear live, due to the catchy melody and interesting drum riffs. Massey’s voice echos “Should I try all over again? / To try all over again” in a beautiful tone, calling out to a potential lover about past regrets.

This show was especially interesting because the band had not one but three encore songs.

The first was “Yard” off the album of the same name, another song in which Massey shows off her impressive sustained notes. This song is only backed by other vocals and piano, so her vocals especially pop.

The next was highly requested by a few audience members throughout the show, titled “High.” The moment they opened with the lyrics “I have too much in my pockets / I wish they were empty,” the crowd cheered. 

The first verse starts off slow and soft with only Massey’s voice, acoustic guitar and some cymbals, but the moment the chorus kicks in, there is a lick from an electric guitar that raises the energy. The crowd began to bang their heads to the beat, singing the lyrics “I think I’m too high.” “Montana,” a song from their first project, closed out the set. It is a sweet song about making progress in terms of mental health. Near the end of the song, Massey pulled out a harmonica, and the crowd cheered.

Although small in following, Slow Pulp delivered an incredible performance. They certainly have some diehard fans. Next time they make it to the Atlanta area, be sure to check them out.

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Archy Marshall, better known as his stage name King Krule, had his debut performance in Atlanta on Sept. 8. He began his tour in July for his latest album, “Space Heavy,” released on June 9 of this year.

The set was simple; only a few large pieces of fabric, depicting artwork from his most recent album cover, draped the back wall. As the show went on, bright, contrasting lights made the backdrop appear two dimensional, almost cartoon-like. Marshall himself resembled a graphic novel character, with hot pinks and deep blues taking the place of highlights and shadows.

Marshall played a variety of songs from his previous projects, including “The OOZ,” “6 Feet Beneath The Moon” and “Man Alive!”

He opened with a few tracks from “Man Alive!” — most notably “Cellular,” the opening track of the album. The eerie vocals and lingering bass contrasted the first song he played from the new album, “Pink Shell,” which culminates with Marshall’s raspier vocals singing, “I am waiting for someone / I have not seen them anywhere.”

“Dum Surfer,” a popular track from his 2017 project, “The OOZ,” included deep background vocals, contrasted by jazzy instrumentals, from the live band.

Marshall then played a few tracks from “Space Heavy.” As he started out with a few slower, softer songs, “Flimsier” and “Seagirl,” Marshall’s calm voice was refreshing to hear. The latter song originally includes a feature from Raveena, but she was not present for the performance; the saxophone replaced her mystical vocals, adding a different flair to the live rendition.

The most upbeat song Marshall played was an older track called “A Lizard State.” This title is filled with the saxophone riffs and jazzy undertones that define the album. He compares himself to a cold-blooded reptile, longing for the warmth of someone. Within “A Lizard State,” Marshall sang the lyric, “It’s not fair, baby blue.” This line is a callback to “Baby Blue,” a sweeter love song.

He continued playing new releases, including “Empty Stomach Space Cadet,” a metaphor for letting go of his younger self who was consumed by depression and loneliness (much of what can be heard on “The OOZ”). The song also features audio clips of a young girl, presumed to be his daughter, singing.

The performance would not be complete without Marshall playing the remaining tracks of the album: “Our Vacuum,” “Seaforth,” “From The Swamp” and “If Only It Was Warmth.”

To conclude his “Man Alive!” songs, Marshall played the infamous “Stoned Again,” a song that does not require much interpretation. Paired with his yelling vocals and intense strobe lights, the performance was truly an immersive experience. 

Two of his most well known songs, “Easy Easy” and “Baby Blue” were saved for last. The entire crowd sang along with Marshall, playing deeply into the nostalgia of their teenage years.

Of course, the encore song was none other than “Out Getting Ribs,” the song that blew up from the release of Marshall’s 2013 album, “6 Feet Beneath the Moon.” The opening of the song was played with a sitar — the first time the instrument had been out on stage. This contrasted greatly from the recorded version, which mostly featured electric guitar with reverb.

Marshall and his band delivered an unexpectedly breathtaking performance; the saxophone player being a highlight of the show. If King Krule makes his way back to Atlanta, getting a ticket is a must as it will surely be an unforgettable performance.