review – Page 2 – Audiofemme

ALBUM REVIEW: Regina Spektor “Remember Us to Life”

It’s been some time since our eardrums have been graced by new music from Regina Spektor. At long last, the Russian-born New York-bred songstress has released a new full-length, Remember Us to Life, and while it isn’t a total deviation from her past works, it was also incredibly much-needed.

The album kicks off with her leading single from the piece, “Bleeding Heart.” It sees Spektor flexing her usual impressive vocal range, as well as an overall upbeat and high-spirited aura. It tinkles around in your head and ends on a more aggressive note, promising coming music that you’ll be captivated by. “Older and Taller” and “Grand Hotel” take more sentimental tones, which is completely expected with Spektor–a mix of high and low energies interspersed with intimacy and vulnerability.

From there, the album takes a turn toward the quirky and ethereal with “Small Bill$,” and just as quickly switchbacks to contemplative and personal with “The Light.” The back and forth continues as “Tornadoland” is full of energetic keys while “Obsolete” takes more of a solemn approach.

If you’re looking for a new sound and a reinvention from Spektor, then you might find yourself disappointed. However, if you’re looking for good vibe-y music and the talents of Regina Spektor that we’ve all come to know and love, then you’ll be head over heels for Remember Us to Life.

LIVE REVIEW: Taking Back Sunday at Irving Plaza

In high school, I heard from all my friends that Taking Back Sunday was the best show they had ever seen. They raved and bragged, and yet, I never saw them live myself. It was one of my biggest regrets—until now. On September 30, I finally saw Taking Back Sunday perform at Irving Plaza.

Now, my expectations were exceedingly high, so perhaps they were destined to fall short. But as thrilled as I was to relive my emo days, the first half of the show left me a bit bored and uninterested. Once they played the songs from Tell all Your Friends and Louder Now, I got my second wind and felt revitalized by the show. However, the first half had me feeling somewhat sleepy and disconnected.

TBS released their newest album, Tidal Wave, this year. And while I didn’t completely study up and try to memorize every song, that’s mostly because I was pretty turned off by it upon first listen. To me, it sounded like a forced attempt at punk, and the tracks I heard fell flat. But I missed the screaming, and I missed the broken hearts worn on sleeves. Mostly I missed the Taking Back Sunday of the early 2000s.

When they sang their older tracks, you could hardly hear frontman Adam Lazzara sing as he was drowned out by the enthusiastic crowd. “MakeDamnSure.” “Cute Without the ‘E.'” “There’s No ‘I’ in Team.” “You’re So Last Summer.” The old classics struck as if it were 2004 and we were all brushing up on Fuse before heading to the show. And, of course, the mic swings were there.

Overall, unfortunately, it wasn’t the best show I’d ever seen in 2016, but I’m confident that if I had seen in back in their heyday, it probably would’ve gone down in my concert-going history as an all-time best.

Remind yourself of “You’re So Last Summer” below.

TRACK REVIEW: Capital Cities “Vowels”

It has been far, far too long since there’s been a new Capital Cities song to jam out to, but thankfully we don’t have to go by deprived any longer.

Their latest single “Vowels” is not one to disappoint. It holds true to what we’ve come to expect from Capital Cities already: plenty of synths, a beat worthy of boogieing down to, and some spine-tingling brass breakdowns. Let this new track be the jump-start to get your week started, the pick-me-up you need at the middle of the week, and the anthem to your weekend.

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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TRACK REVIEW: Blinders “Hero”

Need a bit of a midweek pick-me-up? “Hero” by Blinders is exactly what you need to make the week feel like it’s halfway over rather than just beginning.

The track kicks off with a burst of energy and vocals that practically beg you to get up and start dancing. Its entrancing synth beats and mix of surreal vocals will transport you directly to the weekend, where you can spend your time dancing to your heart’s content. While traveling Asia and Europe, Binders mixed this unique single. It ended up taking almost a year and experimentation with five different vocals to find exactly what he was looking for with this piece. And we think he got it just right.

This is Binders’ fourth release off Protocol Recordings, and he’ll be performing in Amsterdam in mid-October.

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: Gunslinger “All of Your Life”

Light up your day with the electrifying new single, “All of Your Life,” from Gunslinger.

This anthemic house track has everything you look for in an electronic piece: tons of synths, bass drops that get your heart racing, and upbeat jams that make you feel like you’re on a musical journey. In addition to personal inspiration, Gunslinger also utilized the Infected Mushroom “I Wish” plugin as an aid in producing this single. If you’re bummed about missing them at Burning Man last year, keep an eye out because you might be able to catch them at an upcoming show.

VIDEO OF THE WEEK: Infinity Shred “Choir VI”

At first, you might think the video for Infinity Shred’s single “Choir VI” is a video game demo or a preview of an upcoming trippy movie. It pulls you in with its fascinating 3-D graphics and captures your entire attention, to the point that you won’t even realize that it’s been three minutes since you began watching it. The entire track tells a story of wonderment and intrigue, as you follow an adventurous skateboarder into a church in the woods where he has an ethereal experience as he warps and twists and floats away after skating around a bit. The song features chills-inducing drums by Clara Warnaar and entrancing synths, all of which work together to create this piece full of nostalgia and innocence. It’s the first single off Infinity Shred’s upcoming full-length Long Distance, which is due out on October 14.

VIDEO REVIEW: Kids of the Apocalypse “Better Life”

There isn’t enough thought put into what happens to the children once the apocalypse hits (step up your game, The Walking Dead), but Kids of the Apocalypse took the idea and ran with it, particularly in the video for their single “Better Life.” There’s symbolism for a world run by capitalism, it addresses love in an apocalyptic way, oh, and it also features astounding Gorillaz-esque graphics. It’s a chill rap song full of melodies and gloom with the cartoons to match that mood, the brain child of producer/musician Stefan Storm and animator Ernest Desumbila.

Sit back and watch this fascinating video—it’ll disturb you a bit, but it’ll also definitely resonate in a way that’ll have you wanting to watch it over and over again.

PLAYING DETROIT: Frontier Ruckus “27 Dollars”

A summer fantasy written in the thick of a Michigan winter, Detroit’s favorite folky foursome Frontier Ruckus delivers a new track “27 Dollars” from their forthcoming LP, just in time to instill premature longing for a summer that still has a few hours on the clock.

Singer-songwriter Matthew Millia is no stranger to volunteering his vulnerabilities by means of his pleasantly troubled troubadour dance with intimacy to the rich, extensive Americana fabric of the Frontier Ruckus catalogue. Joined by David Jones, Zachary Nichols and Anna Burch, Milia and company have tapped into a beloved era of mid-2000’s indie with a modern emotional intelligence that is fit for timelessness. A little Belle & Sebastian, a tad Okkervil River with a dash of seasonal repression and hopeful ennui, “27 Dollars” is an upbeat anthem for restless hearts and empty pockets; a true midwestern cocktail. The track bounces with banjo twang and swaying synths, eliciting a backseat tour through pot hole, pock marked streets with a cracked phone screen that you check incessantly despite finger tip splinters.

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PLAYING DETROIT: Dear Tracks: “Aligning with the Sun”

Grand Rapids-based dream pop duo, Dear Tracks, excites with their politely warped and shimmery new track “Aligning with the Sun” which debuted earlier this week. Matt Messore and Victoria Ovenden found a way to give a soundtrack to dust particles colliding within a shaft of mid-afternoon light.

The arrangement, which is synth heavy, glitters without much deviation or elevation and manages to avoid sounding monotonous. A refreshingly melodic warble, “Aligning with the Sun” could easily be inspired by the tilt-a-whirl motion of a cassette tape being tangled within the cassette player, dancing with distortion.

The firecracker percussions and the twinkling, distant guitar paired with Ovenden’s misty vocals keeps Dear Tracks in good musical company, such as Real Estate and My Bloody Valentine. The opposite of anxious, the duo’s first track off of their anticipated debut LP (due out on The Native Sound records) is a bitter sweet (though, mostly sweet) end-of-summer breeze.

Daydream with Dear Tracks latest below:

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TRACK REVIEW: Lié “Failed Visions”

The world isn’t feeling too positive lately, so a grungy garage rock song feels like just the thing we need to get these emotions out. It’s the sort of track where you can choose to head bang and shout your heart out, or just sit and soak in it, letting it fill you up and expand inside. We have just the right song for these types of moods and circumstances: Lié’s “Failed Visions.”

This trio of Vancouver badasses are cooking up some deliciously grungy post-punk music. Their debut album, Consent, provided social commentary about rape culture as told from the perspective of these three rockin’ ladies. It’s pretty damn relevant to some recent events, and great to hear the voices of strong women speaking their truth and not backing down from some of the more infuriating parts of our system.

“Failed Visions” is a single from their upcoming sophomore album Truth or Consequences, out August 12. Check out their single and let these tunes fill you up rather than rage, disappointment, and the slew of other negative feelings many of us are holding onto lately.

PLAYING DETROIT: Dear Darkness “Get it Here” EP

13220705_836403693131432_8034545769750033207_o — Photo by Chantal Elise as part of the “In the Band: Michigan Music Behind a Feminist Lens.” For more of her work, head to www.chantalelise.com.

If Siouxsie Sioux and the cast of Hedwig and the Angry Inch shared a seedy punk venue greenroom where they exchanged Bowie impressions and candy necklace bites, you might have a slight grasp on what Dear Darkness sounds like. Self-described as somewhere between “kitsch and oblivion,” Detroit drama queens Stacey MacLeod and Samantha Linn released their latest pleasantly demented and perfectly untamed EP Get it Here earlier this week. This perplexing polyamorous marriage of grit, grime, glitter and gorgeously unique explorations of voice (both internal and external) revel in a self-made turbulence much like a wave pool in a motel bathtub.

Don’t mistaken aforementioned “kitsch” as a dismissal of sincerity. Although riotously playful, Get it Here provokes a teeth grinding, guttural exorcism that just happens to be covered in frosting and sprinkles. Lyrically, the EP kicks and screams but not without cracks where a beautifully strange vulnerability pushes through. The swollen, voice breaking delivery of the lyrics: “Why don’t you notice me? I’m right here” from the track “You Ain’t Tried it With Me” encompasses the tug-of-war vibe of the entire collection. The drums are scathing, the guitar restless. and the warbled and tortured ferocity of MacLeod and Linn’s harmonizing fuse to redefine punk, pop and human fragility in one fell swoop. Yes, the EP is shockingly consistent but that observation seems to belittle the entirety of what Dear Darkness is attempting to do here. More than consistency, what they’ve managed to do in five songs and under 18 minutes is, above all else, really fucking special.

Indulge in Dear Darkness’s rare breed of strange on “Get it Here” below:

<a href="http://deardarkness1.bandcamp.com/album/get-it-here">Get It Here by Dear Darkness</a>[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

VIDEO REVIEW: Ryan Egan “Finest Hour”

Ryan Egan’s new video for his single “Finest Hour” showcases some groovy dance moves, hypnotizing falsetto vocals, and an overall air of mystery.

The video sees Egan decked out in a white turtleneck showing off simple yet perfected dance moves. Once the chorus hits, some shadowy background figures shimmy out from behind him and bust into their own more fluid moves. It’s the perfect contrast between black vs. white, light vs. shadow, simplistic vs. ornate. And Egan’s airy falsetto only reinforces the video as a mysterious yet enticing piece.

The New York songwriter will be playing a show at Rough Trade on June 16 with Coast Modern. Make sure you check out the video below before catching him in person!

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 OF THE WEEK: Savoir Adore “Giants”

You know what the world has been seriously lacking? New music from Savoir Adore. Well luckily, the dry spell seems to be broken with the latest release of their new single, “Giants.”

In the time since we last saw a lot of activity from the group, there have been some changes, which includes the departure of cofounder Deidre Muro. Fortunately, their music is as electrifying as ever, and you’ll be instantly hooked on this new version of Savoir Adore.

Unsurprisingly, “Giants” lives up to its name and makes a huge impression. The track is full of colossal drums and perky vocals from frontman Paul Hammer. It’s an anthemic jam that’ll have you amped up from start to finish, without any wavering in between. The overall feeling of the song encompasses optimism and embodies an eagerness for the future—or maybe that’s just how we feel waiting for more teasers from their upcoming full-length, The Love That Remains.

Currently the group is planning a brief tour for August with hopefully more dates to be announced. The album drops on August 12, so try to contain your patience for just a few more months!

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EP REVIEW: Phosphene “Breaker”

A phosphene is the experience of seeing light when none has actually entered your eyes; it’s where the phrase “seeing stars” comes from, and common causes include rubbing your eyes or being hit in the head. It’s the perfect name for the indie shoegaze trio from Oakland, whose latest EP, Breaker, is the sonic equivalent of a light in the distance. Sometimes it’s a warm glow, like on “Hear Me Out,” or flickering, like on “Ride.”

On one of Phosphene‘s best tracks, “Rogue,” it’s like neon sign, steady and bright, with a surge before burning out completely. The lyrics will resonate with anyone who takes the subway, though they namedrop the Bay Area’s version of the MTA: “BART is rocking me to sleep/ It keeps reminding/ Me of the loves I can’t keep.” There’s a nice current that runs through the five songs, all wrapped up in a dreamy haze, worth checking out when you need to light up your life a little bit. Check out Breaker by Phosphene, below:

https://soundcloud.com/phosphene_sf/sets/breaker-ep

PLAYING DETROIT: Minihorse “More Time”

If you were craving some imitation Pavement-esque languid LoFi rock, look no further than Ypsilanti-based Minihorse, who released their drowsy EP More Time earlier this month. Comprised of lead vocalist and guitarist Ben Collins, Christian Anderson on bass and John Fossum on drums, Minihorse is noticeably affected, pleasantly dehydrated college indie; nothing swells or lends catharsis, but instead encourages driving aimlessly around the same few square miles with a broken tape deck that you had installed in your new 2016 hybrid. The single, “FYEA” is a callused late-summer-of-1994 track that radiates a trippy teenage petulance worthy of a hangover. It’s catchy, yes, but hard to remember. The closing track, “Under My Head” is the most complete thought on the EP, with Jon Brion vibes paired with a whispered deprecation that sneakily depresses you with the lyrics: “The things I could be/if I could get out of bed.” More Time, at the very least, is consistent. Not meant to serve as some grand feeling-prodder, Minihorse found their sweet spot even if it does feels like buying expensive jeans with manufactured stains and holes; fashionably wearable with questionable authenticity. Having said that, I like More Time. I get it. It feels lightly stoned, slightly tipsy, peppered with a hazy self-indulgence that makes you wonder where you’ve heard this before even if you’ve never heard it before.

Check out the tripped out video for “FYEA” here:

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LIVE REVIEW: The Griswolds @ Warsaw

Tim John - Griswolds — *Tim John of The Griswolds*

When Australian indie-pop quartet The Griswolds took the stage to Shania Twain’s “Man, I Feel Like A Woman,” I knew we’d be in for a fun night.

Opening with high-energy tracks like “Down and Out” and “If You Wanna Stay,” they set the stage for a high-energy performance.

“You better fucking sing along!” shouts lead singer Chris Whitehall, with flaming red hair and a slub knit sweater hanging freely off his shoulder. The dazzled crowd has no choice but to oblige.

Alongside their better known songs like “Right On Track” and “Beware the Dog,” the band played a couple of new ones from the sophomore album currently in progress. The first new song, “Get Into My Heart,” produced imperative screaming with lines like, “Get into my arms and into my home/Get out of your clothes and into my bed.”

Before premiering their second new track, “Role Models,” he first taught the audience how to sing along to the hook. “We’ve got nothing to lose,” sang Whitehall. “Oh yeah, oh yeah, oh yeah,” we followed. Both tracks have a new dimension to them; the latter especially stood out compared to their more familiar songs, with a funk-inspired flavor.

And as a fun treat, we all got to sing “Happy Birthday” to drummer Lucky West before they closed with the classic “Heart of a Lion,” from their first EP.

Brooklyn’s Warsaw has a nice cinematic quality to it, and The Griswolds easily filled the air with bright energy. On this Hotline Spring tour, the boys have undoubtedly gotten listeners pumped for a new record to come.

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]

Chris Whitehall 1 — *Chris Whitehall of The Griswolds*

Lucky West of Griswolds — *Lucky West of The Griswolds*

Photos by Gabby Salinardo.

https://www.youtube.com/watch?v=As0SMOBeYOQ[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

TRACK OF THE WEEK: LA VIEW “Flashlight”

Is there a better way to start your weekend than with an incredibly danceable track? We’d like to present you with LA VIEW’s “Flashlight” for your eager consideration.

“Flashlight” is a collaboration between Finland-born, London-based songstress Venior and the two Berlin-based brothers that make up LA VIEW. The duo has been working since February to release a new track each month, with “Flashlight” ringing in as their third single, a great place to become introduced to their music. The track features upbeat, entrancing vocals layered over some expert producing. It’s full of quirky synths and the lulling vocals from Venior pulling you in, making you crave more.

LA VIEW is a worth keeping a tab on, and hopefully the rest of the year will yield more creative pieces from them. In the meantime, get down this weekend to “Flashlight” below.

ALBUM REVIEW: Winterpills “Love Songs”

Winterpills just released their latest full-length, Love Songs, which is aptly named because it’s a collection of songs that you’ll be absolutely in love with. The whole album is everything we’ve come to expect and appreciate from Winterpills, meaning that it’s perfect for relaxing to as well as for hosting private singing/dance parties.

The album starts out with the slow yet entrancing “Incunabala” where you’ll find yourself completely captivated by the plucky guitar chords. From there, we’re met with the substantially more upbeat “Celia Johnson.” The track sees singers Flora Reed and Philip Price matching one another’s vocals perfectly while accompanied with some slick keys and cheerful guitar riffs.

By the album’s midpoint, you reach “The Swimmers and the Drowned,” which works well to shake up the piece’s vibe. It’s the type of track where you’re the heavy bassline grabs your attention immediately. You’ll find yourself listening intently to the lyrics as soon as Price and Reed chime in together so you can figure out the story they’re trying to tell. “Bringing Down the Body Count” sees Reed leading the vocals on this slow and somber track, full of heavy guitar chords and tinkling keys. From there, it only makes sense to close out Love Songs with “Diary, Reconstructed” and “It Will All Come Back to You.” The two ballad-esque tracks feature Price’s raw and vulnerable vocals alongside tender keys, brass, and guitar.

Winterpills as a whole is full of passion and has certainly figured out the recipe for working perfectly with one another. “Love Songs” is just a testament to these facts.

Key Tracks: “Celia Johnson,” “Freeze Your Light,” “A New England Deluge,” “Bringing Down the Body County”

Listen to “We’ll Bring You Down” off their album Central Chambers below:

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ALBUM REVIEW: HÆLOS “Full Circle”

There’s something inherently chill and laid-back about HÆLOS, which becomes immediately obvious upon clicking play on their latest full-length, Full Circle. It starts off with an ominous intro track that leads you into an enchanting whirlwind in the form of the song “Pray,” transporting you through realms that seemingly span the course of years. James Sandom and Jessica Lord’s voices swirl together in ethereal tones, complementing one another in all the right ways while floating along on perfectly matched synths from track to track.

The titular track meets you almost in the middle of the album, and unsurprisingly, it feels like the epitome of the album’s intention: otherworldly yet transformative. From there you reach “Oracle” at the album’s mid-point, which feels like a big turning point in the piece. It’s refreshing and rejuvenating, holding a promise of enticing music to come that practically carries you through the rest of the album. Full Circle closes out with “Cloud Nine” and “Pale,” two tracks that are packed full of emotion and leave you with the hope for more from HÆLOS.

Full Circle flows seamlessly, and by the end, you truly feel as if you’ve come full circle in a musical sense. It’s an aural blessing, one which you won’t be able to get enough of. The album will be out tomorrow, March 18 through Matador Records.

Key Tracks: “Pray,” “Oracle,” “Cloud Nine”

Listen to “Separate Lives” below:

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PLAYING DETROIT: Earth Engine’s Debut EP

What. The. Hell. Is. This?

Rarely do I say this about music. Perhaps I’m a bit jaded, but while all of us lovers were kissing on Valentine’s Day, Detroit-based Earth Engine dropped their self-titled debut EP, a beautifully confused collection nearly five years in the making. Earth Engine’s EP is a spastic, satiated cluster of baroque rock that has wrangled a plethora of genres and in the process created their own. Although it sounds schizophrenic the first time around, it becomes progressively more coherent. If King Crimson collaborated with MUSE on some hyper-theatrical Jeff Buckley directed stage production of how the universe was created (and how it will subsequently be destroyed), you might be able to understand where Earth Engine is coming from. For an EP that carries a tangible weightiness and at times delves into disparity, there is an ethereal airiness to its structure and intricate layering that takes the album into cathartic flight (and the listener along with it).

“Red River” is a slinky Dead Weather-ish caffeinated jazz jam that shifts gears into “A Fever of Static,” which opens with classic piano that morphs into a jutting, metallic, percussion heavy nod to anthemic rock. And just when you thought you were getting the hang of Earth Engine’s aesthetically challenging vibe comes the closing track (and my personal favorite) “Year One” where the tension from the previous tracks finally breaks through the atmospheric barrier into masterful resolve. You hear the protagonist overcome defeatism or whatever earthly shackles were holding him to the ground. “I rather die than wait,” he repeats with whispered heroism, adding “I’ve never been one to yield to reason,” which, in context, is a beautifully understated summary of the entirety of the EP.

My dozen or so listens have not answered my original question. In fact, it has been replaced with “What. The. Hell. Was. That?” Earth Engine caught me off guard and off balance. I am completely enthralled by this unexpectedly powerful EP that carries with it a determination that I feel that rock music has been missing for the past decade. Excitedly, I am left scratching my head while making room for new feelings, genre-defying reference points, and redefined sensations of unconventional beauty. Earth Engine is on to something (and I’ll be the first to tell you as soon as I figure it out).

Listen to the entire EP below.

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VIDEO OF THE WEEK: The Saint Johns “Lost the Feeling”

You can pretty much tell The Saint Johns vibe well together once the first guitar chord is struck in “Lost the Feeling,” and this is just further confirmed when you hear the way their voices swirl together in perfect harmony. Upbeat yet ethereal vocals come from singer Jordan Meredith while Louis Johnson provides a more savory sound as well as crisp guitar riffs—like I said, they really just complement one another so well. Their newly released official video for “Lost the Feeling” starts off a bit reminiscent of “Spring Breakers,” the rush and excitement of a successful robbery fresh in the air as the Americana duo plays in what appears to be a small town bar. Tension mounts and ultimately dispels, following the ebbs and flows of the song just perfectly. It’s the type of track you want to know the words to immediately so you can sing along to it—maybe a bit loudly, but who’s judging?—in the privacy of your bedroom.

Luckily The Saint Johns are currently touring, so you have the chance to watch their dynamism live. And for those of you who are also in the New York area, maybe I’ll catch you at their show at Gramercy Theatre on March 31.

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Tag: review