by Kayla Hutton | Feb 21, 2018 | singles, wolf tracks
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.
Pre-Order When I think of you in a Castle available through Polyvinyl on LP, Cassette, CD or digital download and be sure to catch Post Animal on tour and as a part of The Shakey Knees Festival in Atlanta GA this May.
by Jai'Tyria Hatton | Feb 7, 2018 | 5 to 7
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.
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Keep up with Ships Have Sailed here.
by Veronica DeFeo | Jan 26, 2018 | albums, wolf tracks
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.
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by Veronica DeFeo | Jan 25, 2018 | singles, wolf tracks
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
by Meredith Schneider | Jan 16, 2018 | singles, wolf tracks
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.
by Meredith Schneider | Jan 10, 2018 | albums, wolf tracks
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.
by Meredith Schneider | Dec 18, 2017 | wolf tracks
New Jersey-based indie psych rock band Speed The Plough – comprised of John, Toni and Mike Baumgartner and Ed Seifert, joined by former STP bassist Dan Francia and drummer Ken Meyer – released their latest full length on December 8th. The album, titled …And Then, is comprised of ten tracks that dare to drag you into a soundscape that doesn’t altogether make sense in one grouping. From one track to the next, the group displays their musical prowess and keeps the listener on their toes with the variety of sounds they are able to create together.
Take “Crossing the Tizsa” for example. The lyrics are almost like a fairy tale or a beautiful children’s story, set over dark instrumentals that eventually lighten into a Renaissance-like tranquility. This makes sense, as it was found in a songbook of Hungarian folk songs. (John’s mom is the one who can be heard in the spoken word section, by the way. Props to her!) “Take Me” allows the album to take on a whole different persona, introducing itself with bass that would rival the best oughts’ pop/punk tracks. And while “Azimuth” has an unmistakable 70s vibe, perhaps driven by the keys that make up the melody, “The Bitter End” feels abrupt and intense in its disposition. By the time we reach fifth track “Marina”, we’re not sure what to expect, as Speed The Plough tends to switch up the sound on us from one track to the next. For example, “Marina” brings back that beautiful renaissance-meets-rock feel to it, almost as though it should be on an A/B Side with “Crossing the Tizsa”.
“By This River” is light as a feather, largely driven by simple and delicate piano chords. Its sound is slightly different from its predecessors as well, if not only for the fact that it is a cover originally done by Brian Eno. While we might expect “Why We Fall in Love” to be some sort of intense love ballad, it’s more of a quirky indie track with percussion that feels primal, and perhaps groups it back in that “far-off places, daring sword fights, magic spells” territory. (Guess that reference in the comments and you’ve got a new bets friend!) “The Bird Has Flown” is almost theatrical in its presence, notable for its robust piano chords and delicate guitar.
Last two tracks “Running On” and “Dark Continents” happen to have been originals from an earlier iteration of the band called The Trypes. These tracks hadn’t gotten the studio attention the band thought they needed to thrive, so these tracks happen to have a different, low-key, “vibing out” feel to them that really tends to invigorate as the last track fades out beautifully.
…And Then is available now. Keep up with Speed The Plough here.
by Meredith Schneider | Dec 13, 2017 | wolf tracks
Los Angeles-based duo Swimsuit Issue – comprised of Miles Garber and David Gagliardi – may have based their name from the fact that Garber’s initial introduction into the entertainment industry was as a relatively prominent model in the fashion world, but that’s not the initial takeaway from their art. In fact, as good looking as both guys are, their career has the ability to stand on its own based purely on their talent. It’s obvious to see why if you just listen to their debut single, a mid-tempo indie pop/rock track whose guitars give it edge while the vocals reside in more of a Kurt Cobain-meets-Sting ethereal sphere, replete with reverb.
The song itself is about addiction, the lyrics melancholic and sensitive, as one would expect. And though the duo has admitted to having a more somber tone to their music, we’re thrilled to hear what’s to come from their upcoming record.
Keep up with Swimsuit Issue here.
by Meredith Schneider | Dec 7, 2017 | 5 to 7
Just last month, Massachusetts-based indie pop/punk rock four piece Kindling released a particularly impressive and instrumentally heavy 10-track album titled Hush. Though the intro to a lot of the tracks starts in a different soundscape, eventually the meat of most of the songs hits with multiple guitars that create an almost cacophonous ambiance around the chorus of vocals. It’s quite the experience, and while we certainly suggest showing off your dance moves while enjoying the album, we also kind of hope you have access to a starry night sky, dope lawn chairs, and string lights to enjoy “Rain”.
We got the chance to catch up with vocalists/guitarists Stephen Pierce and Gretchen Williams shortly after the release of Hush.
What was the first album or song you remember ever listening to, and who introduced it to you?
Stephen Pierce: I don’t know exactly the record, but my parents were always listening to a lot of British Invasion stuff —
Yardbirds,
The Animals,
The Kinks.. My dad liked the
Stones and my mom liked
The Beatles. There’s in particular this one tape my dad had of The Yardbirds’ BBC sessions that is seared into my consciousness, right down to the hammy BBC announcer’s voice.
Gretchen Williams: When I was about seven or so, I had a camp counselor that had my troop perform the
Shangri-Las‘ “Leader of the Pack” in a talent show. Naturally, I was assigned to be part of the motorcycle gang and made a construction paper leather jacket to wear. I really loved the sound and doomed-love-story subject matter as a kid, and played my cassette of the recording a lot at home.
What is the Kindling origin story?
Gretchen: In the winter of 2014, Stephen and I formed Kindling after he asked me to contribute to a few songs he’d written. Initially, we didn’t really have a sense of where we might be headed; we just wanted to write a bunch of catchy songs quickly. Our demo was just the two of us, and we subsequently self-recorded a 7″ before recruiting others to the band.
How would you say you’ve developed your sound and your relationship with each other since your first EP?
Stephen: I think Hush is definitely bigger and more ambitious than the previous stuff, which was probably bigger than the stuff that preceded that… Each recording we’re one step closer to being a fucking prog band or something. But seriously, the more ya work at anything, I guess the more comfortable it’ll feel, and I feel pretty comfortable these days with the band, from our process to our songs to how I communicate with my bandmates – communication hasn’t always been an easy thing for me. But, like: You figure out what works best for everyone, and try to do things that way.
Gretchen: Despite a lot of the lyrical content of Hush focusing on uncertainty, I think we’ve found a little more confidence on this record. We reached for a bigger, more complex sound and integrated some new instruments (mellotron and sitar appear on a few tracks throughout the album).
What is your writing process like? Do you start with a melody, start with concept, brain dump lyrics? Take us inside it all!
Stephen: I usually sit with a guitar on the couch and just, like, watch tv and if something good appears, I’ll hit mute on the tv and record it on my phone, then revisit it at the practice space, or sometimes maybe just, like, loop it and vibe it out. Lyrics come afterwards, usually I’ll demo the instrumental stuff with Andy, our drummer, and spend a lot of time listening to the instrumentals while, like, riding my bike or something. Then Gretchen and I will work on vocal phrasing and words. Or we’ll have ideas and throw them back and forth between each other, usually what we come up with is pretty similar.
How do you imagine people listening to this album?
Gretchen: Late at night when you can’t sleep; or on a long bus trip; or walking through the woods; or just trying to get through the day — basically any time you might feel a little bit wistful and restless.
Stephen: I like the thought of Hush playing annoyingly loud while quitting yer shitty job, or something. Tell off the boss in a giant spectacle with the assistance of Hush.
Who is your favorite superhero? Substantiate your claim.
Gretchen: The only comic I ever read growing up was Archie, so I guess my favorite superhero is Jughead? He always seemed pretty impervious to the stresses of modern life in Riverdale–a trait I admire.
Stephen: Spider-Man, because he was such a loser and I find that highly relatable.
What is your favorite word?
Gretchen: Probably a toss up between “somnambulance” and “goblin.”
Stephen: Mine is “Goblinambulance”
Perfection. Anything else you’d like to add?
Stephen: Thanks so much!
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Hush is available now. Keep up with Kindling here.
