Trivial Shields is the moniker of songwriter and multi-instrumentalist Christian Carpenter for sonic exploration. Now, he drops a collaborative EP titled Levity, featuring vocalists from Bells Atlas, Body Language, and Lip Talk. Levity follows the release of Carpenter’s debut EP Peripheral (2018) and precedes the release of his debut album due out this fall.
Levity centers around the clarity that can be found in the midst of a bad breakup, and does so in three different vignettes. “For the Best”, which features Angelica Bass of Body Language, is a joyful break-up song that recognizes and celebrates the end of a relationship. “Rejection Therapy”, which features Sandu Ndu (vocals) and Geneva Harrison (percussion) of Bells Atlas, is a track that looks at the process of getting over a relationship and working through what it means to let someone go.
The EP features 3 tracks both with features from stellar musicians along with the instrumental versions of the same tracks. This choice allows listeners to hear Carpenter’s words and his instrumental together and separate. The words paint the picture but the instrumentation garners the feeling.
Portland metal rockers Gaytheist have just returned with the release of their 5th album, How Long Have I Been on Fire?, set to release April 10th via Hex Records. The record is the band’s first on the label as well as their first release in 3 years. Following several years of living on opposite ends of the country, the band reassembled in Vancouver, Washington and delved into a writing frenzy to create their newest body of work. The record blends metal, punk, hardcore and noise rock with a good sense of humor, proving that you can still make good metal music without having to take it so damn serious.
The band impressively recorded the entire album in one summer weekend in 2019 under previous collaborator and master engineer Stephen Hawkes, resulting in thirteen songs of “KABOOM rock, depression anthems, and various attempts at communication”, according to a statement. Full of feedback, rhythm and speed, it is an amalgamation of punk, hardcore, metal, and wild rock.
Gaytheist had planned to play a handful of Pacific Northwest shows around the release date this month, but these have now been cancelled. They were to be followed by more extensive North American dates in summer, but, due to the current situation, these dates are also up-in-the-air.
Lead single “The Dark Deep” is full of wild and untameable riffs and a wailing vocal delivery from frontman and namesake Jason Rivera, the band’s OG gay atheist. The song kicks off with a bang and doesn’t stop moving from there, only picking up the momentum that continues on and relentlessly propels the record forward.
If the name “Hornswoggled” wasn’t good enough in itself, the content continues to hold up its end of the bargain. Heavy drums and aggressive guitar rage along with a clunky bass line while the lyrics take on those who are easily confused and don’t always operate with their best interests in mind: the easily tricked, bamboozled, and, of course, hornswoggled.
“hashbrownsblessed” is in keeping with that keen sense of humor we mentioned. This firecracker of a track is laden with big riffs and no bullshit packed into less than a minute and a half, consistent with the type of energy only a band named Gaytheist could pull off. And to those not down for it? We’re breaking up with you. It’s not you, it’s me.
LA indie duo Carrousel continue an incredible year with the release of their new album Magnificent Desolation. This 10-track album examines the dystopian direction of current life and the spiraling process of depression, both in ourselves and the world we live in.
Joel Piedt (songwriter, vocals, production) and Sharon Piedt (songwriter, vocals) craft pop melodies that are more futuristics and lean towards the prophetic. Carrousel’s music seamlessly lives on the plane of several genre styles cohesively.
Standout track “Exile in NY” focuses on the feelings of depression and its toll on the individual and how that affects those around them. By playing with echo and atmosphere, this track feels like it’s being pulled straight from your inner thoughts. With a slow build up by the middle of the song all sounds and feelings overlap to create a state of unrest. Ending the track with recorded voicemails help show separation between the two subjects of this track, as we know see them drift away from one another.
Consistently, the duo creates music that looks to disorient the understanding of the present, and the over-digitization of knowledge, and does so in a way that does not hold back.
Andrew Hozier-Byrne, better known across the globe simply as Hozier, has been an active participant in the live-stream concert trend that is sweeping the globe. The music industry enigma’s most recent endeavor took place on Friday via Billboard Live’s facebook page in an effort to raise money for the Downtown Women’s Center in LA, which focuses on serving and empowering women experiencing homelessness and formerly homeless women. While in his previous livestreams Hozier has been accompanied by bandmate Alex Ryan, he buckled down in his bedroom by himself for this one due to intensification of the lockdown, joined only by his acoustic guitar. After talking a little about the Women’s Center, Hozier jumped into material from his massively successful 2014 self-titled debut, which birthed chart-toppers like “Take Me to Church” and launched him into wide-spread fame.
The Irish musician started off with an acoustic rendition of “To Be Alone”, a bluesy rock number off of his first album. Even without the driving electric guitar and hard-hitting percussion of the original track, Hozier kept all of his power with his soulful vocals and guitar-playing. He then invited fans to send in requests, humbly stating that he could “try and God knows that’s the best I can do” (Yeah, okay Hozier *insert eye-roll here*) before moving into a soft-spoken version of fan-favorite “From Eden”. The beautiful number was accompanied by bright slide-guitar and whispered falsetto brushed across the tops of the airy track’s high notes. “Cool.” Hozier breezily said before diving into some questions from the stream’s viewers.
“What are you some of the ways you’ve been keeping busy during these times?” He read aloud from the comments and questions streaming in at real time. Hozier took the moment to speak of the effect that the pandemic has had on the live event industry and of his own plans for the year. “I’m very very fortunate that I didn’t have touring plans this year. So a lot of musicians and in particular independent musicians, freelancers, anybody involved in event management or gigging….” He trailed off in thought before coming back, restating “I’ve been very very fortunate”. Hozier shared that his plans have not been heavily affected by the pandemic, a fact not all that surprising for a man who’s infamous among fans for backing out of the spotlight for years at a time when he’s not touring to work on his music without the constant pressure typically forced on artists by labels and the public. He did share what he’s been up to though: reading, writing, and walking “at safe distances from other people”.
Hozier spoke a little more about the Women’s Center and encouraged viewers to donate if they could before cutting off his own thoughts. “And- Yeah. What are we doing? I suppose I’ll sing a song” he said with a grin. “That’s what I do”. He spoke on as he tweaked his guitar. “Today was a sad day, sadder than normal. Bill Withers passed away, who I’m sure you’re familiar with, and it’s an absolute tragedy”. He then spoke of Withers influence on him personally before paying tribute to him with a haunting cover of “Ain’t No Sunshine”, one of Withers’ classics. Not surprisingly, he did the soulful track justice, effortlessly building the intensity with his impassioned playing and singing before pulling back to let the last section breathe. “Isn’t that a beautiful song?” He mused.
Hozier followed the heartfelt cover with “Cherry Wine”, one of the most beautiful and patient songs from his debut. Seeing that the album version is a live recording with just acoustic guitar as well, his livestream edition sounded eerily similar and was charged with nostalgia for longtime fans. The world stood still for a couple moments as the musician’s remarkable ability to make everything feel alright washed over like a wave of cool and calm, serving as a personal reminder that if Hozier told me to jump into a volcano he’d probably ask in such a way that I’d not only oblige but think it was a fantastic idea. Remarkable.
There seems to be a tendency among musicians who had a giant breakout hit like Hozier did with “Take Me to Church” to avoid playing these hits when they don’t have to, so I was a bit surprised when he busted out the song that launched him into mainstream popularity back in 2014 to close the set. But Hozier, ever a man of the people (even if he hides from them in the woods for years at a time) brought back the hit for his last song of the night.
“I have not played this song on guitar for um, many moon now, for years I would say”. Hozier teased with a coy smile as he tuned his guitar. “There was a time when I’d play it 3 times a day. So hopefully that will sustain in this first time I’ve played it in years”. Hozier thanked his viewers and Billboard before reminding everyone to donate to the Women’s center one final time.
Not shockingly, he followed that intro with a perfect rendition of the dark and soulful tune, reminding everyone of why we fell in love with his music in the first place.
“Or something to that effect” Hozier said before signing off and returning to his preferred state of anonymity, presumably “In the Woods Somewhere” (Hah, Hozier puns) where he belongs.
“And wash them hands,” Hozier said as he waved his way off the air. Your wish is my command, Hozier.
Indie-pop singer/songwriter Stevie Wolf has released new single and music video for “Paper Maché Doll”. Wolf has a propensity for crafting intricate and intimate songs that make you feel not so alone, and this brilliant track is no exception.
The Colorado native was diagnosed with Tourette syndrome and major anxiety disorder at a young age and found relief in channeling his impulses and angst into music and songwriting. After attending college, Wolf found his way back to music and is finally ready to share his work with the world. “Paper Maché Doll” is the second release from Wolf’s upcoming EP.
The video features Wolf among a jungle of red strings as he sings the soaring ballad. He becomes entangled in the strings as his passionate vocals soar while he tackles relatable issues such as social anxiety and self-esteem issues. Wolf scrutinizes societal expectations and powerfully and passionately sings that he “want(s) to be so much more than my body, than my acne scars..” Wolf skillfully builds the song and navigates the impressive arrangement and is a relatable and inspirational figure for all to look up to.
“Paper Maché Doll” is out now on all streaming platforms.
Massachusetts duo Handsome Ghost have just released “Vampires”, a nostalgic ode to youth and the wild moments found in the infancy of love. The track precedes the release of their forthcoming album, Some Still Morning, due to release this May. The record is centered around the feeling of a new dawn when you’re finally able to look at everything with fresh perspective and fresh eyes, a theme that feels all too appropriate during these crazy times.
The ethereal duo, comprised of Tim Notes and Eddie Byun, tie the aching track together with delicate production and acoustic guitars over whispered lyrics. Airy background vocals exist as distant siren calls while muted piano continues to quietly drive the song forward. Every nuance feels purposeful and perfectly placed, the track sprinkled with numerous moments of magic that manage to exist both subtly and powerfully. The duo reflects on grasping spontaneity and passion for life over the passage of time, with a touch of bitterness over the unreachability of the past and what will never be lending that hard-to-capture feeling of finding beauty through pain.
“Vampires” is out now for your quarantine streaming consumption and Some Still Morning is scheduled for release in May of 2020 on Photo Finish Records, followed by a series of European tour dates. Keep up with Handsome Ghost here.
Chicago singer-songwriter Anna Holmquist formed Ester back in 2017 with the help of friends and collaborators, and now they’re about to release their first full-band LP, Turn Around. The record is a meditation both on major life changes and looking back at the past to help you understand your own growth, and Holmquist, possessing a rare vein of talent in both songwriting and singing, expertly guides their band through this task.
Most of the songs were written within the 6 month window around the beginning of Holmquist’s Saturn Return, which is psychologically viewed as the time that one reaches full adulthood and is faced (often for the first time) with adult challenges and responsibilities. The album’s exploration of adulthood is vulnerable and introspective, presenting a lot of moments for personal reflection.
Turn Around pieces together folk and rock elements around the centerpiece of the album: Holmquist’s honest and confessional lyricism and sensitive and emotional vocals. The songs are well-crafted, with the words written just as artful and important as the music.
“Little Shadow” is draped in haunting strings and gently plucked guitar. The ominous track builds to great heights with Holmquist’s quivering voice pulling mysterious melodies across the night sky.
“Holy Daze” feels like a float down a lazy river, with warm, slow bass coating the track in thick golden honey. Holmquist shows off her control and flexibility, easily flipping into their head voice before landing skillfully back with both feet on the ground. They sprinkle themself over the calm and breezy instrumentation like a colorful candy coating before tapping into their stock of emotionally-charged vocals, the intensity of their feeling evident to even the most casual listener.
“John’s Car” starts off sounding like a simple yet ominous indie-pop track, but Holmquist stuns, expertly building the song’s intensity with precise and attentive skill before it naturally peaks in a cathartic explosion of emotion. Holmquist is not only a powerhouse, but one who is smart enough to form important moments by holding back just the right amount before laying all of her cards on the table and damn, it’s a good hand.
“Thirsty” is reminiscent of a modern Fleetwood Mac while tracks like “When You Wake” channel the power and authority of Florence Welch. “Wildflower” is a breath of fresh air, providing even the most stressed out soul with a breath of fresh country air.
Alt group Charming Liars have followed up their recent success with the release of new track, ‘Blame”. Charming Liars’ journey began in the west-end London music scene, with guitarist Karnig Manoukian and bassist Mike Kruger writing and playing together in a series of bands in their teen years (these boys go way back) before moving to LA where they connected with vocalist Kiliyan Maguire to solidify the band’s lineup.
The group kept busy in 2019, releasing their debut album Thought, Flesh, and Bone, a follow up acoustic EP, Bare Bones, and (as if that wasn’t enough) a live collection called Live 2019. To top things off, Charming Liars also did a headline run on the West Coast, toured Europe with The Faim, did a U.S. run in support of Angels and Airwaves, and were on a UK and European tour with Palaye Royale before it got cut short due to COVID-19.
Of the song, the band says “Blame’ is an explosive anthem asking for one more shot at love from your last late night call. What happens when the lights fade and the drinks dry up? When your memory starts to dive deep into the wreckage of lovers past? Blame.”
Explosive indeed, the new track combines electrically-charged beats with Maguire’s effortlessly cool and stylish vocals, skyrocketing the tune into the alt-pop atmosphere. It’s an anthemic love song that begs for forgiveness and another shot, but the instrumentation and delivery softens the hard corners of the serious subject matter, keeping the track feeling light as a feather and full of hope.
“Blame” is out on all streaming platforms now and the cancelled European dates in support of Palaye Royale have now been rescheduled for August and September this year.
RESCHEDULED EUROPEAN TOUR W/ PALAYE ROYALE AUGUST
19th – Circolo Magnolia, Milan IT
24th –Technikum, Berlin DE
26th – Plaza, Zurich CH
27th – A38, Budapest HU
28th – Lucerna Music Bar, Prague CZ
31st – Razzmatazz, Barcelona ES
SEPTEMBER
1st – Sala Cool, Madrid ES
3rd – Akakao, St. Petersburg RU
4th – The 1930, Moscow RU
6th – Bel Etage Event Club, Kiev UA
A welcome slice of warm levity, “Open The Windows”, the freshest release from Oregon-based project The Color Study, is what happens when The Microphones’ “The Glow Pt. 2” meets the demos from Hippo Campus’ latest album Bambi.
Beginning with sunny tambourine met by frontman Scott Oliphant’s chorused vocals, the indie-folk sweetness quickly launches into a dusty, lo-fi indie-punk banger marked by sleigh bells, muddy electric bass, and grounding bass drum as the only things rooting the sky-high dream back down to Earth. Oliphant welcomes the change of scenery, and perhaps the company, musing, “Invite all the ghosts that look inside at me / Open the windows and set them all free.”
Oliphant launched The Color Study in response to the sunset of a 16-year relationship – which makes “Open the Windows” all the more gratifying. Said the musician, “It was an incredibly tough time. I was living in my recording studio while trying to figure out which end was up. I threw myself into making something instead of passing the time doing what I was doing which was not very productive or healthy.”
With “Open The Windows”, Oliphant seems to be taking a deep breath of much-needed fresh air following a period of seclusion – A seclusion not unlike the process of self-recording his first releases as The Color Study, singles “Without” and “Dead Leaves”, both released in 2019. While The Color Study is a solo project, Oliphant is often joined by up to six other members for live performances, including Matt Jackson on bass and Andy Jacobs on drums.
