No Expectations 131: Instakill
Recommended new albums from Greaseface, Shaking Hand and Victoryland. Plus, tips for getting out of a musical rut and a great book on tennis.
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Headline song: Stuck, “Instakill”
Thanks for being here. January’s a weird month for new releases. While you can always bank on a handful of great LPs, especially awesome post-punk records for some reason, it’s usually a fairly light few weeks. After I published last Thursday’s newsletter, I knew I’d be writing today about the three albums recommended below. Minutes after pressing play on each one, I was immediately floored.
Coming off the euphoric rush of hearing these great full-lengths, I kept listening for something else that just came out to add to the tally. Nothing grabbed me. I double checked the release calendar, visited my favorite blogs, streamed some curated playlists I usually love, and went through most of my email’s LP promo backlog. Though I found some gems, most of what I really loved isn’t out yet, and it’ll have to wait. It got so bad that I even tried out some streaming service-made new music mixes, which were mostly awful. I heard enough “just fine” to outright mediocre songs to realize that highlighting just three stellar LPs is totally fine. There’s no point in writing about something I’m only sorta digging to fill some imaginary quota. It’ll pick up as the year goes on.
As someone who runs a weekly newsletter highlighting new albums from independent artists, it’s pretty tough to get into a musical rut. Because of this writing project, I’m exposed to so much that it’s overwhelming (you do not want to see how many pitches I get a day). If I’m not thrilled by what I’m hearing, I can easily listen to something else or revisit an LP I already love. But one way I like to change things up is to dive into a curated, person-made playlist from a genre I’m not already well-versed in. It’s a needed palate cleanser, and it jolts me into moments of genuine surprise. By not knowing exactly what’s going on or what’s being referenced, immersing myself in a totally new thing can rewire my brain and get me excited about music again.
Whenever I feel a little burnt out by the endless cycle of new releases, I’ve been turning to platforms like NTS Radio for a breather over the past few years. It’s been around since 2011 and is likely not a new discovery for most of my readers, but it remains a vital personal source of discovery. This week, in between unsuccessful attempts to find another cool record to write about for No Expectations, I devoured a mix curated by rapper Bananasoverdose of pre-Civil War Somalian funk (shoutout Dur-Dur Band), an hour of incredible soul music selected by a Detroit vinyl store, Ginkgo Records, and a set of Mexican disco from the ‘70s and ‘80s. Beyond the albums featured below, that was the most fun I had listening all week. If you’re ever feeling stuck, try something totally new that’s outside your regular zone.
Here’s the spiel for new subscribers: Each week, you get a wildcard main essay (often new album recommendations), a 15-song playlist, as well as updates on what I’m listening to, watching, and reading. Sometimes you’ll get an interview with an artist I love, and other times it’ll be a deep dive into one band’s discography. Since I’m a Chicago-based writer, this newsletter is very Midwest-focused. So, if you live in this city too, you’ll also receive a curated roundup of upcoming local shows to check out.
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3 Albums Worth Your Time This Week
Greaseface, Brick & Mortar
Over the past few years, I’ve been writing about bands from Burlington, VT, like Greg Freeman, Robber Robber, Lily Seabird, Dead Shakers, and Dari Bay. Whenever I talk to one of them about their local scene, inevitably Greaseface come up as one of their city’s premier bands. They’re a punk-leaning art-rock trio of childhood friends who make propulsive, off-kilter rippers. They’re beloved by the artists I regularly write about and are pillars of the New England DIY community. Brick & Mortar is the group’s first full-length album since 2020, but it sounds so massive, kinetic, and vital that it makes up for lost time. These songs are taut and nervy, skittering from wiry grooves (“It’s the Same”) to squalling aggression (“Needing Nothing”). The band enlists Robber Robber guitarist Will Krulak to provide leads and riffs throughout, while Greg Freeman collaborator Cam Gilmour contributes sax on the psychedelic “Napkin Calc.” One listen through this explosive and unpredictable record, and it’s obvious why they’re so revered among the true indie rock heads of their hometown.
RIYL: Pile, Burlington, VT, Ovlov
Shaking Hand, Shaking Hand
For a band that’s presumably named after one of Women’s best songs, it’s no shock that their spidery riffs, winding jams, and clanging arrangements result in one of the best indie rock debuts and guitar records I’ve heard in a long time. Shaking Hand is a trio from Manchester whose brand of post-punk is lush, melodic, and wholly mesmerizing. Listening to the seven sturdy songs here, it’s a shock that just three people make music this full-throated and absorbing. The tracks undulate and often stretch out past the five-minute mark, never wasting a second. Where much of this band’s genre peers make music that’s icy and claustrophobic, their version is galvanizing and often danceable. Just take the sprawling “Up the Ante(lope),” which morphs so frequently yet so seamlessly, it’s a thrill, especially as it dissolves into a wonky extended instrumental section. For all the tasteful guitar theatrics and labyrinthian rhythms, this album can be quite pretty too, like the delicate “Italics” or the chiming post-rock territory of “Mantras.” This is an astoundingly confident first LP that’ll likely keep its momentum strong throughout 2026.
RIYL: Generational post-punk riffs, tangible chemistry, turning malaise into catharsis
Victoryland, My Heart Is A Room With No Cameras In It
My Heart Is A Room With No Cameras In It is a tough record to pin down. Throughout its 10 vibrant and volatile art-rock songs, there’s so much going on, it’s staggering. The references stack up, and familiar sounds turned alien are relentless throughout the tracklist. There aren’t many clues in the Brooklyn-based artist Julian McCamman’s earlier oeuvre. He released his first LP as Victoryland in 2024, but that was a fairly straightforward collection of energetic, lo-fi indie rock songs. His old band, Blood, which disbanded two years ago, found him as a sideman guitarist. But his label debut feels like both a reinvention and an undeniable introduction to one of the most idiosyncratic and inventive voices in indie rock. “Keep Me Around” is bursting with energy, even as it unfolds into a warped funhouse version of Coldplay balladry. “I got god” is dance-punk turned space rock, while zipping, sampled strings turn closer “I’ll Show You Mine” into frantic folk-rock bliss. This is an LP that’ll keep you guessing, but will have you enthralled throughout.
RIYL: 2000s indie, late 90s radio rock, finding your voice after starting your own thing
What I listened to:
The No Expectations 131 Playlist: Apple Music // Spotify // Tidal
1. Resavoir, “Far Cry”
2. Lime Garden, “23”
3. Adult DVD, “Real Tree Lee”
4. Stuck, “Instakill”
5. Liz Cooper, “Baby Steps”
6. Victoryland, “I got god”
7. Anjimile, “Like You Really Mean It”
8. Brown Horse, “Twisters”
9. Tyler Ballgame, “Matter of Taste”
10. Gladie, “Future Spring”
11. Shaking Hand, “Up The Ante(lope)”
12. Greaseface, “Needing Nothing”
13. Dutch Interior, “Ground Scores”
14. Sluice, “Beadie”
15. Century Sound, “Wake Up (feat. Chebaka)”
What I watched:
F1 (directed by Joseph Kosinski)
Where last year I made a goal to read more books and succeeded, 2026 is the year I become more diligent with watching films: new releases, old classics, and even movies I’m not expecting to love. Going into F1, the blockbuster Apple TV production starring Brad Pitt and directed by the guy who did the latest Top Gun, I expected this to fall into the latter camp. I wasn’t off in my prediction. It’s a bit goofy, with scenes that somehow feature 80 cuts and a level of exposition so over-the-top it’s clear they expected people to be watching while on their phones. Still, I actually liked it more than I thought I would. You’re not expecting emotional catharsis or profound insights into the human condition with this sort of thing; you want to see cars go fast and Brad Pitt act alongside Lewis Hamilton. If you’re looking for that and nothing more, it’s a blast.
What I read:
Changeover: A Young Rivalry and a New Era of Men’s Tennis (by Giri Nathan)
I spent my weekend indoors: an arctic blast of subzero temps kept me on the couch from Friday through Saturday, and then Sunday brought nearly eight inches of snow. For a solid chunk of that time, I was watching the Australian Open and reading Changeover: A Young Rivalry and a New Era of Men’s Tennis by one of my favorite sports writers, Giri Nathan. He tracks the rise of Spain’s Carlos Alcaraz and Italy’s Jannik Sinner to the top of the Association of Tennis Professionals (ATP), replacing the decades-long reign of the Big Three—Roger Federer, Rafa Nadal, and Novak Djokovic (of that trio, only the latter is still playing). If you’ve read anything by Nathan, whether it’s from his Deadspin days, Raquet Magazine, or Defector, you’ll know his curiosity and passion for the game are palpable and infectious. He can track a play-by-play recap of a match so vividly it’s like you’re sitting courtside, but also ground it in necessary historical context to highlight the massive stakes of their rivalry. I grew up playing the sport and have spent my whole life watching it, but I learned so much about Alcaraz and Sinner and came away with a newfound respect for both of their games and unparalleled ascents. Nathan’s immaculate prose also continues to be grist for my theory that more than any sport, tennis produces the best sportswriting.
The Weekly Chicago Show Calendar:
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Ohhhh yeah anything referring to Women's Shaking Hand gonna get an immediate listen
In their bio on Spotify, Shaking Hand added the line from Andy Shauf's "The Magician" that goes, "just a shaking hand without a concrete plan", so the band name could possibly be a tribute to that song as well!