On May 1st, well-known Los Angeles Broadcast Music Journalist Nic Harcourt made a very special induction into the Guitar Center RockWalk. The Guitar Center in Hollywood hosted the special private event honoring four-time Grammy® Award Winner Gary Clark Jr. After the ceremony, he performed for the first time since his genre-bending full-length JPEG RAW dropped.
RockWalk is held to honor musicians who have fostered impactful growth in rock, blues, and R&B music. The induction included a handprint ceremony amidst other legendary prints and proof of artists like Queen, Carlos Santana, Marvin Gaye, Stevie Wonder, and others. This was the first time in 6 years that the RockWalk ceremony happened, with the last inductee being 2018’s Sheila E. As big fans of Gary Clark Jr. – whose work has similar energy to legendary musicians like Dean Martin, The Temptations, and otherwise – we were ecstatic to find out about the revival of this event.
“We are thrilled to welcome Gary Clark Jr. into the esteemed ranks of Guitar Center’s RockWalk inductees,” enthused Guitar Center CEO Gabe Dalporto. “His extraordinary talent and contributions to music make him a perfect fit for this honor. Gary’s induction is a testament to his incredible impact on the world of music, and we were pleased to celebrate his achievements at this year’s ceremony. His handprints are a prestigious addition to Guitar Center’s RockWalk, alongside the legends who have shaped the industry.”
I am honored to be the latest inductee into Guitar Center’s RockWalk. This recognition holds immense significance for me, as it not only reflects my unwavering dedication and love for music but also acknowledges the respect and admiration of my peers and fellow musicians, who I also equally love and admire.
SXSW is finally upon us, and the digital experience is absolutely wild. Montreal-based 7-piece rock collective TEKE::TEKE is set to perform at the M for Montreal/Brooklyn Vegan showcase on Thursday, March 18th between 7 and 8 pm CST. We got a quick chat in with guitarist Serge Nakauchi Pelletier ahead of their SXSW Digital performance, which curiously involved talking about hygiene standards around aliens.
What was the first song or album that you remember hearing, and does that work of art have any influence on how you approach your music today?
The first music I remember hearing was the first album by The Kinks, Ennio Morricone’s ‘The Good, the bad and the ugly’, and Nakajima Miyuki’s ‘Aishite Iru To Ittekure’ from my parents collection. That right there has everything to do with what I’m doing today with TEKE::TEKE and how I do it. It didn’t occur to me until just recently, but it makes a whole lot of sense. I owe everything that I’m doing now to my parents and the early moments of music we’ve had together.
What was the first thing you did this morning? Woke up to the sound of Ryuichi Sakamoto’s theme for the film ‘The Revenant.’
What is your morning ritual like? Some stretching, green tea, and some reading in the bathroom.
If you could perform three of your songs live for our audience right now, what would they be? They would be the exact three songs we performed for the SXSW event we took part in : those are ‘Kala Kala’, ‘Barbara’ and ‘Meikyu’. I feel they really capture the essence and energy of the band.
Clearly nothing compares to a live, in-person show, but these livestreams have fed the energy a lot of audiophiles and fans throughout the pandemic. What have you loved about performing digitally? Three things come to mind : 1- Playing with the band 2- Seeing other people (technicians, camera crew, etc.) 3- The thought of making a difference in the lives of people watching.
Any thoughts on the digital SXSW experience this year? I can only speak for myself and the experience of the event TEKE::TEKE took part in, which was extremely well-organized and fun. The whole set-up and visuals were cool and should look good online!
What is your routine like on performance days? Just making sure that my mind isn’t too clogged with stuff, that I’m hydrated enough, I’ll do some stretching, some exercises, focus on my breathing, maybe a little warm-up on the guitar, and with the band we always do a little rallying cry that goes ‘TEKE TEKE YEAH!!!’.
What is one thing that you think is underrated? Rant about it. Non-automatic stuff, haha… or things that demand manual work. For example, I just recently bought a coffee grinder (for my occasional cup of decaf coffee). I could’ve gotten one of those electric/plastic grinders but I chose to go for an all-metal and manual grinder, the one with a handle that you need to turn over and over. I figured: when in my life do I get to do something like this?… this kind of motion, as the fresh smell of coffee grain being crushed to powder rises to my nose. Just because the technology’s there doesn’t mean you have to do it that way. Give me handles, buttons, things to pull, to push! Haha… manual work, please!
If you could order carryout from any place within 10 minutes of your home right now, where would you go tonight? What would you have there? Within 10 minutes, I would order and pick up from that Indian restaurant right on the corner of the street and have their delicious vegetarian thali. If I dared walk 20 minutes more though, I’d definitely go to this place called ‘Fleurs et Cadeaux’ here in Montreal’s Chinatown, my new favorite Japanese joint.
Aliens. The government admitted their existence and alluded to involvement, but we kind of skated past it during the pandemic. Do you think they’re enemies, or would you gladly accept an abduction to hang out with them? I know this is actually true and I’m waiting to sit with them and chat. As long as they have their masks on.
There are so many amazing places to go when you want to get inspired. Where are you headed to next? Can’t really go anywhere right now can we?… However, I’ll say this: personally my ‘place’ for inspiration has more to do with where I am in my mind than where I am physically. That has been a blessing during this pandemic as the inspiration juices just kept flowing.
What has been your favorite way to stay grounded during the pandemic? I consider myself among the very lucky ones whose lives have not been affected by the pandemic in a major way. Yes, shows were canceled, some contracts were postponed, but all in all, I’ve been able to keep the same lifestyle as before, if not even a little better so, with more time on my hands and less stress. To stay grounded (whether during a pandemic or not), I need to stay creative and keep a certain diversity in what I do. Exercise is a must, for both mind and body as they are indubitably linked. Feed my curiosity, stay aware and open, learn things, get good sleep and think of others.
Anything else you’d like to add? Check out our music videos for the songs ‘Meikyu’ and ‘Yoru Ni’ on YouTube and watch for our upcoming album ‘Shirushi’ out on May 7th with Kill Rock Stars.
Hang in there, we’ll see you live somewhere real soon! Peace!
In an era of computer-made, beat-driven music, Grand Canyon is the antithesis of modern pop music. However, by focusing on musicianship and timeless songwriting, and drawing on the inspiration of the classic sounds and arrangements of the 70s, it is the kind of pop music that will be wafting through the canyons for a long time. Here, guitarist Joe Guese shines looks back on a rock legend that inspired his career, as well as countless others.
My journey with Tom Petty began like many others did, with a road trip.
It was the summer of ’92. I was 10, and my family was taking our annual road trip. California was that year’s destination. I had just recently purchased, or more likely my parents purchased, Into the Great Wide Open. We set off on our journey for the west coast. Little did I know then, it would be a road trip for the rest of my life. I put Into the Great Wide Open on my discman, letting it be my soundtrack through the endless canyons and expansive horizons of the west. The music always seemed to have a vision of hopefulness, positivity, and pure rock ‘n’ roll. I picked up the guitar two years later and never looked back.
He provided the soundtrack for my youth. I’ll never forget my first Petty concert at Red Rocks, the soundtrack to high school parties, hearing “Room at the Top” the day Columbine happened, and his music present at many other seminal events in my life. Tom Petty led to some of the best and longest lasting friendships I’ve ever had. Fast forward to the winter of 2002, I had just finished up a rehearsal with my college band who was trying out a new bass player. That bass player was Ethan Mentzer. We decided to make the long walk back from the rehearsal space to the Berklee dorms. On that fateful walk, we discussed our love of Petty, girls, anything rock ‘n’ roll, and more Petty. We would go on to become lifelong friends and start a band that would tour the world. He taught us everything: cool guitars, cool amps, great songs, how to record, and most importantly the attitude and feeling of rock ‘n’ roll music. He was the embodiment of “cool”.
Petty has led me down some pretty strange and wonderful roads. I had the pleasure of playing “Running Down a Dream” with three members of the Heartbreakers and two great friends Jamie Arentzen and Matt Pynn (the Elmbreakers) a couple years ago at a Grammy party. That road also led me to Casey Shea who would also become a lifelong friend. Our mutual admiration of Tom Petty pushed us to start Grand Canyon in our mid 30s. Talk about running down a dream!
So cheers to that summer of ’92 in the back of a suburban, where I’m at now in Los Angeles, wherever that road may lead, to all the bad girls, and those boys who play that rock n roll.
Petoskey, Michigan bred folk-rock quartet Michigan Rattlers – expertly comprised of Graham Young, Adam Reed, Christian Wilder, and Anthony Audia – is probably showing up close to you sometime soon. They mounted a three-month tour in February, and don’t show any signs of slowing down. We got a few minutes to catch up with lead singer Graham Young ahead of their March 12th show in Kansas City.
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Was there a moment when you realized you wanted to pursue music as more than a hobby?
Graham: I feel like I’ve always kind of been somebody that goes all in. When I was a kid, probably between the ages of 5 and 11, I played hockey and I was going to play in the NHL. It wasn’t just for fun.
Then I got a guitar for my 12th birthday and I’ve seen some live ACDC videos. I needed to get a guitar because that’s what I wanted to do. I needed to be in a band and play a big stage and be a guitar player. So it was kind of like, from the moment I started it was all I wanted to do. And do it seriously.
It really was never a hobby to begin with. I went in full steam ahead.
That’s incredible, to just know in your bones. You found your people pretty quickly too, yeah?
Graham: I grew up in a small town so there weren’t that many kids and people around. Seemed like I got a guitar and Tony – everybody that’s in the band now – we’ve all been playing together in some iteration since we were 12 or 13 years old.
Part of it too, where we grew up the school band program was pretty intense and pretty respected and we were all part of that. Kind of going to school every day and playing music and learning different instruments. Saxophone was my first instrument. All the other guys played percussion. You’d go to the band room every day from 6th grade to 12th grade and play that. Then after school we’d kind of do the rock band thing. Playing music together was always part of what we did.
I’m just happy your region had resources to be hard! That’s amazing. Over the years – and maybe even more recently – how have you noticed your music shift and maybe your approach to it?
Graham: When we first started the band it was really a bunch of songs I had written by myself in my bedroom. It was just me and a guitar. That was kind of where it started, then as personnel expanded and instrumentation expanded, you just kind of are able to do more things. It was kind of a natural evolution in terms of how we create the music, what it sounds like. And there’s a little bit of an audience too. It’s not something you like to think about, but it does certainly factor.
When you think about creating this body of work, I feel like we are far enough down the road a little bit – almost like 10 years – and you can kind of get a bird’s eye view of where we were and where we’re going and kind of take that into consideration.
I did feel more connected to this third album. It is such a journey, is there a particular song on this release you identify with the most or have a story about?
Graham: Good question. I mean, all of them. For us, as a band, I think it’s true that this third album does feel kind of like the first album that we really made in the way that we wanted to make it. We really took our time with it, with the songs. Some of these songs started in Covid, 2020, 2021. It took years to kind of shape them in these different ways.
The title track, “Waving From A Sea,” is pretty important to me. In the past I didn’t do a lot of rewriting. I was kind of just like “This is how it is.” But with “Waving From A Sea,” we were in Burlington, Vermont on tour and had a couple of days off. I was sitting in the Air BNB and had a moment. I had the guitar out and was flipping through some notebooks and just fell upon some lyrics from… I don’t even know how long ago I’d written them. And it was kind of like a verse. And I was like, “Well, this is pretty sweet” and then just started messing around with it. So it was a process of finding these old bits I’d completely forgotten about and working with them. It kind of sparked this new feeling to just take these and run with them. So that was that song.
And “Heaven,” sonically and phonetically, was one of the touchstones for this album. Just the bigger, more filled out sound with the synths and guitars. And the idea of just kind of not living in this weird, nostalgic past and not being in this anxious, uncertain future. Just telling yourself; “You’re living right now and your life is going to be over soon, you’re going to be really pissed that you missed it.” You’re here, in Paris, with a beautiful lady. So let’s live here and not worry about what’s coming next. So that was kind of “Heaven.”
The little spoken outro was something too. We got some gear this time so I was able to do some recording and demos on my own. We had kind of been going in and out of the studio here in Nashville. I was just at home and I felt like there needed to be something at the end. So I was messing around with this weird spoken, half sung thing that I would have been way too embarrassed to do in the studio with everyone else just watching me try this thing. Since I was by myself, I was just having fun. And I was like, “Oh shit, this is actually pretty sweet.” So I was able to take a chance and if it sucked, I was the only one that knew about it. So that was kind of a fun piece of it.
It turned out so well, too! What a lesson in confidence. Speaking of “Heaven,” how did the concept for the video come about, or do you have any stories from set?
Graham: The “Heaven” video was directed by my girlfriend, Ally Bernstein. And then her friend and our friend, Shelby Goldstein who has taken a bunch of photos for us over the years. We were doing things on this album we hadn’t done and we wanted to create this world visually too. We knew “Heaven” was gonna be one of those singles and really it was just kind of Ally and Shelby who came up with the concept of it.
Kind of in tandem, though, we shot “Heaven” and “Gridlock” on the same day in the exact same spot. We didn’t have a ton of money, we shot it in LA and Shelby had some connections. It was a whole crew, it was a real deal production which was really fun. We did the “Heaven” video around 11am and finished at 4pm. And then we reset and did “Gridlock” after that. So they are kind of connected in this way where it’s kind of “Heaven” and then “Gridlock” kind of descends into this dark red, hellish vibe.
[The “Heaven” video] was fun [to make]. It’s easy to have fun when you’re playing, it’s a little strange when you’re lip syncing and dancing around and trying to vibe out in front of the camera with a bunch of people watching.
You are NOT wrong! Michigan Rattlers are stopping thru KC on March 12. Anything you’re looking forward to?
Graham: We’ve been to Kansas City a handful of times. It’s one of those places where it took a couple times to feel like we had kind of broken through in a certain sense. The last time we were there was definitely the best turnout. But yeah, Kansas City was fun. I feel like we always go to Arthur Bryant’s, so done that 2 or 3 times. Everywhere we go we try to find good food and a bookstore or something.
Fantastic! Now, you all started tour already and you’re going through, more or less, the middle of May. How did you prepare yourself for that?
Graham: I feel like I’m still preparing, we’re still figuring it out. We did a lot of rehearsal. Outside rehearsal, you just have to do it live and figure it out. We have been touring for a while, so we kind of know what we’re getting into with these long stretches. It has been a while, we didn’t do much touring last year at all. This is the first time in a while that we have really hit it hard.
You just take it a day at a time and you try to treat it like you’re waking up and doing it at home. Don’t treat it too differently. Find the little things to make yourself comfortable.
Any items you have to have with you on the road?
Graham: Healthyish bars, protein bars, things like that. Can’t snack on Chex Mix all day long. You gotta have a water bottle and some vitamins.
Good! We take care of ourselves! I’m proud of you guys.
Graham: It’s been about a decade. When I was 20, we weren’t as conscientious about being healthy. And we have so much more gear now. Back in the day, it was a couple guitars and a bass. SOundcheck took 15 minutes. Now, it takes almost 2 hours to load in, soundcheck. It’s a little more physically intense than it used to be so you have to prepare yourself and be able to just do it. It’s not just oplkaying the show, you’ve got to be in shape enough to do the other things. Otherwise it’s truly miserable.
If you could be any superhero… or have a specific power, who or what would you choose?
Graham: Umm I’ve always kind of been drawn to Batman. He’s just a regular dude that’s trying his best. I mean, regular, filthy rich guy. He’s just kind of like a weird guy doing his thing.
A superpower? I think being able to hold a book by the covers and absorb everything that’s in the book. Like, all at once. That would be incredible. It would save a lot of time.
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Michigan Rattlers play Encore at the Uptown Theater on March 12. Waving From A Sea is out now. Check out the “Lilacs Bloom” video here.
Julien Baker Week descended on New York City with a flourish, the rush of which resembled the city itself. With three sold-out nights at Webster Hall, tickets were highly coveted. This was even reflected in the line prior to doors, as fans began to line up around 2-3pm, gunning for the first row.
On the second night, however, Baker suffered from a stomach bug and had to end the show after 40 minutes. Thankfully, she added a date to make up for the shorter set, this time at Brooklyn Steel, where she has played three times in the past. Unfortunately, due to the fact that the show was added last minute, Baker didn’t have a second opener. She then enlisted her Boygenius bandmate, Lucy Dacus, to do a short interlude after singer/songwriter Katie Malco’s set.
As Lucy Dacus took the stage, armed only with her acoustic guitar, the ear-piercing screams that greeted her would have had one convinced that she herself was the headliner as opposed to Baker. The crowd sang along, providing enthusiastic accompaniment. Dacus was smiley and chatty, joking around between songs and telling stories, even debuting a brand-new song. Ending with “Night Shift,” Baker and her band joined in to do it electric, mimicking the exact feeling of the night.
When Baker took the stage, the energy shifted to one of quiet reverence. After her band played the intro to her second LP, Turn Out the Lights, “Over,” Baker began to sing “Appointments,” the opening track. Performing songs from each of her records, 2015’s Sprained Ankle, 2017’s aforementioned Turn Out the Lights, and 2019’s Little Oblivions, the setlist covered the span of her career, including some of her EPs, such as tracks like “Tokyo” and “Red Door.” She also played two new songs, “Middle Children” and “High in the Basement.’ Further, Baker excitingly rearranged some of her songs, giving them a new emotional pull. She also had her band backing her up (which has only occurred on the Wild Hearts tour) as opposed to her earlier shows with only an acoustic guitar.
Baker next heads to San Francisco and LA, where she is playing a 3-show residency in each city. After, she will fly to London for a 4-show residency.
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.
Bert McCracken, frontman of indie rock band The Used released a new single titled “The Feels” on August 9th under his solo project robbietheused. He has collaborated with long-time friend John Feldmann to help produce this eclectic and feel-good beat. McCracken states that he was inspired by all generations of pop music when creating this song, citing the wonderfully positive impact it has on his mental health.
The musicality of “The Feels” is very upbeat with electric guitar, keyboard, and tenor vocal elements providing an EDM festival-friendly melody. The vibe of this song reminds me of the iconic “Fireflies” by Owl City, in which the vibrant electro-pop beat contrasts greatly with deeply intrapersonal themes. I can already tell “The Feels” will be a go-to song on every DJ’s playlist this summer.
The lyrics in “The Feels” provide a beautiful take on neurodiversity. As someone with severe social anxiety, I relate to this song very much. In social settings, my mind is consumed with many worrying thoughts… Is my voice too high? Am I walking funny? Do I smell weird? Is it better if I just left? Most of the time, you need help to quiet them all down. This song is a great metaphor for people who are coming to terms with discovering coping mechanisms for their anxiety, whether it be through therapy, medication, building a support system, or– as shown in the music video– finding joy in one’s unique hobbies. The chorus goes:
I like how it feels, I’m starting to think maybe that’s just fine, that’s just fine Can finally deal with all of the chaos that plagues my mind, plagues my mind I may not feel anything, that doesn’t mean I feel nothing (x2) I like how it feels, I’m starting to think maybe that’s just fine (x5)
The official music video is nothing short of a work of art. The claymation depicts various emojis wandering around a vibrant arcade space. An animated clay version of McCracken is seen singing on an empty stage. Emojis slowly gather around him, as if he is performing a concert just for them. This implies he is entertaining, or at the very least trying to appease, all the emotions in his head. This concept is reaffirmed at the end of the video when all the emojis burst out of McCracken’s head in a colorful explosion.
My absolute favorite part of the video is when zombie-like creatures invite a ghost emoji to their garden. The ghost visibly brightens when he sees his planted seeds sprout and give way to new healthy, green growth. Coincidentally, the ghost emoji depicted with its tongue sticking out is my favorite emoji of all time!
In unfortunate timing, this is my *37th* article for this website. Just one off, huh? Anyway, indie-psychedelic band 36? have put out a new single titled “i don’t want to go out tonight”. This is the fourth single to come from the Calgary-based group this year, after “wasted”, “FEERS”, and “ART”; with their latest LP being 2022’s Naturally. Their sound is an eclectic mix of sources, with influences ranging from hazy alt-pop and art rock, and comparisons to bands like Animal Collective or even Bleachers. Many of their lyrics, from the band’s producer and songwriter Taylor Cochrane, deal with personal subjects awash in sincerity and emotional qualities.
“i don’t want to go out tonight” is more laid-back than their more recent singles, with an indie-folk sound led by Hawaiian-sounding acoustic guitar and a breezy beach atmosphere. It’s very sweet sounding with a heartfelt performance from Cochrane and cutesy backing vocal harmonies. It also features a wonderfully abrasive guitar solo characteristic of a lot of their work, though it still fits against a different musical backdrop. Lyrically, it’s a tribute to introversion and taking time for yourself even when it means avoiding energy-draining social activities. The lyrics and the music match perfectly, creating a vibe throughout the track that’s cozy and comforting. 36? have crafted a great summer single in “i don’t want to go out tonight”, a song that’s drenched with both positive energy and relaxation.
The band is currently on tour throughout North America, with more music still in the works.
