new EP – Audiofemme

PLAYING DETROIT: Tart Returns as a Trio on New EP Toothache

Sweet, sour and glittering with adrenaline (appropriately named) transcendent Detroit trio Tart have made a reputation for themselves by deconstructing new wave and electroclash to spawn their genre-defying sound. Together, vocalist Zee Bricker, guitarist Adam Michael Lee Padden and drummer Donny Blum form a vibrantly expressive shred-pop outfit who approach each song as a fresh start.

Formed formally in 2014, best friends turned roommates turned sonic architects Bricker and Padden ventured to create a sound that fused the intricacies of their contrasting musical backgrounds: Bricker’s disciplined theatre education and Padden’s untamed, collaborative rock and roll fire. While the then duo explored the marriage of Bricker’s haunting vocal prowess and piercing lyrics with Padden’s intuitive and calculated guitar treatment, it was their inanimate third member, the drum machine, that filled a percussive void yet also strained Tart’s potential.

Blum (who also drums in The Von Bondies) helped them achieve it fully when he began playing with Tart for their live performances in 2016. Both Bricker and Padden discovered a raw beginning within the preexisting framework, Blum being the missing ingredient. It is Blum’s primal endurance and virtuosic stylings that helped birth a new, energized Tart with the same name, but an entirely realized vision.

Earlier this month, Tart saw the release of their third (and in many ways their first) EP Toothache, a well-rounded, eruptive 4-track collection that defines the band’s ardent past and shimmering future with a fully formed ferocity. “Metal Eyes” (which Bricker jokes is their one true “pop song”) feels more Dandy Warhols than glittering excess whereas “Toothache“ is a riotous Tank Girl worthy banger. Pared down from six tracks, Toothache finds a polished momentum that embody what Tart has come to do best: sincere and sinister tornadic shred-pop with a well-roundedness that feels radio ready.

If you’ve got a sweet tooth and a bad attitude check out Tart’s latest below:

<a href="http://tart.bandcamp.com/album/toothache-e-p">Toothache E.P. by Tart</a>

EP REVIEW: Lee Triffon “Different Sun”

Welp, 2016 has been hellish, and we officially all need 200 percent more chill in our lives. And Tel Aviv-born, LA-based Lee Triffon is here to bring us those much-needed laid-back vibes in the form of her new EP Different Sun.

The album begins with Triffon’s wispy vocals projecting an ominous and slightly mysterious energy in her titular opening track. The music ebbs and flows with her airy voice, carrying you on a cushy cloud of low-key electronica. It transitions into her popular single “Mirrors in the Sand” from there. In this track, the songstress stretches her range a bit more, telling a heartfelt tale using raspy vocals alongside a slow synthy backing. The midpoint of the EP sees “Silver Bullet Gun,” which is a more unique style from the previous two tracks, deviating into a more pronounced and ambitious song than her other two–it reaches out and grabs you, holding you captive to its enchanting sound. Although slow, it’s repetitive tracking makes it so the song reverberates around your head. The next song, “Caves,” is a bit faster than the others at times, and has an urgent yet unsettled feel to it. It further complements Triffon’s mysteriousness, a quality which is palpable in all the songs on Different Sun. “Caves” is the last glimpse of sunlight on a particularly brisk winter evening, making it seasonally appropriate, but also a great way to end out an album. The last track is an orchestral version of “Mirrors in the Sand,” which is a more magical and theatrical spin on the original single.

Take a listen to Different Sun below, and maybe it’ll help you feel a bit more reinvigorated for the coming year.

EP REVIEW: Ex Reyes “Do Something”

Flowery and airy, carrying you away from the hellscape that our country has become in the last two weeks to instead deliver you to a place where beauty and comfort exists is Ex Reyes’ new EP Do Something.

The EP starts out with their single “Bad Timing,” which is a jazzy, upbeat track that showcases falsetto vocals from Ex Reyes, aka Mikey Hart. It’s epiphanic and revelatory, which is a perfect lead into the piece as a whole. It also flows smoothly into the next track, “If U Come Runnin,” which will tinkle around your head for days with its quirky synths that spiral away.

From there, you’ll experience “Keeping You in Line,” which will do anything but that. You’ll feel yourself floating this way and that throughout this track as the music washes over you and transports you to a different world. Following that is a sobering dose of reality from the brief interlude track “Hard to Stand,” which will ground you after your mysterious journey from the prior song. The EP closes out with “Where U Callin From,” which features Wild Belle. With brassy elements that recall ska days of yesteryear and tinkling keys that dance up and down your spine, it’s a fantastic note to end the album on. Plus, Wild Belle and Ex Reyes’ vocals seamlessly complement one another.

If you’re looking for a bit of music to help you realign and center your soul, then you’ve found the artist to follow.

ARTIST INTERVIEW: Heat Thunder

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Heat Thunder, aka Joe Montone, hailing from Doylestown, Pennsylvania, is a folk musician whose music you’ll want to become quickly acquainted with. He recently opened for Anthony Green of Circa Survive on his Pixie Queen Tour and also released his long-awaited EP Phoenix. His thought-provoking lyrics and entrancing guitar chords are enough to make anyone more than slightly curious about the man behind the music — it’s immediately apparent upon first listen that Montone has an enviable natural and clear connection with music that goes far beyond being a hobby. Passion is embedded in his music because it has become so deeply ingrained in his life, and Montone’s appreciation for the process behind creating and performing music is humbling.

AudioFemme got a chance to chat with Montone about a bit of his musical history and what plans he has for the future.

AudioFemme: Tell me about your musical background. How did you get to this place in your musical career?

Joe Montone: The summer before I began high school, my suburban world changed and expanded. Skateboarding and music were still cultural rites of passage, and I knew I needed the good stuff. But all I had was Kmart. That year, 2003, my older sister Mary picked me up and drove me an hour away to get my first skateboard. That’s what it took to get to a REAL shop.

She bought me a skateboard video that day—the music behind those skate parts still gives me chills thinking about it. Sunny Day Real Estate, Placebo, and Built to Spill were featured. My cousin John further contributed to this expansion infinitely. He brought me to Warped Tour that same year. 2003 was still legit: Coheed, Taking Back Sunday, Brand New (before Deja Entendu was released!). It’s funny to think about now.

I aspired to start a band all throughout high school. Writing lyrics, playing piano and guitar—it was something I demanded, and it was my entire life.

It was then I found the Doylestown’s punk and hardcore scene and later joined my first band, I Am Alaska, featuring ex-members of Phineas, which was my favorite band at that time. Getting invited to sit in on one of their practices and then becoming a full-time member was an insane honor. I played piano and synth. We signed to a label, toured, put out EPs, and then the main songwriter left. So I followed.

For the next three years, I started really crafting my own songs. I released my first EP as Heat Thunder (Melody, Love & Soul) in 2010 while everyone else was graduating college. It was during this time that I really just played guitar, absorbed music, and worked in a coffee shop on repeat every day.

I have been guided to ever-changing, natural progressions in my life inspired by new friends sharing sounds and art. And I am so grateful.

What does Heat Thunder mean to you?

“Heat Thunder” to me means a space given to listen and express. However fast or slow the rhythm may be. Something I can be enveloped by.

What was the inspiration that led you to create Phoenix?

Phoenix was created while the four-piece band variation of Heat Thunder was fizzling. Another gigantic shift began to happen. I began reading “The Artist’s Way,” living on my own, and listening to Scott Walker featuring Sunn O))), Roy Orbison, as well as any honky tonk/country western song before 1980. The main theme during all of this though was to begin honoring myself and listening to my heart. I began to cultivate a deeper relationship with myself and the artistic process.

How was it touring with Anthony Green on the Pixie Queen Tour?

It was an honor to be invited onto that tour by Anthony. Throughout the past 11 years, Circa Survive has also been a constant. Being on that tour was so deep because I felt like I knew everyone in those audiences. This was also the first time I ever played my own music in a different city other than Philadelphia. With a friend and inspiration like Anthony? It’s an indescribable feeling.

What was the most unique or interesting thing that happened while on the Pixie Queen Tour?

The most interesting and unique thing was on this tour was to meet so many people. Reflecting on mine or Anthony’s music with them reinvigorated and further instilled my own bond with music and the journey of life. This sort of connection was impacting. Everything since has felt more personal than I could have ever comprehended. It is all a gift.

Who are some of your musical inspirations?

Besides The Beatles: Nirvana, Springsteen, Circa Survive, old Western stuff, weird awesome afro-beat grooves, endless YouTube discoveries—mmm—old blues records. Anything I can get my hands on, truly. It comes back to rhythm and soul for me. Something that moves and I can believe in.

What do you enjoy doing when you aren’t creating music?

I like hanging. Whether with my girlfriend or close friends. Riding my bike or swimming. Eating sushi. Listening to music.

What are your plans for the future? Any musical milestones or goals you’re looking to hit?

Right now I am navigating how and where to play in other cities. I would like to put out something with label support in the future and connect with a manager. My goal is to keep sharing and feel the changes that come with growing.

PLAYING DETROIT: Bevlove “Talk That Shit”

The incomparable maven of Detroit pop, Bevlove released her EP Talk That Shit last week which pop, locks and drops feral beats with a disciplined hip-hop assertiveness that undoubtedly rewires the game.

The 5-track EP is unexpectedly varied but remarkably consistent. It’s as if each song is a chapter describing the same night out documenting the fun, the madness and the humanizing need to not go home alone all filtered through Bevlove’s prismatic scepter of diva-dom. Yes, Lady Love reigns supreme on Talk That Shit but unlike other commanding, radio-ready pop endeavors, there is nothing isolating or exclusive about this particular journey into Detroit’s after-hours and Bev’s sexified psyche. It’s a call to bad bitches and vulnerable vixens to not just get lit, but to shine through the club fog and to rise above the unreturned text messages from that dude.

Opening with “Do What I Say,” a BDSM, girl-gang anthem that self-satisfies without apology leads into “Freaks” which modernizes Whodini’s 1984 classic and acts as a word of warning to future gentrifiers and suburban visitors. Then comes Bev’s brand of satiated delicacy with “Save Me” which doesn’t stray sonically but explores her range of tenderness and soaring vocals that are reminiscent of vintage Rihanna. Bev’s emotional duality is a vibrant essence especially when she goes from achingly wanting someone to stay and save her and flips the script on “Leave With Me” which details a one night stand and mixed signals, where (once again) she takes control; the EP’s constant and Bevlove’s secret weapon. Collectively, Talk That Shit is an immovable powerhouse that is relevant yet stays two steps ahead. However, the closing track “Champagne Bubbles” is unbelievably self-realized and there’s no doubt that Beyonce herself would envy the song start to finish. From the placement of vocal flight and the cathartic, heart-opening sonic build, “Bubbles” is a complete thought and is evidence of Bevlove’s inevitable ascent to the next-next level.

Turn up and bow down to Bevlove’s latest below:

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PLAYING DETROIT: James Linck “No Future”

It would be easy to assume that an EP titled No Future would be a completely defeatist collection of woes, worries, and shortcomings but in the case of producer, soul-pop performer James Linck, “No Future” does not mean surrender but acts as an invitation for us to explore where we’ve been, where we’re going and why we may never get there…and why that’s totally okay.

There’s something tongue and cheek about Linck’s embodiment of growing up, making art and not having any answers to the big questions. But the playful manner in which these themes are explored do not lack sincerity or warmth. The danceable rhythms to which these themes are paired only hammers in the juxtaposing struggle even deeper. Effectively curious and confused, No Future is a party for an occasion that most people wouldn’t celebrate like getting a divorce or not landing that job you wanted. Humility is needed here and is dished out through cleverly arranged hip-hop swagger, synths that clap and vocals that go from whispers to heavily (and almost comical) autotuned. And it’s hard to not smile when you hear the opening to “Black to Black” where Linck takes us back 15+ years by using dial-up interent sounds.

The closing track “When Cars Fly/One More Snooze” is an autotune saturated list of apocalyptic, futuristic scenarios and imagery in which Linck’s love is declared, including the gnawing line: “I’ll still love you when the tide drowns the shore.” Midway through the track pauses to introduce some radio commercial interruption as if signals have been crossed leading into “One More Snooze,” a soaring embrace of finality and uncertainty that pulsates with a video game-esque panic driven synth breakdown ending with a calm Linck speaking the word “Okay.” A swan song of sorts, yes, but “When Cars Fly/One More Snooze” does not dance with the downtrodden or hopelessness but instead waltzes with acceptance and the existential misfiring of an entire generation, something that No Future encompasses with an un-ironic unseen shrug emoji.

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PLAYING DETROIT: Daniel Monk “Kite View” (feat. ISLA)

Jazz guitarist, producer, and ambient electronica explorer Dan Gruszka released his enchanting and contemplative solo EP 1121 earlier this month under his creative moniker Daniel Monk. The single “Kite View” quivers with fragility but not weakness. For a debut release, Monk finds a seasoned balance of self-control and self-assurance that is unexpectedly meditative and mature.

“Kite View” features up and coming female artist ISLA whose angel breath cadence swirls within the delicate framework of Monks sensitive production and arrangement. Sans vocals, the track would still sing in a voice tinged with melancholic flight. The addition of ISLA takes “Kite View” into a patient pre-dystopian lullaby. A hint of acoustic guitar rolls in as ISLA’s voice escapes the atmosphere, leaving us abruptly to wade through the stillness left behind by the sensuous synths. In this case, minimalism isn’t boring or safe rather a lesson in space, spacing and the art of dipping your foot into waters before jumping.

Dive in and soar with “Kite View” below:

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TRACK REVIEW: Jesse Mac Cormack “Repeat”

With his minimalist style and entrancing rhythms, Jesse Mac Cormack is putting out music that’ll have you grooving in no time. His single “Repeat” from his latest EP After the Glow is a shining example of that.

The track is full of gruff vocals, jangly guitar riffs, and rhythmic progressions that get your heart rate going and might just make you dance in your seat without realizing you’re doing so. It’s a great song to have along for a road trip or when you’re making an adventurous decision.

Check out “Relief” below, and head over to his SoundCloud to stream the rest of After the Glow.

PLAYING DETROIT: Humons “Underneath”

14242449_711221165694732_9143612305650556026_o — *Photo by Andrew Amine & design by Ellen Rutt*

“Dream house” voyager Ardalan Sedghi is Humons, a kinetically electrified project whose atomic beats swell in “Underneath” the debut single from the Spectra EP due out this fall. Although Sedghi isn’t entirely new blood on the scene, “Underneath” delivers a freshness that rises with a palpable and cosmic humidity and is best experienced with hips magnetically fused to someone else’s: a symbiotic gravity grind.

Although Humons is technically one huMAN it can’t be ignored that the seamless production is a vital component as to why “Underneath” works as a living, breathing, pulsating soundscape and not just a party jam at a hazy house party in Southwest. Produced and mixed by mastermind Jon Zott at the Assemble Sound studios, the track lends itself to explore various abstractions. Consider an animated sci-fi journey riding the tail of a comet or a microscopic view of anatomical fascinations like blood cells bumping against artery walls, fighting illness or a time-lapse of vultures picking apart a freshly deceased roadside meal. Mixing staccato guitar with clashing synths and clapping wave-to-shore-like drum machine beats gives Sedghi’s breathy, minimalist vocals space to float. What this track masterfully accomplishes is its “choose your own adventure” vibe. It can be sad and brooding if that’s what you need or it can be your sexually ravenous anthem. Either way, “Underneath” ushers us from Summer to Fall and into territory undisclosed.

Get spacey with Humons latest below:

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ARTIST INTERVIEW & EP REVIEW: VÉRITÉ’s “Living”

Brooklyn-based songstress VÉRITÉ creates empowering, emotion-packed music that has a tinge of surrealism, which can best be seen through her latest EP, Living.

The EP kicks off with “Constant Crush,” starting out slowly then steadily building up, both as a song and as a perfect intro to the album. It features Kelsey Byrne’s hauntingly beautiful vocals over an almost dark and foreboding backing. From there it moves onto single “Underdressed,” which tells a vulnerable story shielded by poppy synths and a danceable beat. “Rest” is a perfect midpoint for the EP and is where it changes from a typical synthpop album to one that holds a more eclectic sound. It’s easy to see that Byrne takes inspiration from other genres, like R&B, and weaves that into her tracks “Rest,” “Gesture,” and “Living.” From the beginning of the album to the end, it changes from upbeat singles to a collective piece of varying sounds, showing that Byrne’s isn’t willing to be confined to just one genre.

I was able to sit down and chat with Kelsey for a bit about her new EP as well as her musical influences.

Nicole for AudioFemme: You recently released your EP Living. What were your inspirations behind it?

VÉRITÉ: It’s strange in the writing process because you don’t think that much during it. I think it came together more in the editing process where I was taking moments and hyper-analyzing them and blowing them up. There weren’t any specific inspirations, and it was more me wanting to push myself and elevate myself.

I do a similar thing when writing. Like when I’m editing, it all comes together and seems to make more sense then.

Yes, exactly.

What sort of headspace were you in when you were coming up with the EP? I know you said you didn’t have any specific inspirations or a “Eureka!” moment, but was there anything that led you to these songs?

This was really the first time in my life that I had time to write. It’s an odd struggle to have—the luxury of time. It’s difficult, and there was a lot of anxiety and hyper-analyzing. I was really neurotic about it.

What is your favorite song off the EP?

They’re all my babies. I want to give five different answers. When I wrote Living, it was a good moment for me in life. I wasn’t hiding behind anything, and it really shows when I perform. I love them all.

I had a feeling that was the case! Is there anything you wanted fans to get out of your new EP?

My goal is to have people feel anything. I don’t care what they feel—hopefully it’s not violent anger—but any sort of emotions. I don’t want them to feel nothing.

Do you think your sound has evolved since starting out and the release of your EP?

I hope so. I think that with this EP especially I wanted to move away from “electro-pop.” It’s easy to get lost in the alt pop world. I wanted to really push it sonically. “Gesture” was more laid-back, “Living” is a downtempo R&B style. I was trying to really push it more.

What does your musical history look like? And what brought you to writing and performing?

Performing was always in my nature. I’ve been playing little shows since I was eight or nine when my dad was my band. I lived in a small town in upstate New York, and it was a conducive environment for that. I began writing more at 16 and 17. I developed this probably more into how I want to be interpreted. It’s been a slow process.

If you could collaborate with anyone—living, dead, whatever—who would that be?

Oh shit. Loaded question. Just, so many. I feel like lately my number one is James Blake. I feel like I’m supposed to say The Beatles or something, but based on what I’m listening to right now, I’d have to go with him.

Tell me about your plans for upcoming shows and releases.

Right now it’s just mainly finishing my current tour. Chicago last night was incredible, and I’m going from Minneapolis to Seattle to LA. I’m holding off on doing any festivals this summer and am focusing more on an album. I’m slowly plotting for future plans.

TRACK REVIEW: James Supercave “The Right Thing”

Art pop group James Supercave don’t have any albums out yet, but they’ve been widely praised their live performances and incredibly danceable tunes. This LA quintet is likely going on tour with War Paint this Spring. “The Right Thing” is a rolling, confident break out song off of their first EP, which will be released in late March. Supercave combines mid-20th century rhythms with head-bobbing melody and dynamic vocals.

Nasal, oddly toned vocals introduce the album, which combined with a slower beat, feels like something out of a film from the late 50s or early 60s (“Love me like a memory is all you’re gonna get”, the singer croons, for example). From there, the music moves into a fast-paced, rhythm-heavy pop song. The vocals become falsetto at 30 seconds which is surprisingly endearing, reminiscent of Klaus Nomi, and threading back to the 50s-60s vibe. Guitar and heavy bass break in at the one minute mark, giving the listener just a taste of garage.

The track reverts quickly back to the opening motif, to which I found myself bobbing my head. The verse blends into a slow middle section where the singer repetitively despairs: “There’s no one left. . . there’s no one left to see our plot unfold.” While the band doesn’t necessarily traverse into novel territory sound wise, they do, in the spirit of art rock toss in some high pitched violin at the end, both unexpected and even a bit sentimental. The vocals could verge on irritating, but the singer follows the rhythm too well. This song makes a lot of moves, some a bit risky, but blends it all together surprisingly well.

Listen to “The Right Thing” below and look out for James Supercave’s EP:

Tag: new EP