MINNESOTA SOUND REVIEWS - 9/23/26
Reviews by: Alexandra Haynes, Writer @xalexonlinex
Edited by: Andrew Perrizo, Owner/Editor @melodicnoisemedia
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Ghost Channels, Lazenlow “I’ll Still Dance With You”
From Ghost Channels’ twelve track debut LP 4AM, released in May 2026, “I’ll Still Dance With You” is house fusion littered with well mixed inclusions, from a wubby electronic bass section to sensual jazz sax samples. The repetitive, chopped in vocal looping the words “I’ll Still Dance With You” invites you to get lost in the beats versus decipher a complex story. Its lyrical simplicity is still sincere and romantic: “When the lights stop flashing / I’ll still dance with you … When the heights keep crashing / We can still pull through.”
J-Mo On The Beat “Mary”
With a melody reminiscent of Elvis Presley’s Jailhouse Rock, J-mo on the Beat’s single “Mary,” released in February 2026, indulges in old school cool, tricked out in rockabilly vibes as it completely embodies 50s era rock’n’roll. J-mo’s band The J-Lighters perform here in their fullest glory, staying in step and spicing things up with live saxophone. Altogether, this mix sounds as though it was recorded live, the band and J-mo’s vocals all on even keel.
Katy Tessman, Louis Tessman Stanoch “Summer was Sweet with You”
“Summer was Sweet with You” is the first song on three track Lessons in the Living EP, released in May 2026. This is Katy Tessman’s glowing revisitation of fond childhood memories, her singing as strong but delicate as the long evenings where she recalls “[piling] in the pick-up … Momma taking [her] to town” and “spendin’ [her] days in swimsuits / imagining [her] teenage pursuits.” Its Americanan composition features rootsy auxiliary percussion in the form of a consistent shaker accompanying laid-back drumming; a starring role goes to soaring pedal steel guitar. Tessman’s vocals are joined by her son’s soft doubling of the most tender lyrics on choruses which describe the simple pleasures of “sippin’ syrup from wax bottles / stuffing our cheeks with Big League Chew.”
wolfbabycup “concentricity”
Synth-pop with hints of a darkwave lean, wolfbabycup’s March 2026 single “concentricity” mingles nostalgic 80s tones with a sultry, up close and personal vocal, as is the duo’s style. The entire instrumental is multi-layered synthesizer action, from the snappy drum machine to the sparkling, walking lead lines. Blending warm and cool sound palettes, wolfbabycup create an incredibly stylish, looping jam with a vaguely haunting atmosphere. I’m currently watching Twin Peaks: The Return and am easily, enthusiastically picturing this being performed for a Bang Bang Bar end credits moment.
Rachel Wyre “Shy Girl”
Rachel Wyre brings us a folk-pop introvert anthem with “Shy Girl,” released in January 2026. She laments the difficulties she faces in social interactions, admitting that she’ll be “overanalyzing every little thing [she] said” (relatable) because she’s “just a shy girl / livin’ in [her] own world / keepin’ all [her] thoughts stuck inside [her] head.” To be fair, the parties she’s been going to don’t seem to be her speed, as they are undoubtedly populated by less than thoughtful “friends” (they’re "people [she] doesn’t wanna know”) — “If one more person spills a drink on me, I’m going home.” Now that is a fair boundary to have!
KAATWALK “A Week in June”
This is the title track of Kaatwalk’s A Week in June, a tender four song EP released in June 2026. Beginning with mourning how much mass produced clothing is flooding local thrift stores and the unquenched desire to have access to more unique but well-loved, fashionable items, this song’s strength is in its storytelling, although Kaatwalk does not skimp on working their musical chops. Delivered gorgeously while floating in and out of a high-pitched register, “A Week in June” zooms in on aesthetic and material wants contrasted with our means while generating the question within us as to how much our sense of individuality is tied to our possessions. Reflecting more on pressing financial matters, like having to fill an expensive prescription, stacking up potential returns in the trunk of their car to make back $40, and owing in on taxes, Kaatwalk shines a light on realistic hardships without losing a cheerful disposition. Optimistically, they claim they “used to not be enough, but [they’ve] set [themselves] free.” In its last minute, the song is deconstructed in a moment of meta transparency: “This song is four chords in the same little melody, each verse is a story that happened this week.”
