Portland, Oregon-based rock band Last Giant have just released their stunning new body of work Let the End Begin. With influences like Led Zeppelin and Thin Lizzy, the album acts as a bridge, allowing the listener to time travel back to the 1970s and 1980s rock scene. Here, we find songs like “Sunset Queen”, which relies on an infectious guitar riff to draw the listener in. The guitar paired with the catchy chorus melody and heavy drumming help make this one of the best songs on the album. The title track “Let the End Begin” ensures you don’t forget what you’re hearing by providing a memorable hook that has the potential to stay in your head for days after hearing it. It also makes clear why the album shares the same name as it defines just what it means for the end to begin. Each song has the ability to connect with the rock fan in a real way. Whether it’s the guitar solo in “Followers” or the commanding vocals in “Letters to Lennon”, there is no shortage of rocking out to be found.
Last Giant have created a modern rock and roll triumph. While many people depend on earlier decades of music to get their rock fix, they have made it clear that the current decade has more than enough to offer.
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.
Finding the perfect song to play while driving with the windows down and music loud is an enthralling experience that can be found immediately after pressing play on rock trio Lone Kodiak’s new song, “PDX ‘97”. The band was formed in East Los Angeles, but met in Portland, Oregon, which is where this story takes place.
A true story, “PDX ‘97” takes the listener on a stirring journey through the streets of Portland alongside teenage runaways. It would be hard not to picture oneself as one of the characters in the song. Lovestruck and adventurous, the teenagers embody the very type of love that seems to only play out on film screens, except the listener doesn’t have to experience it through a screen as the song brings the story into the car, bedroom, or shower of anybody who listens.
What Lone Kodiak has done with their latest release is to take a personal story and help each listener see some version of themselves in it. While resonating with the 17-year-old high school student experiencing love for the first time, it also can resonate with the 65-year-old retiree who is reminiscing on her first love during her teenage years. Transporting people is one of the greatest things music can do, and Lone Kodiak does it well. Member Dainéal Parker explains:
I normally shy away from writing anything too personal or plainly autobiographical, but the vibe of this song just took me right back to those hot days and cold nights I spent wrapped around the finger of a girl, and our summer trying to find couches to crash on but often settling for cardboard.
They’re genre expansive, gender expansive and multi-instrumentalists. They’re LE FOMO and they’re back with their new album Swallow Me Whole. The electro thrash pop duo is releasing nine tracks that are bound to get you out of your seat and onto your feet. The driving bass lines, catchy guitar riffs and punchy vocals will give you a feeling of nostalgia, but still giving a new and fresh sound. Ess Nelson (Vocals, lyrics, synths, bass, beats, arrangement) and Kai Hofius (guitar, drums, lyrics, bass) are based in Oakland, CA.
Swallow Me Whole was recorded and mixed by Maryam Qudus at Tiny Telephone and Best House Studios and mastered by Piper Payne at Infrasonic Studios. “NOTDF (Nip on the Dance Floor)”, is one of the three singles off the album and has been gaining traction through the press and from fans. “Tiny Anchor” at the core is all about loving someone, while letting go of the fears it might bring along. The song was accompanied by an animated music video that ends with the sailor letting someone in.
Although their beats may be lively and easy to lightly listen to, if you really pay attention to the lyrics, they are very clever and full of emotion. The title track, “Swallow Me Whole”, is a prime example of this especially with the verse, “Infuse your bloodstream / infuse your heart / bathe every organ, every soft weathered scar / won’t you swallow me whole, so I can sing to your guts / fill your tenderest parts, and rub up on your heart.” In “We Were Never In Control”, there’s a great combination of elements that are reminiscent of something that you might hear in the 80s. “Heedless Velvet Moonshine Rocket” is a nice transition in the middle of the album, it is a prime example of their smooth production and arrangement. “Corkscrew Hourglass” continues this sound but with Nelson’s vocals flying high over the song. Things slow down slightly with “Parabolic Rinpoche”, but still continue with the upbeat tempo that they are known for. On a less serious topic than pain,“Spoon Revolt” is about switching up who is the big and little spoon. The album wraps up with “Hot Whiskey”, it’s a slow burn that stands out on the album. It ends how it begins, with original style. LE FOMO has created an amazing piece of art inspired by pain and healed their wounds in the process. With diversified musical influences from artists like Prince, Karen O, Devo and Janelle Monae, they have created their own unique sound. Swallow Me Whole calls on us to become our fullest, most expansive selves and to find authentic human connection in that place, together. It goes beyond just an album and is a piece of the journey for LE FOMO.
Melted Bodies released its full-length debut album, Enjoy Yourself, via Sweatband Records. The energy is high and there is a groove that flows through each song into the next, although each has its own unique style. The Los Angeles-based band creates music that goes beyond just the genre of rock, there are different elements throughout that make their sound unique. For those who might not typically listen to metal, it can be hard to differentiate from the music in the genre, but Melted Bodies stand out. Whether it is elements of traditional heavy metal, thrash metal or small hints of electronic and indie rock, the quartet will surprise you with each song.
The production across all 10 tracks is consistent and binds everything together. Starting with a crescendo into “Eat Cops”, sets the tone for all that follows. “99 Scents” raises the bar; ramping up the speed and aggression. “Phone Tumor” is less aggressive and a song I would recommend to listen to first if you aren’t familiar with metal. Similarly, “The Rat” has a chorus that has a riff reminiscent of rock bands like The Strokes, but quickly transitions back to their metal comfort zone. It is the song that I think will stick out to people and one that will call them back to listen closer to. “Ad People” comes with a clever video on YouTube that spoofs vapid Internet content spewing culture. “The Abbot Kinney Pedophiles” flows into “Helplessness” without you even realizing, with a slow tempo opposite of the typical fast-paced sound. “Meat Cleanse” is the perfect finale for the album. It is seven minutes long and encompasses each of the elements visited in each song, without being too much. With solid riffs and true consistency between songs, Melted Bodies created something bound to leave an impact. Enjoy Yourself isn’t just the title, it is a message from the band.
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.
As young Nikki O’Neill grew up in a trilingual household in Sweden, she didn’t fully realize that she was absorbing all of the diverse cultures around her until it popped up into her music. In her upcoming album World is Waiting, O’Neill and her five-piece band explore R&B, gospel, Americana, and blues in tracks led by O’Neill’s natural vocals, inviting guitar playing, and catchy, intentional songwriting. A taste of what’s to come, O’Neill’s music video for the single “You’re the Only One Who Gets Me” is a witty and untroubled depiction of an oft-misinterpreted introvert who has finally found a kindred spirit. She characterizes it by saying “This song is meant to have some sense of humor… it’s about this introspective person who’s constantly been miscast and misunderstood by others. It’s pretty exhausting to never feel comfortable around people, so when you finally meet someone who gets you and who you can be yourself with, it’s like you hit the jackpot.”
In the video, O’Neill is bathed in the white light of the beach, standing with and without her guitar on the sand, in front of walls, and on wooden steps, singing sincerely to the camera. A hint of jazz in the guitar and bass brings the blues, and O’Neill’s voice brings some country flair to the SoCal americana groove. Overall, though, the track is quite calm. The vocals and harmonies aren’t particularly loud or in-your-face, rather they are soft sounds that just diffuse delectably with each other and the other instruments. At the same time, O’Neill’s eyes, as they stare into the camera, reveal her conviction. They are so expressive and honest, you find yourself watching them more than anything else. Every aspect of the music video works well together, from the slow-motion shots and the easy rock sound to O’Neill’s passionate eyes and how they augment the meaningful lyrics. Reveals O’Neill of the track:
This song is meant to have some sense of humor… it’s about this introspective person who’s constantly been miscast and misunderstood by others. It’s pretty exhausting to never feel comfortable around people, so when you finally meet someone who gets you and who you can be yourself with, it’s like you hit the jackpot.
Whether you’re an introvert yourself or not, hearing a song about finding someone who truly gets you is always refreshing, and O’Neill captures this feeling in a peaceful yet groovy 4-minute package with visuals that calm your nerves and make you feel known.
Ever since he was a kid, Salim Nourallah has had a deep appreciation for English rock ‘n roll music. As he grew up and cultivated a career as a musician into the 90’s, he found his life intertwined with two other multi-talented individuals: Chris Holt and Paul Averitt. The trio started bands together, played on each other’s albums, and got involved in many of the same collaborative projects. The two decades of shared respect and friendship along with Nourallah’s love of English rock have culminated in a new project that celebrates a reenvisioning of old music, called A Break in the Battle. The name comes from the Pretender’s “Back on the Chain Gang”, the words fitting to Nourallah, Holt, and Averitt’s belief in music as a respite from the toil of life. Like a giant love letter to their heroes, each song is stripped back to the essentials, which are then illuminated by the guys with a loving hand. The first round of tracks came out in 2017, with classics like The Replacements’ “Kiss Me on the Bus” and The Cure’s “Boys Don’t Cry.” After a two year hiatus following the death of Nourallah’s mother, the trio is set to release the second collection of songs later this year.
Kicking things off for round two, the boys have released Nick Heyward’s “Kite.” The original features a full sound, punchy beat, and a complex web of sounds including metallic guitars, warm horns and strings, and twinkling bells. The tone Heyward’s voice vaguely reminds one of Billy Corgan’s, but instead of the patented and glorious harshness that the Smashing Pumpkins’ lead singer is known for, Heyward’s voice is pleasant and earnest. A Break in the Battle’s version maintains that humble, earnest tone in the vocals, and has the same overall spirit as the original, but it achieves this using a different instrumental blueprint. The iconic waterfall-like guitar picking remains in the intro, but in the 2020 version it’s backed by prominent acoustic guitar strumming. The track is less punchy and more dreamy, complete with gentle harmonies and dazzling combinations of metallic guitar and reverberating piano.
One of the biggest pitfalls to avoid when making a cover is trying to sound like a carbon copy of the original. Nourallah, Holt, and Averitt’s version of “Kite” successfully sidesteps this stumbling block. It carefully preserves the essence and integrity of Heyward’s song, but approaches it from a different direction. With “Kite”, we see that the boys’ imagination is just as finely tuned as it was three years ago.
While the rest of the collection will be out later this year, in the meantime there are 16 opportunities on the first collection of A Break in the Battlefor you to experience your favourite English rock tunes like it’s the first time.
Zanya is releasing a new track called, “Wake Up”, that calls people to action and to take a look into current and past problems. There is no better time than now to release a song that deals with equality and speaking up for what needs to be done. Zanya and her bandmates created another pop-rock track with a unique twist, with serious lyrics that will inspire listeners to think about the subject matter. The lyrics, “it’s not been equal / since day one / we have to speak up, to get it done,” are a reminder of the inequality people face daily and encourage you to take action.
Zanya began collaborating with bassist Patrick Reaves and guitarist Drew Carsillo shortly after moving to Los Angeles. Since then, they have continued to push each other to create music that draws on their fascinations and passions in life. Listen to “Wake Up” now and get inspired to make some changes for the better. Keep up with Zanya here.
