by Kira Cappello | Aug 2, 2019 | albums, review
Corey Harper’s newest EP
Barely Put Together hones in on young adulthood, deftly blending moods colored with snug optimism, taut despondence, and wistful recollection. The five-track EP exhibits Harper’s talent for constructing songs that deliver the immediacy of a live performance; some with the resounding power of a stadium anthem, and others, the gentle intimacy of an acoustic set.
Opening track “Blind” is warm, woody, and feels hopeful despite the fretting lyrics, dealing with the questionable aspects of an unstable relationship. Minute details produce an endearing familiarity, as well as contribute to the feel of a live performance: A close listen reveals the clicks and scratches of Harper’s fingers along the acoustic as he plays, and the generous reverb on his vocals ghost behind as if echoing across a stadium.
Moody, syncopated chords on second song “Don’t Hate Me” are reminiscent of the biggest hits of Justin Bieber and Shawn Mendes, as Harper evokes vulnerability following a tenuous relationship. He begs his significant other for a diplomatic split: “If we’re breaking up, we’re breaking up, just don’t hate me / That’s the only thing I couldn’t live with, baby”. A resounding anthemic club beat punctuates the severity of the chorus here, emphasizing the lyrics’ unabashed heartache. After the first chorus, a hidden gem in the form of a bluesy electric riff sneaks by, a segue to Harper’s bare vocals bolstered by a deeply funky bass line. His mercury-smooth vocal runs contribute the perfect dash of R&B freshness. Of all the tracks on the EP, this song welcomes the widest range of elements spanning several genres.
What follows exhibits confidence, defiance, and acceptance that life doesn’t always make perfect sense. Track 3 from Barely Put Together is titled “Better”, and carries the easy-breezy swagger of a California boulevard, as the chorus declares: “I like it better knowing I don’t have it all together.” Harper’s soaring falsetto complements the peppered lead guitar riff, giving listeners plenty of sunny texture to look forward to.
Track “Dried Blood” is a dip in atmosphere and stripped down in comparison, the acoustic picking pensive and cautious. This song’s lyrical melody is beautifully melancholy, but the strumming patterns are never dark; offering a versatile intimacy that could flourish within the walls of a solitary bedroom or floating alongside a each breeze. Harper faces the difficulties of healing from past failures, and casts out his doubts about the future in a fluttering falsetto: “Waiting for the waves to crash, [I’m] too far out to make it back.” Comparable to the scratching guitar strings from “Blind” is the slightest rustling noise in the background during the verses of “Dried Blood” – it suggests Harper is shifting positions in his seat as he plays. These “imperfections” cast a spell that is enthralling because it is realistic, as listeners are able to visualize Harper playing the music live.
Harper is at his most raw and desperate for the final track of Barely Put Together: “Best of Me” is an anthem best characterized by its rising anticipation and stadium earnestness. The first chorus offers a head-turning twist, as the muted beat and strumming actually shift to the back of the mix, granting Harper an open stage allow his vocal presence to take precedence. Electronica-style vocals layer behind the clear belting and gripping rasp, weaving a crowd of voices that proclaim Harper’s drift from heartache: “You’ll never get the best of me.”
Tracklisting
01. Blind
02. Don’t Hate Me
03. Better
04. Dried Blood
05. Best of Me
Follow Corey Harper here:
by Kira Cappello | Jul 29, 2019 | show review
Loop pedal and guitarist goddess
Sidney Gish just began a month-long, coast-to-coast U.S tour, and this past Friday she was emphatically received by a full house in the City of Brotherly Love. The 14-song set was the perfect length, given the relative brevity of Gish’s indie rock/blues infused jams. A majority of the setlist were numbers from her 2017 album No Dogs Allowed, with a healthy mix from slightly earlier 2017 album Ed Buys Houses, as well as a classic Talking Heads cover thrown in the mix.
Accompanied by opening group Another Michael, Gish played the
PhilaMOCA, whose ambiance is a welcoming cross between a large house show space and a small theatre. It is comprised of one large room, its l walls plastered with posters from past events, and lined neatly by a carpeted second floor balcony, wrapped in twinkle lights that provide a comfortable dim. Upstairs on the balcony, worn-looking sofas and easy chairs were inhabited by cozy-looking people. The entire vibe was ideal for Gish’s set, which demands rapt attention to her rapid fire lyricism, as well as the rhymes she drops like flies.
Gish’s self-conscious sense of humor was both immediately endearing and a lovely show of levity; as she addressed the crowd with quips like “I love to tune instruments, I really do!” Throughout her time on stage, sometimes in the middle of songs, she’d check the inside of her wrist for her handwritten set list. Gish’s stage presence is an act in itself, because though she seems cheerily nervous, her jokes land – and that’s hardly to mention that her musical consistency remains solid and unflappable.
The singer-songwriter opened with deeper cuts, then filed into her more commercially popular songs as the night went on. First was “Mouth Log”, followed by “I’m Filled With Steak, and Cannot Dance”, both from No Dogs Allowed. The latter track is a prime example of excellent vocal control in sliding, perhaps even cascading, down waterfall runs that smoothly drop you off only a few feet from where they picked you up. Plucked harmonics and a perpetuating bongo on loop punctuate this track, and breezily perforate any tension found in the room.
The next three tracks Gish played were all gems mined from No Dogs Allowed: “Good Magicians”, “Impostor Syndrome”, and “I Eat Salads Now”. Always with meticulously intentionality, Gish grants herself plenty of room to play in the spaces between spiteful and vulnerable, dynamic and gentle, raspy and fluttery. Her fingers flying on the jazzy riff within “Impostors Syndrome”, she seamlessly shifts from demanding attention to turning it away. Gish launches her inward-facing observations up into the hall, open confessions to everyone.
In the moments following the fading applause, Gish chirped cheeky narrations to the crowd, her eyes cast down as she set up her guitar: “I play it on this capo, normally.” She looked up and giggled: “Information for no one.” The next song, “Friday Night Placebo”, is a tribute to her gifts of sarcasm and satire, bubbling along a guitar tone that is deep, ringing, and somehow nautical. Lyrically, this track is reflective of fragility and vulnerability – but only on the surface. Gish’s sardonicism cuts to the core, as she chides, “It’s fine, I’ll pop sugar pills all night.”
After a cover of Talking Heads staple “This Must Be The Place”, Gish hit the crowd with three of her most popular tracks: The clicky “Sophisticated Space”, mesmerizing “Rat of the City”, and communal “Homecoming Serf”. An augmented vocal presence is a marker for these tracks, as the singer’s rasp (no doubt a parallel for her indignation toward mundane suburban life) continues to escalate among the captivating vocal melodies.
Next up from Gish’s repertoire were three of my personal favorites in immediate succession: “Sin Triangle” and “Persephone” from No Dogs Allowed, and “Presumably Dead Arm” off of Ed Buys Houses. “Sin Triangle” is arguably Gish’s grooviest track, and would fit quite comfortably on a party playlist; unlike “Persephone” and “Presumably Dead Arm”, which are reflective and thought provoking; each one a cure-all for listeners’ varying feelings of being misunderstood. That said, all three were fascinating to experience visually: The building anticipation in the room was tangible as Gish built the loop tracks for each song, riff by riff.
The last song of the night was “If Not For You, Bunny,” and though sonically, its recording crystallizes seamlessly with the rest of No Dogs Allowed, Gish used it to cast an undeniably punk spell upon the crowd in Philadelphia. Murky, crunchy guitar distortion and the wailing, bittersweet solo that it tore through the end of the song emanated that, however selectively, Gish puts the “rock” in indie rock.
“Unapologetic” is not the word for Sidney Gish, because it’s clear she never even considered apologizing – Why would she? Gish offers up her flaws but never asks for comment on them; painting herself as
reactive, self-assured, and captivatingly self-conscious all at once. It was a fantastic show, and we can’t wait to hear (and hopefully see) more of Sidney in the very near future.
You can listen to Sidney Gish
here. You can follow her on social media below:
by Ian Schneider | Apr 11, 2019 | albums, review
With the single “Spelling Lessons” garnering over 15k plays on SoundCloud, artist Birch is ready to take the indie pop landscape by storm with her debut album. She has been making noise in the Brooklyn music scene for a couple years now, but the NYC-based feminist is ready to break out nationally. Producing, songwriting, and singing come naturally to Birch, something that is rarely said about any artist these days.
With echoing vocals and the perfect amount of synth, Birch is able to hone her indie pop sound over the course of the nine track record. femme.one is full of impact statements that are motivated by the feminist movement. As stated on her website, Birch is “Incredibly motivated by raising the female voice in society, Birch brands her music as feminist synth-pop. Female empowerment and gender equality are two causes very important to Birch. She often participates in marches, donates to Planned Parenthood, and strives to use her platform to make a difference.” With this being said, Birch’s music is not only for those who believe in these righteous causes, but also for those who truly enjoy indie pop. It is for those who may not necessarily know how to express themselves. Also, it is for those who may not want to share their incredible talents with the world, similar to how Birch was early in her music career.
femme.one comes to us at the perfect time. When activism and controversy are at the forefront of our society, Birch stands out as an artist who stands for what she believes in, expressing it through beautiful music. Birch is of a dying breed, artists who will not conform for stardom, but she might just get that for being herself.
You can listen keep up with Birch at her website http://www.birchmusicnyc.com/.
by Meredith Schneider | Apr 4, 2019 | 5 to 7
Today, we sit down with incredible feminist indie-pop artist Michelle Birsky – the brainchild of BIRCH – to chat about her new album release, touching on points of sexism and the empowerment she stirs up in her music.
Today, we sit down with incredible feminist indie-pop artist Michelle Birsky – the brainchild of BIRCH – to chat about her new album release, touching on points of sexism and the empowerment she stirs up in her music. We also get deep into spiritual practice, and learn a bit more about getting in touch with ourselves.
0:00 Intro
0:11 EZVisibility.com
0:22 Dbl-take.com
0:33 imperfectfifth.com/merch
1:36 Spice Girls
2:31 Spelling Lessons
6:19 Normalizing stigma
9:15 Reiki/energy work
11:48 Spirituality whitewashing
17:10 Guided Meditations
21:43 Rituals
24:12 Aliens
27:25 Gracie & Rachel
29:44 April 11 Album Release Show
30:21 Asking For It
femme.one is out April 5th. Celebrate BIRCH’s CD release show on April 11th at Union Pool in Brooklyn with Rodes Rollins and Gold Child. More information is available here.
by Meredith Schneider | Feb 22, 2019 | albums, review
Electro-pop stunner Host released her debut EP this week, and you’re in for a real party with Adolescent Content. And – though the lyrics sometimes take a turn for the more serious, like third track “Taste of Your Love” and the way it highlights a breakup – the entire EP is something that will get your heart pumping and leave that glittery, enticing feeling of nostalgia in your veins.
“Goodbye” is sugar sweet 80’s pop, something you immediately feel like you need to bop your head to while wearing a pastel windbreaker. Host’s vocals dim the electric energy slightly, but only to give it a moody, ethereal feel. Second track “B4me” of course follows suit, but is led by ints interesting percussive aspects. It’s one of those songs that, for half of it, you’re not really sure how to dance to it. But it’s intriguing and beautiful as well, not unlike chaotic predecessor “Taste of Your Love”. By the time we get to “Forgetting Me”, we are ready for the slight pace change, luring us into a hypnotic spell with its drawn out notes and swirling soundscape.
Keep up with Host here.
by Gemma Harewood | Dec 11, 2018 | singles, wolf tracks
Just released on Sony Music Norway is “Better With You,” the latest slice of electronic goodness from Maybon. With a whole host of wonderful sounds under his belt, the producer is back for more with this track that features Temmpo.
It is somewhat darker than some of his previous works and will pull you in under its enticing spell. Riddled with slow-transitioning synths and powerful vocals from Temmpo, this is well worth a listen. Maybon says: “‘Better With You’ is about how you feel better when you’re with that one special person. We all have someone who can lift us when we’re having a bad day – and the song is about that feeling.”
You can stream it here.
by Phlis | Nov 19, 2018 | show review
Arriving at the venue I didn’t know what to expect, I was very familiar with Frozen Nation’s music. I should be, Alteria Anarchy was the first radio show to air Frozen Nation’s first single I Failed for you and I was the first journalist ever to interview them. I had become very good friends with Idris but this is the first time I would have met him in the flesh. The venue itself was a very artistic place, one side where the music happened and the other a very arty bar.
The first person who I met and recognised was Moss, the frontman of Frozen Nation. A tall handsome man who when I said Moss I’m Phill his face lit up and I was greeted with a big hug for a welcome. Frozen Nation are one of the very few bands I have a very close affinity to, a band like only a couple more that I have seen grow and followed. It felt like meeting someone I have known all my life but yet I was meeting in the flesh for the first time. After Moss greeted me he introduced me firstly to my great friend Idris of whom again I was met with a big hug and a smile, then to Dorian of whom I had never actually spoken to but yet he like Moss and Idris just seemed like part of my extended family.
As the night rolled on Idris, Moss and Dorian were there making sure we had a great night. They introduced us to people and the whole air of the gig was very much a personal one, to say we were made welcome is truly the understatement. It was a perfect night with great friends, but to my honour my great friends were also the headline band. Dorian chatted to me and told me the very intricacies of the music and told me stories of Elvis. Me being a Jethro Tull fan I was wowed by this.
Swan Death came on and they were very Goth Rock in style, their style mixed with their visuals blended well and was a great opening act.
Perverted By Language had more an attitude, slightly punkish and again really great live.
But I was waiting, waiting to see my friends, the headline band. The lights were dim and then the music started and so did the visuals in the background. As the music began the crowd just started to move. I had listened to Dark Belgian Disco so many times so when I heard Genghis Khan my body also started to instinctively move, the music just put you under a spell and you just couldn’t help yourself. Then in the background the silver spinning disco ball led to the title track of Frozen Nation’s album, Dark Belgian Disco which was played with perfection.
I personally was waiting for one song, the song that has been on my alarm since the first day I heard it. The song people have heard so much on Alteria Anarchy, my favourite song. And as I heard the start of I Failed For You, Idris shouted “This is for you Phill”, to say this was a true honour was an understatement. One of my favourite bands, my friends, dedicate my favourite song to me was just unbelievable. I couldn’t help myself move and then following I Failed For You was Come On To The Ride which is another song that is just so funky with such a great feeling.
As they played more yet another familiar favourite played, Give Me The Perfect Song. I was singing and dancing, I just couldn’t stop myself and neither could the people at the gig. Then followed Alone In Berlin, I couldn’t believe just how much perfection had been given to us. I love the sound of Frozen Nation, it’s just pure and funky. Dark but yet the lights shinning from that disco ball just shine brightly.
The night ended and I couldn’t thank Idris, Moss and Dorian enough. We had a long day so that’s where the night ended for me, but that’s not where this story ends.
The day after we met Frozen Nation, they took us to this amazing Belgian restaurant and treated us to lunch and beer. We just chatted more about the music of Frozen Nation. Dorian, Idris and Moss were just so passionate about their music and from what I heard & felt from the gig it shows. The guys spoke and Dorian said “Would you like to see our studio, would you like to meet Elvis?”, how could I refuse? After a pleasant walk through the streets of Brussels with the guys showing us the wonderful sights and telling us the stories and folklore of where we were walking we arrived at the studio. I was in awe, all the old analogue equipment that gave Frozen Nation their unique and wonderful sound. Dorian showed me where they record and how they do it, then in a smaller noise proofed room there he was there was Elvis. Dorian told me how they use him and how he is just like a person and the stories that made him feel that way.
We sat and chatted more, Idris and Dorian stayed in the studio to do a little work and Moss took us for a beer before we had to leave. Big hugs from Idris and Dorian, I felt sad in a way as I was leaving two of my close friends. We left for the pub with Moss. Nice beer too, traditional Belgian beer. Well you can’t go to Brussels without tasting the amazing beer now can you? As the time came close that we had to leave to come home Moss even walked with us to the tram station. We bought tickets and with one last hug from my friend Moss we were on our way.
The whole experience is one I will never forget, Frozen Nation themselves and the wonderful city of Brussels. I cannot thank my friends Idris, Moss and Dorian for an amazing weekend and for the amazing music. Thank you for letting me introduce the world to that wonderful Dark Belgian Disco sound and also for your friendship.
Frozen Nation we will be back, thank you.
___
by: Phill Bruce
by Kayla Hutton | Jun 7, 2018 | albums, review
Lolaa, consisting of Toronto-based sisters Lex Valentine & Nadia Valerie King will release a Spanish version of their debut EP on June 8th. The musical project allows the sisters to explore their Mexican heritage, taking inspiration from Latin American 80’s pop music. The EP is a soulful approach with Latin-inspired instrumentation. Similar to that of Gloria Estefan minus the pop American influence and hiding the cultural percussion in the background. Lolaa puts them in the forefront and the result is a feel good, twilight, dancing in the streets fiesta.
“Lola” – the song bearing the proper spelling of the band’s namesake, meaning “Lady of Sorrows” – sways slowly in a gentle breeze accompanied by impactful and heartfelt vocals. While the verses are sung solo and with minimal instrumentation the chorus is filled out by an overlay of vocals giving it a thicker, meatier, stronger delivery. “Cancion 6” has a passionate vibe and produces a lot of warmth. Taking some influence from a 70’s disco ballad with a swaggering groove, intense pre-chorus vocal melody that leads the way for a full-on Pop anthem chorus. I have no clue what they are saying, but I feel the need to sing along. Maybe I will make up my own words. Could be fun.
[youtube https://www.youtube.com/watch?v=Bepmx9t4-CA]
Thus far Lolaa is bringing the synth-pop and danceable rhythms even during the slower paced songs. Embracing all the emotions in life and creating a sound that despite the mood or event, you can dance. “Barricada” demonstrates an almost haunting calling. While the beat boasts a Casio powered hi-hat and a simplistic stock snare kick combination the vocals definitely take the bull by the horns. I think this track could easily be even more dramatic and impactful a cappella aside from the ending with the comforting sound of an old music box. While none of the tracks are high energy they maintain a joggers pace and are in the key of motivation and are cinematically dramatic, the key of each song designed to appeal directly to the heart of your emotions.
Lolaa has a unique sound as you can definitely and obviously pick up on the Latin influence, as these tracks are En Espanol, but the music itself has a fusion of American pop, latin and old-school instruments, Canadian imagination and an immense of amount of passion. Don’t let the language barrier stop you from checking them out. You don’t need words to express an exact message. Tone and delivery will impact you just the same. A video premiere for the single “Espiritu” has been released via Nylon Espanol to hold you over until the E.P. is released.
Tour Dates
July 12th Coney Island Baby at 8 pm New York, NY
August 4th Handlebar’s at 8 pm Toronto, ON
Keep up with Lolaa here.
by Meredith Schneider | May 7, 2018 | premieres, videos, wolf tracks
Le Days – the folk music project by Sweden’s Daniel Hedin – releases the next installment of creation with the premiere of his new music video for “Inside Me”. The video – shot highlighting jewel tones in a beautiful and seductive light – follows a girl’s life of internal conflict, as she clearly despises her mother’s behavior. Emotional abuse is obvious, physical abuse is clearly displayed. It’s alarming, but insanely gratifying to see artists addressing very real and very difficult problems.
Says the artist: “When you dream and silence finds you, everything you ever felt hits you like a flood. Images, voices flashes through your head like an unstoppable force of nature. You are everything that’s been and it is what makes you breathe and all that keeps you breathing is to keep dreaming.”
See the only video that could do this song any justice below.
Keep up with Le Days here.
