Echo Bloom’s founder and frontman Kyle Evans creates rigorous, detailed and well-thought out music. With the creation of Echo Bloom, Evans took their freshman album Jamboree and honed specific songs to create Blue, Red, and now, their latest album, Green. Accompanied by vocalist/keyboardist Aviva Jaye, Alex Minier playing bass and Cody Rahn on drums, Evans has created a collection of music that covers a variety of soundscapes and genres. Echo Bloom has been based in a variety of places, recently in New York City, and the multitude of locations mirrors the multitude of sounds they put out. Keep an eye out for Echo Bloom’s Green, out March 9th.
We were able to catch up with Echo Bloom recently — here’s what they had to say:
Echo Bloom is an evocative name. How did it come about?
The Baby Boom generation were folks born post WWII, so ~1946-1964. I heard once the phrase “Echo Boom” talking about the generation of kids that the baby boom generation had. My family always gardened a lot – we had this great big vegetable garden in our backyard – so “Echo Boom” became “Echo Bloom”.
Favorite live show played to date?
Breminale, in Bremen, Germany, in 2016. We performed under this beautiful circus tent, and it was our bass player Alex’s birthday, so we got about 500 folks to sing to him on stage before we started. It was about 400 degrees out and there a ton of lights, so everyone was *covered* in sweat by the time the show was done. But we got two encores, and ended the night at kind of this hub of Bremen called “Heartbreak Hotel” singing and toasting and laughing. It was the 8th or 9th show of a 60 date tour, and set the tone really nicely.
Recording: disciplined and rigorous or laid back jam sesh style?
More on the disciplined and rigorous side. We went into the recording of a record we put out a few years ago with a note-by-note score of everything, so the actual recording was more a documentation effort. We’ve gotten a little more away from that – we work more as a band to collaboratively arrange everything. But once we get in the studio, we usually have a very good idea of how everything is going to turn out.
Biggest influences for Green?
Ah, that’s tough. Musically – Big Star, Brian Eno, Neutral Milk Hotel, Debussy, and Pink Floyd. Lyrically -Georges Seurat, John Steinbeck, and Carl Sandburg.
Best part of touring?
The family. I am constantly amazed and humbled by the generosity and spirit of giving that we experience on the road. There is an amazing community of people that support art and go to shows – and being on tour allows you to experience that directly.
How did you come up with the idea for the album processes evolving from and following Jamboree?
It was pretty intentional. I finished Jamboree and took stock of what we’d come up with – there were a lot of good songs on there, but stylistically it was too diverse to make for any kind of consistent listening experience. We had a reggae song, a metal song, a country song, a weird French-sounding song. It was a *ton* of fun to make, but listening back to it – I mean, maybe we’re not a metal band? Maybe we’re not a reggae band? So I did an audit, and tried to figure out what the best songs were on the album. I took the three best songs, and wrote albums around each of them. The first was Blue (off of the song ‘The Prostitute’), then last year’s Red (off of the song ‘The Businessman’), and now Green (off of the song ‘The English Teacher’).
If you had one word to describe Echo Bloom to someone who had never heard of you, what would it be?
California’s Robert Vickers of The Incredible Vickers Brothers is truly a man for all seasons. Having dabbled in just about every aspect of the music world over the yearsand dealing with midlife crisis, he’s come around to putting out his own music that he wrote over the years. The result of years of musical sojourning is The Incredible Vickers Brothers. The latest single, “In Memory”, is off the album Torch Songs for Swingers, which is produced by Allen Clapp. The song oozes bittersweet nostalgia, acknowledging the past and learning how to cope with what is to come. Laced with smooth saxophone and dreamy guitar, “In Memory” pays tribute to heartache in an honest, mature, and beautiful way. If you’re looking to be entertained musically while still wanting to hear a specific message, “In Memory” is the track for you. It’s the perfect song if you’re in your feels on Valentine’s Day. Fun fact: “In Memory” even features a vintage 1978 drum machine for all you retro aficionados out there.
Keep an eye out for “In Memory”, off Torch Songs for Swingers, out March 9th via Mystery Lawn Music.
Milwaukee-based No No Yeah Okay, an electronic/pop/hip-hop/punk band is dropping their sophomore EP, Cabal, on February 9. Comprised of Mark Gage (producer), Christopher Quasius (guitar), Colin Plant (vocals) and Joshua Paynter (bass), the group, founded in 2014, signed to LA-based indie label Little Assembly last year. No No Yeah Okay came together to combine their music as one group, releasing their debut EP, Dual in 2014. They have already released their single, “Make Believe” and an accompanying music video. You can check it out here. It has been well received, being added to Spotify’s New Music Friday and streamed over 114K times, as the group has been growing in both recognition and popularity.
Kicking off Cabal with “Boulevard”, a synth-filled track that is highlighted with streams of even vocals. “Get Lost” provides more of a soft-punk sound with electronica that is not over-the-top, but perfectly present. “Make Believe” blends soft pop with hip-hop beats, while “That Ain’t You” is an upbeat, catchy track melding tight pop sounds with clear vocals. “What Can I Say” is one of the most hip-hop/electronic of the tracks, combining snappy beats with flowing vocals. Cabal shows No No Yeah Okay as more experienced, synced, and mature.
California-based singer-songwriter RIVVRS is gearing up to release his track “Don’t Wanna Know” on February 9th. A guitar-and-drums filled, mellow yet intriguing track with classic rock elements, “Don’t Wanna Know” brings a variety of pleasant sensations to the ears.
A talented artist who has even gotten songs on TV shows, RIVVRS (aka Brandon Zahursky) is no rookie to the music game, but still provides freshness in every track. RIVVRS will be releasing Cosmic Dream this year, having already released its lead single, “Don’t Give Up On Me”. RIVVRS says of his music: “I hope people listen to the songs that I have, and can somehow hear what is happening in their own lives. Everyone wants to feel a connection.”
His single “Don’t Wanna Know” does just that – it is approachable, relatable, and of course, enjoyable. With guitar that has you hooked from the first notes and vocals to match, “Don’t Wanna Know” is equal parts compelling and calming. RIVVRS also brings a hint of Americana to the song with just a bit of twang in his voice. Keep an eye out for not only “Don’t Wanna Know”, but all of Cosmic Dream as well.
Yoste is proof that nearly everything that comes from Australia is great — specifically, Brisbane. The 22-year-old singer/songwriter/producer has just released a new single, “Arc”, a mellow yet poignant track mixed by fellow Aussie Tristan Hoogland. Akira Records’ Yoste (irl Kurt Sines) provides the listener with an ethereal soundscape full of soul-filled vocals. Says Yoste of the track, “The road to ‘Arc’ is littered with almost-good-enough ideas. I was like a blocked stream and suddenly I had to get it all out at once. It was tortuous but the result was cathartic, and resulted in ‘Arc’ coming together over the course of just one day.” Yoste was able to create a masterful track, oozing with both confidence and sensitivity. While some artists may shy away from putting out a quieter track as a single, it does all the right things for Yoste, and proves his self-awareness of not only his style, but also his flexibility. An EP should be in the works for later this year, and we can’t wait to hear what Yoste has in store. Until then, we’ve got “Arc” on repeat.
Australia’s Ruby Boots, now based in Nashville, TN is about to release her label debut Don’t Talk About It February 9 with Bloodshot Records, having previously released a 2016 album, Solitude. Born Bex Chilcott, the talented artist is backed by The Texas Gentleman and produced by Beau Bedford on this album — and we’re here for it. With confident vocals and sumptuous instrumentation, Ruby Boots delivers a treat for the ears. To sum it up, the album is an experience, a journey. Navigating a country/Southern-rock inspired soundscape that is still accessible for the country-hatin’ folks, Ruby Boots oozes real emotion and authenticity, especially in tracks like “Believe in Heaven”. From the bold opener, “It’s So Cruel” to the title track, “Don’t Talk About It”,Chilcott displays both her range and variety of styles while maintaining the album’s theme. “It’s So Cruel” already has a music video to accompany the scathing track, full of neon lights and rockin’ vibes, utilizing slow motion and close-ups to pack even more of punch for this track.One of the indubitable highlights of Don’t Talk About It is the stunning acapella track “I Am A Woman”, perfect and raw. Ruby Boots says of the song, “As tempting as it was to just write an angry tirade I wanted to respond with integrity, so I sat with my feelings and this song emerged as a celebration of women and womanhood, of our strength and our vulnerability, all we encompass and our inner beauty, countering ignorance and vulgarity with honesty and pride and without being exclusionary to any man or woman. My hope is that we come together on this long drawn out journey. The song is the backbone to the album for me.”“Infatuation” is another great track on Don’t Talk About It, full of both yearning lyrics and a catchy beat. Closing out with “Don’t Give A Damn”, which combines all the soulful elements of a country blues song with a tinge of almost jazzy piano. Don’t Talk About It is a strong album for a variety of reasons, but it is clear that Ruby Boots knows what she’s doing. Whether you’re looking for some rockin’ folk or some folksy rock, Ruby Boots has got you covered.
We can’t wait for Ruby Boots to drop this masterpiece of an album tomorrow!
Vancouver-based, Northern BC born singer-songwriter and voice actor Noble Son (aka Adam Kirschner) is gearing up to release his self-released debut full length album, Joy In Violence on March 30th, having previously released two EPs. Birthed after a period of time filled with indecision and cumulation of talent, Noble Son’s debut LP, recorded with Joel Hamilton (an idol of Kirschner’s) is the result of honing in on authenticity. If the title isn’t enough to entice you, the title track and single provides a glimpse into what Kirschner is about to drop. His unique sound filled with precise piano, guitar, and other instrumentals paired with his clear voice provides for not only an enjoyable listening experience, but also a deeper understanding of Noble Son’s attention to detail.
Keep an eye out for Noble Son’s debut LP, Joy In Violence, out March 30th, and enjoy the title track now.
We caught up with Noble Son about Joy In Violence, and a few questions about his favorite things.
This album has been a long, careful time in the making. Can you pinpoint a particular moment that was pivotal for its creation?
This record actually came very suddenly. The eight songs were written over twelve days and then recorded in under a week. We kept it as live and raw as we could. The most pivotal moment was probably that initial writing period.
“Joy in Violence” is such an intriguing title for an album – how did it come to be?
“Joy in Violence” is the name of the album as well as the title track. The song is about those moments when you wake up, look in the mirror and think, “You old piece of garbage.” But instead of saying “garbage” you swear, y’know.
Favorite animal?
Pandas have such a great lifestyle. Really doing well.
If a color was used to describe “Joy in Violence”, what would it be and why?
Vancouver April grey.
As a Canadian artist, do you integrate your nationality into your work in any way?
Naw. Canada is cool though
What’s your go-to song you’d recommend to a friend?
“The Working Title” – Wolf
If you weren’t playing music, what job would you have?
Dana Lynn Hobson and Daniel Wolf of Dana and the Wolf have dropped a brand new track, “Got Me Poly”. A polyamorous couple of over a decade, they have recently started working as musical partners as well, testing boundaries and in this single, share their thoughts on polyamory. Daniel was a classically trained musician, and Dana has much different musical taste than him, so their project together is very much a melding of their styles. Says Dana of the track: “As open minded as people seem these days, there’s still so much prejudice towards people with multiple lovers. I don’t want it to sound like I’ll f*** anyone. I have a big heart. I don’t see the benefit in closing it off to certain people I meet in my life.” A thoroughly modern single, “Got Me Poly” provides Dana and Daniel’s opinions on their romantic lifestyle, poking fun at monogamy and traditionalism. Laced with tenacious instrumentals, unapologetic lyrics, and sultry vocals, Dana and the Wolf brings something new to the table with this track. Their previous singles “Attitude” and “Him” have been making waves as well.
Former opera singer and Northern Irelander Claire McKeown is joined by Claire Boutelle, Aimee Jacobs, Danielle Mandell, Dayna Richards, Jacquelyn Sky, and Cynthia Zitter to create a unique chamber pop choir dubbed Honey Child — and you’ve never heard anything like it. With a backstory that is full-on movie material, L.A.- based Honey Child was birthed from tumult and talent. This ensemble is a one-of-a-kind musical experience, and one you’ll want to keep up with. Their self-titled debut album will be out February 9th, and we can’t wait.
We were excited to speak with Claire McKeown, the founder of Honey Child about her background, current projects, and creativity.
Honey Child is a much different project compared to your opera/classical background — what made you take a different musical path?
I was about ten years deep into my training as a Wagnerian Soprano and performing scenes from Tannhäuser, Lohengrin, and Die Walküre at The Orange County Performing Arts Center. There was a Q and A after the performance and I got to talk to my audience. They clearly loved me and were excited about my voice but it hit me hard that these are not the people that I want to spend my life pleasing. I wanted an audience of freaks like me! I wanted my peers.
I fell into a dark spot after turning my back on my Operatic dreams. I started partying way too much and had a complete nervous breakdown including a brief conversation with the devil. I had never written music before that and I haven’t stopped since.
What was the inspiration for the fun and eclectic “Gotta Wait Another Night” music video?
It’s the classic tale of a night and day in the life of a baroque goddess who takes her nun to the beach.
Sprung from the brilliant mind of the Director Dawn Carol Garcia (Kaputt by Destroyer, Mercy by TV on The Radio) and produced by Cheeky Films. I think the original concept was to mix the worlds of ‘A Clockwork Orange’ and ‘Sarah McLachlan’. We loved the idea of a performer that dressed up even more in real life than their stage life. The main characters are based on alter egos of mine from past music projects. I have played a nun (Suor Angelica, Dialogue of the Carmelites) on the opera stage and the powdered wig look is from my last band, Dirt Bird.
When casting the role of the Nun I had my hottest friend in mind for the cigarette smoking nun role. Dawn thought that was too predictable and suggested to go left field and cast a man. My friend Daniel Leland Crook (Crook) popped instantly into mind. I knew he could play this part with elegance and just enough of the madcap we wanted.
The video ends at El Matador Beach and yes plenty of “You Maniacs, You blew it up” (from The Planet of The Apes) were recited while there. We picked this place because it is usually filled with surfers and were hoping to ask one to swim on the board to break up a struggle between me and my nun in the ocean. It would have been hilarious but there was not one Surfer there that day. Instead we were gifted with this beautiful couple taking wedding pictures on a rock that allowed for the gloriously ridiculous moment in the video that I think would have made Fellini proud.
What’s been the most exciting part of forming Honey Child?
I love making videos, I love writing and arranging songs, I love performing, and I love recording but the true excitement of Honey Child is during our practices. Every Sunday night I make dinner for the 7 of us and we all gather around to eat, talk, and sing. It is the highlight of my current life and such a treasured time.
How do you bring elements of your Irish background to this project
I think that finds its way in through the collective unconscious pumping in my blood of my ancestors. I also have a soft spot of sweeping melodies and songs that tug at your heart like ones in Only Our Rivers Run Free, The Fields of Athenry, and As she moves through the fair. My voice is very Irish, too. We are blessed with clear voices and I am told that you can hear my dormant Irish Accent best when I sing.
Favorite part of being in an all-female group?
I get to make music with 6 of the best musicians I know and create a sound that constantly moves us all to tears.
Everyone is so kind, thoughtful, helpful, and respectful. I hope that Honey Child is creating this positive environment but I am pretty sure I also just lucked out and attracted good humans. I’ll never understand why women are portrayed as caddy in pop culture because I have worked with men and women and it is always the women who are the most integral and free of drama.
Honey Child, as a band name, has Southern/Americana vibes to it. Was this intentional, or is there a story behind the name?
I used to have a choir director back in Middle School that would always call me Honey Child …but not in a good way. I think I may have given her a hard time because she was always pissed off at me. One day she and I were alone in the choir room and she started laughing and said “I can’t wait for you to go to High School because you’re going to be a nobody”.
A normal person would have let this crush them but I took it as such a complement. She thought I was a somebody!! At least at that moment. So a couple of years ago when I was thinking of starting a choir project it made complete sense to call it Honey Child.
