by Madi Toman | Feb 13, 2020 | show review, snapshot
Less than a week into their nearly 9-month long U.S. run on the III World Tour, The Lumineers brought warmth to a cold and snowy St. Louis night through spirited storytelling and electric performance at Enterprise Center.
This past year saw the release of the Denver-based Americana group’s third studio album, III. The project was daring, veering almost completely away from the foot-stopping, hand-clapping hits that the group is known for to delve into the dark and and tangled web of the cycles of addiction. But what the album lacks in light-heartedness, it makes up for in it’s expertly crafted stories and songs. The group’s founding members, vocalist/guitarist Wesley Shultz and drummer/pianist Jeremiah Fraites, have been together on their musical journey for just shy of two decades now, and III has brought new clarity to just how talented they are at what is proving to be their true craft: songwriting.
Very little was traditional about the album, which was released in 3 chapters, each one focusing on a different generation of a family whose life has been deeply affected by addiction. The album saw a heavy emphasis placed on the visual aspect of storytelling as well; the band released a music video for every song on the album, and large video screens let concert-goers experience those stories live as the band played the album through and the videos played behind them. While the family depicted, also known as the Sparks, are a fictional family, their stories come from a very real place.
The Lumineers played the new album in its entirety (although not in order as it was originally released) as well as plenty of fan favorites during their set, which lasted nearly 2 hours. The first half of the show contained many of the band’s earlier hits although content from III was dispersed throughout, proving that songs from the dark storybook of an album could stand on their own as well.
While so much of the night dealt with heavy subject matter, The Lumineers didn’t let it weigh them down, and the energy was always light-hearted, electric, and engaging. Of the band’s massively successful breakthrough hit, “Ho Hey”, Shultz encouraged the crowd to join in (as if there was any planet on which they wouldn’t) as he humbly told the audience that to the band “it doesn’t even feel like our song anymore; It feels like a cover.” The stadium was eager to claim it as their own.
In terms of actual covers, the Lumineers busted out a spirited version of Dylan’s fast-paced “Subterranean Homesick Blues” as well as bringing out openers Matt Quinn of Mt. Joy and J.S. Ondra for a moving take on Cohen’s “Democracy”, which is included as a bonus track on the album.
As the night wore on the band got more serious, with the back half of the show containing almost exclusively songs from the grim III, including alternative radio-hit “Gloria”, which at first listen may sound like a bright and shiny sonic match to early Lumineers numbers, but a closer listen to the lyrics would reveal the hopeless and manic addiction fueled-world meant to be represented.
Before “Leader of the Landslide”, one of the pinnacle moments from the album, Shultz took a moment to speak of what the record means to him and his own experiences trying to help a family member battle addiction. “What I learned is that standing up against addiction is like standing up in the ocean,” he said. “It’s so hard.” He dedicated the heart-wrenching and powerful song to those in the audience going through similar experiences.
Despite the large group on stage, which included violinist Lauren Jacobson, pianist/accordionist Stelth Ulvang, bassist Byron Isaacs and percussionist/guitarist Brandon Miller in addition to Shultz and Fraites, the feeling on stage was always intimate and that of one big, happy, musical family. The group was constantly in motion, often swapping out instruments or venturing out onto the stage’s various ramps to be closer to the encircled audience. Perhaps one of the most enjoyable aspects about watching the group is how much fun they seem to be having amongst themselves. Every member seems to possess a true sense of camaraderie that is rare to see with bands playing venues of this size. The Lumineers had a childlike lightness in their step as they danced, frolicked, and (if you’re the wacky, barefooted Ulvang) leapt 10 feet into the air off of pianos.
Shultz, as close as one can get to being an Americana Rockstar, was no exception to this. The frontman nonchalantly disregarded this status and casually hopped off the stage, unencumbered by security, to immerse himself in his audience. He journeyed around the arena for a song, climbing up almost to the nosebleeds to high-five and connect with adoring and respectful fans before returning to stage.
The show closed after a fiery encore with longtime fan-favorite “Stubborn Love”, which audience members joyously clapped, danced, and passionately belted along to with the band before saying goodbye to the always gracious folk-rockers.
As the band loaded out and fans sauntered out into the icy winter night, many concert-goers milled around the arena floor, talking and laughing quietly amongst themselves as adults and children alike gathered and tossed handfuls of the earlier-released confetti and continued to spin and dance in the paper rain as it fell back to the ground, the elation of the experience not quite worn off yet. Unwilling to wake up from the Americana- dream world that we all had spent the night dazing in, they remained there as I reluctantly left to rejoin the real world. Can’t say I blame them.
Keep up with The Lumineers here.
by Meredith Schneider | Jan 14, 2020 | singles, wolf tracks
If your eardrums have ever been blessed by the magnetic vocals of Frances Quinlan, you’d best prepare yourself. With her new track “Your Reply”, the listener experiences a palpable energy, each note specifically belonging to its originator, the cadence with which she expresses herself intense and, in this case, fun. While a bed of instruments accompanies her voice, they come as almost an afterthought, not to discredit the talent.
To both understand where we’re coming from and head into your day with a pep in your step sonically, check out “Your Reply” below!
Likewise is out January 31st. Keep up with Frances Quinlan here.
by Meredith Schneider | Dec 13, 2019 | albums, review
It’s been out for a hot second, but Stimmerman — the songwriting project of storied bassist and producer Eva Lawitts — recently released their debut 12-track full-length, Goofballs. High energy — even scattered, at times — this collection of tracks feels experimental, cutting edge. While Stimmerman plays with sonic boundaries and far-reaching, impactful vocal abilities, we get a look into the mind of no less than a genius.
Stimmerman has been quoted saying:
The album is more or less about loss and survivor’s guilt- it’s a meditation on a friend’s fatal drug overdose at a young age through that lens.
Side A of the album focuses on looking back at the environment in which our friendship started- pressures imposed on children to be successful, growing up too fast in all the wrong ways, and the often-debauched nature of our great and terrible adolescence here in Brooklyn. Side B, which is home to the song ‘Painted Smile,’ centers me more as an unreliable narrator, and features songs about grief and culpability in a close friend’s death some of which are, I believe, misguided.
With that very specific and captivating take, we dive in to what proves to be one of the most insightful and impactful albums of 2019.
Its story is unique and emotional, and with that Stimmerman brings her own brand of vocal rawness to each track. “Child’s Play” has a soundscape led by crashing cymbals, while “Elaine” builds to that point, beginning almost hesitantly in its pace. Even with the heartbreaking subject matter, Stimmerman only truly slows it down for eighth track “Long Formal Letter”, keeping us on our toes, just guessing where the musical progression will take us next. Single “Painted Smile” has perhaps one of the more chipper sounding ambiances to it, however its bittersweet truth ends the album with an almost cliffhanger feel to it.
It seems we shouldn’t be taking all words at face value. For those of you who haven’t gotten the reference yet, Goofballs isn’t to be seen as a group of silly friends this go around. And that’s OK. Not everything can be carefree. And to take such an intense life experience and be so vulnerable with it? It’s rare to be this seen as an artist, and we’re on board with Stimmerman’s delivery 100%.
Keep up with Stimmerman here.
by Meredith Schneider | Nov 15, 2019 | albums, review
Breezy, ethereal vocals. Light as a feather instrumentals, a warm and inviting soundscape. All of these factors are involved in VanWyck‘s newest full-length release, out today. The project, titled Molten Rock, is comprised of twelve impossibly beautiful tracks, inspired — in part, at least — undoubtedly by the folk of yesteryear. A slow, steady pace is established with first track “Supermarket Line”, and continues into “Lead Me On”, while “Rock Carver” brings with it more assertive instrumentals and a raspier take on the vocals.
“Make of Me” slows everything down to a crawl, gorgeous and sprawling in its soundscape. It is here that we take pause, to realize how important it is to note the comparisons to Leonard Cohen and Nathalie Merchant that VanWyck’s debut album drew, and to notice the way the music has evolved in the space and time since that album was released in 2018. As we roll into “Carolina’s Anatomy”, we feel an attraction to a new love the way this song seems to convey.
Have you ever been this close to feeling no remorse
and being where you want to be
“High School Gym Wall” is even more delicate than its predecessors, something we never would have guessed by its title. Haunting in a way that impresses, it perfectly introduces “Be It to the End”, which brings with it a darker, more theatric atmosphere. “Breakfast Room Revelation” is layered, a ballad of sorts that holds as one of our favorites from this collection.
“The Boatman Calls” and “Like an Ambush” are both solidly beautiful tracks, leading into “The Rock Steady Creeper” which is also impossibly relaxing in its disposition, despite the title. VanWyck expertly rounds out the album with twelfth and final track, the title track, which has the sonic feel of witnessing molten rock cascade down a landscape. The lyrics are descriptive, painting an intense picture, comparisons we all have the capacity to feel.
This album, if nothing else, urges you to feel. Whether by its intense and relatable lyrical content, or its lavish soundscapes. Experience it in full below, and let us know how you feel on Facebook!
Keep up with VanWyck 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 Kira Cappello | Jun 27, 2019 | albums, review
For fans of Hayley Kiyoko, Sia, Carly Rae Jepsen, Dua Lipa, Charli XCX
Punchy, deliberate, and honest: On 6-track EP Uni-Fi, we meet many sides of X. ARI. Never holding back from her truth, X. ARI tells stories of her most confident and vulnerable moments alike over glittery soundscapes full of synth, undulating basslines and pounding club beats. The work covers a handful of essential topics for young people today: mental health, gender and sexuality, and of course, heartache.
Early on in the EP, X. ARI characterizes her “I don’t give a f—“ attitude that many, many artists have learned to embody over the years as a means of making a name in pop. This declaration, paired with a glicthy chorus peppered with onomatopoeic vocals, blast X. ARI through her own video-game-sounding world on track two titled La La La
ARI is well known as a fierce advocate for mental health, and this EP addresses her daily battles directly; specifically on tracksBreak-Point, Uni-Fi (ft. IRA X.), and Yin Yang (ft. IRA X.) The first track, Break-Point, is an effective invitation for listeners to dive into an alt-pop experience that could be characterized as an interpretive dancer’s dream come true.
Title track Uni-Fi feels wistful and hopeful, both sonically and lyrically. X. ARI explains her feelings of displacement, confessing, “I’m a little bit damaged…I’m together in fragments, a mosaic I’m trapped in”; but the tone of this song is optimistic, especially through the resounding chorus. While IRA X.’s contributions on the EP aren’t necessarily overwhelming, they complement X. ARI’s vocals nicely; adding dimension and even more synth, as well as highlighting notions of living in a gendered world. She divulges, “I’ll tell you a story of a girl and a boy trapped in the same body, just fighting for some space”.
The most telling narrative of X. ARI’s personal journey with mental health has got to be Yin Yang, also featuring IRA X. Considering how sensitive and emotional of a topic this must have been for X. ARI to write, one is almost left wishing that the song’s dynamic conveyed just a little bit more of those extremes than it does. That said, sometimes the pen is mightier than the- well, synth, and X. ARI scores a 10 for the vulnerability of Yin-Yang’s lyrics.
Perhaps one of the most enticing melodies on the EP lie in the token heartbreak track of the work, titled Everywhere. Contrasting the thrust of her alt-pop anthems, X. ARI uses a slightly softer vocal inflection and a floaty, oscillating hook that mates perfectly with the twinkly, echoing backdrop. The track is punctuated by muted, reverberating beats that could be a slowing heartbeat, or an explosion off in the distance. The most expressive song by far, it seems that on Everywhere, X. ARI is experiencing the feeling of both.
You can keep up with X. ARI on Facebook, Twitter, and Instagram below.
http://www.xariofficial.com/
www.facebook.com/xariofficial
www.instagram.com/xariofficial
www.twitter.com/xariofficial
by Meredith Schneider | Jun 6, 2019 | premieres, singles
We’re talking about reminiscing a lot, and it’s no different with Jacqueline Harvey‘s new single “Came Around”. The pop singer utilizes her signature sultry vocals to address a past love interest, as the instrumentals usher in a dance floor vibe. It’s truly a sonic delight to experience, and we think you’ll agree.
Keep up with Jacqueline Harvey here.
by Ian Schneider | Apr 5, 2019 | albums, review
Jai Wolf‘s new album The Cure To Loneliness is the perfect encapsulation of everything this budding star has to offer. Discovered by EDM mainstay Skrillex, the Bangladeshi born Jai Wolf (Sajeeb Saha) created a lot of buzz with his song “Indian Summer”. Raised in Long Island, Jai Wolf has been influenced by the likes of Phoenix and The Strokes, but you can feel the electronic influences most in The Cure To Loneliness.
With features from Day Wave, Robokid, and Mr. Gabriel to name a few, Jai Wolf is setting himself apart and establishing his legitimacy within the industry. You can hear those aforementioned Phoenix influences in the track “Lose My Mind”, but Jai Wolf also has the unique ability to slow it down, which is rare to find in an electronic artist. Almost with a trance like feel, most of the tracks on this album will have you swaying with electronic bliss. “On the new album, sonically all of Sajeeb’s eclectic influences can be heard. Lyrically though, the album is quite personal with themes of searching for connection whether to culture or people, from someone who was not only born in a very foreign land, but once he got to the United States moved around constantly. As a person Sajeeb is extremely bright, very outspoken on the current political situation, especially, as you can imagine, on the subject of immigration.” Jai Wolf has been able to channel his experiences into an art that is not seen from many, let alone electronic artists. Most musicians with Jai Wolfs thoughts and feelings might turn to other genres, but his ability to create an insightful landscape with drum machines is something to behold. The Cure To Loneliness will do exactly what the title entails.
You can check out The Cure To Loneliness now, and keep up with Jai Wolf on his socials listed below.
Socials:
Twitter: @JaiWolfx
Facebook: @JaiWolfMusic
Instagram: @jaiwolfx
by ImperfectFifth | Nov 20, 2018 | perspective
If there is one thing we can learn from Shawshank Redemption, it is this: we have to either get busy living or get busy dying. Americana trio The Deep Hollow are firmly planted in the former. Through their sophomore record, Weary Traveler, Micah Walk, Liz Eckert and Dave Littrell dig into this sorrowful life of getting older, longing for a stable home and the sometimes unbearable weight of the open road. Sonically, the band fits somewhere between the pulse of Patty Griffin and John Prine and the adventure of Jason Isbell, The Lone Bellow and Brandi Carlile. Below, Dave Littrell shares the story of his first musical experiences and how they shaped him as a musician.
Growing up, like many, our home was filled with music. It seemed like the radio was always on, a record or cassette was always playing, or a music video was always on our TV. After all, I am most definitely a product of the MTV generation. When Sting sang “I want my MTV!” in the introduction to “Money For Nothing,” his declaration was powerful and something this 7 year old could rally behind!
I am so grateful to have grown up in a home where music wasn’t just entertainment or background noise, it was important. You could even say it was a family value. I remember walking into the house after school to the sounds of Otis Redding, The Temptations, Diana Ross, The Beach Boys, Simon and Garfunkel, James Taylor, Stevie Wonder, and on and on. The Beatles LIVED in our home as far as I was concerned. John and Paul sang me to sleep most nights. We even had a full jukebox in our basement where my parents and their friends would spend nights and weekends singing (loudly) to their favorites. My mom had this charming habit of taking anything you said to her and breaking into a song. If I was being annoying to my older brother and he said “Stop!” she’d burst right into “Stop, in the name of Love, before you break my heart…” She still does it this day. This pure love for music shaped me in a way I could never imagine. I was just a kid who liked dancing in the kitchen to Motown artists, never realizing what an influence those experiences would have on me as I grew older. As a father, I try to pass that love onto my kids and there’s nothing more fun than watching my kids sing and dance to those same songs.
With that said, it is a little difficult to write about my “First Record.” To be honest, I’m not exactly sure what that record specifically was, because there were so many. But, The Beatles were kings in our household so “My First Record” has to be a Beatles album.
My uncle owned a huge record collection AND a great stereo system, which means Uncle Del was obviously the coolest guy in the world. Our tight-knit extended family all lived in the same small town in central Illinois so naturally we spent a lot of time together. Anytime I was at his house I would run directly to his stereo and start poring over his records and cassettes. He had these expensive headphones which allowed the music to be directly implanted into my brain. It felt like these musicians were playing just for me. The music was so crisp and clear, much better than my little tape player at home. It sounded so amazing! My first experience with Michael Jackson’s “Thriller” and Billy Joel’s “52nd Street” were through these marvelous wonders of technology, but hearing The Beatles through these headphones was one of the most perfect memories of my young life.
“Beatles” was hand-written on this cassette tape and once I started listening I couldn’t stop. I think I had heard a lot of the songs before, because like I said, my Mom was a big fan. But this was different. Listening on headphones made these songs have more depth and they came alive. I couldn’t necessarily relate to the infatuated teenage lovesick lyrics or the heartache caused by my crush not answering the door or telephone in “No Reply.” (I would uncover those gems later as I experienced my own girl-crush drama.) But the melodies, harmonies, energy, and songcraft were undeniable. I distinctly remember swinging on the swing set in the backyard as the sun was setting and listening over and over. I couldn’t believe that I loved every song. With other artists, even artists I loved, I didn’t like every single song. My uncle gave me this tape (or I just kept it, who can remember?) and I became a life-long Beatles fan.
Later, I wanted to use some birthday money to buy my own, proper copy of my favorite record. (Uncle Del also said it would probably sound better if it wasn’t a taped copy.) After perusing through the cassettes at our Sam Goody at the local mall with my Mom, I realized I didn’t know the actual name of the album. It just said “Beatles” on my tired, worn-down copy. After looking at all the titles, we discerned that the tape I had listened to religiously contained the first side of “Beatles For Sale” AND the entire “Rubber Soul.” Just looking at the songs on these two records floods me with memories and remind me what incredible songwriters they were. I still play several of these songs, and “In My Life” was used in my wedding ceremony, for example.
I am constantly on the lookout for new music, and I hope to find an artist that can even come close to replicating that feeling I had listening to Rubber Soul for the first time. Unfortunately, I don’t think it can really happen. My adult brain inevitably gets in the way and I immediately decipher lyrics or chord progressions instead of listening to music the way I did as a kid. I think we should all try to listen like a kid, because it was magic.
___
Keep up with The Deep Hollow here.
