Review Roundup 5/15: The Belle Curves, yell at god, Brandon Good
This week's review roundup highlights tidal power pop by The Belle Curves, historically-inspired folk punk from yell at god, and anti-fascist Southern rock from Brandon Good.
There are so many great albums, and never enough time! In this feature, editor Rachel Cholst celebrates some of the best queer country EPs and albums you may have missed!
The Belle Curves – Tides & Rain
The Belle Curves have made an art of melancholy power pop, and Tides & Rain is exquisite. Delaney Hafener's balance of Beach Boys production and Replacements cynicism make the album a tart confection that considers leavetakings and growth. The majestic "I'll Come Back Around" is as defiant as it is delicate – a promise to bounce back no matter the obstacles. By contrast, "Four Weeks" and the opener "Cut & Run" will send you to the depths of emotion. The album ebbs and flows, just as promised in the title – and holds us to the idea that everything that ends begins an end.
yell at god – DANCE, DANCE, REVOLT!
If you thought folk punk was dead, I am please to report that in the hands of yell at god it is very much alive. The title track plunges us right into the thick of it with an intensity that makes it feel like we're right in the middle of the mosh pit. The duo invoke the trans justice movement with previous struggles thanks to klezmer-shaded competitions and a liberal sprinkling of nigun (wordless vocalizations common in Ashkenazi music – you'll know it when you hear it.) With DANCE, DANCE, REVOLT!, yell at god aren't just giving us a party, but a road map forward with great respect to the past.
Brandon Good – Restless
Brandon Good's got a voice made for country music, and Restless proves his bona fides. The album hits all the right outlaw country stops with tales of breakups, reunions, and the inexplicable desire to tour relentlessly. Yet when Good settles until love songs like "Game of Romance," and a confessional about his relationship to religion on "Stone House," we get a glimpse at his tender side (and beautiful baritone.) "Stay the Night" is a jubilant coming-out story with twang that hits just right, while "Welcome" is the fascist-beating banger that would be blaring all over pride parades around the world if there was any justice.
