Tag: Vancouver

Aussie Abroad Larissa Tandy Pays Homage to Three Hometowns with Singles Series

Photo Credit: Kane Hopkins

Australian-born, Vancouver-based Larissa Tandy is looking on the bright side in her latest single “No Fun.” It’s the final in a trilogy of singles she’s put out this year, following “Drive” on July 23 and “Sirens” released on May 21. All three were written and recorded between Nashville and Memphis with the help of Nashville’s finest session players and a legend of the Motown scene, Funk Brother Jack Ashford.

The trilogy concept was birthed through a very rational decision. Tandy knew she could only afford to create and promote three songs, as opposed to a full album. But by releasing them as a trilogy, she’s inadvertently captured a snapshot of her life across three cities.  

“They do speak to the different parts of my life,” affirms Tandy. “‘Sirens’ is very connected to my past in regional Victoria. The second song, ‘Drive’ is very much based on my time in Nashville – the people I was writing with, and stylistically fascinated by – and then the third [‘No Fun’] is related to my life in Vancouver. I do feel like I have three home towns.”

Riffing on Vancouver’s reputation as a beautiful, but boring place to live, Tandy complains that never stops raining, that everyone says they’ll call then they never do, but then finds the silver lining in they city’s overcast skies: “there’s still a million reasons to never leave this town.” Primary among these – Vancouver offered sanctuary when Australia refused to acknowledge the legitimacy of her marriage. She met her partner, Elisabeth, on a holiday visit to British Columbia in 2007. Tandy returned to Melbourne for nearly seven years before she and her wife made their home in Vancouver in 2014, and the couple welcomed their daughter in 2019.

The video, however, won’t be lauded by the Vancouver tourism authorities, with an unenthusiastic Tandy posing in various mundane settings around her adopted hometown, her head poking through an oversized postcard reading “Beautiful NO FUN”.

Tandy made it herself, including designing the seagull who’s mouth she inhabits in the video. “It’s currently propped up against the house in the backyard. I might actually do something with it at some point,” she muses. Sounds like fun, so that’s probably against the local laws.

Tandy’s accent is unmistakable in its broad, Aussie frankness. Her knack for storytelling and unexpectedly candid confessions in the least melodramatic of moments are also typical Australian traits. Now 45, Tandy was born in Sydney and grew up with her parents and older brother Ryan in regional Victoria, on the Mornington Peninsula, before making her home between Vancouver and Nashville.

“My dad was in the Navy,” she explains. “My dad was from Sydney and my mum was from Melbourne. I must have been so little when we were relocated to Melbourne, and there was also a short period when we moved to Tasmania. I got kicked out of boarding school, returned to Victoria and spent my teenage years on the Peninsula. I don’t think I’m normal enough to thrive in that [boarding school] environment. I was 10 when I went, so I was making sense of this whole other world, this reality I had no idea about before.”

A reality that did make more sense to a young Tandy was songwriting and singing. “Ryan had been in every single band that I’d played in, we’d worked together on everything,” she remembers. “I started a band around 2000. I’d been playing bass in this 3-piece but the other two people were a couple and they had a spectacular break-up during one of our shows… my brother was like, ‘Start your own band – just do it!’”

They did, expanding with bass players, backing vocalists and a drummer, but they had a booking agent who lamented that his venues wanted “quieter” bands. So, Tandy improvised and insisted they did have a quieter band, inventing the name Strine Singers.

Ryan and Larissa joined with another brother-sister duo, Mick and Lou Rankin in 2011, releasing their EP Counter Canter two years later. The folk-meets-country harmonising over gorgeously simple, steely guitar still sounds just as fresh and affecting as it did upon its 2013 release. The band amicably parted in 2014, though they’re all still close Tandy confirms. “They coaxed me out of my shell, and encouraged me to put more stock in my own work,” she says. “It was a good, really supportive environment, but I was ready to move into a solo thing that I could put my name on.”

Since 2016, she has travelled back and forth between Nashville and Vancouver, writing and collaborating fervently in East Nashville. Vancouver is home though, and upon settling there with Elisabeth, she wasn’t sure how to break into the Canadian music scene. “I’d just landed in Canada. I really didn’t know what I was gonna do. Strine Singers had wrapped up. I had this idea that I’d release stuff then go back and tour Australia,” she says. “I had all these songs and I thought I may as well try to make a record, though I had no music network in Canada. I did some research on Canadian albums I loved.”

That was how she met Jim Bryson, a studio owner in Ottawa who would eventually produce her 2017 solo debut The Grip. “Jim was [a collaborator and guitarist] in the touring band for Kathleen Edwards, a beloved Canadian alt-country artist. I really loved what Jim brought to that band, so I reached out to him and next thing you know I’m flying out East to make a record with him,” she recalls. “I stayed at his place for two weeks and we worked everyday trying to play as much of it as we could.”

Fortuitously, Australian friends and acclaimed singer-songwriters Liz Stringer and Kat Lahey were on tour from Australia so they featured on the album, too. They recorded it mostly in 2015 but it took a lot of research and work for Tandy to find a distributor (MGM Australia in Sydney and Nashville). At the same time, she was trying to juggle being her own manager, with no support team, and she’d also had four hip surgeries within that period.

“I really didn’t know how to put a record out… but that whole experience has a lot to do with where I’ve got to now, which is how to find a way to release things as close to when they’re written as possible,” she says. The Grip spent four months on the US Americana charts, attracting positive reviews internationally and winning her the prestigious Nashville Songwriter Residency. And releasing these latest singles in a purely digital format symbolizes Tandy’s rebellion against the slow-moving traditional system that dictates when and how artists should make and share their work.

“I founded the more I started to complicate the process, the more I created delays, whereas doing things digitally kept things simple,” she explains. “I created visual assets, the videos, and tried to do away with anything that interfered with the process and slowed things down. I had the opportunity to do this without thinking about the commercial aspect, I had some budget to do it and I wanted to get the ball rolling. I entered a great creative period of my life, I just wanted to clear the decks and make some space for it. I didn’t want to be stuck in the standard release system of releasing an album every two years and sitting on work for so long. I think it’s possible to build your own audience and the best way to do that is to keep nourishing the patch of turf that you have with more and more of your work.”

Tandy has her own home studio, which is where she’s assembling a collection of songs that she intends to release as twelve stand-alone singles, beginning in mid-2022. But Tandy plans to preview two songs per month via Patreon beginning in September, followed later by a traditional album that offers the songs as a cohesive collection.

“The songs that I’m writing for it are really personal so I’m trying to create something low-vibe,” she says. “I’m pulling them up, tinkering, it’s a different way to work.”

It’s a great time to get personal – with prime examples of women in country music writing about their sexuality, speaking about their partners and their queerness in interviews and owning it. “There’s a real movement in queer country that is so exciting. The amount of artists – queer or otherwise – who have endorsed hat movement, or expressed their allyship… there’s a sense that things are really changing in the industry and where the power once was, it no longer is,” Tandy says. “If someone tells me my music is ‘too gay’, I say it speaks to some people, and so be it. I identify as non-binary so I see it as a challenge that in this fast-moving environment, people want to understand things quickly and easily so the more complicated things are, it can be an obstacle [to people understanding]. The more authentic you are, the better off you’re gonna be.”

Follow Larissa Tandy on Instagram and Facebook for ongoing updates.

Doohickey Cubicle Find a Groove in a Broken World on Don’t Fix Anything ;) LP

Photo Credit: Jordyn Taylor-Robins

While entertaining a cheeky approach to music, there’s one thing Alli Deleo and Francis Hooper don’t joke around about – that is, producing captivating, dreamy tracks. Formerly known as Booty EP, the synth-pop duo released their debut album Don’t Fix Anything ;) March 12th under a fresh new name – Doohickey Cubicle. 

Tracing their origins back to 2015, the dexterous musicians were united when Deleo was hired to create light and visual projections for Hooper’s band Goodwood Atoms. The Vancouver-based duo relished in the act of casually jamming together, sharing their common creative interests and musical talent. Surrounded by a plethora of electro gear lounging around their live-in studio, the group started throwing together tunes and hosting live shows with local bands. Hooper and Deleo easily impressed audiences with their laid-back, playful energy on stage and immersive, awe-inspiring DIY visuals and light projections. Without taking themselves too seriously, Doohickey Cubicle endeavored to release a slew of self-produced singles while retaining their quirky nature via whimsical lyrics, irreverent song titles, and even their nonsensical band name.

“Sign Here” is a fitting way to open the record, in that it demonstrates the group’s nod to their jazzier influences with dancy beats, velvety harmonic vocals, bass hooks and a groovy sax appearance; a remix by Canadian electronic duo Blue Hawaii offers another chance for listeners to get on their feet and get moving by the album’s end. In between, “Milano Sport,” “Thinking,” and “Mildly Concerned” evoke a funkier, slower vibe with clouds of a lo-fi haze spewing out from the keys. “Hotel Beds” carries on in slowing the beat down and brings the listener into an alternate reality of a late-night jazz club. Feel-good tune “Forever” keeps spirits up in reference to the more earnest notion of wanting perpetually to stay in a state of bliss with its cascade of electronic notes coupled with jazzy beats.

As primarily self-taught musicians, both Deleo and Hooper cultivate their collaborative project with varying, unique musical backgrounds. Hooper’s academic experience in sound design and production combined with Deleo’s lyrical focus and musical upbringing gives the pair an advantage in enticing music production. “Francis can get lost in mixing for hours and can completely zone out,” Deleo explains. “I can come in with fresh ears and hear where it’s at and say ‘what about a vocal harmony?’ It’s a healthy balance of Francis going in deep and me coming in and surface cleaning it.”

Satisfying their thirst for creative expression, Doohickey Cubicle embraces the metamorphic process as their songs shift and take shape over time. Collaboration with fellow musicians is most inspiring, and the pair keeps their grind flowing with musical input from drummer Kai Basanta and saxist Mark Sutherland. “We try and collaborate with musicians specifically,” Deleo explains. “I think it’s important to have other people poke in at a certain part of the process.”

Rooted in smooth, honeyed vibrations of analog synths, Doohickey Cubicle don’t stop at exclusively mellow electronic beats and chord progressions. Drawn primarily to the lively, funky rhythms of nu jazz, the band alludes to artists such as Salami Rose Joe Louis, Khruangbin, Beverly Glen Copeland and Crumb. Deleo’s ear gravitates towards Toronto singer-songwriter Eliza Neimi’s catchy and cathartic way with words, giving her immense cravings for vibrant textual concepts of music. “I’m in a phase where lyrics mean so much to me,” describes Deleo. “I think that’s telling of the kind of year and a half it’s been. With so many ups and downs – but mostly downs – I’m so infatuated with lyrics that speak to me.”

Deleo’s own lyrical approach hinges on emotive effects without feeling bogged down by the drag of melodrama. Keeping it light, the album’s title Don’t Fix Anything ;) is a tongue-in-cheek prelude the LP’s overall attitude, like a parent attempting to cheer up their pouty kid with the teasing phrase “don’t smile.” Deleo gets the kid giggling in the background of a lo-fi jam sequence on “~Interlude~” by cooing the titular expression in baby-talk, knowing too well there’s plenty of changes that need to be made in the world. Throwing in an added dose of sarcasm, “Sign Here” mocks the rather negative influences of consumerism as Deleo lets out a chuckle in between singing, “I can be happy/Hahahahaha/I will be quite thrilled if only I/Had more things than I think are needed.”

With its contemplative, yet cheeky lyrics and smooth mix of chill and upbeat tones, the allure of dancing and laughing along with Doohickey Cubicle is hard to resist. The duo hopes to offer an open-ended experience for all simply to enjoy. “If you want to feel the emotions that’s an option,” Deleo states. “I’d rather someone just take it and apply it to however they want. I hope that people can listen to [the album] and feel joy, [as if] you’re just hanging out and getting lost in feeling the enjoyment.”

Follow Doohickey Cubicle on Instagram for ongoing updates.

PREMIERE: Andrea Clute Dials Up the Heat with “Red Light”

“There is nothing more intimate than giving everything that you are to somebody you love,” says singer-songwriter Andrea Clute. Her latest track, “Red Light,” zeroes in on her long-term relationship, simultaneously depicting emotional vulnerability, confidence, and the importance of sustained passion.

“I’ve been with the same person for a few years now. [When the song was written] we had been together for five years so the lyrics ‘even after five years, this is all I want dear’ literally means that no matter how much time passes, my love for this person is endless,” the Vancouver-based musician tells Audiofemme.

Growing up in the High School Musical-obsessed world of the late ’00s, it’s no surprise that Clute used music and performance as an outlet growing up. A self-confessed Belieber, the 23-year-old had her sights set on honing her craft, experimenting with atmospheric sounds and cinematic elements. “I’ve been learning how to write [songs] through trial and error and learning how to sing better by practicing every day and learning new techniques,” she says. “This is the only thing I ever want to do. Of course there are moments where I’m like, I don’t know if I can do this, this is not a stable path. But then I think, screw it! Just go for it and make the best of it.”

Through a combination of gaining more confidence with each single and the general increase in more time spent at home (courtesy of the pandemic), Clute has become more and more involved in the production process. “I was in a rush before, but this period has encouraged me to enjoy my time now,” Clute explains. “With my music, I’ve taken it one day at a time rather than thinking months in advance. I know COVID is stressful, and it has certainly taken its toll on me, but it has also made me appreciate life more and the process of making music is more fun now.”

Music runs strong within her family – her brother Chris Clute creates his own electronic pop, typified by tracks such as “Darkest Hour” and “Special To Me.” Naming her as one of his inspirations for 2020, the two share a supportive relationship which has led to a number of collaborations. “I was definitely inspired by Chris because he was already ahead of me in making music. I was always in awe as to how he came up with all those ideas,” Andrea Clute says. “When we do come together we always show each other the new songs that we made and share ideas. We have a couple songs together that we’ve written and I hope that we can write more together – it’s really interesting to see how we write differently and have different styles.”

Having a support base of like-minded friends, family, and collaborators has helped Clute push herself in more musical ways than she ever thought possible. Canadian production duo Sound of Kalima worked with Clute on “Red Light,” and she says her encounter with them helped demystify music production. “I’ve had more input on beats and I just feel more involved and more connected to the music that we’re making,” she says.

This connection shows in the final product – “Red Light” is markedly different from the singer’s past work. Previously released racks such as “Haunted” and “Xoxo” have a more upbeat pop feel, demonstrating the ways Clute experiments with her expression. With “Red Light,” she manipulates space, letting the lyrics breathe with each chord as the melody washes over the listener. Clute’s latest single opens the door to a new side of her personality, a harbinger of continued evolution as Clute enters into the alt-R&B realm.

“Red Light” begins with a melodic introduction that conveys an off-kilter feel before a sensual beat comes in – the effect is similar to waking up from a dream – and Clute begins to narrate intimate scenes from her relationship. Airy flutes, angelic harp, and sinewy guitar samples drift in and out of the production, cementing the track’s meditative, dreamy feeling.

Though “Red Light” can be taken as a quintessential slow jam, with Clute consumed by the emotions she’s experiencing and the vulnerability that loss of control brings, she embeds dual meaning into the lyrics, using physical descriptions to convey emotional feelings and thought processes. “The lyrics sound pretty physical, but the imagery is more spiritual,” Clute points out. “When I say ‘Imma take it all off for ya’ it can mean I’m going to take off my clothes, but in my head it stands for me wanting to be my true self. Everything has a deeper meaning in this song.”

By the close of “Red Light,” Clute repeats the line “I just wanna love you,” conveying a poignant, visceral yearning. The soul connection Clute seeks may be expressed by the physicality between she and her partner, but their bond seemingly goes much deeper, making “Red Light” a compelling study of human desire in the emerging singer’s catalogue.

Follow Andrea Clute on Instagram for ongoing updates.

Jenny Banai Premieres Couchwalker on Film

Photo Credit: L. Sjoberg & J. Taylor

Lots of important moments take place on couches. They’re where we enjoy (or tolerate) our families’ company when we’re growing up, where we bring back dates to get to know them better, where we disclose intimate details of our lives to therapists, and now more than ever, where we spend much of our alone time. This multifold significance of couches inspired Vancouver-based singer-songwriter Jenny Banai’s latest album, couchwalker, as well as the accompanying 22-minute video, couchwalker on film.

The phrase “couchwalker” came to Banai as she was reflecting on how many of our experiences on couches involve emotional tightrope-walking. “It seems like ‘oh, couch, that’s a comfortable place to be — you should feel comfortable being close to this person on the couch because it’s casual and cozy,'” she says. “But what I’ve experienced and what I imagine a lot of people experience in the beginnings of relationships, when you’re trying to understand one another, is this sense of imbalance inside, this sense of risk, more like you’re walking a tightrope, like you’re gonna fall off.”

The album was released in September, featuring unconventional sounds such as shells for percussion and key changes to accentuate Banai’s crisp, clear voice. Collaborating with co-producer Scott Currie and engineer John Raham, she took on a bigger role in production than in her previous work, intentionally stretching the bounds of convention with tracks ranging from the sweet-sounding “Intermittent Heart” to “Couch Walker” (a title track that’s not quite a title track), which is infused with hints of alt-rock and jazz.

The decision to make a short film rather than typical music videos was something of a contrarian act. “I am one to kind of want to push the boundary of conventions. I had never made a music video thus far, and I kind of am very thoughtful of ‘why do I do this?'” she says. “I guess all musicians make music videos, and it’s usually assumed because you want to get your music out there, but I wanted to have a deeper creative meaning or purpose behind why I’m making this.”

She was also thinking about how to bring her fans close to her in the absence of live performances during the COVID pandemic. What better way to bring people close, she thought, than through that trusty piece of furniture we so often rely on to do so?

The star of the video is not so much Banai as her couch, which she occupies alongside several dancers throughout the film. They sit on it, lie on it, and eventually move to the floor with expressive hand motions, giving off the impression of a slumber party as they roll around with pillows. Toward the end, you only see their silhouettes dancing to Banai’s soaring voice.

“Using a couch as the centerpiece, it’s almost like I’m interacting with the couch,” she says. “I want the film to convey the complexity of being human and how we have to move through all these emotions and, whatever decisions we make, it’s ultimately your decision. You have the freedom of choice when it comes to loving, when it comes to figuring out how people fit in your heart. Nobody is controlling that, and the aim is to be able to love well. So it conveys the wrestling match within ourselves, but also that desire to love well, and that there’s grief over that.” 

She edited the album down to 20 minutes to capture the most poignant moments of each song, adding voice memos to provide context. It opens with a memo of her singing a prayer, and at the beginning of “Couch Walker,” she includes a memo she recorded when she first wrote the song. For two of the songs, she sang live to bring that missing magic of live performances to viewers. Spoken words give the video a candid feeling: at one point, the music pauses and you hear one of her band members ask, “Do you want me to play?”

Collaborating with director Mataj Balaz and choreographers and dancers Joanna Anderson and Kezia Rosen, Banai brought the idea to life over the course of several meetings and rehearsals despite her initial apprehension. “It was this whole idea, this thing in my brain,” she remembers. “It felt fun to imagine, but I felt like, is this really gonna become something or is it just gonna be a flop?”

The costumes, which she says were intended to give off a “’90s kid” vibe and represent different parts of herself, helped her to envision the flow of the film, and when her collaborators signed on, it felt more real. “There was just a profound satisfaction in seeing something coming to fruition,” she says.

Banai was first discovered by a producer while she was in a community Christmas production and released her first album, Flowering Head, in 2015. couchwalker on film isn’t actually her first foray into visual mediums; she released a three-minute film accompanying her single “Intermittent Heart” in May. It centers on her songwriting process – she hums a melody out in the trees and by the water, jots down lyrics at a table, and plays guitar and violin from a bedroom.

“We wanted to film something that showed the creation of a song — less about the final product, more about the process,” she says. “With everything I do, I want it to be so reflective of who I am. With that comes a sense of awareness of how vulnerable I’m being, which can be hard, especially when you invite strangers into seeing that. It’s something I’m trying to figure out still, but being an artist, my goal is to give something to people that makes them feel known and makes them feel heard and makes them feel human, and that it’s okay to be human — not so much about ‘I’m a star, here, watch me be a star.’ I just want it to be as connectable for people as possible.”

Follow Jenny Banai on Facebook and Instagram for ongoing updates.

VIDEO PREMIERE: Harlequin Gold “Take Me Home”

Photo Credit: Spencer Watson

Life can change in the blink of an eye. It’s a trope used often in ABC family dramas, yet we all know the skin-tingling realities of romance, illness, or freak accidents. Elle and Avery O’Brien were living on opposite ends of the earth when their brother was involved in a serious dirt-bike accident. As he healed, the sisters came together to realize a dream that had been on the back burner: Harlequin Gold, the band, was born.

“Take Me Home,” the latest single off Harlequin Gold’s upcoming debut EP Baby Blue, tackles the feeling of wandering, searching for a purpose, and the beauty of finding comfort inside oneself. Starring actor Nicolas Coombe (soon to be seen in the new live action Dora The Explorer film) as he runs through the city seeking the familiar, drummer Jamieson Ko’s driving beat matches the frantic pace of of the video’s narrative right from the offset. Producer/guitarist Justice McLellan (Blue J/Mesa Luna) rounds out the band, adding delicate trills and texture to the foreground. The video has many fun, playful moments; at one point, the music takes on an underwater effect as the main character dives into a pool. There is a sigh of relief at the end, as Coombe swims out into oblivion, toward an unseen home.

Watch AudioFemme’s exclusive premiere of “Take Me Home” and read our interview with Elle and Avery below.

AF: Where did the name Harlequin Gold come from? It sounds almost like a Bond Villain!

EO: The words kind of fell out of my mouth when I was writing one of our songs, “Harlequin Gold and Gasoline” and intended to be a play on fool’s gold. It shines brighter than gold when put in the right light but is often overlooked and undervalued. We both were coming from a dark place in our lives and felt like if given the right light, something great could come of this. We felt that having a name for our project would allow the freedom for true expression from each member of the band. Also, we are bond villains.

AF: At what age did you start taking an interest in music?

AO: I got my first guitar at nine, and shortly after started studying classical singing.

EO: I have been writing music since I was five years old. The only difference now is that I’m writing love songs about people instead of the family dog.

AF: Is the music writing process ever difficult as sisters? Do you ever butt heads?

EO: Mostly my head butts itself. Avery uses her bond villain mind reading powers to know what I’m thinking before I do and steers me away from any dark hole I might go down. But in all seriousness, I write the foundation of the song and and we end up finishing it as a band. Justice has a great ear for production and arrangements and Jamison is a drumming mastermind. We are pretty sure he has three arms.

AF: Where do you draw from? What is your source material for music?

EO: I’m highly emotional. It’s a blessing and a curse sometimes. I read this quote by Kurt Vonnegut that said that artists are like canaries in a coal mine. We keel over long before anyone else knows what’s wrong because we we feel everything so intensely. Most of our music is drawn from personal experience. I take whatever I feel and magnify it to get it out. I’ve always thought of songwriting as a form of therapy because once it’s on the page you don’t feel it so much inside of you.

AF: Tell us about the video for “Take Me Home.” How does it relate to your original intent for the song?

EO: The song its about how time will chisel and change you until eventually you’re not the person you once were. Home is no longer a place but a state of mind and what used to scare you suddenly becomes your refuge. The video gives this idea a twist and shows someone who is trying to mold himself in to a place he doesn’t fit. He knows his current situation isn’t right and follows his intuition to reach a state of belonging. He was suffocated by his original idea of “home,” leading him to venture out to redefine it.

AF: What emotion or general vibe are you hoping to create on the new EP?

EO & AO: We wanted to create an EP that is relatable and honest. Something that was upbeat but with moments of melancholy.

AF: What is the music scene like in Vancouver?

EO & AO: There’s some amazing bands coming out of Vancouver and it’s so exciting to watch the music scene grow. Since it’s a smaller community, there’s a lot of support from local musicians and we seem to all have each other’s back.

AF: Any local artists we should be keeping an ear out for?

EO & AO: SO MANY! But some of our favorites are Blue J, Andrew Phelan, Hotel Mira, Jillian Lake and Peach Pit. We could honestly go on and on.

Harlequin Gold’s self-titled debut EP is set to be released on September 27th. 

UPCOMING TOUR DATES:
9/02-06 – Brisbane, AU @ Big Sound Festival
9/13 – Vancouver, BC @ Vogue Theatre (Westward Music Festival w/ Milk & Bone, Honne)

TRACK REVIEW: Lié “Failed Visions”

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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.