Introducing Valley, the Canadian indie-pop sensation that has captured hearts worldwide with its infectious melodies and heartfelt lyrics. Now, they are back with their highly anticipated album Lost in Translation, a sonic journey that explores the complexities of love, self-discovery, and the universal quest for meaning. With their signature blend of shimmering synth-pop, lush harmonies, and introspective songwriting, Valley delivers an enchanting and relatable experience that transcends borders and speaks to the soul.
One of the songs in Lost in Translation — “Natrual” — comes with its own music video that delves into themes of healing and natural bonds between different souls.
The music video opens with an individual walking into some sort of a rustic, classically American bar, wearing what looks to be clean and sunflower-y but otherwise dull clothing. He doesn’t seem to belong, compared to the several groups of conversationalists and dart-throwers. Quick to change, he leaves from a changing area, donning a metallic top and unquestionably less stiff pants. And he comes back sporting top-tier energy.
It’s not so much the outfit as rocking dance moves, this man has had a real confidence boost and he’s not afraid to light up the atmosphere. Most noticeably, the lighting is sunset-ethereal-like, but the majority of the space is enveloped in shadows. Somehow, I believe that the lighting represents the divide between the beautiful light, the facade we put on for the world, versus the shadows, our own dark inner worlds.
There is a mirror, and the man is standing in front of it. He is alone when he wears his original attire, but when he wears his party outfit, others surround him, highlighting that his change comes in tandem with company. And of course, he is much happier. The cameras pan to him taking over the dance floor without a hint of his previous self. The transformation is remarkable as he moves with newfound confidence and uninhibited joy.
The pulsating beats of Valley’s Lost in Translation provide the perfect soundtrack to this moment, amplifying the euphoria and capturing the essence of the album’s theme – the power of music to transcend barriers and transform lives. As the crowd joins him, their collective energy ignites, and for that fleeting moment, they are all lost in the music, lost in the magic, and united by the universal language that Valley so effortlessly captures.
Indie band We Don’t Ride Llamas made their second appearance at SXSW this year at the 2023 conference and music festival. They joined us on Instagram for a takeover that week, and sent our fans some incredible content! We caught up with them briefly post-SXSW to see how the experience was, and to explore their next chapter a bit.
an interview with we don’t ride llamas
imperfect Fifth (iF): What was the first song or album that you remember hearing, and does that work of art have any influence on how you approach your music today?
We Don’t Ride Llamas (WDRLL): We’ve had a lot of different musical influences that started out since infancy. Some of our favorites include: Robert Johnson, Esperanza Spaulding, Brandy, Aaliyah, Dilla, Missy Elliot, Nirvana, Deftones, Solange, Death, RHCP, Pharsyde, Billy Joel, George Benson, Unknown Mortal Orchestra, Coldplay, Earth,Wind,& Fire, Carlos Santana, Marvin Gaye and Musiq Soulchild.
iF: Tell us a little bit about what got you started in music, and how this project came to be.
WDRLL: We all started out by playing a video game called Rock Band and eventually got bored so we decided to move on to the real thing! Since then we’ve been working hard everyday on our craft and our EP, The Oracle, is a project we’re super proud of! That being said, we have new music on the way so stay tuned.
iF: What did the road to SXSW look like for you, literally or figuratively?
WDRLL: We’re local so the hardest thing this year was finding parking for everyone!
iF: Good call, that’s amazing! (And convenient.) Was this your first time at SXSW, or have you been to good ol’ ATX for the madness before?
WDRLL: This was our second time at SXSW and like always the buzz is so delightful. The audiences are always ready to get pumped and rock out. The venues are super friendly and accommodating. It’s such a nice feeling to be able to show out for our city.
iF: Best showcase, besides your own?
WDRLL: BÖNDBREAKR WAS SO AMAZING LIKE?? The power and the prestige they brought to the stage was intoxicating! Pussy Gillette was also incredibly fun and massively entertaining.
iF: What was the most magical thing you found in Austin?
WDRLL: There are a lot of magical things in Austin but we love the club Empire! The vibe there is always so set and comfortable. Additionally, we love Mayfield Park and all the pretty animals they have over there. I think seeing a bunch of peacocks walk up to you is pretty magical.
What’s your absolute favorite word right now, and why?
WDRLL: The word “Incandescence” is very pretty. Just saying it out loud feels like a shimmery fabric. It’s also one of those words that sounds like what it actually means which is a plus!
iF: If you had the ability to tell the future, would you like it?
WDRLL: When we think about the future, we see our personal community flourishing and being nurtured by love despite the current state of the world. And we do like that vision.
iF: What’s coming up for you that you’d like us to tell everyone about?
WDRLL: We are going to a festival in Boise, Idaho for the Treefort Festival! We’re super excited because this is our first time being invited to play there. It’s definitely a new experience but we’re so ready. Additionally, we will be dropping a new single soon so keep a look out!
iF: Anything you’d like to add?
WDRLL: Thanks to everyone who turned out to our shows and blessed us with your presence. Thanks to our city and our friends, family, and friends. Without your support, this wouldn’t be as meaningful.
This past year has disrupted how I understand the concept of time within our society.
Staying inside for weeks felt like months, and primarily interacting with my peers via Zoom merely emphasized the ever-increasing feelings of physical alienation I was experiencing. However, in retrospect, I wish I had done more during this dark period the world was and continues to endure. Everything has made me realize how no matter what’s going on outside, life doesn’t last forever, and we have to enjoy the time we have while we still have it.
English indie heroes The Wombats illustrate this realization with the fourth single off their upcoming five studio album Fix Yourself, Not The World titled “Everything I Love Is Going To Die.” The harmonious guitars and punchy drums are captivating from the start, backing the lyrics sung by frontman Matthew “Murph” Murphy that focus on how everyone needs to acknowledge and appreciate how beautiful their lives are in the moment before they are simply memories lost to time.
When explaining the song, Murphy described the song as being “about the impermanence of life and the beauty of each passing second.”
“The key line for me is ‘Icarus Was My Best Friend, So I’m Gonna Make Him Proud In The End,’ which I guess is a playful take on living life to its fullest even though the consequences of that might be dire,” he said. “Certainly not a call to Nihilism, however, but perhaps a call to being present and the joy that can be found in appreciating each moment we find ourselves in.”
All in all, the song is another jangly, electro-pop anthem from the band that won’t stop giving. Their new album Fix Yourself, Not The World comes out January 7, 2022, and you can pre-order it here. Less than two weeks later, they plan on starting their worldwide tour in support of the album in North America before heading overseas to Europe and the UK later in April and May. All dates are below.
North American Dates: January 20 – 9:30 Club, Washington, DC January 22 – The Fillmore, Philadelphia, PA January 25 – Terminal 5, New York, NY January 26 – House of Blues, Boston, MA January 28 – Corona, Montreal, QB January 31 – St. Andrew’s, Detroit, MI February 1 – Newport, Columbus, OH February 3 – Park West, Chicago, IL February 4 – The Fillmore, Minneapolis, MN February 5 – The Truman, Kansas City, MO February 7 – Cannery, Nashville, TN February 8 – Buckhead, Atlanta, GA February 10 – House of Blues, Houston, TX February 11 – Emo’s, Austin, TX February 12 – House of Blues, Dallas, TX February 14 – Ogden, Denver, CO February 15 – Union, Salt Lake City, UT February 17 – Showbox Market, Seattle, WA SOLD OUT February 18 – Venue Nightclub, Vancouver, BC SOLD OUT February 19 – Revolution Hall, Portland, OR February 21 – The Regency, San Francisco, CA February 22 – The Observatory, Santa Ana, CA February 25 – The Wiltern, Los Angeles, CA
European/UK Tour Dates:
April 14 – First Direct Arena, Leeds April 15 – The O2, London April 16 – Motorpoint Arena, Cardiff April 18 – Barrowland Ballroom, Glasgow April 22 – Mountford Hall, Liverpool April 23 – Mountford Hall, Liverpool April 29 – La Machine Du Moulin Rouge, Paris (France) May 1 – Carlswerk Victoria, Cologne (Germany) May 2 – Übel & Gefährlich, Hamburg (Germany) May 4 – Slaktkyrkan, Stockholm (Sweden) May 5 – Rockefeller Music Hall, Oslo (Norway) May 6 – DR Koncerthuset, Copenhagen (Denmark) May 7 – Huxley’s Neue Welt, Berlin (Germany) May 9 – Gasometer, Vienna (Austria) May 10 – Backstage Werk, Munich (Germany) May 12 – Estragon, Bologna (Italy) May 13 – Fabrique, Milan (Italy) May 14 – Komplex 457, Zurich (Switzerland) May 16 – De Roma, Antwerp (Belgium) May 17 – Paradiso, Amsterdam (Netherlands) May 18 – De Oosterpoort, Groningen (Netherlands) May 19 – TivoliVredenburg, Utrecht (Netherlands) May 26 – Open Air Theatre, Scarborough
Since its inception in 1993, independent record label — Saddle Creek Records — has consistently earned itself a place on the shelf as being home to America’s favorite indie artists. From Bright Eyes, to Spoon and Big Thief; the Nebraska based college-project-turned-business’s roster draws fans from across the globe. Continuing Saddle Creek’s trajectory of success is rock band Ohtis, who just made their appearance on the label’s most recent project: the Document Series.
With roots dating back to 2004, the Ohtis trio is made up of Sam Swimson, Adam Pressley and Nate Hahn. Now presenting their single, “Schatze”, the three are joined by a feature from Saddle Creek’s very own, Stef Chura. The new track and accompanying music video foster a tech-savvy backstory that is irresistible for our current media-plagued generation. The song’s spacey beginning, strong rock anthem and head-bobbing bass line will undoubtedly land the group on top tier, alternative-loving playlists far and wide. Beyond that, Stef Chura provides authenticity– supplying us with realistic responses to someone who, quite simply, is bothering the shit out of you.
The Document Series serves as an effort, on Saddle Creek’s behalf, to allow bands not already a part of their label family to express their own musical communities, creations and desires. According to Ohtis themselves, “Schatze” lays out a character study of the “Selfish Antisocial Male”, primarily told through the lens of Sam’s longtime girlfriend.
Eugene, Oregon singer, songwriter and producer khai dreams debuts an acoustic version of their latest track, “Good Advice”. Half Vietnamese and 21 years of age, khai dreams has been releasing music since 2017. Their sound is an eclectic blend of influences ranging from contemporary hip-hop and R&B to modern indie, surf rock, and neo-soul. This dreamy brand of intimate pop has helped them amass more than 490 million career streams and a dedicated online following. With such an impressive background and fan base, there’s still something so humbling about “Good Advice”. With just vocals and strings, khai dreams sets a tone for the listener to just breathe. This acoustic version and accompanying video is such a comforting, feel good vibe that seems to give you a hug as you take it all in. Bittersweet and honest lyrics catch up to you quickly though with this verse,
“And you seem to think that we got time / But we never seem to get it right / Everyday I’m wishing there was more.”
Take our advice and listen to this song today, and listen to even more sweet melodies and indie masterpieces by khai dreams from their spotify.
From young indie artist Patricia Lalor comes the hypnotic track “This Man Thought He Saved Me”, a reflection of possible insecurity. It may be hard to describe exactly what genre this falls under, but that is only because Lalor perfectly incorporates many elements of different genres, crafting a transcendent track. Starting off with a more electronic vibe, the song quickly and almost seamlessly shifts to a vibrant and prominent electric guitar, one that takes hold throughout the entire track. Viewers of the song’s music video can even spot Lalor strumming away on the guitar, a testament to the fact that the guitar really owns the whole song. While some of the rock genre is evident, it may be appropriate to take it a step further and call it a punk spectacle.
“This Man Thought He Saved Me” is a thrilling, not-so-straightforward take on feeling slightly inferior. Make no mistake, though, the track still radiates confidence in a more subtle way than normally depicted. One thing is for sure: Patricia Lalor leaves plenty of room for nuance.
It’s debut album time for London-based band Tempesst with their release of Must Be a Dream that was brought to life at Pony Recordings; the band’s label in Hackney, London. The ten track album is filled with generous servings of psych pop and stylistic nods to the band’s influences of Joni Mitchell, Al Green, Wings, and Electric Light Orchestra. The core of the band is made up of twin brothers, Toma and Andy Banjanin, who’s musical journey spans across the cities they lived in and life lessons they learned along the way. Rooted into a musical family and playing in a church band as teenagers, the brothers left Noosa, Australia for a short stint in Brooklyn, New York during the bustling indie scene of the late 2000s. Inspired and full of the DIY tactics and ideas they experienced, they took to London and began culminating the band, their label, and the album. Rounding out the lineup with guitarist, Swiss-American Eric Weber and old friends Kane Reynolds and Blake Misipeka, the keyboardist and bassist, Tempesst hunkered down in the studio they built while meticulously working on their sound. “These days artists are expected to do so much themselves and we have always been slight control freaks anyway”, states Andy. “DIY is part of everything that we do, so that extends to our label, the studio, the videos, all of it and really it’s just how the indie music scene has evolved.”
Must Be a Dream allows listeners to transport musically and explore dense, emotional themes, all while being comforted in the juxtaposed moments of sun-kissed melodies and angelic synths. “Better Than the Devil” stands as the opening track, where Andy on drums showcases a steady kick drum beat in the beginning before really opening up with the rest of the arrangement. The background vocals on the title track are church choir melodies that serenade the metaphorical idea of the song; that the perfect woman in front of you couldn’t possibly be real; couldn’t possibly exist in your reality. Tempesst dives into identity faceting in “High on My Own”, through judgmental lyrical undertones about other’s self-acceptance, and a contrasting upbeat feel that leaves the listener with hope of following one’s own path. Tackling the haunting struggles that love can bring, “Mushroom Cloud” dramatically lays out the spite and pain sometimes felt for the ones we fall deepest for. Toma’s simple chorus guides the listener through the struggle, and ends with a lyrical punch to the heart “When sorry’s a worn out sleight of hand / good love is a dried up wilderness / you’ll know where to find me / on the fallen horizon.”
Complete with harp instrumentation, and “oh la la la la la” vocals, “Walk on the Water” is a euphoric transitional track to different themes of the album. A mashup of vocal harmonies on top of deep instrumental reverb, “On the Run” holds stories of death, substance abuse, and the forever loss of innocence. Explains Toma:
It’s about a close friend who disappeared for a decade and returned as someone completely different, and it’s an ongoing trauma. When I connected the music to the lyrics to try and finish the song, it felt like it had a rolling rhythm, so the chorus fell into place from there. For me, this song carries a lot more emotional weight.
The final album tracks explore themes of modern day society in relation to getting older, boredom within the digital age, and the paralleling question of what life is supposed to mean through all of it. It’s the juxtaposing ideas of sound and song meaning in this debut album where Tempesst really invites the listener to their psych-rock wonderland – where storytelling and sweet melodies will meet you at every riff.
Home Remedy tackles current issues, but gives you feelings of nostalgia with their sound. This album is the first release for Sundressed under their new label Rude Records. The indie-punk band has a sound similar to Modern Baseball, Weezer and All Time Low. The 11 tracks LP follows the 2017 release, A Little Less Put Together, and is a fresh, new sound for the band. Produced by Mike Pepe (Taking Back Sunday, Wasi), the highly anticipated album is finally out. Frontman Trevor Hedges said, “Home Remedy is a record about getting better by any means necessary. Despite many setbacks, I truly believe we were able to make our most authentic and honest record yet.”
Hedges along with AJ Peacox (guitar), Vic Chan (drums), Matthew Graham and Justin Portillo are putting their best foot forward with “Home Remedy”. The title track is everything you would want from the band and more. It is a cathartic release that is meant to be put on at full volume. Fans have been quick to praise the other singles, “Oh Please” and “Size of my Heart”, off the album. “Is This a Drug?” is the song that caught my attention the most. The lyrics are begging to be heard and belted back at the track; you can envision how this track would perform at a concert.
The Atlanta-based band rock out on “The Facts” and “Explode! (Into Pieces)” with strong guitar riffs and drums. Things get serious on “Cash Out”, which tackles the issues of money, insurance and mental health; “Is this the reason why we’re dying? / it’s probably more affordable so just stop trying”. Hedges explains that “Your Frequency”, “is about the “side-hustle” culture. How it’s never okay to relax, how something always comes up when you’re almost ahead. This song is about the desire to have less worry about essential needs and have more time to be human.” All the tracks are honest and catchy at the same time, without being cheesy. Listening to Home Remedy it is easy to see the effort and time put into crafting these tracks.
What started as Hedges project in 2012 to help maintain his sobriety has turned into a place for others to find comfort in themselves. The band tries to make an impact with their music and pushes listeners to keep moving forward. In this record, Sundressed focuses on topics like frustrations with money, hustle culture and mental health issues. While being relevant with the lyrics, there is something about their sound that isn’t forced and feels warm. If you are looking for a sign to listen to Home Remedy, this is it. This is the sign.
Welcome to Nevada City. The small town is infused with musical talent across several genres, and it’s all showcased on The Nevada City Album, a compilation put out by Dowd Records in celebration of the Nevada City Film Festival. As we come across each artist featured on the album, we can trace a progression of genre from mood music to courageous hard rock.
Our first stop is Brett Shady, a folk singer who describes his music on twitter as easy listening. His track “Dear Life” is a swaying waltz that endears all who it flutters by with Shady’s uncomplicated voice and some whimsical sax playing. Things get a little psychedelic with Aaron Ross farther along the album, with his own personal brand of freak folk in his song “Painted Sky.” Its endless and dreamy guitar riff, bejeweled synth melodies and odd backing vocals certainly paint an interesting sky– one that Lucy and Sgt. Pepper could gaze upon together. These indie tracks are echoed by “Peaks and Passes”, a fleeting gem on the album gifted to us by The Moore Brothers. A blues guitar riff and harmonies reminiscent of doo-wop or even gospel music make for an eclectic sound that shows how extensive the influences are around Nevada City. But we have only scratched the surface of the cavernous pool of genres on this compilation.
“Coming Down” by Jessica Lynn and Broken Spoke and “Heart on Fire” by Farrow and the Peach Leaves both rock a country/americana sound, with classic country vocals and roots-oriented guitar. “Heart on Fire” has a hint of happy-go-lucky energy to it, while “Coming Down” layers in some twangy guitar for a more western sound. Soon enough, however, the clouds roll in and that western sound darkens for Tiera May’s “Ballad of the Damned.” Her moody psych rock comes from rumbling guitars, atmospheric cymbal rolls and May’s apparition-like vocals that writhe through the air like the wails of a ghost. Less spectral but just as moody, the alt-rock track “400 Degrees” by Casual Fog uses slow, gloomy guitars and a rising bassline to create a perpetual, inevitable demeanour that carries you along with it.
Speaking of rock music, this compilation is an ecosystem of the genre, with diverse species that work together to cultivate an interesting and fruitful environment. First we travel back in time to the 80’s with “Hungry for the Dark,” by TLA, another alternative rock tune with lots of influence from punk and new wave. Its drum machine, prominent synth bassline and embellishments and the robotic lead vocals make you nostalgic for the post-punk era, no matter what year you were born in. Dipping into some electronica, “Lrn2love” by The Fit transports us to another planet entirely, with its glitching, cybernetic music and computerized vocals. The celestial rock bop “In Gratitude” by Shapes Freely, on the other hand, exists suspended in space. Its gentle vocals, orbiting synths and strings paint a vivid soundscape from outer space complete with stars, planets, rocket ships, and even extraterrestrial beings. On our way back down again, we meet “The Bad One” by Mount Whateverest, or, ‘the highest band on earth.’ This track is a product of what the band calls “solar powered fuzz and roll,” complete with slow, disjunct, infectious beats and a variety of vocals with different effects. Mount Whateverest utilizes whatever they can from saccharine pop melodies to big classic rock riffs to reach new heights with their music.
Finally, we reach the antipode of the easy, calm sound of “Dear Life” with the hard rock tracks “Killed Alive” by Cherry Rats and “Beverly Hills” by Beautiful Dudes. The former’s crashing drums and vigorous distorted guitar provide you with a taste of 2020 style classic rock. The Dudes are known for their cathartic hard rock sound and catchy hooks, and “Beverly Hills” certainly delivers, sounding grungy but upbeat in a vaguely Weezer-like way.
The Nevada City Album sought a varied and gifted assortment of artists in the area, scooped them up and unified them in a multifaceted compilation that has something for everyone. It’s well worth listening to, for when you find yourself drawn to some of the musicians, you know exactly where to look for live shows!
