We Speak Music
The Chelsea Curve Reveal Stunning Sophomore Album ‘The Rideout’
The Chelsea Curve are a Boston-based band, and they’re back with their sophomore album The Rideout. Across its runtime, the album blends their mod-pop influenced roots with anthemic rock influences and grungy, danceable beats; in short, they’re here to move you with intent.
They open the album with ‘Ride’, a propulsive song that leads with crunchy guitars and crashing drums forming the basis of the energetic rhythm. It could easily draw parallels to Veruca Salt’s ‘Seether’ in its raw driving force – it pinpoints a very grungy rock sound but reframed into something immediately danceable. It introduces one of the album’s through-lines through its lyrics: ‘Gotta feel I’m alive’,‘Everyone’s invited!’, framing aliveness as something communal, not solitary.
‘Kindawanna’ continues the energy within a love song, repeating the simple statement: ‘Kindawanna be your everything!’. It conveys someone caught up in the rush of emotion. It’s a song that begs to be danced to, the chorus bursts in like sunlight, introducing love as a perspective shift: ‘With you / Outside of everything / Yeah, with you/ The upside of everything’. It adds depth to the album’s emotional landscape, reframing the album’s central thesis of shared aliveness within the context of two people.
Elsewhere, ‘Never Come Down’ is an upbeat track that calls back to the crunchy guitar and heavy drums of ‘Ride’ – it builds into something anthemic and nostalgic in tone with a driving focus on euphoria and escape. The lyrics lean heavily on cosmic and scientific language, which become symbolic stand-ins for freedom and transformation, reflecting a more free-spirited approach to life; an approach that reflects ‘Ride’’s all-encompassing perspective on community and joy – one of collective release and freedom.
The album closes on ‘Rally ‘Round’, a song that reflects the album’s emphasis on community.
Lyrics that read folk-inspired but delivered through a grungy, Letters to Cleo-esque lens. Repeated imperatives – ‘Count your friends’, ‘Keep ’em close’, ‘Find your people now’ – read as a lyrical manifesto. There’s a vulnerability in the song’s urgency to emphasise the importance of ‘find[ing] your people now’, hinting at how fragile and time-sensitive connection can feel. The Chelsea Curve positions community as essential; not just celebratory, but necessary.
The Rideout is an album that functions as a sincere call to community and joy – from the lyrics to the danceable beats of the songs, it’s an album that moves you both physically and emotionally. It invites listeners into a power pop/garage rock fusion world where euphoria and community are inseparable.
“The Chelsea Curve don’t just make music, they make you move,” music publicist Danielle Holian, Decent Music PR, shared. “With The Rideout, they’ve taken everything fans loved about their debut and turned it up a notch: bigger hooks, wilder energy, and songs that stick in your head long after the last note
Follow The Chelsea Curve on Spotify, Bandcamp, YouTube, Linktree, Facebook, Instagram, TikTok
We Speak Music
Megan Burke Turns Personal Experience into Pop Catharsis on ‘Not All Men, Apparently’
Megan Burke’s debut EP Not All Men, Apparently arrives with a title designed to provoke conversation, but beneath its pointed framing lies a deeply personal collection of songs rooted in lived experience. The project sees the Irish artist tackling themes of heartbreak, deception and emotional recovery with an unfiltered honesty that has become increasingly rare within contemporary pop.
Produced by Hungarian hitmaker Áron Somody, the EP documents Burke’s journey through a series of difficult relationships, transforming private frustrations into universally relatable songwriting. Rather than presenting neat resolutions, the songs lean into complexity, examining the lingering impact of toxic dynamics while charting a gradual path towards self-awareness. It is this willingness to confront uncomfortable truths that gives the record its emotional weight.
Among the collection’s standout moments is Make Me, the focus track that introduces a welcome sense of levity. Written as a break from the darker material surrounding it, the song captures a more playful side of Burke’s personality, embracing independence and spontaneity without abandoning the candid perspective that defines the wider project. Its inclusion adds balance to a release that might otherwise feel relentlessly introspective.
Burke’s rise has been built largely on her ability to connect directly with audiences, amassing a substantial online following while earning notable milestones including a No.1 iTunes chart position and performances at some of Ireland’s biggest venues. With Not All Men, Apparently, she delivers her most cohesive artistic statement yet, confirming her status as a compelling new voice in Irish pop and a songwriter unafraid to tell difficult stories.
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