Lowertown, the duo comprised of Olivia Osby and Avsha Weinberg, are excited to release their new single “Seaface”. This is the first song from their upcoming EP The Gaping Mouth. Osby and Weinberg spent time in London recording the EP “that they call their most honest, interesting, and mature work to date”. “Seaface” is a tune that combines dreamy lyrics with music that builds from a single guitar to a full mix.
Pick what you want to be, It can be anything. If you close your eyes, It’s fun to imagine Another body, another life.
Despite the constraints of the pandemic, 2020 proved to be a productive time for the pair of 19-year-olds – they graduated high school (where they met in math class), signed to label Dirty Hit and released their EP Honeycomb, Bedbug. 2021 looks like it could be as big a year for Lowertown.
While we wait with bated breath for Jessica Luise’s debut EP, Going in Blind, to release on July 9th, the stunning songstress has given us some ear candy to play with until then. A light, 90’s rock-inspired track, “a.m.” begins at the same clip that will carry it through the entirety of its 3 minutes and 28 seconds of existence.
While reverb plays along through the chorus, you find yourself daydreaming about your next road trip or adventure into the unknown. Her mellifluous vocals pay homage to flings, bringing in a bittersweet string of lyrics to consume from the inside out. A welcome treat for our ears, this track makes it more enticing than ever to venture out into the world (for the first time in what feels like forever).
Says Jessica of the upcoming EP:
To think that I would be the proud creator of a piece of work like this after being in this industry for such a short time baffles me. ‘Going In Blind’ comes from how I was blind to the red flags in relationships I’ve encountered over the years, and a bit of a comment on how when I first started in music I knew nothing. I am still learning, but maybe I’m not as much of a newborn in this industry as I was a year ago.
Norwegian indie folk duo Tuvaband – comprised of Simon Would and Tuva Hellum – have been crazy busy prepping to release their debut EP, which is set to drop in November. The pair – who are incredibly socially conscious and tend to lend that activism to their art – recently released their single “Trees” to critical acclaim. The song, which touches on the importance of our natural habitat, is an ethereal taste of what’s to come.
With that in mind, we were ecstatic to catch a few moments with the band leading up to their big show at Mirrors Festival. Here is what they had to say.
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What is the first song or album you ever remember hearing, and who introduced it to you?
I can’t remember. I do remember that Aretha Franklin was one of my first favourite artists and that I had a lot of her albums. I wanted to become the new Aretha Franklin. A mix between Aretha Franklin and Gwen Stefani (when she was in No Doubt).
The first album Simon heard was Radiohead – Amnesiac. His uncle had bought it and they were listening to it in the car in Ireland. It’s still one of his favorite albums.
What is the origin story of Tuvaband? Was it impossibly amazing?
I was studying child welfare, and the girls I was living with was tired of hearing me make annoying sounds and doing my man-vocals out loud in our apartment. They told a guy in our class, to bring me to his studio to make me try to sing normal. I did, and it was the most fun I’ve had. I started singing with this guy and another musician. I thought we were a band and told my family and friends. Turned out we were just jamming. I went to my room and started making my own songs, and called myself Tuvaband as a joke. I would never sing in front of people, but gave my parents a Tuvaband CD for Christmas.
Back in Oslo after my studies, I met Simon and his friend in a bar, which were looking for a girl to sing a duet with. After three hours at an afterparty, when people had started falling asleep, I finally sang with Simon and his friend. Many months later I asked if Simon could play guitar in Tuvaband. We found out we would rather be a duo than a band and therefore could keep that name.
“Trees” is incredibly beautiful. We know production happened in two separate apartments, but what was the process like for this one? Lyrics first, melody first? Concept vs. words? Paint us a picture!
Thank you so much!
I’de written the lyrics earlier, but the melody we were just jamming, it’s the first song we had which started from a random jam. We had to structure the song together later to make it sound more like a song. There was a lot of rounds trying to record it and make it sound good. I think it took us almost a year to make it right.
What do you hope people glean from this track, specifically?
It would be nice if some people like the song so much that they will listen to the lyrics. First about the rainforest, then about our self-destructing behaviour, and then maybe produce even more thoughts about what we could do differently when it comes to the environment.
Your new EP is due in November. Can we expect other equally as socially conscious tracks on it? Is there an overarching message in its tranquility?
A lot of the songs I write has a similar message to the one in ‘Trees’, but the EP has a lot of different themes. It’s constructed in a way as a story, which evolves as the EP progresses. It goes from being about dealing with a trauma, then the aftermath of a trauma. And then when you are done dealing with this, it shifts towards the world around you, which is where ‘Trees’ and two other songs come in.
What are you most excited about with the upcoming EP release?
It’s nice to finally get something out that we’ve been working on for a long time, and to show people that we have more songs. We are close to finishing yet another EP, so it is about time to release the debut EP.
I have to say that we are both really excited about releasing a really nice music video, made by Marius Mathisrud and Oscar Juul Sørensen, for one of the tracks on the EP too!
Alright. The tough one. Cats or dogs?
It’s definitely cats for me. I’m the cat lady, but with no cats. When I’m 65, I will probably have 14 cats. If I ever start a side project as a musician, my name would be ‘The Mother of Cats’. Simon is a dog person and had a dog growing up. That says a lot about how different we are from each other.
Anything else you’d like us to know?
We are playing at Mirrors (festival) in Hackney, London, 28th of October. We hope to see you there!
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Catch up with Tuvaband during a Rough Trade In-Store gig on October 27th, and at Mirrors on the 28th. Keep up with Tuvaband here.
It hasn’t been historically easy for me to figure out what to do for my birthday. Usually, I use the fact that I am an identical twin to find ways to celebrate. Plus, both my brother and brother-in-law have birthdays during the same week as us. April is a crazy time in our household!
But when I heard AJR was planning to be in my hometown on my birthday this year, it was a no-brainer that I would be there. Not because I’m a superfan. (Admittedly, I’m not.) Not because I know their catalog extensively. (Oops, I am a very casual listener.) Actually, it was because the band’s energy felt like the right one for my birthday. Well-paced songs, often dark honesty blended with pop hooks, quirky entertainment value. I had caught a glimpse of their live set at Bonnaroo in 2019, and had wanted to see their full creative capabilities. So, my mom and I got tickets together. (Because she has wildly good taste in music and is a phenomenal show buddy.)
AJR is another three-brother band comprised of Adam, Jack, and Ryan Metz. They are more than just your average “We tried choreographed dancing and it’s still stiff,” “We dress alike for our image,” or “We play instruments but we don’t use the space to entertain” groups. They have approached their work very differently than many others, to maintain their individuality and spark as a group the whole time. As their music catches fire with even more people, they acknowledge and appreciate their successes as it happens.
Dean Lewis opened the show for them, bringing his brand of Australian power ballad to the people of Kansas City. While he may have unbuttoned a few too many buttons on his shirt, his rendition of Goo Goo Dolls’ “Iris” was really well done, and his vulnerability on stage allowed him to connect with the early crowd.
As is the case when you head to a comedy show, be prepared for AJR to exist outside of the box a little bit. Crowd interaction, scripted stage moments, and behind-the-scenes glimpses into their creative process… So many more examples of dynamic storytelling aside from the incredible musicianship are in store for you. The show’s eco-impact – supported by Adam Met’s efforts as a climate activist – is notable alone, as they sell sustainably packaged water and donate a percentage of each ticket sold to Planet Reimagined. Their VIP experiences are almost as dynamic as the show itself. During an AJR show, they drive cars, dine in restaurants, skydive, do shadow puppets, and perform from unexpected heights. And that’s just some of it.
There is a performed breakdown of the song “Way Less Sad” during their set. This was one of the most fascinating elements of their show. It allowed AJR to play with prepared prose and do a little set work. Seeing this – and hearing them talk about having a theatrical musical style – was a super relatable moment as a child of the 90s raised on musicals and art. It seems these brothers had nurturing upbringings embracing the arts and they work really well together. I see myself in that, and want to lead a more collaborative existence like that.
If you are heading out to see The Maybe Man Tour and don’t have context, there is a sad piece to their set. They talk about the inspiring advice their dad gave them before he passed last year. It is fresh in their minds, their lyrics, and their hearts as they approach the topic. I warn you because waterworks are almost unavoidable. Even surrounded by confetti and giddy, happy hearts of almost every age. (It was kind of like a daycare in there at times.)
Julia Gargano is a mad talented singer-songwriter hailing from Staten Island. Her musical project, Ferry Townes – a clear homage to the Staten Island Ferry – blends her effortlessly sultry vocals with thoughtful lyrics and stand-out melodies. (I mean, if you have yet to hear her first single “Be Here”, check back in and agree with me later.)
Today, Ferry Townes releases her sophomore single. A mid-tempo release, Gargano’s raspy tinge on a wide range of notes is nothing short of captivating. This track is specific, incredibly moving, and entirely about a relationship that means a lot to her.
“’T.G.F.K’, which stands for ‘Thank God For Kyle’, is about my bestest friend,” explains Gargano. “The initial idea came from being so grateful that our relationship is what it is- that we’ll never have to fall in love and break up, but we will just be friends forever.”
The video is a true love letter in itself. Julia and Kyle are depicted throughout, having so much fun just living their lives in support of each other. The warm lighting, casual dancing, and adventure really make it feel like a montage in a romance film. And, if we are being honest, it totally is. How many relationships mean more to you than the ones you have with your best friends, truly?
Celebrate friendship this spring with the beautiful vocal stylings of Ferry Townes.
With her first, deep inhale at the top of the title track – which just so happens to be the first on Byland’s new release, Alie Byland signals a deep sigh of relief for us all. “Heavy For A While” is the vulnerable, soft intro to this 10-track masterpiece release, which is officially out now.
Byland – officially a duo comprised of Alie and her husband Jake, surname Byland – has chosen to create an album so beautifully relatable, especially post-pandemic. Says Alie, “It’s more so my own unfettered journey of finding a sense of home and comfortability with myself, wherever I am.”
With songs like “Postcard” and “Settle My Mind,” Byland addresses isolation in an expansive and thought-provoking way. The dissonance toward the end of “Settle My Mind” feels almost like the chaos that has been occurring inside of every human over the past 4 years, as we all grapple with our emotions and identities in the wake of so many mind-blowing global issues.
Alie and Jake, in particular, zoom in on emotions and thoughts from the darker COVID days, and a time when they were contemplating a cross-country move. They both worked separately, then married some of their ideas together and refined their work as a team to really work through the aforementioned isolation organically. And you can feel it in the songs – the composition and the lyrics. Melodies and lines serve as organic puzzle pieces building toward the whole picture – a true masterpiece of an album. To extract us from the humbling events of today, Alie’s voice carries us to another plane.
“Two Circles” addresses space and time itself, and was one of the first tracks I connected with upon first listening to Heavy For A While. Explains Alie: “[The track] feels like it changes meaning each time I get to sing it. I see myself in this song. I see others. I see love, pain, anger, frustration, joy, shame, angst, everything and nothing.” Its simplistic lyrics are open for interpretation, though each version feels like it addresses a relationship — with yourself, another, an emotion, an event in your life.
The pace of “Temporary Everything” wakes you up out of the gorgeous melody in “Two Circles,” giving sonic momentum to this section of the album. It grapples with the acceptance that everything in life is temporary. Alie gets a bit cheeky with the line “The end of the fucking world,” but she’s only saying what we are all thinking.
“Darts” comes back in slowly, almost like a lullaby when juxtaposed against the tracks that come before and after it. Then “Monstera” comes in wielding a whole different energy, a song Alie wrote about her childhood best friend – the first person she had musical dreams with – and how she grappled with the change of a big move – and a lifelong dream together. This track has a sense of urgency about it, a bit more grit, and also a sense of beautiful acknowledgment of those people who helped to set you on your trajectory. Alie took such a liking to the track that last fall’s tour (2023) was titled the “Monstera Tour.”
Sonically, “Like Flies” feels like a Tim Burton movie, especially when compared to its predecessors. There is almost an eery tone to the melody, cinematic and beautiful in its own right. Last track “End Scene” comes in like a brisk walk a the end of a daunting journey. The piano is the centerpiece of the track, the simplicity establishing a sense of peace – a firm ending to this whirlwind of emotions (and talent).
Upcoming Shows 3/29 – Seattle, WA – Easy Street Records (Album Release Celebration) 5/2 – Tacoma, WA – New Frontier Lounge 5/3 – Portland, OR – Alberta Street Pub 5/7 – Reno, NV – Cypress 5/8 – Eugene, OR – Sam Bond’s Garage 5/9 – Seattle, WA – The Crocodile (w/ Noah Gundersen & His Band) 5/11 – Santa Fe, NM – The Mystic (Alie solo) 5/16 – Everett, WA – Fisherman’s Village Music Fest 2024
It’s not difficult to hear the varying inspirations of Montreal (aka Kevin Barnes – he/she/they) so expertly pull together in what can only be called their new audioscape. “Yung Hearts Bleed Free” changes tempo – and complete feeling – a couple of times. This is a move that would otherwise feel disjointed but, in the context of the experimental nature of the musician and its unique video, feels to truly set a vibe instead.
Explains Barnes of the song: “[It was] influenced by the Leos Carax film “Boy Meets Girl”, Bootsy’s Rubber Band, and my recent purchase of a Yamaha TG33 and a Kawai K1M. I wanted to make a strutting, sexy little vamp of a song that just kind of chugged along and felt relaxed and playful and free.”
The lyrics could definitely be characterized as naughty, but they aren’t the standout facet in this track either. While the song is reminiscent of 80s greats, there is something still so psychedelic about the way it is presented, both audibly and in the music video. Director Madeline Babuka Black shares:
There’s a certain 60’s/ experimental spirit to Barnes’ songwriting that I love and by using analog techniques of paper cut out and direct on film animation I pay homage to that. The paper cut out animations and color palette of the film were deeply inspired by Larry Jordan’s experimental animations, most notably his 1968 film “Our Lady of the Sphere.”
The new album, due out in May, marks the last of Barnes’ recorded in Georgia, and perhaps you can feel that nostalgic sweetness in the remainder of the record as well. But “Yung Hearts Bleed Free” is a great treasure to have seen, and I hope you agree.
Directed and Animated by Madeline Babuka Black Director of Photography Julie Orlick Edited by Izzy Kross Featuring Olivia Babuka Black and Scott Rosenthal Scanned by Jack Tashdjian
Alongside its artful visual comes the new track “Dreamspeak” from genre-bending artist Nisa. The song itself comes across as hyper-aware, but of whom, you can only guess. Explains Nisa: “‘Dreamspeak’ is about the push-and-pull of wanting to fit in while growing tired of the artifice.”Most people can certainly identify with that idea. This song is easily relatable through Nisa’s lyrics.
Nisa sings as though comforting someone — is it her past or present self? Is it someone else? Either way, her vocal delivery makes this song feel both severely hopeless and carefully hopeful at the same time. (You have to hear it to understand it — or it’s maybe also just me. That’s fine.)
The video feels a touch 90s in its presentation, delivered with shots reminiscent of Paula Cole’s “Where Have All the Cowboys Gone?” and other videos featured on TRL at the time. The cool tones to the video create the coldness associated with the exhaustion the song is undoubtedly dealing with.
Feeling like you have to fit in is associated with feelings of comparison and high standards for your own life. It paralyzes people every day, and singing about it can and does help people destigmatize these thoughts a little bit further.
Get your first look at the song and its accompanying video below!
Catch Nisa LIVE On Tour This Spring! Tour + tickets here 5/7: Brooklyn, NY @ Baby’s All Right 5/8: Washington, DC @ Pie Shop 5/11: Boston, MA @ Lilypad 5/12: Philadelphia, PA @ MilkBoy
Critically acclaimed Austin-based singer-songwriter Matthew Squires has been releasing thoughtful, meandering audible candy for over a decade now. While his work has taken on many forms, his vocal styling and talented lyricism have remained a constant over the years. His latest track “Poor Men Southeast of Portland” was released in January, a self-aware, modern commentary on the American dream.
For context, the song is complete satire, and was written in response to Oliver Anthony’s “Rich Men North of Richmond.” From the perspective of “a parallel universe’s version of Oliver Anthony,” Squires takes us on a ride with tortured vocals and a sense of humor that humbly brings a smile to your face, even with how hard everything seems to be right now. Further explains Squires of the song:
This song was written and passionately performed by Anthony Oliver, a parallel universe’s version of Oliver Anthony.
Oliver Anthony told Joe Rogan that he chose ‘Oliver’ as his stage name in honor of his grandfather. He was nostalgic for a more innocent time, when hardworking, God-fearing white men got a little respect (he forgot to mention how that respect was at the expense of everyone else’s, or how it was largely enabled by unions).
Meanwhile, in a parallel universe, Anthony Oliver told Roe Jogan his name was inspired by Casey Anthony. He was nostalgic for a more innocent time, when Americans could still unite around our fleeting spectacles, and weren’t yet confused as to which ones were astroturfed by right wingers.
The lyrics seem like a poignant call for justice. And they are, but in jest regarding privileged white males (who victimize themselves in a world where they have largely benefitted from every oppressive system ever built).
Baby, I’ve been working for too damn long for too little pay Don’t know nothin’ bout Marx or Freud but I know what it’s like to play the role that someone else designed to make someone else’s day but the tree of justice blooms upon the top of every grave
Love’s a lot like dyin’ Love’s a lot like a Pepsi inside a church Love’s a lot like flyin’ Love’s a lot like a heaven encased in Earth Love’s a lot like cryin’ Love’s a lot like the space ‘tween death and birth
Poor men southeast of Portland awake from their American dreams, they enlist into the culture wars to distract them from their screams about how they feel about their shame to look their children in the eyes I guess the tree of justice blooms upon the question “why?”
The unique way Squires expresses his rage is entertaining, and honestly an earworm. Check out the track below.
