#6 on the 2025 Bacon Top 31 — Snocaps

January 26, 2026 by Royal Stuart in 2025, Top 31

Snocaps by Snocaps

My love for all things Waxahatchee and MJ Lenderman knows no bounds. Snocaps is the name of a side project “supergroup” betweenn Katie Crutchfield (aka Waxahatchee), her twin sister Alison, and guitarist du jour MJ Lenderman. The three of them got together in 2025 and then surprise-released their self-titled debut on halloween. For me it was love at first listen.

The Crutchfield twins have a long history of performing together, starting when they were only 15 years old with their band The Ackleys. Three years later, in 2007, they formed a pop punk band, the feminist-centric P.S. Eliot, that caught some farther-ranging attention before disbanding in 2011. They had separate but equal musical drives, and needed to each find their own path to greatness.

Katie went on to become Bacon Review fave Waxahatchee, which you may remember hearing (and extensively read) at #2 in 2024 and #1 in 2020. Alison’s band, Swearin’, hasn’t hit my radar, but that may be because that band hasn’t released any music since 2018, before I really even started listening to either twin. Snocaps marks the first time the two have recorded music written by each of them together since P.S. Eliot broke up 15 years ago.¹

MJ Lenderman, whose own album was #9 in 2024, and who also featured prominently on the #2 album from Waxahatchee that year, is seemingly everywhere today. A fantastic guitarist, his work with Snocaps is no different. Although, when I saw the band perform these great songs together in December in LA, Lenderman chose to play the drums for all but one song in the set, letting the Crutchfield twins and others take over duties on the stringed instruments (watch them perform “Hide” live in LA on Dec 5).

The album is split down the middle, with each Crutchfield twin writing and singing lead on half the songs. Their voices and the tone of the band shifts between the two sister’s proclivities, with the Allison-led songs having a more upbeat, indie-rock, Rilo Kiley-esque vibe, and the Katie-led songs trending naturally towards the slower, twangier, alt-country Waxahatchee side. “Coast” (featured in the video above), is my favorite Alison-penned song from the album. The only other video the band has released from the album is for the Katie-penned song “I Don’t Want To.” It’s a great song, but not my favorite of hers on the album. That distinction goes to “Hide,” (watch my own handheld video of that song, linked at the end of the previous paragraph), a slow dirge of a song about openly questioning the love and dedication of a partner. The song reminds me so much of the 1988 song “Tugboat” by Galaxie 500, I often find myself playing one after the other on repeat.

The future of Snocaps is completely unknown. Supergroups like this (see boygenius, at #1 in 2023, for another example) are often one-offs. They capture an exciting moment in time, but with the alt-universe itch scratched, the superstars inevitably move back into their usual groove.

This album came out so quickly and surprisingly, the record industry was caught off guard (the vinyl for Snocaps isn’t even going to be ready to deliver until April, six months after the album was released digitally). Maybe that release will be the impetus of another, more wide-ranging tour for Snocaps later this summer. Lenderman and Waxahatchee are going on a 17-date co-headlining tour in April, but it’s not billed as a Snocaps tour. Surely we’ll hear some of these songs then? No idea if Alison will make an appearance, but here’s to hoping.

Given the familial relations of the twins, and the currently-close ties between Katie and Lenderman, I would be very surprised if this is the last we hear from the three of them together. But, if nothing else comes from Snocaps, we’ll have this phenomenal record to remember them by.

^{1. Allison and other Swearin’ band members have performed on some various Waxahatchee songs in the interim.↩}

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#2 on the 2024 Bacon Top 31 — Waxahatchee

January 30, 2025 by Royal Stuart in Top 31, 2024

Tigers Blood by Waxahatchee

It is surprisingly difficult to reread my review of Waxahatchee’s last album, Saint Cloud, my #1 album of 2020. That album came out March 27 that year, just as the world was locking down. This was the first year of Covid, with (only) 400,000 deaths. Saint Cloud was the blanket that kept us warm, the unexpectedly bright star in that darkness. 2024 wasn’t nearly as dark, as Covid is mostly controlled, having left the world scarred and scared. And here as I write this at the end of January 2025, we’re in a different kind of dark times, unsure where the world is headed. “Unsettled,” as a vibe.

We’re so lucky to have Katie Crutchfield and her band to help prop us up and give us the energy we need to carry on. Like Katie to her sister Alison, Tigers Blood is very much a twin to Saint Cloud. Crutchfield brought back Brad Cook to produce the album (he also plays bass on every song aside from one). His ability to bring the coziness of the recording space into these songs is impeccable as always. You could easily play both albums back to back and have no real indication where one album ends and the other begins, aside from one notable exception: the backing vocals of one MJ Lenderman.

You may recall Lenderman, whose recent solo album was featured at #9 this year. His dry drawl is a perfect lower-register match to Crutchfield’s strong twang. Lenderman’s guitar appears across every song on the album, and he provides exquisite harmonies on four of them, often singing an unexpected harmonic tone underneath but not hidden from the forefront. The first single from the album, “Right Back To It” has Lenderman’s voice so prominent that he received a “ft. MJ Lenderman” credit in the song title. Released just over two months before the album came out, it was a strong indication of where Waxahatchee was headed.

Another highlight of Lenderman’s backing vocals is the “title song,” a slow, depressing-in-a-good-way dirge that ends with the entire band lending their voices to the chorus. I challenge you to zone in on Lenderman’s voice when you can pick it up underneath Crutchfield. The choices he makes for the harmony line are entirely unique and surprising. It makes me want to go back and give his band Wednesday’s 2023 album Rat Saw God another proper listen.

The highlight for me on the album is also the most sparse, “365.” I first truly fell for Waxahatchee on her song “Chapel of Pines” from the 2018 EP Great Thunder. It’s a simple song, just an acoustic guitar and Crutchfield’s strong, dripping-with-emotion voice planted firmly in your ear. This is where Waxahatchee shines brightest, when she is at her most intimate. “365” is similar in tone – simple acoustic baritone guitar from Brad Cook, organ from his brother Phil, Lenderman on a second acoustic guitar, and drummer (and Jeff Tweedy’s son) Spencer Tweedy playing a lone cymbal, everything drawn back to let Crutchfield’s voice proceed unhindered. The song is a gut punch, describing a person whose whole being is wrapped up in their broken-beyond-repair partner:

“I catch your poison arrow. I catch your same disease. Bow like a weeping willow, buc-kle-in’ at the knees, beg-gin’ you ‘please.’ If you fly up beyond the cosmos, it’s a long way to fall back down. Ya always go ’bout this the wrong way, and I’m too weak to just let you drown. So when you kill, I kill, When you ache, I ache. We both haunt this ol’ lifeless town When you fail, I fail When you fly, I fly, And it’s a long way to come back down.”

Crutchfield’s own voice doubles up her lead vocals, going up even higher on the verse above. It is such an unbelievably wrenching baring of emotion, you can feel throughout your entire being this person’s anguish at being stuck in this situation.

There is not a bad song on Tigers Blood. You can watch videos for the much more amped up and rocking “Bored,” evoking sounds of Rilo Kiley¹, and the more traditional slow country “Much Ado About Nothing.” Better yet, you should watch Waxahatchee’s latest “NPR Tiny Desk Concert” from December, 2024. This is their third appearance in the series, having appeared back in 2013, young, solo on guitar, and rough around the edges, and again with a special “Tiny Desk (Home) Concert” in April 2020, with her boyfriend Kevin Morby (another Top 31 alum – #3 in 2022²).

Waxahatchee has been on a massive wave since I started following them shortly after the release of their 2018 EP. The audience keeps getting bigger, and Crutchfield’s reach keeps getting wider. This year she’s been nominated for a Grammy, for best Americana album. The category is full of names I don’t recognize, aside from the heavy hitter T. Bone Burnett, who I imagine would be a lock with the Grammy voters. But maybe we’ll be able to see Katie sharing that stage with Beyoncé or Taylor Swift or Kendrick Lamar on February 2. If not, I’m fairly certain this won’t be her only opportunity. Here’s to looking forward to the next one!

^{1. I’ve learned today that Rilo Kiley, led by Top 31 alum Jenny Lewis (#24 in 2014) is reuniting and touring this summer – I’m going to assume Waxahatchee leading the currently indie rock scene into alt.country heaven is what has made that happen.↩}
^{2. Crutchfield showed up in 2022 as well, as half of the duo Plains with Jess Williamson on their fantastic I Walked With You a Ways at #13.↩}

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#8 on the 2024 Bacon Top 31 — Cheekface

January 24, 2025 by Royal Stuart in Top 31, 2024

It’s Sorted by Cheekface

I like humor in music. In the Top 31 so far this year we’ve got Father John Misty (over the top crooner), King Gizzard and the Lizard Wizard (good ol’ boys), Vulfmon (downright silly), and even yesterday’s artist, MJ Lenderman, is humorous in his own ironic, lyrical way. The band here at #8, LA’s Cheekface, excels at dry, matter-of-fact humor – the exact kind of humor living in today’s uber-politicized world requires.¹ To whit:

I just want to be popular to watch
In the movie you put on from the camera on your porch
Your across-the-street neighbor walks his dog on TV
The future is now, unfortunately
And if I’m never, ever gonna be alone
Here in my community neighborhood home
Then I wanna be popular to watch
In the movie you put on from the camera on your porch

That, dear friends, is the chorus for “Popular 2,” my favorite song from Cheekface’s 4th rockin’ album, It’s Sorted. I can’t describe what a sense of accomplishment I felt when I was able to finally sing that verse word-for-word by memory. It’s so good! Is this musically challenging, ground breaking music? No! Does it make me smile, repeatedly, on every listen? Yes! Do I regularly put exclamation points in my reviews? No! Does Cheekface make me want to use exclamation points? Yes!

I don’t know about you, but I can’t handle a lot of what’s going on in the world right now. Music has the magical power to take you in all kinds of directions: sadness, elation, anger, happiness, emotional, gleeful. Which direction is not necessarily the point, as long as that direction is away from the right now. Cheekface’s magic is that they keep you mostly grounded in the right now, with blunt reality tinged by dry, direct delivery, while still managing to pull you away to some new reality where the absurdity of life is humorous.

The song “Don’t Stop Believing,” very similar to “Indian Summer” by Beat Happening, features the lines “Everyone cool will die. Everyone weird will also die. What lives on is the destruction caused my market economics. Being unique does not fit neatly into the grid of corporate needs. Still, I work like a dog doing a dog day’s work, and who could blame me? I live in a society.” There is nothing funny about those lives. They’re bleak and sad. But lead singer Greg Katz’s baritone delivery is comical. He stumbles over himself trying to cram in the line about working like a dog. It doesn’t fit the beat, but he successfully pulls it off.

The chorus for “Plastic” goes like this: “Everything is gray now, do you like it? You know I only want it if you want it. Whatever you need now, we can make it out of plastic.” These are not song lyrics, this is a letter from a pen pal who’s on the verge of a mental breakdown. The bridge of the same song is a call-and-response with “Is there recycling?” followed by “It’s sorted.” It doesn’t have to make sense, it just has to make me smile.

I first covered Cheekface for their great third album, Too Much to Ask at #22 in 2022. Here we are two years later and that album still sees regular airplay in my home, along with It’s Sorted. “Life in a Bag” (featured in the video above) is one of many highlights across the album. Each song I listen to as I write this review compels me to put the lyrics here in writing – they’re all just so nonsensical but somehow make all the sense in the world. But I’ll stop – just go listen to the damn thing yourself and watch the lyrics as you do.

You can meet the entire band (Greg Katz on lead vocals and guitar, Mandy Tannen on backing vocals and bass, and Mark “Echo” Edwards on drums) by watching the It’s Sorted Album Commentary the band put out in support of the record. One of the more amazing and endearing things about the band is they self-release and self-promote everything they do. The band is very active on social media, their albums come out on Katz’s own New Professor Music record label, and they have toured extensively for the short few years that I’ve known of them.

I saw Cheekface in 2022, missed them last year, but am excited to get to see them again, at Neumos on May 23. Based on the number of “5th album” talk happening in their social posts and on the band’s hosted Discord, I’m confident their next album will be out by then. At the show, there will be lots of singing along, shouting at key moments, likely Katz leading us in some guided dancing, like we are the puppets and he holds the strings. Cheekface shows are very interactive. And the best part? I am very confident that my cheeks will hurt from smiling by the end of the show. Maybe that’s why they call themselves Cheekface.

^{1. Wikipedia take all the fun out of describing the fun that is Cheekface: “The group's songs, characterized by [lead singer Greg] Katz’s talk-singing, are typically short and lyrics-driven with a dry sense of humor and tend to share a thematic interest in anxiety and sociopolitical unease.” ↩}

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#9 on the 2024 Bacon Top 31 — MJ Lenderman

January 23, 2025 by Royal Stuart in Top 31, 2024

Manning Fireworks by MJ Lenderman

I first heard MJ Lenderman on the lovely Waxahatchee song “Right Back To It,” which came out on January 9, 2024. I’d been anxiously awaiting something new from Waxahatchee, so the new single was a much welcome surprise, despite the new sensation of having male backing vocals crowd in on Katie Crutchfield’s lead. When the new full Waxahatchee album came out in March, we learned that MJ Lenderman was all over that album, singing with Crutchfield on four songs, and playing electric guitar across the entire album. Just who was this guy suddenly thrust into my Waxahatchee-loving world?

Thankfully, later in the year, I learned exactly who MJ Lenderman was. His great record, Manning Fireworks, lands way up here at #9 on the Top 31. And once again, I’m late to the party. Fireworks is the fourth album Lenderman has released since 2019. His last album, Boat Songs, is apparently something special as well and I aim to check it out. On top of that, he is actively in the band Wednesday, with whom he has also released three albums in that same time period. Their 2023 album, Rat Saw God, barely missed the Top 31 last year, remaining in contention for one of the upper 20s spots until just before I started up the Top 31 (they can’t all win, and I often make the wrong choice in retrospect).

Lenderman’s voice is somewhere in the same area of the musical chart next to Eef Barzelay from Clem Snide, slightly scratchy, a touch of strain, and all emotion. There’s also hints of Stephen Malkmus, whose off-key delivery always put me off but I somehow find endearing with Lenderman. And there’s a straightforwardness, an earnestness to the delivery that feels very much like Neil Young. Lenderman’s fuzzy guitar often evokes some Neil as well.

The lead singer of Wednesday, Karly Hartzman, who is also Lenderman’s ex romantic partner, features prominently throughout Fireworks. It’s her backing vocals we hear on all but three of the nine songs. As opposed to Hartzman and Lenderman’s Wednesday albums, Lenderman and his solo-album band have slowed things down mostly into an alt.country lane, complete with pedal steel guitar. “She’s Leaving You,” featured above, is one of the more straightforward rock songs on the album, and Lenderman’s unpolished voice really drives it home. “Joker Lips” is slower, squarely country, as is “You Don’t Know the Shape I’m In” – the two other songs he’s produced videos for from the album.

The album ends with a ten-minute epic of a song called “Bark at the Moon.” The song starts out as nearly every other Lenderman song does, with a bit of lyrical humor. “I‘ve lost my sense of humor. I’ve lost my driving range. I could really use your two cents, babe. I could really use the change.” He then carries further into a depressing tale, where it’s clear he’s experiencing a breakup and his soon-to-be-ex is moving away from him. “Don’t move to New York City, babe. It’s gonna change the way you dress.” The lyrics then wrap up the story bringing us home to the reasoning for the song title, which also happens to be an early 80s Ozzy Osbourne track and album title. “I’ve never seen the the Mona Lisa. I’ve never really left my room. I’ve been up too late with Guitar Hero playing ‘Bark at the Moon.’ Awooooo.” The song then devolves into six minutes of glorious guitar drone that is quite pleasant in its loudness.

I’m excited to get to see Lenderman in February, at the Neptune here in Seattle. I’ve always had a soft spot for alt.country,¹ and with MJ Lenderman showing up in two of my favorite albums from 2024, I‘m going to be watching him closely for the foreseeable future.

^{1. I just looked up the wikipedia page for “alternative country,” to see if anyone still referred to it as “alt.country” as I still do, and saw that another name for it is “y’allternative.” I won’t start using that, preferring to stick to my late 90s verbiage, but I do love that turn of phrase.↩}