On May 15th, Kansas City favorite Local Natives made an appearance at The Truman alongside Uwade. Visual artist Jennifer Casida was on-hand to deliver some fun and psychedelic photos of the sold-out event, which took place on a gorgeous, temperate spring evening under a pink midwest sunset.
It’s the start of pride month, and there’s only one form of music most synonymous with the queer experience: disco! The genre’s resurgence in popularity has only been growing in recent years, likely helped by pride’s more mainstream acceptance (well, by form of rainbow capitalism or not) and the fact that so many of those original disco hits are just that good.
When making dance music inspired by the golden ages of disco and house music, it’s important to acknowledge the genre’s origins to show you’re respectful of its history and creators. This is something Amber Riley and Micah McLaurin hit the mark perfectly on in their new cover of “MacArthur Park”, originally by disco goddess Donna Summer in 1978.
…well, okay, technically not originally. It was first performed in a more baroque style by Richard Harris and written by Jimmy Webb in 1968, then covered by Summer ten years later on her Live and More album.
Their version is obviously indebted to Summer’s cover by its disco flavorings, but it also captures the melodrama of Harris’ original by way of the theatricality of Riley’s voice. If you don’t know, Amber Riley (of Glee and several screen/stage musical productions, including Dreamgirls) is a monstrously talented performer, and I went into the single expecting a quality performance. Yet she goes full broadway on the track and sings her heart out, creating a dramatic buildup to when the song transitions from a modest but soulful rendition of heartbreak into a breathtaking blast of disco excess.
If the opening captures the icy cabaret of Harris’ original, the rest of the song recreates the loose and free-spirited energy that the best of Donna Summer’s singles had. Micah McLaurin’s mixture of dance-pop and orchestral music (by way of members of The Royal Philharmonic Orchestra) is the perfect complement to Riley’s vocals. McLaurin provides a dreamy piano solo in the second half, and the other musicians provide a sweeping string and horn section and a thumping four-on-the-floor disco beat that never lets up.
It works really well as a great way to kick off pride month, successfully honoring queer history by way of a killer dance party. Amber Riley and Micah McLaurin’s cover is available now, in both a 3-minute radio edit and a 6-minute full version.
Plastic: The Album by author/musician Scott Guild is hard to approach. It’s a companion piece to Guild’s debut novel of the same name that came out in February and recounts the book’s story. I haven’t read the book, and I’m not one of those nerds that read books for fun (though I am, admittedly, still a huge nerd), so I’m judging the album entirely on its own merits.
While it seemed difficult initially to come at the album with solid reference points as a way of comparison, this sort of lore and mythology filled album isn’t entirely uncommon. Famous experimental pop icons like Kate Bush and Ethel Cain have made albums composed of songs made up of recurring characters, storylines, and extensive backstories that invite more analysis into the lyrics than a usual album. Even more mainstream musicians have done this, such as Taylor Swift on Folklore and Evermore, two of her most acclaimed albums. An album like Plastic can absolutely succeed without prior knowledge of the novel’s storyline and can work simply on the music itself.
For the most part, I’d say it’s an interesting and captivating, albeit not super accessible, listen. Guild is backed by more experimental musicians for support, like Cindertalk (a collaborator of Son Lux and My Brightest Diamond) and Stranger Cat (a collaborator of Sufjan Stevens, another good example of successful concept albums). With a murderers’ row of artsy musicians behind the album, it makes sense the genre is a touch hard to figure out too. Calling it just “art-pop” is simple, but a little too easy. I’d say it’s more of a mix of orchestral chamber music and downtempo electronica, with more focus on vocal performances and wispy atmosphere than rhythm.
When I say Plastic isn’t super accessible, I don’t mean this as a bad thing (I literally listen to Björk in my free time! Did I mention I’m a huge nerd?). I mean that in a sense that it’s better to approach the album not in a traditional sense, but more in the way of theater, opera, or something that demands your fullest attention when experiencing it. Guild mentioned he didn’t set out to make something contemporary and intended something more cinematic, which I think the album succeeds on.
Okay, now the actual music, which is mainly composed of strongly performed and composed ballads. Stranger Cat’s vocals (as the lead character of the novel) really elevate the material, creating a strong emotional quality that’s consistently captivating and brings out the theatricality that the material is going for. Songs like “Boytoy” and “Fiona” excel on the quality of her voice alone, and she provides enough depth to keep you invested in her performance even if you may not understand what’s going on in the story.
The production, as I said, is an interesting mix of electronica and orchestra. Plastic’s atmosphere is built largely around airy electronics that add to the dystopian future setting of the story. It has a dreamlike quality that can occasionally turn eerie, such as the echoey drum machines on “The Absence” that add to the tone and mood. The orchestrations are also sharp, adding to the dramatic elements of songs like “A Doll’s House” and “Worth the Loss”. There’s some interesting textures added in the instrumentation too, such as the glassy percussion on “Lightning” and the driving acoustic guitar on “Until They’re Home”.
As I said, Plastic can be difficult to grasp for a casual music listener, but that’s the intent behind it. It’s a rewarding experience when given serious intent and your best attention when listening to it, and works as a fascinating listen even without knowing the source material.
Check out the playback from Friday’s album release here.
It’s already June, and if no one tells you how they can barely believe it in the next few days, then you got away with murder, essentially.
That said, it is June. And with June comes PRIDE. Big Hassle – one of our favorite companies in the otherwise questionable and interestingly chaotic music industry – has curated a playlist featuring some of their most prominent talents. We got our hands on it so that you can get to know the Big Hassle roster… and party down all month long.
imperfect Fifth really is committed to celebrating LGBTQ+ joy and rights every month of the year, and will do what we can to uplift marginalized voices where we can. Please email meredith@imperfectfifth.com if you have any brands or talent you’d like us to highlight, projects to talk about, or something else that can help us support and uplift our community!
In March, indie darling duo Byland – comprised of husband/wife talents Alie and Jake Byland – released their entrancing, 10-track full-length Heavy For A While. One of our favorites was a very emotional track for Alie, titled “Two Circles.” The music video was released today, and we are massive fans of the use of color to tell a story with the artful visuals.
Alie wanted to explore the idea of post-death limbo with this music video, which explains the stark contrast and richness in the colors chosen. “Chris Cunningham did a phenomenal job of imagining a weird, compelling visual concept and putting together an amazing team to bring it to life,” Alie says.
“As the protagonist (Alie) explores her home, she starts breaking through into this larger space that’s a little bit unfamiliar, but still populated with memories and objects from her past,” explains Cunningham. “She finds herself naturally searching for an exit, no longer content with just existing alone in her old familiar environment (perhaps unconsciously preparing to move on). Eventually, she finds an exit door that leads… well, somewhere else. Where the hell that is, I have no idea. Absolute death? A DMT fever dream in the final firework show of neurons in the brain? An afterlife? Who knows.”
The video has a haunting feeling to it, much like the song it was created to accompany. Check it out in full below.
VIDEO CREDITS: Music video for the Byland song, “Two Circles” off of the record “Heavy for a While.”
Director: Dark Details
Director of Photography: Dylan Priest
Producer: Paul Breslin
Gaffer: Matt Lindberg
Photographer: Nick Ward
Production Assistants: Ayla Cole, Brantley Duke, Marcus Chavez Special thanks to Kate Becker and Harbor Island Studios, as well as Chris Mosson and Retro Camera.
It is basically a prerequisite that you must love T-Pain if you work with imperfect Fifth. Whether you enjoy his vocal stylings – autotuned or his incredible natural vocal range -, his entrepreneurial brain, or his giggle, there is something about him that is so delightful. Just consider it: have you ever met someone who had beef with T-Pain?
If you’re looking for a wholesome, emotional departure (about an emotional departure) from T-Pain’s quintessential party anthem vibe, “On This Hill” is it. But, more than intensely different from prior singles, this one really envelops the listener in its captivating melody. Thought-provoking lyrics evoke bold thoughts, exploring boundaries, and a sense of acceptance in pain.
“On This Hill” truly captures what it is like to have competing values or opinions – interests that clash and red flags that no one can ignore. While there is a sense of loss and heartache in the song, there is also hope for new beginnings that you can actually feel through his empowering option to hold to his own values.
His drive to hold true to who he is and the song’s dedication to self-love brings “On This Hill” to us during Mental Health Awareness Month. In honor of this, T-Pain has teamed up with Talkspace to provide free therapy to his fans for up to a year.
The video is tastefully and purposefully intimate. A soulful live performance in a cozy setting with vocal accompaniment that feels as though its acoustic resonance could move mountains. Take a peek below, and be sure to see your favorite performer on tour this summer. (T-Pain will be EVERYWHERE!)
MANSION IN WISCANSIN PARTY TOUR DATES:
May 29 – Houston, TX – 713 Music Hall *
May 30 –Dallas, TX – South Side Ballroom *
June 4 – Waukee, IA – Vibrant Music Hall * SOLD OUT
June 6 – Windsor, ON – Caesars Windsor The Colosseum *
June 8 – Milwaukee, WI – WISCANSIN FEST @ The Rave/Eagles Club ^ SOLD OUT
June 11 – Columbus, OH – Kemba Live! * SOLD OUT
June 12 – Pittsburg, PA – Stage AE * SOLD OUT
June 13 – Doswell, VA – Meadow Event Park *
June 19 – Los Angeles, CA – Juneteenth Celebration @ The Hollywood Bowl
June 21 – Asbury Park, NJ – Stone Pony SummerStage * SOLD OUT
June 23 – New York, NY – Central Park SummerStage *
June 25 – Baltimore, MD – Pier Six Pavilion *
June 26 – Charlotte, NC – Skyla Credit Union Amphitheatre *
June 27 – North Charleston, SC – Firefly Distillery Lawn *
June 29 – Atlanta, GA – Lakewood Amphitheatre *
June 30 – Birmingham, AL – Avondale Brewing Company * SOLD OUT
July 2 – Jacksonville, FL – St. Augustine Amphitheatre * SOLD OUT
July 3 – Miami, FL – The Fillmore Miami Beach *
* with LARussell, NandoSTL & Young Ca$h
^ with Akon, Dillon Francis, Pink Sweat$, Soulja Boy, LARussell, Ying Yang Twins, Yelawolf, Waka Flocka Flame, Flyana Boss, Myaap, Young Ca$h, Chayo Nash, NandoSTL & Djay Mando
T-PAIN FESTIVAL & VEGAS RESIDENCY DATES:
May 25 – Napa, CA – BottleRock Napa Valley
May 26 – Las Vegas, NV – Ayu Dayclub (residency date)
June 1 – Kansas City, MO – Tacos and Tequila Fest
June 14 – Manchester, TN – Bonnaroo Music & Arts Festival
July 11 – Las Vegas, NV – Zouk Nightclub (residency date)
September 1 – Las Vegas, NV – Ayu Dayclub (residency date)
PARTY AFTER DARK TOUR DATES:
Wed Aug 21 – Bristow, VA – Jiffy Lube Live
Fri Aug 23 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
Sat Aug 24 – Hershey, PA – Hersheypark Stadium
Sun Aug 25 – Queens, NY – Forest Hills Stadium
Thu Aug 29 – Cuyahoga Falls, OH – Blossom Music Center
Fri Aug 30 – Tinley Park, IL – Credit Union 1 Amphitheatre
Sat Aug 31 – Milwaukee, WI – American Family Insurance Amphitheater
Sun Sep 01 – Noblesville, IN – Ruoff Music Center
Wed Sep 04 – Clarkston, MI – Pine Knob Music Theatre
Fri Sep 06 – Buffalo, NY – Darien Lake Amphitheater
Sat Sep 07 – Syracuse, NY – Empower FCU Amphitheater at Lakeview
Sun Sep 08 – Saratoga Springs, NY – Broadview Stage at SPAC
Thu Sep 12 – Wantagh, NY – Northwell Health At Jones Beach Theater
Fri Sep 13 – Hartford, CT – Xfinity Theatre
Sat Sep 14 – Bangor, ME – Maine Savings Amphitheater
Sun Sep 15 – Mansfield, MA – Xfinity Center
Wed Sep 18 – Burgettstown, PA – The Pavilion at Star Lake
Thu Sep 19 – Cincinnati, OH – Riverbend Music Center
Sat Sep 21 – Ridgedale, MO – Thunder Ridge Nature Arena
Sun Sep 22 – St. Louis, MO – Hollywood Casino Amphitheatre
Wed Sep 25 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Fri Sep 27 – Ridgefield, WA – RV Inn Style Resorts Amphitheater*
Sat Sep 28 – Auburn, WA – White River Amphitheatre
Thu Oct 03 – Chula Vista, CA – North Island Credit Union Amphitheatre*
Fri Oct 04 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Sat Oct 05 – Albuquerque, NM – Isleta Amphitheater
* with Special Guest Lil Jon