Xadi‘s “Black Rock” EP is a captivating musical journey that delves into dark ambiance, effortlessly blending catchy and chill elements. With its personal anecdotes and explorations of drug usage, Xadi weaves a tapestry of experiences that transcends racial boundaries, touching the hearts of listeners from all walks of life.
The EP’s main track, aptly titled “Black Rock,” stands out as a powerful statement that challenges preconceived notions about the relationship between music and race. The quote, “I didn’t know that music had a [sic] colour,” encapsulates the essence of this song and its overarching message. Xadi’s ability to create a sonic landscape that resonates with anyone and everyone, irrespective of their racial background, is truly remarkable.
The EP opens with a dark and haunting aura that immediately sets the tone for the introspective journey ahead. The production values are top-notch, showcasing Xadi’s skill in creating atmospheric soundscapes that immerse the listener. The combination of electronic elements, ethereal vocals, and carefully crafted beats creates a hypnotic experience that draws you in from the very first note.
One of the EP’s greatest strengths lies in its catchiness. Despite exploring deep and personal themes, Xadi manages to infuse the tracks with memorable hooks and melodies that stick with you long after the music ends. This balance between introspection and accessibility is a testament to Xadi’s artistry and ability to create music that can be enjoyed by a wide range of listeners.
“Black Rock” is also an EP filled with personal anecdotes and adventures. Xadi’s storytelling ability shines through as he shares his experiences with drug addiction, painting vivid pictures of struggle, redemption, and personal growth. The lyrics are thought-provoking and introspective, inviting listeners to reflect on their own lives and experiences.
As a black British music artist, Xadi brings a unique perspective to his music. While the EP addresses themes that are deeply rooted in his personal journey, the emotions and messages conveyed have a universal appeal. Xadi’s artistry transcends racial boundaries, touching upon shared human experiences that resonate with anyone willing to listen and empathize.
Step into the enchanting realm of Luna Aura, where cosmic melodies and electrifying beats collide. With her ethereal voice and magnetic energy, Luna defies expectations and creates a sound uniquely her own. Brace yourself for a sonic journey like no other, as Luna Aura’s latest single, “Candy Colored Daydream,” paints vivid musical landscapes that transport you to a world of vibrant imagination.
In “Candy Colored Daydream,” Luna Aura delves into a realm of self-discovery and empowerment, navigating the highs and lows of life’s journey. The lyrics “The highs, the lows, the fast, the slow. It’s plucking at my feathers, I just wanna let it go” poetically express the emotional turbulence experienced, symbolized by the metaphorical plucking of feathers, as Luna longs to release and find inner peace.
Musically, the song is a masterful fusion of genres, blending elements of pop, electronic, and alternative sounds. Luna’s innovative approach to production and arrangement infuses the track with an infectious energy, making it impossible to resist moving to the rhythm.
The song reflects Luna Aura’s quest for liberation and confidence in a world that can be overwhelming and filled with challenges. It serves as a call to embrace one’s vulnerabilities, allowing for personal growth and the pursuit of authenticity. Through “Candy Colored Daydream,” Luna Aura invites listeners to join her in letting go of burdens and embracing the freedom to be true to oneself.
Upcoming Tour Dates: 9/15 – Wallingford, CT @ The Dome at Oakdale 9/16 – Huntington, NY @ The Paramount 9/18 – North Myrtle Beach, SC @ House of Blues 9/19 – Orlando, FL @ House of Blues 9/21 – Huntsville, AL @ Mars Music Hall 9/22 – Louisville, KY @ Louder Than Life Festival 9/24 – Houston, TX @ House of Blues 9/25 – Dallas, TX @ House of Blues 9/27 – Albuquerque, NM @ Marquee Theatre 10/1 – San Diego, CA @ House of Blues 10/3 – Riverside, CA @ Riverside Municipal Auditorium 10/5 – Los Angeles, CA @ The Wiltern 10/8 – Sacramento, CA @ Aftershock Festival
The arrival of summer comes with the need for captivating folk-pop, and Jonah Kagen is here to deliver. In two short years, singer-songwriter Jonah Kagen has skyrocketed from TikTok fame to wider acclaim, lending his characteristic jazz-inspired guitar playing and personal storytelling to his music. His new single, “The Roads”, premieres today, and is a worthy addition to any summer road trip playlist.
A hallmark of Kagen’s music is his personal hue of melancholy and nostalgia, which “The Roads” wholly leans into. The universally-relatable lyrics detail the pain of an ended relationship, accompanied by the push and pull of dynamic musical contrast. Solo acoustic guitar verses are juxtaposed by the sweeping chorus, expanded with strummed guitar, cello, and violin. Kagan declares that “These roads are changin’ me, but they all lead back to you”, in a memorable and timeless melody.
The expansive rural landscape in the accompanying music video perfectly matches the song’s folk aspects. With truly stunning cinematography, we have a bird’s-eye view of the landscape as well as close-ups with Jonah Kagen on guitar. The sky is cloudy and gray, while the lush greens of the forest burst into view. The contrasts, both visually and musically, emphasize the undercurrent of doubt and regret on the speaker’s part, mourning the loss of love.
Represented by Arista Records, Jonah Kagen has amassed nearly 2 million Spotify listeners and more than 140 million global streams since the release of his debut EP, ‘georgia got colder’. “The Roads” builds upon this journey, as he crafts music full of heart and earnest. Stream the song today on all platforms, and check out the music video on Youtube.
As Italian singer-songwriter Alice Bisi revs up for the release of her third LP, her new track “Hyperdrive” gives a taste of a new direction for the alt-pop artist. Though Bisi, or Birthh, is based in Brooklyn, her music sounds as though it originates from the fourth dimension, cleverly using synths and fast tempos to transport listeners through musical wormholes.
It’s hard to believe that the high-octane “Hyperdrive” started out as a slow ballad. When Birthh was having trouble perfecting the song to her liking, she enlisted the help of her trusted co-producer London O’Connor. After a year of tweaking in the studio, “Hyperdrive” morphed into an upbeat, euphoric depiction of Birthh’s inner world and dreams. The verses are poetic in nature, with such lyrics as “I’ll chase your face, to infinity and beyond” and “spinning round, galactic dancer”, as the speaker experiences a whirlwind romance with hopes of reciprocation from the beloved.
This track keeps the listener on its toes, constantly adding new layers and advancing the intergalactic journey through Birthh’s heart. After the verse, the chorus shifts into the titular “Hyperdrive” mode, with rhythmic variation, a denser musical texture, and an earworm of a melody. The synths, percussion, and high-pitched strings interact with the vocal samples in a bouncing vortex of musical interest. The closing portion introduces a slew of new aspects, with piano chords interrupted by vocal samples of other voices besides Birthh’s, as though it leads into another track. As of now, we can only speculate what might come next.
Birthh’s anticipated Moonlanded album is set to release on September 1 and is now available for preorder. Moonlanded is sure to be an epic ride, chronicling Birthh’s emotions around her birthplace in Italy all the way to her new home in Brooklyn. Meanwhile, stream “Hyperdrive” on all platforms and check out Birthh’s backlist of songs.
Can’t wait for Moonlanded? Give “Hyperdrive” a listen while you’re waiting!
Experience the electrifying sound of Divine Sweater, a boundary-pushing alternative rock band that captivates audiences with its distinctive style. Their latest release, “In the Comedown,” takes listeners on a journey of introspection and self-discovery through haunting melodies, powerful vocals, and a pulsating rhythm section. With a seamless blend of atmospheric textures and explosive energy, Divine Sweater’s raw emotion and thought-provoking lyrics create a musical landscape that leaves a lasting impact.
Step into a mesmerizing visual realm as Divine Sweater’s music video for “In the Comedown” transports you through a kaleidoscope of captivating imagery and evocative storytelling. It starts off with a blue girl holding a plant. She sees a button that asks if she needs help, and she presses it. Nearby, four individuals riding scooters in suits make their debut. As soon as they pass, the whole she knows crumbles into oblivion…and an ape appears. They board a submarine together and escape that world and into the ocean, signifying a journey or escape from the previous world. The transition into the ocean can symbolize the depths of the unknown or a dive into the subconscious. Overall, this sequence in the music video portrays a surreal and transformative experience, where the protagonist undergoes a significant change and embarks on a new adventure with unexpected companions.
The sea depicted in the video is described as a colorfully biodiverse environment, suggesting a sense of wonder and awe. The stunning graphics further enhance the visual experience. However, the presence of the scooter-riding individuals casts a shadow on the vibrant surroundings, enveloping them in darkness. This contrast may symbolize the intrusion of external influences or negative forces that threaten to overshadow the protagonist’s newfound adventure and exploration. It could represent the struggle to maintain positivity and overcome obstacles on the transformative journey. The juxtaposition of the beautiful sea and the encroaching darkness adds depth and complexity to the video’s narrative, highlighting the challenges and conflicts faced by the protagonist.
The girl’s weariness after a game of checkers with the ape suggests a sense of exhaustion or perhaps a realization of a temporary respite from the challenges she has faced. As the submarine emerges from the depths of the waters, they return to dry land, marking a transition back to the familiar world. However, the ape finds his family, leaving the girl alone without companionship. This turn of events highlights a sense of isolation or a loss of the bond that had been formed. In close proximity, the presence of the “Need Help?” button reappears, prompting the girl to realize that it wasn’t her who the ape was helping all along. This revelation introduces a sense of ambiguity and raises questions about the true nature of the connections and support she encountered throughout her journey.
As the girl finds herself alone after the departure of the ape and the realization that the help she sought was not meant for her, there is a sense of introspection and solitude. It reminds us that personal growth and understanding often come with unexpected twists and turns, where we may find ourselves seeking solace and connection, only to discover that our path is unique and intertwined with the experiences of others. The video’s evocative imagery and symbolic elements invite viewers to reflect on the complexities of relationships, self-discovery, and the profound impact of companionship and support. Ultimately, “In the Comedown” leaves us with a lingering sense of wonder and a reminder that our individual narratives are both interconnected and deeply personal, shaping our experiences and the meaning we derive from them.
Introducing Valley, the Canadian indie-pop sensation that has captured hearts worldwide with its infectious melodies and heartfelt lyrics. Now, they are back with their highly anticipated album Lost in Translation, a sonic journey that explores the complexities of love, self-discovery, and the universal quest for meaning. With their signature blend of shimmering synth-pop, lush harmonies, and introspective songwriting, Valley delivers an enchanting and relatable experience that transcends borders and speaks to the soul.
One of the songs in Lost in Translation — “Natrual” — comes with its own music video that delves into themes of healing and natural bonds between different souls.
The music video opens with an individual walking into some sort of a rustic, classically American bar, wearing what looks to be clean and sunflower-y but otherwise dull clothing. He doesn’t seem to belong, compared to the several groups of conversationalists and dart-throwers. Quick to change, he leaves from a changing area, donning a metallic top and unquestionably less stiff pants. And he comes back sporting top-tier energy.
It’s not so much the outfit as rocking dance moves, this man has had a real confidence boost and he’s not afraid to light up the atmosphere. Most noticeably, the lighting is sunset-ethereal-like, but the majority of the space is enveloped in shadows. Somehow, I believe that the lighting represents the divide between the beautiful light, the facade we put on for the world, versus the shadows, our own dark inner worlds.
There is a mirror, and the man is standing in front of it. He is alone when he wears his original attire, but when he wears his party outfit, others surround him, highlighting that his change comes in tandem with company. And of course, he is much happier. The cameras pan to him taking over the dance floor without a hint of his previous self. The transformation is remarkable as he moves with newfound confidence and uninhibited joy.
The pulsating beats of Valley’s Lost in Translation provide the perfect soundtrack to this moment, amplifying the euphoria and capturing the essence of the album’s theme – the power of music to transcend barriers and transform lives. As the crowd joins him, their collective energy ignites, and for that fleeting moment, they are all lost in the music, lost in the magic, and united by the universal language that Valley so effortlessly captures.
Niall Connolly has never shied away from his own artistry. In listening to his repertoire you’re unlikely to sense reluctance. Instead, the folk singer rushes headlong into his music, laying his soul bare for the world to witness. “In this house, if you wanna cry, you can cry,” he sings on his latest album, The Patience of Trees, out June 2. And with a shuddering breath, we believe him.
The Irish-born troubadour has been a steady presence in the New York City folk scene, telling his musical stories across the din of nondescript bars and Manhattan’s broad stages alike. At every Connolly gig audiences are ushered into his world of unflinching honesty and disarming resonance. Whether listening to him live or on recording, the listener is wrapped in a strange combination of isolation and warmth, a mix that leaves a profound effect: one of having been held and lonely at the same time. This is Connolly’s unique ability to transform his art into something capable of providing tangible comfort.
The album’s first single, “We Don’t Have to Talk About It”, approaches the topic of self-harm in this same manner. “I know you get tempted by the third rail late at night,” he sings, acknowledging and stripping the power away from one’s demons at the same time. The latest single, “It’s a Beautiful Life,” gives an unrelenting perspective of the struggles many of us endure and, ultimately, the love that attempts to pull us through. The song evokes the painful journey through mental health and offers a unique perspective of the collective’s ability to triumph by giving voice to our experiences.
“Out of the Light” feels like an offering at the altar of Leonard Cohen’s emotional legacy. Thoughtful and serene but also spare in its hints of loneliness as he observes “every kind of messy road that leads to love.” Similarly, “Orchids at the Supermarket” haunts like a Nick Drake ballad, making beauty out of brokenness. Yet despite the gentle presence of such ghosts, the presence of Connolly’s emotionality makes each song the kind of experience that only he can create.
The Patience of Trees is enriched by the presence of Connolly’s friends and collaborators, including Mick Flannery, Anna Tivel, E.W. Harris, Javier Mas, and Warren Malone. The arrangements of each track serve as an echo of their lyrical power, emphasizing the story at the center of each song. Expansively, the songs stretch out across the album to create a rich journey full of remarkable souls and powerful experiences. At once demanding and exquisitely comforting, The Patience of Trees takes us into our own depths and offers us solace.
“The clouds were forming question marks, like the sky was doubting me,” he sings in “A Cloud on the Summer Sun”. “I’ve got every right to be here, as much as everyone.” While his songs take us into the caverns of human struggle, likely to cause the sharp, stabbing breath of resonance as the days, weeks, years of tamping down our emotions burst to the surface, the underlying tenet of Connolly’s work is always hope. Aggressive fucking hope. No longer the lame figment to punk theology. His words and his music welcome us into a world where hope and kindness are the bravest of things. In his house, if we wanna cry, we can cry, but ultimately we will heal.
Kenzo Cregan trekked into the depths of SXSW 2023 this year, performing his signature indie rock for audiences from around the world. Though it wasn’t his first experience in ATX, he still seemed to allow the magic of the event – and the excitement around performing it – seep into his bones. If you’re looking for a quick, optimistic interview and an amazing artist to follow, this is it.
an interview with kenzo cregan
imperfect Fifth (iF): What was the first song or album that you remember hearing, and does that work of art have any influence on how you approach your music today?
Kenzo Cregan (KC): The first album I remember listening to was The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. I believe it is the pinnacle of great songwriting and production. It absolutely influences my songwriting. However, I only hope to touch the surface of that level of artistry.
iF: Tell us a little bit about what got you started in music, and how this project came to be.
KC: My musical journey began very early. My father was and still is a professional musician. He taught me how to play guitar, and the origins of rock n’ roll. My mother used to also be a singer back in the 80s, and both of them encouraged me to go after my dream. This current project was the result of a lot of trial and error. I finally realized what kind of project I want to have, and how I want to express myself musically.
iF: What did the road to SXSW look like for you, literally or figuratively?
KC: Well, this time around, there wasn’t a tour leading up to it. The bass player in my band joined me to form an acoustic duo for this run. We played 5 shows throughout the week, saw some other great bands, and made some great connections. We also got to explore the city quite a bit. We ate some good BBQ and went thrifting!
iF: Was this your first time at SXSW, or have you been to good ol’ ATX for the madness before?
KC: I had been before with a different project, and have been to Austin on tour.
iF: If you have been, do you have a favorite go-to spot for food, bevs, or people-watching?
KC: There’s this cool boot shop called Allen’s Boots that I went to before. So I had to stop by there for a quick look around.
iF: Best showcase, besides your own?
KC: The Dr. Martens Showcase was awesome! We saw this really cool punk band called “Dream Wife”. Definitely one of the best live performances I’d seen in a while!
iF: What was the most magical thing you found in Austin?
KC: Honestly, there was this Moroccan food truck we ate at on our last night. It was on Congress. Some of the best I’ve had in a while. Highly recommend!
iF: What’s your absolute favorite word right now, and why?
KC: “Love” will always be my favorite word!
iF: If you had the ability to tell the future, would you like it?
KC: Probably not. Feel like we’re heading towards some dark times, unfortunately. That’s why we need love now more than ever.
iF: What’s coming up for you that you’d like us to tell everyone about?
KC: I’m currently in the process of repackaging my music on all streaming platforms. As well as some new music in the works! Can’t wait for everyone to hear!
iF: Anything you’d like to add?
KC: Just want to say it’s always an honor and a privilege to be recognized for my music. Thank you for sending over these questions!
For those who have never been, SXSW is no walk in the park. While the conference has done its due diligence over the years making the process more easily navigable, the week still feels like sheer chaos no matter how many maps, apps, and information you have in advance. New experiences and shows crop up on random corners at all times of the day, and there are so many things to do and see and share that you truly can’t go wrong.
Ron Gallo was in Austin for their FIFTH SXSW experience this year, and we had the unique pleasure of having them take over our Instagram account for a short time that week. We also got to circle back with some questions about the 2023 SXSW experience, answered below.
an interview with ron gallo
imperfect Fifth (iF): What was the first song or album that you remember hearing, and does that work of art have any influence on how you approach your music today?
Ron Gallo (RG): The first CD I remember having in my possession as a kid was Coolio’s “Gangsters Paradise.” I’m not sure how it influences me directly now but I do gravitate towards listening to a lot of hip-hop from the era. Very nostalgic.
iF: Tell us a little bit about what got you started in music, and how this project came to be.
RG: I asked for a guitar when I was maybe 12, for no real reason. Took a few lessons, zero natural talent as a guitarist or singer. Then immediately started using it to write songs in high school when I started my first bands.
We were terrible. But I stuck with it. Then in my college years, I started my former band, which I think was when I started to figure out my voice and how to play half-decently. My “solo project” began in 2014 when I felt like my previous band was no longer in tune with where I wanted to go so I wanted to do my own thing that could perpetually evolve and grow and die with me.
Then came the first album in 2017, “HEAVY META” and that’s what started my actual touring professional music career which is still crazy to think about. Now, here I am still doing it. Not sure how.
iF: What a journey! Speaking of journeys, what did the road to SXSW look like for you, literally or figuratively?
RG: Woke up at 3:30 AM in Philadelphia on Wednesday 3/15, drove to the airport parking, took a shuttle to the terminal, went thru security, got on the plane, landed in Dallas at 9:30 AM, took another shuttle to the rental car, drove 3 hours to Austin, checked into the Airbnb, dropped off stuff, went to Waterloo Records and played our first show at 5 PM. Slept. Woke up at 5:30 AM the following morning to make pancakes for Chiara’s birthday then had to be out the door at 6:30 AM to go play live on air at KUTX at 8 AM. From there it was a relentless chain of play, pack up, go, rest, play, eat, pack up, go go go go go go go.
iF: Was this your first time at SXSW, or have you been to good ol’ ATX for the madness before?
RG: This was my 5th time!
iF: Not sure how you do it! Do you have a favorite go-to spot for food, bevs, or people-watching?
RG: Arlo’s Curbside! Amazing vegan burger. Also, love Jo’s Coffee/Tacos as well as Joann’s Fine Foods.
iF: Best showcase, besides your own?
RG: We didn’t see a single other show besides the ones we played because there was no time but I think my favorite show might have been a tie between Dr. Martens and Brooklyn Bowl/Consequence Party.
iF: So much to do, SO little time down there! What was the most magical thing you found in Austin?
RG: We found this taco truck oasis in some part of town that was off the beaten path where we had amazing food a bit of sun and warmth and a quiet moment.
iF: That sounds dope! What’s your absolute favorite word right now, and why?
RG: I like to call everyone BOSS, as a joke or by a random name that is not theirs.
iF: If you had the ability to tell the future, would you like it?
RG: I think the beauty of life is the not knowing.
iF: Insightful. And damn true! What’s coming up for you that you’d like us to tell everyone about?
RG: Just had a new album called “FOREGROUND MUSIC” come out a couple weeks ago and we are going to begin US and European touring in a couple weeks from now. Also going to be releasing our first book and a concert film we made very soon.
iF: Sounds like you’ve been busy! We absolutely can’t wait. Thank you so much for hanging out.
