Philly and NYC based indie rock and folk trio TEOA present their soul-baring offering to a departed friend today with their new single “Canyon.” Inspired by Jack Kerouac’s On The Road, TEOA stands for The End of America. The band forms their sound from a blend of three-part harmony with rock and Americana. Preparing for an upcoming year of touring, TEOA soon will grace their audiences with their powerful mix of voices and strong stage presence. If you’re interested in seeing them in action, the band has a live show on Facebook every Thursday at 8:30pm EST. In the meantime, the guys will be releasing a single every month, so be sure to keep an eye out!
Band member Brendon Thomas wrote “Canyon” for his friend and partner Amy Regan, who passed away in 2016. Thomas describes Amy as “a beautiful person with a stunning voice and wrote the songs to match it. Music was in the fiber of her being.” The pair dreamed of playing a concert at Red Rocks, an Amphitheatre near Denver. As Thomas continues to strive for this goal with TEOA, he hopes that “Canyon” can act as an invitation to her spirit to follow him so that she too can achieve her dream and “howl at the moon” with them.
The lyrics are filled with touching personal connections to Amy. Embraced by soaring harmonies, Thomas says “If you’re here, sing now.” He references one of Amy’s songs “Some Kind of Blues” in the outro as an homage to her music and all that it taught him. Born from freestyling in his car, Thomas’ lyrics are conversational, a heartfelt call to his friend. They are the focal point of the song. The music simply lifts them up so that they might be heard. The entire arrangement was built around the wistful opening guitar riff, which Thomas wanted to save for the right song. It plays its role well, for it engages the listener, but also establishes a doleful mood. When Thomas brought the song to his bandmates James Downes and Trevor Leonard, he imagined “harmonies in the chorus that could paint the sky.” Indeed, the background voices coming together sound majestic, even otherworldly.
“Canyon” is infused with a muted sadness, but the harmonies and steady tempo also make it feel wonderfully uplifting. It’s heartbreaking, resounding, and absolutely beautiful.
Alannah Kavanagh’s indie rock project Grizzly Coast has added a new feel-good indie bop to their repertoire. Inspired by her countless nights in the Toronto music scene, Kavanagh wrote “End of the Night” with the intention to mimic the energy of live music. She fondly recalls how at a show, the music is too loud for anyone to talk, and so it can quell any anxiety over what to say and just allows you to focus on the experience. Even out of the context of a live venue, “End of the Night” delivers on this front.
Kavanagh’s heavenly voice starts the track off by singing “Here we go,” backed up by hazy guitars and a slow tempo before accelerating to the actual tempo of the song. She’s taking you by the hand and leading you to the live show. The rising harmonies and the fuzzy but joyous guitars make the song feel very uplifting– you can feel your own troubles start to alleviate. It’s easy to imagine how this feeling would be amplified if it were heard live. Kavanagh’s voice is the icing on the cake. She effortlessly moves through notes and sings with a freedom that compels you not only to listen, but to be free with her.
“End of the Night” will be a part of Grizzly Coast’s EP Party of One which will be released on July 17th, 2020. The EP will highlight the human need for community and the dividends that pay from having the courage to reach out to those you care about, and who care about you.
Buckle up your rocket ship seat belts for this one. Eclectic visionaries Moviestar have released their new interstellar single “Waste of Space.” Band members Infinity Vik, The Octopus Goddess and Anaconda first revealed their eccentricity back in 2018 with their critically acclaimed debut album Stupid People / Happy Days. Now they are here to astral-project far into the future and eradicate boundaries. They are described as “intergalactic archeologists” who formed in the future to produce avant-garde music that dabbles in the genres of art-pop, indie, and sci-fi punk… to name a few.
“Waste of Space” is loud, harsh, and full of energy. The initial obstinate beat and the gritty guitar immediately grabs a hold of you and pulls you along. Each verse is static, the unrelenting pattern of drums, guitar and bass grounds you, but the energy builds like a static charge. When it reaches its peak, all this energy diffuses into a dynamic chorus that coasts through its duration. The second time around, a surprisingly dulcet melody meets you after the chorus, allowing you to fully transcend into space.
This single is only one piece of the puzzle, however. Moviestar’s new album The Curse and the Currency of the Twenty-First Century is a concept album about the state of the world in 2020, but from the perspective of the future. It confronts various issues surrounding social media, technology, the environment, and the human condition. Just like the wonder of space, Moviestar’s music is limitless. They are a ghostly presence from the future that has come to show us the extent of what’s possible. If you’re looking for something idiosyncratic, or are a fan of the Yeah Yeah Yeahs, David Bowie, The Kills, or Blood Red Shoes, this band is absolutely for you.
Be sure to check out the video for “Waste of Space” here, and listen to the rest of their earth-shattering album on Spotify and Apple Music.
Canadian singer, rapper, producer, and songwriter Keffa released his new EP Victimless Crimes on June 1st. Produced by the Multi-Platinum and GRAMMY award winners Ken Lewis and Brent Kolatalo, the EP delves into the melancholia that results from failed relationships, but in a light-hearted way. While the music is classic R&B in many ways, it also includes elements from many other genres such as indie and experimental. Keffa compares it to the controversial 1994 film Bitter Moon which featured similar themes of relationships and heartbreak in different ways.
Each track gives us a glimpse into the types of complicated, failed relationships that one can have.
“Bethlehem” stirs up emotions you may not even know you have deep down inside you. It begins atmospheric, and includes hopeful messages like “It’ll be alright, I’ll be by your side.” But halfway through the clouds clear, the line “pick up a loaded gun” cuts through, and things become more painful. “Bethlehem” exposes the listener to this pain, setting the stage for the rest of the EP.
“Rock You” tackles loneliness, the idea of being with someone only for companionship and not for true love. As Keffa says “There’s no point in loving me, ‘cause I have no empathy,” the hard-hitting bass notes and upward synth gestures in the music sound like slow, steady breaths. It’s as though the music is breathing through the pain, through the loneliness. Immediately after, we get “Twenty Four Days” in which Keffa switches gears and starts talking about how he’s in it for the long run with this girl he loves, although there seems to be a lack of trust in the relationship.
“Disconnect” is a standout track. It deviates from the other tracks as it prominently features dreamy, broken guitar chords and surprising turns of harmony. It deals with space, “disconnecting” from a stifling relationship. “Victimless Crimes” is the most unsettling song on the EP. In essence, it’s about how things that were once uncomplicated can become twisted.
Keffa ends the EP on a cheerful note, musically speaking. “Try Harder” is fun to listen to, with a catchy chorus amidst smoothly rapped verses that just glide on top of the jazzy background music. The lyrics still continue the theme, however, highlighting a one-sided relationship where one person isn’t making as much of an effort as they could.
Listening to Victimless Crimes, it’s easy to see why The Source Magazine hailed Keffa as a “Canadian mastermind” after his second EP release, and why he was featured in Respect Magazine as “Toronto’s Emerging Creative Enigma.” Keffa not only shows how it’s possible to innovate R&B music, but also shows the world what Canada has to offer in the hip-hop genre.
TheHunna released their new single “If This Is Love” ft. phem on May 29th, and a video to go along with it. This seamless blend of the alt-rock band and the genre-fluid artist phem feels like the perfect unity of a couple in love. But “If This Is Love” recognizes that love is more complicated than that. It delves into the raw, painful moments that come after an intense, genuine love dies. Made within isolation, the music video features close up shots of what is presumably lead singer Ryan Potter and phem, which evokes a sense of intimacy. The pair are doused with red and green light, perhaps pointing to the kind of inner conflict that one faces after a meaningful relationship ends. The track itself echoes this idea, beginning slow and tender with sparse but comforting music and gentle vocals. It continues to increase in intensity, however, reaching an emotional climax when Ryan sings “and now I never want to see your face.” Here the music is harsh and unbridled, just like the pain and anger that emanates from this track.
From Watford, England, lead singer and guitarist Ryan is joined by lead guitarist Daniel Dorney, drummer Jack Metcalfe, and bassist Junate Angin to form TheHunna. Ryan was a fan of phem’s before they met, but it was only by a stroke of fortune that the band happened to meet her at a party thrown by Halsey! TheHunna are thrilled for the opportunity to work with phem, and it’s certainly obvious in “If This Is Love” that the collaboration is a success. If you’re like me and find yourself empathizing with the low spirits in this track, don’t fret! TheHunna will be releasing a track from their new album I’d Rather Die Than Let You In every month up until its debut on October 2nd. These tracks will trace the entire journey of heartbreak, beginning with anger and dejection but eventually shifting to acceptance and ultimately moving on.
You can pre-order the album here.
Rising alternative pop rock group Between Kings have released their newest EP Antidote.
The title track “Antidote” is a non-judgmental observation on mental health. Currently the track is making constant play across alternative rock radio stations, it is also setting up the overall tone of the EP. With the current state of our altered lives, “Antidote” observes the way we deal with pressure of society.
The EP also features tracks “Bad for Me”, “Show Me What It’s Like to Love” and “Too Young to Give a Fuck”. The latter released with a video using fan participation as a way to bring their fanbase together to celebrate new music even during these unsettling times.
Between Kings combines the nostalgic feeling of when music could save your life and the hopeful look into music’s future. This combination makes their music feel both familiar and new at the same time.
Antidote, introduces listeners to the new musical era of Between Kings, garnering anticipation for upcoming full-length Young Love.
Sci-Fi influenced and experimental indie-rock, are just two ways to describe the music project Baron Minker, the alias for songwriter Dane Erik Frost.
Frost released a video for his most recent single “Anthem of the Rich and the Bored”, which is the only politically charged and influenced track on his upcoming album. “Anthem of the Rich and the Bored” calls out those that abuse their power, mainly those of a social elite status that look down on other classes of people.
The video is colorfully trippy, perfectly complimenting the sounds of the track. With the use of a skull that moves in time to the track, and looks as if the skull itself is the one singing these words, the video visually feels hypnotizing.
Baron Minker is a music project that carves out a balance between worlds that are savage and serene. By combining indie sheen with electric absurdity, Minker has a sound that calls back to 1970s psychedelic culture.
Los Angeles-based indie band Sincere Gifts have just released their new single, “Ghost of America”. The upbeat alt-rockers couple bright sounds and light-hearted production against dark lyricism for a fun listen that gets their serious (and important) message across.
Two lost musicians, Benben and Nick, found each other in the midst of America’s collapse. They emerged from the darkness as Sincere Gifts, conjuring love and earnest companionship. Because what is more needed in the era of rapacious capitalist greed than a sincere gift?
“Ghost of America” puts a strong focus on the current landscape in the United States in 2020. “The US is super fucked,” says vocalist Nick Byron Campbell.” In ‘Ghost of America’ the listener is taken on a short musical tour through the decline.”
At first listen, the track appears to be all sunshine and rainbows on the surface, but take a closer look (or more appropriately, listen) and hear the very real issues that the band is tackling. Sincere Gifts tackles everything from zombies to guns to riots before stripping back and ending the song with a stripped back and mesmerizing take on a section of the National Anthem. The band impressively tackles mountainous issues while making their important message fun and easy to take heed of. Keep doing what you’re doing, boys, America needs you.
With the release of their second full-length Cry All The Time, Impulsive Hearts delve into darker themes of love and loss, while keeping true to their bright and fierce style of songwriting.
The album opens with “MELODY” is a look at a relationship that fell apart where one knew it was coming and the other didn’t. This uses the idea of creating a melody of music to capture one’s love for the other, “I could build a melody, it’s in a song u would write it down all summer long, oh I would build the world you love, who you waiting on?” and the realization that person wants out of the relationship with: “you took it back what you said / … / you said forget the rest, the rest of what we said.”
The album ends with the track “some heartbreakers” a slower and slightly upbeat tempo track that encompasses the theme of Cry All The Time, love, heartbreak, and loss.
Impulsive Hearts creates music that has a touch of sadness to the world of neo-girl garage rock bands. With Danielle Sines providing captivating vocals and fuzzy guitar, Doug Hoyer (bass) and Dan Julian (drums) hold down the rhythm section bringing each track to its peak moment, and Fallon McDermott (saxophone) and Jess LeMaster (violinist) add a depth to these tracks. All parts come together to create the larger than life sound of Impulsive Hearts.
Cry All The Time comes full circle from its start to finish, with “MELODY” presenting an example of heartbreak and loss while “some heartbreakers” shows that we all have stories of heartbreak, each song on this record is a story of heartbreak.
