Alt-rockers Juán Tigre have just released “THE DREAM CATCHER”, the title-track from their debut album. The group is led by guitarist, vocalist, and producer John Maestas and features Max Moran on bass, Alfred Jordan on drums, and Shea Pierre on keys. The group’s debut full-length THE DREAM CATCHER is set to release in April of this year on Maesta’s own label, Bubble Bath Records.
The track is short and sweet, clocking in at just over 2 minutes long, but the number manages to pack a lot into that time. The instrumentation is intense and fast-paced without being overpowering while Moran’s distorted vocals do their part to chill things out a bit. The bass line is particularly cool, and the drums and guitars fire off in quick but powerful hits while alien-like sound-effects and echoey backing vocals pull back the intensity and leave you feeling a little floaty. Think getting punched in the face with sound, but add trippy space vibes.
THE DREAM CATCHER is out via Bubble Bath Records April 17th, 2020.
LA duo MARNEY, comprised of Crystal Douesnard (vocals) and Thomas Moore (guitar/bass/production) have just released their debut single “Conversations”. This is the first track to be released off their upcoming debut EP Feelings, set to drop in April.
MARNEY’s musical style is one full of nostalgia that explores dark emotions. The indie duo combine modern sounds with dark undertones to create their personal style. “Conversations” examines the idea of our own perception of self, and creating a face for others. The hook “nothing wrong with my mind” perfectly frames the idea that one believes they are one way but at the same time are saying this to invalidate the negative feeling of others’ poor view of them.
Psychedelic indie project The Undercover Dream Lovers just released its debut album, It’s All in Your Head. TUDL is the brainchild of LA based artist Matt Koenig, an all around DIY badass who’s stayed true to the OG meaning of indie, navigating the industry label free throughout his career. Koenig cites his influences as everything from The Beatles to Tame Impala to Led Zeppelin and views himself and his music as a bridge between eras, a statement that I can confidently say reigns true after listening to the record.
It’s All in Your Head was recorded in Koenig’s home studio in Los Angeles, where the multi-talented Koenig handled writing, production, and mixing himself. The record is largely influenced by Koenig’s desire to create a “bustling, vibrant, and groovy” live show, which is immediately clear even via digital consumption. He is known for his quickly recognizable disco-influenced bass lines, a staple that consistently appears on this project as well as his Koenig’s older work.
The album opener, “A Way Out”, was one of the first tracks that Koenig made for the record, and is meant to serve as an initial taste for listeners to get a feel for the direction that he takes the record production-wise, which delves into new territory for Koenig. The disco rhythms that would end up influencing the rest of the album are introduced here through infectious dance floor rhythms that are a constant presence throughout the record.
One of the standouts on the record, “Plane Ride”, was largely influenced by the fatal car accident that took the lives of rock duo Her’s while Koenig was on tour with them. He took a break after the tragic event, and “Plane Ride” was the first thing he worked on after returning. The verse was written before the accident and was about Koenig feeling caught in life’s distractions. The rest of the track comes from the traumatic experience, with the ‘ride’ being a metaphor for life and the plane crash talked about in the song representative of death. Koenig kept that verse even after the meaning of the song shifted for him, allowing it to represent the ‘before’ of the accident and letting the number be symbolic for how quickly what we view as important can shift when trauma comes into play.
“Soon Enough”, co-written with Dent May, is a hopeful track sprinkled with vibrant-driven guitar riffs and a light and airy chorus. “Chardonnay” drips with groove and (fun fact) was created in a room in LA by three people named Matt. Every track on the project boasts unique differences in production, vibe, and lyrical themes while keeping to a uniform overall feeling that makes the album itself feel like a collective work of art, a refreshing element frequently missing in modern music where albums seem to be carried on the backs of singles which often feel worlds apart from the rest of the record.
While much of the album seems to exist in an intergalactic air-space, album-closer “Everyone’s Confused” feels down to earth in comparison. The groovy guitars that stand out on many of the album’s best tracks blend seamlessly with rolling rock riffs that feel as though they could be pulled straight from the 70s. “Everything is fake, and well, everyone’s confused” Koenig sings in a moment of blunt honesty.
As if we hadn’t been blessed enough this week, Munich-based pop rock quartet KYTES – expertly comprised of Michael Spieler, Kerim Öke, Timothy Lush, and Thomas Sedlacek – releases their new album Good Luck today. Eleven power-infused pop tracks, replete with punchy lyrics and accented vocals are about to put you in the best mood ever, despite some of the subject matters. Like first track “Runaway”, for example, during which we hear the protagonist either setting boundaries with a conflicted relationship, or acknowledging his runner mentality in life. Either way, we start on a highly relatable note, and that doesn’t fade as we melt into the 80s-inspired work.
“Go Out” keeps the energy going at the same pace, while the coming of “Emily” leads us into what we would prefer to identify as a quintessential ambient love song. A sense of nostalgia is established within the lyrics, leading perfectly into the highly danceable “Take Me Home”. “Want You Back” comes in with a slight disco feel, the guitar parts absolutely standout. While “Alright” doesn’t exactly convince us that he is quite alright, “Shot of Love” has a very Fine Young Cannibals’ “She Drives Me Crazy” feel to it over spans of verses.
“Like a Dream” is as sticky sweet as the title would suggest, “Fast Life” is a bit quirkier in both composition and lyrical content, and will definitely get you on your feet, while “Wheel” is the defining ballad of the album. Bonus track “Livin’ in Havana” serves as our last sounds from this euphoric release, and it puts us in such vacation mode that we are almost looking forward to our next two days off… even if that means we are midwest-bound.
Have you ever been so thrilled with the way a song makes you FEEL THE EMOTIONS that you just want to shout it from the rooftops? With dark, brooding vocals, an incredible amount of dismal attitude, and whirring guitars, The Great Dictators bring us new track “Play Dead Together”, which is sonically just as morbid as its title suggests. Past the initial impression, it is a love song at its core, and sweet in a sinister and beautiful way.
To truly understand what any of this means, of course, you have to take a listen for yourself. So check it out, and check back in with us over on Facebook with your thoughts!
22-year-old LA native Jensen McRae releases first single and announces debut project. McRae truly dives into sensitive topics in her music, such as love, race, and the adversities of being a woman. We are huge fans of her new track, and not just because it is named for this section of the site. (Wink wink!)
“Wolves” is a deep emotional track, a look at getting forced into negative encounters with men. Referring to men as wolves and dangers they can hold, and the lasting effects these encounters have.
McRae’s powerful and emotional vocals carry the song, accompanied by a steady guitar pattern. These guitar notes never change, all build up and power in this song is left to McRae’s vocals. Having just the vocals carry the track gives more weight and emotion to the lyrics themselves, with McRae giving her voice all the power can be seen a metaphorical choice as her songwriting allows her to speak for those with similar stories who may not be able to speak for themselves.
San Diego blues belter Whitney Shay will soon be releasing her new album, Stand Up!. An album for “dancing, drinking, and dreaming”, the flaming haired songstress brings old soul to the modern age with her high energy rhythm n’ blues, which is sure to have you crying over lost loves that never even happened. Yeah, she’s that good.
More and more artists are getting their start online these days, but Shay came up the old fashioned way, with word of mouth spreading her impressive reputation far and wide. While many modern artists have nothing to show for their work other than their streaming stats, Shay is a four-time winner at the San Diego Music awards, recipient of a nomination at 2019’s prestigious Blues Music Awards, and has been called a “future blues icon” by Blues Matters magazine.
The songs range from personal to socio-political in theme. “Being a strong, independent woman, raised by a single mother and grandmother, many of the songs on the album deal with themes of equality and female empowerment,” Shay says. Shay and her band are taking the album on the road for Ruf Records’ 2020 Blues Caravan showcase, and, not shockingly for someone that puts so much feeling into her work, a lot of the music is about the live performance experience. “When I perform I want people to dance and be engaged. To me, music has always been about catharsis, the purging of sad experiences. If I can make the audience leave smiling and feeling like they’ve forgotten about the trouble of their day, I’ve done my job.” Shay says.
And her opening track certainly does its job, setting both tone and theme for the album quickly and cooly. “Change With the Times” immediately lets listeners know not only that Whitney Shay is here and in charge, but also that she’s going to talk about some real shit. Shay’s studio band quickly proves that they’re just as top-notch as their vocalist, with the wailing organ on the track rivaled only by the saxophone solo. This super upbeat opener must be one of those drinking and dancing songs Shay told us all about.
“I Thought We Were Through” is a special moment on the album, with Shay’s level of control and expertise quickly becoming crystal clear here. She carries herself vocally with class as she attacks the number with impressive restraint and control, managing to paint the track with just the right amount of strength without overdoing it. This one is elegance in blues.
“Boy Sit Down” shows off a more playful side, although Shay loses none of her commanding power or grit. Her band really shows up on this one, utilizing horns, a particularly sick blues guitar solo, call and response vocal, and piano that sounds straight out of an old-time saloon to get her point across, which is all about equal rights for women.
Horn-heavy “Tell the Truth” is gritty and commanding while tracks like “Getting In My Way” showcase Shay’s more bluesy, sulty side. “P.S. It’s Not About You” somehow manages to skillfully combine a funk track with elements of rock n’ roll, intriguingly making me want to both head-bang and dance, while “Equal Ground” is tinged with country instrumentation. Shay and her band are not shy of dipping their toes in more than one musical pond, and they do it with skill and ease.
“I Never Meant to Love Him” is the real standout on the album. Shay’s rich voice navigates the deep waters of the Sam Cooke-esque tune, swimming in the depths of her range one second and soaring into the sky with angelic falsetto the next. But don’t let words like angel fool you; this woman is a powerhouse, a freight-train, a force of nature, and just about any other metaphor for strength that you could dream up. Shay’s soul doesn’t just shine through; it sparkles.
Stand Up! is out today via Ruf Records and will be played via Shay and her band in Ruf Records 2020 Blues Caravan showcase.
Amid plans for Liverpool based artist Pizzagirl to make his first visit to the states, he has broken his (incredibly brief) 3 month silence to grace our ears with new music straight outta the oven. While this may seem like no time at all for your everyday artists, in Pizzagirl years (which are clearly relative) it’s long enough to require a statement being issued about it. On his silence, he says:
“sorry for not replying to ur last message just been having my beauty sleep for a coupla months 🙂 I know it’s been a while but there’s a lil party in cape canaveral I heard about! I’d love to see you there if you’re still interested? speak soon xx”. While we can’t speak for everyone, we forgive you for your abandonment and we’re DEFINITELY interested, Pizzagirl.
Pizzagirl is bringing us his first release since his debut album, first timer, which drew influence from various musical and pop-culture references that he spent his formative artistic years absorbing. His debut successfully melded his nostalgia-inducing 80s-synth vibes with those of your modern indie artists. While it’s still early in his hopeful career, things are looking good for Pizzagirl, who is back to focusing on writing songs with his trusty guitar, Denise, and will now be joined onstage by a live band.
This newest track is a taught art-rock jam that builds into the soundtrack for an offbeat party scene. No doubt cooked up in his bedroom-pop lair, which he’s oh-so-cleverly dubbed the Beatzzeria, the new track channels David Byrne in its depiction of the subject matter, an underground fugitive character just trying to go to a party on The Space Coast (all the other indie-pop kids are going Mom!). Pizzagirl brings a variety of instrumentation to his elusive party (never before have I been so satisfied by the musical pairing of synth and cowbell) that, combined with the thickly textured chorus of shouting voices featured on the last chorus, will undoubtedly make you too want to jump around at an indie-disco.
“cape canaveral ” premieres February 19th ahead of Pizzagirl’s first stateside performance at Austin’s SXSW festival. Keep up with Pizzagirl here.
Off in the ever-so-mystical land of California, somewhere in a psychedelic desert dreamland, music legends write songs, record music, and do a shit ton of drugs.
After a 16 year hiatus, collaborative supergroup Desert Sessions returned with their sense of humor clearly still very much intact in October of last year with the release of Desert Sessions Vols. 11 and 12, a.k.a. Arrivederci Despair and Tightwads & Nitwits & Critics & Heels (Please refer to aforementioned sense of humor). If you aren’t familiar with The Desert Sessions, (although you probably should be) It’s described as a “collaborative musical effort” by founder Josh Hommes (Queens of the Stone Age) and features a variety of different musical players writing and recording on the spot at the famed Rancho De La Luna studio.
In The Desert Sessions’ newest release, a music video for “If You Run”, (directed by Rio Hackford) Hommes picks up a mysterious hitchhiking woman (Libby Grace) on a winding road in Joshua Tree. The two ride through the desert against hazy yellow scenery before arriving at Rancho De La Luna where Hommes introduces Grace to the rest of the musicians, which includes ZZ Top’s Billy Gibbons, Stella Mozgawa of Warpaint, and Les Claypool of Primus, among others. Saturated desert skies and moody artificial colors make for dreamy aesthetics throughout the video. At nightfall, Grace doses everyone and they all trip out together in the middle of the desert (Please refer to aforementioned music legends doing a shit ton of drugs in the desert) which we get to experience through some highly psychedelic visuals.
In a statement, Hackford said “The video was inspired by Josh bringing an unknown Libby Grace into the Desert Sessions arena to show her haunting magic to the world. Homme, Sweeney, and I are some of the only people who have heard Libby’s music, so the idea of them introducing her to the players and recording process lit the fuse. The song lent itself perfectly to the lonesome desert landscape and the spell that the Rancho can cast on anyone that passes through its doors.” And Libby certainly holds her own with the titans, contributing spellbinding vocals over lonesome guitars for her first major music video appearance.
Remember that sense of humor I’ve now mentioned three times? Well, in other The Desert Session news, inspired by the, in their own words, “disappointingly” frequent misspelling of the Desert Sessions, the group have launched *drumroll please* The Dessert Sessions: Feral Recipes for the Joyful Destruction of Taste Buds, a “unique collection of otherworldly recipes created and inspired by the music of the Desert Sessions!” Yes this is real, yes there’s a website, and yes the website does challenge you to post pictorial evidence that you actually attempted to make one of the recipes, (with the challenge “Prove it, punk” included as a motivator) The recipes include cheese stuffed meat rings, sardine topped doughnut cakes, avocado and sour cream gelatin plates. Now THIS is some creative marketing I can get on board with.
