by Meredith Schneider | Nov 6, 2017 | wolf tracks
In September, Boston’s folk/indie rock talent Griffin Robillard released his 9 track, full-length album titled Cracks in the Ceiling. Flooded in a sharply nostalgic feeling, the album itself was written while Robillard was living in Copenhagen. You can almost feel the growth he was experiencing while writing the piece, as his vocals are flooded with emotion as he brings you into his world with the mid-tempo, almost anthemic, title track, bouncing into the more upbeat and soulful vibes of “Ghost” before getting slightly more twangy, then bluesy/jazzy, in his instrumentals with third track “Because I’ve Told You”.
“Reel to Reel” slows things down – has the structure of a Ben Folds-type track – weaving a narrative speaking to his significant other that is slightly specific, but still very vague, perhaps for the sake of universality. While “Artifacts” picks things back up exponentially, it is with sixth track “Faithless” that we are brought back out of our seats, encouraged by the sound to move. “In Your Own Way” houses similar surf pop vibes to the instrumentals in Gin Blossoms’ “Found Out About You“, causing us a few moments of reminiscing on our 90s selves.
It is with “Nothing to Show” that things get very serious, both lyrically and instrumentally. It’s like Robillard has decided to rip his heart wide open in this one, simplifying the instrumentals slightly to really showcase the words as he croons the track into a 70s style rock stunner. “Tired of Being Cruel” is your last taste of Cracks in the Ceiling, a lot more upbeat in its composition, though melancholic lyrically as he begins the song with the line “tired of being cruel to you.” Self reflective, honest, raw. That’s what we’ve come to love about Robillard, and – while we’re plenty happy with this release – we’re already excited to hear what comes next from this talented musician.
Cracks in the Ceiling is out now. Keep up with Griffin Robillard here.
by Meredith Schneider | Nov 3, 2017 | wolf tracks
As we wait with baited breath for the release of Texas-bred, Nashville-based indie rock musician Sierra Blanca‘s brand new EP on November 10th, we’ve got the music video for his track “Book” for you to enjoy. But Sierra has taken the term “back to your roots” to a new level, performing the track live in the woods at night amongst the stars, the chirping bugs, a small crowd, and – of course – the trees and their many roots. And while we could let the white noise from grasshoppers and creatures of the night get to us, it adds an ambiance to the track that makes us feel as though we’re outside enjoying a crisp night with friends under the stars. And – after all – that seems to be what he was after to begin with. So gather your own sense of community by watching the video, and let us know what you think below!
Honorable Mention is out November 10th. Keep up with Sierra Blanca here.
by Meredith Schneider | Nov 1, 2017 | wolf tracks
Earlier this month, New Jersey-based alternative indie rock trio The Stewart Dolly – comprised of Bob (guitar/vocals), Paul (bass/vocals), and Johnny (drums) – released their EP, affectionately titled Ain’t No Gas Station Gon’ Sell You City Boys No Grenadine. Consisting of five tracks, this EP takes hilarious some topics and goes off the deep end with them, inviting in hilarious lyrics alongside some serious guitar chops.
“Neon Sandwich w Lots Of Pepper” seems like an off title, but the track itself is literally about a neon sandwich. And though the lyrics are simple and silly, the instrumental composition is that of a crashing rock band, slightly reminiscent of early Good Charlotte in its delivery. Second track “Drill Spice” establishes a mid-tempo beat while singing about preferences, while “Archie Get In The House” has a quieter, more ambling beginning that hits its stride pretty quickly with the first line. As the band questions “Why won’t he go in?” and continues to give this “Archie” character life advice, we are taken back in time to when more people were inserting their opinions in our own lives. This song kind of plays off of that, and the humor does not evade us.
Fourth track “Don’t Count On Me” might have the most serious title of the five, detailing an unreliability with such blatant honestly (“Cuz there is no guarantee”, “I’m only good for two out of three,” etc.) that we’re both flummoxed and wondering if we can realistically make this our new anthem. The band rounds out the EP with “Polaroid Trail”, a song that seems, at first listen, to be a slow ballad. But that’s not how The Stewart Dolly is going to go out, they’ll do it with a bang. So, of course, the song speeds up before the vocals hit. And then we realize this is a song of heartbreak, and it’s slightly painful listening to the lyrics.
But we’ll just keep “try[ing] not to think of” the band after this, because five songs is a good taste but it’s just not enough.
Ain’t No Gas Station Gon’ Sell You City Boys No Grenadine is available now. Keep up with the band here.
by Meredith Schneider | Oct 30, 2017 | wolf tracks
Seattle-based shoegaze/dream pop collective Ephrata – comprised of Skadi Von Reis Crooks (guitar, vocals), Brady Hall (guitar, vocals), Jules Jones (bass, vocals), and Ben Bromage (drums, vocals) – released their self-titled 11 track album just last month. The vocal harmonies they have been honing since their conception in 2011 are buttery smooth, with almost a kaleidoscope of personalized instrumental layers that make each song feel like an entire experience. We were big fans of the release, so we thought we’d let you in on why.
“Odds” has a very “I Melt With You” feel to its initial lines – though delivered as though it were released in the 50s – bathing its listener in light, nostalgic feels right off the bat. “Tunguska” is characterized by whirring guitars, the beat setting in after a couple of lines and really kicking the energy into high gear. But the song feels upbeat and light, while the lyrics are actually quite terrifying as they repeat “Run, run, scream and cry / Run for your life.” (Comforting, we know.) “Breakers” makes us realize that we may have embedded ourselves in a deceivingly light – but innately melancholic – work, as first line “Don’t you know that things were better when they were bad?” throws us into an almost existential mindset. And while we aren’t entirely sure what it means to “die on a sea of straight faces,” “Sea Of Straight Faces” is a slow, 50’s doo-wop sounding track that mellows you out for a bit mid-album.
Fifth track “Fiend Folio” seems to play with dissonance early on, addressing perhaps the fact that your road through life is paved with temptation and intensity (“forked tongues and fangs showed me the way”). We might be misinterpreting the lyrics, though they are – as their predecessors – seemingly bittersweet in their delivery and intention. “1000 Things” begins with a grunge/surf bass guitar, exploding into a beachy track that hits Beach Boys status pretty quickly and effectively. And while “What Is Mine” is indie rock at its core – it feels as though it could have easily been included on the Juno soundtrack – “Consequence” rolls right back into some hard beachy nostalgia for us all.
“Pharaoh” is light and upbeat in delivery. In fact, deceivingly so, as they’re singing about being shot and “entombed,” though the overarching theme might just be found in the line “pot meet kettle,” something we have been examining intensely recently, especially regarding people in power. (But I digress.) “Evil Twin” is a track that really makes you think. Clearly, the person whose perspective we’re examining is in denial about a seemingly abusive relationship, as she is convinced she met her significant other’s “evil twin” because of the way he treats her. “But when he appears you’re always gone…” How sullen and beautiful, this perspective on unhealthy relationships. Ephrata ties their 11 track release together with “Sun Scenario”, keeping with the devastating, lugubrious theme by instructing “fill your head full of dread ’til you’re dead,” which – to their credit – when examined has the opposite effect. It’s as though they’re encouraging you to embark upon this dark path, hoping you might take it as a challenge and move, instead, into the light.
But however you tend to interpret the lyrics, move forward. Examine your world through the lens of Ephrata’s music and use it as a learning tool. It will come in handy.
Ephrata is available now. Keep up with the band here.
by Meredith Schneider | Oct 26, 2017 | wolf tracks
Danish indie rock singer/songwriter and producer Hans-Christian Søgaard Andersen – who goes by the particularly interesting name The Captain of Sorrow – is prepping to release his debut album at the beginning of 2018. The release, titled Racetrack Babies, is named after a band he used to play with that broke up while creating the album, so he kept the nickname Racetrack Babies drummer Henrik Svendsen gave him as his stage name and finished the project for the fans, crafting it to mirror the interesting sounds that Hans-Christian hears in his head. “Holly Empty Void” is one of the tracks off the upcoming release, and we have the exclusive American premiere right here, right now.
Beginning with a rough guitar bass line and “whooping” noises that almost resemble a police siren, Hans-Christian’s voice comes in almost immediately, almost soothing amongst the instrumentals. As he talk/sings a melancholic narrative, the drums become a defining factor of the track and you find yourself getting lost in a swirling cacophony of sound and vocal reverb before the song fades out with whirring guitars. Get your first listen below.
Racetrack Babies is set for an American release on January 26th. Keep up with The Captain of Sorrow here.
by Meredith Schneider | Oct 23, 2017 | Uncategorized
Chris Barron is one of the masterminds behind some of your favorite 90’s songs, as he is the lead singer of critically acclaimed four piece Spin Doctors. For years, he’s been honing his own solo sound alongside his work with the band, and has dabbled in working with other artists as well. He writes, plays, and goes about it all in a very unique, process-oriented way. In all reality, Chris Barron is the ideal musician in regards to talent, but he’s also a phenomenal and humble human being behind it all. We know, because we got the unique chance to ask him some questions in the thick of release week of his brand new album Angels And One-Armed Jugglers, which dropped on Friday.
Full to the brim of incredible artistry, Angels And One-Armed Jugglers travels into sound spaces and genres Barron isn’t necessarily known for, but pulls off entirely too well with the band he has assembled. Learn more about them – and Barron’s process – below, right after you check out the new album in its entirety!
What is the first song or album you ever remember hearing, and who introduced it to you?
I remember being very small, so small that I was about the same height as my parents stereo, holding myself up, my hand on the speaker, with Elton John’s “Crocodile Rock“ blasting out of it. I might’ve been in diapers. It made an impression on me because I still remember. It has to be one of my earliest memories.
Was there a moment that it struck you and you realized you were going to pursue music, or did it kind of slowly evolve?
When I was six years old, I saw Shirley Temple on our old Sony, black and white TV singing “The Good Ship Lollipop” and I was like, “I’m going to marry her and we are going to do that“. I didn’t know what “that” was. I didn’t know the difference between a singer, dancer, or an actor but I knew I wanted to perform. I always had a penchant for creative writing and when I learn some guitar, that evolved into song writing. I was also good at singing and my choir went to Europe to perform my sophomore year of high school. Being 16 years old, on tour in Europe just because I could sing galvanized forever my resolve to become a professional musician. I figured, if I could get myself across the ocean at 16 just because I could sing, I had a pretty good chance.
“Two Princes” was one of the first music videos I ever remember seeing, and I was ensnared by it every time it was on tv. How has your musical process changed and developed since then, both in your solo work and in collaborations? Is it much different?
I’ve always been very process oriented. When I write, I write in bulk, giving myself permission always to write the worst crap ever written. My thought is to get past the garbage and chatter to the creative part of my mind separating out the editing voice from the more instinctive creative voice. Later on in the process I rely heavily on the more analytical editing voice. As I’ve gotten older, I’ve tried to refine my process and allow myself more and more to believe in it. After having a big hit with “Two Princes”, for a long time, I was concerned with repeating the success of that song. That was a handicap. Ever since I’ve been working my way back towards writing the way I wrote when I was a kid, using the same technique I used, really, to write “Two Princes” in the first place, that is, following my nose and giving myself permission, writing tons of stuff and being willing to throw most of it away, keeping the 1 or 2% that’s good and refining that.
I realize now that “Two Princes” and “Little Miss Can’t Be Wrong” were not only two of the most integral songs in my young life – the lyricism really got me into music in the first place – but they’re also enhanced by the undeniable vocal talent. Your voice IS the 90’s to me, and many others. How does it feel, knowing you’ve kind of encapsulated an entire decade for many?
Ha. There’ll be no living with me… I just feel lucky that I wrote a couple tunes that resonated with a lot of people. I worked hard on those songs and I work hard on the skills that enabled me to write them. It’s gratifying to be a part of people’s lives just by virtue of doing what I love to do. There were a lot of great bands in the 90s so I’m glad we stand out amongst them.
That being said, we know you have struggled with vocal cord paralysis. (That had to be terrifying, and we aren’t trying to hit any nerves here.) Has that changed your creative process over the years? Do you have any advice for people who may be struggling with similar vocal issues?
Yeah. That was bad. I’m one of those people, for better or for worse, who identifies very heavily with their profession. Losing my voice was an existential crisis for me. When I first got my voice back, the first time I lost it, I was afraid, and I did some pretty lousy work afterwards, trying to write hit songs so that I would have financial security if I ever lost my voice again. Then I was like, “Screw this, I’m going to write the kooky weird stuff I’ve always written. I don’t care if it sells.” That’s when I really started to hit a stride, creatively. This latest time losing my voice really put a fire in my belly to make this new record. You never know when you’re gonna lose your voice, get hit by a bus, or be abducted by aliens.
Your new album Angels and One-Armed Jugglers is about to hit the airwaves. Tell us a little bit about the title, and what inspired you to go in what seems to be a more theatrical and robust direction with this work as a whole.
I wrote the song, “Angels And One-Armed Jugglers” On the steering wheel of my Crown Victoria Police Interceptor, doing about 60 miles an hour across the 59th St. Bridge. (Do not try this at home)(Or on the 59th St. Bridge) I was thinking about my elderly neighbor Adelaide, who lived next door to me in the late 20th century. The songs on this record are from a tremendous cachet of material. I’m pretty prolific and I always have stuff that won’t work for the Spin Doctors. Once I came up with the title, I just started picking songs that were thematic. The more theatrical production comes from Roman Kuhn who produced the record and was really the impetus behind the scope of the recordings. Initially, I wanted to make a scaled down, acoustic record. He had a much larger vision for the songs and I think he was right to frame them more expansively.
For this release, you sought out some of the best studio musicians you could find. What was that process like for you?
The first guy wanted to use was Shawn Pelton. I’ve known him a long time and work with him before. After working with Aaron Comess for such a long time, I’m a bit of a drummer snob. Then I saw Jesse Murphy the bass player doing a gig with aaron and they grooved so well together, I knew I could play with Jesse. It turns out that Roman recommended him for that gig. I’ve played with almost everybody on the record before and they really complemented my songs by bringing their best efforts to the studio. They all played so beautifully.
The title track has a melancholic feel to it and, thusly, is an interesting way to begin this body of work. But it’s got this bittersweet beauty to it when you dig into the meaning of it all. How do you imagine people enjoying this track?
Songs are funny. When you write them, they kind of get up and walk away. You don’t really get to decide how people interpret them or enjoy them. They’re kind of like kids that way.
You were quoted saying that, at least partially, “thematically, [the album] is about the cocktail party at the apocalypse, the decline of the American empire and just a bunch of lemmings in neck-ties going over the edge.” Did you find that a lot of this work may have been inspired by political events, or does it mostly evade that facet of our society?
Life and art in a democracy is inherently political. I don’t really set out to write politically, but songs like, “Still A Beautiful World” and “Raining Again” touch on a worldview. Just the act of reaching into peoples lives, seeking to make them happy, and creating freely is political.
“Darken My Door” is so intrinsically beautiful. What inspired that track, specifically?
Ha. Being mad at an ex. The old standby song theme.
The track “Still A Beautiful World” is so important. Its message, its lyrical content. It makes us wonder… do you have a favorite space that you like to retreat to to experience beauty?
Lately I’ve been practicing guitar on a stool in front of my building in New York City. It’s not a particularly beautiful place but people walking by, the dogs, the strollers, my neighbors, they all make a choreography with the light, the bricks, and the fire escapes. The experience of beauty, the experience of anything really, is internal. Who’s to say were not all just brains in vats and some mad scientist is making us see everything we see? Beautiful stuff is beautiful but ugly stuff can be beautiful too. And sad stuff…
We are under the very strong impression that each track on this album holds a lot of meaning for you. Is there a song that is a standout for you personally?
That’s true. In terms of meaning, probably “Still A Beautiful World”. That song touches on our existence as a species, religion, and I got really lucky with a couple of those lines… that’s a pretty nice riff too.
Do you find that you are drawn more to songs that mirror your previous work, or are you more into creating something completely out of the indie rock box right now?
Really, don’t think that way. For me a song is a proposition. Get to the heart of the proposition, answer all the questions in an artful way, and you’ve written the song. I try not to set out to write something specific before hand.
If you could be any superhero – previously existing or otherwise – who would you be?
I think writing songs and singing is a bit of a superpower. I don’t think I would choose to be anyone but me.
If Angels And One-Armed Jugglers was a meal, what type of food would it be comprised of?
There was this tiny Cuban restaurant on 14th St. and seventh Avenue called the Sucelt Coffee Shop. This would be a meal from there.
You have so much touring experience from over the years. Any fun memories?
Opening for the Stones was nice. That was like going to rock ‘n’ roll graduate school.
Do you have any outstanding opinions of the music industry now, as you’ve seen it pivot quite a bit during your time as a musician?
A lot of people are making records now. There’s just much more music out there. It’s so cheap to make a record that anyone can make one now. I’m not sure that’s the best thing for music.
Anything else you’d like to add?
Thanks!!!
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Angels And One-Armed Jugglers is out now via Chrysanthemum Records. Keep up with Chris Barron here and remain in touch with all things Spin Doctors here.
by Meredith Schneider | Oct 17, 2017 | 5 to 7
Today is a big day for earthy folk/indie rock collective 5j Barrow, the quartet comprised of Eryn Murman, Jason Hite, Drew Jones, and Gerard Canonico that once called Ohio, California, Tennessee, and New Jersey home. The musical (and romantic) duo of Murman and Hite found their way to music initially through the world of acting, so their romance was always steeped fully in the arts. Having just released their EP The Journey Vol. 1 on October 6th, they’re bathing in critical acclaim as they count down the days to their wedding next month. (Yeah, sometimes an EP release isn’t the biggest thing you do in a season!) And one can audibly notice why they’ve received so much attention, as the five track EP brings its own vibrant energy with it right through your speakers.
We were lucky enough to get a moment to chat with Eryn Murman herself, to delve into the story of 5j Barrow, and how they operate behind the scenes.
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What is the first album/song you remember hearing, and who introduced it to you?
My earliest memory of a song that really caught my ear was Michael Jackson’s “Thriller.” My mom would have the vinyl playing in our den and I would dance around to it. The first album that made an impression on me (and locked itself into my early childhood memories) was Billy Joel’s River of Dreams, my dad played the cassette in his car and I loved singing along, getting lost in the lyrics, melodies, and album art. Both of these artists made an impression on me in their incredible use of dynamics and storytelling.
What is the origin story of 5j Barrow? (Was it a meet cute?)
I never thought of it as a meet cute, but I guess it certainly was! Jason and I met as actors performing together in California. We immediately connected and our taste and love for music was definitely one of the big common denominators. I was temporarily in Cali (based in NYC at the time), and the opposite for Jason. He had planned to make the move to New York after our show. Within a couple of days of arriving in NYC, we wrote our first song in my apartment 5j (on Barrow Street). Within a month we had 5 songs and could tell something special was happening. We named our music and collaboration after this special place we wrote all of our first tunes. A little over a year of being band partners, we became romantic partners, a couple of years after that Jason moved into 5j, and now 6 years later we no longer live in NYC or in that apartment, but we most certainly carry on its name and story with us via our music. We’re now chasing our dream of touring our music and living on the road, and we are getting married next month!
The new EP is absolutely phenomenal, freeing and relaxing in its sound. How do you imagine people listening to it?
Wow, I love this question. Driving under the night sky (or any beautiful expansive sky) is one of my personal favorite ways to listen to music, albums particularly. Road trips, adventures and times in one’s life when they’re taking a risk or exploring a new path. I would be honored if our album was a soundtrack to that time in someone’s life.
We are enamored by “A New Begin”. What inspired that track, specifically?
Thank you! That song came from self reflection at a time in my life where I was happy, loved, and had a support system but would still have these moments of feeling completely alone. What surprised me more was that it was an empowering loneliness. An awareness and acceptance that when all is said and done I have no control in how long people will be in my life, what a new day will bring, or even when my own life will come to a close. Although it’s overwhelming to think about, I will always have myself and my breath to get through anything, and have the power to start anew at any moment.
New York City is such a big and terrifying place sometimes, and it’s beautiful when you find kindred spirits amongst the madness. You’re all from different places, and you found each other. But what do you think is the most magical thing about the city that brought you together?
You’re so right. It blows my mind when I think of where we all came from and how in the world we all ended up in this band together! NYC certainly gave all of us the realization, conviction, perseverance and strength to go after our dream. It’s so hard to make anything happen in this city with everyone’s crazy schedules, so to take the time to build a band, nurture it, and grow it – it became very clear that we really wanted to do this. I feel like if there are any doubts in your mind, the city makes things too difficult to put up with the exhausting energy and inevitable ups & downs.
If you could get any superhero to promote the EP, who would you choose and why?
I’m not the most educated in superheroes, so I went to the experts, our bassist (Drew Jones) and drummer (Gerard Canonico) for this one. They both had the same answer for the same reasons at the same time, haha!: “The Flash because he could physically put it in everyone’s hands very quickly.” 🙂
What’s the best part about performing this EP live?
It’s pure joy. It’s unabashedly who we are. When you get to be who you are, do what you love, and connect with beautiful people through it, there’s nothing like it!
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The EP release show is tonight, October 17th, at American Beauty in NYC. Tickets are available here. The Journey, Vol. 1 is available via iTunes and Spotify.
by Meredith Schneider | Oct 10, 2017 | wolf tracks
As if the name were no prior indication, Baltimore/Washington, D.C. indie rock outfit Sunbathers – comprised of Sean Lynott, Tim Boaté, Pete Mindnich, Peter Leonard, and Shohsei Oda – creates music that makes you feel soaked in warmth and sunshine. With light, raspy vocals (And those full heads of luxurious hair!), the men of Sunbathers croon about a romantic interest, someone who everyone kind of wants a bite of. Lyrics like “you’re so appealing floating toward the ceiling everyone here wants your love / I get this feeling it might be the reason that I’m crazy for your touch” are incredibly brazen, admitting that there might be more in the chase for them if others are also after the same end goal. To this end, you might see the track as a bit shallow, but if you dig deeper it is about confidence and emitting an energy that attracts people toward you as well.
The quintet goes even deeper into the honeysuckle metaphor in the video, with sharp, detailed visuals of the band playing the track, floral arrangements, and a human woman growing out of a pot like a plant. The visual is emotionally intense – especially toward the end – and is, in our humble opinion, some of the best artistic work they could have done with the track. But don’t just trust us, check it out for yourself.
Keep up with Sunbathers here.
by Ian Schneider | Sep 19, 2017 | wolf tracks
In The Valley Below are a socially conscious duo that are on the forefront of raising awareness of important issues through their music. Consisting of married couple Jeffrey Jacob and Angela Gail, the indie rock infused dream pop sound created by In The Valley Below is aesthetically pleasing on all levels. They have a new project coming out (today!) called The Elephant EP, and it is both socially aware and sonically satisfying.
“Bloodhands (Oh My Fever)” is the first – and one of the most impactful songs – on the five song EP. It was inspired by the Michael Brown shooting in Ferguson, MO and racial tensions between people and the police. Second track “Pink Chateau” brings with it lighter instrumentals and more of a springtime vibe, as it begs you to “slow down” and “simmer down” which aren’t bad bits of advice, if we’re being honest. “Hold On Tight” has more of a whirring, pop sound and then breaks down into some insane old school guitar solos to really throw you off guard.
But we’ve come to expect the unexpected from In The Valley Below, as they blend so many genres and weave show stopping tempo and key changes that should throw you for a loop, but really make their tracks that much more intriguing. The same can be said for fourth track “Break Even”, which has such intricate percussion parts that it completely changes what we had begun to think was the established vibe of the EP. Fifth and final track “Elephant” is the standout ballad, slowing the tempo to a crawl and really allowing you to revel in the lush, vibey vocals.
With so much going wrong in the world today, there are a plethora of songs inspired by the darker side of life. The uniqueness of In the Valley Below is that they do not phone in the music or the message when they create their art. They believe that in order to have the most effect, they must reach the largest audience with genuinely good music, and it shows. This EP comes from a authentic mindset, raising awareness for important issues, and it doesn’t hurt that the songs are great to listen to.
For more information about In The Valley Below, you can visit their website at inthevalleybelow.com.
