A darling of charts and critics alike, Bette Smith is back with her wonderfully ferocious new album, The Good, The Bad And The Bette. Intrinsic to the wild rock and soul singer’s music is the connection that she made between the gospel she heard in church and the soul music she heard on the corner growing up in the rough Bed-Stuy, Brooklyn. Throughout her childhood, Smith was steeped in gospel music. She remembers, “My father was a church choir director. I was singing since I was five years old. I take it to church. I just break out, start speaking in tongues.” She also heard gospel around the house every weekend. “My mother listened to nothing but gospel,” she recalls, citing Mahalia Jackson and Reverend James Cleveland. “Every Sunday morning, she would get up and put on these records while dressing and praising the Lord.” In The Good, The Bad And The Bette, Smith and producers Matt Patton and Bronson Tew explore the power of soul and match it with the edge of rock music, going for a Southern rock soul/Aretha Franklin/”I once was lost but now I’m found” vibe. Sure enough, this album feels very much like rock, but with a blues/gospel attitude, with tracks embodying various feelings of comfort, anger, passion, friendship and even vulnerability in the form of rock-centric bangers, powerful gospel anthems, and even a few tracks that have the taste of a ballad.
But before we can delve into the tracks, we must take a moment to praise Smith’s lustrous vocals. She is gospel, through and through, and you can hear it in the way she sings, but more than that you can feel the years of immersion in gospel and soul that she experienced growing up. Her voice is rough, raw, and absolutely delectable.
But it’s amazing to hear the ways she can apply those vocals to so many different emotions. There’s the groovy comfort in lines like “Don’t be afraid, all is well, I’m here” in “Signs and Wonders” that guides you through the classic blues-rock harmonies, which are revitalized by fresh guitar sounds and colours from the brass. But there’s also the touch of anger that emanates from “Fistful of Dollars” that then diffuses into the passion of the sparkling “Whistle Stop.” Smith sprinkles some sweetness in “Song for a Friend”, complemented by the satisfying backing harmonies in the chorus. But even in the vulnerable, stripped back state of “Don’t Skip Out On Me” she maintains the attitude that can be so central to both rock and soul music, which is quite admirable.
Even in the softer songs, The Good, The Bad And The Bette has this incredible energy to it. This is an album of dance songs, and its magnificence desperately calls out to be heard live (please, COVID…) . Smith herself values the redemptive experience that touring has given her. “It’s amazing, like a dream come true,” she says. “It’s very spiritual and I go into a trance when I’m singing. The fans are like family. I feel very loved. They are very present. I went through all of this so I could sing and now that I can sing I’m finding the love that I’ve been looking for all my life.” Some of the anthems like “Pine Belt Blues” and “Everybody Needs Love” also hold some of the greatest lines that one could belt out with Smith as you watch her on stage. The sultry gospel singing in “Everybody Needs Love”, along with its anthemic harmonies and lines like “Everybody needs love, just like they need the sun and moon and stars above” create a beautiful and totally universal sentiment that would be so powerful in a live setting.
To finish things off, Smith offers “Don’t Skip Out On Me.” The track slows things right down, beginning with just Smith and some acoustic guitar. As more instruments are threaded in, touches of effects create this resonance that makes the space she’s singing in feel so much bigger. Midway through the song, there’s an echoing trumpet solo, which takes individual segments, offsets them and then weaves them together to make beautiful patterns of sound that ring out in their own world before joining the rest of the music once again. It’s this gorgeous interlude that comes as a surprise yet fits in perfectly with the album as a whole that makes the final track on this album the standout. At first the choice to end off with a slow song was surprising, but after listening through, the majesty of this track proved to make perfect sense as an ending.
The Good, The Bad And The Bette is a vivid marriage of rock and soul music that displays Smith’s rich background in the genres and envelopes the listener in a variety of emotions by means of colourful bops and sentimental ballads that are united in their unrelenting attitude and firepower. One can’t help but yearn for the day that these tracks can be heard in their full glory, on stage.
After a major shift in her life, including a divorce and personal upheaval, Lydia Loveless returns with Daughter, her first album in four years via Honey, You’re Gonna Be Late Records. Across 10 songs, she goes beyond her comfort zone to tell her story through heartfelt lyrics. This is a new side to Loveless, but all a part of her journey. With her unmistakable voice and alt-country sound, Daughter is the cathartic release that’s been trapped inside all along. On the album, Loveless explains, “I felt frustrated with myself for going straight from my tumultuous teen years into a marriage so that I could feel safe, and right when I was getting out of the situation, people around me were settling down and having kids. I felt lost and inexperienced, meanwhile the political landscape was turning even bleaker. Many men were coming around to feminism because they had just had a daughter. I’d see billboards on the side of the road imploring people not to hurt women because they were somebody’s daughter or sister or mother. And I was living as an individual for the first time, and don’t have maternal desires. My family was in turmoil so defining myself as a daughter or sister didn’t give me much comfort.”
Starting the album with “Dead Writer”, Loveless wastes no time getting right into the fallout of her divorce. The track is mellow and the lyrics address the end, which previews the vibe for the rest of the album. The singles “Wringer” and “Love Is Not Enough” have already started to gain praise from fans and critics. The singer-songwriter struggles with conflicting desires on “Can’t Think”, continually building until the end of the track. In working on this album, Loveless found unexpected inspiration in learning new techniques and gear and it shows. “Never” can be traced back to her George Michael phase, built on a foundation of synthesizers. The title track can be described as a meditative song where she reckons how her place in the world is defined. “September” is a somber, piano-led arrangement, featuring cellist Nora Barton and guest vocals from her friend Jane Grace. Finally, “Don’t Bother Mountain”, the longest track on the album, is built on drum machines and keys. Her sound is refined and all of the different elements blend together to create a collection that exhibits the true Lydia Loveless.
Lydia Loveless has found a new side of herself and it only is up from here, for both her personal and musical journeys. Daughter was recorded at The Loft in Chicago with Tom Schick (Wilco, Mavis Staples, Norah Jones). She has gained an untapped sense of self that shines throughout the album, unable to hide the emotion behind the lyrics. There always is a light at the end of the tunnel, and Daughter is Loveless’ light.
Twenty-year-old Caroline Culver’s new single “I Went Out With A Man” is an ironic lesson in enjoying disappointment in the form of a mesmerizingly moody anthem. Culver recounts her experience going out with a man in his late twenties and finding that her expectation that he would be any more mature or exciting than a boy her own age to be unfulfilled. Recorded and produced by Jason Cummings at the Cutting Room Studios in NYC, “I Went Out With A Man” uses Culver’s foundation as a singer-songwriter as a jumping-off point, exploring stately vocal lines superimposed on top of introspective soundscapes. The resulting atmospheric sound echoes that of bands like Alvvays and Soccer Mommy, but the distorted guitars and crashing cymbals give Culver a bit of an edge. Her powerful voice perfectly encapsulates the saturnine disenchantment of this song both in the softer verses and the grandiose choruses. Each melody line is surprising, compelling the listener as Culver’s voice flits upwards at the ends of words.
About the song, Culver says “Ultimately, this song is an anthem for single girls dating around in their twenties and all the excitement it brings.” So while the underlying emotion behind “I Went Out With A Man” is a sense of disappointment, it’s also a tongue-in-cheek celebration of the exhilaration that comes with a young girl finding her way.
Melted Bodies released its full-length debut album, Enjoy Yourself, via Sweatband Records. The energy is high and there is a groove that flows through each song into the next, although each has its own unique style. The Los Angeles-based band creates music that goes beyond just the genre of rock, there are different elements throughout that make their sound unique. For those who might not typically listen to metal, it can be hard to differentiate from the music in the genre, but Melted Bodies stand out. Whether it is elements of traditional heavy metal, thrash metal or small hints of electronic and indie rock, the quartet will surprise you with each song.
The production across all 10 tracks is consistent and binds everything together. Starting with a crescendo into “Eat Cops”, sets the tone for all that follows. “99 Scents” raises the bar; ramping up the speed and aggression. “Phone Tumor” is less aggressive and a song I would recommend to listen to first if you aren’t familiar with metal. Similarly, “The Rat” has a chorus that has a riff reminiscent of rock bands like The Strokes, but quickly transitions back to their metal comfort zone. It is the song that I think will stick out to people and one that will call them back to listen closer to. “Ad People” comes with a clever video on YouTube that spoofs vapid Internet content spewing culture. “The Abbot Kinney Pedophiles” flows into “Helplessness” without you even realizing, with a slow tempo opposite of the typical fast-paced sound. “Meat Cleanse” is the perfect finale for the album. It is seven minutes long and encompasses each of the elements visited in each song, without being too much. With solid riffs and true consistency between songs, Melted Bodies created something bound to leave an impact. Enjoy Yourself isn’t just the title, it is a message from the band.
Rising anti-pop star Dava is once again enchanting her listeners, channeling her unique brand of offbeat pop in her new single “Papercut”, the latest off her upcoming EP, Sticky. The left-of-center pop newcomer turned to music after her mom passed away when she was only 8, finding solace in writing songs on a guitar that her mother gave her. She grew up between Texas and Oklahoma, but has since moved to Colorado to build her career. Releasing tracks on SoundCloud and taking advantage of coffeehouse open mics earned Dava a substantial grassroots following, her warm R&B sound appealing to a wide audience. With “Papercut”, Dava further explores the sonic space she has created for herself. Its soulful and tangible pop sound feels like a cozy blanket wrapped around the listener. Dava’s vocals are delicately produced in a way that serves to augment her natural talent. As a whole, the track has this soothing, relaxed vibe to it. The verse melodies gently propel you along while the echoing choruses envelop you in static, yet infectious layers of the phrase “you’re just a papercut.”
Dava’s music is eccentric, yet feels instantly familiar when it hits your ears. It’s no wonder that her two previously released singles, “ASOS” and “Right Time”, have highlighted the emerging artist as one to watch. Sink into “Papercut” today.
Home Remedy tackles current issues, but gives you feelings of nostalgia with their sound. This album is the first release for Sundressed under their new label Rude Records. The indie-punk band has a sound similar to Modern Baseball, Weezer and All Time Low. The 11 tracks LP follows the 2017 release, A Little Less Put Together, and is a fresh, new sound for the band. Produced by Mike Pepe (Taking Back Sunday, Wasi), the highly anticipated album is finally out. Frontman Trevor Hedges said, “Home Remedy is a record about getting better by any means necessary. Despite many setbacks, I truly believe we were able to make our most authentic and honest record yet.”
Hedges along with AJ Peacox (guitar), Vic Chan (drums), Matthew Graham and Justin Portillo are putting their best foot forward with “Home Remedy”. The title track is everything you would want from the band and more. It is a cathartic release that is meant to be put on at full volume. Fans have been quick to praise the other singles, “Oh Please” and “Size of my Heart”, off the album. “Is This a Drug?” is the song that caught my attention the most. The lyrics are begging to be heard and belted back at the track; you can envision how this track would perform at a concert.
The Atlanta-based band rock out on “The Facts” and “Explode! (Into Pieces)” with strong guitar riffs and drums. Things get serious on “Cash Out”, which tackles the issues of money, insurance and mental health; “Is this the reason why we’re dying? / it’s probably more affordable so just stop trying”. Hedges explains that “Your Frequency”, “is about the “side-hustle” culture. How it’s never okay to relax, how something always comes up when you’re almost ahead. This song is about the desire to have less worry about essential needs and have more time to be human.” All the tracks are honest and catchy at the same time, without being cheesy. Listening to Home Remedy it is easy to see the effort and time put into crafting these tracks.
What started as Hedges project in 2012 to help maintain his sobriety has turned into a place for others to find comfort in themselves. The band tries to make an impact with their music and pushes listeners to keep moving forward. In this record, Sundressed focuses on topics like frustrations with money, hustle culture and mental health issues. While being relevant with the lyrics, there is something about their sound that isn’t forced and feels warm. If you are looking for a sign to listen to Home Remedy, this is it. This is the sign.
Local Nomad took to our virtual stage for A Night w/ One in a Million Media: Imperfect Fifth’s Anniversary. With minor microphone problems and a lot of passion, the performance is what music is all about. With just a guitar in hand and a microphone, there was a feeling like you were at an intimate, acoustic concert. Watching an artist perform takes you out of the moment and transported to a different world, which is what happened here. If you weren’t a fan of Local Nomad yet, you definitely are now. Starting out with “Love is Gone”, off the EP LOCAL NOMAD, it is easy to tell that Mike Desmond loves what he does. Throughout the set, there is a fire behind his voice that ignites the lyrics and brings the songs to life. He plays three more songs, and talks about his decision not to play a Leonard Cohen song. With the help of his friend James, the set was a real success and gives you that feeling you might be missing from seeing live shows. If you have around 20 minutes and missed the original stream, check out Local Nomad’s performance below.
“Spotlight” is the latest single off Brit Drozda’s upcoming EP Seashells & Stories. It is an anthem to friendship, celebrating a selfless friend finally finding her truth. The lyrics are reflective and full of heart, shining a light on the kind of artist Drozda is. Not only was this song written about a friend, but it has the power to reach the listener as if the song is about them. “I had a very close friend share a truth with me that allowed me to see her in a whole new light. Watching her come into her own, made me so proud and happy for her. I felt like I was watching her step into a spotlight and own this stage of her life,” Drozda said.
Nowadays more and more music is coming out that is meant to empower and support people. Drozda is a great example of how and why this type of music works. On the EP, she worked with producer Scott Jacoby (Coldplay, Vampire Weekend) who helped transform the songs into a more distinctive and three-dimensional expression. The single “Spotlight” is accompanied with a lyric video with art by Windy O’Connor that brings the words to life. During the challenging times we are facing, take time to support your friends and listen to “Spotlight”. Who knows, you could be giving someone the boost you never knew they needed.
Have you ever heard of Transylvanian salsa? Me neither, until Sacramento-based artist Dutch Falconi’s new single “Ride With Me” crossed my path. As you might have guessed, the music of this wildly unorthodox composer exists entirely outside the norm, taking the form of cohesive and border-transcending instrumental pieces. But while Falconi is off breaking boundaries and crossing into new territories, he also delicately pays attention to what his notes are saying: “When you think about writing instrumentals, you realize that if you take away the dimension of having a vocal as a bridge to people who aren’t musicians, you restrict the palette, then you have to figure out a way to really make the instruments say something.” But rather than words, “Ride With Me” speaks in images. Coming from a place of disillusionment and drudgery, Falconi pictures a spirited escape on horseback from the ordinary details of life, but for myself the Transylvanian connection and the dark, yet slightly groovy undertones of the track firmly implant in my mind the brooding scene of a sophisticated vampire function. In any case, “Ride With Me” is offered as an anthem to those seeking a better life. It’s easy to escape from reality in the layers and layers of unusual instruments that I’m not even going to tryto name. Just know that there are many, they all have their own unique sound, and they are intricately layered and mixed together to achieve a form of sonic enlightenment. On the surface notes may crash into one another and get into a jumble, but underneath there’s this distinct and smooth harmonic framework and danceable percussion that holds everything together. The syncopated beats are somewhat disjunct, yet easy to follow.
Because of its noticeable focus on layers, “Ride With Me” is a testament to Falconi’s compositional technique: writing songs piece by piece, folding instrumental tracks on top of each other to create a thickly woven tapestry of sound that is as jolting as it is remarkable. Though it was written as an antidote to Falconi’s own disenchantment, he offers it to the entire world, and he hopes that it translates well into something his audience can appreciate. He explains “That’s the hardest thing about making instrumental music when you’re multi-tracking all the instruments yourself. I don’t know whether I’m speaking to the audience with my instrumental music because I’m so intimately involved in it. It speaks to me because I’m speaking to myself. Hopefully, I’m not the only one listening.” Well, let me tell you Falconi: we hear you. So keep up your peculiarly bewitching endeavours, your listeners will be captivated from the moment that first layer of sound unravels in their ears.
