Indie folk duo Belle of the Fall has come out with a new airy and luscious single that is blowing all of us here at Imperfect Fifth away. It features intimate harmonies and chord progressions that highlight the talent of fantastic artists Tracy Walton and Julia Autumn Ford. These two artists are able to weave together several different instrumental pieces alongside vocals that are all beautifully wound together. Lyrically, their music speaks to the public and tries to pierce the very heart of our society. Uncertainty, hardship and facing the unknown are all topics that humanity have to combat and this song, perfectly written, inspires the weary and mends the broken soul.
After having their start in the heart of Connecticut and being brought together to produce Julia’s solo album in 2014, this group has taken off and taken control of indie pop rock alternative scene. Although both of these artists wrestled with continuing as solo artists, they decided to form a duo and have since then found the success that they couldn’t have found apart. Now, more than 150 gigs later they are getting ready to release their next full-length album Rise Up on April 6. This duo is for sure headed in the right direction.
Moving to Omaha has set High Up‘s lead vocalist Christine Fink on the path of fame and has brought her closer to a dream that had previously seemed unreachable. Since the move, Fink has performed on the stages of her community and hasn’t failed to deliver an experience worth more than the price of the ticket. Her first glimpse of glory was at local karaoke bar and at Sheffield’s Old Town Tavern where her sister Orenda – also a musical prodigy – saw her bring the house down. Christine has continued to prove her knack for soul singing by rocking out at every performance. After much discussion, Fink decided to join with her sister and work on what would become her debut record, High Up. Not only would this release showcase the sisters strengths, but it would also mark the beginning of a journey for the pair.
High Up is a collaboration of not only skillful songwriting from Orenda and soulful singing from Christine, but it also features a mash-up of styles and sounds. While working on their sophomore project – You Are Here, out today – the sisters incorporated aspects of indie, punk and soul that would separate the sisters from the other new and upcoming artists. Surely, with the talent so effortlessly expressed in previously released work, the future is bright for this powerful duo.
You Are Here is out today. Keep up with High Up here.
Adding to their growing collection of produced music is up-and-coming indie/alternative rock group Lowpines with their newest single, “Parasite”. This track features dreamy synth sounds as well as hypnotizing vocals that speak truth and honesty. Like their other releases, the members of Lowpines have been able to put together a new single that will resonate with those who listen and is sure to be put on repeat. Check it out!
Amidst the release madness, we got a hot second to catch up with the artist behind it all. Those words can be found below.
Given your success among fans in the UK, do you have any intentions of reaching a bigger market or fan base in other countries?
Absolutely, it’s always fun to be invited to play in other countries, and I’m always looking to do more. I’ve played some wonderful festivals in Europe and Scandinavia and plan to do more later this year. A lot of my listeners are in the USA so we’re planning a first run dates there this summer.
While looking to expand your musical lexicon, do you ever find it difficult to create music that matches the same style palette that you have created in the past.
I think I have the opposite problem – I’m always experimenting with different sounds, styles, instruments, collaborating with different people and producing other people’s music. But as soon as I sing on something it sounds like me. Which is something I always used to find frustrating, but I’m starting to enjoy it. Someone once said to me, whatever it is you don’t like about your voice, exaggerate it – because that’s the thing that makes it you. And I can totally see that now.
Now that you have done a cover of “It’s Not Happening”, will you look to do more covers performed by other artists or is the focus to write music and lyrics that are all your own?
I did that version of ‘It’s Not Happening’ when I was just starting out as Lowpines, and I wanted to see what happened if I did a cover in the style of what I was working on. I did a few songs and only that one sat right. I was pleased with how it came out and I learned a few things about the sound I was going for. I’ve done a few other covers since, and I keep a long list of songs that I want to try. Most of them don’t sit right so I ditch them, but I always learn something from doing it. I covered Judee Sill ‘There’s A Rugged Road’ and it got picked up by the radio in the UK, and is still my most popular song on Soundcloud, so it’s interesting seeing what happens with a cover, even if it’s not an especially well known song.
Where do you see Lowpines in the near and distant future?
The new record ‘In Silver Halides’ is my first full-length with Lowpines so it’s exciting to get it out into the world and see what that does. It’s the first time I’ve taken Lowpines into a studio environment and worked with other people on the recordings. I’ve been very lucky so far that my lo-fi home-record Eps have picked up fans around the world and appeared in TV shows and films, which was beyond any expectation I had when I was recording them. Lowpines has always been a selfish place for me to do my own thing in my own way. I used to do it alongside other bands I was in and now I’m doing it full time. So long as it continues to feel like something I can do well and enjoy I imagine I’ll there’ll always be something I’m working on. Right now I’m just looking ahead to a new EP I’m finishing to follow up on the album.
Where do you find inspiration to write lyrics that have constantly been marked as honest, unique, and deep?
It’s always different places I think. I tend to write lyrics in bursts, sitting down with a million rough voice memos and writing down whatever sounds and half-words I hear in there until I think I have something. I think that way of working kind of taps into your state of mind at the time – perhaps your subconscious makes you hear what you want to hear, or need to hear. So when I start to flesh them out I start to see themes emerge and explore them further. Sometimes I realise I’m getting too close to something I haven’t really dealt with, and that can be unnerving. So I have to finish the song to see if it helps me come to any kind of conclusion. Then I have to decide if it’s any good.
I try to read as much as possible, and whatever I’m reading at the time of writing will probably influence some of the imagery. My last record was full of scenes from Raymond Carver stories as I’d imagined them while I read, but relocated to whatever narrative my song was taking. I’d been re-reading a lot of his short stories on tour so my head was full of these dark, charged situations and beautiful, nuanced imagery. So I’d try and take myself to those places while I wrote.
For this record, I actually wrote most of the lyrics very early in the morning, straight out of bed. I’d be half asleep and my brain still churning over whatever dumb shit I’d been dreaming about and start writing long streams of consciousness. Once I had the music coming together, I mined those streams to find things that fit and went together. Some, like the song ‘Chambers In The Canopy’ came out pretty much fully formed and fit straight into the song. I’ve never been good at setting out to write a song specifically ‘about’ something, I always enjoyed the discovery of figuring out the subject as I write it. So I guess that method leans toward a lot of personal experiences being woven into the words.
When your followers and fans listen to your music, what would you like them to feel? How would you like your music to influence their lives?
If someone listens to my music it’s enough for me that they’re listening. I don’t try and create a certain mood or specific influence, but it’s always interesting, and at times very moving, when people write to me and tell me how a song of mine has helped them in some way, or is of importance to them. Whatever it means to the listener is so much more valuable to me than any intention I had in making it.
If you were to associate a mood with the songs that you have produced thus far, what would it be?
It’s funny, I always played in noisy indie-rock bands. So in my mind I still do. But from the beginning Lowpines was always wilfully quiet and intimate. I tell myself I’m still in a rock band, but it’s the quietest rock band in the world.
So I guess the mood that most people associate with Lowpines would be one of quiet, stillness, calm. For some that seems to be a melancholy, reflective place. For others it’s a just a chill, relaxing music. Someone wrote to me once that their dog always jumps around to music, but that when Lowpines comes on he just lays down in the middle of the kitchen floor and won’t get up. That sounds perfect to me.
Starting out in 2014 from Chicago Illinois is the recently signed road warriors and psychedelic rockers Post Animal. No joke while checking out their Facebook page, I was scrolling and scrolling through posts that were all tour stops throughout the U.S. dating back more than a year.
Hitting the road and pounding the pavement with their signature brand of music you swore you’ve heard before dominating radio waves in the 80’s, this 5 piece has been gaining attention, entertaining the masses, and will be hitting the road yet again in support of their debut full length album, When I Think Of You In A Castle appropriately available on 4/20 through Polyvinyl Records.
“Ralphie”, the band’s first single from the album, begins with an 80’s commercial pop synth line that becomes layered with a scale familiarly reminiscent of 70’s classic rock guitar riffs. Even with its commercial appeal, the first 21 seconds are a very technical and dynamic attention-grabber.
Originally a 6 piece group, Post Animal released an EP in 2015 and a collection of singles in 2016. Given the success and demands of Stranger Things, drummer Joe Keery, “being a member since the bands’ inception”, his role is stated as being “and inactive touring member”. He does still contribute and you can hear his vocal talents on “Ralphie”.
Post Animal has indie pop rock-ish hooks in their chorus lines, specific and clear-cut bass guitar and drum contributions, meticulously classic rock constructed guitar riffs that utilize delay to ad that psychedelic significance and verb usage that should land Post Animal into the Reverb Hall of Fame.
To sum it up, get out your blender and grab an 8-track of The Byrds’, a summarized memory from Woodstock, a record from Kansas, a cassette from Gary Numan, a VHS copy of an 80’s Revlon commercial and a Police CD. Post Animal have the ingredients that make aqua net girls bop their heads and smack their gum in unison, and make the high school douchebags lift the Firebird’s T-Top, roll down the windows, crank it up and squeal tires pulling out of the parking lot.
Ships Have Sailed is an alternative pop-rock duo hailing from Los Angeles. Today, they released a new single titled “Let’s Just Dance”.Ships Have Sailed also plans on working on more music as 2018, so this is their year for creativity, a fact we found out when we got a chance to speak with them briefly. So check out the new track below, and read on for a little Q&A fun!
After releasing your new single “Let’s Just Dance” what are your next plans music-wise?
2018 is going to be a year of creativity! We’ve spent the last couple years pretty much out on the road, and so this year we’re going to be writing a lot and working in the studio…while we don’t have specific plans on whether that will result in an EP, an Album or more Singles, we do know we’re ready to make some more music.
How has your music evolved since your first EP Someday?
Well I think everything is an evolution, that’s just how life, experiences and time work together, so definitely our music has seen evolution. I would say we’ve become more attuned to our sound and creativity, and definitely my production chops get better and better every year, so while ‘Someday’ is near and dear to my heart, I would say it’s a little rough around the edges…which is great – it gives it its own character, but these days I’m much better at accomplishing exactly what I want sound-wise. With that said, I don’t like to hold us back creatively, so definitely we’re excited to continue to evolve as we continue to create!
Your new single “Let’s Just Dance” digs a little deeper when it comes to exploring human emotions. What do you think causes people to act upon their emotions rather than instincts?
That’s an interesting question…honestly I don’t think emotions and instincts are entirely separate from each other…just kinda different flavors of the same inner mechanism. But as far as leaning towards emotions or instincts, I think emotions often take the reigns because you can actually feel them, whereas instincts can be a bit more subtle, so you really have to pay attention to them.
Why do you think often times as humans we want more than what we already have?
This is something I ponder almost constantly! The honest truth is that I couldn’t dream of knowing the answer to why, but I often wonder if it started out as kind of a survival mechanism back in the very early stages of humanity. Think about it…we were not the top of the food chain, we didn’t have fire, tools, art, language, and over the course of time we developed all of those things…why? I think the progression of civilization (both the good and bad aspects) and technology can stem back to this gut feeling of wanting something ‘better’ …call it motivation or curiosity…regardless of whether this is really how or why this feeling originated, it’s a pretty fascinating topic to think about!
What was the influence behind “Let’s Just Dance” and what inspired it?
Well the idea itself just popped into my head at 2am one night and wouldn’t leave me alone until I sketched it out…it was just the main part of the chorus that kept repeating itself and wouldn’t quit, so I sketched it out really quick so I could get some peace and went to bed. The next day, I listened back and thought it was really good…but I didn’t want it just to be a shallow vapid love song, so I thought I would tie in the “Let’s just dance all night” theme into this fascinating topic of always wanting more that you asked about in your previous question. Through several collaborations including with co-writer Robert Gillies, co-producer Wally Gagel and the extremely talented team (Talkboy TV) who helped create the music video, these themes really developed themselves thoroughly, and the music morphed from something that started out to be a very circular, repetitive idea, to something that goes to all sorts of different places, sometimes unexpectedly…it was really amazing to watch it all come together!
How is “Let’s Just Dance” different from previous songs that you have released?
So, every song is different, but specifically I wanted this one to maintain the indie pop vibe that we’ve become known for, but to add a little edginess and also a bit of a classic vibe as well. People have compared the production to Walk the Moon (who I love, so that’s a huge compliment) but if you listen, you’ll hear a lot of classic influences in there as well…they’re just nicely blended, so I feel like there’s a little more depth to this track than some of our other singles.
What message do you hope people get from “Let’s Just Dance”?
Live your life…be happy, don’t be afraid to stay up a little too late, or have that extra glass of wine. Laugh with the people you love and enjoy every moment…I feel like we’re all distracted by the past and the future, regrets and anxiety and we generally don’t spend enough time in the present. It’s definitely something I personally try to do a little better at each day, month, year…and so, yeah, I think that’s the message behind this one. We’re human, imperfect, and beautiful…we were made to enjoy life moment by moment.
Kansas City, Missouri-based rock and roll indie band Listener is soon to release their full length album, Being Empty : Being Filled on February 2nd. Kansas City is home to a growing community of local indie/alternative artists, encouraged and supported by like-minded people, thanks in part to Kansas City being home to the largest revenue-making alternative radio station, 96.5 the Buzz. Thus, Listener couldn’t have a better place to call home and expand musically. However, they are by no means limited to the Midwest. Listener has been in the game for awhile, and has toured all over the world. A band of friends comprised of vocals and bass from Dan Smith, Kris Rochelle on drums, and guitar player Jon Terrey, Listener is a unique rock and roll band that pairs strong instruments with direct, bold lyrics.
From the first resonating notes of “Pent Up Genes”, you know that Listener is not a band that plays around. Already around for over a decade, the bandmates of Listener know their sound and own it unapologetically. Smith uses more spoken word than singing – what Listener calls “talk music” – in many of the tracks, which pairs well with the rock and roll tone of the band and allows for Rochelle and Terrey to sing through their instruments. While this idea of lack of singing in music may be something new for many, Listener makes it work. Focusing on the emotion and overall sound, at times, words are not even necessary, like in “Add Blue”. Aside from the clever title, already released single “Shock and Value” lives up to its name, filled with brash guitar and emotional vocals that at times surprise the listener (no pun intended). Place-themed tracks set right next to each other, “A Love Letter to Detroit” and “Manhattan Projects” encompass the feelings associated with those places. You can also view the video for “A Love Letter to Detroit” here. One of the most tender tracks on Being Empty : Being Filled is “Window to the World”, while maintaining Listener’s sound, with the simple yet touching repetition of “buddy, she was beautiful” and “the lights have to be bright to see anything at all”. Every track on Being Empty : Being Filled will leave with something to think about and hungry to hear more.
Listener is gearing up for a UK/Europe tour in March of 2018 with support from: Levi the Poet. Be sure to look for Being Empty : Being Filled, out February 2nd, 2018.
Queens-bred Jack Killen is following up his 2017 EP, Dangerous Lunch Crowd, with his upcoming EP, Black Sneakers On Concrete, out February 9. In the meantime, fans of Killen can get excited for the EP release with a taste of what’s to come. Killen has dropped his first single for Black Sneakers On Concrete, “Tired of Being Broke”.
With city vibes partnered with an approachable, relatable rock sound, “Tired of Being Broke” will have you feeling all the frustration of an angsty young adult trying to make their way in the world these days. However, “Tired of Being Broke” doesn’t limit itself to 2018 – it could easily find a place within any recent decade. Vocally, much of the appeal of the reverb-coated track is found in the tone Killen uses throughout the song.
From the classic rock sound to the relatable chorus, “I’m tired of being broke in the land of money”, Killen brings indie/alt appeal to a familiar soundscape with devil-may-care, unapologetic lyrics. “Tired of Being Broke” will have you rocking out til the rest of Black Sneakers On Concrete drops.
Keep an eye out for Killen’s upcoming EP and stream “Tired of Being Broke” today. Follow KILLEN:Facebook // Twitter // Spotify // Instagram
Oakland-based indie pop collective Felsen – expertly comprised of guitarist Dylan Brock, singer/guitarist Andrew Griffin, bassist Christian Hernandez, and drummer Art McConnell – is preparing for their fifth release, a full-length titled Blood Orange Moon set to drop on January 26th. The album – comprised of eleven insanely intricate and mesmerizing tracks – was written entirely in the fall of 2014 leading into the winter of 2015, inspired by Andrew Griffin’s experiences as an 11-year-old cancer survivor. The album has a lot of heart, but the soul of the group had already spoken for itself before this one came along, to be sure.
Our first impression? Easy-going. The tempo is slow, but purposeful. The lyrics are introspective, built into the song coated in reverb. The combination of vocals and instrumentals actually makes the listener feel as though they are floating in a nostalgic kaleidoscope, with peeks into prior decades, tickled slightly by modern references. It’s beautiful, and something you can’t exactly describe. (And that heart-melting guitar toward the end. WOW!)
“Vultures On Your Bones” is available now. Keep up with Felsen here.
Recently, Lakeland, Florida alternative musician Luke Wilmoth released a four track EP that is absolutely blissful to listen to. First track “Slow Dance” makes us feel ready for late spring nights, early summer evenings with the light glow of the sun on our shoulders as we bathe ourselves in rose colored glasses. In fact, it’s that easy-going feeling of summertime outdoors in the heat that this EP evokes for us. Which, honestly, as misplaced as that may seem in the midst of the crazy weather we’ve been having, it actually provides a soundscape escape that really adds color to those gray, dreary days that have been flooding our collective existence lately.
“San Pellegrino” feels like turn of the century indie to us, the most positive sounds to a song that has many more layers than you could realize with just one listen. “I Took Your Picture Off the Wall” resembles that same time period, and that isn’t just because of the novel-like title of the track. Light as a feather rock really keeps our hips swaying, and once again we can’t do anything but imagine ourselves singing along to this at an outdoor venue with Wilmoth himself leading us on vocals. Fourth track “Pinwheel” rounds it all out very nicely, a slight amount of additional edge to it with deeper guitar riffs and harder hitting percussion. Don’t get us wrong, the song still belongs at the ending of your next blockbuster romantic comedy, but it’s beautiful and endearing in its sound, enough to make us look forward to celebrating life and love this year.
Keep Luke Wilmoth on your radar by following him here.
