By WDCE Music Directors

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:: This weekly series has reached its 20th installation; read on to learn which new releases have blessed this momentous occasion!

:: March 22, 2026

:: Evil Twin — Upside Down We’re Falling

Genre: Fuzzy Rock

Release: Album

Recommended Tracks: The whole thing 

It would be remiss of me to think I could write an apt review for this album;  Evil Twin knows how to make a damn powerful debut. Here, the first-album ambition and passion pays off. The Brooklyn-based three-piece band has produced a seriously dreamlike, fuzzy and downright respectable album. It’s cinematic in scope and sound: the mix of vocals, vocal styles, vocalists, storytelling, guitars, tones and pedals all come together to produce an expansive world of sound. It can’t be pinned down. I recommend giving Evil Twin a good set of headphones and an hour of your time; it’ll be well worth it. 

— Jonathan Sackett

Witch Post – Butterfly

Genre: Alternative/Indie Rock

Release: EP

Recommended Tracks: “Changeling,” “Witching Hour,” “Twin Fawn,” “Tilt-A-Whirl”

There’s a strange, magnetic pull to Butterfly. Witch Post stretch ’90s alternative rock across continents, blending Dylan Fraser’s Scottish grit with Alaska Reid’s ghostly American alt-Americana, and somehow it lands somewhere between folklore, road trip, and fever dream. Their dual vocals lock in unison, uncanny and hypnotic, like two minds tracing the same memory from different angles. “Tilt-A-Whirl” and “Twin Fawn” take small, fleeting details—neon lights, county fairs, long stretches of road—and twist them into landscapes that feel alive and slightly off-kilter, while “Worry Angel” circles that restless, spiraling anxiety you recognize but can’t quite escape. The alternative sonic style and surreal storytelling really sell this for me.

— Piper Turri

The Undercover Dream Lovers — atomic house

Genre: Dream Pop

Release: Album

Recommended Tracks: “banging my head,” “cookin in the sun,” “prom queen”

atomic house is an early 2010s sounding, indie-pop banger, resembling some of my favorite tracks from the likes of Cage the Elephant or a de-electrified MGMT. The track “prom queen” is the perfect example of this. The chorus takes me way back to middle school, carried by the reverberating, cheap-microphone sound of a Comedown Machine era Julien Casablancas. The name “atomic house” is a reference to the idea of an atomic or nuclear family, particularly in its post-World War II connotation. The economic and social depersonalization of the rapidly suburbanizing and dream-sequestering reality of the United States, contrasts the “American dream” promised by its industrialization and stable employment. Songs like “banging my head,” and “lies lies lies” exemplify this ‘50s era idea — that the existence of a familial ideal is merely a lie, singing, “American dream, I guess I’m the freak, they’re tryna sell me, lies lies lies, a college degree, a house by the sea, atomic family.” On a more sonic note, the instrumentation fits the dream-pop label, as echoing synths and Tame-Impala-esque falsettos cover the track. Overall, atomic family is an interesting commentary of the modern time, calling back to 20th century ideologies while sounding like the radio hits of 15 years ago. 

— Jacob Bennett

Son Little – Cityfolk

Genre: Alternative R&B

Release: Album

Recommended Tracks: “Whip The Wind,” “It’s Your World,” “Cherry,” “In Orbit”

On Cityfolk, Son Little treats genre like a suggestion, not a rule—hovering somewhere between alternative R&B, blues, and folk. “Rabbit” opens with a quick, insistent banjo line that feels almost traditional until the rhythm underneath starts to shift, and from there the album keeps recalibrating: “Whip the Wind” leans into a smooth, slightly off-center Afro-Latin groove, “Bottomless” stretches into a slower, more meditative blues space, and “Paper Children” brings in darker, more contemporary textures without losing the organic feel. Recorded in Muscle Shoals, Alabama, there’s a subtle sense of place and lineage in the background, but it never turns into nostalgia—the production keeps things loose, letting acoustic elements and programmed beats sit next to each other without needing to fully merge. I didn’t expect to like it this much—but it’s hard to argue with something that fits anywhere.

— Piper Turri

Edwin Raphael – I Know A Garden

Genre: Indie Folk 

Release: Album

Recommended Tracks: “It’s A Shame You Swim So Well,” “A Sunbeam Lent To Us Briefly,” “Mosaic in the Sun,” “It Will Pass Anyways”

​​While not in the realm of what I constitute a “by-the-book” indie folk album, I Know A Garden possesses a melodic—and ethereal—quality that is undeniably enthralling to listen to. I almost felt like I was being lulled by a lullaby (positive connotation), through Raphael’s soft voice, the string instrumentals, and acoustic guitar. Although I was partially skeptical of the initial synthesizer I heard in “First Time On Earth,” I soon learned that the notable eighties instrument contributes to an idyllic album.

                — Sophia Sciulli

Telescreens — Baby I Know You Well

Genre: Alt. Rock

Release: EP

Recommended Tracks: “Baby I Know You Well,” “Nothing,” “Nights”

New York City rockers Telescreens blend once again modern production capacities with a classic alternative sound. It’s indie spunk and confidence while also sappy and cinematic. Opening track “Baby I Know You Well” is oozing with noise, by the bridge the bass is thumping and driving and the whole track coalesces into an oddly timeless sound. Immediately after, the second track “Nothing” picks up with a nearly signature pop-punky sound: the drum beat, guitar tone and whinier vocals certainly fit the bill. In the background, however, there’s always a twinge of enigmatic production to remind you that this is a Telescreens song. “Nights” has a post-hardcore opening but switches over into a more classic alternative sound, all the while the drums and bass embody a She Wants Revenge sound and cadence. It’s a gloomy, yet cheerily lit package. 

— Jonathan Sackett

Robert Lester Folsom – If You Wanna Laugh, You Gotta Cry Sometimes: Archives Vol.3, 1972-1975

Genre: Folk 

Release: Album

Recommended Tracks: “I Don’t Know,” “Sitting on the Moon,” “Mountain Air Rag,” “Gene Autry”

Reminiscent of an earlier time in folk music, If You Wanna Laugh, You Gotta Cry Sometimes, revives the 1960s/1970s quintessential “peace, and love, on earth” sound. While classically, building upon the singer-songwriter identity, the distinctive Georgianian—and overall southeastern sound—comes out of the woodwork through his fiddle. Moreover, Folsom integrates realms of psychedelia that significantly differs from the realms of Jimi Hendrix, Cream, and other 60s rock legends. In my opinion, the genre known as “soft psych” is slightly more interesting to listen to as the mystical notes are masked by an acoustic guitar, making for an unpredictable listening experience. Overall, I give Folsom’s Archival tracks the stamp of approval. 

          — Sophia Sciulli

Girl Group — Little Sticky Pictures

Genre: Alt. Pop

Release: EP

Recommended Tracks: “Rage Song,” “She Goes,” “Superdrug”

Girl Group’s latest EP is packed full of crispy spite and sass. The seven-song Little Sticky Pictures shows the Liverpool-based band at their most ambitious, stretching the presumed limits of alternative, indie pop. Each track has its own sound and edge, which makes them all very distinct without feeling disjoined. They accent each other. The inter-track variance, speaks nothing to the intra-track variance: songs often have their own wide array of production styles and influences. “Rage Song” is unabashedly punky and aggressive, while maintaining pop production. And it sure as hell earns its “fuck,” which just makes it a shame that I’ve had to unpload the clean version. “Superdrug,” a tongue-in-cheek track about gettin’ fixed and becoming the new, real you through the power of popping a particular pill, has a K-Pop-esque vibe with a sinisterly sarcastic undertone. 

— Jonathan Sackett

Amiture Music — Amiture Music

Genre: Post-Industrial

Release: Album

Recommended Tracks: “Edging,” “Mountain,” “Love Song”

The newly formed band, Amiture Music comes away from the project of Jack Whitescarver, named Amiture…to make their first album, Amiture Music. It took me an embarrassingly long time to figure out who actually made this album. Being unfamiliar with Whitescarver’s first endeavor, this record was my introduction to his unique sound. Being described as both industrial and EBM, the band’s label itself describes this album as “somewhere in between the dreamy ideal and the dirty world we’re all living in.” This same label works with Model/Actriz, who made one of my favorite industrial albums last year. In the case of Amiture Music, the dirty world is more dominant than the dreamy ideal, as the more abstract tracks on this record issue abrasively distorted instrumentation. Short moments of isolated vocals fall between much longer sections of disjointed and irregular rhythms. “Mountain” is the most regular sounding track on the whole album, with “Water” likely being the most experimental. To put it in perspective for those of you who don’t listen to much experimental music, sections of “Water” closely resemble a recording of a band testing their instruments before a performance, not caring about what or when notes are being played. “Love Song” is my favorite on the record, with speedy drums and indie-sounding guitar cords, I find this to be the most digestible to the average listener. This record has its peaks and valleys, but overall, I would have liked it to fully commit to one side of the traditional/abstract border, instead teetering between either side. 

— Jacob Bennett

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