Cincinnati-bred indie pop collective The Ophelias – comprised of Spencer Peppet (vox, guitar), Grace Weir (bass), Micaela Adams (drums), and Andrea Gutmann Fuentes (violin) – drops their latest masterpiece today, and we’re so jazzed about it, we almost can’t explain it in words. Delicate vocals, overlaid with (largely) light percussion and mellifluous strings make this album what it is, and largely describe the band’s soundscape. Not only is there a delicacy in the vocals, but there are quirks that make the effect much more striking than the word “delicate” would lead you to believe.
From the elegant beginning of first track “Fog”, through the equally leisurely pace of “General Electric”, into “Lover’s Creep”, you come to find the entire album feels ethereal and intense in a very unique way. “Night Signs” slows the pace down exponentially, the instrumentals slightly lower, and paints a darker-feeling audio feed. “O Command” is different, in that the vocals rise to a higher octave, the instrumentals maintaining a low, luscious feeling. “Lunar Rover” and “Bird” continue into an increasingly experimental place, picking the pace back up again with eighth track “House”.
While you can’t expect the pace to pick back up again over the last two tracks of Almost – “Zero” and “Moon Like Sour Candy” -, you can expect to nab deep, meaningful vocals that make for an introspective night on your back patio, music playing softly over the sound of the trees rustling above you.
Get started below.
Keep up with The Ophelias here.
Ciaran Lavery, an Irish singer/songwriter, performed an intimate solo set at New York City’s Rockwood Music Hall on June 22nd.
Playing to a small, darkened room, a reverent silence took hold of the audience the moment Lavery began his first song. Switching back and forth between acoustic guitar and piano, his sparse accompaniments allowed his gentle, hushed voice to soar. With introspective, narrative lyrics, Lavery is a poetic storyteller. His ballads pull at your heartstrings, his words run the gamut of emotional experience. As a performer, he makes meaningful eye contact with each member of his audience, drawing his listeners further into his world.
In-between songs, Lavery continued his stories, revealing his sense of humor. Speaking of nervousness on an airplane, he once tried to relax by watching, as a dog lover, Marley and Me. He wasn’t, however, aware of the ending. Lavery also had a revelation while listening to the radio on a long drive, attempting to figure out the meaning of the genre “soft rock.” With a creeping sense of dread, he put it together: he is soft rock. Lavery easily pulled laughs from his listeners’ throats as he framed simple, universal experiences as ones of casual mirth.
More info about Lavery can be found here.
On June 21st, Aimee Mann and Superchunk entertained a large crowd at the Celebrate Brooklyn! Festival in New York. Photographer Christie McMenamin was on hand, and captured some stunning photos for us.
On June 21st, Caroline Rose entertained an enchanted crowd at Stubb’s in Austin, Texas. Photographer Erica Tello took a handful of photos to capture the ambiance of the evening.
Keep up with Caroline Rose here.
I write this, now, in the early morning, mere hours after Hayley Williams, Taylor York, Zac Farro, and their cohorts in Paramore walked off the stage at Kansas City’s picturesque Starlight Theatre. I have always – since I was blessed enough to go to my first show at age 9 – preached the importance of live music in all of our lives. I took many of my friends to their first concerts growing up, have had some stellar moments myself, and have had the joyous opportunity to experience live performance consistently in my life. I won’t go more in depth into it all, but I think you get the picture. I’ve been around this block once or twice.
I’ve even seen Paramore before. Albeit, it’s been years since I was able to introduce the magic of Hayley Williams to a handful of my friends at Warped Tour 2007. And perhaps that magic wore off a bit, as I became slightly more jaded by my experiences, and didn’t feel the need to pursue Paramore’s musicianship as they climbed in popularity. It was never out of disdain for the band, or even a dislike of the music. In fact, as singles like “The Only Exception”, “Still Into You”, “Ain’t It Fun”, and others surfaced, I found myself enjoying them insanely in rotation on the radio. Because Paramore has that pop appeal, their songs incredibly catchy and produced to perfection.
But the words are what really get me. At the core of it all, I am a big believer in lyricism. If you miss the mark instrumentally, but you have a mellifluous chorus full of double entendre, intelligent verbiage, or raw emotion, then I’m likely to listen. Hayley Williams does that.
Hayley Williams did that last night. Songs the band had written at differing points in life, songs that others have been into since the moment the album dropped in 2017, those songs reached my ears last night. Perhaps I’ve heard them once or twice, perhaps more. But last night, I was prepared. Last night, I listened.
Hayley explained that After Laughter is her favorite work of theirs to date, as long as they’ve been enchanting fans around the world. This struck me as odd, as the synthy, 80s-influenced work followed a current mainstream pattern that hit me wrong to begin with. But she explained that the album was about something deeper, their individual struggles – including her divorce and struggle with mental health – masked with this upbeat, insatiable soundscape. But she said she enjoyed that aspect, because it wasn’t fooling anyone but they could still have fun on stage during tour.
And, really, that was such an inspiring sentiment. Increasingly, people are coming out of the woodwork, detailing their struggles with their health, whatever form that may take. I, myself, have struggled immensely with diagnosed anxiety and other health issues, and find it so incredibly refreshing when an artist who has experienced success becomes vulnerable for the benefit of the world around them. If only everyone could be that courageous.
The band slowed their set down for “26”, Hayley’s ode to her 26th year that she wrote for After Laughter. I focused on the lyrics. And I identified with them. This song was me when I was 26. I was scared, I felt limited creatively and emotionally, and I felt alone. Hayley’s inability to hold it all completely together during this song increased its vulnerability, deepened her connection with the audience. Because, after all, I believe everyone can relate to that song on some level, and it made for a beautiful moment during the show.
You best believe Paramore rallied into the evening, bringing out fan favorites like “Misery Business”, “crushcrushcrush”, “Hard Times”, and “Ignorance”, and – though they chose not to regale us with my personal favorite, “For a Pessimist, I’m Pretty Optimistic” – I realized that I’m on a very similar journey in my life. If we take time to open our eyes, we really all are. We are all “fake happy” sometimes. We go out of our way to please others, allowing ourselves to stay in dark places. We fall and we want to cry and we feel unsupported. We feel like there is no space for success in our lives. We have bad days.
But it’s live music, it’s that connection we all have to one another – enjoying musicianship and life in what can only be described as a sacred space – that keeps us all floating. We’ll all hit “26”. We’ll all have that “Still Into You” love. (I’m lucky. That’s the Paramore song I have been living out lately.) We all want “Ignorance” to be our best friends. We just need to be open to being vulnerable. And – without worshipping the artist themselves – we can find inspiration in what these musicians create.
I know I did. Since last night, I can’t stop writing. I had a dance party this morning to my two new vinyls (After Laughter, Riot!) already. And I feel awake.
Local band YOU MONSTER YOU opened the evening around 6pm, with a performance at the Applause Club inside the venue. As Paramore fans streamed in, they welcomed them with their fun and upbeat brand of alt punk rock. “This is a song that sounds like it’s about leaving a small town behind and moving somewhere else, but really it’s about crippling depression,” frontman Trent Munsinger explained to the crowd about their track “Dodge”, which perhaps opened up the mental health theme of the evening.
The band was full of quips, quite the entertainment to get the crowd ready for an evening of Jay Som, Foster The People, and Paramore. A couple of songs into their set, You Monster You performed one of their original songs for the first time in front of a crowd, with a stand-in guitarist. They hit all the right spots with it, and at the end Trent confessed he was happy it wasn’t a train wreck, while the band noted it was “a solid B+.”
Keep up with You Monster You here.
June 29th and 30th marked another year of Middle of The Map Fest in Kansas City, MO. Having morphed into several different versions of itself over the years, this year the festival narrowed its performance dates to two, and stepped up their local music offerings. Acts like Rachel Mallin & The Wild Type, Mess, Chloe Jacobson, and Other Americans tore up several stages in the Kansas City Crossroads during the day, despite the insane heat. Social Distortion, Built to Spill, Grizzly Bear, Spoon, and more were phenomenal headliners, and made it easy to forget the outside world. Urban magic. Ashleigh Lee nabbed some pictures for us during the two day event, so we thought it was time to share!