After forming together at a high school party, alternative pop band The Unlikely Candidates went on to release three Eps and have since spent countless hours on the road in order to chase after a dream that started so many years ago. While on the road, they had several opportunities to work along-side some of the most well-known names and faces in the industry from Sublime With Rome to Fallout Boy.
Most recently, however, they have released a new lyric video for their single “Oh My Dear Lord,” and are featured on the Dirty Heads’ new song titled, “Celebrate,” which is currently in the Top 25 at Alternative Radio. Clearly, the five members of this band have been hard at work to get their name recognized in the general music community. Clearly, their hard work is paying off in their widespread popularity. This new release has over 17 million combined streams-a number that is sure to continue to climb in the future. One of the most recognizable attributes of this band’s music is their ability to add a certain “grit,” to their pop overtones which allows for a larger fan demographic.
Formerly known as The Reign of Kindo, Kindo has resurfaced after 4 years with a new single “Return to me” from their latest album “Happy However After” set to be released in April of 2018.
This 6 piece from New York has shown that you don’t need a major label and their money to gain an audience.
Giving the fans a new spin of alternative jazz that is fused with R & B, pop and soul shows that just like topping off your drink, combining old and new, can create something truly refreshing. Not only have they innovated a successful sound, Kindo has also proudly been at the helm of all their recordings.
“Return to me” begins with a rainy day stay in bed piano line. The vocals give a strange appeal to the jazz-ish backing music. Imagine Lenny Kravitz being backed by a piano at a dim lit jazz club applying his pop-rock vocal style and later adding a high gain guitar riff. I am amazed at how Kindoimplements all these musical elements and how they compliment each other. “Return to me” at first listen is calming. Once it sinks in what the lyrics are about it is hard to believe this song is depicting heartbreak. Especially when some of the rhythmic grooves wake you up and influence your body to take the hand of the beat and swing. The atmosphere of musical freedom and exploration is definitely a spark lighting a flame rich with creativity.
Kindo will be touring the Eastern U.S. in March and is surely not a band you want to miss. If they aren’t hitting up your hometown be sure to head over and check out their prior albums which should tide you over until “Happy However After” is released in April.
Yoke Lore – the alternative/indie project from musician Adrian Galvin – tore up from the floor up opening for Jack’s Mannequin at The Truman in Kansas City, Missouri on June 17th. What would have otherwise been a quiet Tuesday night was lit up with the energy of this incredible musician as he and his band – expertly comprised of Rafe Bouchard and Michael Vokes – dazzled the audience with dance-worthy titles like “Hallucinate” and “Chin Up.” They slowed down a couple of times, namely for crowd favorite “Beige.”
What really got me was Adrian’s stage presence. The last time I had the opportunity to catch these guys, they played a much smaller venue down the street. The Truman had more space to move around on stage (and off), so we got to enjoy some dance moves and a bevy of lighting changes that we couldn’t before.
Lyn Lapid, Filipino American singer & songwriter, released a cover of Pixies “Where is my mind” on Friday. You may have heard her hits such as “Producer man” and “In my mind”, as well as her 2023 EP to love in the 21st century. She recently released her debut album Buzzkill. Lapid performs a variety of genres, including pop and R&B, and is known both for her original songs and her viral covers on Tiktok.
The Pixies’ original version of the song was released in 1998, alternative rock with bass and guitar. Lyn Lapid provides a distinctly different version. Her version has a more dreamy production, with echoed vocals and strings. Lapid’s version definitely updates the song in a way that fits with the indie pop style of many artists now.
I think this production style still fits the original song, and seems to touch on a fun, dreamy element that’s present in the Pixies version. While the original song is produced in an alt-rock style, “Where is my mind” is about Black Francis’s trip to the Caribbean and his experience with the small fish he saw while snorkeling. Lapid’s production fits this “story” of the song well in my opinion–the slower, more echoey sound is fitting for swimming underwater.
The release of this cover comes while Lyn Lapid is on the North American leg of her Buzzkill tour. She still has shows in various North American cities until June 28th.
UPCOMING BUZZKILL WORLD TOUR DATES: June 13 // Charlotte, NC // Amos’ Southend June 14 // Atlanta, GA // Center Stage – The Loft June 16 // Orlando, FL // The Social June 19 // Houston, TX // Warehouse Live – The Ballroom June 21 // Austin, TX // Antone’s Nightclub June 22 // Dallas, TX // Trees June 25 // Phoenix, AZ // Crescent Ballroom June 26 // San Diego, CA // The Observatory – North Park June 28 // Los Angeles, CA // El Rey Theatre
Saturday, day 2, at Riot Fest 2024 was one of the most uncomfortable days at the fest in recent memory. While the staff did what they could to keep everyone hydrated and happy, the near-90-degree heat had a lot of people feeling faint. The lineup kept people energized, the bands paid attention to their fans and brought help when necessary, and the alternative community of Chicago and beyond really showed up for each other on Saturday. We got some photos so you can relive the end of summer heat with us.
Alternative/indie trio Princess Goes had an early afternoon slot on day two of Riot Fest 2024 in Douglass Park. Their unique brand of goth-tinted rock helped to set a moody glow across the field as the midday sun entered everyone’s lives. Hall’s vocals were clear — scratchy at times — drawing a crowd as the set went on at the AAA Stage. This was a wonderful — and often mellow — way to welcome the second day of an epic festival weekend.
When was the last time you craved a great rock show and it actually delivered? We set out on a Wednesday night to see the storied Dogstar play at the historic Uptown Theater in Kansas City, Missouri. Not only did the merchandise line snake through the front lobby, but it wrapped down the hall and into the bar area on the other side. I’ve been going to shows for nearly 30 years at this venue, and I’ve never seen anything like it.
From the moment they hit the stage, the trio delivered nonstop entertainment, rolling through a variety of keepers from their catalog. Their particular blend of alternative rock brings with it hints of goth and more theatrical vocals at times, keeping you on the edge of your seat, singing with the crowd. Of course, there were a couple of “I love you, Keanu!” screams from the crowd at times, but for the most part, the crowd was respectful of the reason we were all there… music.
With an incredible 33-year run so far, this band is showing no signs of slowing down.
Setlist Blonde Lust How the Story Ends Everything Turns Around Out Of Glimmer Dillon Street This Is What Math Is For Shards of Rain Overhang Sleep Runway Marmalade Breach Just Like Heaven Shallow Easy Upside Jackbox I Wanna Be Sedated
Quickly rising indie pop/rock artist Michigander just put out a new single entitled “Giving Up”, attached with a music video and a B-side called “Breaker Box”. Michigander, led by singer-songwriter Jason Singer, has been releasing music since 2016 and has been gaining traction through singles like “Misery” and engagement from popular playlists by Spotify, Apple Music, and Amazon Music. As of now, Singer is the face of Spotify’s “The New Alt” playlist, which promotes new and popular alternative music, placing him alongside artists like The Killers and Hozier. Before the release of “Giving Up”, Singer had put out 2023’s It Will Never Be The Same EP and a live performance and EP for Vevo’s online DSCVR series.
“Giving Up” absolutely appeals to fans of Michigander’s previous songs and features his trademark sound. His alternative pop sound with hazy synths and electronics that still capture honest emotions, all sung with Singer’s distinctive Midwestern twang. It’s cutesy and very likable, and Singer has a charm and earnestness to him that makes him appealing. The backing band assembled for this single is also very good, composed of Jake LeMond on guitar, Connor Robertson on bass, Chris Koo on keys, and Aaron Senor on drums. Lyrically, it’s about desperately trying to make someone happy to have minimal success and having to be assertive about getting nothing in return. It’s a relatable sentiment and very genuine. The music video, directed by Tyler Appel, is shot well with beautiful cinematography. It features multiple scenes of Singer playing with his band, as well as aimlessly driving his truck amongst other things. It’s fun and matches the song well enough, and Singer has a good presence in music videos.
The B-side, “Breaker Box”, matches the A-side in its similar sentiments and seems to be from the same narrator and addressed to the same person as before. It’s another song about a crumbling relationship and wanting the other person to put forth more effort into maintaining it. The song has a wonderfully lush production, with a more piano-driven melody and some wonderful-sounding horns. Like “Giving Up”, it balances being catchy as well as intimate and personal.
Michigander continues to be an inspired presence in modern alternative music, and “Giving Up” is an excellent example of why. As for the future, Singer and his band have a headlining tour beginning Oct 10 in Cincinnati, Ohio, going into 2025 with support from multiple artists including Cece Coakley and Sydney Sprague, as well as solo acoustic performances with Band of Horses.
On the night of August 15th, I went to The Anthem in DC to see the band King Gizzard and the Lizard Wizard. If you’re unfamiliar with them, they’re an incredibly popular Australian rock band made up of talented multi-instrumentalists Stu Mackenzie, Ambrose Kenny-Smith, Cook Craig, Joey Walker, Lucas Harwood, and Michael Cavanagh. One of their main appeals is their approach to genre and exploring as many sounds in their work as they can. Since forming in 2010, they’ve put out 26 studio albums (not to mention 16 live albums) that have ranged from psychedelia, various kinds of metal, progressive rock, synth-pop, sunshine pop, folk, and many more. Despite this, they still have a consistent “King Gizzard” sound that’s rooted in vintage psychedelic rock. Flight b741, which was released on August 9th, is another new musical avenue for them: an early 70s-inspired blues rock album with obvious references to The Rolling Stones and T. Rex. My brief review is that it captures the sound perfectly, with heaps of nostalgia to boot, but still provides plenty of hooks and fuzzy guitar riffs to keep it a consistently entertaining listen. Give it a whirl when on a road trip. You won’t regret it.
Okay, now back to the concert. This was the first show for their tour to support Flight b741, with the opener at this show being Brooklyn-based indie-punk band Geese. They proved to be a fitting match for King Gizzard, as their newest LP 3D Country features a classic rock sound similar to Flight b741, albeit with more country influence. I enjoyed their performance, though, with only the core members of the band, their sound was more alternative rock that doesn’t capture the roots-based atmosphere of the album. Still, they were fun despite the more stripped-back aesthetic. There were occasional unique touches like hand drums and smooth keyboard playing, and I gotta give props to their frontman Cameron Winter. He’s a very interesting and captivating presence, with an oddball southern yodel-ish twang in his vocals that stood out to me.
After Geese’s set, there was a 30-minute break so King Gizzard’s crew could set up. Right before their performance started, a message appeared on screen reminding the audience to have fun in the mosh pit but to look after each other and report anyone dangerous to security. I didn’t get close enough to mosh, but I’ve heard enough horror stories of audience injuries to know that the message was responsible on the band’s part. I should also note the atmosphere and the crowd of the show. There were lots of young people at the show, (more men than women, though still a decent mixture) around their 20s and early 30s. With the band’s decade-spanning influences, it also made sense that there were also some middle-aged and older people that were likely fans of similar bands such as Phish or The Grateful Dead. All the concert tickets sold out quickly, so the general audience pit on the main floor had to be packed tightly to accommodate everyone. From my firsthand experience, it smelled of sweat, pot, and alcohol the entire time. Still, that was to be expected from a crowd made up mainly of stoners wanting to mosh or get zonked out on hallucinogens.
King Gizzard’s main ethos seems to be that not only do they never repeat an album, they also never repeat a show. The band’s live performances feature lots of extensive jamming, allowing for the musicians to ride a groove and riff off one another with improvisations, giving the songs a different feel from their studio counterparts. While the jams of earlier shows may have focused more on heavier metal riffs (according to my friend, anyway. Shoutout Nayeli!), the ones this one had fit more with the influences on the new album and are more bluesy (featuring harmonicas!) with some fuzzy psychedelia and touches of funk. I’m a fan of extended performances of songs to ride out a groove to its fullest, but admittedly some improvisations could be too aimless and lengthy. They were fun, but it got to a point where I nodded off before things kicked back into gear. However, these jams are a staple of their concerts, and it may not entirely matter to you if you enjoy watching talented performers work their craft (or if you’re super high). I’ll also give the band jams credit for being more inviting to new fans that may not have listened to all of King Gizzard’s albums and giving them something entirely distinctive to their concert.
The band’s setlist was very diverse and featured 14 songs from their catalog within 2+ hours. This included three of the new songs from Flight b741, and songs from Omnium Gatherum, Ice, Death, Planets, Lungs, Mushrooms and Lava, Nonagon Infinity, and others. Despite each album representing a new era and sound, they all fit well together and never appeared too different from each other while still being distinctive. The funk grooves of “Iron Lung”, the raw acid flavoring of “The Dripping Tap”, and the last 30 minutes of the show with back-to-back metal songs (featuring fan favorites “Mars for the Rich” and “Supercell”) all shine brightly. What I admire about the band is their democratic approach to playing, with no member seeming more important than the other. Sure, Stu Mackenzie is their designated “frontman”, but each member gets time to solo, time to speak to the crowd, and opportunities to do what they’re good at. The concert closes on an intense and completely hypnotic drum solo by Michael Cavanagh at the end of “Gaia”.
King Gizzard provided and continues to provide wonderful concerts that rock out, all the while showcasing the band’s chemistry and never-ending talents as they continue being one of the best live acts around. I can’t recommend seeing them enough, whether it’s once or multiple times.
