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Do You Really Need To Be On Every Social Media Platform? A Case For Doing Less

Eric Alper
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Do You Really Need To Be On Every Social Media Platform? A Case For Doing Less

In today’s music world, it can feel like there’s a new platform every morning, each one promising discovery, growth, and connection. From TikTok and Instagram to Discord servers and Substack newsletters, the buffet is endless. The question many artists face: do you need to be everywhere at once? The truth is, spreading yourself thin can often lead to burnout before you ever hit your stride. There’s beauty in choosing carefully, in curating your online presence like you’d curate your setlist—thoughtfully, with intention, and with joy.

Think of your favorite indie record store. It doesn’t carry every album in existence; instead, it carries the ones that mean something to its community. Your social platforms can work the same way. Maybe Instagram feels like home, or maybe Bandcamp is where your audience connects with you most deeply. By nurturing one or two spaces, you create a cozy living room instead of a crowded mall. You give fans a place to really know you, and you give yourself room to breathe.

The best musicians on social media often remind us that music is about connection, not algorithms. Fans remember the stories, the quirky behind-the-scenes posts, the whimsical day-in-the-life clips that feel authentic. Social media marketing, at its core, is less about volume and more about heart. A single tweet filled with your personality can resonate more than a week’s worth of scattered posts across every platform. (I know, I know, I post a LOT more, but I have my reasons…)

There’s also the matter of energy. For independent artists, mental health is as vital as the music itself. Managing too many platforms can feel like running a marathon with no finish line. By scaling back, you allow creativity to flow without exhaustion. A healthy balance creates space for songwriting, performing, and those quiet moments where inspiration often arrives unannounced.

Fans can tell when you’re having fun, and fun is contagious. Sharing your world on the platforms that feel good creates a ripple of authenticity that no marketing strategy can manufacture. Whether it’s a goofy TikTok dance you enjoy or a thoughtful Substack essay that speaks to your artistry, your genuine enthusiasm is the magnet that draws people closer.

So, do you really need to be on every platform? Maybe not. Instead, think of your online presence as your favorite jam session—pick the instruments you love, play them well, and let the rest fall away. Doing less with more joy means showing up as your best self, and that’s what people will remember.

In the end, music thrives on connection, not checklists. Choosing fewer platforms doesn’t mean choosing less success—it means choosing more balance, more creativity, and more you. And that is the sweetest sound of all.

The Temptations’ Isolated Vocals For “Just My Imagination”

Eric Alper
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The Temptations’ Isolated Vocals For “Just My Imagination”

“Just My Imagination (Running Away with Me)” is a dreamy ballad by The Temptations, released in 1971 on Sky’s the Limit. Written by Norman Whitfield and Barrett Strong, it topped both the Billboard Hot 100 and R&B charts, showcasing the group’s lush harmonies and soulful storytelling.



Coheed and Cambria Share Endless Summer Version of “Goodbye, Sunshine” Featuring Nick Hexum

Eric Alper
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Coheed and Cambria Share Endless Summer Version of “Goodbye, Sunshine” Featuring Nick Hexum

Following the release of their latest album The Father of Make Believe earlier this year, New York’s own Coheed and Cambria shares the Endless Summer version of album track “Goodbye, Sunshine” featuring Nick Hexum of 311.

The new version is not a remix of The Father of Make Believe favorite, but was written from scratch with a tropical vibe. The song was co-produced by King Tubby protege and Dub legend himself, The Scientist, who brought in the horns, percussion and keys and helped bring a new zeal to the track. Zakk Cervini and Julian Gargiulo came with additional production, as well as mixed and mastered the track.

The band also shares a Dub Mix version of the track that was produced and mixed by The Scientist. Singer Claudio Sanchez explains, “The arrangement was born out of a Chicago Q101 Pop-Up stripped down radio performance. We enjoyed the version so much, we chose to explore it further by enlisting the help of 311’s Nick Hexum and dub producer The Scientist.”

Alongside “Goodbye, Sunshine (Endless Summer)” Coheed and Cambria shares the new music video directed by Josh Forbes, who also directed the band’s 2010 “Here We Are Juggernaut” video, portraying a slapstick goof on 80’s tropical party life. Speaking about the music video, Sanchez notes, “It plays within the concept of the alternate realities we explored in our previous videos for our new album ‘The Father of Make Believe,’ while paying homage to one of our earliest videos, “A Favor House Atlantic” with some inspiration from the 1986 Harold Ramis comedy film, ‘Club Paradise.'”

Coheed and Cambria also just kicked off their summer co-headline tour alongside Taking Back Sunday with support from Foxing following their co-headline arena tour with Mastodon that took place this May and June. This November, Coheed will embark on their S.S. Neverender 2025 cruise with Thursday, L.S. Dunes, The Dear Hunter, Illuminati Hotties and more.

Midnight Til Morning Premiere “Bye” Video and Add Dates in New York, Los Angeles, and Toronto

Eric Alper
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Midnight Til Morning Premiere “Bye” Video and Add Dates in New York, Los Angeles, and Toronto

Midnight Til Morning premieres the stunning music video for their debut single “Bye” alongside the announcement of additional dates in New York City, Los Angeles, and Toronto following instant sell-outs in each market.

Formed on the current Top 10 Global Netflix series Building the Band, the four-piece – Conor Smith (22, Central Coast, NSW), Mason Watts (25, Toowoomba, QLD), Shane Appell (22, Upstate New York), and Zach Newbould (22, Boston, MA) – has quickly emerged as one of 2025’s most exciting new acts.

Blending powerful vocals, emotional vulnerability, and undeniable charisma, the band has already captured international attention with their debut single “Bye” and surprise follow-up “Ghost of Us,” available now across all major streaming platforms.

The music video for “Bye” dropped today- a cinematic, emotionally charged visual that captures the raw vulnerability and quiet power of saying goodbye. While the guys each appear in their own evocative scene, filmed one at a time, the rest of the band stayed on set to support each other throughout the process.

Directed by acclaimed visual storyteller Josh Harris (Peach PRC, Go-Jo, and Sheppard), the “Bye” video leans into moody lighting, emotional intimacy, and a haunting sense of isolation and stillness. Shot by Director of Photography, Jesse Gohier-Fleet, the contrasting locations, a remote farmhouse in country Victoria for Mason and Conor’s scenes, and inner-city Melbourne for Zach and Shane’s, underscore the emotional journey of the track.

“‘Bye’ was the first music video we ever shot as a band. We knew it would be special. The song is obviously quite bittersweet, so we wanted that to be portrayed in the music video as well. In the video, all four of us are seen to be struggling with the situation we’re in. Struggling with letting go of someone we love. We hope you enjoy this music video x – Midnight Til Morning
“Bye” was co-written by hitmakers Benson Boone, Amy Allen (Harry Styles, Sabrina Carpenter), and the band members themselves. The track was produced by Rizk and Grammy-nominated JT Daly (K. Flay, PVRIS), whose atmospheric, cinematic touch set the tone for the visual interpretation.

In addition to this music video release, the band has announced 3 additional US tour dates following sell-out markets and high demand in New York City, Los Angeles, and Toronto. New York and Toronto have additional dates while there has been an early show added to the Los Angeles date. Tickets are available today, August 20th, at 10AM local time.

Since their formation, the group has seen explosive growth across TikTok, Instagram, and streaming platforms – with fans worldwide drawn to their sound, story, and brotherhood. With “Bye,” they prove they’re not just a viral sensation – they’re true artists.

Backing them is none other than Chugg Music, which has signed the band for both global management and label services. Andrew Stone, Chugg Music’s CEO, is taking the reins on strategy and development, while Michael Chugg AM – a legendary force in the Australian and international music industries – brings his decades of experience to the team. They now join a roster that includes breakout acts like Lime Cordiale, Sheppard, and Australia’s 2025 Eurovision star Go-Jo.

As a surprise addition to their debut single, the band also dropped a special release for fans titled “Ghost of Us” – a soaring, pleading anthem that chases the promise of lost love. Co-written with Benny Morrell and Robby De Sa, and produced by De Sa (The Veronicas, Vera Blue, MAY-A), the track offers a powerful counterpoint to “Bye” and deepens the emotional resonance of their first release.

Midnight Til Morning isn’t just a band formed on a show – they’re a movement powered by heart, harmony, and hope. The world stage is theirs.

Midnight Til Morning North American Tour Dates:
* = Added Shows
Oct 9 @ The Plaza Live in Orlando, FL
Oct 12 @ Variety Playhouse in Atlanta, GA
Oct 14 @ Union Transfer in Philadelphia, PA
Oct 15 @ Racket in New York, NY*
Oct 16 @ Racket in New York, NY
Oct 17 @ Royale in Boston, MA
Oct 19 @ Le National in Montreal, QC
Oct 23 @ Annabel’s in Toronto, ON*
Oct 24 @ Annabel’s in Toronto, ON
Oct 26 @ El Club in Detroit, MI
Oct 27 @ Thalia Hall in Chicago, IL
Oct 31 @ Mohawk Outside in Austin, TX
Nov 1 @ The Factory in Dallas, TX
Nov 3 @ Bluebird Theatre in Denver, CO
Nov 6 @ The Showbox in Seattle, WA
Nov 9 @ Wonder Ballroom in Portland, OR
Nov 10 @ Vogue Theatre in Vancouver, BC
Nov 15 (Early Show) @ El Rey in Los Angeles, CA*
Nov 15 @ El Rey in Los Angeles, CA
Nov 16 @ The Regency in San Francisco, CA

Midnight Til Morning Australia Tour Dates:
Nov 20 @ Liberty Hall in Sydney, NSW
Nov 22 @ Princess Theatre in Brisbane, QLD
November 23 @ 170 Russell in Melbourne, VIC

Gibson Unveils Limited Edition Les Paul Standard 50s & 60s Double Trouble Guitars

Eric Alper
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Gibson Unveils Limited Edition Les Paul Standard 50s & 60s Double Trouble Guitars

As it celebrates over 130 years of music history, Gibson, the iconic global instrument brand, is proud to announce the new, limited edition Gibson Les Paul™ Standard 50s and 60s Double Trouble guitars have all the highly-coveted features from our Les Paul Standard 50s and 60s models, but with two notable differences: Their gloss nitrocellulose lacquer finishes are slightly faded when compared to the standard versions, and the uncovered Burstbucker™ pickups feature Double Classic White bobbins. Production of the Gibson Les Paul Standard 50s and 60s Double Trouble models is highly limited and now available worldwide in two new finishes, Vintage Honey Burst and Vintage Bourbon Burst, joining the previously announced Vintage Cherry Sunburst and Vintage Tobacco Burst. Each Gibson Les Paul Standard 50s and 60s Double Trouble color is limited to only 500 guitars; find them at authorized Gibson dealers, at the Gibson Garage stores in Nashville and London, and online.

There’s something about a Gibson Les Paul Standard with uncovered pickups that means business. The gloves are off, and it’s time to rock ’n’ roll. Now, the Gibson Les Paul Standard 50s and 60s Double Trouble models bring the rarely offered uncovered Burstbucker pickups with Double Classic White bobbins, handcrafted in the Gibson Pickup Shop, to the table alongside stunning full-gloss Vintage Cherry Sunburst and Vintage Tobacco Burst, and the newly announced Vintage Honey Burst and Vintage Bourbon Burst nitrocellulose lacquer finishes that simulate several years of subtle fading. 

keiyaA Returns with Bold New Single “stupid prizes” and Self-Co-Directed Video

Eric Alper
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keiyaA Returns with Bold New Single “stupid prizes” and Self-Co-Directed Video

After five years of navigating loss, grief, and anger, Chicago-born, NYC-based singer-songwriter, multi-instrumentalist, and producer keiyaA emerges in the light of reinvention and healing, shaped by years of solitude spent in the unending tide of mess and renewal, returning to share her findings with unapologetic clarity. Her new single “stupid prizes,” accompanied by a self-co-directed music video with Caity Arthur, is a soulful, arresting prelude that marks a powerful next chapter.

Known for her penetrating explorations of Black womanhood and liberation, rich harmonies, and fearless experimentation, keiyaA reintroduces her artistry with the same emotional intensity and sonic innovation that defined her 2020 debut Forever, Ya Girl, arriving in the wake of her first theatrical stage play, milk thot.

Jenevieve Announces First Headline Run with ‘The CRYSALIS Tour’ Across North America

Eric Alper
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Jenevieve Announces First Headline Run with ‘The CRYSALIS Tour’ Across North America

Following the release of her new album CRYSALIS, rising Alternative R&B star Jenevieve has officially announced her first North American headline run – “The CRYSALIS Tour.” The 14-date trek will bring her genre-blurring sound and signature breezy-yet-introspective style to intimate venues across the U.S. and Canada this fall.

The tour kicks off on October 22 in Dallas, TX, at the Cambridge Room at the House of Blues and makes stops in major cities including Atlanta, Brooklyn, Toronto, Chicago, San Francisco, Los Angeles, and more, before wrapping on November 19 in San Diego, CA, at the Voodoo Room. Ticket presales begin on Wednesday, August 20th, 10 am local time and will run through Thursday, August 21st, 10 pm local time. General on sale begins Friday, August 22nd at 10 am local time. Tickets available here.

Jenevieve – THE CRYSALIS TOUR:

10/22 – Dallas, TX – Cambridge Room at the House of Blues
10/24 – Atlanta, GA – Purgatory at The Masquerade
10/27 – Philadelphia, PA – The Foundry
10/28 – Brooklyn, NY – Music Hall of Williamsburg
10/29 – Boston, MA – The Sinclair
11/02 – Washington, DC – Union Stage
11/04 – Toronto, ON – The Drake Underground
11/06 – Chicago, IL – Subterranean
11/09 – Denver, CO – Meow Wolf Denver
11/12 – Seattle, WA – Chop Suey
11/13 – Portland, OR – Hawthorne Theatre
11/16 – San Francisco, CA – Rickshaw Stop
11/17 – Los Angeles, CA – Echoplex
11/19 – San Diego, CA – Voodoo Room

The Replacements’ ‘Let It Be’ Returns October 24 in Deluxe Edition with Unreleased Tracks

Eric Alper
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The Replacements’ ‘Let It Be’ Returns October 24 in Deluxe Edition with Unreleased Tracks

Let It Be by The Replacements—Paul Westerberg, Bob Stinson, Tommy Stinson, and Chris Mars – originally released by highly revered indie label Twin/Tone Records, is widely hailed as one of the greatest albums of the 1980s and a cornerstone of indie rock. On October 24, the landmark 1984 album returns in a newly remastered and expanded edition from Rhino.

Let It Be (Deluxe Edition) will be available on 4LPs and 3CDs and includes the album alongside unreleased studio and live recordings. Pre-Order Here. A previously unheard version of “Androgynous” is available digitally today. Listen Now.

The set gathers a wide range of unreleased material from the Let It Be sessions, including alternate versions of “Gary’s Got A Boner” and “Favorite Thing,” as well as previously unreleased outtakes “Who’s Gonna Take Us Alive” and “Street Girl.” The alternate version of “Androgynous” out now features a different vocal take and the full piano intro, restored for the first time. All five bonus tracks from 2008’s Let It Be (Expanded Edition) are included here, newly remastered for this set. 

The collection also includes Goodnight! Go Home!, an unreleased 28-song performance recorded in August 1984 at the Cubby Bear in Chicago. Sourced from an audience tape and newly remastered, it finds the Minneapolis quartet charging through material from the not-yet-released album (“I Will Dare” and “Unsatisfied”), early favorites (“Color Me Impressed” and “Takin’ A Ride”), and characteristically offbeat covers “Help Me Rhonda/Little G.T.O.” (originally done by The Beach Boys/Ronny & The Daytonas) and “Can’t Get Enough” (Bad Company).

4LP or 3CD versions of Let It Be (Deluxe Edition), plus a bonus 10-inch vinyl Live at City Garden, will be available exclusively at Rhino.com. Rhino.com exclusive merch bundles include the 3CD alongside a T-Shirt, as well as the 4LP with a 10-inch, and T-Shirt. The six-song soundboard recording was made February 11 at one of the band’s favorite punk clubs in Trenton, NJ. One highlight is a rare performance of the ballad “You’re Getting Married,” a birthday request from the band’s original manager and Twin/Tone co-founder Peter Jesperson, who co-produced the 1984 album, as well as this Deluxe Edition with Rhino’s Jason Jones. Westerberg altered the lyrics mid-song, delivering them to a punk crowd Jesperson feared “might eat him alive”—but didn’t. “In all of The Replacements’ lore,” he says, “I think this is one of the greatest moments ever.”

By the time Let It Be was recorded, The Replacements had nearly outgrown their rough-edged hardcore beginnings. In their place were songs about longing, identity, and the uneasy shift from youth to adulthood. Tracks like “Unsatisfied” and “Answering Machine” embody that evolution, while “Seen Your Video” preserved their instinct for irreverence. The response was immediate, earning a rare A+ from Robert Christgau in The Village Voice and four stars from Rolling Stone. Its critical reputation only snowballed from there, eventually landing it on countless lists of the greatest albums ever made.

As a music journalist and singer and songwriter from the critically acclaimed DC-based pub-rock band the Paranoid Style, Elizabeth Nelson writes in the liner notes, “In form and function, The Replacements were the ultimate rebuke to masculine punk, and Let It Be, at its core, is a record for girls.” It’s also a record for the terminally shy, and for anyone who ever felt like a freak in their own skin. It is, in short, the blueprint for what so many of us wanted and needed rock and roll to be: a refuge, a provocation, and in the end, a way out.

LET IT BE (DELUXE EDITION)

3CD Track Listing

Disc One: 2025 Remaster

  1. “I Will Dare”
  2. “Favorite Thing”
  3. “We’re Comin’ Out”
  4. “Tommy Gets His Tonsils Out”
  5. “Androgynous”
  6. “Black Diamond”
  7. “Unsatisfied”
  8. “Seen Your Video”
  9. “Gary’s Got A Boner”
  10. “Sixteen Blue”
  11. “Answering Machine”

Disc Two: Rarities

  1. “Gary’s Got A Boner” – Alternate Version *
  2. “Favorite Thing” – Alternate Version *
  3. “Perfectly Lethal”
  4. “Temptation Eyes”
  5. “Who’s Gonna Take Us Alive” *
  6. “Heartbeat, It’s A Lovebeat”
  7. “Answering Machine” – Home Demo #1
  8. “Answering Machine” – Home Demo #2 *
  9. “Street Girl” – Takes 1 And 2 *
  10. “Sixteen Blue” – Alternate Version
  11. “Unsatisfied” – Full Length Version *
  12. “Androgynous” – Alternate Version *
  13. “20th Century Boy”
  14. “Hey Good Lookin’” – Live

Disc Three: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)

  1. “Can’t Hardly Wait” *
  2. “Left In The Dark” *
  3. “Unsatisfied” *
  4. “I Will Dare” *
  5. “Favorite Thing” *
  6. “Kids Don’t Follow” *
  7. “Run It” *
  8. “Color Me Impressed” *
  9. “Hayday” *
  10. “Nowhere Is My Home” *
  11. “Love You Till Friday” *
  12. “Help Me Rhonda/G.T.O.” *
  13. “Takin’ A Ride” *
  14. “Tommy Gets His Tonsils Out” *
  15. “Gary’s Got A Boner” *
  16. “Johnny’s Gonna Die” *
  17. “Can’t Get Enough” *
  18. “I’m In Trouble” *
  19. “Don’t Ask Why” *
  20. “Take Me Down To The Hospital” *
  21. “Shiftless When Idle” *
  22. “Mr. Whirly” *
  23. “Hitchin’ A Ride” *
  24. “Black Diamond” *
  25. “20th Century Boy” *
  26. “Go” *
  27. “Gimme Noise” *
  28. “White And Lazy” *

LET IT BE (DELUXE EDITION)

4LP Track Listing

LP One: 2025 Remaster

Side One

  1. “I Will Dare”
  2. “Favorite Thing”
  3. “We’re Comin’ Out”
  4. “Tommy Gets His Tonsils Out”
  5. “Androgynous”
  6. “Black Diamond”

Side Two

  1. “Unsatisfied”
  2. “Seen Your Video”
  3. “Gary’s Got A Boner”
  4. “Sixteen Blue”
  5. “Answering Machine”

LP Two: Rarities

Side One

  1. “Gary’s Got A Boner” – Alternate Version *
  2. “Favorite Thing” – Alternate Version *
  3. “Perfectly Lethal”
  4. “Temptation Eyes”
  5. “Who’s Gonna Take Us Alive” *
  6. “Heartbeat, It’s A Lovebeat”
  7. “Answering Machine” – Home Demo #1
  8. “Answering Machine” – Home Demo #2 *

Side Two

  1. “Street Girl” – Takes 1 And 2 *
  2. “Sixteen Blue” – Alternate Version
  3. “Unsatisfied” – Full Length Version *
  4. “Androgynous” – Alternate Version *
  5. “20th Century Boy”
  6. “Hey Good Lookin’” – Live

LP Three: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)

Side One

  1. “Can’t Hardly Wait” *
  2. “Left In The Dark” *
  3. “Unsatisfied” *
  4. “I Will Dare” *
  5. “Favorite Thing” *
  6. “Kids Don’t Follow” *

Side Two

  1. “Run It” *
  2. “Color Me Impressed” *
  3. “Hayday” *
  4. “Nowhere Is My Home” *
  5. “Love You Till Friday” *
  6. “Help Me Rhonda/G.T.O.” *
  7. “Takin’ A Ride” *

LP Four: Goodnight! Go Home!: Live at Cubby Bear, Chicago, IL, (March, 1984)

Side One

  1. “Tommy Gets His Tonsils Out” *
  2. “Gary’s Got A Boner” *
  3. “Johnny’s Gonna Die” *
  4. “Can’t Get Enough” *
  5. “I’m In Trouble” *
  6. “Don’t Ask Why” *
  7. “Take Me Down To The Hospital” *

Side Two

  1. “Shiftless When Idle” *
  2. “Mr. Whirly” *
  3. “Hitchin’ A Ride” *
  4. “Black Diamond” *
  5. “20th Century Boy” *
  6. “Go” *
  7. “Gimme Noise” *
  8. “White And Lazy” *

LIVE AT CITY GARDENS 1984

10” Track Listing

Side A

  1. “I Will Dare” *
  2. “Hayday” *
  3. “20th Century Boy” *

Side B

  1. “You’re Getting Married” *
  2. “God Damn Job” *
  3. “Color Me Impressed” *

* Previously Unreleased

Why Cassettes Aren’t Dying Anytime Soon

Eric Alper
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0
Why Cassettes Aren’t Dying Anytime Soon

Walk into a record store today and you’ll notice something you might not have expected a decade ago: rows of brightly colored cassette tapes sitting alongside vinyl and CDs. Far from being a relic, the humble cassette has become one of the most exciting growth stories in music. For Gen Z and Gen Alpha, tapes represent more than just a way to listen. They’re a badge of fandom, a collectible, and a way to connect to music in a physical world that feels more special than a swipe.

Cassettes are booming again because they give fans something tactile. In an era where millions of songs live in the cloud, putting a tape in your hand feels intentional. It means Side A, Side B, artwork, lyrics, and a limited number of tracks—all of which encourage listeners to slow down and experience the music as a whole. That ritual resonates deeply with young audiences craving experiences that feel grounded.

Artists have embraced the format as well. Taylor Swift has released her albums on cassette, turning each drop into a collectible moment for fans. Olivia Rodrigo, Kacey Musgraves, Billie Eilish, and Harry Styles have all joined in, offering cassettes as part of their album rollouts. Independent acts use tapes too, relying on their affordability and fast turnaround to connect directly with fans at shows.

The numbers back it up. In 2009, U.S. cassette album sales hit a low point of just 34,000. Fast forward to 2022, and sales topped 440,000, according to Luminate. That’s more than a twelve-fold increase in little over a decade. 2023 stayed steady at over 436,000 units, showing that this is no blip—it’s a sustained revival.

Collectors play a huge role in this momentum. Tapes are smaller and cheaper than vinyl, often selling at concerts for under $15, making them the perfect entry point for younger fans. With variants, special shells, and exclusive runs, a cassette can double as both a listening format and a piece of art. For artists, this opens a new lane of creative expression, one that fits seamlessly with fashion, design, and fan culture.

Technology has helped too. Companies like We Are Rewind and FiiO are producing Bluetooth-enabled cassette players, giving listeners modern convenience with analog charm. That means a teen can buy a tape at a merch table, pop it into a deck, and stream it wirelessly to headphones. The old becomes new again, and suddenly a format once considered vintage feels perfectly current.

Cassettes thrive in part because of their role in storytelling. Guardians of the Galaxy soundtracks, packaged on tape, reminded audiences of the emotional power of mixtapes. Limited-edition releases from artists like The 1975 and Arctic Monkeys highlight the same thing: music feels different when it comes in a package you can hold, flip, and treasure.

The DIY scene has never let go of the cassette. Indie artists continue to press them because they’re affordable and personal. A small run of 100 tapes can go a long way for a band on tour, offering something physical to hand to fans after a show. For those fans, it becomes more than merchandise—it’s a keepsake of a night, a moment, a connection.

Social media adds fuel to the fire. TikTok and Instagram love visual storytelling, and cassettes fit perfectly. They’re photogenic, retro, colorful, and endlessly customizable. Fans show off collections, swap tapes, and share unboxings, keeping the format alive in feeds across the world.

The cassette’s story today is about abundance. It’s about more ways for fans to connect, more outlets for creativity, and more formats that matter. With global stars and grassroots acts embracing it equally, the cassette remains a format that celebrates music’s past while shaping its future.

And that’s why cassettes aren’t going anywhere. They’re thriving, loved, and more relevant than they’ve been in decades. The click of a tape, the snap of a case, and the hum of Side A turning into Side B all matter again—and for millions of young fans, it feels like the perfect way to fall in love with music.

SQUANDERERS Announce New Album ‘SKANTAGIO’ Out August 22, Share “Theme for Insufficient Overpreparation”

Eric Alper
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0
SQUANDERERS Announce New Album ‘SKANTAGIO’ Out August 22, Share “Theme for Insufficient Overpreparation”

Deemed a “sound-experimental supergroup” by Stereogum, SQUANDERERS is the trio of guitarists Wendy Eisenberg and David Grubbs alongside multi-instrumentalist and legendary producer Kramer. The group was born from a spontaneous, exploratory afternoon studio session — three renowned players coming together with only a shared curiosity: how do time and space conspire to create sound?

From that first meeting came If a Body Meet a Body, their debut collaboration, released this past November on Shimmy-Disc.

Now, SQUANDERERS return with their second full-length, SKANTAGIO, out August 22nd via Shimmy-Disc. Following recent singles “THEME FOR SKANTAGIO” and “THEME FOR NARCOLEPTICS,” the trio now shares the album’s final pre-release meditation: “Theme for Insufficient Overpreparation.”

The track is a glimmering, crinkly piece that gradually builds an uneasy intensity—chords quicken, scatter, and ultimately bloom into a kind of organized chaos, a dissonant harmony that feels as deliberate as it is unbound.

As with the first two singles, the accompanying video was created by Kramer in his signature Ambient-Cinema style, features footage of the Cicada mating ritual and explores the concert of “The Preparedness Paradox” or the incorrect perception that there had been no need for careful preparation as there was little harm, although in reality the limitation of the harm was due to preparation.

With SKANTAGIO, SQUANDERERS hone in on singular ideas and stretch them into whole worlds—invoking thought, creativity, and deep reflection. Though born from improvisation, the album was guided by an evolving vision.

“Theme for Insufficient Overpreparation” is out now. SKANTAGIO LP is out August 22nd via Shimmy-Disc.

SKANTAGIO Track Listing:

Side A:
1. Theme for Skantagio
2. Theme for Narcoleptics
3. Theme for Insufficient Overpreparation
4. Theme for Fruitful Tangents
Side B:
1. Theme for All Unawares
2. Theme for The Path Made Visible
3. Theme for Undivided Neglect

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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