by Meredith Schneider | Nov 1, 2019 | albums, review
Christine Smith is a songstress capable of bringing both a hint of gothic-inspired sounds and inspired lyrics. Her new 9-track release Meet Me on The Far Side of a Star is no different, catapulting its listener into a slightly whimsical existence. Starting out slow and steady, an absolute ambiance is created with “This Love”. The piano leads the way into “You Can’t Hurt Me Anymore”, and an ear that has never witnessed Smith’s music can sense a very theatrical disposition almost off the bat. And perhaps that’s the magic about Meet Me on The Far Side of a Star, as it feels as though all of these songs could be written into a stage performance. Both “Trying Not to Fall in Love” and “Happily Never After” could both be read as tongue in cheek, though the genuine attempt to avoid love is a real thing that many people grapple with.
“Feels Like Yesterday” brings the nostalgia in like a train at high speed, while the title track brings the tempo up slightly more than its predecessors. “I Know This Moon” feels like a lullaby, and wonderful caress compared to the other tracks that are part of this collection. It might appeal to the increasing number of people who are starting to follow moon cycles a little more closely, and become something almost sacred for some. “Very, Very” feels just as delicate, while “We’re Never Going” is the perfect final track, as there is a sense of finality not only in its title, but also in the structure of the instrumentals.
How wonderful to feel like this audible journey closes out as perfectly as it could. Enjoy the album in its entirety below, and be sure to let us know how you’re feeling about it on Facebook!
by Meredith Schneider | Oct 31, 2019 | show review, snapshot
If you haven’t experienced KONGOS live yet, it’s really high time you should. The South African quartet — comprised of brothersJohnny Kongos, Jesse Kongos, Dylan Kongos, and Daniel Kongos — boasts incredible vocal harmonies and layered, striking instrumentals (hello, accordion!). Their captivating stage presence is no surprise, as their musician father must have had quite the influence on them. Just a few days after spending time in the studio with Hanson in Oklahoma, the brothers performed compellingly to an audience in Kansas City, MO. Nothing could have been more beautiful than the full moon on October 13th, shining brightly over this collective crooning to the patio stage at Riot Room.
Through every track, there was a sense of belief in the story that was being told. At times the vocals were raspy and rough, while at others there was a smoothness you almost didn’t expect from this handsome group of men. Regardless of its delivery, each song felt so effortlessly inspiring. For example, during the more tropical-infused track “I Am Not Me”, the audience sang at the sky, as though every individual was having the same existential realization at the exact same time. It was such an intensely beautiful moment, illuminated by the red stage lights, that by the time we got to crowd favorite “Come With Me Now”, I felt like most of the audience had become family. Litter percussive tracks like “Birds Do It” and “I’m Only Joking”, and you’re in for a night of blissful camaraderie with strangers, no matter your surroundings.
What was perhaps most notable was the friendliness with which the group welcomed the crowd and shared anecdotes to introduce their songs. I’m not certain what it was, but a sense of magic surrounded this performance that I wasn’t altogether expecting. Charming, incredible musicians with a lot of love and fire for their work. And simplified, that’s the experience KONGOS creates.
Keep up with KONGOS here.
by Meredith Schneider | Oct 21, 2019 | albums, review
Alright, we are way overdue for stepping back in time with a killer soundscape to aid us. Packed to the brim with disco-era synth flare, Delores Galore‘s new album New Growth sounds a little more old school than one might assume when dissecting the album title, though it has a fresh spin with relatable lyrics and a fun, carefree feeling. (Truly, this is exactly what we needed to help us along through these slightly-more-serious months as we all meet year-end goals and continue to kick ass to end this decade right.)
“One Touch” gets us in the mood with husky vocals, glittering reverb and a vocal spoken breakdown that is equal parts honest and soulful. “Corpse Inside” has more of a psychedelic tone to it, a track that brings the tempo down, and the feelings out. “Still We Stay” follows it, much more 80s in nature, and just as magical as its predecessors. This one has an instrumental tempo that is slightly off-kilter when lined up with the vocals. This slight difference creates an otherworldly atmosphere for the duration of this dance track.
“Don’t Stop Me Now” has a very techy opening, with a soundscape that makes us feel as though we have been dropped inside an original Nintendo console to fend for our lives. The frantic feeling the instrumentals create is only slightly offset by the smoothness of the vocals, creating a balance similar to the song before it. Delores Galore rounds out the release well, with the slower tempo’d “Circles”. It feels epic, and should we find it placed in a Stranger Things-esque period piece, we wouldn’t think it out of place.
Get a sneak peek of New Growth below with “One Touch”, and keep your eyes peeled for more!
Keep up with Delores Galore here.
by Meredith Schneider | Oct 18, 2019 | albums, review
Rock collective Teleportal – comprised of Johnny Rossa (Vocals), Beth Liebling (Vocals and Bass), James Bourland (Guitar), and Ric Peterson (Drums) – just released a theatrical, 11-track album titled Devour that does – if not specifically that – really provide an attitude all its own. While the instrumentals of “Space Bone” introduce the collection with a dark soundscape, it lightens with the layering of new instrumentals and lighter vocals. Eventually a wailing note makes this song into what it is, and we’re transported back in time while also being pushed significantly into the future. “The Plague” has an undeniably frantic feel to its sound, energizing in its disposition, while “Disaster” evens out the tempo a bit for a more traditional rock sound. “Mansions” slows it down to that psych rock soundscape, giving us whirring guitar parts we didn’t even realize we were craving until now.
“The Organizer” dips back into classic rock, a little more of a ballad. We’re pleased with the way it pulls Rossa’s vocals to the forefront, providing this heartbreaking feeling we wouldn’t otherwise get from a different set of pipes. “Slither on the Ceiling” brings with it a funky feeling, the vocals rough and enticing. “Velvet Math” definitely feels more technical, with computerized sounds throughout and an otherworldly vocal presentation. While “Pull the Trigger” has a title that might feel a little more morbid than its predecessors, the crashing cymbals and punk rock feel make it fit right on in with several genres, including garage, punk, and classic rock.
“Ruins” slows everything down as an instrumental track driven by a classic drumbeat, while “Eel” does seem to exist in a watery, psychedelic soundscape. (The intentionality behind the undertones of the songs and their title pairings is almost poetic in itself, don’t get us started here.) “Gamma Dust” is quite possibly the perfect ending to this collection, as from beginning to end you feel an eery connectedness to the scattered percussion, haunting vocals, and layers of sound. Soothing, chaotic, intense.
Keep up with Teleportal here.
by Michael Arnold Porter Jr. | Oct 16, 2019 | snapshot, visual
On September 27th, Ashe performed at Encore at the Uptown Theater. Our photographer caught some moody shots for us to swoon over, highlights below!
Keep up with Ashe here.
by Carly Butler | Oct 14, 2019 | snapshot, visual
MUNA brought their
Saves The World tour to Mercy Lounge in Nashville on October 4th–just a month after their album of the same name was released. They opened the show with lead single “Number One Fan,” an anthem about coming to terms with being your own biggest fan. A MUNA show is a celebration of self-love, self-care, and self-preservation. In their words, saving yourself is the key to saving the world. They performed all but two songs on their new album, along with crowd favorites “I Know A Place” and “Loudspeaker” from their 2017 debut
About U, and in between songs, the crowd rarely stopped cheering long enough for the band to get a few words in–until bassist Naomi McPherson declared triumphantly, mid-show, that they are “the greatest band in the world.” I wholeheartedly agree.
Keep up with MUNA here.
