There’s something so incredible about the connection of an artist to their work, and then the work’s fans to that artist. The announcement of the death of indelible singer-songwriter Cady Groves at the tender age of thirty this spring has left a large demographic of both pop/punk fans and country aficionados floored. I, myself, remember the days when she toured with punk banks and I requested her haircut at the salon. (College was a trip, and she has always been gorgeous.) Seeing her name in headlines in my social media feed made my heart stop, and I haven’t heard much of her more recent work. But the world has been celebrating her all along, and her fandom has been wrecked over the news.
Cady spent the last four years of her life writing and preparing new music in Nashville that both reflects her personal experiences, and makes her even more relatable than before. Her EP Bless My Heart was released at the end of May posthumously, and she couldn’t have hit the mark more if she tried.
With a little whimsy, she approaches the collection with the first track “Bartender,” a quirky, honest, beautiful ballad to the carefree nature of a full bar on a hot summer night. Perhaps the reality of political unrest and pandemic make this song feel that much more nostalgic, because we actually felt ourselves tearing up, listening to a song about drinking. The title track comes in quick to justify the tears, however, as Cady addresses personal anecdotes and makes us feel that even those who fall – hard – have the opportunity to be blessed in life. She rips any wounds wide open in this track, and this vulnerable side is going to be the thing we miss most.
“Camo” seems to have a title that is very stereotypical – and perhaps widely indicative – of its audience, but the metaphor prevails as a gorgeous reminder to make yourself seen. “Cigarettes and Sunsets” takes on a rhythm and pace that lure us into the thought that we might be about to watch 1996 blockbuster hit Phenomenon. (That is not an insult in the slightest. We imagine this track sounds like the perfect amalgamation of Clapton-style guitar and the Northern California cowboy demographic that surrounded the cast of Phenomenon during filming. But I digress.) Either way, the track belongs in a film. (Do you hear that, sync friends?!)
Last track “Crying Game” visits personal anecdotes, and reminds us a bit of earlier Cady Groves’ work sonically. The song specifically addresses the deaths of two of her brothers (Casey and Kelly), and the emotions that come along with their memories. It all feels like a way to round back to the beginning, as she takes her final, audible, bow.
To feel as though you have witnessed an entire career in just five songs seems a bit cheesy. But this release makes us feel closer to Cady than ever before.
Canadian singer, rapper, producer, and songwriter Keffa released his new EP Victimless Crimes on June 1st. Produced by the Multi-Platinum and GRAMMY award winners Ken Lewis and Brent Kolatalo, the EP delves into the melancholia that results from failed relationships, but in a light-hearted way. While the music is classic R&B in many ways, it also includes elements from many other genres such as indie and experimental. Keffa compares it to the controversial 1994 film Bitter Moon which featured similar themes of relationships and heartbreak in different ways.
Each track gives us a glimpse into the types of complicated, failed relationships that one can have.
“Bethlehem” stirs up emotions you may not even know you have deep down inside you. It begins atmospheric, and includes hopeful messages like “It’ll be alright, I’ll be by your side.” But halfway through the clouds clear, the line “pick up a loaded gun” cuts through, and things become more painful. “Bethlehem” exposes the listener to this pain, setting the stage for the rest of the EP.
“Rock You” tackles loneliness, the idea of being with someone only for companionship and not for true love. As Keffa says “There’s no point in loving me, ‘cause I have no empathy,” the hard-hitting bass notes and upward synth gestures in the music sound like slow, steady breaths. It’s as though the music is breathing through the pain, through the loneliness. Immediately after, we get “Twenty Four Days” in which Keffa switches gears and starts talking about how he’s in it for the long run with this girl he loves, although there seems to be a lack of trust in the relationship.
“Disconnect” is a standout track. It deviates from the other tracks as it prominently features dreamy, broken guitar chords and surprising turns of harmony. It deals with space, “disconnecting” from a stifling relationship. “Victimless Crimes” is the most unsettling song on the EP. In essence, it’s about how things that were once uncomplicated can become twisted.
Keffa ends the EP on a cheerful note, musically speaking. “Try Harder” is fun to listen to, with a catchy chorus amidst smoothly rapped verses that just glide on top of the jazzy background music. The lyrics still continue the theme, however, highlighting a one-sided relationship where one person isn’t making as much of an effort as they could.
Listening to Victimless Crimes, it’s easy to see why The Source Magazine hailed Keffa as a “Canadian mastermind” after his second EP release, and why he was featured in Respect Magazine as “Toronto’s Emerging Creative Enigma.” Keffa not only shows how it’s possible to innovate R&B music, but also shows the world what Canada has to offer in the hip-hop genre.
Did you happen to know that Spiders Make Great Poets? That’s the truth, at least, that Blake English will stick to when asked, since that also happens to be the title of his new 5-track EP. Beginning with an otherworldly soundscape, “Sad Girls Dance Party” bursts into an honest yet fun, high energy space worthy of Warped Tour. Maintaining a similar pace doesn’t seem to be difficult for English, as second track “This Is the End” builds to quite an impressive and catchy chorus as well.
It is only with “The Neighbors” that the release slows down, back to the power punk ballad life we will absolutely come to expect from English. But it’s only the first few seconds that allow this sonic reprieve, as everything revs up before we even hit the 45 second mark. If ever there were a physical representation of the Energizer bunny – especially mid-pandemic – we would go ahead and give that honor to English. But don’t mind that assessment, as we are speaking of tourniquets very early on in “A Ghost I Knew from Yesterday,” a track that comes in to remind us that we are hanging out in the emo genre. This, this is the ballad we thought we were getting previously. This is the song we needed to prepare for post-pandemic karaoke nights.
But let’s not get ruffled, thinking the EP will end with no attitude. We jump right into “United States of Depression,” a very sharp commentary on current times. A very open and vulnerable song might lean to the dark a little more than anticipated, but it’s honest. And honesty is what we’ve all been craving.
So revel in it. Then do it again. And let us know which track is your favorite!
Alt-pop singer-songwriter Sailing Stones drops new album Polymnia. The album has circles around romantic innocence and longing set in uncertainty.
“Fire Escape”, the last single released before the release of the album. The track is a love song watching one lose that comfort of innocence. Even with harsh words like “fire that rages for days”, the song itself is a gentle story of surrendering to love. The idea of letting go of that innocence and letting love take over is full of complex emotions but also simple ones. “Fire Escape” is a reminiscent take on a story of love that makes you feel “both broken and alive”
“Comfort”, is a song about coming to terms with your mistakes when it comes to love, but how you still seek the comfort a relationship brings. With opening words “I’m tired” we see from the start that Lindfor is introducing a subject tired of the love routine they are putting themselves through. However we see the struggle the subject faces by wanting to stop old habits but being pulled back in because it’s what they know.
What makes Polymnia special is Jenny Lindfors ability to combine mixed emotions that are sometimes contradictory, into her songs with ease.
With the release of their second full-length Cry All The Time, Impulsive Hearts delve into darker themes of love and loss, while keeping true to their bright and fierce style of songwriting.
The album opens with “MELODY” is a look at a relationship that fell apart where one knew it was coming and the other didn’t. This uses the idea of creating a melody of music to capture one’s love for the other, “I could build a melody, it’s in a song u would write it down all summer long, oh I would build the world you love, who you waiting on?” and the realization that person wants out of the relationship with: “you took it back what you said / … / you said forget the rest, the rest of what we said.”
The album ends with the track “some heartbreakers” a slower and slightly upbeat tempo track that encompasses the theme of Cry All The Time, love, heartbreak, and loss.
Impulsive Hearts creates music that has a touch of sadness to the world of neo-girl garage rock bands. With Danielle Sines providing captivating vocals and fuzzy guitar, Doug Hoyer (bass) and Dan Julian (drums) hold down the rhythm section bringing each track to its peak moment, and Fallon McDermott (saxophone) and Jess LeMaster (violinist) add a depth to these tracks. All parts come together to create the larger than life sound of Impulsive Hearts.
Cry All The Time comes full circle from its start to finish, with “MELODY” presenting an example of heartbreak and loss while “some heartbreakers” shows that we all have stories of heartbreak, each song on this record is a story of heartbreak.
Non-binary Texas-bred rapper Ben McGibboney (who operates under the moniker of Love-Sadkid) has just released their first full-length project, entitled Growth. The young rapper just turned 18 but has already committed to pursuing their music dreams full time. A former star running back, McGibboney had garnered interest from top schools in the SEC before discovering their love for rap. At that point they made the decision to quit football to commit to chasing their new dream.
Love-Sadkid has been steadily releasing new music and EPs, building a strong online fanbase and racking up over half a million monthly listeners on Spotify. Despite their young age, Love-Sadkid has quite a bit under their belt already; they’ve released two EP collabs with Dahm and have a tour as an opener for Hobo Johnson under their belt. Growth displays the young artist’s knack for combining old school rap aesthetics with the modern problems and world outlook of a reluctant member of Gen Z.
Album opener Ta/Pe kicks things off and sees Love-Sadkid rapping with an admirable level of sincerity over a soft piano track before moving into the lo-fi like production style that the young artist seems to have an ear for.
Habits leans and rocks into R&B territory with a vibey hook, complete with a thickly-textured chorus of voices. Love-Sadkid’s knack for production continues to shine through, a myriad of colorful sounds adorning this (and every other) track.
The title track picks up the pace alongside cool toned beats and tinny effects. Sadkid raises intensity here, letting his speed and lyricism show through. Here they prove their versatility through their clear ability to make more traditional rap along their (very well done) vibey and sunshiny tracks.
The young rapper shows off a lot of range and colors on his first full-length which will surely continue to expand. Full of potential and talent, Love-Sadkid seems to have a bright future ahead of him.
Growth is now available everywhere for your streaming enjoyment.
