by ImperfectFifth | Aug 13, 2020 | albums, review
By: Leigha Stuiso
Singer-songwriter Kandle (Kandle Osborne) found herself recording her latest release Stick Around and Find Out during lockdown. But you know what they say; extraordinary circumstances call for extraordinary music. Okay maybe that isn’t what they say, but in this case, it is true. The Canadian artist was focused on her vision for Stick Around and Find Out and the result is a great addition to her work. The varying sounds through the tracks fit together just right for a solid EP.
Osborne went through a journey to get where she is today, all while reclaiming her sound. According to her recent Instagram post, each song was recorded in a different city by a different producer and each was written in one day. On “Spell”, there is a story behind the catchy lyrics. It is about falling for someone and giving them all the power, like there is a spell controlling and pulling her back in. Continuing on this journey, Osborne finds herself helpless on “How Can You Hurt Me”. Not only are the lyrics relatable, but the music behind the lyrics can pull you in all by itself. The smooth production behind the tracks puts the songs on another level that will have you dancing along in your room. “Just To Bring You Back” is one of the more upbeat tracks in the collection. It sounds funky and somehow spooky, feeling like it would be the perfect music for a Halloween party on a show like Euphoria.
“Better Man” finds Osborne in control of her music after being tangled in recording contracts. Produced by Ben Simonetti (Zac Brown Band) and Liam O’Neill (Kings of Leon) in Nashville, the track is probably the most personal and freeing track after being stuck in such a difficult situation. Osborne said on the track, “I signed away my freedom. I wasn’t allowed to perform or release music or do anything, consequently, my career was put on hold for years. I was taken in the prime of my career and was stopped — my music was lost. Four years later, I started my battle for freedom.” Now that she can create songs like “Little Bad Things” and “Cemetery”, where her smokey vocals flow freely through her creative lyrics, she is thriving. Even with her final track, “Happy Pills”, she continues with clever lyrics and unique sound. The lyrics, “One to keep me calm / two to stop the pain / three to right my wrongs / and four…”, echo around the mind long after listening to the track.
After all that Osborne has been through, she is now at the top of her game. Her songs are cathartic, but at the same time seem to focus on empowerment and looking towards the future. This EP is only the beginning of her talents and she is bound to take off and become a big name in the industry. The charm shines through the music and her talent is undeniable, as she writes her own personal experiences instead of aiming for cookie-cutter radio tracks. Stream Stick Around and Find Out now.
by ImperfectFifth | Aug 13, 2020 | soundtrack, videos
Sometimes you feel so unmotivated that even music doesn’t get you out of your funk. But, what if it’s just the selection of best music VIDEOS that get you inspired? We’ve got the best new numbers of August 2020 right here for you to enjoy. Perhaps a luscious new landscape, a fun turn of phrase, or interesting video style will bring on some insanely vibrant moments for you this month?
Go ahead and give it a try.
by ImperfectFifth | Aug 12, 2020 | singles, wolf tracks
Jono Dorr, a prolific songwriter and producer, has released his 6 part project, titled The Unexamined Life Part 1. Dorr has helped to launch and sustain the career of noteworthy artists such as Hayley Kiyoko, and has worked with Kehlani, The Neighbourhood, and Gnash. Hailing from Los Angeles, Dorr grew up playing bass and guitar in various bands, primarily exploring classic rock, blues, and funk. In high school and university, he began to develop his production skills. The opportunity to create electronic music at an early age allowed him to hone his ability to a finely sharpened point which he now uses to precisely pioneer a soulful revival within the modern pop landscape. The Unexamined Life Part 1 is an eclectic piece of work that is equal parts haunting, delicate, and devastating. Dorr explains, “The Unexamined Life Part 1 is about choosing pain over ignorance, freedom over obedience, and purpose over greed. Each song focuses on different moments in my life that compelled me to look inward for answers.” With each moment comes a wide range of emotions that make the EP accessible to anyone who is looking to relate to something.
Right away, “High Tide” introduces you to Dorr’s “soulful revival.” His use of gospel-like harmony is sparing and thoughtful. The dynamic interplay between his solo vocal lines and the harmonically supported lines creates a grand, dramatic overall sound, but the underlying dance beat invites the listener to get on their feet as well. Dorr’s vaguely Avicii-sounding voice glides through melodies that are incredibly singable, so don’t be surprised if you find yourself singing along.
“Envy The Man” briefly sounds like a ballad, with simple piano chords and a slow tempo, but soon understated elements come in– a beat, soft electronic chords– until the chorus hits with a mélange of surprising sounds that flow together in completely disjunct harmony. Bubbly notes, phasing chords, explicit beats, and resounding background voices that sound like part of the instrumental fabric themselves are a testament to Dorr’s exceptional production skills, making it the standout track on the EP.
“Quiet Footsteps” is slow, vengeful, and faintly menacing. It begins with some jazzy piano that struggles to ring out amidst a windswept background, while incessant cymbal attacks keep a slow but resolute beat. Dorr sings “I can’t escape,” and the words rebound, as though they themselves are trapped. Soon after, an extremely distorted guitar solo torments its way through the dark atmosphere. But then things change and the clouds part as the gospel harmonies of “High Tide” return. The hopeful sound of their unified voices are surprisingly uplifting compared to the rest of the song, adding an intriguing twist. As the music and then voices fade away and the song reaches its end, it feels somewhat removed– as though you’re floating away.
The picture of distortion and obscurity that “Quiet Footsteps” paints is focused into something that is infinitely more intimate in “Wanna Stay.” Raindrops and gentle acoustic guitar picking make you feel so much closer to Dorr and the aching tenderness that his words and music unveil. Again, Dorr’s experience with production shines through, with each electronic touch completely free of edge– fitting beautifully with the natural sound of the acoustic guitar. Soulful harmonies subtly support Dorr’s voice, especially on the word “stay,” the most important word in the track.
But the cozy enclosure that “Wanna Stay” seems to exist within is shattered by the next track, “07 Child.” You’re transported into a dark, dusky alleyway with a foreboding chill creeping its way into your body. Voices meander about in the style of Gregorian chant, a guitar relentlessly plays a static interval, solemn “mmm’s” embed themselves into the framework, and three unsettlingly tangible knocks ring out in an all-too-real fashion. When Dorr comes in, he sings “stay close to me child” on a melody that implies the eerie harmonic minor key–full of intent, yet daunting. The song continues on in this way right until the very end, slowing fading out and evading any sort of resolution.
The closing track, “Today”, plays off of the unnerving energy of the previous track, but in a more melancholic way. Haphazard voices meander around at the beginning and end, and while the beat is relaxed, the guitar is anxiously fast. When you reach the lines “I feel like a child standing at the edge of a cliff. He’s wondering why he wants to jump… maybe there’s some peace down there,” the words are fitting to the music, but that doesn’t make it any less distressing. While we’ve heard the soulful revival in most of the tracks so far, “Today” features it in the most modern way, with the harmonies on the words “feeling used” embodying an electro-gospel sound. The ultra-distorted guitar from “Quiet Footsteps” makes its return, but it’s somehow even more anguished than before. There’s a hint of a resolution, but the music fades away instead, until all that’s left is the wind… framing some of the lines of the song in a new light…
The Unexamined Life Part 1 somehow manages to pack darkness, sentimentality, storytelling, dance music, innovative soul, and adept production into a concise 6-track package. Jono Dorr is setting himself up to go far, so let this EP be your glimpse into the bright future that’s in store for his music.
by ImperfectFifth | Aug 12, 2020 | premieres, singles, wolf tracks
The Blam Blams put a spotlight on behind the scenes magic in their latest single and title track of their upcoming album, “Opening Night”. For their debut album, they have created a concept album exploring the life of Sydney Fabel, a bisexual actor/artist in 1970’s London, stepping onto the stage for the first time both literally and figuratively. The curtain is drawing and there is an inside look into the mind of Fabel with this track. The narrator is nervous, but excited for the show to begin as the opportunity to be heard and seen is finally here.
“Opening Night” can resonate with anyone who struggles to express themselves and longs to be seen, despite the fears that may come from it. Starting with the muffled voices of the audience and introducing the inner thoughts of Fabel gives a theatrical sound. The song continues to build and grow stronger, not only with the music but with the character and his journey. The Blam Blams, made up of Bradley Owens (lead vocals, piano), Christian Northover (drums), David Estes (guitar, producer) and Rob Stewart (bass), are exploring themes of sexuality, gender, love, and living without a mask with their album Opening Night. This track is only the beginning of an enticing story, an undercurrent of the entirety of the album.
Pre-save the album HERE.
by ImperfectFifth | Aug 11, 2020 | singles, wolf tracks
In their new affection-infused single “One in a Million”, NYC pop trio Running Lights remind listeners to savour the moments in life that we hold dear. The trio wants to stress the importance of cherishing your loved ones, especially in light of the social isolation that has come with the pandemic. If you don’t actively nurture your relationships with love and devotion, it’s easy to lose sight of them. “‘One in a Million’ is a leap of faith. It’s about letting moments that feel like they’re meant to happen, happen,” explains vocalist/guitarist Mike Squillante. The infectious track uses a dance beat and a zealous electro-pop sound to perfectly encapsulate the energy of a romantic late night on the town. It fuses together the tenderness and the intoxicating thrill of love, using romantic piano and adoring lyrics but also zestful beats and electric synths. The words paint an endearing picture of a couple exploring the city in their own bubble of bliss, lost in love-driven oblivion.
Running Lights is made up of siblings Mike and Nick Squillante and their childhood friend Stephen Ranellone. Hard work is their mantra, a deep-rooted concept coming from their Italian working-class upbringing and the perfect pairing to their passion for music. The trio has a plethora of experience in the music industry; Mike has toured as a guitarist and keyboardist for major label acts such as Melanie Martinez and Gnash, Nick utilizes his skills as an engineer at NYC’s Electric Lady Studios, working with legendary artists such as Frank Ocean, Bon Jovi, and Mumford & Sons, and Stephen is the touring drummer with the indie artist Pronoun. Running Lights is the dynamic culmination of each of the members’ unique skills and experience, and “One in a Million” is a testament to their talent and determination.
by ImperfectFifth | Aug 11, 2020 | Uncategorized
Who Cares How It Ends is the debut album from War Strings and is the result of passion and perseverance. Los Angeles-based indie artist Andrew Stogel has been working on his craft from a young age and all of that hard work has led up to this. War Strings is an evolution of fronting bands like Dreamer Dose and LOVEYOU combined with his life experiences, both good and bad. Stogel suffered a major head injury that caused him to be bedridden for almost eight months, making him feel like he was on his deathbed. However, he came out of this stronger than ever and stumbled upon a new musical perspective in the process. He recalls, “I wrote Who Cares How It Ends following a debilitating injury in 2018. I remember, on the way to the hospital when things seemed their most dire, feeling a sense of clarity. When I got home, I wanted to get songs down quickly. I spent months stuck in bed, writing in a dark room. Endless days of reflection. Who Cares How It Ends are those reflections.”
The album starts with the sounds of a jarring guitar riff, a sound that becomes very familiar throughout. “Right Side” sets the tone for War String’s signature sound and opens the floodgates for the rest of the tracks to flow through. Sounding like a male version of Snail Mail, “Tragedy” is an indie-punk headbanger that is bound to stick around in your head for a while. The lyrics that stand out the most are, “She’ll ever listen to my love songs / she’s all I want / I’m doing it all wrong”. Not only is Stogel’s sound reminiscent of Snail Mail, but the sounds of The Strokes and Pinegrove. There is a reliance on this prominent guitar sound that compliments his vocals, “Seventeen” is the prime example of it. If you listen closely to the lyrics, “My Alien Heart” stands out among the rest of the tracks. You can hear the strain behind his voice and the passion behind the music.
This re-approach to music and the life-changing experience he faced made Who Cares How It Ends a true journey. About halfway through the album, things start to slow and become more vulnerable. “Archer” sounds like a song that was released in the 90’s, a slow, indie rock single. This sound is similar to “One Shot” and “Loved” as well. The final track, “An Answer”, is the most vulnerable and soft song. Stogel’s vocals float over the light instrumental and leave you with a good taste in your mouth. Over three months, and mostly in bed, he crafted this debut album and overcame a big setback in his life. All music and lyrics were written, arranged, and performed by Stogel himself. He admits of the project:
“I wrote Who Cares How It Ends following a debilitating injury in 2018. I remember, on the way to the hospital when things seemed their most dire, feeling a sense of clarity. When I got home, I wanted to get songs down quickly. I spent months stuck in bed, writing in a dark room. Endless days of reflection. Who Cares How It Ends are those reflections.”
It all represents reconstructing his life and embracing the imperfection because you only have one shot at life, so why waste it?
by ImperfectFifth | Aug 10, 2020 | singles, wolf tracks
Maps & His Mothball Fleet have released “Visit Mississippi”, the second single off of their upcoming album GULF, due out on August 21st on Azteca Records. Matt Wanamaker, nicknamed “Maps” by a young niece who couldn’t pronounce his given name, was deployed to Afghanistan in 2013 and again to the Gulf of Mexico in 2018. During his time there, he wrote and recorded the rough demos of 50 songs to send back and forth to musician friends using only a handheld cassette dictation machine to record and a metal chair to keep time. Mothball Fleets are collections of rusting Navy ships that are no longer needed but kept afloat in case they may be needed later. The give and take process that ensued during Wanamaker’s time in the military rekindled old collaborations and strengthened Maps’ relationships with his friends, transforming them into his own mothball fleet.
“Visit Mississippi” is the product of Wanamaker’s nomadic exploration of Gulfport, Mississippi while the turmoil of an unresolved and fleeting love churned inside him. He explains, “I was living on the Gulf Coast but had left a relationship up North with unresolved issues and a lot of ambiguity. We had been having problems, but somehow we just didn’t talk about them leading up to my move.” “Visit Mississippi” was written as an almost completely autobiographical account of his experiences, from the lyrics to the music itself. Each verse, each chord change and melodic flourish that Wanamaker offers are a glimpse into his relationship. His tense love and the architectural aftermath of Hurricane Katrina that he observed on the streets of Gulfport moved him to explore a darker style of melodic pop in the single. He captures the feeling of living alone during a long-distance relationship through distorted, gothic guitar pop melodies and an unsettled church organ backbeat. Subtle touches such as the rebounding vocals, mysterious bassline, and minor key further augment the haunted feeling that the track embodies. Even the underlying chord progressions project an untethered wistfulness that ties in well with the subject of the song.
It’s abundantly clear how much thought went into every detail of this track. From content to origins, “Visit Mississippi” conveys an authenticity that is absent from a lot of today’s music.
You can read more about the humble and awe-inspiring story of Maps & His Mothball Fleet on their facebook page, and look out for GULF, arriving soon.
by ImperfectFifth | Aug 7, 2020 | singles, wolf tracks
Xelli Island, the dream pop project of vocalist, songwriter, and shapeshifter Lianna Vanicelli, has released the first single off the upcoming debut EP of Vanicelli’s solo career, which she describes as her life’s work. After fronting various bands starting at age 14, Xelli began to grow tired of the conflicts that arise within a group dynamic, but today she has found strength and a clear creative direction as a solo artist. Growing up in Detroit as the daughter of a gravedigger, Xelli gained a profound appreciation for strong work ethic, survival, and gratitude. As she began to develop her own musical sound at a young age, she took her down to earth perspective from establishing a creative life in Detroit and her whimsical experiences visiting loved ones in the Philippine islands and used them to find her niche in writing music from a place of charming yet humble wisdom.
“02 20 20” was written during a unique peak of momentum in the eccentric artist’s life. She was adjusting to a new routine and constantly thinking of all the little steps that needed to be taken to get things done. When working with close friends and collaborators on this project, she applied this mindset, and together they have created an uplifting and productive support system that produces music that takes an honest look at both the inner and outer world that Xelli moves through. The track has a great beat that navigates through densely layered and lush synths that sound out of this world. These extraterrestrial synths are the perfect complement to Xelli’s sweet and otherworldly voice which animates the dream-pop sound. Her lyrics read straight from the heart, perfectly detailing the beauty and the struggle that is life in today’s society– something to look forward to on her EP as well.
Xelli Island is one to keep your eye on, it will be interesting to see how Vanicelli channels her breadth of experience and renewed creative energy into her solo career, and how she will reach new heights with her future endeavours. Stream “02 20 20” today, and stay tuned for her not-to-be-missed debut EP, coming soon.
by ImperfectFifth | Aug 7, 2020 | albums, review
Idris Ackamoor & The Pyramids reach their peak powers with their latest album Shaman!. The jazz collective created a stellar album that just adds to their impressive discography. The album was produced by Malcolm Catto at his analogue HQ, Quatermass Studio in London and the cover artwork features an exclusive painting by Japanese artist Tokio Aoyama. The album includes expansive tracks that touch on all different subjects, but blend together like they were meant to be. Ackamoor explains, “I wanted to use this album to touch on some of the issues that we all face as individuals in the inner space of our souls and our conscience. The album unfolds over four Acts with personal musical statements about love and loss, mortality, the afterlife, family and salvation.”
The expansive nine tracks tackle spiritual jazz with introspective themes, a different journey than their last release. Through different moods and emotions, Idris Ackamoor & The Pyramids take you on a wild journey. Starting with the 12 minute title track, “Shaman!”, they dive straight into soul-searching and dealing with masucline vulnerability. The variety spreads through the song, showing the lengths they can go to with their talents. However that variety is not limited to this track, it shows through others like “Dogon Mysteries” and “Eternity”. Now more relevant than ever before, “When Will I See You Again” mourns the sudden loss of loved ones. This track could resonate most with people because of the crisis we are fighting everyday.
“Theme for Cecil” is Ackamoor’s tribute to his mentor Cecil Taylor, whom he studied piano with in the early 1970s. The tributes don’t stop here, they continue with “Salvation” and “The Last Slave Ship”. These tracks are paying homage to their ancestors and referencing the Clotilda, which was the last ship to bring slaves from Africa to the United States. And finally, the best for last, “Virgin”. It is an anthem of forgiveness, new beginnings and self-healing, and the collective’s best track on the album. It encompasses everything they were trying to capture and ties the album together.
Although the band was formed in the early 1970s, time has done nothing but helped to season these professionals and it shows. It would feel like an injustice to not name those involved on the project, because of the talent and work put into this project. This fresh line-up includes original 1970s Pyramids member Dr. Margaux Simmons on flute, Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. Shaman! shows that they are not playing around and that they are here to make the best music they can.
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