Porches (aka New York-based musician Aaron Maine) has just released the video for “Back3School,” the fourth single from their fifth studio album All Day Gentle Hold ! out Friday, October 8.
The visuals for the ecstatic, synth-driven track observe Maine as he glides around an all-white soundstage while performing the song for a teacher wearing a transparent nylon mask.
Over the runtime, the video evolves from having straight-on shots of Maine singing to producing sweeping camera angles and rapidly flashing lights as he draws the audience into the crashing conclusion.
This song is a mystery to me, impending doom mixed with total bliss,” Maine said about the single. “The ‘back to school’ trope, but with an underlying anxiety that something might be terribly wrong, or maybe everything is just fine.
Watch the video for “Back3School” below!
Porches 2022 Tour Dates Mar 21 – Montreal, QC @ Bar Le Ritz PDB Mar 22 – Toronto, ON @ Lee’s Palace Mar 24 – Detroit, MI @ El Club Mar 25 – Chicago, IL @ House of Blues Mar 26 – Saint Paul, MN @ Turf Club Mar 28 – Denver, CO @ Bluebird Theater Mar 29 – Salt Lake City, UT @ Urban Lounge Mar 31 – Vancouver, BC @ Fox Cabaret Apr 1 – Seattle, WA @ Neumos Apr 2 – Portland, OR @ Wonder Ballroom Apr 4 – San Francisco, CA @ The Independent Apr 5 – Los Angeles, CA @ El Rey Theater Apr 6 – Phoenix, AZ @ Valley Bar Apr 8 – Dallas, TX @ House Of Blues (Cambridge Room) Apr 9 – Austin, TX @ Scoot Inn Apr 10 – Houston, TX @ House of Blues (Bronze Peacock Room) Apr 12 – Atlanta, GA @ Terminal West Apr 13 – Nashville, TN @ Exit/In Apr 15 – Carrboro, NC @ Cat’s Cradle Apr 16 – Washington, DC @ Union Stage Apr 18 – New York, NY @ Bowery Ballroom Apr 19 – Brooklyn, NY @ Music Hall of Williamsburg Apr 21 – Boston, MA @ Paradise Rock Club Apr 22 – Philadelphia, PA @ The First Unitarian Church May 13 – London, UK @ Lafayette May 16 – Paris, FR @ La Maroquinerie May 17 – Amsterdam, NL @ Bitterzoet May 18 – Cologne, DE @ Artheater May 19 – Berlin, DE @ Privatclub
Consisting of guitarist/vocalist Sweeney E. Schragg and bassist/vocalist Kristin Olson, Santa Cruz-based Jazz/Folk duo Winterlark unveils their new EP When I Saw You Stranded There on October 8th. Their union as a duo comes from a perfect storm of synergies, with Sweeney’s prior work as a creative writing instructor and Kristin’s experience working at a small business. Both members complement each other with the ingenuity and tenacity needed for chemistry as musicians. To shape Winterlark’s mishmash of folk, bossa nova, and soul, Kristin took note from her experiences listening to bluegrass, R&B, and pop with family and performing classical music from college, while Sweeney borrowed from his beginnings as a rock n roll guitarist and jazz composition student. The duo shares:
“The music on this album is two people bantering, laughing, ruminating, sparring, and liking each other,” Kristin says. Sweeney notes: “It has been a long time since I’ve written songs with anyone. It’s a dream to work with someone I respect both musically and poetically.” Kristin adds: “I laid down my bass years ago, but the timing in my life enabled me to get back into it. Winterlark has also encouraged me to become a songwriter which I’d never thought I would do.”
The EP provides a perfect soundtrack to easygoing settings, such as a scenic drive along a coastal road or a morning hike through a forest trail. The acoustic soundscape reinforces its cinematic nature as the duo performs with a playful and reassuring chemistry, drawing inspiration from their progression from friends into a couple. This is especially evident in the “Make a Mess With Me”, a flirtatious yet humorous track with the lyrics, “The 14th of June, “Sorry ’bout the screen door,”/Was the first thing she had to say./Off came the gloves, kind of like a prom dress./Guess it had been that kind of day”. Another highlight is “If I Could Put my Finger on Your Pulse”, showing yearning through Sweeney’s pondering on whether his heartbeat comes from his partner’s touch or his wooing. A particular standout is the politically charged closer “Rage (Privilege Comes Apart)”, a commentary on racial injustice with vocals delivered in an angrier tone and the lyrics “Never wanna watch another black or brown reduced to just a name”.
Sweeney: “Our EP, When I Saw You Stranded There, features songs about zany beginnings—in a La La Land style traffic jam, on a veranda where smokers laugh, through a broken screen door. Having come together in our own zany beginning, that’s where our fictional storytelling first took Kristin and me.”
Kristin: “This EP gives a glimpse into the dynamic of two really good friends, who kid each other, bounce ideas around, and skeptically consider the world. Sweeney and I spend time everyday throwing words and music back and forth. Whether the story that emerges is our reaction to persistent injustice, as in the song “Rage (Privilege Comes Apart),” or a complete, sassy fiction, as in the title track, it is this back and forth that gives each song its unique energy.”
Sweeney: “Producer Cookie Marenco of Blue Coast Music recorded our uncluttered duo—upright bass, Lowden acoustic guitar, and vocals—in the Extended Sound Environment that she has developed, capturing the live in-studio performance of each song, unvarnished, tonally rich, quirks intact.”
When I Saw You Stranded There drops on all streaming platforms October 8th.
Full disclosure: I am a huge fan of both John Mellencamp and Bruce Springsteen. I have seen them both in concert, multiple times, and still regularly listen to their music. Seeing the invitation in my inbox to write about this collaboration was a Valentine! Would the song be something that their fans would like? Absolutely.
John Mellencamp has new music due to be released in 2022. The first single from that upcoming album is “Wasted Days”, a duet with Bruce Springsteen. Both are members of the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, but this marks the first time that the two artists have recorded together.
The lyrics in “Wasted Days” lament the lack of time left in ones’ life and the value of that time. Both artists have written songs throughout their careers that reflect all stages of the human condition, so this theme was not unexpected. After all of these years of music and art success, John Mellencamp (who wrote and produced “Wasted Days”) can still tap into feelings of melancholy and remorse that everyone can relate to.
Musically, Mellencamp and Springsteen sound like they have been playing together forever. The only question to me was, what took them so long?
Alternative rock band Keep It a Secret returns with their new single “Middle with My Thumbs Up”, as catharsis for listeners. With its mix of soul-piercing screams and whisper-esque vocals over a bombastic guitar-laden instrumental, the band captures the feeling of an emotional roller coaster as they lament over heartbreak and loves that were never quite meant to be. Over a chorus of “Left for dead, it takes time to get away”, the band reluctantly accepts a withdrawal from romance to escape a self-destructive cycle that could claim their sanity and any hope of starting anew. The opening line “I’ve been watching you destroy me” is a sign of infatuation morphing into a ticking time bomb of dependence. The band describes:
‘Middle with my Thumbs Up’ is a dichotic look back on the melancholy of lost love. Although seemingly separate emotions, anger and sadness are often a self-destructive loop that many people experience from heartbreak in all its forms. This song incorporates both intimate, almost whispered vocals and cathartic gritty yells to illustrate these feelings.
The video shows a masked couple in separate colors attempting to embrace within a decrepit household, which captures the realization of disconnect and blindness clouding a relationship. It’s as if one’s own love can end up haunting them and living inside as an unwanted guest for some time.
Check out the video for “Middle with my Thumbs Up” and be on the lookout for Keep It a Secret’s next project.
Harborcoat’s newest LP, “Joy Is Elusive”, debuts on October 1. The sextet, based in Lansing, Michigan, has created a set of songs that are lyrically thoughtful and musically varied. The band’s influences include R.E.M. (the name Harborcoat is from an R.E.M. song), The Smiths, and Billy Bragg and you can hear the impact of those artists on “Joy Is Elusive”.
Band founder and primary songwriter Matthew Carlson explains:
A record titled ‘Joy Is Elusive’ is almost certainly going to be about depression, anxiety and a lifelong struggle with mental illness. That much is true, but there’s more. I think for so many of us, we deny ourselves true joy, or are too afraid to go out and find it. I know that is certainly true in my own experience. The people and the stories in this record are living lives of survival, not a full life. They’re eking out these threadbare existences of shabby surroundings, little hope and the occasional diversion from their struggles. Those diversions most often come by way of self medication or desperate choices with dire consequences. The lyrical content of the album is buoyed by joyous and dense musical foundations. These songs embrace the ethos of what Tom Waits once called, “Beautiful melodies telling me terrible things.” These songs are like short stories with chords. The band name is pulled from an early R.E.M. gem, and the music brims with nods to our heroes. The songs recall the crunchy power pop and harmonies of Teenage Fanclub; the introspection and melodic storytelling of Billy Bragg; and sprinkled in are moments of 80’s esque Brit-Pop or working-class anthems. These influences, however, do not define the record, but they are merely a strand of DNA in Harborcoat’s collective musical helix.
Just before we began recording the record, my Dad died very suddenly. It seemed very likely, I was not going to be in a spot logistically or emotionally to go through with the sessions. My family, and friends all stepped up and convinced me what a tremendous relief it might be to spend a week recording with friends at the family cabin. It was the best possible diversion. I maintain that you can hear our collective grief between the notes of the record, but maybe I just can’t remove myself from it. The loss of my Dad, the uncertainty of the pandemic and the collective anxieties that come will all of that certainly informed the process and the finished product. It feels now like a tribute to ho him that we were able to create something beautiful from all of that darkness.
Two particular track favorites of mine are ‘Help Me Out Somehow’ and ‘Hear Me, I’m Courageous’. Both have spirited, Indie rock melodies with poignant lyrics. Following the release of “Joy Is Elusive”, Harborcoat heads out on an eight city tour to finish up 2021.
Miami-based contemporary hybrid orchestra Nu Deco Ensemble recently released a magical album with roots-rock sister duo Larkin Poe. “During the challenging times of this past year, music served the critical purpose of connection to one another,” Jacomo Bairos and Sam Hyken of Nu Deco Ensemble explain. “Among those valuable connections was our first collaboration with the amazing duo Larkin Poe and the live album that resulted from it.” Paint the Roses: Live in Concert reimagines a previous release from Larkin Poe. A recorded live music experience, the instrumentation in this work is absolutely electrifying.
Sam Hyken of Nu Deco has taken some time to curate an eclectic – and electric – body of music into a soundtrack exclusively for us. Made up of his favorite songs that he has arranged for Nu Deco, you will get a taste of what inspires and delights this duo while having a uniquely enjoyable time. So turn your phone on airplane mode and zen out for a while with some of their “Favorite Arrangements.”
August 7, 2021 was my first show back. Back, from where? Who even knows? While the pandemic rages on, I wonder, more often than not, if leaving my house is even worth it. But I’ve been enjoying – and producing – livestreams and digital concert experiences since COVID-19 took SXSW 2020 from us all, and I knew the joy that came from that massively sustained me over the last 17 months.
The first time I saw Dermot Kennedy was in a church off 6th Street in Austin, Texas during SXSW 2018. I chose to spend the evening with a handful of friends from my hometown, wandering into shows and experiencing new acts to write about and photograph for the (still new) site. But something about Kennedy’s vocal delivery – the vulnerability and intensity with which he delivered some of the most emotionally charged lyrics I’d ever heard – made me forget I was trying to compile content for the site at all. A handful of distanced, “between tall guys’ bobbing heads” photos happened, but the music was so compelling that I spent an embarrassing amount of the set with my eyes closed, or staring up at the vaulted ceilings, marveling at the magic that music creates, and the magic from which it is derived.
When SXSW 2020 was canceled, I decided to make the quick, 4-hour jaunt to St. Louis to see Kennedy. Within a couple of days, the tour was indefinitely postponed. COVID-19 set in, and March saw stages around the world shutter. Deafening silence. And while artists tried to keep the spark alive with their multi-dimensional at-home creations, new directions, and interactive experiences, there was just something missing. That spark that live music incites, the way it can make an entire room feel like it’s on fire, hearts dancing in unison. As someone who once took for granted a 2-5 concert per week schedule, I began to feel lost in a sea of digital analysis and curation. I am humbled by the art that has come from our time locked away, but it never had the energy of a live show.
By the time I realized live music was coming back, Kennedy had sold out his St. Louis reschedule. And his Red Rocks performance. I spoke with a friend who was going to work with me on getting tickets in Wisconsin, which would be my saving grace for his tour since Kennedy was no longer appearing on the postponed Bonnaroo lineup (because of touring conflicts). But my sister happening upon a radio tour announcement a couple of weeks before her big move to Los Angeles and a random discussion that occurred a half-hour before tickets went on sale for the Kansas City stop made it all possible. Me – the woman who often feels jaded by the industry, especially for how little people truly rallied for the arts through this dark time -, I allowed myself to finally get excited about an event. I had something to look forward to that I knew could help me heal.
And still, I wondered, could I possibly stand in a crowded venue again? Could I find joy in the music – the one thing that makes me feel like I have my head screwed on straight on a daily basis – amidst a crowd of maybe-vaxxers from the midwest? (That wild, wild midwest that we have come to know as a largely “denying science” crowd.) I spent days before this show panicking about everything. Would there be space to spread out? The show wasn’t entirely sold out, the venue was more intimate, it couldn’t be too insane. Right? Would I melt in my mask? Would my friends be comfortable?
I almost had no words to explain how it all felt. Sure, I annoyed my +1 (Hi, mom!) and a couple of friends (I see you Anjelica and Kevin!) with some fears about everything. But, I was mostly entirely back in my element. As an observer, an enjoyer. I ensured we got pretty good spots to watch the show, over by the rail on the right side next to the stage. Dermot Kennedy’s Kansas City (Missouri) leg of his Better Days tour was officially sold out at the Uptown Theater, however, there was substantial space on the sides of the stage to ensure that we felt comfortable. I did some people watching like I used to. (I’d like to think that people couldn’t handle their liquor because they hadn’t imbibed at that level in a while, but who knows?) And, truly, I spent the majority of the evening belting out lyrics behind my mask, staring up at the shadows dancing on the ceiling, really indulging in the collective atmosphere of it all.
Set List: Lost Power Over Me All My Friends An Evening I Will Not Forget Outgrown The Corner Rome For Island Fires and Family Outnumbered Better Days Moments Passed Glory Giants Encore: After Rain Without Fear
Thank you to Anna Hamilton, Bishop Briggs, and Dermot Kennedy for “an evening I will not forget.” (I know I’m the first one to use that reference, of course.) I can only say that it helped to inflate my sad, darkened, emo heart. So perhaps I’ll Grinch less for a while. 😉
Anna Hamilton and Bishop Briggs thoughts + photos to come.
While we wait with bated breath for Jessica Luise’s debut EP, Going in Blind, to release on July 9th, the stunning songstress has given us some ear candy to play with until then. A light, 90’s rock-inspired track, “a.m.” begins at the same clip that will carry it through the entirety of its 3 minutes and 28 seconds of existence.
While reverb plays along through the chorus, you find yourself daydreaming about your next road trip or adventure into the unknown. Her mellifluous vocals pay homage to flings, bringing in a bittersweet string of lyrics to consume from the inside out. A welcome treat for our ears, this track makes it more enticing than ever to venture out into the world (for the first time in what feels like forever).
Says Jessica of the upcoming EP:
To think that I would be the proud creator of a piece of work like this after being in this industry for such a short time baffles me. ‘Going In Blind’ comes from how I was blind to the red flags in relationships I’ve encountered over the years, and a bit of a comment on how when I first started in music I knew nothing. I am still learning, but maybe I’m not as much of a newborn in this industry as I was a year ago.
As much as we love covering music on an international scale, we see the value in (and need for) local artist spotlights. Since Imperfect Fifth is based in Kansas City, we have teamed up with the Kansas City Women’s Music Network to bring you artist highlights about twice per month.
About Alisa Jefferson: Alisa has always been very passionate about music and the songs she delivers as a singer/songwriter. She grew up in the Kansas City area with influences from ’70s Motown to mostly ’80s and ’90s rock/pop. She played viola in orchestra before she received her first acoustic guitar at age 13 and she hasn’t looked back since.
Currently, Alisa is writing, recording, and planning to release a 10+ track LP this summer. She has released four singles from this new LP to most major music platforms.
