Maps & His Mothball Fleet have released “Visit Mississippi”, the second single off of their upcoming album GULF, due out on August 21st on Azteca Records. Matt Wanamaker, nicknamed “Maps” by a young niece who couldn’t pronounce his given name, was deployed to Afghanistan in 2013 and again to the Gulf of Mexico in 2018. During his time there, he wrote and recorded the rough demos of 50 songs to send back and forth to musician friends using only a handheld cassette dictation machine to record and a metal chair to keep time. Mothball Fleets are collections of rusting Navy ships that are no longer needed but kept afloat in case they may be needed later. The give and take process that ensued during Wanamaker’s time in the military rekindled old collaborations and strengthened Maps’ relationships with his friends, transforming them into his own mothball fleet.
“Visit Mississippi” is the product of Wanamaker’s nomadic exploration of Gulfport, Mississippi while the turmoil of an unresolved and fleeting love churned inside him. He explains, “I was living on the Gulf Coast but had left a relationship up North with unresolved issues and a lot of ambiguity. We had been having problems, but somehow we just didn’t talk about them leading up to my move.” “Visit Mississippi” was written as an almost completely autobiographical account of his experiences, from the lyrics to the music itself. Each verse, each chord change and melodic flourish that Wanamaker offers are a glimpse into his relationship. His tense love and the architectural aftermath of Hurricane Katrina that he observed on the streets of Gulfport moved him to explore a darker style of melodic pop in the single. He captures the feeling of living alone during a long-distance relationship through distorted, gothic guitar pop melodies and an unsettled church organ backbeat. Subtle touches such as the rebounding vocals, mysterious bassline, and minor key further augment the haunted feeling that the track embodies. Even the underlying chord progressions project an untethered wistfulness that ties in well with the subject of the song.
It’s abundantly clear how much thought went into every detail of this track. From content to origins, “Visit Mississippi” conveys an authenticity that is absent from a lot of today’s music.
You can read more about the humble and awe-inspiring story of Maps & His Mothball Fleet on their facebook page, and look out for GULF, arriving soon.
Idris Ackamoor & The Pyramids reach their peak powers with their latest album Shaman!. The jazz collective created a stellar album that just adds to their impressive discography. The album was produced by Malcolm Catto at his analogue HQ, Quatermass Studio in London and the cover artwork features an exclusive painting by Japanese artist Tokio Aoyama. The album includes expansive tracks that touch on all different subjects, but blend together like they were meant to be. Ackamoor explains, “I wanted to use this album to touch on some of the issues that we all face as individuals in the inner space of our souls and our conscience. The album unfolds over four Acts with personal musical statements about love and loss, mortality, the afterlife, family and salvation.”
The expansive nine tracks tackle spiritual jazz with introspective themes, a different journey than their last release. Through different moods and emotions, Idris Ackamoor & The Pyramids take you on a wild journey. Starting with the 12 minute title track, “Shaman!”, they dive straight into soul-searching and dealing with masucline vulnerability. The variety spreads through the song, showing the lengths they can go to with their talents. However that variety is not limited to this track, it shows through others like “Dogon Mysteries” and “Eternity”. Now more relevant than ever before, “When Will I See You Again” mourns the sudden loss of loved ones. This track could resonate most with people because of the crisis we are fighting everyday.
“Theme for Cecil” is Ackamoor’s tribute to his mentor Cecil Taylor, whom he studied piano with in the early 1970s. The tributes don’t stop here, they continue with “Salvation” and “The Last Slave Ship”. These tracks are paying homage to their ancestors and referencing the Clotilda, which was the last ship to bring slaves from Africa to the United States. And finally, the best for last, “Virgin”. It is an anthem of forgiveness, new beginnings and self-healing, and the collective’s best track on the album. It encompasses everything they were trying to capture and ties the album together.
Although the band was formed in the early 1970s, time has done nothing but helped to season these professionals and it shows. It would feel like an injustice to not name those involved on the project, because of the talent and work put into this project. This fresh line-up includes original 1970s Pyramids member Dr. Margaux Simmons on flute, Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. Shaman! shows that they are not playing around and that they are here to make the best music they can.
Singer-songwriter Elizabeth Young may only be 16 years old, but her wisdom and natural accessibility goes far beyond her years and translate beautifully into her music. Young has a remarkable ability to transform the life of a teenage girl into a universal experience. This sophisticated vocalist has spent years developing her musicality and playing local live shows outside of Washington D.C. where she grew up, but at last she’s ready to show the world her talent with her debut EP in September of 2020.
We had the honor of speaking to Elizabeth briefly leading up to this release.
Your new single, “I Won’t Fall,” is about anxiety. Could you give us some more insight into what inspired the song, and what you hope that people listening to it take away from it?
I Won’t Fall talks about how I can stand up to the difficulties of anxiety. Sometimes my anxiety can try to get the best of me and it can be hard to fight it, but I have learned that I can overcome, persevere, and not fall into the trap of my anxiety. My producer Chris Keup and I thought of factors in my life that help support me such as my family. My friends and family can help serve as a shield during inner battles with worries or anxiety. I Won’t Fall portrays an important message that means so much to me and I hope has an impact on others to help them feel stronger when fighting against inner worries or anxiety. With this song, I want to encourage others to stand tall and not to fear of being knocked down by their anxiety or have it stop them.
What is the Washington, DC music scene like? Do you have a favorite venue in that area that you loved to play or see shows at and why?
In Washington DC, I’ve been to the Kennedy Center several times where I have seen Lea Michele sing and other productions. I have played at multiple venues around my town one of which is the open mic night at The Old Brogue. I love playing at the Old Brogue because my family and I have been going there since I was little so it is a very comforting place. Since COVID-19, I haven’t been able to play at local restaurants which is sad!
You have a lovely voice, with a strong command over both soft and belted vocals. Did you have vocal lessons growing up? How did you cultivate your voice into what it is today?
I first found a love for singing when I auditioned for the musicals at my elementary and middle schools. I discovered how much I loved singing and I began taking voice lessons to grow and learn more about singing. I brought my guitar that my parents gave me to my voice teacher on a spree, and from there I learned how to sing songs with my guitar. I would practice all the time on my own, helping me to improve my guitar skills. I started performing at small live events and quickly discovered how much I loved performing and I wanted to get better at my music. I began to turn my interest away from musicals and found what I loved the most- singing songs with my guitar and creating music. From there I began jotting down some lyrics to some chords on my guitar. I began taking vocal lessons with Katie Talbot from Nashville over Skype where she helped me safely improve my voice. I also love to sing all around the house which can sometimes bug my family! I linked up with the amazing Chris Keup where we wrote songs together and created the EP.
Your upcoming EP deals with topics ranging from narcissism to toxic relationships. How does it feel to be sharing such intimate parts of yourself with the world? Do you feel nervous about revealing yourself or is it freeing?
It is difficult to open up and share yourself to the world. It’s important to me for my songs to be authentic and real therefore making me a little nervous to feel vulnerable. However, it is freeing to express myself and exciting for others to hear my thoughts through music and I hope people like them and can relate to them.
Was this your first time recording in a studio? How was that experience for you? Was it time-consuming and a lot of hard work? Did everything go smoothly? Give those of us on the outside a look into the studio life.
It was the first time I ever professionally recorded in a studio so everything was very new and exciting for me. I was so eager to learn how a song was created from an artist’s point of view. I discovered so many new things and working in the studio opened up a new world for me and I want to keep learning and improving. Chris is a talented producer and was very easy to work with especially for a developing artist like me. Working in the studio was hard work but very fun! I went down to Chris’s studio in Louisa VA on school days, after soccer tournaments, and on weekends to create the EP. The vibes in Chris’s studio made me feel creative and like a real professional! We spent hours each day recording, correcting, and adding to perfect the EP. Before my experience in the studio, I thought it would be quick and easy to record the vocals, but it took lots of time and hardwork to put them together. Creating the songs did go smoothly and I can’t wait to keep working in the studio in the future.
“I Won’t Fall” is a deeply moving song with personal lyrics that make the listener feel like they know you. What is your go-to method of writing songs? Do you have any advice for any budding songwriters out there?
Songwriting is all about authenticity and how the lyrics flow to the beat of the music. I love bringing out thoughts or worries on my mind into the songs to make them more relatable and personal. I really want to discover how to become my own artist and find my unique style to put into my music. I want to keep learning and growing! My go-to method is to take a regular idea on my mind or a topic that may be bothering me and string lyrics together. I use my guitar to find chords that fit my lyrics and the feel of the song.
What is your favorite song or album to listen to when you’ve had a hard week and you want to unwind and why?
The way I escape through music is to visit playlists I make on my phone. My playlist is made up of country and pop music. I really enjoy almost any music and I have a lot of variety in my playlists. Olivia O’Brien is an artist I love to listen to because I love the way she writes the lyrics in her songs. Taylor Swift is a classic artist but I love listening to her songs because I know most of the lyrics so it helps me to unwind by singing along.
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Pulling from the blues, R&B, and powerhouse female artists she grew up surrounded by outside Washington, D.C., as well as female artists and songwriters like Bonnie Raitt, Alicia Keys, and Taylor Swift, this EP deals with wide-reaching topics in a cathartic and carefree way. Young’s forthcoming single off the EP, “I Won’t Fall”, is a tender anthem about anxiety. It’s filled with rich guitar chords that embrace silence with warmth. Young’s skilled vocals earnestly sing on top of a strong, slow beat that feeds into the anthemic sound. Her sailing melody line on the words “I won’t fall” sweep you off your feet and lift you up, instilling a sense of hope within you. Young’s resolve and softness recall the feminine power that her female influences channel, and hint at what you can look for in the rest of her soon-to-come EP.
In the meantime, check out her latest single, “Ricochet” here.
New Jersey-based singer-songwriter Eric Harrison teamed up with Nashville veteran Rachel Potter for “Down Down Down”. The track is a true Americana duet, with flares of country and guitar rock. Harrison and Potter’s voices compliment each other over the sweet sound of the guitar. The country version features a traditional Telecaster, lap steel, and the mandolin, while the electric version has a Neil Young-style melodic guitar grime and a robust B3. Two versions of the song will be released, one being country and the other is an electric version. Equally filled with hope and worry, “Down Down Down” is a lyrical journey through and through. Harrison shares:
I tried to capture the rawness of loss and the desire to protect the people you love, but as hard as it is to watch the people you love get hurt, sometimes you need to hang back and let them figure it out. I view the song as kind of a reminder to check my savior complex and remember that hurt can turn to wisdom.
The Americana singer is also set to release his fourth album, Gratitude, later in the year. The album is filled with 10 life-affirming tracks that will shine bright in his discography. Gratitude was recorded at Salem’s studio in Woodstock, New York with the help of guitarist and producer Kevin Salem. He continues to push further, making music that is meant to be enjoyed outside on a summer night. “Down Down Down” (feat. Rachel Potter) is a part of the new era in Harrison’s artistic journey. Check it out now.
Aime Simone is no stranger to misery. He fell victim to intense bullying as a child, the trauma of which led to early symptoms of PTSD and anorexia as a teenager. There were attempts to heal at clinics where he spent his time writing poetry, but there also was a tragic sucide attempt. During a stay at a clinic in 2012, Aime got permission to attend a Pete Doherty show since he was such a big fan of his and an avid songwriter. He took his poetry filled journal along, hoping to give it to Pete. Halfway through the show he still had no idea how he was going to get the journal to Pete, so he resorted to throwing it onstage, and accidentally hit Pete in the face. Pete began to read excerpts to the sold out crowd, and when Aime screamed for Pete’s guitar in exchange, he instead was pulled onstage and given the guitar to play. What resulted was Aime’s first-ever performance in front of a crowd, and after it ended in applause, Aime was invited to go backstage and began working with the Libertines frontman in intense songwriting sessions.
Today, Simone is a Berlin-based, Parisian singer and producer who is still mentored by Doherty. He produces alt-pop music that pulls from post-punk, hip-hop, soul, and 60s pop. The culmination of Simone’s incredible backstory and all his hard work with Doherty comes in the form of his debut album Say Yes, Say No, which was released on July 31st. The album was entirely self-written, produced, and mixed by Simone himself, and plays like his open journal, as earnest and honest as the one that he hurled on stage back in 2012. It’s inspired by Berlin’s iconic techno scene as well as his past life in other European cities.
The music of Say Yes, Say No is somewhat sparse and intimate, made up primarily of vocals, guitar, and a beat. The vocals are blurred by reverb, yet clear enough to hear every word. Its simplicity allows for sentimentality to be the focal point of the work. Although each song deals with emotions, the album doesn’t have a one-track mind. You find moving melancholy in “Don’t Be Sad”, danceable beats in the lead single “What’s Up With The World?”, and even tender love in “Shining Light.” With Say Yes, Say No, you find uplifting movements interwoven through the melancholia, an approach influenced by Simone’s unusual and complex being.
The first three tracks embody this brooding, yet moving trait well. To start us off, “Everything’s Changing” deals with his own mortality and the fear of death and the unknown, but he faces these inevitabilities with acceptance rather than letting them overwhelm him. It was inspired by the thoughts that occupied Simone’s mind when he became a young father. The intimate acoustic guitar, soft, yet emotive vocals, and chill beat behind the soaring line “I’ve got to let go of what I’ve always known,” amplifies the embrace of his feelings, especially in the bridge where Simone and the guitar become more spritely and when harmonies join the vocals in the chorus. “In This Dark Time” was recorded in reaction to the effects of the pandemic. It’s got a bit of a groove, but is pensive in tone, asking “could you take my pain?” a line that recurs throughout, right up to the very last line where the music drops out from behind it, the words stark against the silence. “Don’t Be Sad” progresses the album into a spooky realm, with its slow pace, ghostly harmonies, and morose guitar.
By the time we get to “Strange Inside” we’re enveloped by this eerie aura. The bassline, and minor 2nd interval that the guitar strums alternate between giving the track an ominous sound. The guitar is left bouncing at the end, finishing off the track without a resolution. “Strange Inside” was also influenced by the pandemic, specifically about how it can make one feel blocked, removed from human connection in the face of quarantine and isolation. The video features a performance filmed during lockdown in Berlin, providing a visual representation of the mental and physical barriers that the pandemic has created for many people. “Imaginary Lovers” is tenser, more anguished, with the lines “tell me what to do” and “barely holding on for tomorrow” showing a desperation that we haven’t seen on the record so far. But this desperation with the phantom-like background vocals whispering “imaginary lovers” in your ears throughout the track and the unrelenting off-beat attacks become somewhat unsettling, continuing the subtly haunted sound in “Don’t Be Sad” and “Strange Inside.”
With “Vienna”, the unearthly nature of the last three tracks transforms from eerie to dreamy. The guitar exists both as evanescent chords floating in the background and a solo part that seems to have a mind of its own. Simone sings “I need you baby,” letting some love trickle into Say Yes, Say No, a sentiment that is reinforced in “Hold Me Alive” with lines like “You hold me close, you hold me alive.” This track uses electronic chords that phase in and out to paint an emotional background for Simone’s delicate falsetto. When the guitar joins the chords at the end, it makes for a warm ending that embraces you with love. Even more, “Shining Light” marks the peak of adoration, put into words when Simone sings “All I need is the way that you love me.” A hint of groove comes from the muted guitar riff and calmly snapped beat, and the chord progression is the perfect complement to the tender words.
While Say Yes, Say No as a whole is touched with sorrow, it humbly offers some inspiring words to start to resolve that sorrow. “What’s Up With The World” and “Humankind” are the best examples of this encouragement. “What’s Up With The World”, beyond its rather pertinent title, is a message of hope: “I can defy my fate, I choose love, I will not give up.” The rhythms of this track give the listener a chance to clear their head and dance, comforted and invigorated by the lyrics. “Humankind” brings things down again, but it’s the perfect ending to this album because it’s about Simone’s restored faith in humanity– and himself. It shows just how far this sensitive, inventive artist has come, making it the most uplifting track of all. Say Yes, Say No is a brave and beautiful story of struggle and perseverance. Don’t miss your chance to experience it for yourself.
Sophia Nadia’s admired reputation as an “unapologetic do-er” comes from her remarkable dedication to her career. Her unceasing penchant for touring beginning at only 16 years old and her courage to move to Chicago not long after shows that her commitment to her work knows no bounds. In the moments of time when she’s not touring, Sophia is fervently writing and recording her next release, each one furthering her excellent orchestration skills and exploring pop and rock genres. Her Chicago-based project Cold Beaches dropped their new album Drifter today, a work of art that is as limitless as it is intimate. With a newly founded voice of empowerment for Nadia that makes its appearance in the album, Drifter is a vivacious, live recorded movement away from the band’s earlier lo-fi bedroom pop sound towards psychedelic rock ‘n roll. Some influences to keep an ear out for for are the plain-spoken lyrical integrity of 90’s Pavement, the hard garage rock sound of Ty Segal, and the hypnotic indie surf pop of La Femme. While Drifter deals with a variety of feelings, from the losses of relationships to the optimism of independence from depression and anxiety, it’s also an emotional blank page that any listener can fill with their own feelings and find comfort in whatever way they may need it. Nadia hopes that people find solace in her musical offering, especially those who are marginalized in the music industry.
Drifter must get its name from its transient tracks that freely move between grungy rock and dreamy psychedelic pop. Certain tracks drift closer to one side or the other, however. “Ride”, “Somebody”, “Band Boy”, “Boy, You’re Evil”, and “Grief Stricken Blues” all stay more or less tethered to the earth with their grounding drums and substantial guitar riffs.
“Ride” is twangy western guitar meets energetic girl-power pop, with its uncomplicated lyrics and matter-of-fact vocals. The song follows a narrative about stealing a “villain’s motorcycle.” Though it’s unclear whether it’s showing Nadia’s heartbreak or her ruthless besmirch of this man, this track is a poetic metaphor for giving deserving “villains” in the scene what’s coming to them. The chromatic descending power chords and her repeated vocals create revving instrumentals that show off Nadia’s orchestration skills, setting a tone for the album that says it’s going to be just as much about the instruments as the vocals. “Somebody” reveals a similarly manic and merciless side of Nadia. In the music video, her motel stay is interrupted by a troubling phone call and her night turns into a nightmare filled with paranoia as she barricades her motel door; protecting herself from an evil man trying to steal her heart. It’s brief, suspenseful, and incredibly fast-moving with fuzzy guitar riffs and straightforward drums and bass that are a manifestation of the true terror and disgust Nadia has towards anyone who may try to take advantage of her. The creepiness that pervades this track is enhanced by the whispered vocals– even more so with headphones.
“Band Boy” does feel a lot like psychedelic pop, but the strength of the beat and chromatic guitar overpowers Nadia’s muted vocals and the jazzy chords. The chorus is the epitome of pop, from its bouncy beat to the high vocal line, and even the word “bubblegum” finds its way into the lyrics. “Boy You’re Evil” also has dampened vocals and a full-bodied chorus, but the rock-centered drums and the brightly toned guitar are there to keep the track from drifting too far. “Grief Stricken Blues” uses major 7th chords halfway through the first verse, but they’re bright and thick in texture. The opening guitar riff is concrete, and once the bass and drums come in it gains that bit of grit that comes with blues-rock, but it somehow feels soothing rather than edgy. As tangible as the verses are, however, the chorus can’t help but detach with dreamy guitars that bring an element of sonic euphoria. The opening guitar riff persists into the next verse and the outro, and by the end of the song it’s comforting nature makes sense as the familiarity of its obstinacy feels like an old friend.
While the pleasant haze that falls on “Grief Stricken Blues” can feel quite salient at times, “Problems & Heartache (I Got Them)”, “Love Me”, and “Go Easy On Me” take it to a new level. These kaleidoscopic tracks are otherworldly in their instrumentation, once again showing Nadia’s aptitude for composition. The dream-pop synth chords, reverberating guitars and gentle, crooning vocals in “Problems & Heartache (I Got Them)” seem to bleed into each other, creating an otherworldly experience. The lyrics are vulnerable, transporting the listener to a place where the music– and Nadia’s feelings– are intricate, yet succinct. Touches of dissonant chords and notes add that bit of pain that is an inevitable part of opening up. When you listen to this one, close your eyes and let it envelop you. Feel the celestial surprises crash into one another. “Love Me” definitely leans towards soft rock with the prominence of the bass and drums, but after the initial pining solo bassline, a wave of illusory musical nostalgia crashes into you. Nadia’s misty, honest vocals sing “Love Me” on top of jazzy chords, the flavour of which is continued by an apt sax solo that floats in after the chorus. The ending track “Go Easy On Me” begins with a distorted organ-like part that creates a feeling of melancholia as Nadia sings “go easy on me” on a melody that embodies poignancy, again using discordant notes. Her singing is kept in place by the drums, but it’s on the verge of floating away, like a helium-filled balloon loosely fixed in a child’s grasp. The woodwinds in the instrumental interlude have the beauty of a whole orchestra and are followed by a sharp guitar solo that tries to cut through the magic but can’t quite. Sure enough, by the end of the track, all the music has floated away.
All the songs so far have explored the line that separates garage rock from psychedelic pop, and have dabbled on either side, but Nadia also offers two tracks that represent the poles of illusion and reality. The muted vocals and folksy, slightly out of tune acoustic guitar makes “SGIT” sound removed, like a dream or a passing thought. The lyrics are sad, “I hate myself and everybody else,” but perhaps hopeful as well, “I should stick around.” “I Miss You So So Much, I Really Do” isn’t concrete in terms of its music, the piano background is as tender and gentle as it is passionate and vastly resonant. Instead of a vocal line, however, there is a voice recording that sounds like it could be taken from a voicemail. It’s hard to make out much of what the voice is saying, most of the words are lost in the waves of ambient piano, but what does come through is the line “I really really really do miss you, I really do. I really really miss you… a lot.” It’s the intimacy and the honesty that pours out of this recording that makes this one-minute track the most tangible of all.
There is a lot going on in Drifter, but there are certain qualities that make it stand out as an exceptional piece of work. Its transitional nature that comes from Cold Beaches’ development into a more polished sound calls to mind ideas of rebirth and reinvention, something that is not only attractive for the album but builds intrigue for the band’s future. Each song has oodles of quirks to listen for, allowing you to listen to them on repeat without fear of them growing tired. Despite the fact that Drifter’s tracks are incredibly varied in sound, they have this unifying tone that to them that sounds like 9 pm in the middle of summer: warm, light, and seemingly too good to be true. Most of all, however, Drifter is dripping with potential, and I for one am excited to see what new heights Cold Beaches will undoubtedly reach in the future.
The Angry Lisas shine a light on life’s heartbreaking realities and how crucial it is to learn to let them go in their impassioned and deeply genuine new video for their single “Wingwalkers.” Sean Taylor, the principal songwriter for the Portland-based indie-rock outfit, found that writing songs for the band’s upcoming album Slate Violet was the only way he could process and heal from the regret, nostalgia, gratitude, and sorrow that he collected over the last decade, or “cheap man’s therapy,” as he calls it. The album not only reflects on pain but the elation that comes from the release of pain, a release that manifests itself in catchy rock anthems that are zealous and sincere. It humbly reflects on some of the most challenging moments in Taylor’s twenties. As a part of this, “Wingwalkers” comes on the heels of Taylor’s big move away from home. Where he expected catharsis and a fresh beginning, he instead found a reflective familiarity. The idea that you can’t escape your problems, and that the only way to move on is to let go provides the foundation for the narrative of “Wingwalkers.”
The visuals and narrative of the video amplify the humility of the music by adding a layer of authenticity that can only come from watching someone else’s story. It follows two people, sometimes flashing back to their life and relationship as children, sometimes confronting the harsh reality of their life in the present. While the shots are ambiguous at first, details are slowly revealed about the situation, until the narrative reaches a burning climax. You feel your heart both warmed and broken as you watch, until the end practices what Taylor preaches about letting go. Enveloping this story are varied, down to earth guitar riffs that feel like a wordless echo of the preceding lyrics. The vocals are classic; soft, yet earnest. But “Wingwalkers” is only a taste of the emotional atlas that is Slate Violet, and the rolling drums at the end of the track remind us that this isn’t over, there are more challenges and revelations ahead.
Nashville-based duo, The Danberrys, are back with their third full-length album Shine. The twelve-track collection strays from their traditional sound, but comes full force with all the stops. There is a bit of a dark atmosphere throughout with graceful combinations of rock, blues and folk incorporated. Dorothy Daniel and Ben DeBerry created an enchanting record that you’ll catch yourself playing on repeat. It’s one of those records that every time you listen, you will find new meanings behind the lyrics or different instruments like an electric guitar or drums. The duo spoke about the meaning behind the album, “Shine represents a major shift in our sound, moving away from our acoustic-centric past while staying rooted in our love for the song and the groove. By venturing outside of our comfort zone, sonically and process-wise, we were able to make an organic record that we’re excited for the world to hear.”
Immediately, we are introduced to this repeated idea of looming darkness with the title track. “Sometimes darkness may roam / shine, shine wherever it goes”, reminding us that the dark is only a way to find the light. It could be used as background music for a movie scene where a character is almost just breaking out of their struggles, similar to something you might have heard in the tv series Sons of Anarchy. Similar to “The Mountain”, which was the first single off the record, the themes continue: keep growing from your past, don’t let it take you down. The sound in this track was inspired by New Orleans traditional second-line rhythm and blues.
There are lots of stories incorporated into these songs, especially with“Francis” and “Never Gone”. Daniel’s vocals guide through these compelling narratives, conveying the pain behind the words. “Never Gone” is based on their friend’s father who battled a chronic illness and said goodbye on his own terms, breaking the hearts of his family in the process. Although there are some darker tracks than others, “Love Conquers War” teaches a positive message of wisdom. Not only do the lyrics radiate this message, but the instrumental backs it. With the closing track, “Rain”, Daniel and DeBerry sing together and bring back this theme of worry and darkness. In the end, success comes through deep beliefs and unity. The sound is reminiscent of Margo Price and is easy on the ears. The Danberrys are back and they’re ready to have their messages heard all around the world.
The valiant band Beautiful Dudes have channeled their determination and spunk into their newest single, “Nite Nite.” The single is first to be released from their upcoming EP Nite Songs, out August 14, the soundtrack to the current state of the world as it traverses dark, melancholic times with refreshing optimism. From Nevada City, frontman Tom Bevitori and the Dudes have always aimed to capture serious topics with infectious hooks and heavy riffs. There’s more to the band than meets the eye, however. Among the band’s brazen sounds are intimate lyrics that add a deeper dimension to their music.
“Nite Nite” embodies the courageous energy of four dudes who have tons of spirit and spite: “We are not afraid, we fear nothing.” It’s simple in structure– the opening combination of clashing drums, Bevitori’s turbulent voice, and the rumbling guitars including the persistent rising triplet figure continue basically throughout the entire song. This creates a feeling of static but excited energy, as though something is coming. And indeed, the first words we hear are “the revolution is coming.” The release of Nite Songs is coming as well, making this song the perfect first release to generate eager anticipation for the EP.
“Nite Nite” will only be released on a flexi vinyl record included with the purchase of their limited edition Skateboard deck. Beautiful Dudes will also be featured on the upcoming compilation album for the Nevada City Film Festival in August with their new song “Beverly Hills” and live performances and interviews.
