by Madi Toman | Apr 17, 2020 | singles, wolf tracks
Swedish musician Carissa Shockley has recently released her newest single, “Drink to Forget”. The track features her brother Meyta as well as rapper Brenden.
Shockley’s haunting voice gracefully guides listeners through a tranquil soundscape packed with compelling melody lines and soulful harmonies. Of the new song, she says “‘Drink to Forget’ was my way of coping with the mistakes I made or when I faced disappointment in the years leading up to finding my life’s purpose with restored mental and physical health. My hope is to connect with others that relate to the authenticity in this song”. A well-placed acoustic guitar under Shockley in a calm moment following the rap verse leads listeners into the final section of the song, which features a swirling sound design navigated by the talented singer.
“Drink to Forget” is now available everywhere for your streaming enjoyment.
by Kendal Chandler | Apr 14, 2020 | albums, review
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.
by Madi Toman | Apr 10, 2020 | albums, review
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.
How Long Have I Been On Fire? is out now.
by Kendal Chandler | Apr 10, 2020 | albums, review
John Ross of Wild Pink is releasing his second album of instrumentals under the moniker Eerie Gaits. Holopaw, much like the area it was named after, is united to a traditional label. These nine instrumental tracks live somewhere genre-less, free of rules that tie them down.
The compositions can float and transition between upbeat guitar strums, bristly fingerpicking, and pensive sections of dense misty synths.
Each track on the record holds a complexity all of its own, setting it apart from each other making it seem that they themselves are untied from the album itself. “The Rainbow Trout and The Wicker Creel” is a somewhat placid indie-rock piece featuring a bobbing baseline, reverb-laden guitar leads, and pockets of synths that accompany the other instruments like beams of sunlight creeping through a window.
Ross attempts to create a place of country peace in Holopaw but will sometimes shift dramatically into foreboding gloominess. Not just in the tracks but in the flow of the album itself. Holopaw starts with “What’s Eating You”, a more upbeat indie-rock sounding track, but as your travel deeper into the record this upbeat vibe slowly starts to fade and appears in little glimmers.
by Madi Toman | Apr 9, 2020 | videos, wolf tracks
Alt-pop singer-songwriter Anna Shoemaker has just released the music video for “Someone”, the next focus track on her recently dropped album Everything is Embarrassing.
The 25-year-old artist became a SoundCloud sensation with her viral mashup of Kendrick Lamar’s “Bitch Don’t Kill My Vibe” and Chance the Rapper’s “Cocoa Butter Kisses,” which she recorded on her bedroom floor. The song now has over 869,000+ streams and caught the attention of key tastemakers. Shoemaker then signed to 5Towns Records in late 2017 when she was chosen as Steve Madden’s Emerging Artist of the Year. In September of 2018, Shoemaker released her debut EP, East Side, produced by GRAMMY- nominated producer JT Daly. While still catchy and pop, the new songs feel more vulnerable and personal than ever. She finds putting pen to paper is often the best way to process her emotions, thus creating raw and honest lyricism that will certainly define Shoemaker’s releases.
Shoemaker filmed the charming video for her new release herself on her iphone, which follows the young artist and her “Someone” through a night at their apartment. Full of wine, pizza, and face masks, it shows a budding romance through rose-colored glasses, tinted with hope and adoration for her love. The track itself is full of bright, head-bobbing synth beats and gently plucked guitar with Shoemaker’s unique voice painting it with her own style. The intimate video pairs perfectly with the equally intimate song, giving listeners and viewers a firm grasp on Shoemaker’s artistic vision, which is full of songs bursting with relatable emotional and life experiences.
The music video for “Someone” and Everything is Embarrassing is out now via BMG for your streaming consumption. Keep up with Anna Shoemaker here.
by Madi Toman | Apr 7, 2020 | perspective, show review
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.
by Kendal Chandler | Apr 6, 2020 | albums, review
Brett Newski’s fourth studio album Don’t Let the Bastards Get You Down centers around regaining control, and we only have to wait until April 17th to experience it in its entirety. At a time of high depression and anxiety because of the current global health crisis, Newski’s newest album sheds some much needed optimism.
Newski creates a call to arms against the destructive forces one may find themselves battling, which pertains to individual struggles with toxic relationships, low self-esteem, loneliness, and apathy to the global challenges we are already facing in 2020.
Newski and collaborator Spatola blend Newski’s lyricism with Spatola’s up-beat tempo and guitar-driven alternative style to create the sound of this record. Tracks like “Last Dance” lay out the challenge of trying to stay informed and engaged while trying to not consume too much that it negatively affects one’s mind. Meanwhile tracks like “Lousy T-shirt” describes the traps of social comparison in the wake of social media.
Don’t Let the Bastards Get You Down is a reminder to not let outside forces negatively affect you. Keep up with Brett Newski here.
by Madi Toman | Apr 3, 2020 | premieres, wolf tracks
Americana-rockers Nicole Boggs and the Reel are releasing their new single, “I’m Gonna Break Your Heart”, a self-aware confession from someone headed down the wrong path and only capable of reckless love. The single precedes the group’s upcoming EP, None of Your Business, a 70’s style rock n’ roll revival to be released in July of 2020.
The single features distorted bass and tight harmonies as Boggs powerfully navigates the honest track. Of the single, the front woman says, “As a songwriter, I’m always looking for a new approach to tell a story and it felt bold and empowering to tackle a subject I’ve only heard from male artists. I flipped the roles and had to get inside the heads of some dudes that screwed me over.”
A fiery guitar solo breathes additional life to the track, which retains all of the sweet grit from live performance due to the fact that it was (impressively) cut in front of a live studio audience at legendary Ocean Way studio in Nashville.
“I’m Gonna Break Your Heart” is available everywhere on April 24th and EP None of Your Business is to be released in July of 2020.
by Madi Toman | Apr 2, 2020 | singles, wolf tracks
Rising indie singer-songwriter
Zachary Knowles (I’m not hip to any knowledge of relations to Beyonce but I encourage you to form your own conspiracies) has recently released his newest offering to the world, a single entitled “Cherry Wine”, which serves as the centerpiece on his forthcoming EP,
Magnolia (Out May 2020). The Texas-bred artist has released a hypnotic new music video to accompany the single as well.
“Cherry Wine” sees Knowles gently glide across a brightly picked acoustic guitar track with his angelic and carefully placed falsetto. In similar fashion, the music video shows him floating through landscapes, first pedaling a bike and then sprinting through forests and fields, softened by the sweet and constant presence of slow motion. Knowles only stops when he reaches a tumultuous seascape.
Of the track he explains, “The meaning behind “Cherry Wine” is super personal. I wrote about what life looked like before I was dating the girl I love. Before we started dating I was crazy about her (at the age of 14 haha that’s crazy to say) but didn’t know if she felt the same. I wanted to capture what that time of my life felt like.” Tranquil and sweet like simple syrup, the delicately crafted single showcases Knowles’ ability to build a sonic haven around himself that transcends the harsh borders of the outside world.
“Cherry Wine” is out now and Magnolia will be available for your consumption in May of 2020.
