Finding the perfect song to play while driving with the windows down and music loud is an enthralling experience that can be found immediately after pressing play on rock trio Lone Kodiak’s new song, “PDX ‘97”. The band was formed in East Los Angeles, but met in Portland, Oregon, which is where this story takes place.
A true story, “PDX ‘97” takes the listener on a stirring journey through the streets of Portland alongside teenage runaways. It would be hard not to picture oneself as one of the characters in the song. Lovestruck and adventurous, the teenagers embody the very type of love that seems to only play out on film screens, except the listener doesn’t have to experience it through a screen as the song brings the story into the car, bedroom, or shower of anybody who listens.
What Lone Kodiak has done with their latest release is to take a personal story and help each listener see some version of themselves in it. While resonating with the 17-year-old high school student experiencing love for the first time, it also can resonate with the 65-year-old retiree who is reminiscing on her first love during her teenage years. Transporting people is one of the greatest things music can do, and Lone Kodiak does it well. Member Dainéal Parker explains:
I normally shy away from writing anything too personal or plainly autobiographical, but the vibe of this song just took me right back to those hot days and cold nights I spent wrapped around the finger of a girl, and our summer trying to find couches to crash on but often settling for cardboard.
If it feels like the entire world is loud, one may find some solace when beginning to watch the new video for Ricky Reed and Michael Sneed’s “Shipwreck”, which appears on Reed’s critically acclaimed debut album, The Room. Once immersed in the world of “Shipwreck”, however, the viewer will come to realize that it is a much needed and appreciated look at the inner dialogue of someone who is feeling hopeless and exhausted amidst a slew of devastation, including limitations on his freedom due to systemic oppression.
The video is calm while the lyrics tell a heartbreaking story of insecurity and struggle. Filmed in a seemingly secluded shipyard, the video serves as an accurate visual for this story as the character describes feelings of loneliness. One may compare seeing Sneed singing with nobody around to listen to feeling like they are screaming into a void, which may be just what he was going for. The character in the song feels weak and unable to swim through the various obstacles he has been met with, deciding it will be easier to drown. By the end, the viewer is left with a thought-provoking perspective about what it means to be free. Perhaps this character is stronger than he perceives himself to be. Sneed seems to believe so, saying:
The character of this song views himself as a coward. But to willingly die into the unknown has to be one of the bravest things a human being can do. So it hurts and terrifies me to know that we live in a dangerous space where there are people brave enough to have a stare down with the mysteries of death but feel they are too much of a coward to continue living their life and fighting for the freedoms and joys they believe they deserve.
Are you ready to fall apart to the most emotional country song this side of the heyday of Rascal Flatts? Endearingly so, the latest release from Amanda Shires and Jason Isbell will move you to tears. Reinforcing verbal support during times of trouble is important, especially during these times. We are overwhelmed with gratitude for artists like Amanda and Jason. Not only is their work absolutely delightful, but they stand for the right side in a very important battle in the American landscape.
Shires is one of many country artists speaking out in support of accessible abortion options. She expands:
This song is about making tough decisions and not having to go it alone. To me, ‘The Problem’ is a song about supporting someone you love through a difficult time. It’s about helping without exerting your own will. I support a woman’s right to choose, and I know these choices are never easy.
Get ready to feel those emotions with this new single.
Though his sound has been shaped and mastered over years of musicianship, John Shipe’s greatest collection of work comes, arguably, with his new release, a full-length titled The Beast Is Back. His twelfth release, Shipe has poured what seems to be his entire heart and soul into it. Though most of this release edges on a lighter feel instrumentally – we admit, there are some heavy topics involved here -, Shipe makes sure to pay homage to his blues roots with songs like “Jesus” and “Cosmic Repo Blues”. Meanwhile, his relatable life experiences are palpable in his lyricism, a factor we have always been partial to.
John’s struggle to be as vulnerable as possible really makes each one of these masterpiece songs that much more heart-wrenching. Admits Shipe:
This is the album of my life. I may not make another one because I may not have anything left in me. My experience in recovery—both as an alcoholic and an artist—brought me to places of brutal honesty, and it has been exhausting.
This extensive collection is so well done, from beginning to end. Experience The Beast is Back in its entirety below, and let us know what you appreciate about the album on our Facebook page!
“What’s in a Name”, the lead single off of Jeni Schapire’s upcoming EP, is a window into the story-rich lyricism and soulful vocals that frame fractured relationships, pressures to compromise, and questions of identity. “What’s in a Name” deals with the third; Schapire molds images of her artistry, her name, and even her identity itself into melodies that gently soar across their sonic space. The Nashville-based singer-songwriter writes indie experimental pop songs, a genre that, in “What’s in a Name”, initially manifests itself as a background made up of fuzzy, nostalgic big band and string ensemble sound. Later, a jolting beat twitches underneath smooth-as-silk vocal lines, adding a fragmented layer to the otherwise smooth soundscape. The slow tempo, wistful orchestration, and expressive melodies give the track an overall moody sound, yet undertones of confidence peek through here and there. All of these details lead towards the final section of the song, where the beat bows out and we’re left with that blurry brass-string sound and Schapire’s ethereal voice. Together they paint the aural horizon with beautifully muted colours, creating a lovely space for the listener to immerse themselves in. Be sure to be on the lookout for “What’s in a Name”, and Schapire’s EP, which can’t get here fast enough.
A good album doesn’t always have to be a grand release that tries to pull out all the stops. Sticking to what works for an artist and being cohesive can lead to their best work. Anya Marina’s new album Queen of the Night is exactly that. It is a cohesive piece of work where Marina’s voice floats over the lyrics like she is tracing them with her voice. 15 years after the release of her first album, this might be her best album yet. Queen Of The Night was written and recorded in part in Nashville with several producers (K.S. Rhoads / “Love the Most”, Katie Herzig / “Lucky Star”) and San Diego (with Brian Karscig of Louis XIV and Nervous Wreckords on “Just Calling”) but mostly in NYC with producer/artist Miles Francis (Last Word, Creeps, Can’t Nobody Love You, Nothing, The Man, 16 Letters, Ain’t Misbehavin’) and Christopher Kuffner (“Broken Bottles”) from A Great Big World.
Opening with the title-track, “Queen of the Night”, was a strong choice by Marina. Listening to the song, you can picture it becoming an anthem. “Last Word” is a hazy dream where her voice drags through the pain of pretending. Things pick up with “Broken Bottles” as Marina sings, “hard to be wrong, worse to be right / stuck in the middle of a losing fight,” over a mid-tempo beat. Similar to the sound of artists such as Ingrid Michaelson and Regina Spektor, Marina has a certain characteristic to her music that is present in every song. There is an unmistakable quality that you have to admire in Marina’s work.
“Me and My Phone”, one of the singles off the record, jazzes things up. The chorus has a deep bass that feels nostalgic. “Can’t Nobody Love You” is a testament to the love Marina gives, no one can compare. It is the perfect slow dance song for a wedding. “Lucky Star” combines all the elements used in the album, but with layered vocals for an echo effect. It is the most ambitious song on the album, and might be a fan favorite. Similarly, “Just Calling” has echoed vocals but takes on the story of a breakup. Marina is known for pulling off great covers of songs, like T.I.’s “Whatever You Like”, and she does it again. This time she slows down Taylor Swift’s “The Man”, but does it gracefully. If you weren’t a fan of the song, you will be now. Overall, there wasn’t a single song that made you want to skip over or made you think it was a throwaway that snuck onto the tracklist. Everything makes sense and is in its place.
The prolific singer-songwriter is no stranger to success as she was a part of the platinum-selling soundtrack to Twilight: New Moon, her music appeared in TV shows like 13 Reasons Why and Grey’s Anatomy and she opened for Nikki Glaser in theaters across the U.S.. Marina has been independently releasing her music and will continue to do so with Queen of the Night. With great style and sound, Marina didn’t need to do anything except be her authentic self for this album.
If you’ve been craving a music video/visualizer that is just as artsy as it is entertaining – trust us, those two qualities don’t necessarily go hand-in-hand – then Grand Nathaniel has quite the treat for your Friday. The nineties-tinged “Wide-Eyed” echoes luscious pop goodness, while the video itself is comprised of abstract versions of our protagonist, Grand Nathaniel himself. He sings of metamorphoses, as he urges you to “Come and watch wide-eyed with me.” And with the colors involved in this music video? You’ll definitely be watching, wide-eyed.
They’re genre expansive, gender expansive and multi-instrumentalists. They’re LE FOMO and they’re back with their new album Swallow Me Whole. The electro thrash pop duo is releasing nine tracks that are bound to get you out of your seat and onto your feet. The driving bass lines, catchy guitar riffs and punchy vocals will give you a feeling of nostalgia, but still giving a new and fresh sound. Ess Nelson (Vocals, lyrics, synths, bass, beats, arrangement) and Kai Hofius (guitar, drums, lyrics, bass) are based in Oakland, CA.
Swallow Me Whole was recorded and mixed by Maryam Qudus at Tiny Telephone and Best House Studios and mastered by Piper Payne at Infrasonic Studios. “NOTDF (Nip on the Dance Floor)”, is one of the three singles off the album and has been gaining traction through the press and from fans. “Tiny Anchor” at the core is all about loving someone, while letting go of the fears it might bring along. The song was accompanied by an animated music video that ends with the sailor letting someone in.
Although their beats may be lively and easy to lightly listen to, if you really pay attention to the lyrics, they are very clever and full of emotion. The title track, “Swallow Me Whole”, is a prime example of this especially with the verse, “Infuse your bloodstream / infuse your heart / bathe every organ, every soft weathered scar / won’t you swallow me whole, so I can sing to your guts / fill your tenderest parts, and rub up on your heart.” In “We Were Never In Control”, there’s a great combination of elements that are reminiscent of something that you might hear in the 80s. “Heedless Velvet Moonshine Rocket” is a nice transition in the middle of the album, it is a prime example of their smooth production and arrangement. “Corkscrew Hourglass” continues this sound but with Nelson’s vocals flying high over the song. Things slow down slightly with “Parabolic Rinpoche”, but still continue with the upbeat tempo that they are known for. On a less serious topic than pain,“Spoon Revolt” is about switching up who is the big and little spoon. The album wraps up with “Hot Whiskey”, it’s a slow burn that stands out on the album. It ends how it begins, with original style. LE FOMO has created an amazing piece of art inspired by pain and healed their wounds in the process. With diversified musical influences from artists like Prince, Karen O, Devo and Janelle Monae, they have created their own unique sound. Swallow Me Whole calls on us to become our fullest, most expansive selves and to find authentic human connection in that place, together. It goes beyond just an album and is a piece of the journey for LE FOMO.
