Folk-pop duo Starbird & the Phoenix – made up of Courtney Bassett and Andrew Swackhamer – are back with a groovy acoustic rendition of the hit song, “Sunbeam”. Producing a video full of summery feel-good vibes, the two are jamming out in a quaint space allowing the viewer to feel as if they’re right in the studio with the artists. Between Andrew shredding on the ukulele and Courtney hitting astronomically high notes, you can’t do anything but “groove along with me” as the lyrics suggest. Great for a pick me up, one watch through the video will have your soul feeding off the energy of the two in no time. Be sure to catch this wonderful remake of “Sunbeam” the week of August 12 and allow yourself to dive into the world of Starbird and the Phoenix.
“Is it just me or is it everybody sitting outside with their house on fire?” The Greeting Committee asks in their latest single “Cyclical,” released just days before their new album “Everyone’s Gone and I Know I’m The Cause”. The song doesn’t just dip its toes into difficult waters – it dives in headfirst, delivering a poignant and introspective look at the complexities of family dynamics and personal healing.
Frontwoman Addie Sartino’s ethereal vocals float over a deceptively gentle musical landscape, creating stark contrast with the song’s weighty themes and mirroring the often quiet, internal struggle of dealing with family issues, often kept hidden, simmering beneath a calm surface.
The lyrics paint a vivid picture of helplessness in the face of familial destruction, capturing the universal feeling of watching a loved one spiral while feeling powerless to help. Sartino herself describes the song as being about “being stuck in a horrible cycle.” She adds: “It’s me seeing a pattern and doing the brave and hard thing by cutting certain habits or people out of my life. It might suck, but that’s what growing up and healing is.” This candid explanation offers a glimpse into the personal nature of “Cyclical,” but also highlights its universality. Who hasn’t faced the gut-wrenching decision to step back from a loved one for their own well-being?
“Cyclical” showcases The Greeting Committee’s evolution as artists. They continue to move beyond the realms of typical indie rock fare to tackle complex, emotional territories with grace and unflinching honesty.
For listeners who have walked similar paths, “Cyclical” may serve as a cathartic experience – a validation of difficult decisions and complex emotions. For others, it offers a window into the often-overlooked perspective of those who must prioritize their own healing, even at the cost of watching others struggle.
In the end, “Cyclical” is a testimony to the strength it takes to break harmful patterns and the bravery required to choose oneself first. The Greeting Committee has created not just a piece of music, but a companion for those on the difficult journey of healing from family trauma.
Tour Dates: July 9 Atlanta, GA @ The Masquerade Hall July 10 Carrboro, NC @ Cat’s Cradle July 12 Washington, DC @ 9:30 Club July 13 New York, NY @ Bowery Ballroom July 16 Philadelphia, PA @ World Café Live July 17 Boston, MA @ Sinclair July 19 Toronto, ON @ Velvet Underground July 20 Lakewood, OH @ Mahall’s July 21 Columbus, OH @ A&R Music Bar July 23 Minneapolis, MN @ Fine Line July 24 Chicago, IL @ Bottom Lounge July 26 OKC, OK @ Resonant Head July 27 Fort Worth, TX @ Tulips FTW July 28 Austin, TX @ The Mohawk July 30 Phoenix, AZ @ Crescent July 31 San Diego, CA @ Voodoo Room House of Blues Aug 2 Santa Ana, CA @ Constellation Room Aug 3 Los Angeles, CA @ Teragram Ballroom Aug 4 San Francisco, CA @ The Independent Aug 6 Portland, OR @ Aladdin Theater Aug 7 Vancouver, BC @ Biltmore Aug 8 Seattle, WA @ Neumos Aug 10 Salt Lake City, UT @ Soundwell Aug 11 Denver, CO @ Bluebird
As a music nerd, it’s fun to listen to new releases and try to figure out where an artist’s influences come from. However, it takes talent and real musical ambition to not just seem like an admirer of certain inspirations with nothing original to say. Inside Out, the...
It is basically a prerequisite that you must love T-Pain if you work with imperfect Fifth. Whether you enjoy his vocal stylings – autotuned or his incredible natural vocal range -, his entrepreneurial brain, or his giggle, there is something about him that is so delightful. Just consider it: have you ever met someone who had beef with T-Pain?
If you’re looking for a wholesome, emotional departure (about an emotional departure) from T-Pain’s quintessential party anthem vibe, “On This Hill” is it. But, more than intensely different from prior singles, this one really envelops the listener in its captivating melody. Thought-provoking lyrics evoke bold thoughts, exploring boundaries, and a sense of acceptance in pain.
“On This Hill” truly captures what it is like to have competing values or opinions – interests that clash and red flags that no one can ignore. While there is a sense of loss and heartache in the song, there is also hope for new beginnings that you can actually feel through his empowering option to hold to his own values.
His drive to hold true to who he is and the song’s dedication to self-love brings “On This Hill” to us during Mental Health Awareness Month. In honor of this, T-Pain has teamed up with Talkspace to provide free therapy to his fans for up to a year.
The video is tastefully and purposefully intimate. A soulful live performance in a cozy setting with vocal accompaniment that feels as though its acoustic resonance could move mountains. Take a peek below, and be sure to see your favorite performer on tour this summer. (T-Pain will be EVERYWHERE!)
MANSION IN WISCANSIN PARTY TOUR DATES: May 29 – Houston, TX – 713 Music Hall * May 30 –Dallas, TX – South Side Ballroom * June 4 – Waukee, IA – Vibrant Music Hall * SOLD OUT June 6 – Windsor, ON – Caesars Windsor The Colosseum * June 8 – Milwaukee, WI – WISCANSIN FEST @ The Rave/Eagles Club ^ SOLD OUT June 11 – Columbus, OH – Kemba Live! * SOLD OUT June 12 – Pittsburg, PA – Stage AE * SOLD OUT June 13 – Doswell, VA – Meadow Event Park * June 19 – Los Angeles, CA – Juneteenth Celebration @ The Hollywood Bowl June 21 – Asbury Park, NJ – Stone Pony SummerStage * SOLD OUT June 23 – New York, NY – Central Park SummerStage * June 25 – Baltimore, MD – Pier Six Pavilion * June 26 – Charlotte, NC – Skyla Credit Union Amphitheatre * June 27 – North Charleston, SC – Firefly Distillery Lawn * June 29 – Atlanta, GA – Lakewood Amphitheatre * June 30 – Birmingham, AL – Avondale Brewing Company * SOLD OUT July 2 – Jacksonville, FL – St. Augustine Amphitheatre * SOLD OUT July 3 – Miami, FL – The Fillmore Miami Beach *
* with LARussell, NandoSTL & Young Ca$h ^ with Akon, Dillon Francis, Pink Sweat$, Soulja Boy, LARussell, Ying Yang Twins, Yelawolf, Waka Flocka Flame, Flyana Boss, Myaap, Young Ca$h, Chayo Nash, NandoSTL & Djay Mando
T-PAIN FESTIVAL & VEGAS RESIDENCY DATES: May 25 – Napa, CA – BottleRock Napa Valley May 26 – Las Vegas, NV – Ayu Dayclub (residency date) June 1 – Kansas City, MO – Tacos and Tequila Fest June 14 – Manchester, TN – Bonnaroo Music & Arts Festival July 11 – Las Vegas, NV – Zouk Nightclub (residency date) September 1 – Las Vegas, NV – Ayu Dayclub (residency date)
PARTY AFTER DARK TOUR DATES: Wed Aug 21 – Bristow, VA – Jiffy Lube Live Fri Aug 23 – Virginia Beach, VA – Veterans United Home Loans Amphitheater Sat Aug 24 – Hershey, PA – Hersheypark Stadium Sun Aug 25 – Queens, NY – Forest Hills Stadium Thu Aug 29 – Cuyahoga Falls, OH – Blossom Music Center Fri Aug 30 – Tinley Park, IL – Credit Union 1 Amphitheatre Sat Aug 31 – Milwaukee, WI – American Family Insurance Amphitheater Sun Sep 01 – Noblesville, IN – Ruoff Music Center Wed Sep 04 – Clarkston, MI – Pine Knob Music Theatre Fri Sep 06 – Buffalo, NY – Darien Lake Amphitheater Sat Sep 07 – Syracuse, NY – Empower FCU Amphitheater at Lakeview Sun Sep 08 – Saratoga Springs, NY – Broadview Stage at SPAC Thu Sep 12 – Wantagh, NY – Northwell Health At Jones Beach Theater Fri Sep 13 – Hartford, CT – Xfinity Theatre Sat Sep 14 – Bangor, ME – Maine Savings Amphitheater Sun Sep 15 – Mansfield, MA – Xfinity Center Wed Sep 18 – Burgettstown, PA – The Pavilion at Star Lake Thu Sep 19 – Cincinnati, OH – Riverbend Music Center Sat Sep 21 – Ridgedale, MO – Thunder Ridge Nature Arena Sun Sep 22 – St. Louis, MO – Hollywood Casino Amphitheatre Wed Sep 25 – Salt Lake City, UT – Utah First Credit Union Amphitheatre Fri Sep 27 – Ridgefield, WA – RV Inn Style Resorts Amphitheater* Sat Sep 28 – Auburn, WA – White River Amphitheatre Thu Oct 03 – Chula Vista, CA – North Island Credit Union Amphitheatre* Fri Oct 04 – Phoenix, AZ – Talking Stick Resort Amphitheatre Sat Oct 05 – Albuquerque, NM – Isleta Amphitheater
Porches (aka New York-based musician Aaron Maine) has just released the video for “Back3School,” the fourth single from their fifth studio album All Day Gentle Hold ! out Friday, October 8.
The visuals for the ecstatic, synth-driven track observe Maine as he glides around an all-white soundstage while performing the song for a teacher wearing a transparent nylon mask.
Over the runtime, the video evolves from having straight-on shots of Maine singing to producing sweeping camera angles and rapidly flashing lights as he draws the audience into the crashing conclusion.
This song is a mystery to me, impending doom mixed with total bliss,” Maine said about the single. “The ‘back to school’ trope, but with an underlying anxiety that something might be terribly wrong, or maybe everything is just fine.
Watch the video for “Back3School” below!
Porches 2022 Tour Dates Mar 21 – Montreal, QC @ Bar Le Ritz PDB Mar 22 – Toronto, ON @ Lee’s Palace Mar 24 – Detroit, MI @ El Club Mar 25 – Chicago, IL @ House of Blues Mar 26 – Saint Paul, MN @ Turf Club Mar 28 – Denver, CO @ Bluebird Theater Mar 29 – Salt Lake City, UT @ Urban Lounge Mar 31 – Vancouver, BC @ Fox Cabaret Apr 1 – Seattle, WA @ Neumos Apr 2 – Portland, OR @ Wonder Ballroom Apr 4 – San Francisco, CA @ The Independent Apr 5 – Los Angeles, CA @ El Rey Theater Apr 6 – Phoenix, AZ @ Valley Bar Apr 8 – Dallas, TX @ House Of Blues (Cambridge Room) Apr 9 – Austin, TX @ Scoot Inn Apr 10 – Houston, TX @ House of Blues (Bronze Peacock Room) Apr 12 – Atlanta, GA @ Terminal West Apr 13 – Nashville, TN @ Exit/In Apr 15 – Carrboro, NC @ Cat’s Cradle Apr 16 – Washington, DC @ Union Stage Apr 18 – New York, NY @ Bowery Ballroom Apr 19 – Brooklyn, NY @ Music Hall of Williamsburg Apr 21 – Boston, MA @ Paradise Rock Club Apr 22 – Philadelphia, PA @ The First Unitarian Church May 13 – London, UK @ Lafayette May 16 – Paris, FR @ La Maroquinerie May 17 – Amsterdam, NL @ Bitterzoet May 18 – Cologne, DE @ Artheater May 19 – Berlin, DE @ Privatclub
Alternative rock outfit out of Phoenix, OO, are expanding their loud, energy-driven sound with their newly released EP Nice and Good. The 5-track rocker is the perfect collection of mostly loud and fast tunes sewn together in perfect harmony. The opener, “runnin’”, is a classic up-tempo show starter that relies on heavy drums and mind-blowing guitar licks to get stuck in our heads. This is similar to the warmth of “sizzlin’ sun”, an appropriate track title for an Arizona-based group. The mid-tempo stride of “family fool” is a late-night campfire tune with a sound bordering on country, perfect for a mid-summer camping trip deep into the woods. There is an angst to “eating wurds” that feels nostalgic, while the EP’s closer, “fizzle and fry”, creates the perfect fade away and look onwards to what may be coming next.
OO promise a solid rock experience, filled with flavor and effervescent instrumentals. A taste of their music is a taste of the rock music scene at present, and we love every last bite.
Aja Volkman and Dan Epand of Nico Vega have come together to form the duo TWO, and just released their brilliantly painful EP Pull The Knife Out last Friday. The EP reflects a traumatic time in Volkman’s life, but while it certainly projects the feelings of sadness, loneliness, anger, and despair that plagued her at that time, a ferocious sense of empowerment surges from within the tracks and overshadows those negative emotions in favour of acceptance and self-worth. Written entirely by the duo and produced by Epand, Pull The Knife Out displays a varied set of seven songs that showcases the duo’s incredible talent in every facet of the record; the vocals, lyrics production, instruments, and even the structure of the songs and the EP as a whole are executed incredibly well.
“Live Forever More” is a hybrid song-poem with spoken word poetry verses and sung choruses. Not only are the lyrics expressive, narrative, and insightful, the rhythm of the words and the melody of the chorus invite you to sing along. The more you sing (or just listen) along, the more you believe in the words and their message. “Whoa Man” is also a spoken word performance, but the atmosphere is hauntingly empty, with Volkman’s voice and deep, throaty “mmm’s” intensified in the vastness. Her words reverberate into the silence when she pauses, amplifying their effect. Again, the words are profound. “If I am to be the woe, and you are to be the man, then let me blow your mind with just how great I am.” Even in this single line, you can recognize the trauma (“the woe”) and the empowerment (“how great I am”) that Volkman has gone through.
“Cage Fighter” also exudes confidence through its music and features more spoken word poetry in the bridge. It’s straight-up rock– heavy guitars, a pounding beat, and Volkman’s incredible gravelly vocals. From the music to the words, this track is powerful. In the bridge, sounding like she’s some higher being, hovering above. She says “when you’re small… it’s an opportunity to have humility and fall,” and “be a ball of fierce compact energy, waiting to explode,” and then the music does just that, launching into the chorus again with sustained energy. The only other song that rivals the energy of this track is “Phoenix”, a song that bleeds determination and resolution. It has a slow but firm beat that emphasizes her words– “you can’t take this song away from me.” Despite the slower tempo compared to “Cage Fighter”, even the quieter parts of this track are filled with energy that feels as though it can barely contain itself. Volkman’s astonishing vocals come to light once again as her voice sails at the climax of the line “for out of the fire I’ll rise again.”
The standout track “In This Rough” is also overflowing, not with energy, but with emotion. Volkman says that she “went through some dark times trying to find the kind of surrender expressed in this song.” As she sings her voice catches, brimming with emotion. The bridge has only drums and her voice in that classic anthemic manner, where, in a live performance, the audience would be screaming out the lyrics alongside her, tears streaming down their faces because at that moment– they’re understood. The guitar, spirited drums, and synths sound relatively carefree, but her words and voice are tortured. In a similarly contrasting way, the music of “Faces” sounds calm and nostalgic, with the initial guitar voices singing an easygoing duet and fun melodic “oohs” in the chorus. The lyrics, however, place the nostalgic sound in a more regretful context. Volkman’s vocals are especially intriguing in this track as well. Her inflections play with the placement of her voice, and it’s impossible to guess where she’s going to go next.
The closing track, “Crazy Love”, is full of conviction and honesty, something that’s easy to perceive in her voice. It begins with a unique drum part that sounds like deep water droplets. The rest of the track is an accessible song about exactly what the title says– a crazy love. In the transition to the bridge, the music feels as though you’re being submerged into water, and in the bridge itself, the classical background vocals contrast with Volkman’s sharp voice, creating quite a unique effect.
Pull The Knife Out is well done from the inside out. Volkman and Epand’s immense abilities as musicians create fantastic music, and their close relationship doesn’t hurt either. Volkman says “Dan and I have always remained close and supportive of each other. He has been my cheerleader for over a decade,” and Epand returns the sentiment in saying “We have been through a lot together, a friendship and a creative collaboration that continues to evolve.” It’s that close bond that truly makes their music shine, and combined with Volkman’s remarkable voice, it’s no wonder that the duo has been generating buzz and accumulating some influential fans including P!nk. The EP is out now, as is a music video for “In This Rough” that was shot in quarantine and written and directed by Epand.
On March 12th, DED, the four-piece nu-metal powerhouse from Phoenix, AZ,released a 2-track mini EP titled Mannequin Eyes – and it’s worth screaming about. Not one to be missed, this heart-pounding release is features radio hit “A MANNEQUIN IDOL (Lullaby)” as well as premiere single “Eyes Sewn Shut”.
The elements present in Mannequin Eyes represent the best of DED’s idiosyncrasies, including riffs that move at the speed of light, haunting vocals that invoke the fear of God, and messages that scorn the replicated and mundane. But with track “A MANNEQUIN IDOL (Lullaby)”, DED manages to weave aspects of three distinct genres into one robust arrangement, not unlike multiple personas battling over the mouthpiece in conveying DED’s distaste. Bearing themes of disgust for the conveyor-belt machine of the modern music industry and all things ingenuine, vocalist Joe Cotela leads the wind-tunnel dynamic of this thrashing headbanger by employing a refreshing variation vocal styles that push the affect of the track over the listener’s head and through the roof. Through verses of this track, the transitions between intense, horrifying whispers to screams representative of classic “metal” reveals DED’s talent within their wheelhouse – But Cotela’s switch to a resounding pop-format chorus marked by vocals more reminiscent of modern alternative rock display the band’s versatility in managing a tidal wave of emotion as it pulls back and forth, over and over.
“Eyes Sewn Shut” is closer to a standard nu-metal/metalcore screamer, with lyrics like “I won’t be silenced, don’t make me violent / You get what you deserve”. This track continues DED’s message of rejecting the reality forced upon the many by the few, and like “A MANNEQUIN IDOL (Lullaby)”, features a chorus that has leanings toward modern alternative rock laced between its slamming accompaniments from guitarist David Ludlow, bassist Kyle Koelsch, and drummer Matt Reinhard.
Mannequin Eyes is DED’s first release since 2017 breakout album MIS-AN-THROPE, which pushed the ceiling with a sky-high stream count from the moment of its inception. Prior to the album’s debut, the group released three singles in anticipation: See “FMFY”, “Anti-Everything”, and “Dead to Me”.
DED is set to release another full length album in 2020. Starting March 24, the group will tour with In This Moment, Black Veil Brides and Raven.
Oakland rockers Whiskerman have just dropped their fourth studio album, Kingdom Illusion, which the band describes (rightfully so) as a “rock and roll vision quest”. Known for their ambitious songwriting, thunderous live show, and acute lyricism, the group is now emerging at the forefront of the revitalization of the Bay Area’s psychedelic and festival scenes. Frontman Graham Patzner (who’s rumored to be of the underworld himself) leads the group, which is rock-and-roll on the surface but rooted in the classic, psych, and glam rock traditions. Patzner is responsible for vocals, guitar, violin, and keyboards, and he’s backed by Will Lawrence on bass and mandolin, Dan Schwartz on drums, Charles Lloyd on guitar and sitar, and Jeremy Lyon on guitar. And if you think that you can gauge what they sound like based on that information, let me assure you; you haven’t the slightest clue.
The two lead singles, distortion-heavy rage track “Belly of the Beast” and physch-synth defiance number “Fuck Yeah” may give first-time Whiskerman consumers the idea that this band exists primarily in this vein of hard rock. And when I say hard rock, I’m talking your classic foot-stomping, heart-pounding, head-banging, parents-crying-over-their-teenager’s-newfound-rebellion hard rock.. You get it.
However, this is not the case here.
Album opener “Rattlesnake” begins in a tranquil piano ballad featuring gently strummed guitar chords and angelic falsetto guiding us through a lush forest of strings. The track is 6 minutes long and at the halfway mark the tone notably shifts, and Freddie Mercury-like vocals are traded for something more in the territory of Alex Turner. Sweet violins and languid piano are swapped for a quicker tempo and the kind of instrumentation you’d expect on a hard rock record, but as soon as you’ve settled back in, they fluidly bend back, rocketing back into the art-rock heavens. Color me impressed, these boys have range.
“Villains” brings an unexpected but welcome tinge of soul to the mix. The extremely heartfelt number feels both romantic and a little defeated. Bright, shiny, and teetering on sensory overload, it’s almost overwhelming, but in a manic-tinged triumphant sort of way. Think anthemic rock, but with psychedelic elements. Power dominates everything; it is present in the writing, the band, and definitely in Patzner’s voice, which possesses a beautifully raw intensity that is an absolute constant throughout the record, whether he’s scream-singing impassioned or tiptoeing across his ridiculously capable falsetto.
Operatic art-rock piece “Be Real” is a nearly seven minute journey that only Patzner himself could explain. “‘Be Real’ is a rock ‘n’ roll odyssey,” says the frontman. “A sacred jester drags a priest out from a church to take him on a psychedelic journey, revealing to him his hypocrisy and lack of separation to the rest of this world of clowns.” Drama is not something this band has to reach for; they exist in it.
“The Great Unknown” fluidly blends hard rock and psych, keeping the band’s effortless flexibility on constant display. “Something About Love” slows it down and gives everyone a minute or three-and-a-half to breathe before projecting us back into another dimension for the closer. Have no fear though, this track still holds tightly to the sonic jungle of sound that makes the record so damn cool in this brief moment of tranquility.
Not shockingly, the band ends on a dramatic and (of course) impressive note with the title track. The nearly 8-minute closer is a roller coaster of a ride to the pinnacle of rock glory, skillfully and sneakily pulling its many layers together. Strings swell, the sitar does whatever sitars do, and Patzner’s insane range soars up to the kingdom he’s singing of, backed by what could only be a chorus of angels. This illusion is painted with every color of the rainbow.
Kingdom Illusion is out everywhere now.
TOUR DATES
03.07•The Grove House (Mariposa, CA)
03.18•Satellite (Los Angeles, CA)
03.19•Last Exit Live (Phoenix, AZ)
03.22•Lost Lake (Denver, CO)
03.25•Rye (Salt Lake City, UT)
03.26•Treefort Fest (Boise, ID)
03.27•Treefort Fest (Boise, ID)
03.28•Treefort Fest (Boise, ID)
