Refreshing indie pop duo Lime Cordiale just released their full-length album Enough of The Sweet Talk on July 26th. The LP comprises 13 songs separated by four “French Cue” interludes. After listening to the whole album, I couldn’t help but compare their music to The Wiggles, an Australian-based music group known for their iconic tunes. Sure enough, after doing some research, Lime Cordiale hails from Sydney, Australia, and gives off the same vibes as the aforementioned, but with a mature coming-of-age twist.
The band is made up of brothers Louis and Oliver Leimbach, later joined by Brendan Champion on the trombone and James Jennings on the drums. The musicality of the album at its core is pop, with hints of indie rock shining through in the latter half of the album. The drums, electric guitar, and trombone make regular appearances throughout the album, with an electronic keyboard as a fun cameo added to a few of the songs.
The first part of the album feels amazingly carefree and pays tribute to romantic relationships. “Pedestal” and “The Milk Man” are perfect songs to jam out to, so much so that they paint vivid pictures many can relate to, whether it be slow-dancing at prom or having a summer fling at the beach. I can already see myself listening to these songs while I’m getting ready for a special night out!
“The Facts of Life” is where the album breaks out into more of a self-reflective realm. In my opinion, the song encourages you to pay attention to your surroundings and enjoy the smaller things life has to offer: chewing gum, ice cream, the birds and bees. Alternatively, “The Facts of Life” could also imply the feeling of sexual release, as evocative hot-and-cool imagery is used throughout the song. The next piece “Enough of The Sweet Talk” is as literal as it can get. As a listener, you can’t help but empathize with the brothers. Leimbach states that talking with this person (I assume a romantic partner) is frustrating because they truly won’t listen to him; it’s all meaningless sweet talk. Even if they share the meaning of life or the world is ending and they need someone to rely on, he still wouldn’t talk to them– opting to be alone despite such drastic conditions.
This brings me to my favorite piece of the entire album: “Happiness Season”. It’s a beautiful song wherein each lyric is punctuated by the drum’s beat and accentuated by an impressive trombone riff. Additionally, this piece really highlights the Leimbach brothers’ talents as tenor vocalists! My favorite part is the chorus:
She didn’t need me, I’ve been defeated, Oh that’s how it goes in happiness season She didn’t need me, I’ve been defeated, Oh that’s how it goes, imagine her leaving, with happiness season~
“When I’m Losing It” is where the album takes a serious turn. In this song, Leimbach is, for lack of a better term, head-over-heels crazy about his lover. He admits he gets jealous easily and always loses his nonchalance when he’s around her. Accompanying this self-deprecating streak are “Imposter Syndrome” and “The Big Reveal; Ou L’Hypocrite”. Both songs reveal feelings of bittersweet inadequacy. Leimbach doesn’t see his own appeal and cannot accept a compliment for his life. Leimbach is hiding a big secret under his stardom and it’s the fact that he’s a hypocrite living with imposter syndrome. To be honest I can see many young adults of my generation (Gen Z) relating to these songs the most. At the end of the day, whether we hold mid- to senior-level positions or amass thousands of followers, at one point in our lives we’ve all experienced imposter syndrome.
Another amazing song I would like to spotlight is “Country Club”. The lengthy trombone solo, reminiscent of New Orleans jazz, graciously allows listeners a moment to reflect on the message of the song. “Country Club” has an oddly psychedelic feel to it, with a catchy and hilarious chorus. This song narrates the life of a ‘nepo baby’ who cannot rely on their parent’s money anymore. Despite its advantages, having rich parents can actually be a disservice as the person in question doesn’t know how the real world works. Overall, it’s a great message anyone can take away from.
Ultimately, Enough of The Sweet Talk provides listeners with a wonderful range of life messages to learn from. In addition to love and heartbreak, the album touches upon the importance of self-reliance, staying humble, and the harm caused by your inner critic. These songs are going to be on repeat in my summer playlist and–dare I say– years to come!
The main appeal of the Mississippi-based indie folk band Happy Landing is their sweetness and love for one another which shows in each song. On Golden, their debut LP, the tight chemistry and connection that the band has is translated into an album that’s loveable, sweet, and sometimes willingly cheesy. The sound of the record (and the band) is one that combines the spirit of indie music with rootsy Americana sounds and is filled to the brim with expertly performed vocal harmonies. Both lead singers, Matty Hendley and Keegan Christsen respectively, blend their voices well enough, though each brings unique qualities when leading. Hendley has a raw vulnerability in his vocals that makes the lyrics seem true and sincere, whereas Christsen’s voice is more confident and boosts the harmonies. And these harmonies are the most easily identifiable part of their sound, as almost all the songs feature bold and soulful choruses where every band member joins together. It’s likely why the band is noted for their live shows, as each song easily functions as an inviting sing-along with an audience.
The first few songs of Golden work mainly in the same upbeat “stomp-and-holler” indie mold, with “Lose The Gun” being a strong opener and “The Family Band” presenting the band’s ear for melody. These tracks are easy to appreciate, with the former and “Let Me Out” being obvious choices for singles, but a lot of the best moments of the album come with more restraint. When the vocal harmonies are utilized in softer and more nuanced ways like on “My, My, My” or “Greyhounds”, it’s easier to appreciate the songwriting and vulnerability of the performers. Not to say the album’s production is at fault, as it’s one of its strongest points. Several songs balance layers of root instrumentation and vocal harmonies but never feel disorganized or incoherent. “Marriage Song” best represents this, with its vast and sweeping string section growing more powerful towards the song’s climax.
Golden is a rare album that has its sound matched perfectly by the cover. A golden crescent moon that seems to darken while set against a worn leather texture. It’s oddly similar to the sorts of images that came upon me while listening: watching a setting sunset amongst fireflies, or the coziness when curled up with a good book. This is an album that’s appealing and accessible without ever trying hard to do so, based purely on Happy Landing’s likeability.
This fall, Happy Landing will embark on “The Golden Tour”, with supporting act Arts Fishing Club.
What makes electronic music so captivating as an art form is its wide reach of sound and the way it’s so easy to reshape into something entirely new and unique. This is something that Manatee Commune, the project of Seattle-based producer Grant Eadie, realizes and allows his music to stay fresh by trying new things. His newest album, Simultaneity, which arrives this Friday, July 19, is emblematic of that by expanding on his style rooted in tropical synthpop and EDM with more lush and atmospheric textures inspired by ambient music. For its entire runtime, Simultaneity balances layers of samples and sounds into lush, hypnotizing melodies, yet remains danceable enough to show off Manatee Commune’s versatility. It balances club-oriented rhythms and brassy synths that’s made him an in-demand remixer, while still providing something new from his prior work.
I wouldn’t say the style and approach to dance music that Simultaneity follows is entirely unique. There are many electronic subgenres that clearly serve as reference points, such as ambient house/techno and micro house. Other artists have deviated from the EDM formula by also incorporating offbeat sonic atmospheres, pitch-shifted samples, and stripped-back instrumentation. Still, all the tracks are quality-made, with each of them having something interesting to provide. The album is a mix of more club-friendly songs with a focus on groove and rhythm, and songs that combine dance beats with soft, pillowy textures that are soothing and calming. These latter songs follow the rule of ambient music coined by Brian Eno, which is that “it must be as ignorable as it is interesting”, though that’s not at all an insult.
Simultaneity opens with “Love Tone”, which is more of an intro than a real track, focusing on ambiance and tranquility to set the mood. It’s a palette cleanser or a loading screen into the rest of the album and serves as a showcase for Eadie’s producing talents for each track. The more ambient-influenced songs are more intimate and domestic, and feature dozens of odd but strangely beautiful sounds and timbres. As someone who isn’t a musician, I admittedly wouldn’t know how Eadie produced much of the album. Calling the album “beautiful noises” isn’t quite descriptive, but it’s how I felt during many of the tracks here. Songs like “Amaat One” and “Cast” are rhythmic but feel like entire worlds in their sense of space. I feel like I can reach out and touch every element of them. The album closer, “Touch Theme”, has synth and orchestral passages so emotive and beautiful that it reminded me of “The Big Ship” by Brian Eno.
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The album isn’t perfect, as its focus on vibes and contemplation can be wearisome for a more impatient listener and certain tracks can feel their length. I enjoyed the groovier EDM songs like “Cycline” and the African-inspired “Closure”, but they can contrast too much with other tracks that are meditative as opposed to danceable. Still, Simultaneity is a solid and consistent LP that has something to offer for Manatee Commune’s listeners or fans of electronic music. It has songs to get a party started, as well as songs to mellow out and relax to. Few albums can strike that kind of balance.
Bernie Worrell is one of many unsung heroes in music history. If you’re unfamiliar with him, he was the keyboardist for the legendary Parliament-Funkadelic collective and played with other artists such as Les Claypool of Primus, rapper Mos Def, and even Talking Heads, appearing in their seminal concert film Stop Making Sense. Not only is he a legend in funk music, but his work as a synth pioneer makes him a godfather of contemporary R&B and hip-hop. Worrell’s funky keyboard playing has been sampled thousands of times and was highly critical in creating the early 90s rap subgenre “G-funk” popularized by Dr. Dre and Snoop Dogg. Recently, Bernie Worrell’s estate announced the release of a posthumous album titled Wave From The WOOniverse, a double album of previously unfinished tracks. A murderer’s row of great talent helped to complete and produce the album, all of which had previously worked with Bernie Worrell. This includes Jerry Harrison of Talking Heads, Fred Schneider of The B-52’s, Will Calhoun of Living Colour, Sean Ono Lennon, and funk legends in their own right like Bootsy Collins and Fred Wesley.
Obviously, you can imagine that the album is filled to the brim with great grooves and danceable funk, and you’d be entirely right. Wave From The WOOniverse functions not only as a loving tribute to one of R&B’s most influential and overlooked personnel but also to a generation of classic funk originators. The love for Worrell’s work and the funk he helped create is always visibly present in each collaborator on the album. Every song is layered with bass, synth, horns, and heavy guitars, yet it’s never sloppily done and always well-calculated. Every instrument is tightly constructed into a well-orchestrated rhythm that flows in perfect harmony with the others. The backing band here is great, and each song has a distinct identity from one another while still focusing on never-ending grooves. WOOniverse’s tracklist has a decent amount of variety, ranging from upbeat party songs (“Distant Star”, “What Have They Done to My Funk”), vintage psychedelic funk (“Soldiers of the Stars”), world music excursions (“Re-Enter Black Light”, “When the Rain Subsides”), and lengthy band jams (“Greenpoint”, “Pedro WOO”).
My favorites included “Soldiers of the Stars”, a wonderful piece of Jimi Hendrix-type acid funk rock that could easily fit as an early Funkadelic song, “The Big WOO”, which is so enjoyably campy with Fred Schneider and a swinging rhythm section, and “When the Rain Subsides”, which features a sunny Afropop-inspired sound with soukous/highlife guitars and warm and lively percussion throughout. I also enjoyed “Heapin’ Bowl of Gumbo”, which has a slower and more controlled funk rhythm but comes out super slinky. Many of the songs appear built out of lengthy band jams with lots of improvisations, which would make sense considering the musical virtuosos involved. However, this leads to most of the songs being at least five minutes, which may not work for more impatient listeners. I like longer funk songs in this mold because it gives the musicians more of a chance to build off rhythms and complement one another, leading to a more satisfying listen. Admittedly, the length can hurt a few songs such as the jazzy noir track “Greenpoint”, which is eight minutes long and doesn’t have enough juice to justify its length. The biggest turnoff for some will definitely be the 18-minute-long penultimate track, titled “Transcendence”. I’m always down for musicians making something willfully self-indulgent, and while this psychedelic multi-part suite has rich production and a full orchestra backing, it never quite comes together. At least, it didn’t for me–perhaps having psychedelics of my own would’ve helped.
Even as overstuffed as it is, Wave From The WOOniverse is a respectfully made posthumous release that carries on the legacy of Bernie Worrell. It’s worth a listen for longtime fans of Parliament-Funkadelic and other classic R&B or even for newcomers in search of some killer funk.
Nashville-based singer and songwriter Meg Elsier has released her new album spittake and it is no joke! Recently making her debut in 2023, spittake is an album she describes as an ‘introduction to herself’ as an up-and-coming indie-rock artist. The album consists of 11 songs and was made in collaboration with Ryan McFadden, a fellow Nashville-based producer. A fun fact is that most of the titles are uncapitalized with no spaces to stay true to their original demo names!
Elsier’s haunting voice is a wonderful contrast to the electric guitar and drums that build up her sordid lyrics. If her sickeningly sweet melodies don’t make you feel melancholy, then her messages will. Most of her songs are a self-reflection of her poor thoughts and actions, usually with a partner in mind.
My personal favorite of the album is “forlyleinsanfransico”. In this song, Elsier rambles on about how she is the perfect fit for a guy (or girl) and vice versa. However, Elsier admits that she is only human and has flaws that may affect their potential relationship. My favorite verse is:
I’d be your good girl But I do bad things And I talk dirty But I keep the house clean And I’d be funny But you’d be funnier And I don’t mind it I like second seat
My take on the whole song is that Elsier’s self-hatred and selfishness is preventing her from committing to a healthy relationship. As a sad girl myself, her lyrics are very relatable!
A handful of her songs are accompanied by music videos, all viewable on Youtube. In her last song “LA”, she is depicted as a white angel on an empty black stage. Other angels identical to her appear and a confrontation ensues. The song is a musing of her life if she ever moved from Nashville to LA. Elsier acknowledges that she wouldn’t trust the lack of cold weather, the high living costs, or how emotionally distant the LA people are. According to her, the harshest reality to accept would be that there are many artists just like her, implying she would lose her authenticity and ultimately herself if she ever moved to LA.
spittake can be listened to on all streaming platforms. You can also follow Elsier on social media. As for the rest of the year, Elsier is touring in her hometown Nashville Tennessee, and all along the East Coast– in Ontario & Montreal as well.
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.
