by ImperfectFifth | Sep 25, 2020 | albums, review
by: leigha stuiso
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.
by ImperfectFifth | Sep 21, 2020 | albums, review
by: leigha stuiso
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.
Sit back, relax and dive deep into the new album.
by ImperfectFifth | Sep 18, 2020 | albums, review
by: leigha stuiso
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.
https://sundressed.lnk.to/homeremedyrr
by ImperfectFifth | Sep 15, 2020 | premieres, videos, wolf tracks
by katy mombourquette
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.
Pre-oder World is Waiting here.
by ImperfectFifth | Sep 9, 2020 | singles, Uncategorized, wolf tracks
by: katy mombourquette
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 Battle for you to experience your favourite English rock tunes like it’s the first time.
Nourallah’s announcement of “Kite” | Nourallah jamming on twitter
by ImperfectFifth | Sep 8, 2020 | singles, wolf tracks
by leigha stuiso
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.
by ImperfectFifth | Sep 1, 2020 | singles, wolf tracks
by: katy mombourquette
Michelle Ray channels her rich musical background to produce an electrifying summer bop with her new single “Chasing Shadows.” Growing up in an extremely musical home, Ray had an opera singer manager for a grandmother and a rock band manager for a father. Infusing both classical music and rock ‘n roll into her heart, Ray began classical voice training at age 10 and later performed backing vocals on her Dad’s band’s national tours and opened for their sold-out shows in Japan. As she grew and began to think about her own sound, Ray gravitated towards soul/R&B pop music, finding inspiration in talents like Christina Aguilera, Justin Timberlake, and Bruno Mars. In the past years, she has been honing her skills singing in commercials for Maybelline, Mastercard, JCPenny, Nickelodeon and numerous others, and even found her way onto the fourth season of The Voice.
“Chasing Shadows” isn’t just any old summer anthem, it’s a paradoxical juxtaposition of the beauty of summer against the regretful longing for something that’s no longer there. Ray tells us “’Chasing Shadows’ is about thinking you can see or feel this presence everywhere you go but you can never actually hold it, it’s not tangible, so is it real or just your imagination? Instagram-filtered memories and drive-in movie fantasies melt together as we imagine a love that could save us.” From a sonic perspective, the single has a great groove, Ray’s velvety vocals, and crisp backing harmonies; all the fixins for a feel-good dance track. But her words are filled with hard realizations that add a layer of complexity, something that we often experience ourselves over the summer. It’s like a choose-your-own-adventure: you can blast it through your speakers on a hot summer night, lost in the dream-pop/nu-disco sound, letting the musical vibes ease your mind. Or, you can take a moment of reflection and confront the beautiful and wistful nature of summer. Either way, “Chasing Shadows” shows Ray’s ability to use her long-developed breadth of musical knowledge to her advantage.
by ImperfectFifth | Aug 31, 2020 | albums, review
by: katy mombourquette
It’s a long life, made up of seemingly infinitesimal moments. The Sea The Sea captures those moments when you feel incredibly alive and in the world and reimagines them as flashes of light in their new album, Stumbling Home. When time seems to stretch into prolonged chaos, The Sea The Sea keeps us grounded in the essential with their beautifully intricate brand of indie folk-pop. The New York-based duo is composed of Chuck and Mira Costa, who draw their infectious melodies from pop, but otherwise subverts expectations with their unconventional song arrangements. More than anything else, however, this free-spirited pairing are lauded for their exemplary vocal harmonies. The Costas’ exquisite vocals fit together like puzzle pieces tailor-made for the duo. Their voices are completely authentic, sounding lovely and unblemished in their own right. But while duets are a key part of The Sea The Sea’s sound, they also play with thick choral-textured harmonies and solo lines to add some variance among the tracks while still maintaining their sound.
Stumbling Home is brimming with musical imagery that is at times delicate and at other times deep and rustic. The result is glimpses of life, as seen through nature and a little bit of magic. The opening track, “Nothing Brighter” sounds like light, with the glint of sunlight on a clear day in the understated woodwind flourishes, and the glowing bass and piano as the blurry hues of a sunset. The relaxed, tranquil guitar solo sounds like it’s underwater, painting images of rays of light extending down beneath the surface. “A Thousand Years” is more concrete, sounding like the musical equivalent of camping beneath a starry sky. The rich guitar picking and embellishments are the flickers of the fire as they rise above and become stars overhead. The track embodies the deeply rooted tranquility that comes from being removed from society, as felt in the gentle thump of the drum in the stunning interlude partway through the song. Other images are abstract, such as in “Rainstorm.” While there are no explicit qualities in the track that denote a storm, as a whole, it has this somber beauty to it that echoes that of the fall of rain and thundering clouds.
In literature and art, however, one can always find magic embedded within nature. The Sea The Sea captures this magic in their songs with sparing uses of synth and electric guitar. The chorus of the emotional “Broken” sweeps up in a satisfying multi-part harmony and ends with glimmering drops of guitar plucks. Towards the end, these drops lead the song to the pleasantly haunting outro “oohs,” transforming the sound from sparkling fairy dust to mystic beings deep within the forest. “Fall Before The Climb” starts with a simple voice and guitar, but builds, first with harmony, then with a gently driven beat and dulcet electric tones that return to the shimmering stars of “A Thousand Years”, but from the perspective of outer space rather than earth. The acute line “Can we be in love with it all?” summarizes the album as a whole, mirroring the idea of the moments in life when you feel alive and in tune with the world. Uncomplicated guitar strums and the Costas’ patented vocals showcase guitar and synth sorcery in “Stumbling Home.” Bowed strings make their appearance for the first time in this track. Despite how well they fit, the strings are a bit of a surprise, giving “Stumbling Home” a bit of refinement compared to the other, more rustic tracks. Subtle but welcome changes like this find their way into many songs on Stumbling Home. “Parachute” sounds like you would expect after hearing a few songs on this album, except Chuck’s harmony is missing. Instead, Mira backs herself with echoes and a feathery multi-part harmony that sound like forest nymphs. The track also feels more intimate than the others, beginning with some room noise and ending with an ambiguous woosh sound that keeps the listener tethered to the real world. The standout track “Real Thing” realizes a slightly harder, rock sound with a bit of sharp guitar strums and stronger drum beat. Every guitar, synth melody, and percussion part contributes to the full sound, and the universally appealing chorus line “ahh, give me that real thing” has that cathartic nature to it that makes this track one to sing along to. I only wish it were longer; every time I listen to it I’m disappointed when it reaches its end. “I’ll Be Loving You” and “Foreign Country” share an understated mesmerizing quality. “I’ll Be Loving You” and its 6/8 time creates this swaying nature that’s perfect for a love song. Spirited triplet guitar figures simultaneously embrace the vocals and the listener, coaxing both to sink into serenity. “Foreign Country” has substantial guitar, but the line “Do we ever really know exactly where we are?” floats across the background like falling leaves, and the perpetual beat invites the listener to snap along, almost in a trance.
The Sea The Sea’s 2014 debut release, Love We Are We Love, received praise from NPR, American Songwriter, and No Depression. The video for their song “Waiting” sparked the interest of Buzzfeed and Pitchfork, and was included at the international TED 2015 conference. But for the duo, Stumbling Home reaches a new level of fulfillment. “It’s the work we are most proud of to date,” shares Mira. “We are proud of the way we grew the arrangements in our new creative space. Making music fills us, and we also believe that it matters in the world. Our mission statement as a band is to remind people they aren’t alone — in their pains or their joys, and everything in-between.” This shrewd sense of the world, both what it seems to be and what it is, allows Stumbling Home to be a beacon of light in an otherwise ill-lit world.
