by Meredith Schneider | Jul 28, 2021 | videos, wolf tracks
If you’re looking for a psychedelic escape – visually and audibly – might I suggest getting lost in the music video for Venice Beach-based Little Galaxies’ “Waking Sea,” which debuted just today? Through a beautiful haze, the band performs the edgy, dynamic track. And while many music videos fall short of supporting such incredible artistry, this one only adds emphasis to the importance of its accompanying single. Frenetic, the video is filled with gorgeous landscapes, blank backgrounds highlighted with jewel tones, and confusion that gives way to surrender in a beautiful, artful way.
Explains lead singer Fournier: “The song is about finding peace in the wreckage. It was inspired by a car accident and my awakening in the years to follow as I healed from injuries and learned to accept my fate by surrendering to the pain to heal and transcend from it.”
Take a gander below, and consider bringing this track with you into your weekend festivities.
Directed & Filmed by Sara Alessandrini
Edited by Jeanna Fournier, Amir Eshraghi, and Sara Alessandrini
Produced by Amir Eshraghi and Jeanna Fournier
Colorist: Polaris Castillo
“Waking Sea” is a single off Little Galaxies’ upcoming sophomore album, “One with the Waking Sea”, coming Summer 2021. Keep up with the band here.
by Meredith Schneider | Jun 23, 2021 | singles, wolf tracks
Fiona Apple fans, rejoice! Within the first 9 seconds of Lizzie Loveless’ new track “Window,” you can feel a familiarity in the vocals that absolutely trace back to Apple. Plus, the instrumental composition the song transitions into by the 58-second mark is absolutely reminiscent of some of our 90s favorites. And yet, the melancholy you can feel in the track is still somehow all Loveless’ own. Coming from an entirely vulnerable space, the song bursts forth with an energy that is both magnetic and intrinsically sorrowful at the same time. Explains Loveless of the track:
I wrote “Window” a few years ago. The song was first written when I knew my relationship at the time had ended. He had gone for a walk to take some space and I was waiting for him to come back, looking out the window. But I could feel a shift. I knew what was coming. I knew when I looked at him, he had already left. It was as if in a single moment his face had changed and I no longer knew him.
So, I was thinking, then what? What comes next? Essentially all you can do is wait, wait for the heartache to pass. This song definitely captures a chapter in my life, a painful ending… I’m thankful it’s in the past.
For those going through a rough time, you may have found your match in this track. Enjoy a listen (or five) to “Window” below.
Synths: Lizzie Lieberson
Bass: Josh Werner
Drums, Drum Programming: Daniel Schlett
Produced by: Lizzie Lieberson and Daniel Schlett
Engineering: Miles Francis and Daniel Schlett
Assistant Engineering: Garret De Block
Mixed by Daniel Schlett
Mastered by Alex Deturk at Strange Weather Studio and The Bunker Studio (Brooklyn, NY)
Recorded at Cornelia Street Studio (Greenwich Village NY), Strange Weather Studio (Brooklyn NY), Dalhousie University (Halifax, NS) and Ellen’s house (Halifax, NS)
Keep up with Lizzie Loveless here.
by Anthony Mulcahy | Jun 1, 2021 | performances, perspective
It’s happening, it’s actually happening. After a 15 month closure Rockwood Music Hall is finally reopening this weekend. It’s so exciting and such a relief to see the calendar filling up again. Kudos to Ken, Matt, and the team for pushing through this awful time and hopefully the room will pack out every night from here on out. Never take anything for granted!
On Saturday June 5th at 8pm, Irish man Niall Connolly performs with his band.
Rockwood Music Hall reopening gives me a real sense of hope. It feels like a good metaphor for the resilience of New York City. One of the most respected venues has survived this pandemic. In a time when so many people have lost so much, I am very grateful to see a light at the end of the tunnel. I am very grateful to have my health and to have an opportunity to play on one of my favorite stages. I am also so excited to play alongside the band again. I am not certain I won’t drown in a puddle of happy tears as soon as I hear them sing. We released two remotely recorded new singles during the pandemic. We have had a few socially distanced walks, countless Tuesday night zoom chats and so on, but I have really missed sharing the stage with them. It’s going to be emotional.
All of the shows at Rockwood Music Hall will require proof of vaccine (dated 2 weeks from your second shot). This includes the excelsior pass or your vaccine card. Anyone without proof will be turned away, no exceptions. There will be no mask or social distancing rules, and the venue will run at full capacity.
Get your tickets now!
by ImperfectFifth | Aug 31, 2020 | albums, review
by: katy mombourquette
It’s a long life, made up of seemingly infinitesimal moments. The Sea The Sea captures those moments when you feel incredibly alive and in the world and reimagines them as flashes of light in their new album, Stumbling Home. When time seems to stretch into prolonged chaos, The Sea The Sea keeps us grounded in the essential with their beautifully intricate brand of indie folk-pop. The New York-based duo is composed of Chuck and Mira Costa, who draw their infectious melodies from pop, but otherwise subverts expectations with their unconventional song arrangements. More than anything else, however, this free-spirited pairing are lauded for their exemplary vocal harmonies. The Costas’ exquisite vocals fit together like puzzle pieces tailor-made for the duo. Their voices are completely authentic, sounding lovely and unblemished in their own right. But while duets are a key part of The Sea The Sea’s sound, they also play with thick choral-textured harmonies and solo lines to add some variance among the tracks while still maintaining their sound.
Stumbling Home is brimming with musical imagery that is at times delicate and at other times deep and rustic. The result is glimpses of life, as seen through nature and a little bit of magic. The opening track, “Nothing Brighter” sounds like light, with the glint of sunlight on a clear day in the understated woodwind flourishes, and the glowing bass and piano as the blurry hues of a sunset. The relaxed, tranquil guitar solo sounds like it’s underwater, painting images of rays of light extending down beneath the surface. “A Thousand Years” is more concrete, sounding like the musical equivalent of camping beneath a starry sky. The rich guitar picking and embellishments are the flickers of the fire as they rise above and become stars overhead. The track embodies the deeply rooted tranquility that comes from being removed from society, as felt in the gentle thump of the drum in the stunning interlude partway through the song. Other images are abstract, such as in “Rainstorm.” While there are no explicit qualities in the track that denote a storm, as a whole, it has this somber beauty to it that echoes that of the fall of rain and thundering clouds.
In literature and art, however, one can always find magic embedded within nature. The Sea The Sea captures this magic in their songs with sparing uses of synth and electric guitar. The chorus of the emotional “Broken” sweeps up in a satisfying multi-part harmony and ends with glimmering drops of guitar plucks. Towards the end, these drops lead the song to the pleasantly haunting outro “oohs,” transforming the sound from sparkling fairy dust to mystic beings deep within the forest. “Fall Before The Climb” starts with a simple voice and guitar, but builds, first with harmony, then with a gently driven beat and dulcet electric tones that return to the shimmering stars of “A Thousand Years”, but from the perspective of outer space rather than earth. The acute line “Can we be in love with it all?” summarizes the album as a whole, mirroring the idea of the moments in life when you feel alive and in tune with the world. Uncomplicated guitar strums and the Costas’ patented vocals showcase guitar and synth sorcery in “Stumbling Home.” Bowed strings make their appearance for the first time in this track. Despite how well they fit, the strings are a bit of a surprise, giving “Stumbling Home” a bit of refinement compared to the other, more rustic tracks. Subtle but welcome changes like this find their way into many songs on Stumbling Home. “Parachute” sounds like you would expect after hearing a few songs on this album, except Chuck’s harmony is missing. Instead, Mira backs herself with echoes and a feathery multi-part harmony that sound like forest nymphs. The track also feels more intimate than the others, beginning with some room noise and ending with an ambiguous woosh sound that keeps the listener tethered to the real world. The standout track “Real Thing” realizes a slightly harder, rock sound with a bit of sharp guitar strums and stronger drum beat. Every guitar, synth melody, and percussion part contributes to the full sound, and the universally appealing chorus line “ahh, give me that real thing” has that cathartic nature to it that makes this track one to sing along to. I only wish it were longer; every time I listen to it I’m disappointed when it reaches its end. “I’ll Be Loving You” and “Foreign Country” share an understated mesmerizing quality. “I’ll Be Loving You” and its 6/8 time creates this swaying nature that’s perfect for a love song. Spirited triplet guitar figures simultaneously embrace the vocals and the listener, coaxing both to sink into serenity. “Foreign Country” has substantial guitar, but the line “Do we ever really know exactly where we are?” floats across the background like falling leaves, and the perpetual beat invites the listener to snap along, almost in a trance.
The Sea The Sea’s 2014 debut release, Love We Are We Love, received praise from NPR, American Songwriter, and No Depression. The video for their song “Waiting” sparked the interest of Buzzfeed and Pitchfork, and was included at the international TED 2015 conference. But for the duo, Stumbling Home reaches a new level of fulfillment. “It’s the work we are most proud of to date,” shares Mira. “We are proud of the way we grew the arrangements in our new creative space. Making music fills us, and we also believe that it matters in the world. Our mission statement as a band is to remind people they aren’t alone — in their pains or their joys, and everything in-between.” This shrewd sense of the world, both what it seems to be and what it is, allows Stumbling Home to be a beacon of light in an otherwise ill-lit world.
by Kendal Chandler | Apr 2, 2020 | singles, wolf tracks
Drawing influence in an array of places, Bay area native Chelsea Collins exists in a world somewhere dizzyingly electrifying. With her new track “Used to Be (L.O.V.E.)”, she offers a bold standout. Her appearance and style can be found in the place where anime, gothic aesthetics, and troll dolls meet. This eclectic mix makes Collins alluring in her many visual appearances and voice.
“Used to Be (L.O.V.E.)” is a brash pop song that looks back on past love and where it went wrong. Collins samples Frank Sinatra’s track “Love”, but changes each letter’s meaning to showcase her negative feelings towards this person she once loved.
The track release is accompanied by a music video, which provides another way to showcase Collins captivating aura.
Her independent releases have garnered millions of streams on Spotify, and “Used to Be (L.O.V.E.)” is just one of the few anticipated tracks Collins is set to release this year.
by Christie McMenamin | Aug 6, 2019 | snapshot, visual
Yola performed an intimate live set for YouTube Space in New York City’s Chelsea Market on July 22nd. Surrounded by cameras in a small studio, Yola and her band were unfazed by the fanfare, playing an energetic, infectious set as if no one else was in the room. Yola is an extraordinary performer; her voice takes flight, soaring on the wings of its own power, immediately capturing the listener. With her latest record, Walk Through Fire, Yola leaves no one untamed.
Largely performing tracks off Walk Through Fire, Yola peppered her set with a cover of Elton John’s “Goodbye Yellow Brick Road” and “What You Do” off 2016’s Orphan Offering.
Just four days later, Yola performed at the iconic Newport Folk Festival. She also made appearances during other sets, joining Dawes and Brandi Carlile’s The Highwomen, along with luminary Sheryl Crow. Most incredibly, she joined Dolly Parton herself.
On August 10th, she’ll be opening for Patty Griffin at Lincoln Center’s Roots of American Music Weekend: Americanafest.
Keep up with Yola here.
by Meredith Schneider | Aug 6, 2019 | snapshot, visual
When you wander into a small venue and see someone that was a little rough around the edges at a previous job – and you happen to be in attendance with a former coworker from that previous job – things can get a little weird. But we are here to tell you that the experience was not diminished in any way. The incredible talent from duo Seasaw is palpable from first listen, and their performance legitimately lights up any room they happen to be entertaining in. We melted into their lyrical journey, and fell deeper in love with the music with each slight lyrical explanation, each moment their earrings were swinging. Highlights from the show below!
Keep up with Seasaw here.
by Meredith Schneider | Feb 25, 2019 | singles, wolf tracks
Following Harley‘s first release “Behave”, comes thrilling, smooth new track “Backseat”. The amount of vulnerability that is displayed in the specifics as emotional vocals croon in your direction is astounding, and the song itself is bittersweet in its existence. Admits the band:
It was really cool to write a fully loaded song [emotional] with the guys like that. We based it around some slang that we feel like we coined and that is so deeply rooted in our vocabulary. There was this girl I couldn’t shake, and she was always in the backseat of my mind. We sat down as a team and immediately started to get to work on it.
Keep up with Harley here.
by Meredith Schneider | Jan 8, 2019 | singles, wolf tracks
Los Angeles-based alt-folk rock musician Sean Pawling has released his enigmatic new track “Rio Grande”, a soundscape that seems to span across the Rio Grande itself. Sprawling, fun instrumentals run the gamut while Pawling’s vocals bring you a sense of ease and contentment. It’s like a vacation in a song, and – as people who didn’t get that mid-winter break we so desired – we’re all for it!
Keep up with Sean Pawling here.
