Last month, Brooklyn-based psych rock collective Ritual Talk – comprised of Alex DeSimine (Vocals, Guitar), Alex Tremitiere (Vocals, Bass), Tom Criblez (Vocals, Drums, Percussion), Dylan Gleit (Vocals, Guitar, Percussion), and TJ Alcala (Vocals, Keys) – released their simply beautiful debut five-track EP titled Rippled Glass. “Sense” takes advantage of its first slot on the EP, slowly layering in instrumentals after introducing smooth, harmonized vocals that implore you to “put away your phone and look me in the eye,” which provides a good jumping off point. (Because, why don’t you put away your phone to enjoy this release a bit? Unless you’re streaming it from your phone. Then keep your phone out.) It continues to crawl along, really displaying the vocal range the quintet is capable of. And while “Help, I’ve Been Dreaming” is an upbeat, almost glittering, it maintains verses that feel very 70s, with accompaniment that feels like 2000s pop rock.
“All in Blue” feels, once again, slightly more contemporary, but in a very easy-listening way. Add in the reverb-filled vocals, and you’re falling “deeper,” as the meaning of the EP’s title comes into full view, even as it “spills out of view.” “Follow You” almost makes no sense lyrically, and then you realize that the sentiment of the song is that of young love. If love is approached properly, neither of the responsible parties will end up following the other at all. Instead, it is important to meet your love interest where they are, and work together from where you are toward a life in tandem. It’s not easy, but the perspective with which this song has been written is beautiful and optimistic. “Dancing Still” rounds out the release, a more lyrically-involved track than its predecessors, layering in more of a pop sound as well. Simultaneously painting a picture of love – perhaps a twin flame type of take on things – and of the thrill of a love interest who enjoys dancing like no one is watching, the track has more than one place in your music library for its sound.
In fact, so does all of Rippled Glass. So get on it.
Indie alternative pop collective Fond of Rudy recently released their latest single “To Be Mine”, a head-boppin’ pop love song that will get you feeling upbeat and positive in no time. With instrumentals that maintain their modern flare while nodding electronic influence to the 80s, the chorus has that sound that just makes you feel free. Almost as though the instrumentals are pounding out of your chest. And the sweet as sugar lyrics don’t hurt the effect, if we’re being completely honest.
London-raised multi-instrumentalist and electro alt-pop extraordinaire Harlequiin (Rory Simmons) has set his sights on the industry with flare, releasing his Something To Believe In EP recently, a follow-up to earlier 2017’s Clock That’s Stopped. Although he’s no stranger to music – he has been both a touring and studio musician with acts like the 1975, Paolo Nutini, Labyrinth, and more – it wasn’t until Clock That’s Stopped that he was releasing music his own music on his own terms, and we’ve been impressed with his chops ever since. Beginning with the smooth sounds of the title track – which later reveals early 2000’s quirks interwoven into its sound -, Harlequiin establishes his sound as one of all-encapsulating calm teetering on the edge of a sea of frenetic energy. This energy can be found audibly in every song, most notably toward the end of second track “Dream Deep Bloodlines” and throughout the seductive lyrics and vocals in “Kloro”. Last track “Heal Me” has a mainstream pop draw to the initial beat, layering in these beautiful, off-kilter sound effects that continue in the frenetic vein as its predecessors.
Not a single track on this EP is even remotely like the one before it, and somehow Harlequiin has found a way to truly create a signature, driving sound that aims to get your hips moving.
Every. Single. Time.
Something To Believe In is out now. Keep up with Harlequiin here.
New York-based alternative pop musician/producer TRISTN recently released an acoustic recording of her well-received single “Nothing To Say (Nothin’)”, which came out as part of her ten track album January earlier this year. The album properly showcases TRISTN’s scrappy, intense persona while providing upbeat pop gold for you to latch onto and get carried away with. The new video – which was recorded simply with some percussion and an acoustic guitar – allows TRISTN to fully show off her vocal range when given a quieter situation to perform in, and, boy, does she deliver.
Experimental indie pop collective Babylawns – comprised of Ryan Egan, Davey Alaimo, Mike Phillips, Chris Tremblay, and Conor Powers – is headed out on an east coast tour this month in support of their brand new album Sorry it’s like this, with the first stop happening tonight in Providence, Rhode Island. The nine track full-length starts with heavy hitting “too big”, crashing guitars leading you into the thrashing feel of “heartbeat” before winding you down into “anxiety”, which happens at a crawling clip. The album meanders between genres, as its listener gets bits of americana, psych rock, alternative, goth pop, and more through the expert instrumentalism of a group that knows how to cohesively switch tempo at the drop of a hat, highlighting the composition of the music at the same importance as the vocals themselves. Sorry it’s like this adequately sums up a highly relatable but often inexplicable melancholic feeling in song. And it’s something you need to experience.
Tour Dates
11/3 – Providence, RI
11/4 – Philadelphia, PA
11/5 – Columbus, OH
11/6 – Ann Arbor, MI
11/7 – Harrisburg, PA
11/8 – Baltimore, MD
11/9 – New Brunswick, NJ
11/10 – Wilton, NH
11/11 – Goffstown, NH
11/30 – Brooklyn, NY
12/1 – Portland, ME
Sorry it’s like this is out now. Keep up with Babylawns here.
French jazz-pop musician Laure Z might reside in Los Angeles now, but she’s brought a wealth of knowledge over the pond from her years in music education. Right now, she’s preparing for the debut of her new EP, a 6 track work titled Girls Don’t Wait due out in November. But while things are going on behind the scenes, we’ve actually got the exclusive premiere of the next piece of that work, a song titled “I Will Follow You”. Whistling leads you into this soft, emotional release. Laure Z’s vocals seem to float effortlessly over the instrumentals, giving off the feeling that you’re in a garden, surrounded by brilliant landscape under a bed of twinkling stars. The song is a testament to love, inviting trust and acceptance into a relationship, spun blissfully together with simplistic and ethereal instrumentals.
Girls Don’t Wait is due out soon. Keep up with Laure Z here.
Alternative power-rock trio Noiseheads – comprised of Nick Gray (vocals, guitar), Greg Nicholas (drums, vocals), and Joe Gray (bass, vocals) – recently released the official music video for the second single from their album Sitcoms for Aliens, titled “Ballad of Me, Myself, and I”. The video is comprised of footage of Nick singing, made to look like flat magazine collage art. Scenes of Times Square, outer space, a cubicle, and other miscellaneous places pop up behind him, his outfits and scenarios changing throughout. It’s a fun overlay to the song itself, which is a relatively mellow track that could be enjoyed in a head banging situation or at home with a small group of friends. It follows the rest of their work quite nicely, with fun, upbeat riffs and an aggressive delivery of vocals galore.
Seattle-based shoegaze/dream pop collective Ephrata – comprised of Skadi Von Reis Crooks (guitar, vocals), Brady Hall (guitar, vocals), Jules Jones (bass, vocals), and Ben Bromage (drums, vocals) – released their self-titled 11 track album just last month. The vocal harmonies they have been honing since their conception in 2011 are buttery smooth, with almost a kaleidoscope of personalized instrumental layers that make each song feel like an entire experience. We were big fans of the release, so we thought we’d let you in on why.
“Odds” has a very “I Melt With You” feel to its initial lines – though delivered as though it were released in the 50s – bathing its listener in light, nostalgic feels right off the bat. “Tunguska” is characterized by whirring guitars, the beat setting in after a couple of lines and really kicking the energy into high gear. But the song feels upbeat and light, while the lyrics are actually quite terrifying as they repeat “Run, run, scream and cry / Run for your life.” (Comforting, we know.) “Breakers” makes us realize that we may have embedded ourselves in a deceivingly light – but innately melancholic – work, as first line “Don’t you know that things were better when they were bad?” throws us into an almost existential mindset. And while we aren’t entirely sure what it means to “die on a sea of straight faces,” “Sea Of Straight Faces” is a slow, 50’s doo-wop sounding track that mellows you out for a bit mid-album.
Fifth track “Fiend Folio” seems to play with dissonance early on, addressing perhaps the fact that your road through life is paved with temptation and intensity (“forked tongues and fangs showed me the way”). We might be misinterpreting the lyrics, though they are – as their predecessors – seemingly bittersweet in their delivery and intention. “1000 Things” begins with a grunge/surf bass guitar, exploding into a beachy track that hits Beach Boys status pretty quickly and effectively. And while “What Is Mine” is indie rock at its core – it feels as though it could have easily been included on the Juno soundtrack – “Consequence” rolls right back into some hard beachy nostalgia for us all.
“Pharaoh” is light and upbeat in delivery. In fact, deceivingly so, as they’re singing about being shot and “entombed,” though the overarching theme might just be found in the line “pot meet kettle,” something we have been examining intensely recently, especially regarding people in power. (But I digress.) “Evil Twin” is a track that really makes you think. Clearly, the person whose perspective we’re examining is in denial about a seemingly abusive relationship, as she is convinced she met her significant other’s “evil twin” because of the way he treats her. “But when he appears you’re always gone…” How sullen and beautiful, this perspective on unhealthy relationships. Ephrata ties their 11 track release together with “Sun Scenario”, keeping with the devastating, lugubrious theme by instructing “fill your head full of dread ’til you’re dead,” which – to their credit – when examined has the opposite effect. It’s as though they’re encouraging you to embark upon this dark path, hoping you might take it as a challenge and move, instead, into the light.
But however you tend to interpret the lyrics, move forward. Examine your world through the lens of Ephrata’s music and use it as a learning tool. It will come in handy.
Ephrata is available now. Keep up with the band here.
In the wake of the release of Broke Royals‘ emotion-filled video for “As Long As I Can See” – and in the direct lead up to the release of their self-titled album in November – we had a few very pointed questions for the band. Formed in 2014 shortly after graduating from the same University (William & Mary, but who’s keeping track?), Collin Cross asked Philip Basnight to record some demos at his recording studio so he could gauge interest from potential clients. But they immediately clicked with their music, and have developed into the duo we see before us today. As we prep for their upcoming folk-tinged pop/rock album, check out our brief interview – as well as their latest video – below!
What is the first song or album you ever remember hearing, and who introduced it to you?
Philip: The first song I remember hearing is Smokey Robinson’s “You’ve Really Got A Hold On Me,” which is wild because it could be the best song ever recorded. It’s almost a bad thing haha. Where do you go from there?! It’s the perfect pop song. It was on a soundtrack that my family listened to in my house on Saturday mornings while we made waffles. Later, my cousin gave me a burned copy of The Stroke’s “Room On Fire.” That was the first album I owned myself. Again, my family helped me get off to a strong start. “Room On Fire” got heavy rotation in my discman.
Colin: My family listened to music constantly growing up. In all our early family videos and pictures we’re dancing (see attached). The first specific memory I have of this was sitting in our living room with AC/DC’s Back in Black album blaring and my dad air drumming and telling me how drummers play the kick drum with their feet. The first album I remember pronouncing my favorite was Third Eye Blind’s self-titled album. Another album showed to me by my parents, but 3eb is definitely a band that has a special space in the shared Broke Royals heart having been one of the first concerts Philip and I worked together when we were on our college’s programming board.
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Philip:
^^^Colin Cross… born to rock.
Colin:
… what’d ya say, Philip?
Broke Royals – as many know now – was kind of a happy accident musical project with you two. How has your process evolved since the early days?
Philip: Honestly, it’s not wildly different from the early days but it is very refined now. Things generally start with an acoustic demo and blossom from there. The studio process has evolved the most. A lot of the time, we have a sixth sense for the what the other is thinking. Whether it’s a tone or a production trick, once one of us starts to say an idea the other can usually finish the sentence. That’s a really exciting feeling.
Colin: Definitely agree with Philip 100% here. Our producer, John Naclerio, would always rib us for not fighting.
We imagine you spend quite some time together. Any pet peeves or interesting stories you’d like to shed light on about each other? (We want all your secrets!)
Philip: I know what I would say if I was Colin! I think I was late to every recording session for an entire year. I had to take 95 South to get to the studio and never once got my timing right. I listened to so many audiobooks that year. Also, I think Ben and Caleb, who are touring members of the band, get pretty tired of our obsession with tacos and coffee. Every time we’re in a new town, we have to find the best tacos and coffee.
Colin: Philip is OBSESSED with Ezra Keonig’s Beats One show “Time Crisis.” Anytime we’re on the road we’re listening to it full blast. Benji and Caleb get tired of my and Philip’s love for podcasts and audiobooks in general. We’re a funky bunch, but we’re certainly grandpas at heart.
Ooooo… Philip also can’t hang past like 10 pm if we’re out drinking. He’ll just start falling asleep at the bar. He’s learned to just pregame with coffee, though.
Philip: All true. Not ashamed. PS it’s KOENIG*, duh. #8minuteCapeCod
Your track “As Long As I Can See” is both beautiful in displayed vocal content, but has this almost hypnotic sound to it. What was the production process like for this track, and what specifically inspired it?
Philip: Thank you! The structure came together in the demo but the production really came together in the studio. We went up to NADA studio in New York because we knew John Naclerio could handle some of the bigger elements of the record. Colin’s drum parts and the guitar riffs came through really well with John.
Colin: The production on this song was really fun. We knew we wanted it to feel really sparse yet sonically full, so we used only one guitar take that we re-amped through several different amps to get a really wide, full stereo sound. John also really helped us bring out the space in this track in a beautifully subtle way.
How do you imagine people listening to this track?
Philip: To me, this song is the closest we’ve ever gotten to a club banger. It’s got heavy rock elements but I can still see people putting it on to dance. We like blurring genre-lines.
Colin: Definitely in the middle of the blizzard sitting a wingback chair. It’s a warm jam with a cold body.
Philip: I hope one day our Wikipedia page says “Broke Royals invented Blizzard Rock.”
Your self-titled debut is in the works. How does it feel to be getting ready to release that?
Philip: It feels great! We worked on this album for a long time and that can be exhausting but every time we release a new song or video we get to see it again through new eyes. That’s really when it becomes bigger than just us. Anyone who listens to the album will bring their own experiences and interpretations to it.
Colin: I’m so excited to get this bad boy out. Some of the unreleased tracks are my favorite we’ve ever written and I can’t wait to share them with everyone.
Who is your favorite superhero, and why?
Philip: Spider-Man. Even with all the movie reboots he’s been dragged through- I still love him. I was at “Spider-Man: Homecoming” on opening night. When I was growing up (before wikipedia) I had this giant book called “The Complete Guide To Spider-Man” and I read it so many times that it fell apart. Then my parents bought me a new copy but the same thing happened again. Superheroes are irresistible for kids with big imaginations. That was definitely me. I’ll always love Spidey. Man, I sound nerdy.
Colin: Batman. The idea of a superhero who could actually exist is great. I like to think that I’m just a few thousand push-ups and several billion dollars away from being him.
Anything else you’d like to add?
Philip: Anytime I get to mention Smokey Robinson in an interview, it’s been a success.
Colin: A studio session isn’t complete without a PB&J sandwich, coffee, and huge salad.
Philip: Very true. We are pro-Salad.
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Broke Royals is out November 17th. Follow Broke Royals’ pro-Salad adventures here.
