Part of the fun of having a job like this is being able to write about tiny local bands you know personally or might have a friend or two in. It gives you the opportunity to give their work some exposure and you also get to count it as part of your hours. This brings me to Newport News’ own indie rock band Space Fish (or “Spish” for short), who recently released their new single “Ringtone”, which came out just this April.
The band comprises Alex Arena (lead guitarist/vocalist), Joey Bartoo (rhythm guitar), Kemari Effiong (keyboards, backup vocalist), Lauren Tudahl (bass), and Matthew Conner (drums), each of whom met while studying at Christopher Newport University. They have been releasing music since 2020, with “Ringtone” being their third single after 2020’s “It’s Never the Same” and 2021’s “The Warm Up Legend”.
In a way, “Ringtone” is a new beginning for the band as it’s the first single with its current lineup. With two years between this single and the previous one, there are immediate signs of improvement. The lead vocals are stronger and more confident, the already strong guitar work is even better, and it just has a fuller sound overall with clearer bass and drum fills. Space Fish’s sound was already built out of folk and indie rock, and here it’s a perfect blend as a focus on driving guitars and drums doesn’t overpower the emotions and confessional storytelling present in the lyrics.
It’s a good song, especially for a young band still finding their voice. As of now, the band is working on a new single and eventually plan to release an EP containing “Ringtone” and other new tracks.
Brooklyn’s own indie rock band Razor Braids just released Big Wave, their sophomore LP after 2021’s “I Could Cry If You Want Me To”. The new album is of a concept record about the timeline of going through a breakup, and lyrically it’s very personal. It goes into the narrator’s (which could be any of the members of the band, or multiple writing from shared experiences) feelings about their insecurities, self-doubts, and feelings of anguish within themselves. The lyrics are one of the strong points of the band, being clear, relatable, and easy to identify with as a listener.
Musically, the band’s style has its inspirations in 90s indie and alternative rock. There are many obvious comparisons like the lo-fi sound of Liz Phair, some Mazzy Star-style touches of psychedelia, as well as heavy grungy guitars that occasionally pop up. The production and guitar work on the album is consistently good, with a hazy but dreamy atmosphere composing many of the songs. Lead vocalist Hollye Bynum gives a lot of great performances throughout, showing her singing as more confident than the band’s earlier singles like “Nashville”. The backing vocals (contributed by rhythm guitarist Jillian Karande) are just as strong, though some of the best sounding parts of the album were when both vocalists harmonized, like on “B26” and “Windy Gap”. It’s an element of the band’s sound that I wish they used more.
My favorite track is the lead single, “She”, which is an upbeat pop-rock song that easily has the breeziest and most danceable groove on the album (with the drums provided by former member Sid Nichols). The band’s irresistible energy and chemistry here shines through, accentuated by brief giggles by the band as the song closes. However, while “She” is a great single, it differs a bit from the rest of the album in terms of its accessibility and focus on a pop chorus. Not that this is a bad thing, as mellow and downbeat songs like “It Goes Quiet” and the title track are still strong because of the earnest performances and lyrics, and especially from the lush guitars (from lead guitarist Janie Peacock) in the second half of the latter.
Big Wave is mostly a storytelling album rather than one that’s song driven. There’re points where the tracks can feel more about expressing emotions rather than structure and rhythm. This is most apparent on “JR”, which seems to explode with intensity as a musical emotional breakdown in the second half, as psychedelic guitars bury the vocals before they come crashing down on themselves. The vulnerability given from Bynum’s performances helps make this seem rawer and more effective.
All the songs are good, and the album is easy to recommend to fans of modern indie rock that are more into lyrically driven music. It’s not perfect, as I think it could’ve used another good hook or two and better pacing. Still, the album ends on a bittersweet but hopeful note on “There’s No Sound”, and I think the band still has a lot of talent and potential to build on based on the more promising parts of the album.
Big Wave may end up just being a steppingstone for a band that’s still evolving, but it’s captivating enough to look deeper into it.
With her first, deep inhale at the top of the title track – which just so happens to be the first on Byland’s new release, Alie Byland signals a deep sigh of relief for us all. “Heavy For A While” is the vulnerable, soft intro to this 10-track masterpiece release, which is officially out now.
Byland – officially a duo comprised of Alie and her husband Jake, surname Byland – has chosen to create an album so beautifully relatable, especially post-pandemic. Says Alie, “It’s more so my own unfettered journey of finding a sense of home and comfortability with myself, wherever I am.”
With songs like “Postcard” and “Settle My Mind,” Byland addresses isolation in an expansive and thought-provoking way. The dissonance toward the end of “Settle My Mind” feels almost like the chaos that has been occurring inside of every human over the past 4 years, as we all grapple with our emotions and identities in the wake of so many mind-blowing global issues.
Alie and Jake, in particular, zoom in on emotions and thoughts from the darker COVID days, and a time when they were contemplating a cross-country move. They both worked separately, then married some of their ideas together and refined their work as a team to really work through the aforementioned isolation organically. And you can feel it in the songs – the composition and the lyrics. Melodies and lines serve as organic puzzle pieces building toward the whole picture – a true masterpiece of an album. To extract us from the humbling events of today, Alie’s voice carries us to another plane.
“Two Circles” addresses space and time itself, and was one of the first tracks I connected with upon first listening to Heavy For A While. Explains Alie: “[The track] feels like it changes meaning each time I get to sing it. I see myself in this song. I see others. I see love, pain, anger, frustration, joy, shame, angst, everything and nothing.” Its simplistic lyrics are open for interpretation, though each version feels like it addresses a relationship — with yourself, another, an emotion, an event in your life.
The pace of “Temporary Everything” wakes you up out of the gorgeous melody in “Two Circles,” giving sonic momentum to this section of the album. It grapples with the acceptance that everything in life is temporary. Alie gets a bit cheeky with the line “The end of the fucking world,” but she’s only saying what we are all thinking.
“Darts” comes back in slowly, almost like a lullaby when juxtaposed against the tracks that come before and after it. Then “Monstera” comes in wielding a whole different energy, a song Alie wrote about her childhood best friend – the first person she had musical dreams with – and how she grappled with the change of a big move – and a lifelong dream together. This track has a sense of urgency about it, a bit more grit, and also a sense of beautiful acknowledgment of those people who helped to set you on your trajectory. Alie took such a liking to the track that last fall’s tour (2023) was titled the “Monstera Tour.”
Sonically, “Like Flies” feels like a Tim Burton movie, especially when compared to its predecessors. There is almost an eery tone to the melody, cinematic and beautiful in its own right. Last track “End Scene” comes in like a brisk walk a the end of a daunting journey. The piano is the centerpiece of the track, the simplicity establishing a sense of peace – a firm ending to this whirlwind of emotions (and talent).
Upcoming Shows 3/29 – Seattle, WA – Easy Street Records (Album Release Celebration) 5/2 – Tacoma, WA – New Frontier Lounge 5/3 – Portland, OR – Alberta Street Pub 5/7 – Reno, NV – Cypress 5/8 – Eugene, OR – Sam Bond’s Garage 5/9 – Seattle, WA – The Crocodile (w/ Noah Gundersen & His Band) 5/11 – Santa Fe, NM – The Mystic (Alie solo) 5/16 – Everett, WA – Fisherman’s Village Music Fest 2024
The song “Lines in the Sky”, which starts Cole Gallagher’s EP, The Confluence, has a soft sound. It makes you feel like you are at the beach, as he compares the person in his song to the sea. Emotions of excitement flow through the song, expressed through high notes. He is truly enjoying a fun time with this person at the sea.
As I contemplate more, I realize the sea is also a metaphor for his dreams being as vast as the sea when he is with this person, as they make him believe he can do anything he wishes. He is living in a world that is twisted, expressed through his voice. Deep and raspy, it captures emotions of anger, freedom, and pain, in a melody that flows smoothly and makes you feel like you releasing all of your emotions into the world. As he lets go of all his pain and anger, he finds that freedom is hard when you do not have the person you relied on to encourage you to see your dreams as vast as the sea.
As Gallagher sings the song “Stumbling in the Dark”, he goes through emotions of struggling to impress the person he is singing about. He believes he cannot live up to their expectations of how to act, and who to be. Despite feeling he cannot be his true self, he follows this person because he loves them too intensely to emotionally leave them. She is the only girl he will ever truly love. He is desperately searching for her so he can look into her eyes again. He is unsure how to show her that he cares about her forever and he hopes that her life is free of pain and worries, as he expresses by singing that he hopes the skies are blue for her.
During “Delilah”, the listener discovers the name of the person the lyrics to his EP has been flowing about. Delilah’s joy is his joy too, because her emotions are connected to how he feels. They are like a string, so when he or Delilah gets pulled or twisted a certain way, they are impacted by each other’s emotions. As expressed in his lyrics, his heart is open to her eyes, because he is open to looking deep into her soul and understanding life from her perspective. His heart will beat to her emotions and what she goes through in life.
In Cole’s song “Chatting Through Steal”, he struggles that his dreams have been packed up by people refusing to believe in him, and rejecting him. It is melancholic and contemplative, stirring pause in its listener.
In “Sugarland”, the melody intertwines as words enter this song, with emotions of helplessness. He wonders about what it would be like to see beyond the fields he lives in. Loneliness overwhelms him and he feels trapped in the fields. Hope fills his soul as he watches the bluebirds flying in the sky and “the flames rise up,” as articulated through these descriptive lyrics.
“The Ocarins of the Tennessee” starts with a slow, calming melody. As he is floating away, he continues to keep the attachment of this person whom he loves in his heart, vowing to never forget the sound of their voice. The sound of this person’s voice brings him both comfort and grief. He compares this person’s voice to the sounds of the sea because the sea is where he has had many memories with them. His heart is floating away with this person in his mind and away from this person in reality. At the end of this song, his high notes repeat in a steady flow in a pattern, capturing the emotions of being content with this person at the sea and the pain of losing them.
Get ready to crank up the volume and dive into the electrifying world of rock with IRONTOM‘s ‘SUPER//STAR.’ This high-energy track is a rollercoaster ride of emotions, fueled by edgy guitar riffs, pulsating rhythms, and a captivating vocal delivery that demands your attention from the get-go.
From the moment the first chords hit, ‘SUPER//STAR’ sets the stage for an exhilarating musical journey. The lyrics oscillate between bold self-confidence and introspective vulnerability, creating a dynamic contrast that draws listeners in. The repeated chorus, declaring the speaker as a ‘superstar,’ echoes with anthemic power, making it impossible not to get caught up in the hype.
IRONTOM‘s masterful fusion of rock elements and electronic textures adds a modern twist to the song, creating a sound that’s both familiar and fresh. The band’s tight instrumentation, combined with the lead singer’s charismatic delivery, captures the essence of rock ‘n’ roll energy. The way the track builds, combining catchy hooks with an explosive chorus, makes it an instant earworm that’s bound to leave you singing along.
What makes ‘SUPER//STAR’ truly shine is its ability to encapsulate the allure and complexities of fame in a single track. The lyrics dive into themes of love, betrayal, and the pursuit of recognition, painting a vivid picture of the highs and lows that come with the superstar lifestyle. The song’s clever blend of sarcasm and genuine emotion adds layers to the narrative, inviting listeners to consider the various facets of the ‘superstar’ identity.
Overall, ‘SUPER//STAR’ by IRONTOM is a rock anthem that doesn’t just rock your speakers—it rocks your world. Its infectious energy, magnetic lyrics, and skillful musical arrangement come together to create a track that’s as hype-inducing as it is thought-provoking. Whether you’re a rock enthusiast or simply a fan of high-octane music, this song is a must-listen that will have you hitting the replay button again and again.
UPCOMING TOUR DATES 9/22 – Grand Rapids, MI – 20 Monroe* 10/3 – Boulder, CO – Boulder Theater* 10/7 – Ventura, CA – Majestic Ventura Theater* 10/19 – Los Angeles, CA – Moroccan Lounge (album release show) 10/31 – San Jose, Costa Rica – Estadio Nacional # 11/4 – Rio De Janeiro, Brazil – Estádio Engenhão Nilton # 11/7 – Brasilia, Brazil – Arena BSB Mané Garrincha # 11/10 – São Paulo, Brazil – Estádio Do Morumbi # 11/13 – Curitiba, Brazil – Estádio Couto Pereira # 11/16 – Porto Alegre, Brazil – Arena Do Grêmio # 11/19 – Santiago, Chile – Movistar Arena # 11/21 – Santiago, Chile – Movistar Arena # 11/24 – Buenos Aires, Argentina – Estadio River Plate # 11/26 – Buenos Aires, Argentina – Estadio River Plate #
For two decades, Scott Fisher has crafted musical fusions of his own design, with works featured in popular TV shows such as Shameless, Parks & Recreation, and Gossip Girl. His groovy rhythms are infectiously catchy and are right at home in these comedies and dramas. If his new single “Still the Same” were in a show, it would accompany a protagonist returning to their old hometown, expecting friends and family to have changed—only, they find that everything has stayed the same.
Funky jazz chords and a guitar riff hook the listener from the start, evoking 1970s production styles. Fisher’s voice echoes with reverb, infusing the song with a contemporary indie-pop spin. The lyrics are contemplative, as the speaker observes the inherent constancy of people despite ever-changing surroundings. Fisher observes that “the same old thoughts” are “in different brains” and “the gray in your beard is all that changed.” It’s a timeless feeling, as we move from one place in life to the next and realize that human emotions are, at their core, changeless.
“Still the Same” is the third single from Fisher’s upcoming album, Kingdom of Ego. Fisher is currently based in Los Angeles, where he has worked on acclaimed television shows (Shameless, Parks and Recreation, Better Call Saul, The Good Doctor, etc.). He has opened for Brandi Carlile, Augustana, and Pink Martini, in line with their genre-crossing musical styles.
The lastest from corner club, “Whenever You’re Ready,” evokes a storm of bitterness and resentment, painted vividly with the brushstrokes of raw emotions. The singer pours out her heart with a mix of biting sarcasm and unapologetic candor. Each line is laden with a weighty wish, a fervent longing for those nights when tears will mingle with the silence, a secret hope that her ex will remember them in their darkest hours.
Amid the verses, a bitter cocktail of sentiments bubbles forth. The singer yearns for the ex to tread a path fraught with misadventures and pitfalls. And then comes the chorus, an anthem of unwavering resolve. A pledge not to stand idly by, waiting for forgiveness or reconciliation. Instead, a fierce determination to move forward, leaving the past in the rearview mirror. Yet, there’s a twist to this declaration—a desire for the new lover to be so captivating, so flawlessly enchanting, that the ex-lover finds himself drowning in a sea of insecurities.
The refrain “I hope she’s ready” reverberates like a spell cast in anger. It’s a wish that the new partner faces the same storms and hurricanes that once ravaged the singer’s heart. A vindictive chant that paints a picture of the ex’s world shaken to its core by a cascade of emotions they can’t control. In the bridge, a crescendo of empowerment resonates. The singer stands tall, defiant and resolute. She refuses to be a refuge, a solace, for a wandering soul who only seeks shelter when the world grows harsh. She boldly proclaims that a pretty face won’t be a lifeline, now that the debris of her past has settled.
As the ending hits like a thunderclap, the singer of corner club makes it known—there’s no return, no rekindling of the flame. The ex-lover is urged not to come back, not to utter empty apologies or attempt to undo the unraveling that’s occurred. The words drip with a finality, the bitter taste of resentment hanging heavy in the air.
Loveless invites us into a mesmerizing realm of music where genres blend and emotions soar. With harmonies that tug at heartstrings and lyrics that paint vivid stories, Loveless is a captivating musical journey we cannot miss.
“Drag Me Down,” Loveless’s latest single, takes us on a rollercoaster ride of aspirations and self-discovery, all set to a catchy and upbeat melody. Picture this: a wannabe movie star trying to strut their stuff, hoping to be the next big thing on the silver screen. They’re dreaming big, just like the heroes who always save the day, but they’re also facing some unexpected plot twists.
As the song plays on, our protagonist starts to realize that being a hero isn’t all it’s cracked up to be. The chorus shouts out “Drag me down with you,” a battle cry against those pesky challenges that try to spoil the fun. It’s like they’re saying, “Hey, I won’t let life rain on my parade!”
And just when you think things are settling down, the song throws a curveball with lines like “The fear of dying alone / Doesn’t hurt half as much / As the feeling of letting it go / After one last touch.” It’s a mix of deep thoughts and lively beats, keeping us grooving while pondering life’s twists and turns.
So, kick back, imagine yourself in a movie montage, and let “Drag Me Down” be your anthem of resilience and the pursuit of dreams, all wrapped up in a toe-tapping, head-bobbing package.
LOVELESS WORLD TOUR DATES 8/17 Sydney, AUS Metro Theatre 8/18 Brisbane, AUS Triffid 8/20 Melbourne, Aus 170 Russell 9/16 Paris, FR Trabendo 9/18 Amsterdam, NL Melkweg OZ – SOLD OUT 9/20 Berlin, DE Columbia Theater – UPGRADED 9/21 Hamburg, DE Reeperbahn Festival 9/23 Brussels, BE AB Club – SOLD OUT 9/25 Cardiff, UK Tramshed – UPGRADED 9/26 London, UK Electric Ballroom 9/29 Birmingham, UK O2 Institute 2 – SOLD OUT 9/30 Manchester, UK Academy 2 – UPGRADED & SOLD OUT 10/1 Glasgow, UK Garage – UPGRADED 10/3 Dublin, IE Academy Green Room
In Jean Ryden’s music video for her song “Parallel Universe”, Jean desperately wants the trauma of losing her parents to have never occurred. In the beginning of the song, she replays images of her parents in her mind in black and white, because her past is like an old movie; the happy moments with her parents are covered with feelings of dread. All the color has been depleted from her memories because new movies are symbolic of new, happy memories with her parents being formed. In comparison, the old movies symbolize her happy memories as only in the past
Jean lays in her bed and leans her head to the side, which reflects when she would lean on her parents for support. She is alone in the bed because after her parents passed away, she felt alone and like she had nobody to lean on for support. The camera zooms in on a close-up image of her eyes while she lays in her bed because her eyes are her pathway to all of the loneliness she feels inside.
Color film of a garden with beautiful roses of different shades and a white bird flying above it is representative of her healing from her grief and finding peace. To elaborate, the bird symbolizes her flying because she is freeing herself from the black and white space of her grief.
Images lasting for a few seconds, all of her memories can never be remembered in complete detail, but the most important details remain engraved. The colored images represent her purely happy memories, the black and white images are symbolic of her memories remembered in sadness or trigger her grief, and the partially colored images are memories she is remembering to heal from her grief and sadness.
The same image of her alone, opening and closing her eyes, leaning her head against a wall, in a vacant room, occurring for a few seconds, repeatedly, shows her constant despair. She shuts off all of her memories with or of her parents because she goes into a state of depression, which she is constantly battling to escape from.
The video ends with her sitting in a dark room with candles and a black sky lit with bright stars. Images are played in quick seconds against Jean’s soft, melodic voice, which has a deeply sad tone on its edges along with hints of desperation. Her voice also has another tone, that feels like she is going through feelings of clarity.
Once she repeats her memories filled with many different emotions, she must admit that the reality is her parents are in heaven. Therefore, her memories are a “parallel universe.”
