As a music journalist (at least, until my internship ends), it’s always a delight to write about something super offbeat. Case in point, a weird and entirely distinct artist like DJ Sabrina the Teenage DJ. The pseudonymous London-based producer has an identity entirely their own, with their persona and pixel art imagery based on the late 90s sitcom Sabrina the Teenage Witch. Their musical style has its roots in lo-fi produced outsider house music but with wall-to-wall samples of the sitcom and other music/media sources from the 90s. It’s easily comparable to other house music that’s heavy with samples like Daft Punk and The Avalanches.
While DJ Sabrina has been releasing music since 2017, her breakthrough came with the monumental 3-hour-long album Charmed in 2020. As a pandemic release, its success strangely makes sense: her work has a trippy, transportive sense of nostalgia that whisks you away into a dreamy soundscape, a sentiment that appealed to people stuck in their homes. While her work is currently unknown outside of niche music circles, she’s been slowly but steadily gaining high-profile collaborations such as remixes for Porter Robinson and Nelly, as well as a co-writing credit on the single “Happiness” by The 1975.
This brings me to her newest single, “In Silence”, a teaser for an upcoming album due to be released this summer. Part of the fun of following DJ Sabrina is her wildly consistent work ethic, with a new single(s) per month, an album or two per year with 2-3 hours of quality tracks each, as well as professionally curated DJ mixes online. Yet despite being one of many in an endless sea of songs, “In Silence” still exemplifies DJ Sabrina’s strengths as a house producer who focuses on songs as wide-ranging experiences rather than just individual moments. It functions as a song you can still dance to in a club setting but has its sights on emphasizing feeling, atmosphere, and texture in a way that other house producers don’t aim for.
The cover art and music video have dreamlike imagery with various shades of purple and seems to be a clear reference to Kate Bush’s seminal 1985 album Hounds of Love (aka the one with “Running Up That Hill” from Stranger Things). “In Silence” earns this comparison by functioning in a similar mold as Bush’s work: kaleidoscopic synth-scapes that feel like their own little world. It’s layered with a lush atmosphere from pulsating synthesizers, and despite being entirely electronic, it still feels entirely warm and human. DJ Sabrina has always focused more on vibes and melody over dance beats (though the electro-funk here is still good) in a way that lulls you into the song’s hypnotic sense of surrealism. The vocals and songwriting here are more in a typical songwriting structure, though the sweet but sultry pitch that Sabrina sings at well matches the production.
“In Silence” isn’t one of her very best singles, and I would recommend listening to something from Charmed as an introduction to her work for newcomers. However, it’s still a memorable slice of danceable psychedelia from one of music’s most offbeat but original rising producers. With her upcoming album likely being very eclectic, based on every single released so far, it makes DJ Sabrina the Teenage DJ worth having a close eye on.
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
As more nostalgia topics have cropped up since the beginning of the – let’s admit it at this point – ongoing pandemic, PBS has been top of mind for so many people who were able to grow up – or raise their children – with its expanse of knowledge ringing throughout their homes. Having educational experiences accessible to many different demographics – and on public access television – is an important resource for many.
Searching for Augusta Savage is the first film in a new series from PBS called American Masters Shorts. Augusta Savage was a Harlem Renaissance sculptor and art educator, whose work largely reflected the joy and expression in the Black community. She overcame numerous obstacles to further her own education and get her work seen. She captivated audiences long before her death, and her art stood to progress the inclusion of Black artists in spaces they had otherwise been excluded from.
A curious thing is that many pieces of Augusta’s work have gone missing, and her name is not as well-known as it once was, or should be. Why is that? Why has her legacy not been salvaged and taught as widely as other artists of her time?
This 22-minute episode is a deep dive into what history can tell us about this incredible black artist’s life and work.
Emo children of the aughts rejoice, because one of our favorite live bands is making the rounds again, and they’re bigger than ever before. Pop-punk bad boys Yellowcard delivered a kiss of surf pop, a hint of nostalgia, and a whole lot of energy every time they took the stage. So when I had the opportunity to interview Ryan Key, Yellowcard’s lead singer, Star Wars aficionado, podcast host, and content creator extraordinaire – I snapped it up.
One of the first things I say, after promising myself not to bring it up? “I spoke to you in 2006 and it was to ask you to sign a t-shirt for my friend and I was too nervous to say anything else.” Cool. Word vomit.
“Oh, I was such a little shit in 2006 too,” Key immediately admitted, laughing. “So, it should be a way better encounter this time, I promise.”
Key’s self-awareness eased us into a conversation that ran the gamut. From our shared love of Star Wars (Though I haven’t quite expanded into podcast territory yet), being driven by bitterness through some tough times, how it feels coming off the biggest tour Yellowcard has ever experienced, and reflecting on 20 years of Ocean Avenue.
Yellowcard’s rapid-fire return fueled a “Celebrating 20 Years of Ocean Avenue” tour that took on bigger venues than they’ve ever played. The band’s welcome back was far from polite, with screaming fans more dedicated to the art form, acceptance of the music, and enjoyment during shows to fuel the energy.
From theatrical beginnings…
Admittedly, Ryan didn’t do much with music growing up. He took piano lessons for a couple of months, hated it, and quit. He wasn’t much for musicals, either. He was much more attached to the idea of the theater. An idea – it seems – that may have stemmed from his first role as Tiny Tim in none other than A Christmas Carol.
“It’s two lines,” Key admits, laughing. “But being on stage at 6 years old in front of enough people, I can only imagine shaped me, changed me forever. Having that moment happen on your impressionable little 1st-grade mind. It’s like, yeah I want more of this. You get that dopamine hit of being on stage and the adrenaline of that, you want more of that. And you don’t know why but I think as a kid, after that, I was just dead set on being on stage however I could.”
In 10th grade, Key was accepted to Douglas Anderson School of the Arts in Jacksonville and his pursuit of acting and theater got really serious. He was super involved at school in the shows and the deep, specific education. “We were studying Stanslovsky and real heavy stuff for high school kids,” Key says.
…to stress-reducing hobbies.
To help blow off steam in his -very limited – free time? “I had a band on the weekends,” he explains. “I got my first guitar when I was 11 or 12 years old and I played it and I wrote really crappy songs and had some friends that I played with but that was never gonna be something that I did professionally. I never even had it in my mind. I didn’t really enjoy singing, to be honest, very much. It’s still not my favorite part of my job. I was the lead singer of the band but I think that comes from that sense of wanting to be an entertainer, wanting to be a performer.”
This fact can be hard to believe, as Key’s vocal range is impressive and wide-ranging in its pop-punk glory. And his life performance tactics? Energetic to this day, at a level most people aren’t entirely capable of even at their peak. “It was never in my mind as something I wanted to pursue as a career,” he shrugs. “I just didn’t get into college where I wanted to go.”
When one door closes…
Ryan never let his rejection to the Theater Program at Boston University – twice, unfortunately – go. “I got into school in Boston but I didn’t get into their BFA program. My parents were like, ‘We’re not going to spend all that money for you to go to a private school in Boston if you’re not in the program that you want to be in.'”
While reasonable, it can be difficult to recover from something like that so early on in one’s career. From that bitterness was born a focus. Admittedly – and fairly – Ryan was spiteful about what had happened and chose not to complete the BFA program he started in Florida. He dropped out of school, leaned hard into music, and eventually began singing in Yellowcard.
To hear an artist admit to leaning into something in that anger is very refreshing. You often hear about heartache and heartbreak in everyone’s work, but it can be difficult to address the times of anger and instances when you feel things didn’t go the way they perhaps should have. Having a creative outlet to pour himself into was clearly the way to go, and is something so many of us should embrace as a healing mechanism in times of trouble.
Celebrating 20 Years of Ocean Avenue
Ryan says the band really appreciates the fact that the fans have weathered the storms alongside them. He credits this grand musical journey to the fact that fans have been patient and forgiving.
I have, personally, been a fan of Yellowcard’s since I was an adolescent, so getting a peek into their tour dynamic was ideal. When asked about the “Celebrating 20 Years of Ocean Avenue” tour, Key was almost gushing. “I feel like my favorite part of the tour was the energy between the band itself. I don’t think we’ve ever gone on a tour that was so lacking in negativity as this one. This tour was so full of happiness and positivity that it felt like an alien world, almost, compared to the Yellowcard that I’ve known for the past 20+ years.”
What Key refers to – this feeling of a more in-sync crew and better touring environment and experience – has been echoed by artists the world over since the pandemic triggered larger conversations around mental health and balance in the music industry. Tours are being approached in a more holistic manner, and it’s been a reinvigorating time in the music industry. He went on:
I think we all felt that way. Which compounded each other aspect of the tour. The shows and interaction with fans, on-stage and off, and the support I think that we had from our crew every day felt stronger and better. I think that’s because there was a sense of peace and calm on the road.
We’ve never had that. Yellowcard has historically been a bit of a chaotic and tumultuous bag of personalities that have not created the best environment to work in. So this was, you know, jarring in the best possible way, to get out there and get a couple weeks in and realize, Oh, everything is just OK. And we can just let that be.
Pausing to reflect
It was almost spiritual, the way that he described it. Key’s acute awareness of the dynamic of the band made me wonder, aloud, how long it took in his career to come to this acceptance of who he is and his identity in the band.
I think it started, for me personally, during the final chapter of it all, at the end. You know, in 2016, 2017. Realizing that I was going to lose it forever because, at the time, it truly felt like that was going to be the case. It started with, I think, just a simple idea of really wanting to enjoy that tour in 2016 and 2017 and the international stuff we did.
That whole experience, as much as I tried, was sort of tinged with the reasons we were stepping away from it. The metrics that you use to quantify success, right, started to say “This is on the way down. We’re on the backslide.” Let’s end this before it goes too far so we can end it on our own terms and make it something special for fans and for ourselves.
It went a lot deeper than that because it did go into the personalities and the inner workings of the band and things that we keep pretty close to the chest. So, as much as I tried to really enjoy it all, there was still an air of sadness and kind of negativity that had carried into that from all of the reasons we decided to step away in the first place.
It wasn’t until I got home and started to have to figure out how to make my own way [that the self-awareness set in.] And the pandemic, really, was huge. A good friend of mine from high school was stopping through to stay with me. I had moved back to Los Angeles – which didn’t work out because the pandemic hit and we couldn’t tour or work so I was only there for about 6 or 8 months and then I left to come back east – but I had gone out there to kind of re-establish myself there and start working on film and tv music and things I want to do, too, as I get older.
My friend stopped through and it was only going to be for a week but it was the week that the lockdown happened in California. So he ended up staying with me for an entire month. During that time, he sort of opened my mind to meditating and starting to truly figure out what was going on with myself and work on the reasons why I had ended up where I was. I had never taken a minute to look that far inward, I don’t think. So it really wasn’t until 2020 that I started to kind of forge the path that has led me back here, now, where I am.
As if to echo this spiritual, self-reflective sentiment, he notably wrapped the tour wielding a lightsaber, a symbol that the force is strong. While he claims that he brought the saber to make his nephew happy, we know there were probably additional motives here. (Because, really, who doesn’t want to have a lightsaber on tour with them?) For those of you wondering, yes, he does have a lightsaber lying around. In fact, he has multiple.
Embracing creative outlets
Besides his lifetime love of the franchise, Key has had the opportunity to connect with the franchise on a different level since the pandemic. “I’ve been really lucky the last 3 or 4 years to intensify my connection with Star Wars through hosting the Thank The Maker podcast with my friends,” he almost gushes. “I think Star Wars reminds you, at 43 years old, if you just give in and let yourself love it the way that I do, it reminds you how to play. That’s something that adults just don’t do.”
At this point, Key doesn’t realize he has hit a home run and we dive into a conversation about what being a “Disney adult” means in certain circles and some of the symbolism involved in Star Wars. We agreed that a certain level of play is encouraged to truly live a full life, especially as we age. “I’m a big fan of my wife for allowing me to just embrace that side, that childhood side of me, and letting me dress up in costumes with my friends and swing lightsabers around, you know?” he says, almost in amazement. “It’s really been a beneficial thing.”
Embracing change
As for if anything has changed for the band over the years – aside from the deep, self-realizations and occasional weaponry – Ryan says writing with everyone has become much more simplified. Explaining that the technology just wasn’t there to support quick changes to tracks and production fixes when they recorded their first albums, Key said the process now is just so much more accessible. “We can get right into ProTools, create the demo, program the drums so that we can change those around – we can try all the different options.”
The great part about having home studios is being able to control the sound as you build it. This way, you have more of an actualized recording that more than likely will sound much more similar to the final product. “It’s way more inspiring to have a good-sounding, ripping demo to steer the direction of the melody and the lyric that I’m going to put over the music.”
But the way Yellowcard writes? Pretty much the same. And super focused on the instrumentals. “It’ll start with usually a guitar riff. Shawn also has brought plenty of ideas on the violin or ideas for the structure of a whole song. He’ll have like a motif or a chord progression he will bring in that we will then build riffs and things around that.”
But you have to remember, Ryan is one with The Force. “I get middle-of-the-night ideas sometimes. I’ll wake up or I’ll not be able to sleep, one or the other. And it’ll just happen and I’ll take out my notes app on my phone and start plugging stuff in.
The title track from their latest release, “Childhood Eyes,” actually came to be that way. “I woke up with that chorus melody in my head and I started to put words to it. I could hear it happening in my head. And when I got to Austin for pre-production, I had an idea for the verse and the chorus in my notepad but I had never picked up a guitar to put music to it. So I just said, ‘Hey I have these lyrics and I have sort of a cadence and a rhythm for them.’ And we wrote the whole song in 15 minutes.”
Looking forward…
In the coming weeks, Key will be working from his new home studio. When asked about his plans for the space, he perks up immediately. “I’m doing the whole room black,” he says. “Ceiling, walls, floor. A lot of wood grain and a lot of green pops in the room. The vibe is super Scandinavian, and I love that. I’m a big fan of Iceland, Sweden and Denmark. I love that part of the world so much. So we have a lot of this [look] in our house.”
Even more than the initial planning and execution of the project, this room will hold so much more meaning for Ryan as an artist, as he explores new podcast-related projects, and films content, pursues long-term goals (like music supervision and composition), and writes new Yellowcard songs for us to enjoy. It will also hold space for Ryan as a new father, viewing movies and creating art in this space with his family.
You mentioned we met in 2006. I wouldn’t want to meet me in 2006, you know? It’s just not even comparable, the headspace I’m in now and the tools that I have now to kind of prove my reactivity and try to stay positive. Things I was just incapable of doing for the better part of my career in Yellowcard until now. So, in the end, stepping away from the band and having that time was probably the best possible thing that could happen to me, personally. Because the perspective that I’ve come back to the band with is just so wildly different than it’s ever been before.
Yellowcard has, once again, taken a front seat in Ryan’s life. Check out an upcoming performance near you throughout 2024.
Between global pandemics, burnout culture, and the rise of AI, the future seems more bleak than ever. The alt-rock artist Moon Walker expresses his frustrations with the present-day in the track “Give The People What They Want”, tackling the defects of American society via an arresting punk rock song. The music video from Tiltshift Visual sets the song in a nondescript American office—aka, the source of many societal frustrations—and features a zombification of its workers.
Opening with an arresting dialogue between the guitar and bass lines, the music primes the video for its imminent belligerent energy. Amid the beats of drums and panning synths, zombies type away at keyboards and make trips to the fax machine, ambling their way through dimly-lit, whitewashed corridors. Anyone who’s ever worked a corporate job can easily relate to this shuffling, fatigued movement. All the while, Moon Walker’s electrifying voice echoes the sentiments of discontented people across the globe: “We want children we can’t care for, houses we can’t pay for, jobs we can’t stay awake for”.
The two zombies in the video are ghostly pale and dingy, covered in wounds as raw as Walker’s lyrics. Moon Walker’s guitar shredding accompanies the human coworkers running away from their zombie counterparts, terrified of the decomposed future they will inevitably embody. There is nothing subtle about Walker’s message: we’ve all become slaves and zombies to our jobs and the political climate surrounding us. The end of the video features a ticking clock, reminding us that time does not stop for anyone, and our zombification could be imminent if nothing changes.
In a world where solutions are few and far between, belting rock songs with catchy melodic hooks is a good form of escapism. “Give The People What They Want” previews the alt-rock artist’s third LP, the aptly named Apocalypticism, due out on October 20th. Walker will expose the most troubling aspects of society with this release, challenging the status quo and pushing for change. Additionally, get tickets now for Moon Walker’s debut U.S. tour in October 2023.
Since 1990 – give or take a few years here and there – Candlebox (updated lineup: Kevin Martin, Adam Kury, Brian Quinn, Island Styles, BJ Kerwin) has been lighting the stage with its endearing (and enduring) brand of Pacific Northwest grunge rock. Consistently, they’ve brought heavy-hitting sets to dedicated crowds with hints of glam metal and blues in tow.
What the band has not always conveyed in their performance, is a sense of nostalgia or wide-spanning appreciation. Citing the pandemic – and other circumstances over the years – lead singer Kevin Martin took things a little slower, leaving space for reflection during their set at Starlight Theater in Kansas City, MO on Wednesday, September 6.
Martin told us about his flawed and wonderful immigrant grandmother and his incredible parents – including a wonderful anecdote about a cradle-robbing father. He later took time to appreciate the people he – and we all – have lost too soon. Grief is a tricky bitch, and we have all been touched by it over the years. A sense of true empathy fell like a blanket over the Theater, on what was – admittedly – one of the most temperate and enjoyable evenings of the summer. (Despite the additional quilt of smog over us, brought down from the fires in Canada. Oops.)
Setlist Don’t You Change Blossom No Sense Elegante Arrow Mothers Dream He Calls Home Cover Me Far Behind You
With COVID cases on the rise (despite what your local news might omit from its reports), photographers were not allowed a wide variety of angles to shoot from. However, the energy and the wild abandon are palpable through our Candlebox highlights, below.
When confronted with stretching hours alone during the 2020 pandemic, River Shook found themselves in a unique position to explore their own musical voice. Their solo project, Mightmare, was born, as an independent project separate from their country-punk band, Sarah Shook & the Disarmers. Now, River Shook releases the first Mightmare single to feature a full musical cast, “Can’t Get What I Want”, with Blake Tallent on guitar and synth, Ash Lopez on bass, and Ethan Standard on drums.
The lyrics of “Can’t Get What I Want” are immediately accusatory, as the speaker takes issue with the one-sided nature of a problematic relationship. Shook shines light on how the song “highlights a moment of clarity as our protagonist realizes in real time that demanding better treatment from an abuser is like expecting honey from a hornet’s nest.” Indeed, this realization stings with the arrival of the chorus, when Shook shouts the song’s namesake. The lingering dreaminess accompanying the lyrics “I can get anything I want” ends, as the tempo picks up and the rhythm changes to a steady emphasis on every downbeat. Reality sets in, as the speaker escapes fantasy and accepts that their abuser will not make any concessions.
Mightmare plants itself fully into the punk, indie-rock aesthetic, with the wail of its lyrics and head-banging instrumentation. Shook’s first solo album, Cruel Liars, features more of Shook’s punk sound. It’s a departure from the distinct country influences of Sarah Shook & the Disarmers, which is a testament to Shook’s musical versatility. Represented by Kill Rock Stars, this is sure to be only the beginning of Mightmare’s electrifying turn into the alternative scene.
In the mood to be vicariously angry via punk energy? Stream “Can’t Get What I Want” on these platforms now!
In case you have been living under a rock or in a hollow tree, Tim Burton’s latest addition to the Disney universe – the series reimagination of The Addams Family, aptly titled Wednesday – has been making waves since its Netflix release on November 23rd. While purists might not be immediately ready to dive in, I binged the series (3 times) and heavily encourage you to do so as well. Here’s why.
“Wednesday” Is A Welcome Departure From Reality
Reality has been dark. But Wednesday? She’s darker. A teen nightmare who is obsessed with all things evil is absolutely entertaining. The closest we can get to having friends like Wednesday is if we unironically hang out with gothic peers or take a time machine back to the aughts emo scene. Existing in the orbit of someone this maniacal isn’t usually a pleasure we all have.
Watching someone use piranhas for their high school revenge schemes is laughable and unrealistic (for the most part), but so out of left field that it’s funny to watch. Having a detached hand named Thing scurrying around and supporting your educational efforts isn’t something you see every day.
Wednesday Is More Relatable This Time Around
Wednesday – now depicted by the indelible Jenna Ortega – seems even more relatable post-pandemic. The disdain for other humans? Check. The quirky ways she moves through life, particularly on the dancefloor? Check. The constant desire to be alone? Check, check, check.
Wednesday’s Humor Is Elevated
Sure, all former portrayals of the character of Wednesday include some heavy dry humor and sarcasm. But the bits in this revival – and Ortega’s delivery of said bits – are absolute gold. Some of our favorite quotable Wednesday moments?
“I don’t bury hatchets. I sharpen them.”
“But drip [coffee] is for people who hate themselves and know their lives have no real purpose or meaning.”
“I don’t need your help or your pity. I already have a mother and a therapist. That’s enough torture, even for me.”
“It’s not my fault I can’t interpret your emotional Morse code.”
“I find social media to be a soul-sucking void of meaningless affirmation.”
The Easter Eggs Are Amazing
What does everyone want out of a follow-up, sequel, or remake? They want callbacks. Give me all the new material you want, but if you can slide props, quotes, cameos, or similar storylines in for nostalgia, you’ve captured my attention. For example, there is a secret society housed in the walls at Wednesday’s outcast school – where her parents met and fell in love – Nevermore. The “passcode” to enter is a quick two-finger snaps. Where have we heard that before?
How about the archery scenes at Nevermore that harken to scenes of Pugsley and Wednesday practicing archery in Addams Family Values? Plus, Wednesday hates pilgrims… if ever there were a nod to Christina Ricci’s portrayal of the character, this is it. You’ll notice this – plus many more references to previous storylines and even Tim Burton’s work – sprinkled throughout.
Wednesday’s Rendition Of “Paint it Black”
I had never heard anything so painfully beautiful until the first episode of this series when Wednesday plays the cello. Her own siren song, it seems, “Paint it Black” by The Rolling Stones was performed by Ortega herself, who learned to play cello for the role. If you tune in for nothing else, this moment will change you.
Los Angeles-based Sara Niemiętz‘s sound has evolved over time, each new release intrinsically captivating. Today, the talented singer/songwriter releases her fourth full-length, an audible treat titled Superman. Explains Sara of the project: “This album is about vulnerability and empowerment. It’s about speaking your piece, shaking off the past, and finding the superhero inside.”
And she’s not messing around. We start off with the sultry, confident track “Locks,” which serves as a ballbuster of an introduction to this particular collection of music. “I Want You” continues on theme, leading with a bass riff that perfectly frames and encourages the rock anthem that follows. Lines like “baby, I’m your type” reinforce the confidence that Niemiętz has built her career around. It’s a brand of badass that we can really rally behind.
Fourth track “Lovely Lies” begins with pure romance, a Spanish-style guitar taking just slightly off-center stage — to the side of the commanding vocals. Bongos seep into the mix, solidifying a new energy to this piece of the album. In a very cohesive manner, “Fill Me Up” begins slowly, reminiscent of a slightly more soulful Norah Jones, in all honesty.
“Four Walls” is a beautiful track that speaks to the weight of the pandemic and our collective stresses over the past several years. The soundscape feels organic, with gorgeous sound effects that make this song perfect for the end of an invigorating yoga practice. While “Come to Me” continues at a similar clip, “Names” drops with so much attitude you almost can’t handle it. “Keep an Eye” goes back to a more meandering pace, with a speed up – and captivating instrumental solos – later in the track.
“GOODx3” explores the silver linings to breakups, the things you learn, and the brightness that can shine through the “cracks.” It’s one of our favorites on the album, both regarding the instrumental composition and the lively vocals. The title track explores the many facets a person can have, even if they seem one-dimensional in your life’s story. Sara sings of the support that she can provide in love. “Every Light” continues in a similar vein, as she expresses her adoration for a romantic interest.
“Words” comes in heavier than its predecessors, a different level of rock with an added layer of psychedelic ambiance. The album ends with “The Dimming,” a self-reflective assessment that will ring very highly relatable for many. A lesson in perspective, it is a graceful ending to an album we truly enjoyed from beginning to end.
