It’s not difficult to hear the varying inspirations of Montreal (aka Kevin Barnes – he/she/they) so expertly pull together in what can only be called their new audioscape. “Yung Hearts Bleed Free” changes tempo – and complete feeling – a couple of times. This is a move that would otherwise feel disjointed but, in the context of the experimental nature of the musician and its unique video, feels to truly set a vibe instead.
Explains Barnes of the song: “[It was] influenced by the Leos Carax film “Boy Meets Girl”, Bootsy’s Rubber Band, and my recent purchase of a Yamaha TG33 and a Kawai K1M. I wanted to make a strutting, sexy little vamp of a song that just kind of chugged along and felt relaxed and playful and free.”
The lyrics could definitely be characterized as naughty, but they aren’t the standout facet in this track either. While the song is reminiscent of 80s greats, there is something still so psychedelic about the way it is presented, both audibly and in the music video. Director Madeline Babuka Black shares:
There’s a certain 60’s/ experimental spirit to Barnes’ songwriting that I love and by using analog techniques of paper cut out and direct on film animation I pay homage to that. The paper cut out animations and color palette of the film were deeply inspired by Larry Jordan’s experimental animations, most notably his 1968 film “Our Lady of the Sphere.”
The new album, due out in May, marks the last of Barnes’ recorded in Georgia, and perhaps you can feel that nostalgic sweetness in the remainder of the record as well. But “Yung Hearts Bleed Free” is a great treasure to have seen, and I hope you agree.
Directed and Animated by Madeline Babuka Black Director of Photography Julie Orlick Edited by Izzy Kross Featuring Olivia Babuka Black and Scott Rosenthal Scanned by Jack Tashdjian
Alongside its artful visual comes the new track “Dreamspeak” from genre-bending artist Nisa. The song itself comes across as hyper-aware, but of whom, you can only guess. Explains Nisa: “‘Dreamspeak’ is about the push-and-pull of wanting to fit in while growing tired of the artifice.”Most people can certainly identify with that idea. This song is easily relatable through Nisa’s lyrics.
Nisa sings as though comforting someone — is it her past or present self? Is it someone else? Either way, her vocal delivery makes this song feel both severely hopeless and carefully hopeful at the same time. (You have to hear it to understand it — or it’s maybe also just me. That’s fine.)
The video feels a touch 90s in its presentation, delivered with shots reminiscent of Paula Cole’s “Where Have All the Cowboys Gone?” and other videos featured on TRL at the time. The cool tones to the video create the coldness associated with the exhaustion the song is undoubtedly dealing with.
Feeling like you have to fit in is associated with feelings of comparison and high standards for your own life. It paralyzes people every day, and singing about it can and does help people destigmatize these thoughts a little bit further.
Get your first look at the song and its accompanying video below!
Catch Nisa LIVE On Tour This Spring! Tour + tickets here 5/7: Brooklyn, NY @ Baby’s All Right 5/8: Washington, DC @ Pie Shop 5/11: Boston, MA @ Lilypad 5/12: Philadelphia, PA @ MilkBoy
Critically acclaimed Austin-based singer-songwriter Matthew Squires has been releasing thoughtful, meandering audible candy for over a decade now. While his work has taken on many forms, his vocal styling and talented lyricism have remained a constant over the years. His latest track “Poor Men Southeast of Portland” was released in January, a self-aware, modern commentary on the American dream.
For context, the song is complete satire, and was written in response to Oliver Anthony’s “Rich Men North of Richmond.” From the perspective of “a parallel universe’s version of Oliver Anthony,” Squires takes us on a ride with tortured vocals and a sense of humor that humbly brings a smile to your face, even with how hard everything seems to be right now. Further explains Squires of the song:
This song was written and passionately performed by Anthony Oliver, a parallel universe’s version of Oliver Anthony.
Oliver Anthony told Joe Rogan that he chose ‘Oliver’ as his stage name in honor of his grandfather. He was nostalgic for a more innocent time, when hardworking, God-fearing white men got a little respect (he forgot to mention how that respect was at the expense of everyone else’s, or how it was largely enabled by unions).
Meanwhile, in a parallel universe, Anthony Oliver told Roe Jogan his name was inspired by Casey Anthony. He was nostalgic for a more innocent time, when Americans could still unite around our fleeting spectacles, and weren’t yet confused as to which ones were astroturfed by right wingers.
The lyrics seem like a poignant call for justice. And they are, but in jest regarding privileged white males (who victimize themselves in a world where they have largely benefitted from every oppressive system ever built).
Baby, I’ve been working for too damn long for too little pay Don’t know nothin’ bout Marx or Freud but I know what it’s like to play the role that someone else designed to make someone else’s day but the tree of justice blooms upon the top of every grave
Love’s a lot like dyin’ Love’s a lot like a Pepsi inside a church Love’s a lot like flyin’ Love’s a lot like a heaven encased in Earth Love’s a lot like cryin’ Love’s a lot like the space ‘tween death and birth
Poor men southeast of Portland awake from their American dreams, they enlist into the culture wars to distract them from their screams about how they feel about their shame to look their children in the eyes I guess the tree of justice blooms upon the question “why?”
The unique way Squires expresses his rage is entertaining, and honestly an earworm. Check out the track below.
English indie rock outfit The Vaccines – made up of Árni Árnason (bass, vocals), Yoann Intonti (drums), Justin Young (lead vocals, guitars) and Timothy Lanham (guitars, keys, vocals) – dropped a track today that, at first look, could be considered misleading. The title “Love To Walk Away” gives off the impression that the song will be a positive one, perhaps one about finding empowerment in walking away. However, the lyrics come from the perspective of an outsider – an assumed lover – who is experiencing grief as the result of a crumbling relationship. They watch the runner prepare to run. With lyrics like “How come you’re always leaving?” it is implied that this is patterned behavior.
Sonically, there is a sunny disposition that just does not align with the lyrics, almost making the contemplative message more palatable. (Hey, who really loves confrontation or existentialism THAT MUCH?)
Says Young of the release, co-written with Andrew Wells: “This is the song responsible for the album’s direction sonically and thematically. Given the record’s central theme is not knowing what direction you’re headed in, it feels poignant that the music was so sure of itself so quickly.”
Check it out below.
The Vaccines 2024 US Tour Dates with The Kooks Feb 29 – Atlanta, GA @ Tabernacle Mar 1 – Asheville, NC @ Orange Peel Mar 2 – Columbus, OH @ Newport Music Hall Mar 4 – Toronto, ON @ QET History Mar 5 – Montreal, QB @ Mtelus Mar 6 – Albany, NY @ Empire Mar 8 – Boston, MA @ MGM Fenway Mar 9 – Philadelphia, PA @ Fillmore Mar 11 – New York, NY @ Terminal 5 Mar 12 – Brooklyn, NY @ Brooklyn Steel Mar 13 – Washington DC @ Anthem Mar 15 – Chicago, IL @ Riviera Mar 16 – Minneapolis, MN @ Filmore Mar 18 – Denver, CO @ The Fillmore Mar 19 – Salt Lake City, UT @ Union Mar 21 – Los Angeles, CA @ Palladium Mar 22 – San Francisco, CA @ Fox Theatre
If you’re looking for a warm hug in the middle of this frigid (in some places, trust us) day, look no further than the latest masterpiece from queer folk-Americana duo Mouths of Babes. The duo – comprised of Ty Greenstein (of Girlyman) and Ingrid Elizabeth (of Coyote Grace) – recently released their sophomore full-length, World Brand New.
Today, they launch the title track’s music video – a gorgeous day in the life, really – and we are thrilled to be the premiere spot. Explains Greenstein of the album as a whole:
I wrote World Brand New in 2020 during lockdown. After years of touring constantly, we were trapped in a tiny one-bedroom apartment in Berkeley. To our surprise, being forced to stay home was a relief. For the first time, the whole world prioritized rest and safety. We found ourselves delighting in simple activities: listening to records, hanging out with dogs, taking walks, playing guitars.
While we aren’t exactly ready to celebrate the new year quite yet, this song lifts the expectations for the slow, quiet respite of the holiday season. The sunshine in the music video – which features the duo and a dog, making the world their happy place – really drives home the idea that life can be simple and fun.
The slower pace of life made total sense to us both and reminded us of parts of ourselves and of life that we missed. With this video, we wanted to capture that feeling of just being humans without a lot of expectations and enjoying the analog joys of the world. Fortunately, we had a complete blast making the video with Skyler (Jenkins), so all the shots of us cracking up and making googly eyes at each other are 100% authentic.
Further expands the duo: “We felt like this video needed a dog to be complete, but sadly our dog Kali passed away last November. So we borrowed our videographer Skyler’s sweet senior pup July and she did a bangup job! Her slow, chill energy was perfect for the vibe of ‘World Brand New’ and we were fine with her stealing the show.”
Beauty can be found in the small moments, and this season we are truly ready to experience it all. (With the help of Mouths of Babes, of course.)
Well, it seems as though the cold weather is calling. And honestly, it’s been a minute since we curated a soundtrack for your everyday life that pulls in a multitude of brand-new tracks from a variety of genres. We’ve been plotting and scheming for 2024 and, in the meantime, want to ensure we are continuing to bring the best new music finds directly to you. Thank you for your continued friendship and inspiration as a part of this artistic, joyful community.
Well, since we are well overdue, let’s get to it. We scraped around several of our (incredibly full) inboxes. Then we sifted through an abundance of music groups and Google updates. Admittedly, we found some pretty incredible new audible art. The tone of each track brings with it a sense of appreciation. Be it a celebration, an examination of the soul, or a story of love — for anything, really. Some of the most impactful work we have heard lately has included vocal-free tracks. These have allowed us to embrace the magic of man-made instrument, and, often, to indulge in the way said instruments engage with silence.