Charm City Rhapsody

Album Review: Out and Down by Thee Windows

June 17, 2026

Hello friends! I’ve got a lot to say about the new Thee Windows album, but before I get started, I owe some of you an apology. Yesterday was the first time I've checked the charmcityrhapsody@gmail.com email inbox in months, because I kind of forgot it existed and got really busy with work and school. A bunch of people submitted stuff to me, and I’m so sorry for not responding. I’m planning a big catch-up post soon where I’ll go through everything that wasn’t super time-sensitive.

Alright, now on to the fun stuff.

Thee Windows is releasing their album, Out and Down, tomorrow June 18th, and I was fortunate enough to get an advanced listen. Spoiler alert: it rocks, and you should definitely both purchase a copy and head to the Ottobar tomorrow night for the release show.

Out and Down opens with a lovely ambient intro track with lots of noise and effects to build up a big sound that carries over into the next song, “Um Something.” The pair of tracks offers a little shoegazeyness without smacking you in the face with sound. The album then transitions to a more familiar, indie-pop vibe that I remember from Thee Windows’ live shows with the song “Losin’ It,” which sounds up-beat while concealing emotional lyrics that feel very personal, almost like diary entries. I related to the idea of thinking that love would be enough, as I’ve definitely been there. Qué sorprendente, it wasn’t enough. Another song with catchy music and lyrics that burrowed into my brain is “So Long.” I’ll be hearing the chorus, “So long, farewell, guess I’ll see you around,” in a loop in my head for the next few days at least.

While the lyrics of many of the songs have a marked sadness to them, that isn’t true of the whole album. For example, “Rupert’s Plan” is a fun little number about a “little man with big ideas.” There’s also “Lizard,” which I’ve always loved when I’ve heard it live, and it doesn’t disappoint in recorded form either. It tells the story of “the last lounge lizard” and is an all-around bop.

Sonically, the album is extremely consistent, with all of the songs flowing naturally from one to the next and sounding like part of the same body of work. Every song has something interesting going on, whether it’s intricate guitar work, a catchy bass line, dancey keyboards, or a sick-ass drum beat. The band is clearly composed of very talented musicians who have found their groove together on this album.

Out and Down by Thee Windows releases tomorrow, 6/18, and if you’re a fan of poppy indie rock music, you should definitely check it out. I also highly recommend supporting them at their album release show at the Ottobar if you’re free. They’re playing with Boat Water, Catherine Savage, and Fozzy Mare, so it’ll definitely be a good time.

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Shows This Weekend: Melt N' Ooze Fest, Cult Counselor Album Release

May 16, 2026

Are you free tonight or tomorrow and want to go to a show? Here are a couple that are happening this weekend.

All this weekend, the Melt N’ Ooze Experimental Noise Festival is taking place at Wax Atlas. It started yesterday, but there are still two days left. This kind of music is very much not in my wheelhouse, but I’m so happy that this exists in our community. Normally I would list all of the bands playing at the festival this weekend, but there are so many of them. Like the next two days are going to be absolutely jam packed with music from local acts. Check out @melt.n.ooze.fest on Instagram for more info.

Tomorrow night, Cult Counselor is playing their album release show at Metro at 7PM. They’ll be joined by Glorian, Choking Boys, and Jon Winslow for a night of all-local music. Cult Counselor is releasing their new album, The Peoples Temple, tomorrow, but a couple of tracks from it are already available on Bandcamp, so I’m able to give a few thoughts now. Firstly, naming an album after the “Jonestown” cult is an interesting choice that makes me wonder if the whole thing is going to fit a certain theme or tell a specific story. The song “Ride” pairs otherworldly instrumentation with vocal harmonies that, for me, are reminiscent of church youth group singalongs. Meanwhile, the track “Groove” is very fitting of its name. The bassline immediately put me in a dancing mood, and the whole song has a very 70s-disco-esque feeling to it. What a fascinating combination of tracks, both sonically and thematically.

Glorian is an experimental pop artist whose music frequently defies explanation. Their most recent album, Dance Songs for Strangers, is a sort of concept album that uses electronic dance music to take listeners on an auditory journey. Choking Boys is a noise rock band consisting of just a bass, synthesizer, and drums, not that you’d guess from listening to them and their massive sound. While perusing their latest album, The Prank, I in fact became obsessed with the synths in their songs, which made them sound like they’re designed for an exceptionally cool indie video game. Jon Winslow is a lo-fi indie folk artist with a sound that’s both sad and cozy, like something I’d listen to while stuck inside on a rainy day. Their latest single on Bandcamp is called “December’s Warm,” and the catchiness, as well as the mix of acoustic and electric guitars, as well as the doubled vocals, was reminiscent to me of Built to Spill.

Overall, it’s going to be an eclectic show with a little bit of something for everyone. Certainly, it would be a fun way to spend a Sunday night.

That’s it for show news, but I have a little bit of blog news as well. You may have noticed a new “Archives” link at the top of the page, which will take you to all of my older blog posts. I just wanted to clean up the main page a bit so your browser wouldn’t have to load hundreds of images every time you visit. This is not a big deal to anyone except me, but it was quite nerve-wracking because I was convinced that I would accidentally delete stuff forever. That didn’t happen. All is well. See you at a show soon!

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Notes From the Show: Jetty Grove, Love For Strangers, Peeler, and Chasing Mice at Wax Atlas

May 4, 2026

Last night instead of being responsible and going to bed early, I dragged myself out to a show at Wax Atlas and stayed up late listening to excellent music. I’m paying for it this morning (probably afternoon by the time this is posted) but it was totally worth it even though I have classes all day today.

Wax Atlas is a supremely cool record store and one of my most favorite DIY venues in Baltimore. It’s really easy to get carried away combing through the records and CDS, leafing through the used books, and perusing the electronic equipment. The “green room” is a treasure trove of old gear and miscellanea that smells like an old library (in the best possible way). Watching the transformation of the main space from its daytime retail configuration into its nighttime live music role, revealing the stage previously concealed behind the shelves, is always a fun experience.

Last night’s lineup was a mix of indie, prog rock, emo, and alternative rock that provided a little something for everyone. I wasn’t sure what to expect in terms of turnout, but the show was very well attended, especially for a Sunday night when there were competing shows in the indie rock space taking place elsewhere in the city.

First up was a solo set by Jetty Grove, whose music I have covered several times before but whom I have never actually seen play. The solo experience was highly intimate, with the singer/guitarist holding sway over the crowd to such an extent that you could’ve heard a pin drop during the quiet moments. I’ve previously compared their music to Sufjan Stevens, and I stand by that, but last night’s performance was definitely evocative of moodier indie songwriters like Elliott Smith, with soft, plaintive vocals and lyrics that’ll twist your heart in knots. It was a powerful performance to start off the night.

Next came Love For Strangers, a five-piece proggy mathy band with a polished sound. My favorite thing about prog as a genre is that no matter which instrument you choose to focus on, there’s something interesting going on to pay attention to. Love For Strangers is chock full of talented musicians doing cool things with their instruments in every song. I don’t know, I’m not a musician, so I can’t get more technical than that. The songs were fun and got the crowd moving, bringing up the energy level in the room. I wish I listened to more prog so I could compare their sound to something people have heard before, but alas.

Third up was Peeler from Minneapolis, a band with a sound that’s very reminiscent of Midwest emo. The driving guitar melodies and high-energy vocals really resonated with the crowd and got people excited. It’s the kind of music that I could easily see myself sing/screaming along to if I knew the words. I listened to their newest release this morning, White Elepheant/Comfort Blanket, and will definitely be adding both songs to my regular rotation. They came through on tour, but hopefully they’ll be back again soon, because I highly recommend catching their set.

Last in the lineup was Chasing Mice, an indie/alternative rock band with 90s influences. They rounded out the night with an attention-grabbing set of material from their upcoming album that had everyone hooked. Their usual drummer couldn’t play the show, so Dalton of Benign Impact, Gay Baseball, and Thee Windows fame was filling in, though he played so flawlessly that you’d have never guessed he learned the songs less than a week ago. The band was incredibly tight, and the vocals really shone, making a big impact on the crowd. The music was intense but cathartic in a way that closed out the night beautifully.

Overall, it was a really fun night, so I’m glad I finally made it out to a show. I can’t promise I’ll be posting with any greater regularity moving forward, but I’m hoping the end of this very stressful semester will give me some breathing room to do more writing. Thanks for sticking with me.

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Notes From the Show: Chasing Mice, Thee Windows, J.F. Rites, and Sleepy Sword at Ottobar

February 8, 2026

Last Tuesday night, the weather warmed up above freezing, so I left hibernation to go to an indie rock show at Ottobar. My last show was Subscape back in October, so the recent cold temperatures aren’t really an excuse for my absence. Honestly, I took some really hard classes last semester, and I realized a few weeks in that I would need to dedicate most of my time to studying if I wanted to meet my extremely high standards. I was rewarded for my efforts with straight As, so that was probably the right call, but I still missed the scene and my friends and the awesome music.

Alright, now that my humble bragging is out of the way, let’s get to the show!

Weeknight shows are always hit-or-miss in terms of attendance, and the parking issues in the city caused by the snow had me wondering how this one would turn out. I was pleasantly surprised by both the size and enthusiasm of the crowd, though. Maybe everyone else was feeling buoyed by the slightly warmer weather, too. Or maybe everyone else has been going to shows all winter long, and I’m the only weirdo who stayed inside watching reality TV and playing World of Warcraft while there was snow on the road. Either way, people showed up ready to rock.

For the opener, Chasing Mice, it was also their first show since Subscape, not that you would have guessed it. If anything, they seemed reinvigorated with even more energy and fire than before, and the crowd was really feeling it. My favorite song of theirs is “Red,” and it seemed to be popular with the audience as well. The live version is full of dramatic tension that builds to multiple crescendos before suddenly ending, leaving the listener with a lasting feeling of electric excitement. They finished off their set with the single “Loser,” a catchy millennial anthem for those of us left behind by end stage capitalism. As someone who’s been to quite a few Chasing Mice shows, this one had some new surprises in store for me, while still carrying the same vibes I’ve come to know and love.

Check out Chasing Mice on Bandcamp.

Next up was Thee Windows, who I’ve also seen and written about before. They have a sort of coziness to their music that makes me feel at home when I hear it, and I wonder if they draw influence from the same indie rock bands I’ve been listening to for the last 20-odd years. That’s not to say their sound is in any way derivative or unoriginal, it just makes me feel weirdly nostalgic and happy. They played some songs I knew, and some new stuff as well. One song I particularly enjoyed was called “Last Lounge Lizard,” which I’m pretty sure I’ve heard them play before, but it really hit this time. They closed their set with “Marianne,” which I’ve previously listened to and extremely love. It was a very pretty end to a beautiful set.

Listen to Thee Windows on Bandcamp.

The headliner of the show was an out-of-town solo act from New Jersey called J.F. Rites. They’ve got Baltimore in their IG bio though, so I would assume they’ll be back for more shows in the near future. With just vocals and an electric guitar, they still managed to captivate Ottobar with their bluesy indie rock sound. The vocals were really strong, the guitar solos were on point, and the songwriting felt very thoughtful. Their music seemed influenced by classic southern rock, which I grew up on, so I definitely dug it.

Find J.F. Rites on Bandcamp.

Last but not least was Sleepy Sword, a band I’ve been meaning to see for a while but keep missing. I finally got my opportunity, and they definitely lived up to my expectations. Their sound is pretty unique, something they describe on Bandcamp as “soft doom;” I would describe it as deeply sad and kind of spooky indie rock. I tried to write down the name of my favorite song of their set, which was about an X-Files episode. What I have in my notes app is “Field Where I Die,” but I’m not sure if that’s the name of the song, the episode, or neither. (Edit: I confirmed it's both the name of the song AND the name of the episode). I really enjoyed it though, as I did the rest of their songs. The band was tight, the vocals were distinctive, and the drummer had “Fuck ICE” written on one of his cymbals, so all-in-all, I loved it.

Follow Sleepy Sword on Bandcamp.

It was a super fun night, full of great music and lots of friends. I’ll try not to let so much time pass before the next show!

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Looking Back at Subscape 2025

November 20, 2025

Subscape 2025 happened over the weekend of October 10-12, which you’ll probably notice was over a month ago. Life got in the way of a timely report of the goings-on that weekend, but it was such an amazing time that I thought it was still worth writing some sort of retrospective of the event.

As a quick prologue for anyone who may not be familiar – Subscape was a three-day, three-venue, all-ages, free DIY music festival that was run by volunteers and sponsored by some iconic local businesses. Over 60 bands from the Baltimore/DC area performed, spanning a wide range of genres including hardcore, metal, punk, indie rock, and experimental music.

I want to start my review by saying that Subscape was an incredible achievement for the DIY music scene, and especially on the part of the organizers and volunteers who made it all happen. The fact that so many sponsors were involved says a lot about the local community’s commitment to supporting music and art. I couldn’t believe that I had the opportunity to see so many great bands completely free of charge, and I only wish that I’d been able to attend all three days.

Sadly, I could only go to day two, but I heard a little bit about what happened on days one and three as well. I was told that, on night one, they were already turning people away at the doors because the venues were full. I started day two around noon expecting the venues to be empty, but that couldn’t have been further from the truth. There was a line to get into Mobtown Ballroom, and there were already plenty of people inside.

I arrived just in time to catch the tail end of Genevieve’s set. I described them in my notes as “art metal,” and then I checked their Bandcamp today and saw their genre listed as “avant-garde metal,” so I wasn’t too far off. I know very little about metal and have no desire to invoke the ire of metalheads by trying to analyze Genevieve’s sound further than that, but I did thoroughly enjoy what I heard. The songs keep you guessing while taking you on a sonic journey with different acts and movements. It was a very cool start to my day!

Support Genevieve on Bandcamp.

Next up was Burger Monday, who delivered noisy punk rock via a duo of just a bassist and a drummer. They clearly don’t need anything else, because their sound was huge and also fucking awesome. I genuinely don’t know how they manage to produce as much sound as they do, because I’m an idiot when it comes to gear, but I’m ok with some things remaining a mystery. Burger Monday brought a lot of energy to 2pm, which is hard to do, and they set a high standard for the subsequent bands to follow.

Support Burger Monday on Bandcamp.

Next onstage was Suppai Helwa, a band whose name it took me four tries to spell correctly (I’m still not confident I got it right). They’ve been on my radar for a while, so I was excited to finally see them, and they far exceeded my expectations. I would describe their music as crazy catchy glam punk rock, with a lead vocalist who puts on a subversively theatrical performance that forced the audience to be invested. The whole band was highly energetic and really fun to watch. I had a fantastic time during their set.

Support Suppai Helwa on Bandcamp.

Next, I popped over to Metro Gallery to catch a set from Thee Windows, a band I’d listened to online but never seen live before. It was just as – if not more – crowded at Metro Gallery as at Mobtown Ballroom, and the crowd seemed primed for some great indie rock. Thee Windows sounded just as great in person as they do in my headphones. Their music can be kind of soft and sad, but then it builds up with shoegazey guitars and intense vocals. The drumming was also superb, really elevating the energy level of the whole set.

Support Thee Windows on Bandcamp.

After Thee Windows’ set, I ran back to Mobtown Ballroom to catch the end of Chaz Monroe’s set. It sounded insanely fun, with catchy punk rock guitar riffs and emo-esque vocals. I regret not hearing more of it, and I’m looking forward to catching a full set the next time I have the opportunity to.

Support Chaz Monroe on Bandcamp.

Next up was Darker Than, who I’ve actually covered in the past. They have a heavy garage punk sound, and the lead vocalist put on a really intense performance. After a solid two hours of punk music, it was Darker Than who finally got a pit going. I don’t blame anyone for not being willing to fully rage out before 4pm, it was just nice to see the energy finally build up to a boiling point or crescendo as it were. Everyone was really into the set, even those like me who are too frail for the pit.

Support Darker Than on Bandcamp.

The show at Mobtown Ballroom then took a hard pivot towards indie rock that, unfortunately, seems to have given some people whiplash, because the crowd thinned out for a little bit. Chasing Mice was next onstage, playing an indie set with a sound that’s heavily influenced by a mix of emo and 90s alternative rock. They put on a really fun performance that, nevertheless, was not exactly fit for moshing. I made a special note of the vocals, which were even better than usual that night.

Support Chasing Mice on Bandcamp.

Underlined Passages was up next, and their melodic indie sound made for a much easier transition. It was a day full of excellent vocalists at Mobtown Ballroom, and Underlined Passages was no exception. They also had some really interesting guitar and bass parts going on, with melodies that occasionally diverged and played off each other. Their sound reminded me a lot of college radio from the late 90s/early 2000s, which I obsessively listened to in my middle school bedroom.

Support Underlined Passages on Bandcamp.

Catherine Savage took the stage next with a very chill folk indie set that the room was really vibing with. I’ve seen her play a couple of times before, and if I remember correctly, she mentioned being an English teacher, which makes sense because of the obvious care that she puts into writing her lyrics. Her words were delivered with a lovely, sweet voice that kept the audience enthralled from start to finish.

Catherine Savage just released her debut album on Bandcamp today, so please check it out!

Next up was Little Lungs, another band that I’ve spent quite a bit of time listening to. The band was incredibly tight, as always, putting on a performance that felt professional while still having that indie rock edge. I made a specific note about the guitar tone, which was as warm and comforting as my favorite sweater. The vocals were so smooth and flawless that it was hard to believe they were being sung live. Overall, I was as blown away by their set this time as I am every time I see them play.

Support Little Lungs on Bandcamp.

Unfortunately, my night had to end there, and I missed out on the rest of the great lineup that followed. I saw many videos of performances I was unable to catch, and they all looked like so much fun.

I think Subscape is such a cool and important event that gives music fans the opportunity to find great new local music and gives DIY musicians exposure that can be hard to come by, especially in the indie and experimental scenes. I hope it comes back next year, when I will make sure to clear my schedule in advance so I can take full advantage of all three days of music.

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Notes From the Show: Virginity Club, Salon, Boat Water, Icarus Phoenix, and Neva Dinova at the Ottobar

November 15, 2025

Hello friends, I’m sorry I’ve been gone for so long, it’s just been a really tough semester (who knew genetics was such a difficult subject?) and I’ve been struggling to stay on top of everything. I went to Subscape and had planned a whole writeup for that, but then I had an exam the following week and that demanded all of my attention, then by the time I came back up for air it had been too long. I’ve also been shamefully avoiding anything to do with my website because it’s in desperate need of a major update and I don’t want to do it.

I think most of us are heading into winter hibernation mode soon, but I managed to drag myself out for a show on Thursday at the Ottobar that I want to talk about. There was a big crowd for a school night, and everyone was really feeling the lineup, which included Virginity Club, Salon, Boat Water, Icarus Phoenix, and Neva Dinova.

First up was Virginity Club from Nashville. They’re normally a band, but on that evening they were a solo act. The lack of additional instruments didn’t take anything away from the performance, which was riveting. The singer had a pretty voice that was full of yearning. The music, vocals, and lyrical content brought to mind a combination of Bright Eyes and Death Cab for Cutie. It was an indie music lover’s dream come true, is what I’m saying.

Support Virginity Club on Bandcamp.

Next up was Salon, who I just covered in my last post, but that was somehow back in fucking September (I'm so sorry), so I think I can be forgiven for the double writeup at this point. They have a really interesting sound that seems to draw influence from the past while still having something completely new to say. I’m obsessed with their single, Country Star (II), which tells a sad story wrapped up in an upbeat, 70s-style pop-Americana package.

Support Salon on Bandcamp.

Boat Water was third in the lineup, and I’d been dying to see them for a while, so I was really excited for their set. I covered their latest EP, Seat of Creation, back in July, and absolutely loved it, so it was awesome to hear the songs live. I’m a big lyrics-head, always listening for the words and trying to interpret the meaning of songs, and Boat Water really doesn’t disappoint in that arena. Their sound is somewhere along the lines of Manchester Orchestra, alternative indie-rock with clear southern rock influences.

Support Boatwater on Bandcamp.

I want to pause here to transcribe a note that I took in between the third and fourth sets, when I was several beers deep and clearly having a great time: “The vibes at this show are immaculate. Tristan is doing an amazing job on sound.” You all needed to know that, obviously.

Next up was Icarus Phoenix, one of my local favorites. Though I’ve seen them several times and listened to many of their songs, I was delighted to find out that they were playing only new songs at this show. The new material sounded incredible, and was characteristically thoughtful, sad, heartwarming, and funny in turns. The band, as usual, was super tight and brought a great energy to the set. And, as always, the vocal harmonies gave me goosebumps.

Support Icarus Phoenix on Bandcamp.

The headliner of the night was Neva Dinova, who bill themselves as “Omaha slowcore.” I was completely unfamiliar with their music and so was pleasantly surprised by how much I enjoyed it. The sound is a really solid indie-Americana-alternative blend that was, actually, rather fast at times. The two vocalists have completely different voices that somehow work really well together and give their songs a distinctive edge. It was a spectacular end to a fantastic night of indie rock music.

Support Neva Dinova on Bandcamp.

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New Music Friday Sunday: Salon, Deeraline, and Visitor Center

September 28, 2025

I know I usually cover new music on Fridays, but I’ve had a hell of a week, and things really got away from me. I’ve just got three new releases that I really want to talk about.

Image credit: Salon

On the 18th (my birthday! yay!) Salon released a new song called “Country Star II.” It tells the tragic tale of a famous country musician who had it all but couldn’t shake their inner demons. These lyrics are delivered with a strong vocal performance that sounds as sweet as it does sad, making the story feel all the more believable. The instrumentation is lush and bright, with a nostalgic feeling to it, kind of a 70s vibe that I really dig. I can totally picture myself at 10 years old, borrowing this cassette tape from my parents to listen to on my boombox, not understanding the dark lyrics and just wanting to bop around. The catchy melody and poppy keyboards are balanced perfectly with the country rock lead guitar riffs and distorted rhythm guitars, elevating the song beyond a simple 70s copy and making it something entirely new.

Check out “Country Star II” by Salon on Bandcamp.

Image credit: Deeraline

Now I’m going to shift gears a bit. One of my favorite types of music to listen to while I’m writing is lofi beats, but I’ve never really covered that genre on my blog before. Luckily for me, a local artist named Deeraline reached out to share their new album with me, Fire and the Ovin, so now I’ve finally got the opportunity. Almost all of the song titles are in Russian, and I don’t have the HTML skills to code Cyrillic characters, so I won’t write them out here. Each song has its own distinct sound and feel, while still flowing naturally into each other. Some of the songs are dancey and fun, while others have a darker, heavier vibe. I wish I had the vocabulary to describe electronic music, but all the genre names and descriptors escape me. I really enjoy the songs that include vocals – the singer’s voice is so dreamy, and the lyrics are very romantic.

Listen to Fire and the Ovin by Deeraline on Bandcamp.

Image credit: Visitor Center/Michael Smith and Karly Maroney

The last release I wanted to talk about today is “Your Resume” by Visitor Center, which came out a little over a week ago. I’m pretty sure every Visitor Center song I’ve heard has been a bop, and this one is no exception. It sounds heavily influenced by 80s-era new wave and punk, with an extremely catchy beat and fuzzy guitars and keyboards. The repeating chorus makes it impossible not to get the words stuck in your head. The vocals are strong and distinctive, helping to give Visitor Center a unique sound that carries through all of their songs. It’s just a really fun track, and it has an infectious energy.

Listen to “Your Resume” by Visitor Center on Bandcamp.

If you want me to review your new (or not so new) release, just email me at charmcityrhapsody@gmail.com. I love getting submissions!

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