June is only a little over halfway done, which means it’s still pride month! And with pride comes a lot of dance music, though why wouldn’t it? The amount of queer history embedded in the development of disco, house, and techno has made countless members of the LGBT community into dance music legends. This includes gay performers like the Pet Shop Boys and Frankie Goes to Hollywood, influential producers like Larry Levan and Arthur Russell, and straight but strong allies like Madonna and Donna Summer. All of them, in one form or another, have songs on this playlist.
In a sense, this is a soundtrack that takes you through a chronologically ordered musical history lesson of 70s dancefloor diva disco, cult classic 80s Hi-NRG, and early 90s house tunes. It ranges from songs your middle-aged mother will belt out while doing the dishes or obscure euro-disco that no one else but me knows but I want to force in somewhere. (It’s all great, trust me.) With nu-disco such a prominent sound in 2020s pop music, it’s important to honor the marginalized community and queer icons that created the genre. All 35 of the songs in this decade-spanning playlist are still endlessly joyful and worth checking out.
Indie rock outfit Cloud Cult has just released their LP album Alchemy Creek via the band’s very own Earthology records. Alchemy Creek consists of 11 songs including the beautiful recently-released single “The Universe Woke Up As You”, which can be read about here.
I can’t cover the first song of this album without gushing about its musicality. “Got Your Backpack Open That Backdoor” opens with a beautiful violin solo; rock music elements really shine through in the latter half of the song, as an electric guitar and drums carry the melody. The vocals, provided by Cloud Cult’s showman Craig Minowa, are sandwiched in between amazing instrumentals.
“I Am A Force Field” has a refreshingly techno-like beat. Despite its sci-fi vibe, the lyrics are clearly written as letters to one’s younger self. The song plays into the childlike desire to have superpowers and be invincible. In a more mature perspective, this would be the equivalent of being emotionally resilient and putting up a figurative ‘force field’ to protect oneself from any pain. I absolutely love the reference to Winnie the Pooh in this song– he’s my favorite fictional character of all time!
“Vision In A Field” is intended for those lacking mindfulness. Some people are so overwhelmed with everything that is going on and need to dissociate to a safe space, such as an open field as the song title implies. The song encourages the idea that sometimes it’s okay to run away from it all, especially if your circumstances are deteriorating your mental health.
“One Human Being” again pays tribute to the sci-fi theme this album embodies, yet it is oddly enough the most uniform song of the whole album– with a consistent tone and chord played throughout. The violin riff adds to the lull and calmness of the melody. Lyrics-wise, this song reinforces the fact that Alchemy Creek is an ode to youth. It’s about the desire to go back in time and guide one’s younger self, as diction like “we” or “my kid” refers to one’s inner child.
The meat of this album is “Tonight I Run Away”, a nostalgic song that reminds me greatly of the children’s book “Where the Wild Things Are” by Maurice Sendak. The meaning of the song is in the title: whoever is singing this song is on the run from something. It’s amazingly carefree, in both the melody and lyrics. It is by far my song of the whole album!
“Over And Out” provides a refreshing break from the pure rock elements of this album. The acoustic guitar and harmonica duo give this song a soulful country feel. The lyrics are as if Minowa is talking to someone through a radio and can only say a few words at a time. Out of everything he could say, he chooses to let the receiver know ‘it’ll get better.’ This song does an amazing job of illustrating the emotional pain he is going through.
“Something In Me Is Changing” is where Cloud Cult’s signature rock music makes a comeback. This is a great song to listen to if you are ready for a big change. Minowa, who I am assuming is talking to his younger self once again, contemplates leaving his small hometown for opportunities that are bigger and better– a very relatable desire for young people who are fed up with what their current life has to offer.
And of course, I cannot finish this album review without discussing Cloud Cult’s music video for their melancholy single “As Beautiful As It Hurts”. Our main man Minowa is seen playing a grand piano, illuminated by the sun shining through an open door. He’s rocking back and forth, implying he is hurting and is physically trying to comfort himself. In the next scene, Minowa is outside overlooking a shallow creek; he lets his bare feet touch the clear water. My favorite verse in the song is:
Try to make the most of my life Though I make mistakes all the time Forgive my foolish pride But please know I tried I need to think it’s going to be alright I need to think it’s going to be alright
When Minowa appears back at the piano, his chordophone music is accompanied by a beautiful violin solo at the last minute of the song. Because this video can be watched on YouTube Kids, it is once again reinforced that Cloud Cult makes family-friendly content that everyone can relate to.
“Let It All Out” is highlighted by its distinct, almost ethereal music sequence. I can see the intro being played as background music to many mindful yoga sessions. The violin and accompanying percussion instruments do a wonderful job of evoking an out-of-body experience. The drum beat picks up in the middle of the song, almost as if summoning the only lyrics of the song: “Let it all out. Let it all go all out.” This song is clearly about cathartic release, which is why it is fitting that this song is the longest out of the whole album.
The last song “Different Kind Of Day” perfectly sums up the entirety of Alchemy Creek. It’s self-deprecating, and a little sad, but hopeful and encouraging by the end. As the title implies, Minowa is betting on a ‘different kind of day.’ And as the music picks up, we as listeners all hope that today will be a better day. I hope you all enjoy the album as much as I did!
Confirmed Cloud Cult US Headline Tour Dates & Festivals: August 9 @ People Festival in Yuba, WI August 28 @ The Sinclair in Boston, MA August 29 @ Le Poisson Rouge in New York, NY (Almost Sold-Out!) August 30 @ World Café Live in Philadelphia, PA August 31 @ Summer Entertainment Series in Fairfax, VA September 12 @ Neptune Theatre in Seattle, WA September 13 @ Aladdin Theater in Portland, OR September 27 @ Palace Theater in St. Paul, MN September 28 @ Palace Theater in St. Paul, MN (Sold-Out!) Alchemy Creek Tour continues in January including Nashville, Atlanta, Durham, Charleston, & more
In a stirring testament to the power of ancestry and self-discovery, New York indie-folk luminaries Bandits on the Run unveil their most emotionally charged single to date, “You Are Not A Ghost.” This haunting anthem explores generational trauma, mental health struggles, and the quest for self-acceptance, marking a profound departure from their typically whimsical style.
At the heart of this profoundly moving piece is Regina Strayhorn’s raw dialogue with her past. The song serves as a spiritual bridge to her great-grandfather, Isaac Strayhorn, whose voice was violently silenced in 1940s North Carolina. “He was known as the town poet,” Regina reveals, her words tinged with both sorrow and pride. “I like to think that Isaac occasionally whispers lines he didn’t get to write in his own time into my ear.”
His gentle whisper crescendos into a powerful roar in “You Are Not A Ghost,” a song that doesn’t shy away from the darkness of depression and self-doubt but ultimately emerges as a beacon of hope and self-affirmation. Strayhorn lays bare her inner struggles, describing the song as “a wrestling match between feelings of deep sadness, tendencies toward self-abandonment, limiting patterns, deep self-love, and the awareness that to live freely in the here and now is my birthright and gift to enjoy.”
The raw emotion pulsates through every note, every lyric. When Strayhorn sings, “You are not a ghost / You’re blood and poetry,” it’s more than just a line – it’s a mantra, a lifeline thrown to anyone who has ever felt invisible or voiceless. Bandmates Sydney Torin Shepherd and Adrian Blake Enscoe add their own emotional layers, making the song both intimately personal and universally relatable.
In a particularly poignant verse, Strayhorn channels her great-grandfather’s voice:
“Isaac in the forties Was thrown into a pond Cement tied to his feet I feel him in my hands He asks me to be free To stop the spinning wheel Be big enough to feel Be big enough to feel”
These lines don’t just tell a story; they resurrect a silenced voice and paint a haunting picture of past injustices, their impact echoing through generations.
As the song builds to its cathartic conclusion, listeners are left with a profound sense of connection – to their own histories, to their present selves, and to the unlimited potential of their futures. “You Are Not A Ghost” is a spiritual experience, a reminder that we are all, in Strayhorn’s words, “blood and poetry,” alive with the power to rewrite our stories.
The tears in Regina’s eyes as she performs in their NPR Tiny Desk Contest entry serve as a poignant reminder of the real, lived experiences behind the lyrics. They bridge the gap between performer and audience, inviting listeners to share in the cathartic release of long-held emotions. This honest display of vulnerability not only highlights the band’s authentic approach to their craft, but also emphasizes the healing power of music, both for the artists and for their audiences.
In creating this deeply personal yet universally resonant piece, Bandits on the Run have not only pushed their artistic boundaries but have also offered listeners a musical lifeline – a reminder that even in our darkest moments, we are vibrant, we are alive, and we are decidedly not ghosts yet.
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.
It’s the start of pride month, and there’s only one form of music most synonymous with the queer experience: disco! The genre’s resurgence in popularity has only been growing in recent years, likely helped by pride’s more mainstream acceptance (well, by form of rainbow capitalism or not) and the fact that so many of those original disco hits are just that good.
When making dance music inspired by the golden ages of disco and house music, it’s important to acknowledge the genre’s origins to show you’re respectful of its history and creators. This is something Amber Riley and Micah McLaurin hit the mark perfectly on in their new cover of “MacArthur Park”, originally by disco goddess Donna Summer in 1978.
…well, okay, technically not originally. It was first performed in a more baroque style by Richard Harris and written by Jimmy Webb in 1968, then covered by Summer ten years later on her Live and More album.
Their version is obviously indebted to Summer’s cover by its disco flavorings, but it also captures the melodrama of Harris’ original by way of the theatricality of Riley’s voice. If you don’t know, Amber Riley (of Glee and several screen/stage musical productions, including Dreamgirls) is a monstrously talented performer, and I went into the single expecting a quality performance. Yet she goes full broadway on the track and sings her heart out, creating a dramatic buildup to when the song transitions from a modest but soulful rendition of heartbreak into a breathtaking blast of disco excess.
If the opening captures the icy cabaret of Harris’ original, the rest of the song recreates the loose and free-spirited energy that the best of Donna Summer’s singles had. Micah McLaurin’s mixture of dance-pop and orchestral music (by way of members of The Royal Philharmonic Orchestra) is the perfect complement to Riley’s vocals. McLaurin provides a dreamy piano solo in the second half, and the other musicians provide a sweeping string and horn section and a thumping four-on-the-floor disco beat that never lets up.
It works really well as a great way to kick off pride month, successfully honoring queer history by way of a killer dance party. Amber Riley and Micah McLaurin’s cover is available now, in both a 3-minute radio edit and a 6-minute full version.
It’s already June, and if no one tells you how they can barely believe it in the next few days, then you got away with murder, essentially.
That said, it is June. And with June comes PRIDE. Big Hassle – one of our favorite companies in the otherwise questionable and interestingly chaotic music industry – has curated a playlist featuring some of their most prominent talents. We got our hands on it so that you can get to know the Big Hassle roster… and party down all month long.
imperfect Fifth really is committed to celebrating LGBTQ+ joy and rights every month of the year, and will do what we can to uplift marginalized voices where we can. Please email meredith@imperfectfifth.com if you have any brands or talent you’d like us to highlight, projects to talk about, or something else that can help us support and uplift our community!
Genre-bending Americana artist Danielia Cotton is squaring up to release a tribute EP titled Charley’s Pride: Songs from a Black Cowboy Vol. I. In anticipation of that, she is sharing songs from the release in the lead-up. The first single came on Charley Pride’s birthday in March, and yesterday, the second hint of work was released with “Kiss an Angel Good Mornin'”.
Cotton’s spin on the song brings a bit of brightness to the classic, with her signature soulful crooning taking center stage.
Explains Cotton: “The lyric, ‘Kiss an Angel Good Mornin’, and love ‘em like the devil when you get back home,’ speaks to the dichotomy of a woman with respect to the parts of herself she displays within her relationship to keep things fresh and new. The playfulness of the track musically and vocally reflects this, while the hook is infectious as a summer hit you play to let your hair down.”
What a wild time to be exploring this dichotomy, and a beautiful time of year to release such an amazing cover.
The song in its original form is being recognized this month as it is inducted into the Grammy Hall of Fame at Grammy Museum’s inaugural Grammy Hall of Fame Gala and concert on May 21, 2024.
Brooklyn-based folk-pop musical trio, Camp Bedford, is on a mission to create a more inclusive idea of America. The all-femme, queer group includes the talents of Roxanne Quilty, Mariela Flor Olivo, and Tallen Gabriel, each a creative powerhouse in their own right. When performing together, the raw honesty and intimacy of their music are unmatched. There is no better example than their new single, “Our America”, out today.
The beauty of “Our America” lies in how it redefines the very genre it takes inspiration from. The acoustic texture of vocals, guitar, mandolin, and cello is reminiscent of traditional American folk music. Close listening will reveal a subtle incorporation of “The Star Spangled Banner” into the mandolin. The original lyrics of the US national anthem are reimagined in such evocative poetry as “the rockets glare, it chokes the air.” Through the lyrics, the listener is reminded of the tragic history of American colonialism. Yet, they also spark hope and optimism that “Our America can start anew.” These clever references to American patriotism evoke the quintessential folk soundscape in subtle but impactful ways.
“Our America” tugs at the threads of tradition. Its instrumentation soothes the ear, while the lyrics are far from peaceful. There is unrest in its undercurrents as it demands justice for all American citizens. Camp Bedford masterfully weaves the old into the new. They transform outdated messages into art that is not only updated and inclusive but, at its core, a call to action.
Camp Bedford Mission Statement
Our America is a national anthem for a country in peril. It’s easy to find ourselves in a cycle of existential dread amidst near-constant news of gun violence, attacks on queer rights, police brutality, and climate crises fueled by corporate greed. Our America is a call to the listener to stand together against the hatred and fear that our nation is built upon. It’s a plea to maintain hope in community and each other, to remember that we keep each other safe. Most of all, Our America imagines our ability to build a nation that truly uplifts and protects all of its inhabitants.
We are releasing the track on the last day of Pride month, in time to give folks a message of togetherness and hope on July 4.
Have a listen below, and keep an ear out for those references!
