TRACK REVIEW: Heather Woods Broderick “A Call For Distance”

heather

Heather Woods Broderick has played a supporting role for artists like Laura Gibson, Sharon Van Etten, Horse Feathers and  Efterklang. Now, the Portland composer/multi-instrumentalist is releasing an album that is solely hers.

“A Call For Distance” is a stand-out track from Glider. It’s a slow-burning song that gradually adds layers of Broderick’s vocals, the plucking of guitar strings and the rattle of a drum. The music rises and settles naturally, like the tide flowing in and out. Broderick’s voice is soft, but compelling as she asks for “A call for distance…to force a change without a name.” Her ability to perfectly layer her vocals shows that though she’s backed many other artists, she really only needs herself.

Glider will be released on July 10th through Western Vinyl. Check out “A Call For Distance” below:

TRACK REVIEW: Sofi de la Torre “What People Do (Mickey Valen Remix)”

Sofi de la Torre Remix

Sofi de la Torre What People Do Remix

“This is the beauty I want. Beauty has got to be astonishing, astounding – it’s got to burst in on you like a dream.” – F. Scott Fitzgerald, from “The Offshore Pirate”

When Sofi de la Torre sings of certain markers of opulence on “What People Do,” her smokey vocal and scaled-back percussion makes the things she longs for seem unobtainable. Like Lorde’s “Royals,” that inaccessibility gives way to a certain ironic tinge, and by its end the track shows something of a disdain for trite status symbols.

But leave it to NYC-based producer Mickey Valen to flip that script. “When looking for remixes I search for great songs that have vocals that inspire me to do something different, completely strip all the original production and build around it” he says. His lavish treatment of Sofi’s “What People Do” is so sonically disparate from the original that it adds a completely new dimension to the track’s sense of yearning. With flute flourishes, jazzy piano, and bubbly synth glitches fanning out from the Spanish singer’s distorted hook, the world Sofi created pops off like a Gatsby party under Valen’s skilled hand. It’s enough to make you want to put on a string of pearls and sip champagne on a yacht.

Valen has worked with emerging indie acts as Noosa and EVVY, and has four more projects slated for release in 2015. He’s taking a break from producing full-length albums to put out remixes every month, so be sure to follow his soundcloud for the latest.

TRACK REVIEW: all boy/all girl “Glitters”

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So, you take an ukelele, cello, viola, and stand-up bass, along with the usual guitar and drums. Maybe put some horns in there, too. Then throw in two female vocalists who sound like they’re challenging the limits of sound. This is all boy/all girl’s new single, “Glitters:” Pop music that’s been completely burst open.

“Glitters” is just one of the new tracks the band has finished recently, and will be releasing their new EP Trophy, their follow up to 2013’s Tiny Inglesia on March 3rd. They’ll also be playing an EP release show at The Studio at Webster Hall on March 16th.  

Listen to “Glitters” below:

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TRACK REVIEW: SA “Pogathe”

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When was the last time you heard the sounds of East and West combined in an emotional and uplifting musical context? Let’s make it today after listening to SA’s single release of “Pogathe.”  What is SA?  Well, it’s a “who” and more, it’s a “she.” Shilpa Ananth, bandleader of the group named SA, known on SoundCloud as SoundsofSA, is paving a way in the Brooklyn indie music scene.  Ananth has a background in Indian classical music and an education from Berklee College of Music.  She’s been performing as SA for the past year doing gigs all over the east coast.

The music of SA is nothing less than what I’d call “experienced.”  “Pogathe” is filled with tasteful vocal melisma and saucy guitar tone. The chorus has an emphatic quality as Ananth stretches the word “Pogathe” (or in English, “Don’t leave”) with a rise and quick fall. The sophisticated rhythms and jazzy piano are a delicious bed as Ananth dances over with the lyrics that make you question what she might really be singing about – a lover, a friend, a memory, maybe something entirely internal?  What I do know is that this song is pretty damn sexy, and I am confident that SA has a sound you’d be wise to keep on your radar.

SA’s debut EP, Indian Soul, is coming out Friday, February 13 and will be celebrated with a live performance from the group at the infamous Blue Note Jazz Club in Manhattan on the same evening.

Be ready for the sounds of SA and listen below.

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TRACK REVIEW: Hayden “Nowhere We Cannot Go”

Hayden-Hey_Love-Christie_Greyerbiehl

Hayden has released his first single “Nowhere We Cannot Go” from his forthcoming eighth full-length album Hey Love. The Toronto-based musician humbly pulls back the curtain allowing listeners into his heart and home studio with the elated lyrics and conquering piano, saved from the accidental corniness that sometimes happens with triumphant ballads with rock ‘n’ roll shreds of synthesizer and electric guitar.

“It’s been so rough, we have been through more than enough / But without this love, there would be no reason for either of us,” reminds Hayden. In an industry of cynicism such encouragement may be hard to believe, but then you learn that the Canadian spent this fall making music with his wife Christie Greyerbiehl who happens to throw benefits for Toronto’s Beverley St. School for developmentally disabled children. We look forward to hearing the rest of Hey Love to investigate further what lies behind those kind eyes, ’cause when this guy tells you there’s nowhere we can’t go, we tend to believe him.

Enjoy “Nowhere We Cannot Go” below.

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TRACK OF THE WEEK: BETS “Don’t Give A F#CK”

BETs album

Sleep in late. Roll out of bed disheveled. Creep up the volume on our track of the week BETS “Don’t Give A Fuck.” Over an entrancing retro beat, “I don’t don’t don’t give a fuck, don’t don’t don’t give a fuck” teases the sultry bicoastal singer/songwriter before warning, “Everybody knows…I never fall in love.”  An image is evoked of a lazy morning and the electro-pop artist in a floral silk robe with hair tousled pouring black coffee, perhaps a morning toke, while ignoring her lover still sleeping from last night’s antics. BETS is too busy writing a song in head swept from the day’s early glow and the late night memories. The electro-pop tune provides recurrent reminders via pulse and vocals lifting you into a mellow trance. Start your day with this one, I’ve always said not giving a fuck is an important part of the path to enlightenment.

BETS 2

The track is off of her upcoming 2015 debut LP Days, Hours, Nights.

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TRACK OF THE WEEK: A Place to Bury Strangers “Straight”

Last week, Brooklyn’s own A Place to Bury Strangers announced their fourth studio album, Transfixiation, due out Feb. 17th via Dead Oceans. The first single off the upcoming record is the hard-hitting, noise-laden gem “Straight” — so good we chose it for our track of the week!

“Straight” is the first single from APTBS since the release of the trio’s 2012 album, Worship, and it’s a doozy. The track begins right away with an electric guitar coming into focus, quickly evolving from muffled to blaring, and from there the song is unrelenting. Oliver Ackermann’s guitar screeches, whines, and growls while the singer himself puts on a blase tone, half-speaking through the three-and-a-half-minute-long track. The breakneck beat, courtesy of drummer Robi Gonzalez, makes “Straight” immediately danceable—certainly you won’t be able to resist headbanging along, at the very least.

APTBS will celebrate the release of Transfixiation at The Music Hall of Williamsburg on Feb. 17th. Until then, enjoy “Straight,” below.

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TRACK REVIEW: Bonobo “Flashlight”

Bonobo Simon Green

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Bonobo Simon Green
photo by Dan Medhurst

Expansive rhythms and spiral synths mark Bonobo’s latest single “Flashlight,” part of a three-track EP due for release on Dec. 2 via Ninja Tune. New music from this British producer and musician, also known as Simon Green, comes after nearly two years of touring for his fifth studio album, The North Borders, released in 2013. Before another full album release, Bonobo heads back to North America to tour in several cities including Denver, San Francisco and Vancouver.

Bonobo relies on his dedicated instrumentation, not necessarily lyrics or guest features, to draw in his listeners. And with five studio albums and an enormous wealth of EPs, extra releases and hundreds of venues later, his fans continue to grow.

Bonobo’s brand of electronic music is introspective and entrancing with his use of intricate basslines and a variety of percussion. “Flashlight” stays with that formula; heavy bass anchors listeners and airy synths gradually illuminate a spacious soundscape on which to reflect in and vibe out. Hollow percussion adds a driving factor the track, always surging forward, never left to dwell too long on a single movement. Although it’s not a particularly innovative or exciting track, it highlights what Bonobo does best: ambient electronic music that shows skillful composition and attention to detail. Void of any lyrics with only the occasional whisper of vocal articulation, “Flashlight” invites listeners to shine a light onto themselves, to see what moves them the way the percussion moves the song.

A perfect companion for late night drives and early morning meditation, “Flashlight” showcases the best of Bonobo’s talents and offers listeners a chance to turn down and chill out.

Bonobo North America Tour Dates:
10/20: Vancouver, BC @ Celebrities Nightclub
10/21: Seattle, WA @ Neumos
10/22: Portland, OR @ Branx
10/23: San Francisco, CA @ 1015 Folsom
10/24: San Francisco, CA @ Regency Ballroom
10/25: Los Angeles CA @ KCRW Masquerade Ball (Park Plaza)
10/26: San Diego CA @ House Of Blues

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TRACK REVIEW: Dilly Dally “Green”

Dilly Dally

DillyDally

Formed in Toronto in 2009 by teenage besties Katie Monks and Liz Ball, Dilly Dally debuts with noisy, fuzzy, lo-fi gem “Green,” their belated and amplified angst blasting through speakers. The duo recently brought in Benjamin Reinhartz (of Beliefs) on drums, as well as adding bassist Jimmy Billy Rowlinsonin (of Mexican Slang) after hosting a rotating lineup for a while, but the main mission stands strong — to pump out raw feeling in the form of messy words and loud instrumentals.

“Green” hearkens back to those garage days, or to last Saturday’s punk rock kegger, tapping into grungey vibes that never seem to get old. Even if you’ve outgrown your sloppy haircut and ratty flannel, “Green” isn’t so easy to discard. The track starts out a bit subtle, with discordant, distorted strains of Berlin’s “Take My Breath Away,” enough to induce a trance if only for a few seconds. Then come the jangly guitars and crashing drums, with lyrics equally creepy and flirty and slurred vocals that sound like a weird mix of Courtney Love, Bob Dylan and Stevie Nicks. The rest of “Green” seems to hum, screech, yawn and yelp while the instrumentals stay carefully upbeat and consistent, an anxious pop of ear candy.

Dilly Dally are playing two CMJ shows on Friday (12pm at Baby’s All Right & 4:40pm at The Studio at Webster Hall) and one on Saturday (7pm at Bowery Ballroom). Check out “Green” below!

TRACK REVIEW: Paperwhite “Pieces”

paperwhite

Brooklyn brother and sister duo, Katie and Ben Marshall, record as Paperwhite and have just revealed their fourth song this year, titled “Pieces.” It’s a bright, airy slice of neon-tinged eighties nostalgia, and a gloriously uplifting attitude adjuster. The track will feature on their upcoming EP, Magic, out on Duly Noted Records on November 17, which will also include previously released singles “Magic,” “Take Me Back,” and “Got Me Goin” as well as two yet to be revealed tracks, “Gold” and “Galaxy.”

“Did you know? From the second you walked in I wanted more. And in a minute I’ll be losing all control…” begins “Pieces,” which, according to Katie, describes the trance and magnetism of love at first sight. “And if it’s right, will these pieces fit together?” she asks, the track continuing in the dreamy tone of young love, as yet unblemished by the cynicism of experience. “While it questions if they’re the one,” Katie says, “it’s backed with an energizing spirit and hopefulness that they are. It makes me want to dance, move and forever stay in love.”

It certainly makes us want to dance too — in fact, the crisp synths and power pop chorus makes us forget the creeping approach of winter and entices us to throw the top down, wrap our arms around the nearest dreamboat and cruise off into the sunset in the style of all the best 1980s teen movies.

Paperwhite have a CMJ date at Webster Hall’s Marlin Room on October 21, then, on November 5, they will be supporting Panama Wedding at Rough Trade NYC.

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TRACK REVIEW: DMA’s “So We Know”

 

DMAsband

When  DMA’s signed to Australian indie  label I OH YOU this February, the Newtown trio was so freshly minted that they hadn’t even played a show yet. That isn’t to say they were totally green–all three members (Tommy O’, Matt Mason, and Johnny Took) had gigged extensively with previous bands–and under their new moniker, DMA’s nonchalantly released a debut single called “Delete” and a self-tited EP a month after signing to the label. At first glance, they seem like tough guys, wearing flipped-up ball caps, slouchy sweatpants, and matching thousand-yard disenchanted gazes. But DMA’s doesn’t make spacey alt-hip hop. On the contrary! Channeling the lighter side of 90s garage rock, the group grounds its sound in nostalgic, bleeding vocals that can’t help but cull feeling out of a song.

The latest single, “So We Know,” hits new highs of gravelly, emotional vocal prowess. A mostly unadorned guitar swirls absentmindedly in the background, highlighted lightly by strings. It’s a successful experiment in the emotive power of a simple ballad, carried out by a band that–though they’ve been around for less than a year–trusts their melody enough to lay it bare. No frills needed.

Listen to the poignant new track “So We Know,” which will be included on a forthcoming 7″ from DMA’s, below:

TRACK REVIEW: Itasca “After Dawn”

Itasca Kayla Cohen

Itasca Kayla Cohen

As curator of his New Images record label, Matt Mondanile (a.k.a. Ducktails) has quietly assembled and eclectic roster that includes the blistering psych of Spectre Folk, the bright atmospheric drone of Helm, the wonky synth and gamelan collage of Tsembla, and classic Big Star-esque indie of The Shilohs. With the release of Itasca’s Unmoored By the Wind, Mondanile adds the smoky nostalgia of folk singer-songwriter Kayla Cohen to his cohort. Ahead of the record’s October 14th release, Cohen shares newest single “After Dawn,” a soulful acoustic piece tinged with the first blue hues of the sun coming up after a long, hard, night.

Prior to signing with New Images, Cohen released a slew of small-press CD-rs and cassettes as well 2012 LP Grace Riders on the Road. Fans of folk greats like Sibylle Baier and Linda Perhacs will find a lot to love in Cohen’s contemplative tunes; in “After Dawn” she takes the simple act of sitting at the window and turns it into a refined art. “Say my prayer for the day” she hums in a detached, low register, “and the light streams through the window / hours slipping through my fingers / and it’s just like i thought / you wait for a time then you forgot / how to spend each day / trying all the same.” The verse is followed by soporific guitar picking in which she seems to get lost, and a brief, light-as-air flute solo flickers through her strumming like some wandering notions through her consciousness. She’s so meditative that she’s lost, and so lost she’s ambivalent, but rather than a careless shrug, Cohen has chosen to embrace and commemorate that floating feeling. It’s impossible to not want to float along beside her.

When the vocals come back, time has passed; Cohen sings: “After dusk, sit by the window / look out at the people walking by / all my thoughts in the air around / can so easily fall away,” and it’s easy to wonder what cerebral journey she’s been on. For all her reverie, she keeps the thoughts that trouble her to herself, stating cryptically only that they’re lost beyond the pane of glass, shifting transparently like a reflection there. Her lyrics are sparse enough to want more of them, to want to wander in that same trance forever. Unmoored By the Wind promises to offer the perfect soundtrack to a daydream, which makes Itasca daydreaming’s newest muse.

Pre-order the LP from New Images here, and take a listen to “After Dawn” below.

TRACK OF THE WEEK: Adia Victoria “Stuck In The South”

Adia Victoria

Adia Victoria

“Stuck In The South,” the debut single from the little-advertised shadow figure Adia Victoria (along with her band: Mason Hickman, Tiffany Minton and Ruby Rogers), is a curious matrix, at once single-mindedly powerful and also complex, made up of conflicting impulses.

Adia Victoria’s is not a voice that sidles in politely. Rather, it slams open the door with one callused fist, stalks into the joint, elbows you off your barstool, and orders a whiskey neat. The 28-year old South Carolina native has clearly practiced making herself heard, both in the crowded Nashville bar and honky-tonk circuit where she made her bones as a performer, and also as a means of escape from the American Gothic nightmare she describes in “Stuck In The South.”

“Yeah, I been thinkin’ about makin’ tracks,” Victoria sneers in the first verse of the song, “but the only road I know, it’s going to lead me back.” She sings with an animalistic glare, conjuring not only a clear picture of her stagnant,  claustrophobic, sinister environment but also of herself as a character within it. Every twang on her guitar cuts like barbed wire, and it’s this anger, haunting and predatory, that makes the single so goddamned good. But in “Stuck In The South,” Victoria’s prowess as a storyteller is impressive too, and the track evokes the drawl and swagger of Southern rock and roll as colorfully as it does the “Southern hell” she’s trying to get away from. She seems to turn her fear of becoming a product of the South on its head, becoming unstuck not by running from her demons but by dominating them. The song immerses a listener in a three-dimensional environment, cinematically evocative and all the richer for its details and complexities.

Produced by Roger Moutenot (known for his work with Yo La Tengo), “Stuck In The South” is Victoria’s first foray into relative Internet mainstream. Her minimalist approach to releasing music–even now, after her single’s release resulted in a resounding critical chorus demanding more–makes a powerful song even punchier. Dig into “Stuck In The South” below, via Soundcloud.

TRACK REVIEW: alt-J “Hunger of the Pine”

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If you had played “Hunger of the Pine” without telling me who it was by, I would not have guessed alt-J. In fact, James Blake might’ve been my first guess. As a lead single from the British band’s sophomore album, This is All Yours, “Hunger” seems a bit of a departure from the textured, intimate rock music that populated their debut album, An Awesome Wave. A bit more electronic, suspended in deep bass and cosmic sounds, with a vocal sample of Miley Cyrus’ “4×4” thrown in, it’s expansive, engulfing and more than a little moody. It’s just short of pure art.

Since releasing An Awesome Wave in 2012 to considerable acclaim, alt-J have toured heavily, steadily playing larger and larger venues that seemingly never cease to sell out, also hitting several festival circuits as well. In the UK, “Breezeblocks” charted in the Top 10, and the success in their native country has been echoed in the US and Australia. They’ve not only licensed songs to popular television shows like Weeds and Sons of Anarchy, but also contributed an original track for the Grammy-nominated Silver Linings Playbook. Earlier this year, the band announced the departure of bassist Gwil Sainsbury, but it has hardly slowed them down from completing their sophomore effort – while the remaining members have said that they may invite a replacement bassist on tour, the writing and recording process was undertaken as a trio.

Whether or not that’s changed the direction of the album overall remains to be seen. But, let me repeat: “Hunger of the Pine” sounds like nothing the band has done before which makes me even more excited about This Is All Yours. The song starts off with a monotonous, beeping tone that calls to mind a more subdued version of an emergency alarm, a more than appropriate intro for a song about the physical pain of pining for another. Combined with ethereal vocals and atmospheric instrumentals, listeners float as though sedated in this vast space of longing and despair. The Miley sample has a whole different connotation unmoored from the bubblegum of Bangerz; when she sings “I’m a female rebel” it takes on an indignant, haunted tone, the effect of seeming tough and unaffected yet quietly and surely breaking inside. Its appearance in the song heralds a methodical beat that churns through the rest of the track, clinking somewhat mechanically. By the song’s end, they’ve added words from the equally desolate and searching French poem “L’espoir en Dieu” by Alfred de Musset, sung in a much lower register than the swirling croon we’ve grown used to. The song is so chill, in fact, that alt-J’s US record label voiced concerns that the song didn’t have the potential to be “hit;” the band revealed in a recent Guardian interview that they cheekily delivered the cliché-riddled “Left Hand Free,” written in a mere twenty minutes  – the irony is that the label loved it.

This is All Yours promises  to be full of surprises. It’s available for pre-order now and will be released in the U.S. on September 22nd via Canvasback/Infectious Music. An extensive North American tour starts October 14th in Vancouver and ends November 19th in DC. Shows in Chicago, Portland, Montreal, and New York are already sold out but dates will likely be added in select cities; see below for the current schedule.

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ALT-J NORTH AMERICAN TOUR DATES:

October 14 – Vancouver, BC – Orpheum Theater
October 15 – Seattle, WA – Paramount Theater
October 16 – Portland, OR – Roseland Ballroom
October 20 – Los Angeles, CA – Greek Theater
October 21 – Pomona, CA – Fox Theater
October 24 – San Diego, CA – Soma
October 27 – Salt Lake City, UT – The Complex
October 28 – Denver, CO – Fillmore Auditorium
October 31 – Minneapolis, MN – Myth
November 02 – Chicago, IL – Riviera Theatre
November 04 – Tulsa, OK – Cain’s Ballroom
November 05 – Dallas, TX – Southside Ballroom
November 06 – Houston, TX – Bayou Music Center
November 07-09 – Austin, TX – Fun Fun Fun Fest
November 10 – Detroit, MI – The Filllmore
November 11 – Toronto, ON – Kool Haus
November 12 – Montreal, QB – Metropolis
November 14 – Philadelphia, PA – Tower Theater
November 16 – New York, NY – Beacon Theater
November 18 – Boston, MA – Orpheum Theater
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TRACK REVIEW: Tennis “Never Work For Free”

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Denver indie pop group Tennis is back with their newest single “Never Work for Free” from their third album Ritual in Repeat, due out September 9 via Communion Records. With the help of Patrick Carney (The Black Keys), Jim Eno (Spoon) and Richard Swift (the Shins), the husband-wife duo return with a sound that is still completely theirs but more developed and perhaps more daring. In preparation for the release of this album, the band went on tour with sister act HAIM last spring. Once the new album is out, they will headline a North American tour in the fall.

Active since 2010, Tennis’s debut album Cape Dory was released with critical acclaim, especially with the origin story surrounding it. Inspired by their time sailing around the Atlantic together, the story has since been romanticized and restructured, often to the ire of the band members. Their second album, Young & Old, was the first to be produced by The Black Keys’ Patrick Carney, which has more concrete, mature themes but still showcases the band’s nostalgic pop sounds.

For “Never Work for Free,” Alaina Moore’s voice is the clearest it has ever been, with no filters or layers to distract from the bright vocal harmonies that highlight her saccharine voice. It’s a vibrant, fresh song, appropriate for coastal road trips in a red convertible and impromptu dance parties during late-night grocery trips. Vocally, Moore is at her strongest, boldly reaching new heights during the chorus and then sinking to mellow tones during the verses and bridge. The repetitive percussion and dreamy synths mixed with her soothing singing ensure that this song will not leave your head nor will you want it to. The track is available for free download from the band’s website, and you can stream it via Souncloud below.

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TRACK REVIEW: Sia “Big Girls Cry”

Sia

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I sometimes forget just how much I love Sia. Then she puts some new music out into the universe and the feels just come flooding back to me. The Australian songstress could really do no wrong in my eyes, and I can hardly contain my excitement over the release of her sixth album, 1000 Forms of Fear, available July 8th. As a preview of what to expect on her new album, the immensely talented singer has shared another single, titled “Big Girls Cry.” The track is reminiscent of Some People Have Real Problems-era Sia and is nothing short of awesome.

Despite achieving mainstream success via collaborations with everyone from Christina Aguilera to Eminem to Celine Dion, as well as penning one of the most heartbreaking songs of the 2000s that you just couldn’t escape, “Breathe Me,” Sia has always held onto her eccentric vibe. It’s well worth noting that she also puts on one hell of a vibrant live show. Sung in her raspy, breathy voice, Sia’s lyrics have a way of pulling deep empathy out of a listener. If you don’t believe me, just listen to “Lullaby” from Some People and let me know how it goes.

That Sia’s back catalogue might leave you feeling like you’ve just had your heart ripped out (whether you have or not) is fine, really, especially with the delivery of “Big Girls Cry.” It’s Sia’s gift of absolution, a reminder from the artist herself that it’s always okay to let out a big, ugly cry, no matter what Fergie told you in 2007.  It’s also a big “up yours” to all those in the music industry and beyond who keep telling women to toughen up. Sia charmingly reassures us that you can be a big girl and still break down in uninhibited vulnerability, especially when your heart is breaking. And if Sia tells you that it’s okay to cry, then it’s gotta be okay. In some ways, that stance is a lot tougher than stifling emotions and sucking it up.

I won’t confirm nor deny whether the song actually made me cry – maybe I just had something in my eye – but you can check it out for yourself below, totally unafraid of judgement should you feel the need to weep. If you pre-order 1000 Forms of Fear on iTunes, you get an instant download of “Big Girls Cry,” and that’s certainly nothing to be upset about.

TRACK REVIEW: White Arrow “I Want a Taste”

White Arrows band

White Arrows band

Ever since their psych-pop debut album Dry Land is Not a Myth  (2012), White Arrows’ sound has proven to pervade the alt-rock scene, particularly in their native Los Angeles. The premiere of their newest track “I Want a Taste” precedes the release of their sophomore album In Bardo, due out in September. The new album’s namesake represents the band coming into a new stage in their career, a liminal state for the band in which they must bridge the gap between being an “up-and-coming” act and a seasoned one, and that involves a great deal of introspection. Experience-wise, they’ve transitioned easily, touring as support with bands like Cults, The Naked and Famous and Santigold. These perspectives are precisely what we get with “I Want a Taste,” a slight enough departure from their regularly up-tempo, pop-oriented sound to demonstrate that the band is coming into their own.

The song opens with a whirring bass, contrasting starkly with vocals harmonies that ring clearly through the steady electronic beat that backs most of the track. About halfway through, a wildly unexpected heavy guitar interlude interrupts the pensive quest of the track up to that point – a raw, ragged burst entirely new to the band’s repertoire that enhances the psychedelic subtleties at the foundation of the song. Its grandiose scope reflects both the buzzy whirlwind that White Arrows came up in as well as their practiced ability to project dynamic sonic textures to wide audiences, like those they’ve played to at Coachella and Sasquatch.

Much like debut single “Leave It Alone,” “I Want a Taste” is a well-produced, unifying track that promises strong momentum for a band with a lot to offer going into their second album. White Arrows is currently on tour with The Neighborhood and will embark on a headlining tour very soon. Check out visuals for the song below:

TRACK OF THE WEEK: DAMEHT “The Greek”

Only New York City could have produced DAMEHT.  This is a trio of musical omnivores, and they’ve soaked up influences in new-wave, electronic, top-40 radio, house and classic rock. Even elbows-deep in a dirty punk guitar riff, their songs ooze Michael Jackson-esque, big-stage pop glamour. In a nod to their Hispanic backgrounds, the group injects plenty of salsa and merengue beats into their songs.

Rivington Starchild, Lucas Garzoli and Roman Lewis have been playing together since 2007 as The Mad. DAMEHT, their current project which launched in 2012, is a homage to their previous moniker, only reversed. The trio will release their debut EP called In Perfecto this coming July. It’s hard to talk about DAMEHT without mentioning their high-octane performances, but based on what we’ve seen so far from the new EP–such as the flashy first single “I Love You Too!” and corresponding video, which collages cellphone-filmed footage  crowd-sourced from the grungiest and most impossibly cool underground parties across New York City–much of the group’s energy will translate into studio recording.

DAMEHT’s synth-based new single “The Greek” keeps pace with “I Love You Too!” as a party anthem. Though it doesn’t necessarily possess the same instantaneous catchiness as  the latter–a testament to ILU2’s structural integrity–it still gets our blood pumping, and leaves us stoked for what’s to come next from these dapper gents.

In Perfecto will be out next month, and you can go here to learn more. Listen to “The Greek” below via SoundCloud.

TRACK REVIEW: Jenny Lewis “Just One Of The Guys”

Jenny Lewis

Jenny Lewis

There’s only one difference between you and me

When I look at myself all I can see

I’m just another lady without a baby

Jenny Lewis has had a long and fruitful career since she began singing as the lead vocalist for Rilo Kiley back in 1998. After putting out five albums with the band – Take Offs and Landings (2001), The Execution Of All Things (2002), More Adventurous (2004), and Under The Blacklight (2007) and rkives (2013) – Rilo Kiley called it quits. During this time, Lewis moonlighted with The Postal Service, providing the female vocal counterpart to Ben Gibbard’s rather infamous electronic project on their debut album, Give Up (2003). Lewis also formed her own band with Johnathan Rice, appropriately named Jenny And Johnny, releasing their debut album I’m Having Fun Now in 2010. Jenny Lewis has also had a successful solo career, and has released two solo albums to date – Rabbit Fur Coat (2006) and Acid Tongue (2008), as well as a soundtrack for Very Good Girls starring Dakota Fanning and Elizabeth Olsen in 2013. Once a child actress herself, Lewis is now set to release another solo album, Voyager, via Warner Bros. Records on July 29th. She’s been performing teasers from the record at live performances, but now she’s officially released “Just One Of The Guys,” the first single off of the upcoming album.

Produced by Beck (who also provides the background vocals), the track is reminiscent of the floating and relaxed country/indie/folk blends that both artists are known for. “Just One Of The Guys” rolls through each verse and chorus with accented 2nd and 4th beats (on a steady 4/4 metre) that acts to keep the song moving while the slow tempo relaxes the mood. The drums actualize this rhythm as an electric guitar lazily strums over the beat. While the bells in the background add to the charm, nothing is more charming than Lewis’ vocals. While she rests in her middle range for the majority of the tune, she stretches into her soprano towards the end of the track, and the breathy beauty in her voice is fully realized – a fragility artfully counteracted by Beck’s lower, grumbling vocals.

Regardless of its musical pleasantness, “Just One Of The Guys” is actually a pretty angry song.  The frustration and dismay inherent in the narrative are mapped out plainly in the opening lines: “All our Friends, they’re getting on, but the girls are still staying young.” Lewis goes on to tackle the particular nuances of gendered double standards, in particular society’s approval of older, single, bachelors and subsequent disapproval of unwed, motherless women of a certain age. It’s not just societal faults that plague Lewis; as the chorus continues into the second verse, she wonders at the thing inside that won’t let her be as disaffected as her cooler male counterparts. And it’s not just her feminine emotions getting the best of her, but also that pesky biological clock. While her honesty is nearly cringe inducing, the last bridge of the song reflects a shoring up of resolve and a recognition of the strength of the so-called “weaker” sex: “I’m not gonna break for you, I’m not gonna pray for you, I’m not gonna pay for you, That’s not what ladies do.” The simplicity of the song belies the potential complexity of its content, and while it’s not clear if Lewis is really attempting to buck tradition or desperately give into it, it is still, in its way, astute and astoundingly relatable. It’s not quite “Just A Girl” but it’s got all the makings of a successful indie pop hit.

Jenny Lewis is currently in the middle of a national tour; Voyager comes out on July 29th. In the meantime, check out the lyric video for “Just One Of The Guys” below:

TRACK REVIEW: SALES “vow”

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Florida band SALES prepare for their upcoming debut album with their latest single “vow” and a small East Coast tour this month. The duo, comprised of Lauren Morgan on guitar and vocals and Jordan Shih on everything else, create intimate pop music that can equally cause dancing and peaceful moments of contemplation.

“vow” simmers and tiptoes on the line between passion and nonchalance. It feels like a first encounter, like the electric current when you catch someone’s eyes from across a room in a crowded party and you’ve been slightly enamored by them for a good hour. The lyrics are understated, matching Morgan’s even, hushed tone, but underneath you can feel the nerves and the million of thoughts rushing through, like listening to a friend sharing anxious thoughts in a small room. Simple phrases like “fell apart in the lows of a laugh” are somehow so lovely that they’ll have a way of popping up in the mind for days after. The steady drums are contrasted by a guitar line that moves in gentle waves, receding during the verses and surging at the chorus and ending. It’s a sweet song without being overly indulgent; quietly tender and immediately endearing. Honest and low key, “vow” rests comfortably in your ears, so charming and inviting that you’ll play it on repeat for days.

Listen to “vow” and check out SALES’  June tour dates below:

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TRACK REVIEW: Crystal Stilts “Delirium Tremendous”

Crystal Stilts

Crystal Stilts - New Single: Delirium Tremendous

 

After the September release of album Nature Noir, Brooklyn’s own fuzzy noise pop darlings Crystal Stilts have triumphantly returned– with new single “Delirium Tremendous.” But this time, there’s less fuzz, and more sun. The track begins with a deliciously upbeat, almost Krautrock-sounding tempo, built around singer Brad Hargett’s Ian Curtis-like croon. He makes a fervent plea to be understood: “Delirium/Delirium/Deliver me from tedium.” The lyric creates a dark, complex backdrop to the otherwise light and playful pace of drums and insistent, building guitar. Perhaps a bit of shadow lurks beneath the sunny veneer.

Without warning, things change direction and a bridge builds out– a slowed tempo oozing with a “party’s over” sense of resignation as Hargett himself resigns: “And after all/Is said and done/We have to go.”  But is the party really really over? No time for contemplation– as all traces of the bridge have melted away, replaced by the resurgence of the frenzied, driving pace that you were just starting to miss.

This track has the feel of  being on a spontaneous road trip; and although Hargett and Co. make a pit-stop halfway through the wild ride to get out of the car, pace around a bit and contemplate the universe, they more than make up for the break once they get back on the highway; with tires screeching, steering wheel swerving, and blissful, reckless abandon charting the course through to the song’s abrupt end. Damn right, it left me wanting more.

As it happens, this month Crystal Stilts will be rolling through a slew of East Coast (and even a few Midwest) cities with some live dates. Schedule below:

 

6.14.14 – Rock and Roll Hotel [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][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”][tickets] – Washington, DC*@

6.15.14- Ottobar [tickets] – Baltimore, MD*

6.16.14- Cattivo- [tickets] – Pittsburgh, PA*

6.17.14- Mahall’s [tickets] – Cleveland, OH*

6.18.14- Empty Bottle [tickets]- Chicago, IL*

6.19.14- The Warehouse- Ann Arbor, MI*

6.20.14- NXNE- The Garrison- Toronto, ON

6.21.14- Il Motore- Montreal, QC

6.22.14- Space Gallery [tickets]- Portland, ME

6.27.14- Baby’s All Right [tickets]- Brooklyn, NY#

*with Juan Wauters

@ with Craft Spells

# with Christines

 

 

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TRACK REVIEW: Coeur de Pirate “Wicked Games”

Coeur de Pirate Beatrice Martin

Francophone singer/pianist Coeur De Pirate (that’s French for Pirate Heart) recently released a new album of covers of her favourite English songs for the Canadian television show Trauma. Arguably, the best song on the album is her version of a track by another Canadian artist – The Weeknd’s “Wicked Games”. Coeur De Pirate, whose real name is Beatrice Martin, has released two full albums in French. Trauma marks her first full length English album, and it does not disappoint.

Martin is Quebec born and raised, which holds a particularly special place in my heart and is one of the main reasons I first started following her work a few years ago. When I first moved to Montreal, the only thing I listened to for the first six months (religiously!) were Martin’s first self-titled album Coeur De Pirate (2008), and her second album Blonde, released in 2011.

Those familiar with Martin’s work know that the common themes in her songs are heartbreak and unrequited love, and she delivers them with a sweet but painfully lovelorn voice. Her rendition of “Wicked Games” is no different; something about the way she sings it gives you the feeling that her heart is actually breaking at the moment. Armed with only a piano and her voice, Martin delivers a version of the song that will haunt you. Having been fortunate enough to watch her do her thing live (twice) in her hometown of Montreal, I can say that her talent is as mesmerizing on a stage as it is coming through speakers.

It is obvious that Martin wanted to strip the song into her own raw form; “Wicked Games” doesn’t sugarcoat anything and is as beautiful as it is hypnotizing. The original version of The Weeknd’s alternative R&B song is sultry, smooth and exquisite, but Coeur De Pirate was able to take the song to a whole new amazing level. Elsewhere on Trauma, Martin tackles Amy Winehouse’s “You Know I’m No Good”, Kenny Rogers’ “Lucille”, and the ever classic “Ain’t No Sunshine” by Bill Withers, though you should probably just play “Wicked Games” on repeat all day – just saying.

Trauma is available for purchase and download via the artist’s bandcamp. Check out Martin’s video below, and compare it to The Weeknd’s original.

TRACK REVIEW: Spider Bags “Back With You Again in the World”

 

spider bags

This night might be filled with sorrow

Your heart might still feel so blue 

But I’ll be back with you again in the world tomorrow

I’ll be back with you again in the world  

It’s hard to put the music of Chapel Hill-based Spider Bags into words. At their core, they could probably be described as a garage band with country, bluegrass, folk, blues, rock’n’roll and punk influences. Their unique blend of genres combined with songwriter Dan McGee’s ability to write punchy, energetic songs sets them apart from most other bands. With a lineup rounded out by Gregg Levy (bass/guitar), Steve Oliva (bass/guitar) and Rock Forbes (drums/percussion), the band has put out three full length albums since they got started back in 2006: Spider Bags (2007), Goodbye Cruel World, Hello Crueler World (2009) and Shake My Head (2012). “Back With You Again in the World” is the first single off of their upcoming album, Frozen Letter, out on August 5th via Merge Records.

While “Back With You Again in the World” is just over two and a half minutes, as usual, the band manages to pack in a ton of musical elements in a short period of time. After a brief introduction of amplified distortion, the track kicks off with an antsy guitar section. While two guitars battle each other the drums propel forward, building up to a country-esque solo as impressive as it is fleeting. Finally, Dan McGee’s vocals enter on the first verse. They waste no time barreling through three verses of the song, and just when you think the racket is about to die down, a saxophone solo comes out of nowhere. As if the energy the song wasn’t yet frenzied enough, there is a brief ritardando in the instrumental section only to serve as a bouncing board into and even faster-paced finale. Spider Bangs graces us with one last celebratory verse, and then it’s over.

“Back With You Again in the World” is the type of song that probably should be played at a hootenanny, or at least a raucous barn party. From the euphorically romantic lyrics (You know I’ll always be honest in everything that I do / I’ll always be honest with you, it’s true, I will always be honest with you) to the repetitive vocal phrasing on each verse, it basically forces anyone who listens to sing along. While it is the music that will make you want to get up and dance, it is the lyrics that will melt your heart, warm your soul, and loosen up your vocal chords.

Spider Bags is able to create musically complex songs that feel like they were spontaneously and casually strung together, and “Back With You Again in the World” is no exception to this. This general atmosphere probably speaks more to the band’s chemistry, a chemistry that allows the band members to listen to each others’ sections, to improve each other musically, and to make some extremely fun music.  On “Back With You Again in the World,” Spider Bags have mastered the art of building complexity through a cacophony that could seem to some haphazardly loose, and given us a lot to look forward to when Frozen Letter drops on August 5.

TRACK OF THE WEEK: Landlady “Dying Day”

Before forming Landlady in 2010, Brooklyn-based musician Adam Schatz already knew he wanted two drummers and two people playing keys. That’s the basis for the group’s complicated choral pop arrangements and powerful sound. But it takes more than bodies to orchestrate a song, and Landlady’s energy is matched only by the control the group has over the way the music sounds. There’s nothing chaotic about it. Each instrumental thread is fastidiously shaped and as pronounced as it’s meant to be, every dynamic shift is calculated for contrast–every move the music makes is palpably intentional. But though Landlady may be meticulous, their playing has too much melody and sheer pop-infused heart to seem sterile. Their latest song, “Dying Day,” is proof.

“Getting better every day,” the track begins with unembellished vocal delivery from Schatz. “I think I’m getting closer to my dying day.” “Dying Day” is a completely palatable experiment in idiosyncrasy and weaving self-contradiction. The lyrics correct themselves and mull over meanings and instrumentally, the song behaves similarly. The rhythms bounce along nonchalantly, and sometimes lean with their full weight into the backbeat in a sauntering pose that makes the music seem–for all its jumpy complexities–carefree. Although the song’s mood is hard to pin down when you look at it under a microscope, a less aggressive listen–road trip soundtrack? mix tape opener? These summery chords are damn versatile–makes for just plain fun.

“Dying Day” will be included on Landlady’s forthcoming album Upright Behavior, which will be out this July on Hometapes. Stay posted here.