From the very first, slow chords of the title track, to the final, crawling notes of twelfth song “Piano”, artful indie pop artist Lina Tullgren‘s new album Free Cell takes you on a steady, beautiful sonic journey that you will not regret being a part of. Songs like “110717”, “Bad At Parties”, and “Wow, Lucky” are introspective, slightly more specific in their disposition but still highly relatable.
And perhaps that’s most of Tullgren’s pull. Since the first time we heard her quirky, ethereal vocals, we’ve felt well-placed bits of emotion tugging at our heartstrings in every one of her tracks. Free Cell is no different. Relating to your artist is key to identifying with a song sometimes, though Tullgren leaves little room – if any – to mistake these feelings as something else.
Pop this bad boy on and play it behind your next picnic, patio party, road trip, or while you’re cooking. Let yourself be at peace with this music. It’s totally worth it.
P.S. When you do listen to “Wow, Lucky”, please then be inspired to use tarot cards, but don’t ask them to tell you your fortune? The future is up to you, baby!
Purchase Free Cellhere and keep up with Lina Tullgren here.
Today, Dallas-based rock collective The 40 Acre Mule releases their latest full-length, a 10-track album titled Goodnight & Good Luck. Filled to the brim with incredible chord progressions, guitar riffs that will melt your face down to your teeth and cheekbones, and an undeniable energy that just simply will not quit. Their musical prowess has them dipping the journey into a smooth, natural slow roll a couple of times – how else can you do bluesy ballads like “Be with Me” and “Hat in Hand”? – but for the majority of this release, we spend our time checking our increasing heart rates.
The band – comprised of J. Isaiah Evans (Vocals/Guitar), John Pedigo (Guitar), Tim Cooper (Bass/Backing Vocals), Robert Anderson (Drums), Chris Evetts (Bari Sax/Percussion), and Chad Stockslager (Keys/Backing Vocals) – effortlessly blends the sounds of their great predecessors (Chuck Barry, Little Richard) and modern influences (J.D. McPherson, Nathaniel Rateliff) to create a sound that is simply undeniable, and truly one all their own.
If you’re looking for album favorites, we’re very into the clear nostalgia that rolls through us while listening to “Shake Hands with the Devil”, and are thoroughly drawn to the title and danceability of “Bathroom Walls”. Perhaps both songs present the sense of a thrill for a moment, thematically tying us to the album as a whole as it takes us on a thrilling ride.
Peep Goodnight & Good Luck below, and be sure to nab your copy soon!
Judah & the Lion…what can I say? They are a band that I have seen multiple times, and that I will probably continue to see. My first encounter, admittedly, was a personal tour with the guys around the Kansas City Zoo as they were just gaining traction with “Take It All Back”, and they were such a joy to speak with and to capture (with the lions, no less!). They put on such an undeniably powerful, upbeat, and fun show, and consistently! Everywhere from a packed old theater to an intimate set in a bar, they know how to make you FEEL with their lyrics AND music.
Th latest venue when they passed through Kansas City on August 10th? The gorgeous outdoor stage at Starlight Theater. (Yup. Home to bats and big ass fans.) Aside from the wicked humidity that evening, I think it was my favorite show from them yet, which is a tall order! It truly felt like I was invited to a party as one of the band’s closest friends as I witnessed their talent beneath the summertime sky.
Prior to releasing their album Pep Talks in May, I don’t think I would have felt like they were speaking directly to me. But the lyrics are made up of stories that are trauma-informed and emotional, like the band has cracked themselves open to being completely honest and transparent to anyone that will listen. Their Nashville-infused folk-pop mixed with some clearly Blink 182-style beats – well informed influence, as they’ve been covering a Blink favorite on this tour – this whole concert felt like a nod to early 2000s teen flick house parties (you know, with the live punk band playing in the backyard by the pool a la “Scotty Doesn’t Know”?).
Judah and The Lion’s energy is undeniable. The dropping of a curtain makes me want to listen more. And share more and connect more with other humans. And it had a greater impact on me as I listened Saturday night.
They opened with “Pep Talk” (the first song on their new album of the same name) as the last glow of the evening sun disappeared over the horizon and brought the heat as the weather cooled (to a chill 76 degrees). They played their entire new album and mixed in some fan favorites along the way – including a Blink 182 cover! And, even though I love the new stuff, my ears perked up and my tail started wagging when “Suit and Jacket” started up a few songs in.
They sing. They dance. They play the banjo. They tell enveloping stories while running around the stage and tiring you out just watching them. But, most of all, they inspire you to live in the moment, dance like no one is watching, and remind you that you are never alone.
I attended the Judah & the Lion concert by myself on Saturday night. But, as I walked to my car during the encore of “Take It All Back”, I realized I was really in my own backyard, connecting through song and movement with 5,000 of mine and the band’s closest friends.
Kansas City setlist:
1. Pep Talk
2. Quarter-Life Crisis
3. Over My Head
4. i’m ok.
5. Conversations
6. Suit and Jacket
7. Reputation
8. All the Small Things (blink‐182 cover)
9. Queen Songs / human.
10. Don’t Mess With My Mama
11. 7000x
12. GoofBallerz
13. Going to Mars
14. JOYBOY
15. Rich Kids
16. Dance With Ya
17. pictures
18. Family / Best Is Yet to Come
19. sportz
20. Alright (frick it!)
21. Why Did You Run?
22. Take It All Back
On Friday, Americana rock musician Beth Bombara released her new 10-track full-length, titled Evergreen. With robust vocals that float around the Sarah Mclachlin range more often than not, we’re captivated by her well-developed sound. “I Only Cry When I’m Alone” sheds some uncomfortable light on covering up our metaphorical bruises when we are in pain. It lays out the propensity to make things seem perfect, and the truth that many of us face: We hide our hurt from others when support is much more important. And the emotion doesn’t run cold with the first track, either. “Upside Down” presents a feeling of dark nostalgia on hard times, a hard topic masked a bit by the upbeat tempo. “Anymore” slows it down considerably for us, but brings a sense of empowerment with the existence of newly-induced boundaries.
“Tenderhearted” definitely has more of your run-of-the-mill country love track flare to it, while “Growing Wings” presents a bittersweet view on change. “Does It Echo?” is interestingly composed, the strings played in a way that brings the instrumentals to the forefront of the track for the first time since we pressed “play” on Evergreen. That’s not to say we don’t hold her vocals in very high regard, but there is so much beauty in the composition that it seems to have been the driving force in the writing of this particular song. “Good News” picks the momentum back up, leading us into the title track, freeing percussion and a vivid descriptors giving life to the lyrics.
While “Criminal Tongue” does its best to blend some incredibly sassy blues instrumentals in, we can’t help but wonder if the track is a proper nod to modern day politics, or if the song tells of a more specific tale. If that’s the case, we’re clambering to find the inspiration for this one! Bombara rounds out the album with “All Good Things”, a proper tempo slowdown that has quite sincere and introspective lyrics. The way the melody plays out makes it feel like a traditional ballad, with all of the energy and emotion that Pink has provided in recent releases. Wouldn’t you agree?
All at once natural, manmade, and the product of a dream: With Fuwa Fuwa Music, Miki Moondrops guides listeners through an ethereal world that hums, glitters, and bleeds with vivid watercolors. The allure of Fuwa Fuwa Music lies in its fantastical nature – this album breezily transports listeners to an enchanted forest that is part organic, part machine, and always breathtaking.
The second studio release from Miki Moondrops, the finely layered production of Fuwa Fuwa Musicbubbles over with enthusiasm and curiosity. The group is comprised of Miki Masuda Jarvis, on bass and vocals, and David Lord on guitar, synths, and glockenspiel (for this record, they are joined by William Erickson on drums and Ben Snook on electronic percussion). The work as a whole is peppered with clicks, whistles, and cartoonish bounciness that serve as markers for the passing of time, as they weave in and out of earshot, brightly punctuating spells of haziness. Airy synths paint a permanent sunset as the backdrop for hearty drums, psychedelic guitar loops, and unrolling spools of abstract lyricism. While each track carries an individual theme all its own, the zeitgeist provided by Fuwa FuwaMusic is consistently sunny – even through spasms of chaos or harsher distortion.
Listening to Fuwa Fuwa Music feels brand new and yet somehow deeply instinctual.For example, characterizing features of track “Bumblebee House” include the faint buzzing of honeybees alongside a fuzzy distortion, reminiscent of the stuttering twitch of insects’ wings. On “Ants”, Miki Moondrops shrinks us down to microscopic size and into a glittery, glitching realm that could only thrive hidden beneath the earth. Rapid, perforating melodies from vocals and guitar plucking alike read like an ancient language, paired with more “known” elements of electronica. “Dragonfly Wings” is another play at perspective: listening to it inspires contemplation of whether we are watching a dragonfly as it flickers and jerks in and out of the sonic frame; or if we are the creature itself, ascending ceremonially before lilting back down to earth, settling like fog.
Woven snippets of found sound and electronically produced noise are essential to Fuwa Fuwa Music. At times, these elements drive the song’s direction, like on “Orange to Pink, Mushroom to Turtle”; while at other points, they flit in and out of the mix and of frontal attention, providing space to appreciate Jarvis’s drifty vocals humming with reverb – see “When You See the Eyebrow, You Will See the Gnome”. At the top of opening track “Shells”, at least three psychedelic guitar loops and reverses take the stage, weaving through each other and the Jarvis’s vocal melody like ribbons in the wind.
The last two tracks from Fuwa Fuwa Music serve more as mood suggestions than as landscapes. In just a fleeting 1 minute 19 seconds, “Glassy Eyes” wisps the faint chirping of birds and gentle harmonies knit together by the melody of a lullaby. Final track “It Is Glowing” feels more anthemic than illustrative or inviting. Its undulating electronic percussion, ensnared by subtle guitar strokes, provides a groove that satisfies Miki Moondrops’ quota for psychedelic rock.
Corey Harper’s newest EP Barely Put Together hones in on young adulthood, deftly blending moods colored with snug optimism, taut despondence, and wistful recollection. The five-track EP exhibits Harper’s talent for constructing songs that deliver the immediacy of a live performance; some with the resounding power of a stadium anthem, and others, the gentle intimacy of an acoustic set.
Opening track “Blind” is warm, woody, and feels hopeful despite the fretting lyrics, dealing with the questionable aspects of an unstable relationship. Minute details produce an endearing familiarity, as well as contribute to the feel of a live performance: A close listen reveals the clicks and scratches of Harper’s fingers along the acoustic as he plays, and the generous reverb on his vocals ghost behind as if echoing across a stadium.
Moody, syncopated chords on second song “Don’t Hate Me” are reminiscent of the biggest hits of Justin Bieber and Shawn Mendes, as Harper evokes vulnerability following a tenuous relationship. He begs his significant other for a diplomatic split: “If we’re breaking up, we’re breaking up, just don’t hate me / That’s the only thing I couldn’t live with, baby”. A resounding anthemic club beat punctuates the severity of the chorus here, emphasizing the lyrics’ unabashed heartache. After the first chorus, a hidden gem in the form of a bluesy electric riff sneaks by, a segue to Harper’s bare vocals bolstered by a deeply funky bass line. His mercury-smooth vocal runs contribute the perfect dash of R&B freshness. Of all the tracks on the EP, this song welcomes the widest range of elements spanning several genres.
What follows exhibits confidence, defiance, and acceptance that life doesn’t always make perfect sense. Track 3 from Barely Put Together is titled “Better”, and carries the easy-breezy swagger of a California boulevard, as the chorus declares: “I like it better knowing I don’t have it all together.” Harper’s soaring falsetto complements the peppered lead guitar riff, giving listeners plenty of sunny texture to look forward to.
Track “Dried Blood” is a dip in atmosphere and stripped down in comparison, the acoustic picking pensive and cautious. This song’s lyrical melody is beautifully melancholy, but the strumming patterns are never dark; offering a versatile intimacy that could flourish within the walls of a solitary bedroom or floating alongside a each breeze. Harper faces the difficulties of healing from past failures, and casts out his doubts about the future in a fluttering falsetto: “Waiting for the waves to crash, [I’m] too far out to make it back.” Comparable to the scratching guitar strings from “Blind” is the slightest rustling noise in the background during the verses of “Dried Blood” – it suggests Harper is shifting positions in his seat as he plays. These “imperfections” cast a spell that is enthralling because it is realistic, as listeners are able to visualize Harper playing the music live.
Harper is at his most raw and desperate for the final track of Barely Put Together: “Best of Me” is an anthem best characterized by its rising anticipation and stadium earnestness. The first chorus offers a head-turning twist, as the muted beat and strumming actually shift to the back of the mix, granting Harper an open stage allow his vocal presence to take precedence. Electronica-style vocals layer behind the clear belting and gripping rasp, weaving a crowd of voices that proclaim Harper’s drift from heartache: “You’ll never get the best of me.”
