Grief and trauma can cause enormous pain that will affect the rest of your life. It can change you as a person and make you weaker or stronger. Samantha Crain has taken control of her life and tackled her grief head on with her new release, A Small Death. Her sixth studio LP will leave you in awe of her talents and inspired by her journey. Crain explains , “I didn’t completely die, but I feel like I died a little bit and that allowed me this new beginning…What I was trying to capture with this record, really, was a sense of reconstruction.”
The Oklahoma-based artist starts off strong with “An Echo” which highlights complex relationships and makes you feel the pain behind her voice. If one track had to sum up the feeling of the record, “An Echo” takes the cake. Not every song is as serious, “Pastime” is a look into Crain’s start of a new romance, but learning more about herself in the process. She took to Instagram to speak about the track, saying, “when I was writing this song I felt like I was getting to know myself from scratch, peeling off a costume that I was put in as a child and allowing myself, for the first time, to dress myself and fully lean into my curiosities and sensitivities.” This theme seems to follow through to most of the tracks, experimenting and digging deep into her soul. Raw emotions are present in “High Horse” with the feelings of fleeting memories. In the lyrics, “I know the shape of the great heartache / and I know the weight of a big mistake / and I know the feel of a magical moment,” you can hear the strain accompanied by the steel guitar.
Her alluring vocals pull you in on tracks like “Reunion” and “Joey”. They are soft, yet powerful, similar to artist Brandi Carlile, who she has previously toured with. Crain, who is of Indigenous descent, connects with her roots in “When We Remain”. The track is sung in Choctaw and accompanied by a light instrumental. “Little Bits” closes the record out, by being herself and owning who she is. It’s short, upbeat and to the point, almost as if she was wrapping everything up with a red bow on top. A Small Death follows the 2017 release of You Had Me At Goodbye and is the first release under Real Kind Records, founded by UK-based artist Lucy Rose. It is the beginning of a new chapter for Crain and her music, something that is uniquely her and her experiences.
The English post-punk legend Gang of Four’s new EP Anti Hero dropped today. The EP is a celebration of the life of band member Andy Gill who passed away in February. Gill’s widow Catherine Mayer joined together with the band to memorialize Andy through music and to fundraise for Guy’s and St Thomas’ Hospital– the hospital that worked tirelessly to try and save his life. All net receipts received by the band from sales and streams of the forthcoming EP and associated singles will be donated to Guy’s and St Thomas’ NHS Foundation Trust so that they can continue their valuable work. Anti Hero features two new tracks and new versions of old songs that were completed at the time of Andy’s death. “Change the Locks” and “Glass” were written before we were really in the throes of quarantine, but resonate with it nonetheless. “[Andy’s] ability to write songs that remain relevant was unparalleled,” says singer John Sterry. Bassist Thomas McNeice worked with Andy’s longtime friend and collaborator Santi Arribas to produce and mix the EP. McNeice says “I like to think that this EP exhibits a progression in Gang of Four, while paying tribute to a unique talent that I was extraordinarily lucky to work with.”
The title Anti Hero comes from the first single off the EP, “Forever Starts Now.” Written by Gill and Sterry, its original working title was “Hero,” referring to the lyrics which describe “a character who sees himself as the hero of his own life and manipulates his partner into supporting this fantasy,” according to Sterry. Andy was always wary of narratives surrounding supposedly great men, hence the word “anti” in the title. You can hear the aggression and conviction of the character in “Forever Starts Now”, especially in the bass. There are two bass parts, one electronic, one physical, and both attack each note with the ferocity of a deluded man. The rest of the music is made up of these short, fragmented motives in several different voices that give the track an unsettled quality, which also plays into the instability of the character. All these fragments create a really full sound, however, using mostly physical instruments but also some hints of electronica. It’s disjunct and edgy, yet incredibly easy to jam along to.
This unsteadiness is also mirrored in the second single, “Day Turns To Night”, but rather than being fueled by delusion, it’s fueled by the inner turmoil that one experiences after a loss. Sterry wrote the song only days after Andy’s death, and while he didn’t intend the song to be about him, it evolved into a tribute anyway. The track is made up of chaotic electronic sounds interspersed within a foggy musical atmosphere. Touches of angelic, but ghostly harmonies peek through every once in a while. This amalgamation of sounds are overwhelming, like a sensory overload, reflecting how grief can feel. However, the lyrics are clear. They are a plaintive but touching message to Andy with lines like “Is it too late to say thank you?” and “You forever changed my fate.” In some sense, it’s as though the mayhem in the music is giving you an out– something to focus on. Because if you pay attention to the lyrics, the emotions are piercing.
To complete the EP, the two reworked tracks “Change The Locks” and “Glass” update the sound to fit the vibe of the EP. “Glass” retains some of the 80’s energy from the original 1979 version, such as the DEVO-esque vocals, but it feels edgier with the pounding beat of the drums and guitar. The repetitive guitar licks and lyrics bring back the unstable sound of the first two tracks– as though the whole song is twitching. It’s short and restless, ending abruptly.
The original version of “Change The Locks” is much more recent than that of “Glass”, appearing on their 2019 album Happy Now, and consequently sounds more modern with lots of electronic elements and a pop-punk character. The Anti Hero version leans more towards alternative rock, with less bouncy electronic sounds and more distorted guitars that sound almost like buzzing. Funk comes into play in the bassline which maintains a steady groove throughout the track. The bridge adds a deep uniqueness that makes “Change The Locks” the standout track on the EP. It begins with simple, static drums, guitar, and bass. As Sterry sings “bang bang on the drums,” the drum beats ring out like shockwaves. It then dissolves into an old-timey sounding piano part before the chorus comes back, sounding familiar but also different after the mood shift that just occurred in the bridge.
Anti Hero is a wonderful celebration of a valuable band member. It honors him, not in a lachrymose way, but in a way that connects with who he was as a person and musician. The skilled musicians create music that has ties to the 80s post-punk roots of the band that Gills co-founded back in 1976, and highlights songs that Andy wrote, but also songs that capture the impact he had on those around him.
Laraaji is cracking open a new chapter in his music with his latest project Sun Piano. The twelve-track album reveals a whole new side to his sound for longtime listeners. From an early age, he had been playing music originally imitating his favorite piano players, such as Fats Domino or Oscar Peterson. Since the late 1970s, Laraaji has been a loved cult-icon based in New York City This is just another chapter in his story, so take a deep dive into Sun Piano.
Sun Piano begins calm, easing you into the album. “Hold On To The Vision” is soft and beautifully composed, the perfect track to play in the morning while you get ready for your day. Throughout the album, Laraaji picks up speed on tracks like “Shenandoah” and “Moods & Emotions”, with various tempos and style. “Moods & Emotions” stands out the most among the others. Through the notes of hard hitting keys, there definitely are tons of moods and emotions on this track. “Resonance” is almost six minutes long, weaving in and out of different keys and showing a range of emotions. The sound, especially on this track, is very rich and doesn’t even come close to falling flat. Closing out with “Embracing Timeless” wraps everything up and returns to a familiar calming sound introduced in the beginning. The uplifting are sure to soothe your soul.
His instrumental accomplishments are unmatched and show the craft has evolved, growing stronger with every release. Listening to this album is sure to put you in a relaxing mood and you can truly appreciate Laraaji’s talent. The rhythm and varying textures is a skill that he has perfected since the 80s. This is the first release in a trilogy all tracked at the same session. The companion LP, Moon Piano, will follow sometime later in 2020.
The masterful work of artist Thomas Arndt has been unleashed upon us with the new album from his solo project, Another Magic. The twelve-track release – Sunderwater/Underwater Sun – dropped today, and we know you will be enveloped in a unique atmosphere from start to finish. With percussion-driven initial tracks “Sites * Bones/Free” and “Breaking Promises,” we get a sense of the transformation Arndt went through while connecting with this project. All we want to do is dance and feel and breathe. “(Gone)” presents itself as a slowdown, notable for the saxophone and melancholy feel. “Set It Off” brings the pace back up, a track we can see being played at your next (socially distanced) outdoor barbecue event. (It’s so good, right?)
The rhythm and the introspective lyrics in “Want to Feel” make this one of the most relatable songs on the release. As Arndt sings of wanting these things, this sense of humanity cascades around you with the music. At a time when everyone is trying to be better and to feel in different ways, this track speaks to us. “Can the Body” takes a slower pace again, a more meandering track that leads beautifully into “Not Loud Enough.” It is at this point that the structure of the tracks comes alive because you can see how Sunderwater/Underwater Sun plays with pace and layers to present a robust audio adventure.
And just like that, “Ocean Goes” offers a reprieve from the cacophony of instrumentals in its predecessor, incorporating sounds that add a sense of tranquility to the atmosphere. It still feels quirky, almost imbalanced, but done so in such an intentional way that we can do nothing but appreciate the humanity in it. “Here (Like Love)” and “Stolen” maintain similar ambiance, whereas “Lost in the Future” takes on an almost Andrew McMahon-feel to parts of it, examining more than just the present moment in its lyrics. “Show for It” rounds everything out quite nicely, once again bringing us back to relatable lyrics, a slower – more calculated – pace, and existentialism laced throughout.
Don’t take our word for it. Take the album for a test drive. Let us know what you think.
Close your eyes and press play. The lush, tranquil sounds that burst forth from your speakers make it feel like there is another layer to your reality. And that is all before the smooth-as-honey vocals cut in, compliments of Los Angeles-based songwriter & producer RYTERBAND. In a world where everyone’s timelines seem to be upside-down and inside-out, this is the type of music we need. Songs like “Stay Awake” have the propensity to offer an escape, as well as a reminder on how to handle yourself in your current atmosphere.
As his debut offering, Undefended boasts catchy hooks, a vibrant disposition, and twinkling after-effects. Lines like “You move like dust in the sunlight” – found at the beginning of second track “Brilliant Eyes” – are absolutely drenched in poeticism. But delve into how RYTERBAND plays with dissonance in “Lighthouse,” and I dare you not to be moved to tears.
Take a dive into any one of these tracks. The layers that exist, the way the sound seems to encapsulate you and carry you around on its back. There’s something primal somehow entrenched within this electro-infused set of tracks that tugs at you, something that makes it clear that if this is just the beginning, there is simply more intrinsic beauty to come from this talented musician.
Here to write anthems for future generations, multi-instrumentalist Michael Desmond inspires the people of the world to march to the beat of their own drum with his forthcoming EP LocalNomad. The EP is part of Desmond’s project, also called LocalNomad. He gives insight into the dichotomous name by saying “LocalNomad is the resistance of sedentary life. It’s about seeking the strange and embracing the unknown. Wondering. Wandering. Young and Old. Everywhere and Nowhere.” Desmond plays every instrument on the EP excluding drums. He draws from a variety of sources including Tears for Fears, Elvis Costello, and Phil Collins to produce a fusion of indie-pop and alt-rock with soulful vocals, heavenly synths, and lustrous drum beats. Originally from Long Island, NY, Desmond began his career as the frontman of the orchestral indie rock band Gabriel the Marine. The band found success and performed with bands like Taking Back Sunday, Glassjaw, Mew, Jacks Mannequin, and The Dear Hunter. However, after going through a period of rapid change in which he graduated from college, ended a long term relationship, and watched a family member tragically pass away, Desmond’s mind was racing a mile a minute. The only way he could slow things down was to write, and thus LocalNomad was born as a snapshot of life during this unstable time.
While LocalNomad is worth listening to for Desmond’s expert and fascinating use of instruments to create an array of idiosyncrasies within each track, there are also captivating overarching qualities that will intrigue even those who might want to listen passively.
The anger-fueled opening bop “Love is Gone” and rueful “Young Vampires” are “explosion” songs. “Love is Gone” keeps things chill with an alluringly groovy bassline in the verses, before erupting into sound in the chorus. It’s vocal line is compelling and surprising, you find yourself listening intensely to see what will come next. “Young Vampires” is about a toxic relationship, turning each other into vampires– monsters. It displays wistful guitar in the verses but also has a sonic explosion in the chorus.
“Gates” and “Getting Old is a Bitch” are more self-contained, but each have a quiet, yet powerful energy. The contagious beat in the chorus of “Gates” leaves you no choice but to jam along. All of the instrument parts in “Getting Old is a Bitch” are pertinent to the feeling of getting old. It also has a dominant bass beat and riff that hits you hard, much like growing up does. The “do-do-do”’s in the background almost sound like they’re taunting each of the melancholic main lines. Turmoil and instability in the distorted guitar solo reflects how it feels as the world seems to be moving on without you.
Finally, we have those songs that “clash,” although their conflicting elements end up working to their advantage. “Gates” elevates the sound to a celestial sphere with ethereal synths, but at the same time, the hearty guitar brings things back down, adding a wholesome, down-to-earth quality. A great guitar riff comes in towards the end, but it has that heavy rock sound to it, providing a deep contrast with the synth. The clash in “Summertime”, on the other hand, comes from the happy-go-lucky synth harmonies set against the wistfulness of days gone by in the lyrics. It’s about young adults trying to keep up with life and thinking back on the naivety of their youth. With the beat, sunny harmonies, and fluttering synths, you find yourself thrown back into a summer from years ago, tinged with nostalgia and regret. These tracks are dichotomies, much like the name LocalNomad itself, and the crunch between their conflicting qualities make them ever-so satisfying to listen to.
There’s a lot of potential in LocalNomad to discover more unique elements in the tracks, but no matter what you’re guaranteed to hear some anthems with great beats, full, well-rounded choruses, and colourful instrumentation. The EP will be released on July 10, 2020, but some of the singles are available to stream now!
