Non-binary Texas-bred rapper Ben McGibboney (who operates under the moniker of Love-Sadkid) has just released their first full-length project, entitled Growth. The young rapper just turned 18 but has already committed to pursuing their music dreams full time. A former star running back, McGibboney had garnered interest from top schools in the SEC before discovering their love for rap. At that point they made the decision to quit football to commit to chasing their new dream.
Love-Sadkid has been steadily releasing new music and EPs, building a strong online fanbase and racking up over half a million monthly listeners on Spotify. Despite their young age, Love-Sadkid has quite a bit under their belt already; they’ve released two EP collabs with Dahm and have a tour as an opener for Hobo Johnson under their belt. Growth displays the young artist’s knack for combining old school rap aesthetics with the modern problems and world outlook of a reluctant member of Gen Z.
Album opener Ta/Pe kicks things off and sees Love-Sadkid rapping with an admirable level of sincerity over a soft piano track before moving into the lo-fi like production style that the young artist seems to have an ear for.
Habits leans and rocks into R&B territory with a vibey hook, complete with a thickly-textured chorus of voices. Love-Sadkid’s knack for production continues to shine through, a myriad of colorful sounds adorning this (and every other) track.
The title track picks up the pace alongside cool toned beats and tinny effects. Sadkid raises intensity here, letting his speed and lyricism show through. Here they prove their versatility through their clear ability to make more traditional rap along their (very well done) vibey and sunshiny tracks.
The young rapper shows off a lot of range and colors on his first full-length which will surely continue to expand. Full of potential and talent, Love-Sadkid seems to have a bright future ahead of him.
Growth is now available everywhere for your streaming enjoyment.
Portland metal rockers Gaytheist have just returned with the release of their 5th album, How Long Have I Been on Fire?, set to release April 10th via Hex Records. The record is the band’s first on the label as well as their first release in 3 years. Following several years of living on opposite ends of the country, the band reassembled in Vancouver, Washington and delved into a writing frenzy to create their newest body of work. The record blends metal, punk, hardcore and noise rock with a good sense of humor, proving that you can still make good metal music without having to take it so damn serious.
The band impressively recorded the entire album in one summer weekend in 2019 under previous collaborator and master engineer Stephen Hawkes, resulting in thirteen songs of “KABOOM rock, depression anthems, and various attempts at communication”, according to a statement. Full of feedback, rhythm and speed, it is an amalgamation of punk, hardcore, metal, and wild rock.
Gaytheist had planned to play a handful of Pacific Northwest shows around the release date this month, but these have now been cancelled. They were to be followed by more extensive North American dates in summer, but, due to the current situation, these dates are also up-in-the-air.
Lead single “The Dark Deep” is full of wild and untameable riffs and a wailing vocal delivery from frontman and namesake Jason Rivera, the band’s OG gay atheist. The song kicks off with a bang and doesn’t stop moving from there, only picking up the momentum that continues on and relentlessly propels the record forward.
If the name “Hornswoggled” wasn’t good enough in itself, the content continues to hold up its end of the bargain. Heavy drums and aggressive guitar rage along with a clunky bass line while the lyrics take on those who are easily confused and don’t always operate with their best interests in mind: the easily tricked, bamboozled, and, of course, hornswoggled.
“hashbrownsblessed” is in keeping with that keen sense of humor we mentioned. This firecracker of a track is laden with big riffs and no bullshit packed into less than a minute and a half, consistent with the type of energy only a band named Gaytheist could pull off. And to those not down for it? We’re breaking up with you. It’s not you, it’s me.
Andrew Hozier-Byrne, better known across the globe simply as Hozier, has been an active participant in the live-stream concert trend that is sweeping the globe. The music industry enigma’s most recent endeavor took place on Friday via Billboard Live’s facebook page in an effort to raise money for the Downtown Women’s Center in LA, which focuses on serving and empowering women experiencing homelessness and formerly homeless women. While in his previous livestreams Hozier has been accompanied by bandmate Alex Ryan, he buckled down in his bedroom by himself for this one due to intensification of the lockdown, joined only by his acoustic guitar. After talking a little about the Women’s Center, Hozier jumped into material from his massively successful 2014 self-titled debut, which birthed chart-toppers like “Take Me to Church” and launched him into wide-spread fame.
The Irish musician started off with an acoustic rendition of “To Be Alone”, a bluesy rock number off of his first album. Even without the driving electric guitar and hard-hitting percussion of the original track, Hozier kept all of his power with his soulful vocals and guitar-playing. He then invited fans to send in requests, humbly stating that he could “try and God knows that’s the best I can do” (Yeah, okay Hozier *insert eye-roll here*) before moving into a soft-spoken version of fan-favorite “From Eden”. The beautiful number was accompanied by bright slide-guitar and whispered falsetto brushed across the tops of the airy track’s high notes. “Cool.” Hozier breezily said before diving into some questions from the stream’s viewers.
“What are you some of the ways you’ve been keeping busy during these times?” He read aloud from the comments and questions streaming in at real time. Hozier took the moment to speak of the effect that the pandemic has had on the live event industry and of his own plans for the year. “I’m very very fortunate that I didn’t have touring plans this year. So a lot of musicians and in particular independent musicians, freelancers, anybody involved in event management or gigging….” He trailed off in thought before coming back, restating “I’ve been very very fortunate”. Hozier shared that his plans have not been heavily affected by the pandemic, a fact not all that surprising for a man who’s infamous among fans for backing out of the spotlight for years at a time when he’s not touring to work on his music without the constant pressure typically forced on artists by labels and the public. He did share what he’s been up to though: reading, writing, and walking “at safe distances from other people”.
Hozier spoke a little more about the Women’s Center and encouraged viewers to donate if they could before cutting off his own thoughts. “And- Yeah. What are we doing? I suppose I’ll sing a song” he said with a grin. “That’s what I do”. He spoke on as he tweaked his guitar. “Today was a sad day, sadder than normal. Bill Withers passed away, who I’m sure you’re familiar with, and it’s an absolute tragedy”. He then spoke of Withers influence on him personally before paying tribute to him with a haunting cover of “Ain’t No Sunshine”, one of Withers’ classics. Not surprisingly, he did the soulful track justice, effortlessly building the intensity with his impassioned playing and singing before pulling back to let the last section breathe. “Isn’t that a beautiful song?” He mused.
Hozier followed the heartfelt cover with “Cherry Wine”, one of the most beautiful and patient songs from his debut. Seeing that the album version is a live recording with just acoustic guitar as well, his livestream edition sounded eerily similar and was charged with nostalgia for longtime fans. The world stood still for a couple moments as the musician’s remarkable ability to make everything feel alright washed over like a wave of cool and calm, serving as a personal reminder that if Hozier told me to jump into a volcano he’d probably ask in such a way that I’d not only oblige but think it was a fantastic idea. Remarkable.
There seems to be a tendency among musicians who had a giant breakout hit like Hozier did with “Take Me to Church” to avoid playing these hits when they don’t have to, so I was a bit surprised when he busted out the song that launched him into mainstream popularity back in 2014 to close the set. But Hozier, ever a man of the people (even if he hides from them in the woods for years at a time) brought back the hit for his last song of the night.
“I have not played this song on guitar for um, many moon now, for years I would say”. Hozier teased with a coy smile as he tuned his guitar. “There was a time when I’d play it 3 times a day. So hopefully that will sustain in this first time I’ve played it in years”. Hozier thanked his viewers and Billboard before reminding everyone to donate to the Women’s center one final time.
Not shockingly, he followed that intro with a perfect rendition of the dark and soulful tune, reminding everyone of why we fell in love with his music in the first place.
“Or something to that effect” Hozier said before signing off and returning to his preferred state of anonymity, presumably “In the Woods Somewhere” (Hah, Hozier puns) where he belongs.
“And wash them hands,” Hozier said as he waved his way off the air. Your wish is my command, Hozier.
Chicago singer-songwriter Anna Holmquist formed Ester back in 2017 with the help of friends and collaborators, and now they’re about to release their first full-band LP, Turn Around. The record is a meditation both on major life changes and looking back at the past to help you understand your own growth, and Holmquist, possessing a rare vein of talent in both songwriting and singing, expertly guides their band through this task.
Most of the songs were written within the 6 month window around the beginning of Holmquist’s Saturn Return, which is psychologically viewed as the time that one reaches full adulthood and is faced (often for the first time) with adult challenges and responsibilities. The album’s exploration of adulthood is vulnerable and introspective, presenting a lot of moments for personal reflection.
Turn Around pieces together folk and rock elements around the centerpiece of the album: Holmquist’s honest and confessional lyricism and sensitive and emotional vocals. The songs are well-crafted, with the words written just as artful and important as the music.
“Little Shadow” is draped in haunting strings and gently plucked guitar. The ominous track builds to great heights with Holmquist’s quivering voice pulling mysterious melodies across the night sky.
“Holy Daze” feels like a float down a lazy river, with warm, slow bass coating the track in thick golden honey. Holmquist shows off her control and flexibility, easily flipping into their head voice before landing skillfully back with both feet on the ground. They sprinkle themself over the calm and breezy instrumentation like a colorful candy coating before tapping into their stock of emotionally-charged vocals, the intensity of their feeling evident to even the most casual listener.
“John’s Car” starts off sounding like a simple yet ominous indie-pop track, but Holmquist stuns, expertly building the song’s intensity with precise and attentive skill before it naturally peaks in a cathartic explosion of emotion. Holmquist is not only a powerhouse, but one who is smart enough to form important moments by holding back just the right amount before laying all of her cards on the table and damn, it’s a good hand.
“Thirsty” is reminiscent of a modern Fleetwood Mac while tracks like “When You Wake” channel the power and authority of Florence Welch. “Wildflower” is a breath of fresh air, providing even the most stressed out soul with a breath of fresh country air.
Husband and wife duo The Grahams delve into new territory for their third album, Kids Like Us, trading traditional Americana for neon-colored indie-rock experimentation.
“Fuck the genre labels people want to put on us. We never felt they fit us anyway.” These are the bold words of Alyssa Graham, who makes up ½ of the duo, the other half completed by her long-time romantic, life, and musical partner Doug Graham. Every release the two have had began with an adventure that expanded their musical horizons, and their third effort is no exception. “Perhaps we started writing this album with a sense of escapism,” says Alyssa. And that escapism is palpable within the record, with the two managing to actually capture that taste and inject it into their music.
Running the rivers of balmy and graceful dream pop, 50’s mod influenced garage-rock energy, 60’s and 70’s style groovy guitars, and an explosive Morricone-esque cinematic intrigue, the couple bravely explores new sounds, proving their versatility and personal creative freedom runs deep. “We wanted to just let go and explore, and it made all the difference,” says Doug Graham. “For the first time, there was no self-doubt, no self-loathing – just gratitude, bliss, and a complete sense of satisfaction in the process and the results.”
The Grahams took off on a motorcycle journey along Route 66 to garner inspiration, witnessing life frozen in time along the historic highway. The music that resulted contained moments of fantasy, horror, and even the supernatural, beguiling their experience into the album.
Kids Like Us was the final project of Richard Swift, producer and former member of The Shins before his death in 2018 and was then taken over by co-producer Dan Molad. Their influence helped to enable The Grahams to channel all of their chaotic stimulus into something big, lush, ambitious, and profoundly satisfying.
The album’s 11 tracks were born from motel-room whispers and roadside musings as well as studio experimentation. “We started in Chicago with the blues and Motown,” Doug says of their journey, “and we ended in L.A. listening to the Beach Boys. And all of it found its way into the record.”
“Don’t Give Your Heart Away” perfectly captures the feeling of cross-country cruising along a desolate highway. A twangy and peaceful pop number that both soothes and quietly thunders, it fills in a broad soundscape of wide open spaces with its chilling echoes. Alyssa glides over the dreamy notes in a quiet storm of hypnosis while the instrumentation behind her pulls listeners in with a siren call of the desert.
“Kids Like Us” is more concentrated. The number is painted with darker colors, echoing across a nighttime scene with brassy sounds and a heightened intensity brought to the table. There is urgency within the Grahams as they take a modernized Antonioni feel in new directions for this one.
“Searching The Milky Way” draws heavy influence from the 50s, with shiny keys and sickly sweet “shalalas” moon-lighting the way through the track, which drips starlight that tastes of a million years ago. It feels both cool-toned and warm and fuzzy, and is sure to transport listeners to another place in time.
The record was also influenced inevitably by the surreal 2016 election, with Kids Like Us evokes the modern American condition in remarkably empathetic ways. “We’ve definitely written a very political record,” Doug says. “These aren’t protest songs, but some of them are certainly a reaction to the big pile of shit America has stepped in, and our personal fear for the future”.
This melting pot of influences manages to blend together to make a deliciously flexible and versatile album. It never feels stagnant or stuck in one place, and pulls a lot of unexpectedly beautiful feelings from places both light and dark to create a shimmering piece of work. Freedom bleeds onto every track and colors each one in a different light within the same shadows, leaving behind a record that manages to be both eclectic and cohesive.
Kids Like Us is available everywhere on March 27th. Keep up with The Grahams here.
Alt group Charming Liars have followed up their recent success with the release of new track, ‘Blame”. Charming Liars’ journey began in the west-end London music scene, with guitarist Karnig Manoukian and bassist Mike Kruger writing and playing together in a series of bands in their teen years (these boys go way back) before moving to LA where they connected with vocalist Kiliyan Maguire to solidify the band’s lineup.
The group kept busy in 2019, releasing their debut album Thought, Flesh, and Bone, a follow up acoustic EP, Bare Bones, and (as if that wasn’t enough) a live collection called Live 2019. To top things off, Charming Liars also did a headline run on the West Coast, toured Europe with The Faim, did a U.S. run in support of Angels and Airwaves, and were on a UK and European tour with Palaye Royale before it got cut short due to COVID-19.
Of the song, the band says “Blame’ is an explosive anthem asking for one more shot at love from your last late night call. What happens when the lights fade and the drinks dry up? When your memory starts to dive deep into the wreckage of lovers past? Blame.”
Explosive indeed, the new track combines electrically-charged beats with Maguire’s effortlessly cool and stylish vocals, skyrocketing the tune into the alt-pop atmosphere. It’s an anthemic love song that begs for forgiveness and another shot, but the instrumentation and delivery softens the hard corners of the serious subject matter, keeping the track feeling light as a feather and full of hope.
“Blame” is out on all streaming platforms now and the cancelled European dates in support of Palaye Royale have now been rescheduled for August and September this year.
RESCHEDULED EUROPEAN TOUR W/ PALAYE ROYALE AUGUST
19th – Circolo Magnolia, Milan IT
24th –Technikum, Berlin DE
26th – Plaza, Zurich CH
27th – A38, Budapest HU
28th – Lucerna Music Bar, Prague CZ
31st – Razzmatazz, Barcelona ES
SEPTEMBER
1st – Sala Cool, Madrid ES
3rd – Akakao, St. Petersburg RU
4th – The 1930, Moscow RU
6th – Bel Etage Event Club, Kiev UA
On March 12th, DED, the four-piece nu-metal powerhouse from Phoenix, AZ,released a 2-track mini EP titled Mannequin Eyes – and it’s worth screaming about. Not one to be missed, this heart-pounding release is features radio hit “A MANNEQUIN IDOL (Lullaby)” as well as premiere single “Eyes Sewn Shut”.
The elements present in Mannequin Eyes represent the best of DED’s idiosyncrasies, including riffs that move at the speed of light, haunting vocals that invoke the fear of God, and messages that scorn the replicated and mundane. But with track “A MANNEQUIN IDOL (Lullaby)”, DED manages to weave aspects of three distinct genres into one robust arrangement, not unlike multiple personas battling over the mouthpiece in conveying DED’s distaste. Bearing themes of disgust for the conveyor-belt machine of the modern music industry and all things ingenuine, vocalist Joe Cotela leads the wind-tunnel dynamic of this thrashing headbanger by employing a refreshing variation vocal styles that push the affect of the track over the listener’s head and through the roof. Through verses of this track, the transitions between intense, horrifying whispers to screams representative of classic “metal” reveals DED’s talent within their wheelhouse – But Cotela’s switch to a resounding pop-format chorus marked by vocals more reminiscent of modern alternative rock display the band’s versatility in managing a tidal wave of emotion as it pulls back and forth, over and over.
“Eyes Sewn Shut” is closer to a standard nu-metal/metalcore screamer, with lyrics like “I won’t be silenced, don’t make me violent / You get what you deserve”. This track continues DED’s message of rejecting the reality forced upon the many by the few, and like “A MANNEQUIN IDOL (Lullaby)”, features a chorus that has leanings toward modern alternative rock laced between its slamming accompaniments from guitarist David Ludlow, bassist Kyle Koelsch, and drummer Matt Reinhard.
Mannequin Eyes is DED’s first release since 2017 breakout album MIS-AN-THROPE, which pushed the ceiling with a sky-high stream count from the moment of its inception. Prior to the album’s debut, the group released three singles in anticipation: See “FMFY”, “Anti-Everything”, and “Dead to Me”.
DED is set to release another full length album in 2020. Starting March 24, the group will tour with In This Moment, Black Veil Brides and Raven.
Former singer/songwriter of Austin’s Black Forest Fire, Jay Tonne, has a new indie project, aptly named Tonne. Tonne has just released his new single “Catalina” from his upcoming four song EP, Bridey Murphy.
Post Black Forest Fire, Jay moved to Denver and pursued an education, and despite having little free time and no band, continued to make music. When he attempted to write new material he kept coming back to the sounds and melodies that became the EP. He recorded the four-song work at Fort Collins’ own The Blasting Room studio and worked with producer Jason Livermore. He recruited new bandmates and their first show as Bridey Murphy will correspond to the release of the EP this spring.
The song’s sound is a blast from the past, giving off strong 90’s indie rock vibes. The melodic track is poppy in that somber way that was characteristic of the time. Tonne’s vocals are light and sweet but with an underlying layer of attitude and earnestness that provides a nice contrast to the guitar-driven instrumentals.
“Catalina” is out everywhere now and Bridey Murphy is set to release this spring.
Four-piece indie rock outfit The Districts have just released their new album, You Know I’m Not Going Anywhere, the album that almost never happened.
After nearly 200 shows and two years of touring in support of their 2017 effort, Popular Manipulations, the band found themselves both professionally and personally exhausted. And, with the shadow of needing to create a new album looming over them, the Districts started questioning everything.
In a press release, front man Rob Grote said “It felt like much of my world had reached such a pitch that all I could do was try to tune it out. I felt really uncertain about the future of the band and super detached from much of what I used to identify with, on a personal level and with our music. I was thinking, ‘Do I want to keep doing music?’ ‘Do I want to keep doing it in this context?”. So Grote did what any musician having an existential crisis would do; he holed himself up in his bedroom and began writing, not necessarily for The Districts, but to get excited about creating again. It was here that he found the space and freedom he needed to be creative again. He ended up with a batch of 32 songs, and while he never intended them for The Districts, when he finally showed them to the band, they loved them. Those 32 were cut to 11, and thus You Know I’m Not Going Anywhere was born.
Album opener “”My Only Ghost” is an ode to secrets and memories with ones we’ve lost. The synth almost overpowers the vocals, (which have a Bon Iver kind of feel) but it works, giving the track a lo-fi feel. Between this, echo-y clapping, and thickly layered shout-y vocals, the song feels almost like chilling cult-like chant.
“Hey Jo” is the lead single from the album and the definite standout. A circus of sound, this piece is thickly textured, but the song is incredibly well put together. Credit to producer Dave Fridmann is owed here, whose mix expertly layered the many elements into a cohesive whole. This track floats on plucked guitars and airy vocals before kicking into a fiery chorus with Grote repeating “Fuck my head.”
“Cheap Regrets”, is an electrifying disco number on the surface, but the lyrical content dives into nihilism and the shadows of consciousness that lurk in our minds. This one has all the bright and shiny qualities that we love in a dance number while letting everyone listening still feel angsty as hell. Of the song, Grote says; “This song is a criticism of the divisions that result from a self-oriented society and an attempt to transcend them, while simultaneously being an example of these very ideas. The song is the statue to the self; it is about itself.”
Upbeat and full of glittery guitar, “Velour and Velcro” is a love letter to the unknown future we’re all rocketing towards.“Changing” ebbs and flows, enjoying sweet, quiet moments of reflection and questioning before launching into electrifying choruses. “Descend” is a deceptively chipper folksy string plucked number that deals with death and separation.
Closer “4th of July” strips it back and feels sweetly reflective. Hand picked guitar and sliding whistling ride over Grote’s breathy and thoughtful vocals. It feels like a cross-country road trip, and not just because he sings about his own to Sante Fe. It’s a nice full circle moment of peace and closure.
You Know I’m Not Going Anywhere is out everywhere on March 13th via Fat Possum.
