If you hadn’t heard, Thee Oh Sees are spending a massive amount of time on the road in 2023. They kick off the UK & Ireland leg of their tour this month, with Canada in June and apparently the rest of the world through September. Thank goodness, too, as we had been missing their energy, their sound perfectly executed by band members John Dwyer, Tim Hellman, Dan Rincon, Paul Quattrone, and Tomas Dolas.
Along with their live shows comes a re-examination of some of Thee Oh Sees’ former work. In 2012, the band performed at Emo’s East in Austin, marking their first appearance at Austin Psych Fest. This particular show is included in new vinyl releases titled Live at LEVITATION. Mixed by John Dwyer and mastered by JJ Golden, the music is being released on 12″ colored wax.
“Block of Ice” live from Emo’s East in 2012 is a remarkable example of the showmanship this incredible rock outfit has. Check out its premiere (to a mass audience) below.
Today, Chicago-based psych-pop outfit Bret Koontz & Truancy Club release the easygoing single “Lonesome Rambler” and its accompanying music video. A genre-bending project spearheaded by Koontz and rounded out by talented artists he’s met along the way – Crawford Philleo (drums), Jake Acosta (bass), Maria Jacobson (flute, vocals), Reggie Duncan (pedal steel), and Ben McFadden (keys) – Truancy Club has created a beautiful, down-home earworm of a track with this one.
“‘Lonesome Rambler’ is a song full of archetypes: ramblers, gamblers, rangers, strangers, and fools,” explains Bret. “It looks at the idea of becoming what you romanticize and how idealized lifestyles are unwittingly reshaped through that becoming. What’s left is an arrival point beyond recognition. The song’s propulsive shuffle outlines flashes of a transient life with spotty cell phone service and unreliable recollections. What’s been saved is bitcrushed on a hardware sampler and what’s been left behind is…unclear. A new major arcana for the modern loser.”
The music video depicts a traipse through nature, with elements that draw you into an interesting – at times hilarious – plotline. (We’re big fans of the Jar Jar Binks cameo, but that’s neither here nor there.) Enjoy the new track’s premiere, perfect for all of your late-night bonfires of the season, below.
Bret Koontz & Truancy Club are set to release A Sparkle Road Cult on November 18th via Earth Libraries.
We’re not sure what is behind the vintage-esque music videos and clips of footage that are making the rounds in the industry, but we’re big, big fans. Retro indie-pop artist Buster Baer’s entire newly-released EP, Mock Twang, and the accompanying music video for single “Get Deeper” are certainly no exception. A bit of beautiful nostalgia, the music video follows our protagonist musician and a dog… or, rather, a human in a dog costume. Beautiful views, brief violence, a baseball bat, and some marijuana are all seen under psychedelic magentas that will absolutely take you back in time.
Emerging as a solo artist after her time as the frontwoman of surf-pop band High Wasted, Jessica Louise Dye returns with a new side to her musical persona under the moniker Hello Lightfoot. Taking cues from her experience DJ’ing at clubs and throwing chaotic themed parties, her solo work takes listeners into a more intimate look at herself while keeping a gritty and high octane indie-pop sound. Hello Lightfoot’s sophomore single “shame” is no different, serving as an anthem for personal release.
Backed by a punchy synth-pop instrumental, the track rebels against trauma with an emphatic drive to take back control of one’s own emotions. The beat and vocal melodies in this song does a great job of sonically painting a turbulent journey out of a storm- psychologically speaking, as if Hello Lightfoot and the listener fights through their demons with a sense of optimism and relentlessness. Whereas other songs on similar subjects captures a feeling of suffering, “Shame” feels like a middle finger to your inner self’s spiritual attacker, daring it to try hitting again. On the single’s message, Jessica explains:
The concept of feeling shame is one I can relate to and is distinctly tied to feeling embarrassed or even just shy in social situations. It’s something I’ve worked on a lot. I consider myself an extrovert with introvert tendencies. The line “muzzle be damned” is a reference to silencing your own opinions around others as a means to be more amicable. It’s very easy to lose yourself if you’re catering to the likes and dislikes of others. Being a nice guy can be a curse sometimes.
“Shame” is out on all platforms and stay tuned for Hello Lightfoot’s upcoming project.
New York indie-pop artist Benjamin Lazar Davis has announced his new self-titled LP alongside a video for the first single off of the project, “Remember.”
Known for working with a diverse array of artists, ranging from Anaïs Mitchell to Okkervil River, Davis is far from a newcomer to the music industry. The collaborative efforts shine through on the LP with contributions from Edward Sharpe and the Magnetic Zeros pianist Mitchell Yoshida, Lake Street Dive bassist Bridget Kearney, and Rubblebucket bandleader Alex Toth, among many others.
Girl Talk’s Sarah K Pedinotti assisted Davis with the production of “Remember,” not only by co-writing the title but also by starring in its visuals beside her cousin Desmond to represent the past and present in addition to their similarities and differences.
Davis’ directorial debut depicts the Pedinotti’s wading through a river, blowing bubbles, and running through a forest as a yellow butterfly motif periodically flashes in and out, perfectly encapsulating the song’s fusion of Sufjan Stevens’ nostalgia-ridden longing for the past and The Flaming Lips’ technicolor psychedelia.
“Remember is an old song written in London after a failed attempt to connect with a crush that had always had a boyfriend but had become single. The song foreshadowed my life on both coasts of the USA. It was recorded in my parents’ house with Lars Horntveth on the minimalist reeds and Luke Moellman (of Great Good Fine Ok) on their old Steinway upright piano. Joan As Police Woman sings some crazy effected vocals in the last verse!”
The self-titled LP will come out on November 19 and is available to pre-order now via Bandcamp.
Is there a better way to describe the type of genre-bending, nostalgia-brimming sonic experience Texas-based pop duo Tele Novella delivers than to call it, simply, “whimsical?” This can be said for the entirety of their first full-length release, a ten-track piece titled Merlynn Belle. Sure, the very pointed pop, folk, and psychedelic influences leap quite fluidly from one to the other, but there is a type of theatrical quality to their delivery that makes even spooky nuances in their tracks feel positive and hopeful.
Except “Crystal Witch.” That is still very intense and largely dark. But, if you choose to enjoy the short 3 minutes and 9 seconds this track takes up, you’ll still feel that theatrical positivity by the end. (Don’t ask. We don’t make the rules.)
It’s no surprise that the duo’s sound is so reminiscent of past beauty, either. The premise of their art is that it comes from a town – Lockhart, Texas, specifically – that is “a small town, lost in time.” Lyrics like “Send me a postcard when you get to” (Words That Stay), “I’ve got her bonnet and her gloves” (One Little Pearl), and “In my Technicolor Town” (Technicolor Town) reaffirm the fact that the music is to have come from that time, and is not just heavily influenced by that trend. However, the duo has done a stand-up job at making sure the majority of the lyrics translate and are not tied to one timeframe or one particular circumstance.
One overarching theme to this album is that it is there to paint a picture. Where the lyrics wouldn’t indicate context in some ways, the bassline and cadence paint their own pictures. This is truly an audio adventure, meant to be enjoyed in order, from beginning to end.
At just 32 minutes long, we have faith you can set aside some time for this energetic and truly phenomenal release in its entirety.
Michael Garmany grew up in the Bay Area where he was surrounded with a versatile range of artists including 2Pac, The Clash, and Social Distortion. Now, his own music is a reflection of the music he grew up with. This is evident upon listening to his new track, “Still Missing”.
Layered with elements of funk, R&B and psychedelic pop, the track starts off mild with a simple piano and bass as he sings about wanting something that he isn’t sure he is worthy of having. As the verse progresses, the melodies continue to get catchier. Once the chorus hits, the music speeds up and you’ll find yourself dancing along. The catchiness of the melodies is enhanced by various sonic choices throughout the song. These ear-catching additions, such as bells and hand claps, take the song to new heights. Drawing on personal experiences, Garmany is clear that he has been unable to find a love that works for him. During the more up-tempo portions, it might be easy to forget that he is singing about missing something from his life. With various influences present, it doesn’t sound like “Still Missing” is missing anything.
Welcome to Nevada City. The small town is infused with musical talent across several genres, and it’s all showcased on The Nevada City Album, a compilation put out by Dowd Records in celebration of the Nevada City Film Festival. As we come across each artist featured on the album, we can trace a progression of genre from mood music to courageous hard rock.
Our first stop is Brett Shady, a folk singer who describes his music on twitter as easy listening. His track “Dear Life” is a swaying waltz that endears all who it flutters by with Shady’s uncomplicated voice and some whimsical sax playing. Things get a little psychedelic with Aaron Ross farther along the album, with his own personal brand of freak folk in his song “Painted Sky.” Its endless and dreamy guitar riff, bejeweled synth melodies and odd backing vocals certainly paint an interesting sky– one that Lucy and Sgt. Pepper could gaze upon together. These indie tracks are echoed by “Peaks and Passes”, a fleeting gem on the album gifted to us by The Moore Brothers. A blues guitar riff and harmonies reminiscent of doo-wop or even gospel music make for an eclectic sound that shows how extensive the influences are around Nevada City. But we have only scratched the surface of the cavernous pool of genres on this compilation.
“Coming Down” by Jessica Lynn and Broken Spoke and “Heart on Fire” by Farrow and the Peach Leaves both rock a country/americana sound, with classic country vocals and roots-oriented guitar. “Heart on Fire” has a hint of happy-go-lucky energy to it, while “Coming Down” layers in some twangy guitar for a more western sound. Soon enough, however, the clouds roll in and that western sound darkens for Tiera May’s “Ballad of the Damned.” Her moody psych rock comes from rumbling guitars, atmospheric cymbal rolls and May’s apparition-like vocals that writhe through the air like the wails of a ghost. Less spectral but just as moody, the alt-rock track “400 Degrees” by Casual Fog uses slow, gloomy guitars and a rising bassline to create a perpetual, inevitable demeanour that carries you along with it.
Speaking of rock music, this compilation is an ecosystem of the genre, with diverse species that work together to cultivate an interesting and fruitful environment. First we travel back in time to the 80’s with “Hungry for the Dark,” by TLA, another alternative rock tune with lots of influence from punk and new wave. Its drum machine, prominent synth bassline and embellishments and the robotic lead vocals make you nostalgic for the post-punk era, no matter what year you were born in. Dipping into some electronica, “Lrn2love” by The Fit transports us to another planet entirely, with its glitching, cybernetic music and computerized vocals. The celestial rock bop “In Gratitude” by Shapes Freely, on the other hand, exists suspended in space. Its gentle vocals, orbiting synths and strings paint a vivid soundscape from outer space complete with stars, planets, rocket ships, and even extraterrestrial beings. On our way back down again, we meet “The Bad One” by Mount Whateverest, or, ‘the highest band on earth.’ This track is a product of what the band calls “solar powered fuzz and roll,” complete with slow, disjunct, infectious beats and a variety of vocals with different effects. Mount Whateverest utilizes whatever they can from saccharine pop melodies to big classic rock riffs to reach new heights with their music.
Finally, we reach the antipode of the easy, calm sound of “Dear Life” with the hard rock tracks “Killed Alive” by Cherry Rats and “Beverly Hills” by Beautiful Dudes. The former’s crashing drums and vigorous distorted guitar provide you with a taste of 2020 style classic rock. The Dudes are known for their cathartic hard rock sound and catchy hooks, and “Beverly Hills” certainly delivers, sounding grungy but upbeat in a vaguely Weezer-like way.
The Nevada City Album sought a varied and gifted assortment of artists in the area, scooped them up and unified them in a multifaceted compilation that has something for everyone. It’s well worth listening to, for when you find yourself drawn to some of the musicians, you know exactly where to look for live shows!
Sophia Nadia’s admired reputation as an “unapologetic do-er” comes from her remarkable dedication to her career. Her unceasing penchant for touring beginning at only 16 years old and her courage to move to Chicago not long after shows that her commitment to her work knows no bounds. In the moments of time when she’s not touring, Sophia is fervently writing and recording her next release, each one furthering her excellent orchestration skills and exploring pop and rock genres. Her Chicago-based project Cold Beaches dropped their new album Drifter today, a work of art that is as limitless as it is intimate. With a newly founded voice of empowerment for Nadia that makes its appearance in the album, Drifter is a vivacious, live recorded movement away from the band’s earlier lo-fi bedroom pop sound towards psychedelic rock ‘n roll. Some influences to keep an ear out for for are the plain-spoken lyrical integrity of 90’s Pavement, the hard garage rock sound of Ty Segal, and the hypnotic indie surf pop of La Femme. While Drifter deals with a variety of feelings, from the losses of relationships to the optimism of independence from depression and anxiety, it’s also an emotional blank page that any listener can fill with their own feelings and find comfort in whatever way they may need it. Nadia hopes that people find solace in her musical offering, especially those who are marginalized in the music industry.
Drifter must get its name from its transient tracks that freely move between grungy rock and dreamy psychedelic pop. Certain tracks drift closer to one side or the other, however. “Ride”, “Somebody”, “Band Boy”, “Boy, You’re Evil”, and “Grief Stricken Blues” all stay more or less tethered to the earth with their grounding drums and substantial guitar riffs.
“Ride” is twangy western guitar meets energetic girl-power pop, with its uncomplicated lyrics and matter-of-fact vocals. The song follows a narrative about stealing a “villain’s motorcycle.” Though it’s unclear whether it’s showing Nadia’s heartbreak or her ruthless besmirch of this man, this track is a poetic metaphor for giving deserving “villains” in the scene what’s coming to them. The chromatic descending power chords and her repeated vocals create revving instrumentals that show off Nadia’s orchestration skills, setting a tone for the album that says it’s going to be just as much about the instruments as the vocals. “Somebody” reveals a similarly manic and merciless side of Nadia. In the music video, her motel stay is interrupted by a troubling phone call and her night turns into a nightmare filled with paranoia as she barricades her motel door; protecting herself from an evil man trying to steal her heart. It’s brief, suspenseful, and incredibly fast-moving with fuzzy guitar riffs and straightforward drums and bass that are a manifestation of the true terror and disgust Nadia has towards anyone who may try to take advantage of her. The creepiness that pervades this track is enhanced by the whispered vocals– even more so with headphones.
“Band Boy” does feel a lot like psychedelic pop, but the strength of the beat and chromatic guitar overpowers Nadia’s muted vocals and the jazzy chords. The chorus is the epitome of pop, from its bouncy beat to the high vocal line, and even the word “bubblegum” finds its way into the lyrics. “Boy You’re Evil” also has dampened vocals and a full-bodied chorus, but the rock-centered drums and the brightly toned guitar are there to keep the track from drifting too far. “Grief Stricken Blues” uses major 7th chords halfway through the first verse, but they’re bright and thick in texture. The opening guitar riff is concrete, and once the bass and drums come in it gains that bit of grit that comes with blues-rock, but it somehow feels soothing rather than edgy. As tangible as the verses are, however, the chorus can’t help but detach with dreamy guitars that bring an element of sonic euphoria. The opening guitar riff persists into the next verse and the outro, and by the end of the song it’s comforting nature makes sense as the familiarity of its obstinacy feels like an old friend.
While the pleasant haze that falls on “Grief Stricken Blues” can feel quite salient at times, “Problems & Heartache (I Got Them)”, “Love Me”, and “Go Easy On Me” take it to a new level. These kaleidoscopic tracks are otherworldly in their instrumentation, once again showing Nadia’s aptitude for composition. The dream-pop synth chords, reverberating guitars and gentle, crooning vocals in “Problems & Heartache (I Got Them)” seem to bleed into each other, creating an otherworldly experience. The lyrics are vulnerable, transporting the listener to a place where the music– and Nadia’s feelings– are intricate, yet succinct. Touches of dissonant chords and notes add that bit of pain that is an inevitable part of opening up. When you listen to this one, close your eyes and let it envelop you. Feel the celestial surprises crash into one another. “Love Me” definitely leans towards soft rock with the prominence of the bass and drums, but after the initial pining solo bassline, a wave of illusory musical nostalgia crashes into you. Nadia’s misty, honest vocals sing “Love Me” on top of jazzy chords, the flavour of which is continued by an apt sax solo that floats in after the chorus. The ending track “Go Easy On Me” begins with a distorted organ-like part that creates a feeling of melancholia as Nadia sings “go easy on me” on a melody that embodies poignancy, again using discordant notes. Her singing is kept in place by the drums, but it’s on the verge of floating away, like a helium-filled balloon loosely fixed in a child’s grasp. The woodwinds in the instrumental interlude have the beauty of a whole orchestra and are followed by a sharp guitar solo that tries to cut through the magic but can’t quite. Sure enough, by the end of the track, all the music has floated away.
All the songs so far have explored the line that separates garage rock from psychedelic pop, and have dabbled on either side, but Nadia also offers two tracks that represent the poles of illusion and reality. The muted vocals and folksy, slightly out of tune acoustic guitar makes “SGIT” sound removed, like a dream or a passing thought. The lyrics are sad, “I hate myself and everybody else,” but perhaps hopeful as well, “I should stick around.” “I Miss You So So Much, I Really Do” isn’t concrete in terms of its music, the piano background is as tender and gentle as it is passionate and vastly resonant. Instead of a vocal line, however, there is a voice recording that sounds like it could be taken from a voicemail. It’s hard to make out much of what the voice is saying, most of the words are lost in the waves of ambient piano, but what does come through is the line “I really really really do miss you, I really do. I really really miss you… a lot.” It’s the intimacy and the honesty that pours out of this recording that makes this one-minute track the most tangible of all.
There is a lot going on in Drifter, but there are certain qualities that make it stand out as an exceptional piece of work. Its transitional nature that comes from Cold Beaches’ development into a more polished sound calls to mind ideas of rebirth and reinvention, something that is not only attractive for the album but builds intrigue for the band’s future. Each song has oodles of quirks to listen for, allowing you to listen to them on repeat without fear of them growing tired. Despite the fact that Drifter’s tracks are incredibly varied in sound, they have this unifying tone that to them that sounds like 9 pm in the middle of summer: warm, light, and seemingly too good to be true. Most of all, however, Drifter is dripping with potential, and I for one am excited to see what new heights Cold Beaches will undoubtedly reach in the future.
