Every month, I will recap the music I discovered on Bandcamp or releases that were submitted that spoke to me. I find music through word of mouth recommendations, recommendations from artists on their profile, Bandcamp editorial lists, and, occasionally, the site’s recommendation tools. These albums may or may not have been released in the month in which I am reviewing. The criteria is simply that I found them during that month. I will give each release a brief review and share the Bandcamp link.

Made it before the end of the month this time, albeit by the skin of my yellow country teeth (hooray for 20 year old references). September was a mixed bag, when it comes to writing this in review piece. On one hand, I found a little less music I enjoyed this month, but, on the other hand, I found a few records I have fallen in love with. I prefer it this way, honestly. You can probably expand that to other areas of your life. Something about the depth of enjoyment and connection holding greater meaning than volume. I’m not really sure. I just write about music.

La Dispute – No One Was Driving the Car

Released on September 5th, 2025

For anyone that knows me in the flesh and blood, the inclusion of No One Was Driving the Car from La Dispute is about as shocking as water being wet. On this latest outing, La Dispute continues to lean into more mid tempo slow burns built around dramatic bass lines, atmospheric guitars, and dynamic drums, which is La Dispute at their best, as far as I’m concerned. I found Adam Vass, who has consistently turned in wonderful performances throughout their discography, to be of particular note on this record, as the bass lines are both the engine that move the tracks along and the tone setter for intensity. And, c’mon, that bass tone is so sick.

For the uninitiated, Jordan Dreyer’s lyrics and vocals, like all good vocalists in post-hardcore, will continue to be divisive, but, if you’re buying what he’s selling, No One Was Driving the Car is a lyrical and vocal tour de force. Dreyer’s storytelling improves with each record, simultaneously painting pictures and speaking to feelings that sit deeper than we typically go. “I Dreamt of a Room with All My Friends I Could Not Get In” is lyrically crushing and a high point for Dreyer’s performance.

For now, No One Was Driving the Car has unseated Rooms of the House as my favorite La Dispute record.

https://ladispute.bandcamp.com/album/no-one-was-driving-the-car

Natalie Bergman – My Home Is Not In This World

Released on July 18th, 2025

I wish I had found My Home Is Not In This World before the weather turned cool in Washington, because this may be the perfect sunny summer record. Existing in an alternate version of the early 1970s that should have existed, Natalie Bergman’s newest record abounds with wonderfully melodic bass lines, vocal melodies that immediately worm their way into your brain, and warm guitar, wind, and key textures that simultaneously nod to R&B, western, and rock influences. Bergman’s delivery always sounds effortless, despite the vocal gymnastics throughout, reinforcing the leisurely vibe of the record.

The titular “My Home Is Not In This World” is my favorite track on the album. The melodic bass groove is a surefire emotional buoy for me, and I could gush about the tone of the bass for days. The keyboard textures on the bridge are wonderfully adventurous, and it’s quite the testament to the songwriting and musicianship that tones that abrasive work in such a tonally light song. I’ll be humming the vocal melody on my death bed.

I get it. For a blog that started exclusively covering heavy music, this is quite the departure, but I cannot recommend My Home Is Not In This World by Natalie Bergman more enthusiastically.

https://nataliebergman.bandcamp.com/album/my-home-is-not-in-this-world

lovergirl – it felt just like you were alive

Released on August 29th, 2025

Now, back to our regularly scheduled programming. Minneapolis-based screamo/post-hardcore lovergirl crash through the first five tracks of it felt just like you were alive before leaving us with a 12 minute epic that calls back to the post-rock tendencies of 90s screamo. The experience is unrelenting, and that makes sense. From what I gather from the little information available on Bandcamp and the lyrics, it felt just like you were alive is grappling with both the unique grief that comes with losing someone close at a young age and the seemingly never ending attack on transgender people in the United States, hardly joyous subject matter.

That pain and urgency are apparent in all of the performances, and I found the frenetic riffs, with their sudden time and feel changes, to be particularly compelling. “pyramid” is my favorite track on the release, and I fell in love with the vocal delivery, the way the rhythms morph through repetition, and the start/stop dynamics. The aforementioned closer, “flashbulb,” is truly grand in scale and shows off the group’s stylistic range.

This is lovergirl’s first release, and I eagerly await more.

https://lovergirlmpls.bandcamp.com/album/it-felt-just-like-you-were-alive

I will no longer be including a Spotify playlist.