A rush of sound, gentle vocals, a building composition that both blends together seamlessly and allows you to feel the impact of each layer singularly. Missoula-based indie rock group Arrowleaf carries their particular brand of gorgeous sound with Sarah Marker at the helm as the lead singer and songwriter. Their new track “HDYK” is out today, and we’ve got your official premiere.
Here’s the deal. Take away all of the band details, technical terminology, and extra fluff. Look at the photo of this band. This music is clearly inspired by their ecosystem, and the incredible landscape that surrounds them. It’s like they have found a way to close your eyes and FEEL Montana. Honestly? That perfect balance of grace and lightness with the endearingly rough guitar, captivating audio pivots, crashing cymbals, and bravado of a rock band suits that location immensely, with the beauty of the greenery framed by the grandness of the rock formations.
At just the time when we are in need of as much cheer as we can get, Indiana-born and LA-based indie rock artist Jeremy Buck has bestowed upon us the uplifting and empowering single, “Don’t Look Down”. Inspired by how one may feel while walking on a tightrope and riddled with fear, the track sends the message that even though a lot of things really suck, everything will be okay if you just focus on the good things life has to offer.
The catchy chorus is sure to satisfy any pop music fan’s quest for a new sing-along jam, and it will likely remain in your head for an extended stay after an initial listen. Buck’s powerful vocals carry the verses, which provide a perfect sprinkle of rock n’roll.
Buck shares of the need to write a song like this:
With all of the negative energy and the constant threat of imminent doom that is being spoon-fed to use through the media, I felt a huge creative urge to share my concerns and frustrations but in a way that will hopefully spread positivity.
It was time for the members of Old News to get more personal than they ever have before. That’s how their new album, Self-Acceptance Speech, came about. Using emo sounds hailing from the late 90s and early 2000s indie rock scene, the album tells stories of self-discovery and understanding. One of these stories can be found in the reflective rock track, “1917 Cherry St.”. Here, we find out about a significant location in the singer’s life, one that he finds himself looking back on. This leads right into “722 Harter St.”, a shorter instrumental that leaves details of the significance of this address to the listener’s imagination. The starry “Flicker” provides a similar experience. This track gives the feeling of a new beginning, perhaps following the self-reflection that takes place during the prior songs. The final track is “Sunday Suit”, a standout on the album that begins with a memorable guitar riff and is an anthem for those who feel they are hiding some part of themselves beneath, in this case, the church music.
Old News have taken the nostalgia of 90s emo rock and turned it into something of their own. Says frontman Beau Harris of the goal in creating this album: “In these very tumultuous times, I think many of us are turning inwards, and we wanted to contribute by giving people a message of healing and hope.”
Constant criticism about the way you live your life suck, and Philadelphia-based rock group Humilitarian want listeners to know that they understand the feeling on their new track, “She Said”. It happens to be one of the first songs the band completed together. As a band, Humilitarian are influenced by indie rock, which is clear from the moment you press play on their latest release.
“She Said” paints the picture of someone who struggles with letting go of any negative feelings that come with opinions that were not even asked for in the first place. It makes it clear how it feels to be fed up with being told everything you are doing is somehow a misstep. Throughout the emo-rock track, we learn that this person struggles with defending herself against unwanted commentary and that she knows she deserves to live her life unapologetically. Nearing the end, the song becomes an anthem for those who feel the same way as the listener is encouraged to reject these criticisms and just live. With clever lyrics and catchy melodies, it is easy to put on replay. It empowers and comforts while also getting out some frustration in the process.
Melted Bodies released its full-length debut album, Enjoy Yourself, via Sweatband Records. The energy is high and there is a groove that flows through each song into the next, although each has its own unique style. The Los Angeles-based band creates music that goes beyond just the genre of rock, there are different elements throughout that make their sound unique. For those who might not typically listen to metal, it can be hard to differentiate from the music in the genre, but Melted Bodies stand out. Whether it is elements of traditional heavy metal, thrash metal or small hints of electronic and indie rock, the quartet will surprise you with each song.
The production across all 10 tracks is consistent and binds everything together. Starting with a crescendo into “Eat Cops”, sets the tone for all that follows. “99 Scents” raises the bar; ramping up the speed and aggression. “Phone Tumor” is less aggressive and a song I would recommend to listen to first if you aren’t familiar with metal. Similarly, “The Rat” has a chorus that has a riff reminiscent of rock bands like The Strokes, but quickly transitions back to their metal comfort zone. It is the song that I think will stick out to people and one that will call them back to listen closer to. “Ad People” comes with a clever video on YouTube that spoofs vapid Internet content spewing culture. “The Abbot Kinney Pedophiles” flows into “Helplessness” without you even realizing, with a slow tempo opposite of the typical fast-paced sound. “Meat Cleanse” is the perfect finale for the album. It is seven minutes long and encompasses each of the elements visited in each song, without being too much. With solid riffs and true consistency between songs, Melted Bodies created something bound to leave an impact. Enjoy Yourself isn’t just the title, it is a message from the band.
Who Cares How It Ends is the debut album from War Strings and is the result of passion and perseverance. Los Angeles-based indie artist Andrew Stogel has been working on his craft from a young age and all of that hard work has led up to this. War Strings is an evolution of fronting bands like Dreamer Dose and LOVEYOU combined with his life experiences, both good and bad. Stogel suffered a major head injury that caused him to be bedridden for almost eight months, making him feel like he was on his deathbed. However, he came out of this stronger than ever and stumbled upon a new musical perspective in the process. He recalls, “I wrote Who Cares How It Ends following a debilitating injury in 2018. I remember, on the way to the hospital when things seemed their most dire, feeling a sense of clarity. When I got home, I wanted to get songs down quickly. I spent months stuck in bed, writing in a dark room. Endless days of reflection. Who Cares How It Ends are those reflections.”
The album starts with the sounds of a jarring guitar riff, a sound that becomes very familiar throughout. “Right Side” sets the tone for War String’s signature sound and opens the floodgates for the rest of the tracks to flow through. Sounding like a male version of Snail Mail, “Tragedy” is an indie-punk headbanger that is bound to stick around in your head for a while. The lyrics that stand out the most are, “She’ll ever listen to my love songs / she’s all I want / I’m doing it all wrong”. Not only is Stogel’s sound reminiscent of Snail Mail, but the sounds of The Strokes and Pinegrove. There is a reliance on this prominent guitar sound that compliments his vocals, “Seventeen” is the prime example of it. If you listen closely to the lyrics, “My Alien Heart” stands out among the rest of the tracks. You can hear the strain behind his voice and the passion behind the music.
This re-approach to music and the life-changing experience he faced made Who Cares How It Ends a true journey. About halfway through the album, things start to slow and become more vulnerable. “Archer” sounds like a song that was released in the 90’s, a slow, indie rock single. This sound is similar to “One Shot” and “Loved” as well. The final track, “An Answer”, is the most vulnerable and soft song. Stogel’s vocals float over the light instrumental and leave you with a good taste in your mouth. Over three months, and mostly in bed, he crafted this debut album and overcame a big setback in his life. All music and lyrics were written, arranged, and performed by Stogel himself. He admits of the project:
“I wrote Who Cares How It Ends following a debilitating injury in 2018. I remember, on the way to the hospital when things seemed their most dire, feeling a sense of clarity. When I got home, I wanted to get songs down quickly. I spent months stuck in bed, writing in a dark room. Endless days of reflection. Who Cares How It Ends are those reflections.”
It all represents reconstructing his life and embracing the imperfection because you only have one shot at life, so why waste it?
Here to write anthems for future generations, multi-instrumentalist Michael Desmond inspires the people of the world to march to the beat of their own drum with his forthcoming EP LocalNomad. The EP is part of Desmond’s project, also called LocalNomad. He gives insight into the dichotomous name by saying “LocalNomad is the resistance of sedentary life. It’s about seeking the strange and embracing the unknown. Wondering. Wandering. Young and Old. Everywhere and Nowhere.” Desmond plays every instrument on the EP excluding drums. He draws from a variety of sources including Tears for Fears, Elvis Costello, and Phil Collins to produce a fusion of indie-pop and alt-rock with soulful vocals, heavenly synths, and lustrous drum beats. Originally from Long Island, NY, Desmond began his career as the frontman of the orchestral indie rock band Gabriel the Marine. The band found success and performed with bands like Taking Back Sunday, Glassjaw, Mew, Jacks Mannequin, and The Dear Hunter. However, after going through a period of rapid change in which he graduated from college, ended a long term relationship, and watched a family member tragically pass away, Desmond’s mind was racing a mile a minute. The only way he could slow things down was to write, and thus LocalNomad was born as a snapshot of life during this unstable time.
While LocalNomad is worth listening to for Desmond’s expert and fascinating use of instruments to create an array of idiosyncrasies within each track, there are also captivating overarching qualities that will intrigue even those who might want to listen passively.
The anger-fueled opening bop “Love is Gone” and rueful “Young Vampires” are “explosion” songs. “Love is Gone” keeps things chill with an alluringly groovy bassline in the verses, before erupting into sound in the chorus. It’s vocal line is compelling and surprising, you find yourself listening intensely to see what will come next. “Young Vampires” is about a toxic relationship, turning each other into vampires– monsters. It displays wistful guitar in the verses but also has a sonic explosion in the chorus.
“Gates” and “Getting Old is a Bitch” are more self-contained, but each have a quiet, yet powerful energy. The contagious beat in the chorus of “Gates” leaves you no choice but to jam along. All of the instrument parts in “Getting Old is a Bitch” are pertinent to the feeling of getting old. It also has a dominant bass beat and riff that hits you hard, much like growing up does. The “do-do-do”’s in the background almost sound like they’re taunting each of the melancholic main lines. Turmoil and instability in the distorted guitar solo reflects how it feels as the world seems to be moving on without you.
Finally, we have those songs that “clash,” although their conflicting elements end up working to their advantage. “Gates” elevates the sound to a celestial sphere with ethereal synths, but at the same time, the hearty guitar brings things back down, adding a wholesome, down-to-earth quality. A great guitar riff comes in towards the end, but it has that heavy rock sound to it, providing a deep contrast with the synth. The clash in “Summertime”, on the other hand, comes from the happy-go-lucky synth harmonies set against the wistfulness of days gone by in the lyrics. It’s about young adults trying to keep up with life and thinking back on the naivety of their youth. With the beat, sunny harmonies, and fluttering synths, you find yourself thrown back into a summer from years ago, tinged with nostalgia and regret. These tracks are dichotomies, much like the name LocalNomad itself, and the crunch between their conflicting qualities make them ever-so satisfying to listen to.
There’s a lot of potential in LocalNomad to discover more unique elements in the tracks, but no matter what you’re guaranteed to hear some anthems with great beats, full, well-rounded choruses, and colourful instrumentation. The EP will be released on July 10, 2020, but some of the singles are available to stream now!
Philly and NYC based indie rock and folk trio TEOA present their soul-baring offering to a departed friend today with their new single “Canyon.” Inspired by Jack Kerouac’s On The Road, TEOA stands for The End of America. The band forms their sound from a blend of three-part harmony with rock and Americana. Preparing for an upcoming year of touring, TEOA soon will grace their audiences with their powerful mix of voices and strong stage presence. If you’re interested in seeing them in action, the band has a live show on Facebook every Thursday at 8:30pm EST. In the meantime, the guys will be releasing a single every month, so be sure to keep an eye out!
Band member Brendon Thomas wrote “Canyon” for his friend and partner Amy Regan, who passed away in 2016. Thomas describes Amy as “a beautiful person with a stunning voice and wrote the songs to match it. Music was in the fiber of her being.” The pair dreamed of playing a concert at Red Rocks, an Amphitheatre near Denver. As Thomas continues to strive for this goal with TEOA, he hopes that “Canyon” can act as an invitation to her spirit to follow him so that she too can achieve her dream and “howl at the moon” with them.
The lyrics are filled with touching personal connections to Amy. Embraced by soaring harmonies, Thomas says “If you’re here, sing now.” He references one of Amy’s songs “Some Kind of Blues” in the outro as an homage to her music and all that it taught him. Born from freestyling in his car, Thomas’ lyrics are conversational, a heartfelt call to his friend. They are the focal point of the song. The music simply lifts them up so that they might be heard. The entire arrangement was built around the wistful opening guitar riff, which Thomas wanted to save for the right song. It plays its role well, for it engages the listener, but also establishes a doleful mood. When Thomas brought the song to his bandmates James Downes and Trevor Leonard, he imagined “harmonies in the chorus that could paint the sky.” Indeed, the background voices coming together sound majestic, even otherworldly.
“Canyon” is infused with a muted sadness, but the harmonies and steady tempo also make it feel wonderfully uplifting. It’s heartbreaking, resounding, and absolutely beautiful.
Alannah Kavanagh’s indie rock project Grizzly Coast has added a new feel-good indie bop to their repertoire. Inspired by her countless nights in the Toronto music scene, Kavanagh wrote “End of the Night” with the intention to mimic the energy of live music. She fondly recalls how at a show, the music is too loud for anyone to talk, and so it can quell any anxiety over what to say and just allows you to focus on the experience. Even out of the context of a live venue, “End of the Night” delivers on this front.
Kavanagh’s heavenly voice starts the track off by singing “Here we go,” backed up by hazy guitars and a slow tempo before accelerating to the actual tempo of the song. She’s taking you by the hand and leading you to the live show. The rising harmonies and the fuzzy but joyous guitars make the song feel very uplifting– you can feel your own troubles start to alleviate. It’s easy to imagine how this feeling would be amplified if it were heard live. Kavanagh’s voice is the icing on the cake. She effortlessly moves through notes and sings with a freedom that compels you not only to listen, but to be free with her.
“End of the Night” will be a part of Grizzly Coast’s EP Party of One which will be released on July 17th, 2020. The EP will highlight the human need for community and the dividends that pay from having the courage to reach out to those you care about, and who care about you.
