Erik Harris leads electronic project Memory Cult into a stratosphere of sound like any other we’ve played around with for a while. Known for being wildly experimental, his latest release — a full-length titled In Conflict — is just as entrancing and out of left field as ever, and we’re certain today’s release is going to get your mind reeling.
Lead single “Pityful” is purely and electronic lover’s dream, and the perfect way to introduce the album as a whole. It doesn’t hurt that it was released as a single at the end of February, and has been dancing around in our heads for some time. But even the peculiar sounds of that track can’t adequately prepare you for what’s to come in this 9-track experimental stunner. Second track “The Center (Crawl Home)” reaches 50 seconds before soft, high pitched vocals are even introduced. By third track “Undecide”, the dance vibes are laid on so thick that we’ve already definitely decided we’re hanging on to see where this album takes us.
Whereas its predecessor is a bit muddled, fourth track “Estranged” is very obviously inspired by sounds of the 80s and 90s, a clear and gorgeous entanglement of R&B vocals and dissonance. We continue in the same version of ambience with “RE: Rejection”, and continue to climb into more trance-like, morbid sounds with “Apathy”, which is actually more of a rock ballad than anything else.
Once we reach the title track, there is a feeling of wonder and an almost otherworldly layer to the music that brings us into a different headspace. “Devotion” is haunting in its existence, not quite the reassuring jolt we were considering needing after this Matrix-adjacent masterpiece’s release. In fact, once you reach final track “Anorexia”, there is a mentality that you might be trapped in some pretty magnetic music, which has now captivated your senses. If you don’t think of the brainwashing scene in Zoolander during this song, then I wonder where your head started and how to pull yourself out. This song leaves you in a trance itself, however intensely inspired if you open yourself up to it.
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.
Los Angeles based artist Suzy & the Lifeguard released their newest single “Take it Slow” off upcoming EP ANIMA out May 1. “Take it Slow” is a look at the dichotomy between longing for love and falling to lust. This contrast of love and lust is shown within the vocals and the musical arrangement. The vocals are sultry and flirty teasing at the dark corners of this split. The horns used in the composition bring visions of forbidden romance, something that is both infatuating and dangerous.
“Take it Slow” is composed of lyrics of seduction and regret. With words that emanate a desire for love, our hearts break. “We both we’ll take it slow / As I am taking you back home,” is soon followed by feelings of remorse, “Nobody wins when we play games.” This back and forth creates a look at that rocky line between love and lust, when it turns, and what happens because of it.
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.
Southern California singer-songwriter Pi Jacobs is set to release her newest album Two Truths and a Lie on Feb. 21. This album is one about strength, struggle, romance, and the resilience of everyday women.
Jacobs unique style combines electrified rock and rootsy Americana, created by incorporating staple bluegrass and standard rock & roll instruments. These instruments accompany Jacobs’ bluesy, unforced vocals as effortlessly as though everything came together at the same time.
Most of Jacob’s music reflects on the broad perspective of travel, Two Truths and a Lie, is an outward and inward look at women, including herself. In songs like “First Thing Tomorrow”, she rocks the blues, admitting struggling with thoughts of freedom and putting off plans to “put this bottle down, wake up and take a stand.” This is relatable, because we all struggle wanting to change the world around us, while simultaneously trying to distract ourselves from it. “Party Girl” is a vulnerable track, allowing her to admit that she — as most others — has worked hard to fit in with people in her life, perhaps not always turning to the right decisions for it.
One of our absolute favorite tracks? Eleventh and final track “Slow On Down”, because of its relaxing nature, and its clear departure from its predecessors to bring you back to a peaceful state of mind, amidst all of the heavy topics covered throughout the album. It’s almost comforting to be in the presence of this track, and that’s everything we could wish from the end of a blues album.
Check out the latest video for “Rearview Mirror” below, and take your full listen to this album this Friday!
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.
Australian artist Jamie-Lee Dimes released her latest single “Release Me”. This track wrestles with the complexity of trying to fit in as a response to discrimination. “Release Me” is a cathartic track that blends 60’s rock with dreamy melancholic folk.
Dimes also released a video to accompany the track. The music video is a tribute to the beauty of Australia’s natural life in wake of the brush fires that have burned millions of acres of land.
Dimes, a multi-instrumentalist and singer-songwriter, draws inspiration from artists like Patti Smith, PJ Harvey and Kim Gordon. Dimes writes music for the purpose of igniting conversations and change in order to provide a voice for those who may not have one. Her music style tackles the global perspective with writing fueled by wanderlust.
Dallas punk rockers CLIFFFS are big believers in the idea that perfection has ruined music. According to them, precisely triggered digital samples, autotune, and overly photoshopped album covers all attribute to the killing of the imperfections that give music character and turn it into just another product being marketed to the masses, all elements of humanity drained out of it.
CLIFFFS approaches their music a little differently.
“CLIFFFS don’t give a fuck about perfect”. Fellow Dallas musician Rhett Miller wrote. “Which is probably why, for their sophomore effort PANIC ATTACK, they went and made a perfect record”. The irony is there, but it’s not hard to see what he means.
Less is more with this project, and it pays off. The first single off of that record, “Into the Salt”, is a quick and fiery track with all of the delicious grit and raw energy that exemplifies garage rock. Their premise is simple, but their songs are explosive and their playing is tight. Short, not so sweet, and definitely to the point, one thing is for sure; CLIFFFS know how to rock.
CLIFFFS kicks off the first of three album release shows February 27th at Three Links in Dallas.
