30 Best EPs of 2018
The best EPs of 2018 include Petrie, More Giraffes, Betty Who, Edward & Jane, Ward Davis, Carry Illinois and more!
Welcome to our Best of 2018 series, in which we explore the year’s best albums, songs and extended plays.
Extended plays never quite get the respect they deserve. In the era of streaming and deteriorated returns for artists, on both touring and album sales fronts, shortened projects are the only way our favorites can release music at a cost-efficient pace. From folk music to electronica to epic indie-rock, singers, songwriters and musicians from all genres of life offered up some excellent and emotionally-charged music this year. In issuing EPs, a slew of artists are able to whet audiences’ appetite while fulfilling an artistic thirst as they eye their next footsteps and in ever-evolving business.
Below, B-Sides & Badlands has chosen the 25 best EPs of 2018.
Genre: Indie/Rock
Label: Coronado Sound
The Dan Sadin EP trembles and aches, like aftershocks of an altogether damaging, merciless earthquake. “Here Comes the Heartache” sees Sadin opening the floodgates even though he can see the trouble peeking just over the horizon. “I thought I had gotten away / Thought I had nothing to say / I guess it’s just a little too late,” he considers, gentle tugs of celestial guitars looping in ghostly quivers. Then, with “Edge of the Dark,” his jawline is tense ⎯⎯ making his steely-eyed determination made known amidst an outbreak of classically-80s pop-structured beats and grooves. “Moonlight, you had the shivers / You woke me up and asked to hold you tight / Our bodies touched, and for a moment, seemed like everything was gonna be alright,” he sings and wraps a tender, clammy embrace around an unnamed lover. [Full review here] – Jason Scott
Genre: Pop
Label: MAD Dragon Records
Mazie carries her own blood-soaked cross, penning an EP of scratchy synth-pop confessionals, often staggeringly exposed about scavenging through a relationship’s embers, shedding innocence and numbing pain with wit. “You know that I’ve been on track / Feel it on my bones like that,” she sputters on the zipper-twisted opener “afterglow,” a meditation on bidding adieu to her adolescence. “ghost” then trembles with the angst of jarring dialtones and feeling mental pressure of being ghosted in the digital age, an act of merciless selfishness. The 18-year-old’s vocal slips and hovers much like a specter shaking brittle chains and lingering behind its earthly, long-decomposed form. [Full review here] – Jason Scott
Sabrina Claudio, No Rain, No Flowers (buy)
Genre: Pop
Label: SC Entertainment
Sabrina Claudio has proven to be one of the year’s most promising artists, consistently releasing
material that never falls short of the high-quality standard she has set for herself. Claudio has admitted
that most of her songs are the stories of those close to her but on her latest project, no rain no flowers,
she tells her own stories and allows us to see her at her most vulnerable, as she sings on the second
track, “This is me, naked.” But don’t expect Sabrina to appear completely weak and fragile, on tracks like
“Numb” and “Cycle,” she unleashes the sassy Miami girl that many of her fans have come to know
through her social media and live shows. Overall, no rain, no flowers is a powerful collection of songs
that beautifully showcase her ability to express each individual emotion. – Galvin Baez
Edward & Jane, Too Early to Tell (buy)
Genre: Americana
Label: Independent
Six-piece self-proclaimed folkicana group Edward and Jane pick their bones clean in search of the truths they’ve collected along the way with their sophomore EP. The band…step into the ring with a clenched jaw and a gleam in their eyes. Their skin is yellowed and wrinkled, smattered with blood from the strains of everyday living. “You’re a fighter / You’re a boxer in his ring / Not easily tired,” hoists Edward from the get go on “Hold Your Own,” as he braces for the impact of more of life’s quick jabs and stomach stabs. [Full review here] – Jason Scott
More Giraffes, It Was a Joke (buy)
Genre: Pop
Label: AllPoints
Queueing up colossal tear downs of millennial culture and instant gratification, the electro-pop duo More Giraffes, a moniker inspired by the wild beast of great, majestic stature, layer on the “fly AF” free-style in glossy, generously-bouncy shades across all five songs here. They are originals, assuredly, but their well-crafted, nearly-parody aesthetic is just as sharply self-effacing, as they slice to dismantle a system of relentless black mirrors and a desire to be liked. But you won’t find an ounce of self-pity inside the reverberating walls of the duo’s debut EP, which seems to keep the slickness of R&B in tact while defying every single genre boundary in feathered and lacy extravagance. – Jason Scott
Carry Illinois, Work in Progress (buy)
Genre: Pop/Alternative
Label: Independent
Electric and eclectic indie-pop band Carry Illinois grant stunning insight with their new EP, Work in Progress, a bristled and homely and humbled lineup of tunes. It’s worn around the edges, but underneath, there beats a truly remarkable, one-of-a-kind heart. It takes an astounding amount of courage to own your own shit, and singer-songwriter Lizzy Lehman is one of the bravest people walking this earth. Her footsteps are scorched, and she breathes fire with each syllable. “I’m a work in progress / Let’s get to it,” she determines on the broiled, gut-stabbing title song, the backbone that not only embodies her journey to self-worth but serves as a crucial admission of a time within we seem to be trapped and bound by stigmas, bigotry and political and social ruin. [Full review here] – Jason Scott
Runaway June, Self-Titled (buy)
Genre: Country
Label: Wheelhouse Records
Runaway June‘s should-be-smashing “Buy My Own Drinks” elevates that theme [of high-powered womanhood] even further. The boozy, bar-top romper both provokes and enlightens ⎯⎯ the trio of women uncover an exhilarating kind of independence in the wake of heartbreak. “At the end of the night when they cut on all the lights, I can call my own cab / I can drop my own change in the jukebox / I can dance all by myself,” Jennifer Wayne, Naomi Cooke and Hannah Mulholland sing. Through the playful dance of neon light, falling across the bar scene and a cast of the usual suspects, they reclaim their self-worth and an identity completely unencumbered by a man and his sensitive ego. Written by the three-piece, alongside Nashville heavy-weights Hillary Lindsey and Josh Kear, “Drinks” sloshes with a neo-traditional flavor, an approach that has characterized the entire scope of their work so far. [Full review here] – Jason Scott
Semler, Six Feet Under All the Same (buy)
Genre: Folk
Label: Big Bad Sound
Semler’s bones break under tremendous and sickly meditations on death, loss and other gruesome topics of humanity’s slow descent into the grave. “Hush, little baby, don’t you cry / Better hope dad don’t find the boy alive,” Grace Semler Baldridge mutters with “Beauty Queen,” among her most exemplary songwriting showcases. She later falls under the splintered carriage wheels of “Shades of Blue,” an unexpectedly terrifying and evocative ballad which wields the EP title with a gentle, wry tug. “Marry us in different caskets / But six feet under all the same,” she whispers, almost as a reassurance to herself of unconditional love that lingers in the afterlife as a gnarly depiction of the truth buried and cold and hard in the dirt beneath her. Semler’s voice is always delivered with muted frankness, but it somehow cuts deeper than you could possibly imagine. – Jason Scott
Kim Petras, Turn Off the Light, Vol. 1 (buy)
Genre: Pop
Label: BunHead
Pop enchantress Kim Petras digs up decayed relics of the spookiest night of the year ⏤ All Hallow’s Eve, of course ⏤ for her new mixtape. Interludes like “o m e n” and “TRANSylvania” whet the appetite for a night of ghoulishness, swerving away from her usual bubblegum pop effervescence and leveling up on wicked good fun. The beastly “Close Your Eyes” is a terrifying mix of club-pop and icy darkness. “Go on and say, say your last words / Sometimes the best things kinda hurt / ‘Cause this is real, it’s unrehearsed / My final touch, your fatal curse,” she sings, lips puckering at her own playful naughtiness. [Full review here] – Jason Scott
SHEARE, Music for Photo Booths (buy)
Genre: Pop
Label: Independent
A purveyor of massive, sticky, haunting hooks, SHEARE reaches an apex of his budding career with “Bedroom,” a shivering alloy of bubbly synths and his classic falsetto. “Oh, there’s something I been missing sitting on the kitchen floor / And I said, ‘I think I need a minute,’” he sings, fighting valiantly to pick up the pieces after a breakup but always being spooked by the memory of her, even in the confines of his bedroom. “But babe, it’s been a long time coming / Running away, standing in place.” As is his way, he pours out his heart and soul three minutes at a time. “Tidal Wave,” a cut on his shiny new EP, Music for Photo Booths, a title ripped from a chance meeting which led to a tumultuous but addicting relationship, digs into “me and my hang-ups in relationships,” he says. [Full review here] – Jason Scott
Ward Davis, Asunder (buy)
Genre: Country
Label: Independent
Ward Davis goes through the motions of grief, reemerging from the watery depths of a divorce to recover his sanity, on his taught, moving new EP. Asunder is finger-plucked, hand-tossed and sun-baked with honest to goodness storytelling and warmly grim production, serving to ramp up his emotional costs and plight of recovery. He confronts keeping up appearances (“Live a Lie”) and his own bullheadedness (“Could Just Be a Fool”) with captivating honesty. “Drove myself to the lawyer’s today / And picked up a pen and signed my wife away,” he sings, catching the truth in the back of his throat, on “Good and Drunk,” which slowly dances in the shadows of regret and heartache. With his cover of Tom Petty’s “Time to Move On,” book ending his confessional, Ward picks himself off the floor and looks, rather wistfully, into the distant future. – Jason Scott
The Band Perry, COORDINATES (buy)
Genre: Pop
Label: TheTenTwentySix
Painting in “minimal brutalism” strokes, as the band calls it, the trio leans into gritty electronica in the spirit of Taylor Swift’s Reputation and Britney Spears’ Blackout. “Seven Seconds” collapses under the guise of a euphoric and blissful escape from the horrors of the world. “I’m just so exhausted now / I’m feeling all this pressure now,” Kimberly broods in maddening sighs, as the production simmers and gurgles on high. Later, she steps back further from the threshold of the impending apocalypse, grunge-rock inflections clawing at her lungs, “I’m tired of living in a zoo / I think I’m done with all the hate / I’m thinking that the world can wait, world can wait.” [Full review here] – Jason Scott
Genre: Indie/Rock
Label: Atlantic
Listening to indie-rock trio Wallows, featuring Cole Preston, Braeden Lemasters and 13 Reasons Why star Dylan Minnette, is like stepping lavishly into the golden haze of yesteryear. Their debut EP is a collection of dim, discolored and long-forgotten polaroids, clicked and printed in between magnificent memories of life’s most splendid moments and tucked away in a cedar chest, now dusty and dank somewhere in the attic. Where cuts like “Ground” and “It’s Only Right” wriggle along in the earth’s gnarled fingertips, “These Days” and the exceptional “1980s Horror Film” shimmer and dance in the gloriously penetrating sun of so-Cal folk-rock, soaked in a cloudy classic filter and then air-dried with a savory modern charm. – Jason Scott
Genre: Pop
Label: Dancing Avocado Songs
Residing in San Francisco, a rather unlikely locale for her particularly frothy and wild electro-pop blend, Steph Wells (who goes by the stage name SUMif) enlisted Craigslist for chance musical encounters, scoping out others’ crafts so she could mold her own, and began piecing together what would culminate in her debut EP. “Come a little closer / Let’s just be,” she whispers on glitter-rave opener “In with Me” through clinking coins and dazed electronica drops. The tone-setting piece whisks through the eardrums, knocking back joyous incisions and jolting the nervous system awake. That makes sense, since her intent is to make people dance at all costs. “I’m running around,” she knots over crimping synth jabs and folding her voice like crisp, dazzling-white origami. Her breathy vocal hangs on that theme throughout much of the EP. [Full review here] – Jason Scott
Trixie Mattel, One Stone (buy)
Genre: Country
Label: Independent
The queer voice in country music is flourishing, thanks in large part to mainstream songwriters Brandy Clark and Shane McAnally, and such outliers as Brandi Carlile, Sarah Shook & the Disarmers, Karen & the Sorrows and others. Trixie Mattel, stage persona of Brian Firkus, a fixture on RuPaul’s Drag Race, bares heart and soul with a new album called One Stone. Between the walls of hearty-stock fiddle, banjo and acoustic guitar, Mattel seeks to expose small-town, conservative culture. With “Little Sister,” Firkus acknowledges archaic gender roles in a heartfelt love-letter to his younger sister. “Red Side of the Moon,” a breathy, downcast ballad, explores rumors of Dolly Parton’s alleged secret relationship with Judy Ogle. “The Well” is another raw, raspy number, in which Firkus references such classic country tunes as “I Walk the Line” by Johnny Cash and “Stand by Your Man” by Tammy Wynette. In total, One Stone is a breathtaking body of queer art. – Jason Scott
Genre: Pop
Label: Photo Finish Records
Chelsea Lee is an acrobat twisting and soaring through the air with effortless command and eliciting edge-of-your-seat thrills. She bends the lyrics and melodies to her will, often splashing in impressively ferocious routines and coloring so far outside the lines you can never predict where she’ll go next. Joined with producing brothers Spencer Ernst and Max Ernst, the electronic trio go for broke on their second EP, which witnesses true pop grandeur in the way they craft sparkling, effervescent atmospheres, searing right into the top layer of flesh, while pushing the stylistic envelope every syllable of the way. “I never feel so low…” Lee caterwauls with the chewy “Trampoline,” while she later yanks back the covers of restraint on “Silver Knife,” a swirling flurry of mood and medicated synths. MELT inches closer to SHAED unlocking their full, unadulterated mainstream potential. – Jason Scott
Calamity the Kid, Late Bloomer (buy)
Genre: Rock
Label: SRY MOM
“The world isn’t what it was in the sixties, all peace and love,”Sam Doniger, frontman of pop-rock outfit Calamity the Kid, sings with the group’s debut single “American Muscle,” a polished, punk-ish teardown of the American dream. In under three minutes, Doniger doesn’t mince words, curating his frustrations over police brutality, racial tensions and being spoon-fed a lie. That’s only scratching the surface of the band’s brazen lyricism and sonic touch points, drawing upon Nirvana, Green Day and Good Charlotte. Their debut EP, Late Bloomer, sees its name from Doniger’s propensity of being “late to everything,” he says. The EP, containing titles like “Fuckboys” and “Die Young,” which is a staunch, soul-tearing rallying cry, is directly connected to “these generational feelings of apathy or disconnected in other ways.” [Full review here] – Jason Scott
EXNATIONS, Tiny Sound in the Dark (buy)
Genre: Pop
Label: Independent
Electro-pop trio Exnations‘ debut EP reads as a tasty, lush and triumphant pairing to what [Shonda] Rhimes so eloquently teaches in her book. Lead singer Sal Mastrocola (also on guitar and out-of-body synths), Taylor Hughes (drums and more smatterings of vital, blood-giving synths) and John O’Neil (storming on bass) chronicle crippling fear (“Can’t Get Hurt,” the first single, which outlines looming peril), love of the art and its thorny supplications (“Never About the Money” is an unforgiving sonic splash) and the stealthy nature of hope that creeps up like, well, a tiny sound in the dark (“Wore All Black,” a painstaking manifestation of the EP’s core intent, a journey to self-awareness and strength). [Full review here] – Jason Scott
OMYO, Introduction, Vol. II (buy)
Genre: Pop
Label: Two Six Records
London pair OMYO ⎯⎯ made up of William Edward and Tom McCorkell ⎯⎯ mount a divine brew of the organic and the manufactured. Introduction, Vol. II is a dreamscape, littered with R&B-based funk (“Poster”) and calls out into the wild yonder (“Never Let You Go” is McCorkell’s best heart-rending exhibition, mingling ardent singer-songwriter lyricism with tinseled production). “Daydreamers” continues that trend in blurring the lines between genres, often feeling transcendent in tone and shattering the ceiling on the way to the cosmos. “Comeback” is sturdier on the guitar, a reliable and hulking foundation on which to layer thick vocals and musical fabric. The suitable bookend, “Mine,” is the set’s most somber, reflective of the deeper, grimmer underbelly of mankind. – Jason Scott
Genre: Pop/Hip-hop
Label: LEMON ICE
This hip-hop-taunting electronica duo immerse the senses in mind-altering soundscapes, washing the extremities in fearsomely chomping lyrics as a mechanism to give way to replenishment of the body. “I’m scared that you’re not trying,” they concede on the sunset-cast “Lion,” relinquishing their inner turmoil and unease with a dying relationship. In truth, the London outfit found themselves collapse under the weight of their very own devices, and now, they were faced with reconstructing makeshift skeletons and repurposing an existence of living and loving with hardened hearts. The scatterbrained musical compositions here, especially on the gas-lit opener to the charred indie-rock ballad “The Weather,” permit the pair to reconfigure their typically-mood-based aesthetic for a more deeply-ingrained yearning. “You don’t want my heart, baby / Leave it in my chest…” – Jason Scott
Rowan Katz, Violet (buy)
Genre: Pop/Alternative
Label: Little Witch Records
Rowan Katz‘s eyes waver, ever so slightly, a moment of uncertainty caught on film, and their skin is damaged but with a sweet complexion. They’re made of molecules that burn, gold and silvery pixie dust cast in between each tree. “I haven’t healed at all,” they whisper in wispy and weathered frowns. “Still Here” is not an end but a means to one. It’s the bookend of their debut extended play, a seven-track confessional of rawness scavenged from underneath their fingertips which show blood and bone and brokenness and dirt and gravel. She cuts the wounds back open, retelling the gruesome tale, “For a month, I could not sleep / I had nightmares of an unborn child / I was bursting at the seams, caught in a war fought between tame and wild…” [Full review here] – Jason Scott
Francois Klark, Love (buy)
Genre: Pop
Label: Independent
Francois Klark, a native of South Africa, excavates his bones with his debut ⎯⎯ the rhythmic, well-forested eight-track piece which combs his rich heritage with smatterings of modern accents. From the campfire incantation “For You,” featuring the battle cry of Katlego Maboe and Marla Walters, to the fleecing piano ballad “Spaceman” and the blotchy, muted “Run,” Klark’s first EP is a foolhardy, scintillating oasis that serves as quite the benchmark for daring pop music. “Giving My All” peeks out of the shadows of a towering, ancient cathedral whose stained glass still sparkles from the sunlight’s gentle caresses. “Please Stay” tears at the veins, snatching them out of the arms and the chest, leaving the heart throbbing for relief. – Jason Scott
Genre: Pop
Label: Independent/AWAL Recordings
Unchained from a major label, Betty Who has a new lease on life, as so profusely evidenced with her first EP of original material since 2017’s criminally-undervalued The Valley. Betty, Pt. 1 is a salty and sweet extravaganza of spunky misbehaving, submerged in full-broiled R&B and gummy beats. Lead single “Ignore Me” is like a connect-the-dots puzzle, linking up her previous work with a new kind of liberation, and the no-fucks “Look Back” banger is a hair-raising runaway walk, awash with sex appeal and dripping with swagger as satisfying as her electric live show. “Just Thought You Should Know,” named one of our Best Songs of 2018 (So Far), glows and vibrates like only ’80s-fused bops can, and the final moment, “Friend Like Me,” sees Betty Who veer into sweeping folk-pop with great effect. – Jason Scott
Michael Blume, cynicism & sincerity (buy)
Genre: Pop
Label: S-Curve Records
There’s just no comparing what Michael Blume does to anyone else. He’s a masterclass. His second EP is a balancing act, a propulsive routine of frantic, scratchy hip-hop and venomous, destructive spits. “R U Mad” is a savage stimulant, sex-positive and volatile. “Maybe Love is True” torches right from the outset, a gospel-flecked, groovy opener that affirms his dynamism and fearlessness. “Blunder” and “Lifting You” chill you to the bone, leaving “I Got You” to adhere to the stickiness of piano and highlighting every true color of his honeyed and textured vocal resonance. cynicism and sincerity is a revelatory entry in his growing catalog and signals his sheer genius on complete display. – Jason Scott
Genre: Rock
Label: Magic Bullet Media
Last month, Jack Kennedy unlocked a brand new gold single, having written and produced BØRNS’ “10,000 Emerald Pools,” a deep-water love song in soft-rock glory from 2015’s Dopamine. Now, leveling up on his own craft, Kennedy readies his equally groovy new EP. The titular cut bursts from the seams right from the outset, alighting on a funkadelic display of badassery and loose-lipped swagger. His vocal is tangy with the classic vigor of ’80s David Bowie, the ignition oozing with overly confident double-dipped vision. “He’s party in the back / He’s business in the front / He’ll take you all the way / He’ll steal your credit card,” he sings, romanticizing his heartache into a disco-club banger. [Full review here] – Jason Scott
Sean McVerry, Private Lives (buy)
Genre: Pop
Label: Sleep Well Records
The confetti falls through the air, in fragments that spin and shimmer and dance in the disco ball’s reflective aura. Sean McVerry twirls, too, a throaty, peculiar creature whose voice crimps between the pages of his new EP. “So Certain” pulses in the fumes of classic ’80s neons, lending to broad threads of arctic, mellow craftsmanship. “Red Light” is the disc’s juiciest bubble-gum pop performance and confirms McVerry’s mass appeal, subsequently diversified with the luminescence of “Get Real” and “Too Close,” which mauls at the earlobes with ferocious bite. Beginning to end, Private Lives could soundtrack any of a slew of iconic ’80s flicks, which says plenty about McVerry’s spirit, ripped from a bygone era and transported amidst 2018’s weird try-hard concoction. – Jason Scott
Lizzy Farrall, All I Said Was Never Heard (buy)
Genre: Pop
Label: Pure Noise Records
Singer-songwriter Lizzy Farrall lays her wounds out for us to bear witness, and as she regals tales of broken hearts, self-blame and family affairs on her long-awaited debut EP, All I Said Was Never Heard (an aptly grueling title exposing inner strife and her struggle to contain it), we are left emotionally drained. Her vocal density is bone-chilling, ignited from the outset with “Broken Toy,” a forlorn, whimsical folk ballad about a former lover, who has somehow managed to live in a world without her. “After all this time, my mind still wonders back to you,” she opines with crisp, venomous licks of childlike angst over treacherous, slippery guitar strokes. Her voice flutters with drunken spite, the tension paper thin as she draws out each lyrical detail until it snaps. [Full review here] – Jason Scott
Whiskey Wolves of the West, Country Roots (buy)
Genre: Country
Label: Rock Ridge Music
The collective minds of Tim Jones and Leroy Powell exact a smooth-as-whiskey blend of Nashville-stylized country, robust and southern-rich Americana and blues-rock with Country Roots. “I’m stuck here walking the floor / With a job I hate, alimony that’s late / And I’m headed for another divorce,” the pair howl on “Rainy Day Lovers,” a thunderstruck and zesty mourner of the burdens in life. “#1 (The Ballad of Dallas Davis)” is a frosty, sleepy-eyed mid-tempo seeing the narrator run for the hills and over the earth’s edge, while “Sound of the South” is an equally-lethargic stunner, as breezy and nonchalant as the next. “Lay That Needle Down” sits on the guitar’s metallic grooves, and “The Song Ain’t Gonna Write Itself” is a sublime honky-tonker knocking down the shots as a frantic rate. The duo’s first EP is inspired, thrilling and downright satisfying. – Jason Scott
Genre: Pop
Label: Island Records
“Heartache is real. Anxiety is real. Passion is real,” New York pop duo Loote have expressed in talking about their debut EP, single., a jaunty, glistening upheaval of angst and heartache. “Girl, on the night we met in the city, I should have just got drunk and stayed home,” band member Jackson Foote regrets with “Wish I Never Met You,” which glitches and fragments in vocal-distorted shards and rhythmic buoyancy. Joe Jonas joins on “Longer Than I Thought,” tempered with guitar echoes and beachy shadows, extending the EP’s generally luminous tone. “Out of My Head” is built on piercing finger-snaps, and Emma Lov struggles with being single, with the guitar-laden “IDK Single.” Lov’s vocal timbre is as beguiling as Julia Michaels’, especially on opener “Your Side of the Bed,” a biting and and fierce and scorching performance. – Jason Scott
Camille Trust, No Other Way (buy)
Genre: Pop
Label: Trust Records
Camille Trust owns up to her bullshit with teary relish, soaking in the embers of a dying relationship and coating her fingers in the ash. “Move On” is heat rising off the blacktop at rush hour, softly wafting through the cracks between feet and grime and shuffling of bodies. “I know I fucked up,” she pouts, claiming her dignity in between the song’s stifling waltz, lethargic in an almost Adele-drenched luxury. Trust’s brutal honesty is devastating. “I’ve been waiting all my life to be here / And I can’t take it no more,” she cracks a whip of indignity before galavanting across a smoldering cityscape of R&B and pop bubble-bursting. “Lose You” quakes with a gospel undercurrent, pinned with “ooo”s” and “ahh”s from her steadily-swaying backing choir, and the happy-clappy “FREAK” is a feverish wet dream, allowing Trust to explore every intricacy of her womanhood. – Jason Scott
Honorable Mentions: Black Sneakers on Concrete by Killen; The Art of Falling by Katie Barbato; and Attention Seeker by the Regrettes
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