The lastest from corner club, “Whenever You’re Ready,” evokes a storm of bitterness and resentment, painted vividly with the brushstrokes of raw emotions. The singer pours out her heart with a mix of biting sarcasm and unapologetic candor. Each line is laden with a weighty wish, a fervent longing for those nights when tears will mingle with the silence, a secret hope that her ex will remember them in their darkest hours.
Amid the verses, a bitter cocktail of sentiments bubbles forth. The singer yearns for the ex to tread a path fraught with misadventures and pitfalls. And then comes the chorus, an anthem of unwavering resolve. A pledge not to stand idly by, waiting for forgiveness or reconciliation. Instead, a fierce determination to move forward, leaving the past in the rearview mirror. Yet, there’s a twist to this declaration—a desire for the new lover to be so captivating, so flawlessly enchanting, that the ex-lover finds himself drowning in a sea of insecurities.
The refrain “I hope she’s ready” reverberates like a spell cast in anger. It’s a wish that the new partner faces the same storms and hurricanes that once ravaged the singer’s heart. A vindictive chant that paints a picture of the ex’s world shaken to its core by a cascade of emotions they can’t control. In the bridge, a crescendo of empowerment resonates. The singer stands tall, defiant and resolute. She refuses to be a refuge, a solace, for a wandering soul who only seeks shelter when the world grows harsh. She boldly proclaims that a pretty face won’t be a lifeline, now that the debris of her past has settled.
As the ending hits like a thunderclap, the singer of corner club makes it known—there’s no return, no rekindling of the flame. The ex-lover is urged not to come back, not to utter empty apologies or attempt to undo the unraveling that’s occurred. The words drip with a finality, the bitter taste of resentment hanging heavy in the air.
Loveless invites us into a mesmerizing realm of music where genres blend and emotions soar. With harmonies that tug at heartstrings and lyrics that paint vivid stories, Loveless is a captivating musical journey we cannot miss.
“Drag Me Down,” Loveless’s latest single, takes us on a rollercoaster ride of aspirations and self-discovery, all set to a catchy and upbeat melody. Picture this: a wannabe movie star trying to strut their stuff, hoping to be the next big thing on the silver screen. They’re dreaming big, just like the heroes who always save the day, but they’re also facing some unexpected plot twists.
As the song plays on, our protagonist starts to realize that being a hero isn’t all it’s cracked up to be. The chorus shouts out “Drag me down with you,” a battle cry against those pesky challenges that try to spoil the fun. It’s like they’re saying, “Hey, I won’t let life rain on my parade!”
And just when you think things are settling down, the song throws a curveball with lines like “The fear of dying alone / Doesn’t hurt half as much / As the feeling of letting it go / After one last touch.” It’s a mix of deep thoughts and lively beats, keeping us grooving while pondering life’s twists and turns.
So, kick back, imagine yourself in a movie montage, and let “Drag Me Down” be your anthem of resilience and the pursuit of dreams, all wrapped up in a toe-tapping, head-bobbing package.
LOVELESS WORLD TOUR DATES 8/17 Sydney, AUS Metro Theatre 8/18 Brisbane, AUS Triffid 8/20 Melbourne, Aus 170 Russell 9/16 Paris, FR Trabendo 9/18 Amsterdam, NL Melkweg OZ – SOLD OUT 9/20 Berlin, DE Columbia Theater – UPGRADED 9/21 Hamburg, DE Reeperbahn Festival 9/23 Brussels, BE AB Club – SOLD OUT 9/25 Cardiff, UK Tramshed – UPGRADED 9/26 London, UK Electric Ballroom 9/29 Birmingham, UK O2 Institute 2 – SOLD OUT 9/30 Manchester, UK Academy 2 – UPGRADED & SOLD OUT 10/1 Glasgow, UK Garage – UPGRADED 10/3 Dublin, IE Academy Green Room
Zach Gerzon of Twin Bridges is an up-and-coming songwriter and self-taught cellist, breaking into the music scene with a distinct mix of folk and instrumental chamber genres. The project’s latest single, “Carbon & Dust”, puts instrumental chamber music through an indie filter, mixing traditional orchestral instruments with wistful vocals. Durnis Markov’s animated music video is as heart-wrenching as it is breathtaking, providing context for the song as well as eye candy visuals.
While self-teaching, Gerzon experimented on his cello, incorporating playing it on its side like a guitar and using a looping pedal. He brings this experience into “Carbon & Dust”, incorporating a plucked cello motif as the crux of the piece. Its ambling tempo resembles how the characters in the music video lumber through a forest aimlessly. The music video’s description elaborates that the song “explores a conversation with a loved one who has passed… Slipping between a dream and reality, the lines get blurred from reality, the afterlife and reliving trauma / tragedy.”
Along with cello and vocals, “Carbon & Dust” includes a trumpet, bass clarinet, bassoon, clarinet, and saxophone, creating a mini symphony. Each drastic change in instrumentation accompanies the events in the video. When a car crashes in a head-on collision—recalling the moment the mourned person passed in this tragic accident—the winds suddenly break into the song. The wail of strings and blast of winds juxtapose Gerzon’s forlorn voice, encompassing the simultaneously agonizing and gloomy experience of grief.
“Carbon & Dust” is only the beginning of Twin Bridges’ exploration into folk-chamber pop, as the lead single to the upcoming Fertile Ashes full-length debut, out on 10/27. With a strong start, Twin Bridges and animator Durnis Markov helm the sail of an exciting new genre.
Does a new future of folk-chamber pop lie ahead of us? Find out below!
In Jean Ryden’s music video for her song “Parallel Universe”, Jean desperately wants the trauma of losing her parents to have never occurred. In the beginning of the song, she replays images of her parents in her mind in black and white, because her past is like an old movie; the happy moments with her parents are covered with feelings of dread. All the color has been depleted from her memories because new movies are symbolic of new, happy memories with her parents being formed. In comparison, the old movies symbolize her happy memories as only in the past
Jean lays in her bed and leans her head to the side, which reflects when she would lean on her parents for support. She is alone in the bed because after her parents passed away, she felt alone and like she had nobody to lean on for support. The camera zooms in on a close-up image of her eyes while she lays in her bed because her eyes are her pathway to all of the loneliness she feels inside.
Color film of a garden with beautiful roses of different shades and a white bird flying above it is representative of her healing from her grief and finding peace. To elaborate, the bird symbolizes her flying because she is freeing herself from the black and white space of her grief.
Images lasting for a few seconds, all of her memories can never be remembered in complete detail, but the most important details remain engraved. The colored images represent her purely happy memories, the black and white images are symbolic of her memories remembered in sadness or trigger her grief, and the partially colored images are memories she is remembering to heal from her grief and sadness.
The same image of her alone, opening and closing her eyes, leaning her head against a wall, in a vacant room, occurring for a few seconds, repeatedly, shows her constant despair. She shuts off all of her memories with or of her parents because she goes into a state of depression, which she is constantly battling to escape from.
The video ends with her sitting in a dark room with candles and a black sky lit with bright stars. Images are played in quick seconds against Jean’s soft, melodic voice, which has a deeply sad tone on its edges along with hints of desperation. Her voice also has another tone, that feels like she is going through feelings of clarity.
Once she repeats her memories filled with many different emotions, she must admit that the reality is her parents are in heaven. Therefore, her memories are a “parallel universe.”
The electric guitar starts the song “Firecracker Man” by Thorslund with feelings of anticipation about what sounds, harmonies, and lyrics will be electrified. The pulsing sounds of the drums speed up the tempo with their steady beats and sudden rapid beats in between.
Our protagonist has kept his energetic and fun spirit hidden but now he is ready to take his dancing shoes out of his pocket. With these, he is a charming man who is confident to show everyone his expressive personality. The dance is a form of expression. The shoes are a metaphor for him taking the dancing steps to express himself to people he meets. Thus, he is no longer waiting to be a firecracker man; a man who charms people with his personality and makes everyone he sees smile. He now is going to be a firecracker man!
He is tired of pretending to not be the spotlight of the dance floor as in the past, he dominated the dance floor. Once he stopped dancing, he lost his self-confidence to reveal his charming personality. He felt ordinary because he lost his will to dance, which made him feel extraordinary and unique, as implied by the description of his dancing as “funky.”
He associates wealth with his charming personality. He always imagined that his charming personality and superior dancing skills would make him wealthy. As he continued toward his goals, he kept losing his confidence. But now a surge of energy is careening through him to dance his way to wealth and the recognition he craves from everyone he meets.
He not only wants to uplift himself, but he also yearns to uplift the people he meets who will be supportive of him. He will teach them to dance so well, that their incredible, funky dance moves will not be an illusion, but a reality!
The video itself is an edgy, fun display of Thorslund’s live performance chops. Check it out below!
If you have yet to happen upon the immense talents of Connor McLaren, now is your chance. The Indianapolis-based musician just released his first full-length with the indelible Ben Kweller’s label The Noise Company. Today, we get to peep the music video for the single “Candy Rain.”
A casual, meandering pace opens the track as we delve into the love story that is “Candy Rain.” While his romantic interest is metaphorically compared to this tasty concept, momentum builds and instrumentals are layered. The song becomes more of a quintessential rock ballad than originally expected, with a hint of grunge/surf rock influence in the whirring guitars. McLaren’s voice has the same appeal as your favorite 90’s crooners, giving all of his music what seems to be an unintentional – but completely genuine – layer of added nostalgia.
By the song alone, it is quite obvious that McLaren’s musicianship and professionalism far surpass the expectations normally associated with his ripe age of 21. But diving into the music video is a whole other treat. (See what we did there?)
The artist takes an artful approach to this visual release, with isolated color palettes dancing around his shadow profile in some frames, playing with natural elements like the textures in mother nature and the sun in others. Shots of the curly-haired crooner performing in earnest, surrounded by bubbles. Then covered in paint. Then avoiding a literal candy downpour under an umbrella.
The video is a kaleidoscope dream you won’t soon forget.
UPCOMING TOUR DATES: August 17 – New York, NY – The Footlight August 26 – Normal, IL – House Show August 31 – Bloomington, IN – The Atrium September 2 – Cleveland, OH – Mahall’s Apartment September 9 – West Lafayette, IN – House Show September 12 – Nashville, TN – The Basement East September 14 – Boone, NC – TApp Room September 21 – Chicago, IL – Bookclub October 14 – Charleston, SC – House Show November 10 – Appleton, WI – Appleton Beer Factory December 22 – Indianapolis, IN – HiFi **Homecoming show – TICKETS
SONG CREDITS Lead Vocals – Connor McLaren Acoustic and Electric Guitar – Alec McLaren Bass and Drums – Ben Kweller Backing Vocals – Connor McLaren and Ben Kweller **Written by Connor McLaren, Alec McLaren, and Benjamin Kweller and published by Weed Funded Songs (ASCAP), Charity Chase Songs (ASCAP) and Twelve Sided Die (ASCAP)
