This album grew on me—it wasn’t impressive the first time I popped in my earbuds.  That changed when I put on my headphones and listened through it again (and again).  There are intricacies living explored in the relatable moments which people live through every day.  Lyrics echo within songs, each having a distinct sound while examining all the different feelings accompanying loss. 

Nate starts calmly with “White Hills,” laying out the tensions that the entire album works through, those feelings of belonging, of longing while moving on, and of memories.  You’ll groove a little to “Bleed,” where the build into the chorus goes on just long enough for you to feel that release when he sings, “and I BLEEEEEED MY HEART OUT,” keeping you there for the last minute of the song.  You’ll start tapping your foot on “The Crying Wolf;” you know something interesting is going to happen when the tambourine shows up. Some tracks, like “5^th Avenue,” have long outros that hang on–perhaps too long–while tracks like “Ghost Town” and “I Don’t Belong Here Anymore” have short outros that finish just as intensely.  You’ll tap your foot again on “Let’s Stay In & Put a Dylan Record On.”  You meditate while listening to the calm “Wild Heart” before diving into the folksy “The Tamiami Trail.”  “Farewell, Savannah” and “The Highway” have lighter layers that form a space for Currin’s heartfelt lyrics.

For a post-breakup album, there’s a lot of movement.  On the cover, Currin stares back at where he came from, leaning against a parked Pontiac with the top down. He takes listeners on a physical journey in addition to an emotional one, making stops in Florida, Georgia, and Tennessee, ultimately ending the album with the command to “Get Back North.” Time doesn’t exist in Ghost Town.  The album lives in the moment straddling memory and feeling. Outros linger, intros build slowly, other voices chime in at the right times, and the last track primes you to start it all over again. 

While this album does not stray too far from his other work, Ghost Town does have a wide range of influences.  “Lover, Don’t Let Me Go” is, at times, slightly reminiscent of 80s pop.  We get Currin’s harmonica stylings on “Let’s Stay In & Put a Dylan Record On.”  There is more than a pinch of honkytonk sprinkled into “The Crying Wolf” (as well as a Lynyrd Skynyrd reference).

It’s a fast-paced world that we live in nowadays, which means there is even more of a place for the winding tunes of Nate Currin, for his thoughtful meditations on what it means to feel and emote, to remember and move on.  Like he says, “There’s so much I wanna say.  No, I’ll never be okay.”  But everything will be okay. And every time you dream about escaping, every time you go through a bad breakup, every time you think about your ex, you can listen to Ghost Town.

Nate Currin’s Ghost Town releases August 1^st on Archaic Cannon Records.

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Matthew Prince – Gunk Lung

Matthew Prince of Iowa City band Gunk Lung started the show with a rare acoustic set, showcasing his vocal and guitar skills in a departure from Gunk Lung’s typical emo-punk vibe. I enjoyed this fresh take on Gunk Lung’s music, which gave Prince’s vocals a chance to really shine. This set highlighted Prince’s versatility as an artist, demonstrating that beyond his typical rock vocals, he can also excel as a solo performer in a more stripped down set. Though he often asked the audience to bear with him, as the acoustic set isn’t his usual territory, Prince’s raw performance excluded a beauty that should give him confidence. The lyrics to Gunk Lung’s music are chillingly poignant and refreshingly real, which this acoustic set amplified in a way that sent shivers down my spine. Melancholically, Prince sang “I told my girlfriend I’d write a song. She asked if it would be another depressing one, another depressing one.”

Zaq Baker

Minneapolis-based artist Zaq Baker made a grate appearance as he was wrapping up his book tour for his debut novel Unspectacular — currently on order at Prairie Lights if you want to add something sweet to your bookshelf. 
The self-declared “only pop punk pianist at this show” seems like the perfect blend of Drew Monson, Paint, and Death Cab for Cutie and his music ranges from sad to bittersweet, resonating with anyone who’s ever faced heartache, or is just having a crappy day. He performed his song Dairy Queen, which was a treat, especially considering that it has been banned off of all streaming platforms. I was soy into all of the dairy puns he milked and brie-formed in the song. This artist truly brought gouda vibes to the show leaving us all grate-ful he stopped by.

I Will

Iowa City duo I Will lit up the stage with a blend of hard rock and heavy punk sound, delivering songs with timely themes of race and alienation. I appreciate the deep roots this band has in the Iowa City music scene — a member of Slacker is the son of I Will’s original drummer. With soulful vocals paired with creative effects like reverb, their sound is powerful and visceral, landing like a punch to the gut.

Slacker

While I may be biased — Slacker is one of my favorite local bands — it’s hard to deny that their electrifying performance absolutely rocked the house. Their set featured a never before performed song, Who The Fuck Took My Nose? as well as classics such as Molasses Eatin’ Mailman —another cheese-themed song for the evening. Slacker brings a unique vibe to the Iowa City music scene with their commanding presence and sound. Their distorted vocals filtered through a radio mic adds a raw, haunting quality to their sound that is not soon forgotten. Their distinctive songwriting combined with abrasive guitar riffs creates a sound that is unapologetically bold and untamed, just like the band themselves. 

If you want to see Slacker live, they will be performing as a part of Mission Creek on April 5.

Charlie Otto + his gear

Charlie Otto, based in Chicago, made a bold statement with his radical electric pop sound and stunning live visuals. A truly innovative musician, I can confidently say I have never witnessed a set like his before, and I was completely captivated by it. Not only is Charlie an incredibly talented vocalist and lyricist, but his ability to craft intricate songs and then integrate them with mesmerizing visuals is something unmatched in today’s music scene. One song of his featured a live cam that altered the visuals depending on the buttons he pressed on his keyboard. Another set cleverly allowed Charlie to puppeteer Israeli political leaders on screen. I cannot forget the kazoo he brought out that made rubber duck sounds —  truly a refreshing touch we need more of in modern music. I can only hope that Charlie stops by Iowa City again in the near future.

POLYACHi

Cedar Rapids-based band POLYACHi masterminded this pre-St. Patricks Day show, which also served as an E.P. release for GOD iS BAD! They performed a few songs off of this new E.P., as well as their E.P. THE BLVEBiRD OF NOTHiNGNESS. I have nothing but gratitude to them for curating this marvelous lineup, showcasing a range of contrasting but immensely talented artists. POLYACHi’s industrial hard rock sound is marked by their gripping vocal talent, rough guitar riffs, and explosive drumming. Their unpolished, growling vocals and abrasive lyrics felt like they were directly piercing my soul. My only critique is that their recorded music doesn’t quite hit as hard and capture their raw power in the way their live performance does — this is a band you must catch live.

Anchoress

Des Moines trio Anchoress made a powerful Gabe’s debut with their riveting post-hardcore rock and screamo sound. A bold new voice in the Iowa City music scene, this band brings a gritty, intense, and unapologetically daring sound that leaves a lasting impression. I’m excited to see how their sound evolves in the future and I can’t wait for a full album — their five released songs aren’t enough to satisfy the craving they ignited. 

Fishbait

An Iowa City staple, Fishbait never fails to impress. Self-described as “nautical prog,” Fishbait incorporates a wide range of musical influences into their work, creating intricately crafted yet lyrically playful songs. Their stage presence is immersive, and the striking contrast between their fun Halloween costumes and their intense vocals cements them as one of Iowa City’s finest acts. The only thing to watch out for is the mosh pit that inevitably erupts at every show! 

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