The leadup to alt-pop trio Valley’s new album Water The Flowers, Pray For a Garden has been thrilling, culminating in an international tour at the end of September that runs through mid-November. Their new track “Bass Player’s Brother” – to be included in the August 30th full-length release – is about a toxic relationship that can’t seem to find its end. The sound is everything you would hope for from a summer anthem, with words that cut a little deeper.
Valley approached the song in a vulnerable moment after being stranded in North Carolina. They built up the composition to sound as upbeat and fun as possible. This is reflected in the optimistic nature of the track, despite the song really being rooted in heartbreak. They returned to their roots and a carefree attitude in this song, which makes it come alive as a standalone from the upcoming album.
Explains the band:
‘Bass Player’s Brother’ is a song about cyclical love and obsession. In life we often find ourselves in realities that don’t suit our truth, yet we continue to drag ourselves back to the feeling of staying for love’s sake. It’s cyclical in nature yet rooted in heartache and hurt. It’s the back-and-forth outcome of these habits that cause us to stay when we know we should leave. This is the only song on the album where we didn’t reference real names. Sometimes we like to play characters in songs even though we’re always thinking about someone in our lives. We wanted to paint a picture of a classic Americana heartbreak love story.
Don’t forget to pre-save and pre-orderWater The Flowers, Pray For a Garden, out August 30th.
In Jean Ryden’s music video for her song “Parallel Universe”, Jean desperately wants the trauma of losing her parents to have never occurred. In the beginning of the song, she replays images of her parents in her mind in black and white, because her past is like an old movie; the happy moments with her parents are covered with feelings of dread. All the color has been depleted from her memories because new movies are symbolic of new, happy memories with her parents being formed. In comparison, the old movies symbolize her happy memories as only in the past
Jean lays in her bed and leans her head to the side, which reflects when she would lean on her parents for support. She is alone in the bed because after her parents passed away, she felt alone and like she had nobody to lean on for support. The camera zooms in on a close-up image of her eyes while she lays in her bed because her eyes are her pathway to all of the loneliness she feels inside.
Color film of a garden with beautiful roses of different shades and a white bird flying above it is representative of her healing from her grief and finding peace. To elaborate, the bird symbolizes her flying because she is freeing herself from the black and white space of her grief.
Images lasting for a few seconds, all of her memories can never be remembered in complete detail, but the most important details remain engraved. The colored images represent her purely happy memories, the black and white images are symbolic of her memories remembered in sadness or trigger her grief, and the partially colored images are memories she is remembering to heal from her grief and sadness.
The same image of her alone, opening and closing her eyes, leaning her head against a wall, in a vacant room, occurring for a few seconds, repeatedly, shows her constant despair. She shuts off all of her memories with or of her parents because she goes into a state of depression, which she is constantly battling to escape from.
The video ends with her sitting in a dark room with candles and a black sky lit with bright stars. Images are played in quick seconds against Jean’s soft, melodic voice, which has a deeply sad tone on its edges along with hints of desperation. Her voice also has another tone, that feels like she is going through feelings of clarity.
Once she repeats her memories filled with many different emotions, she must admit that the reality is her parents are in heaven. Therefore, her memories are a “parallel universe.”
Punk rock outfit Yours Truly comes at us with the energy and attitude our summer was missing with their latest track “Walk Over My Grave.” The video for the track is just as chaotic and beautiful as the song, a live performance of sorts. While the band plays, bright colors overlay and frantic frames interweave. Shots of individual band members, with art placed sporadically set the tone for a track that wreaks of heartbreak and loss.
Much like a heart broken in two halves, Norwegian singer Dagny is gearing up to release the second half of her debut album Strangers / Lovers by releasing the first single, “It’s Only A Heartbreak.” Since the A side of the album dropped earlier this May, its two lead singles have received an impressive response; “Come Over” spent 3 weeks at the top of the Norwegian radio-airplay charts, while “Somebody” made its way the top 5, amassing over 14 million streams along the way. The album as a whole tracks the journey of a relationship. The half that has already been released traces the dizzying, butterfly-inducing blooming of a new love, but now it’s time for things to fall apart. Side B of Strangers / Lovers is out on October 2nd via Little Daggers Records, and it examines the fall out of the relationship that blossomed on side A.
Like the whole album, “It’s Only A Heartbreak” is personal, so Dagny uses conversational lyrics to reflect on her post-breakup emotions and to give herself a sort of pep talk in the aftermath. The song was partially inspired by Humphery Bogart’s famous quote from the 1942 classic Casablanca: “Here’s looking at you, kid.” Dagny explains, “Like the movie, the song is about knowing that you will never get someone back, but you can secretly still look at, and admire, that certain someone. The song carries a nonchalant expression, but the undertone makes it pretty obvious that you’re not over that person yet.”
And indeed, from all sonic appearances, “It’s Only A Heartbreak” is an energetic, striking bop. Its infectious melody lines and vibrant array of jittering electronic sounds create a vivid soundscape that could be mistaken for a dance track– unless you listen to the lyrics. Dagny sings “Most days I wake up I’m okay / I’m doing my own thing, I don’t have a moment to think about you / Most days I’m up on a high wave, And I’m just like urgh, It’s only a heartbreak, I got to get through you,” and suddenly the brilliance and complexity of the sounds surrounding her seem to reflect the intense and complicated emotions that come with heartbreak. So whether you’re feeling heavy-hearted yourself and just want to feel seen, you just want to dance, or you’re a fan of intriguing musical settings and skilled production, “It’s Only A Heartbreak” is definitely for you.
Middle Eastern born singer Ruchir takes the R&B route with his new track “Heartbreaker”, a song that you can dance to and enjoy the lyrical content at the same time. A song about a heartbreaker, Ruchir sings about someone leaving him high and dry. “Heartbreaker” has some Blackbear vibes to it with Ruchir’s twist. The alleged villain breaks the singer’s heart on the dance floor and leaves him in pieces. A little bit of Spanish towards the end of the song adds some fun flavor to the mix.
The song is not only great, but it is a piece that really shows what Ruchir is about as an artist.
On January 26th, we will have the pleasure of enjoying Dream Wife‘s debut album in its entirety, but until then we’ve got another fun surprise for you. The trio recently released the music video for their track “Hey Heartbreaker”, and we’ve got it for you to enjoy. Directed and animated (Beautifully, might we add?) by Mason London, the video is alluring in its ability to capture your attention utilizing robot cartoons. Somehow, we feel like we’re getting a little taste of the band’s actual performance chops in the video, even though their characters are animated robots. The video has the unmistakable feel of a Gorillaz classic in the way its presented, with a slightly more punk and empowered tilt to it all.
Refreshing indie pop duo Lime Cordiale just released their full-length album Enough of The Sweet Talk on July 26th. The LP comprises 13 songs separated by four “French Cue” interludes. After listening to the whole album, I couldn’t help but compare their music to The Wiggles, an Australian-based music group known for their iconic tunes. Sure enough, after doing some research, Lime Cordiale hails from Sydney, Australia, and gives off the same vibes as the aforementioned, but with a mature coming-of-age twist.
The band is made up of brothers Louis and Oliver Leimbach, later joined by Brendan Champion on the trombone and James Jennings on the drums. The musicality of the album at its core is pop, with hints of indie rock shining through in the latter half of the album. The drums, electric guitar, and trombone make regular appearances throughout the album, with an electronic keyboard as a fun cameo added to a few of the songs.
The first part of the album feels amazingly carefree and pays tribute to romantic relationships. “Pedestal” and “The Milk Man” are perfect songs to jam out to, so much so that they paint vivid pictures many can relate to, whether it be slow-dancing at prom or having a summer fling at the beach. I can already see myself listening to these songs while I’m getting ready for a special night out!
“The Facts of Life” is where the album breaks out into more of a self-reflective realm. In my opinion, the song encourages you to pay attention to your surroundings and enjoy the smaller things life has to offer: chewing gum, ice cream, the birds and bees. Alternatively, “The Facts of Life” could also imply the feeling of sexual release, as evocative hot-and-cool imagery is used throughout the song. The next piece “Enough of The Sweet Talk” is as literal as it can get. As a listener, you can’t help but empathize with the brothers. Leimbach states that talking with this person (I assume a romantic partner) is frustrating because they truly won’t listen to him; it’s all meaningless sweet talk. Even if they share the meaning of life or the world is ending and they need someone to rely on, he still wouldn’t talk to them– opting to be alone despite such drastic conditions.
This brings me to my favorite piece of the entire album: “Happiness Season”. It’s a beautiful song wherein each lyric is punctuated by the drum’s beat and accentuated by an impressive trombone riff. Additionally, this piece really highlights the Leimbach brothers’ talents as tenor vocalists! My favorite part is the chorus:
She didn’t need me, I’ve been defeated, Oh that’s how it goes in happiness season She didn’t need me, I’ve been defeated, Oh that’s how it goes, imagine her leaving, with happiness season~
“When I’m Losing It” is where the album takes a serious turn. In this song, Leimbach is, for lack of a better term, head-over-heels crazy about his lover. He admits he gets jealous easily and always loses his nonchalance when he’s around her. Accompanying this self-deprecating streak are “Imposter Syndrome” and “The Big Reveal; Ou L’Hypocrite”. Both songs reveal feelings of bittersweet inadequacy. Leimbach doesn’t see his own appeal and cannot accept a compliment for his life. Leimbach is hiding a big secret under his stardom and it’s the fact that he’s a hypocrite living with imposter syndrome. To be honest I can see many young adults of my generation (Gen Z) relating to these songs the most. At the end of the day, whether we hold mid- to senior-level positions or amass thousands of followers, at one point in our lives we’ve all experienced imposter syndrome.
Another amazing song I would like to spotlight is “Country Club”. The lengthy trombone solo, reminiscent of New Orleans jazz, graciously allows listeners a moment to reflect on the message of the song. “Country Club” has an oddly psychedelic feel to it, with a catchy and hilarious chorus. This song narrates the life of a ‘nepo baby’ who cannot rely on their parent’s money anymore. Despite its advantages, having rich parents can actually be a disservice as the person in question doesn’t know how the real world works. Overall, it’s a great message anyone can take away from.
Ultimately, Enough of The Sweet Talk provides listeners with a wonderful range of life messages to learn from. In addition to love and heartbreak, the album touches upon the importance of self-reliance, staying humble, and the harm caused by your inner critic. These songs are going to be on repeat in my summer playlist and–dare I say– years to come!
Mike Campbell is a classic rock veteran who’s never really gotten his due, at least in the eyes of the public. His musical track record is all over the map, as a founding member of the legendary Tom Petty & The Heartbreakers and a collaborator of other household names like Stevie Nicks, Bob Dylan, and Don Henley. This sort of throwback retro-rock sound pervades all throughout Vagabonds, Virgins, & Misfits, the third album of Campbell and his band, The Dirty Knobs. The band, composed of former Heartbreakers/Don Henley collaborators Steve Ferrone (drums), Chris Holt (guitar), and Lance Morrison (bass), began as a side project in 2000 for Campbell but became a full-time project from the dissolution of The Heartbreakers following Petty’s death. This is their third album after 2020’s Wreckless Abandon and 2022’s External Combustion.
Vagabonds, Virgins, & Misfits is musically defined by many of the same textures that defined the Heartbreakers’ sound: blues, rootsy country, and occasionally some hard-edged rock & roll. The album’s vintage vibes never attempt to reinvent the wheel, but that’s missing the point. Mike Campbell & The Dirty Knobs’ appeal is hearing a band of energized veteran musicians play the music they love without a care in the world, and it’s why the album succeeds on its own merits. Even if part of one’s affection towards the band may come from their own nostalgia towards the Heartbreakers and classic rock in general, it’s still a well-crafted piece of retro rock with consistently killer performances.
The best songs on the album are the ones where the band is firing on all cylinders, such as the loose and fast-paced rock-n-rollers “Shake These Blues”, “So Alive”, and “Don’t Wait Up”. They each have an irresistible groove with amazing guitar playing, and the band’s chemistry and individual talents all get to appear. Many tracks also feature a sound closer to the heartland rock played in the Heartbreakers, such as “Angel of Mercy” and “Innocent Man” and succeed as feel-good breezy songs that still have grit and muscle in their tone. I was even digging some 60s-inspired country songs that intermittently appeared, such as “Hell or High Water” and “My Old Friends”. Both provide enough changes in instrumentation (through a string section, harmonica, horns, and Americana staple steel pedal guitar) to work just as well as the more conventional rock songs. While Campbell’s age can show in some of his singing, it’s always off-put by the love and enthusiasm always shown for his work. The vocals are also helped by guest stars on the album, such as contemporary country star Chris Stapleton, fellow heartbreaker Benmont Tench, and Gen-X/boomer music maestros like Graham Nash and Lucinda Williams.
Again, some of the album can depend on your own feelings for classic rock and you may be more inclined just to relisten to Full Moon Fever instead. But even as an act that prides itself on older musicians and styles, Vagabonds, Virgins, & Misfits is an effortlessly enjoyable ride that’s built on a strong love for rock music.
As someone who’s been studying up in the DMV (shout-out George Mason!), I’ve been slightly aware of MasVusi, an active drag performer in the area. She’s certainly a remarkable figure in both her performances and trans activism, and when I heard she was releasing an EP, I knew it would be something truly interesting. Despite pride month having come and gone, it’s still critical to shed light on new releases by queer artists absolutely worth your time, and MasVusi’s debut EP i hope you like it and is a shining example of such.
The EP has been in the works for two years, with MasVusi describing it as a “true story of love, loss, and a coming of age where queer young people must choose between their own safety or the presence of their loved ones.” The songs are implied to be autobiographical in some ways, which makes the release more intriguing given it’s already quite confessional and honest, even without the prior context. The music of the EP contrasts the moodiness of the lyrics by mainly being an eclectic blend of several eras of dance music (likely also chosen because the genre is a staple in queer/drag culture). Musically, I spotted influences from flashy 70s disco (“Chaser ‘69”), early 80s synthpop/Italo-disco (“(the) Night Shift”), and modern EDM (“t4t”) throughout the record. Though that’s assuming those aesthetic/stylistic references were intentional and I’m not just being a massive nerd, anyway.
Immediately, the opener and lead single “Closet Blues” caught my attention with a thumping dance beat and a squelchy, groovy bass line. It’s a fun opener, and the lyrics set up the themes of late-night romance (and eventual heartbreak) in a way that still complements the funk. My favorite song from the EP was definitely “(the) Night Shift”, which really impressed me with its production. It has these dreamy and lush 80s-inspired synths, and the whole track just sounds gorgeous. I absolutely must point out MasVusi’s vocal performance because while I think the opener’s mixing could bury her voice, she really comes alive in this song specifically. She has great vocal range, and her voice can have a glammy dramatic quality that really soars during the more emotional, longing moments of the record.
The next song and second single “Chaser ‘69” (featuring fellow DMV-drag artist Queenie Iman Glamazon) continues in this throwback direction by incorporating synthesized strings and a four-on-the-floor beat. It’s intentionally campy to achieve the vintage 70s disco flavor the song is going for, which is reminiscent of Donna Summer or ABBA, and again succeeds because of the vocals and production. After that comes the most vulnerable song on the record, “Momma, I”. Interspersed throughout the track is a recording of the inside of a DC metro station, which makes the lyrics and entire EP seem more real and personal. This is because the audio juxtaposes against MasVusi singing earnestly at her most desolate and bleak, with the music styled in a jazzy piano ballad to match the tone. The lyrics of the middle three songs are the most downbeat, focusing on yearning, financial hardships, and loneliness, respectively.
Fortunately, the EP ends on a positive note with “t4t”, a fast-paced contemporary rave song. I believe the lyrics show MasVusi found her own happiness with the local drag/club scene she’s currently involved in, a sentiment that wraps up the EP nicely. As a debut release, i hope you like it (which, yes, I did) is bold and revealing while still being quite danceable and engaging, and it shows that MasVusi is a performer with something to say.
