When was the last time you craved a great rock show and it actually delivered? We set out on a Wednesday night to see the storied Dogstar play at the historic Uptown Theater in Kansas City, Missouri. Not only did the merchandise line snake through the front lobby, but it wrapped down the hall and into the bar area on the other side. I’ve been going to shows for nearly 30 years at this venue, and I’ve never seen anything like it.
From the moment they hit the stage, the trio delivered nonstop entertainment, rolling through a variety of keepers from their catalog. Their particular blend of alternative rock brings with it hints of goth and more theatrical vocals at times, keeping you on the edge of your seat, singing with the crowd. Of course, there were a couple of “I love you, Keanu!” screams from the crowd at times, but for the most part, the crowd was respectful of the reason we were all there… music.
With an incredible 33-year run so far, this band is showing no signs of slowing down.
Setlist Blonde Lust How the Story Ends Everything Turns Around Out Of Glimmer Dillon Street This Is What Math Is For Shards of Rain Overhang Sleep Runway Marmalade Breach Just Like Heaven Shallow Easy Upside Jackbox I Wanna Be Sedated
Americana sensation Eddy Lee Ryder releases her first LP titled Sweet Delusions today. This NY-based artist is gracing us with 11 beautifully made songs, each piece delivering a romantic and almost magical experience.
Ryder’s voice has a distinct country twang to it, with soft-spoken and whimsical tones. I absolutely love the layering done with her background vocals– it truly adds an angelic element to the entire ensemble. As a previous string musician myself, I believe the album’s classical musicality is nothing to gloss over; almost every song is blessed with a symphonic melody, made possible by effortless violin and piano riffs.
“Highwaymen”, the focus track of the album, is a perfect representation of the youthful side of Sweet Delusions. Ryder yearns to travel and finds solace in being on the road. In order to be with her, you have to understand that sometimes she needs to get away from it all– but that doesn’t mean she wants to be alone. Ryder is looking for a partner-in-crime to accompany her on all life’s journeys. As a homebody, I cannot relate, but I can definitely see the appeal of “Highwaymen” for people my age. This song was made for all the free-spirited girlies out there! The chorus goes:
I hear the highway’s my man Left my man for the highway If you want to be free you must do it my way~
Her song titles do well in describing the message underlying each song, gracing the audience with straightforward and relatable phrases. Songs like “Sweet Delusions”, “Bad Decisions” (my favorite of the whole album), and “Joke is on Me” showcase the self-deprecating aspect of looking back on romantic relationships. As the titles imply, Ryder holds onto beliefs that she knows are not likely, but desperately wants to believe in them. She even fantasizes about her love interest ditching his current lover to go after her instead– delusional right? She wants to be with him forever, quite literally singing that she refuses to let these delusions go.
The rest of Sweet Delusions is filled with purely delightful symphonies and vivid imagery. “Smoke and Mirrors” implies the obvious– everyone puts on a front; Ryder and everyone else knows the lives people display on social media are not real, but what she does know for certain is that her love and connection with her partner is real. There’s a verse in the song that goes “Now they’re all changing their looks, buying self-help books” which I can relate to wholeheartedly!
The last couple of songs of the album are what really bring the whole LP to life. In “Only Real Cowboy”, Ryder depicts herself as a cowboy-era vixen at a nearby saloon; she is watching in awe as her love interest takes on the big, bad sheriff in town. In “County Fair”, Ryder does a wonderful job at illustrating the almost surreal county fair experience: summer heat, loud attractions, and fast crowds. Best of all, this song encapsulates being in the moment. Going to the county fair is a great first-date idea for young couples. Ryder is once again reflecting on past times, looking back on a romantic experience she had with a boy in her youth.
On the night of August 15th, I went to The Anthem in DC to see the band King Gizzard and the Lizard Wizard. If you’re unfamiliar with them, they’re an incredibly popular Australian rock band made up of talented multi-instrumentalists Stu Mackenzie, Ambrose Kenny-Smith, Cook Craig, Joey Walker, Lucas Harwood, and Michael Cavanagh. One of their main appeals is their approach to genre and exploring as many sounds in their work as they can. Since forming in 2010, they’ve put out 26 studio albums (not to mention 16 live albums) that have ranged from psychedelia, various kinds of metal, progressive rock, synth-pop, sunshine pop, folk, and many more. Despite this, they still have a consistent “King Gizzard” sound that’s rooted in vintage psychedelic rock. Flight b741, which was released on August 9th, is another new musical avenue for them: an early 70s-inspired blues rock album with obvious references to The Rolling Stones and T. Rex. My brief review is that it captures the sound perfectly, with heaps of nostalgia to boot, but still provides plenty of hooks and fuzzy guitar riffs to keep it a consistently entertaining listen. Give it a whirl when on a road trip. You won’t regret it.
Okay, now back to the concert. This was the first show for their tour to support Flight b741, with the opener at this show being Brooklyn-based indie-punk band Geese. They proved to be a fitting match for King Gizzard, as their newest LP 3D Country features a classic rock sound similar to Flight b741, albeit with more country influence. I enjoyed their performance, though, with only the core members of the band, their sound was more alternative rock that doesn’t capture the roots-based atmosphere of the album. Still, they were fun despite the more stripped-back aesthetic. There were occasional unique touches like hand drums and smooth keyboard playing, and I gotta give props to their frontman Cameron Winter. He’s a very interesting and captivating presence, with an oddball southern yodel-ish twang in his vocals that stood out to me.
After Geese’s set, there was a 30-minute break so King Gizzard’s crew could set up. Right before their performance started, a message appeared on screen reminding the audience to have fun in the mosh pit but to look after each other and report anyone dangerous to security. I didn’t get close enough to mosh, but I’ve heard enough horror stories of audience injuries to know that the message was responsible on the band’s part. I should also note the atmosphere and the crowd of the show. There were lots of young people at the show, (more men than women, though still a decent mixture) around their 20s and early 30s. With the band’s decade-spanning influences, it also made sense that there were also some middle-aged and older people that were likely fans of similar bands such as Phish or The Grateful Dead. All the concert tickets sold out quickly, so the general audience pit on the main floor had to be packed tightly to accommodate everyone. From my firsthand experience, it smelled of sweat, pot, and alcohol the entire time. Still, that was to be expected from a crowd made up mainly of stoners wanting to mosh or get zonked out on hallucinogens.
King Gizzard’s main ethos seems to be that not only do they never repeat an album, they also never repeat a show. The band’s live performances feature lots of extensive jamming, allowing for the musicians to ride a groove and riff off one another with improvisations, giving the songs a different feel from their studio counterparts. While the jams of earlier shows may have focused more on heavier metal riffs (according to my friend, anyway. Shoutout Nayeli!), the ones this one had fit more with the influences on the new album and are more bluesy (featuring harmonicas!) with some fuzzy psychedelia and touches of funk. I’m a fan of extended performances of songs to ride out a groove to its fullest, but admittedly some improvisations could be too aimless and lengthy. They were fun, but it got to a point where I nodded off before things kicked back into gear. However, these jams are a staple of their concerts, and it may not entirely matter to you if you enjoy watching talented performers work their craft (or if you’re super high). I’ll also give the band jams credit for being more inviting to new fans that may not have listened to all of King Gizzard’s albums and giving them something entirely distinctive to their concert.
The band’s setlist was very diverse and featured 14 songs from their catalog within 2+ hours. This included three of the new songs from Flight b741, and songs from Omnium Gatherum, Ice, Death, Planets, Lungs, Mushrooms and Lava, Nonagon Infinity, and others. Despite each album representing a new era and sound, they all fit well together and never appeared too different from each other while still being distinctive. The funk grooves of “Iron Lung”, the raw acid flavoring of “The Dripping Tap”, and the last 30 minutes of the show with back-to-back metal songs (featuring fan favorites “Mars for the Rich” and “Supercell”) all shine brightly. What I admire about the band is their democratic approach to playing, with no member seeming more important than the other. Sure, Stu Mackenzie is their designated “frontman”, but each member gets time to solo, time to speak to the crowd, and opportunities to do what they’re good at. The concert closes on an intense and completely hypnotic drum solo by Michael Cavanagh at the end of “Gaia”.
King Gizzard provided and continues to provide wonderful concerts that rock out, all the while showcasing the band’s chemistry and never-ending talents as they continue being one of the best live acts around. I can’t recommend seeing them enough, whether it’s once or multiple times.
Bert McCracken, frontman of indie rock band The Used released a new single titled “The Feels” on August 9th under his solo project robbietheused. He has collaborated with long-time friend John Feldmann to help produce this eclectic and feel-good beat. McCracken states that he was inspired by all generations of pop music when creating this song, citing the wonderfully positive impact it has on his mental health.
The musicality of “The Feels” is very upbeat with electric guitar, keyboard, and tenor vocal elements providing an EDM festival-friendly melody. The vibe of this song reminds me of the iconic “Fireflies” by Owl City, in which the vibrant electro-pop beat contrasts greatly with deeply intrapersonal themes. I can already tell “The Feels” will be a go-to song on every DJ’s playlist this summer.
The lyrics in “The Feels” provide a beautiful take on neurodiversity. As someone with severe social anxiety, I relate to this song very much. In social settings, my mind is consumed with many worrying thoughts… Is my voice too high? Am I walking funny? Do I smell weird? Is it better if I just left? Most of the time, you need help to quiet them all down. This song is a great metaphor for people who are coming to terms with discovering coping mechanisms for their anxiety, whether it be through therapy, medication, building a support system, or– as shown in the music video– finding joy in one’s unique hobbies. The chorus goes:
I like how it feels, I’m starting to think maybe that’s just fine, that’s just fine Can finally deal with all of the chaos that plagues my mind, plagues my mind I may not feel anything, that doesn’t mean I feel nothing (x2) I like how it feels, I’m starting to think maybe that’s just fine (x5)
The official music video is nothing short of a work of art. The claymation depicts various emojis wandering around a vibrant arcade space. An animated clay version of McCracken is seen singing on an empty stage. Emojis slowly gather around him, as if he is performing a concert just for them. This implies he is entertaining, or at the very least trying to appease, all the emotions in his head. This concept is reaffirmed at the end of the video when all the emojis burst out of McCracken’s head in a colorful explosion.
My absolute favorite part of the video is when zombie-like creatures invite a ghost emoji to their garden. The ghost visibly brightens when he sees his planted seeds sprout and give way to new healthy, green growth. Coincidentally, the ghost emoji depicted with its tongue sticking out is my favorite emoji of all time!
In unfortunate timing, this is my *37th* article for this website. Just one off, huh? Anyway, indie-psychedelic band 36? have put out a new single titled “i don’t want to go out tonight”. This is the fourth single to come from the Calgary-based group this year, after “wasted”, “FEERS”, and “ART”; with their latest LP being 2022’s Naturally. Their sound is an eclectic mix of sources, with influences ranging from hazy alt-pop and art rock, and comparisons to bands like Animal Collective or even Bleachers. Many of their lyrics, from the band’s producer and songwriter Taylor Cochrane, deal with personal subjects awash in sincerity and emotional qualities.
“i don’t want to go out tonight” is more laid-back than their more recent singles, with an indie-folk sound led by Hawaiian-sounding acoustic guitar and a breezy beach atmosphere. It’s very sweet sounding with a heartfelt performance from Cochrane and cutesy backing vocal harmonies. It also features a wonderfully abrasive guitar solo characteristic of a lot of their work, though it still fits against a different musical backdrop. Lyrically, it’s a tribute to introversion and taking time for yourself even when it means avoiding energy-draining social activities. The lyrics and the music match perfectly, creating a vibe throughout the track that’s cozy and comforting. 36? have crafted a great summer single in “i don’t want to go out tonight”, a song that’s drenched with both positive energy and relaxation.
The band is currently on tour throughout North America, with more music still in the works.
Having DC-based bands Pretty Bitter and Flowerbomb join forces together on a project weirdly makes sense, which is why their split EP Take Me Out was so exciting to listen to. I’ve written about Pretty Bitter before (here, in a review of their single from January, “Roadkill”), and listening to a handful of Flowerbomb’s songs showed a lot of similarities between both bands, in terms of music and lyrics. Each has an indie sound rooted in throwback alternative rock trends, with obvious influences from grunge and shoegaze. Their songwriting focuses on raw, personal lyricism that draws on the backgrounds and experiences of their members, and the chemistry between each performer in the band is clear in every song or show.
Evan Weiss handled the production of the EP, which is comprised of five songs. It has two original songs from each band and a closer written and performed by both. As Take Me Out starts, it’s apparent that the tracklist was ordered so the songs complement each other. “Never Better” by Pretty Bitter and “Nothing to do with me” by Flowerbomb, the first two songs respectively, have obvious musical similarities and play to the strengths of both artists. Both are mid-tempo rock songs that, through careful production and mixing, have a focus on vocals and lyricism without sacrificing the abrasive guitar playing both bands frequently use. They’re both hugely enjoyable, with “Never Better” functioning as an almost new-wavey rock song, and “Nothing to do with me” being more rhythmic and focused on hard-rock riffs.
As the EP continues, the next pair of songs allows each band to experiment with some interesting genre pairings and new ideas. “youbuiltafinelife” by Pretty Bitter is a buffet of great musical textures, with the highlights being the funky bass playing and the hazy, dreamy atmosphere that comes through the production and keyboard effects. It’s slightly different for Pretty Bitter while still representing their sound. “I Always Knew” by Flowerbomb also combines a lot of ideas, working as a slow-burn indie rock song with grungy guitar distortions and bits of glittery synths. The EP closes on a track both bands worked on together, the title track “Take Me Out”. It’s the most unexpected musical diversion of the whole EP, with a jaunty, folky twang and featuring great steel pedal guitar playing. Both vocalists duet with each other, and they provide a good contrast with Mel Bleker’s soft and sweet vocals against Rachel Kline’s more gruff and dynamic singing. While it may not represent each band particularly well, it’s more emblematic of two groups of talented musicians having fun and creating art for their own sake.
Take Me Out is a hugely enjoyable diversion for both bands and makes one hope for more collaborations between the two in the future. Each group gets the chance to have the spotlight, as well as experiment and try new sounds that may not have fit on another release. Both Pretty Bitter and Flowerbomb recently performed together earlier this month at the Black Cat in DC with no more joint shows currently planned, though it would be shocking if the two didn’t cross paths again soon enough.
Despite their reputation as one-hit-wonders, I think DEVO is one of the greatest American bands to come out of the 70s and 80s. If you don’t know them, DEVO is a cult-favorite new wave band that formed in 1973, with their biggest commercial success being their hit single from 1980, “Whip It”. Musically, their inspirations ranged from punk rock, synth-pop, and dance music. The band themselves influenced many music scenes such as alternative and industrial rock, and their satirical, politically charged songwriting and fusion of rock with electronics is still entirely their own. I was ecstatic to learn they were performing a Tiny Desk Concert for NPR, which has consistently been a way for older artists to reach younger demographics who may not have heard of their work originally.
If you haven’t heard of NPR’s Tiny Desk concerts, I’ll be lazy and repeat most of what I wrote for Chaka Khan’s performance earlier this summer: “Tiny Desk Concerts are held in NPR’s headquarters in DC, and all the musicians and equipment must be able to fit behind the desk where NPR’s weekly podcast ‘All Songs Considered’ gets recorded. Everything gets squeezed up to each other, making the concerts more intimate and personal. This emphasizes the music over stage effects and flashier, more unnecessary parts of a regular concert.” Thanks, past me!
DEVO’s current lineup comprises old and new members. Featured are original members Mark Mothersbaugh (vocals, keyboards), Bob Mothersbaugh (vocals, guitar), and Gerald Casale (vocals, bass); as well as newer member Josh Hager (guitar, vocals) and touring drummer Jeff Friedl. The setlist of songs is surprisingly more obscure than what I imagined, with no obvious hits or well-known songs. They played two songs from their debut 1978 studio album, Q: Are We Not Men? A: We Are Devo!, those being “Come Back Jonee” and “Praying Hands”. They also played “Blockhead” from 1980’s Duty Now for the Future, as well as “It Takes a Worried Man”, from the little-seen Neil Young-directed 1982 comedy film Human Highway.
The songs don’t deviate too much from the composition of their studio recordings, but having them performed live gives them a bit of gritty, almost alt-rock edge that reinvigorates them. The Talking Heads-sounding “It Takes a Worried Man” opens the concert, and it feels transported straight out of the 80s new wave era. Mark Mothersbaugh gives a wonderful synth solo, and the band’s inter-playing is tight throughout the entire performance. The original is also great, and a song that I believe could’ve been a radio single if promoted enough. “Blockhead” wasn’t one of my favorites from Duty Now for the Future, but its raw sound works much better when performed live. The focus on harsh, distorted guitars against wiggly electronics is still unique, but it flies higher without the smoother studio production.
“Praying Hands” is an excellent song from their debut, and it’s just as fun and campy live. The previous two songs mostly went straight into one another with short introductions, but here there are some audience interactions and performance art that the band is known for. Mark Mothersbaugh’s performance already sounded like a preacher giving a sermon and having him sing from a megaphone enhances this idea. Towards the end, he went into the audience in character to ask what people were “doing with their hands” instead of praying. It was remarkably odd, but funny, and the music remained stellar. I especially liked Jeff Friedl’s jittery drumming. The closer, “Come Back Jonee”, is an endlessly danceable pastiche of 50s hillbilly rock-n’-roll and another great showcase of the band’s chemistry. It’s jaunty, sounds strange, and made for a killer way to end the concert.
While it may not have the hits that casual fans would hope for, DEVO’s Tiny Desk Concert is a testament to an endlessly talented and underrated rock group that still hasn’t gotten their due.
Indie rock outfit Cloud Cult has just released their LP album Alchemy Creek via the band’s very own Earthology records. Alchemy Creek consists of 11 songs including the beautiful recently-released single “The Universe Woke Up As You”, which can be read about here.
I can’t cover the first song of this album without gushing about its musicality. “Got Your Backpack Open That Backdoor” opens with a beautiful violin solo; rock music elements really shine through in the latter half of the song, as an electric guitar and drums carry the melody. The vocals, provided by Cloud Cult’s showman Craig Minowa, are sandwiched in between amazing instrumentals.
“I Am A Force Field” has a refreshingly techno-like beat. Despite its sci-fi vibe, the lyrics are clearly written as letters to one’s younger self. The song plays into the childlike desire to have superpowers and be invincible. In a more mature perspective, this would be the equivalent of being emotionally resilient and putting up a figurative ‘force field’ to protect oneself from any pain. I absolutely love the reference to Winnie the Pooh in this song– he’s my favorite fictional character of all time!
“Vision In A Field” is intended for those lacking mindfulness. Some people are so overwhelmed with everything that is going on and need to dissociate to a safe space, such as an open field as the song title implies. The song encourages the idea that sometimes it’s okay to run away from it all, especially if your circumstances are deteriorating your mental health.
“One Human Being” again pays tribute to the sci-fi theme this album embodies, yet it is oddly enough the most uniform song of the whole album– with a consistent tone and chord played throughout. The violin riff adds to the lull and calmness of the melody. Lyrics-wise, this song reinforces the fact that Alchemy Creek is an ode to youth. It’s about the desire to go back in time and guide one’s younger self, as diction like “we” or “my kid” refers to one’s inner child.
The meat of this album is “Tonight I Run Away”, a nostalgic song that reminds me greatly of the children’s book “Where the Wild Things Are” by Maurice Sendak. The meaning of the song is in the title: whoever is singing this song is on the run from something. It’s amazingly carefree, in both the melody and lyrics. It is by far my song of the whole album!
“Over And Out” provides a refreshing break from the pure rock elements of this album. The acoustic guitar and harmonica duo give this song a soulful country feel. The lyrics are as if Minowa is talking to someone through a radio and can only say a few words at a time. Out of everything he could say, he chooses to let the receiver know ‘it’ll get better.’ This song does an amazing job of illustrating the emotional pain he is going through.
“Something In Me Is Changing” is where Cloud Cult’s signature rock music makes a comeback. This is a great song to listen to if you are ready for a big change. Minowa, who I am assuming is talking to his younger self once again, contemplates leaving his small hometown for opportunities that are bigger and better– a very relatable desire for young people who are fed up with what their current life has to offer.
And of course, I cannot finish this album review without discussing Cloud Cult’s music video for their melancholy single “As Beautiful As It Hurts”. Our main man Minowa is seen playing a grand piano, illuminated by the sun shining through an open door. He’s rocking back and forth, implying he is hurting and is physically trying to comfort himself. In the next scene, Minowa is outside overlooking a shallow creek; he lets his bare feet touch the clear water. My favorite verse in the song is:
Try to make the most of my life Though I make mistakes all the time Forgive my foolish pride But please know I tried I need to think it’s going to be alright I need to think it’s going to be alright
When Minowa appears back at the piano, his chordophone music is accompanied by a beautiful violin solo at the last minute of the song. Because this video can be watched on YouTube Kids, it is once again reinforced that Cloud Cult makes family-friendly content that everyone can relate to.
“Let It All Out” is highlighted by its distinct, almost ethereal music sequence. I can see the intro being played as background music to many mindful yoga sessions. The violin and accompanying percussion instruments do a wonderful job of evoking an out-of-body experience. The drum beat picks up in the middle of the song, almost as if summoning the only lyrics of the song: “Let it all out. Let it all go all out.” This song is clearly about cathartic release, which is why it is fitting that this song is the longest out of the whole album.
The last song “Different Kind Of Day” perfectly sums up the entirety of Alchemy Creek. It’s self-deprecating, and a little sad, but hopeful and encouraging by the end. As the title implies, Minowa is betting on a ‘different kind of day.’ And as the music picks up, we as listeners all hope that today will be a better day. I hope you all enjoy the album as much as I did!
Confirmed Cloud Cult US Headline Tour Dates & Festivals: August 9 @ People Festival in Yuba, WI August 28 @ The Sinclair in Boston, MA August 29 @ Le Poisson Rouge in New York, NY (Almost Sold-Out!) August 30 @ World Café Live in Philadelphia, PA August 31 @ Summer Entertainment Series in Fairfax, VA September 12 @ Neptune Theatre in Seattle, WA September 13 @ Aladdin Theater in Portland, OR September 27 @ Palace Theater in St. Paul, MN September 28 @ Palace Theater in St. Paul, MN (Sold-Out!) Alchemy Creek Tour continues in January including Nashville, Atlanta, Durham, Charleston, & more
There’s nothing like a good alternative rock release, and the self-titled debut EP from Soft No fits that bill entirely perfectly. Soft No came out only last week from the Philly-based band, made up of childhood friends Scott Signorino (guitar), Allie Lannutti (vocals, bass), Austin Lotz (guitar), Jon Martello (drums), and Kate Lowe (keyboard/synth). It features five tracks that were all produced by the band with Mark Watter, who’s done audio engineering work for both Alex G and Hop Along. Soft No has only been together for a little over a year now, with their sound still somewhat loose, with inspirations from several alt-rock subgenres and local Philly music scenes. This includes modern indie rock, 90s grunge, emo, metal, and most prominently – a lot of noisy shoegaze.
All of Soft No’s tracks are well-crafted pieces of noisy, dense, and heavy psychedelia that persistently grab your attention, even if they may lack distinction from each other. For a release that’s only five songs and 16 minutes long, this isn’t necessarily a bad thing. It functions more as a quick introduction to the band and their talents as opposed to an album that’s more chronological and focused as a full experience. Each track is wonderfully noisy and drenched in layers of instruments and textures. The opener “Keeping Tabs” earns comparison to classic noise rock acts like My Bloody Valentine, with the guitar playing and distortion being consistently impeccable throughout the album. Most of the other songs follow a similar formula with minor differences, such as touches of grunge on “Take Your Word”, metal on “Descender”, and an uptempo garage/punk sound on “Melting Timelines”. The latter tracks are easily my favorites, being just as abrasive as well as enjoyable and fun to rock out to. With a lot of shoegaze and noise rock, the vocals tend to blend into the background, but it feels more intentional here as they function more like an instrument in themselves. I also think the drumming and bass playing are key to many of these songs, as they provide a dynamic rhythm that keeps the songs from becoming too focused on atmosphere. Still, I’d like to hear more of the vocals and lyrics in later releases, even if they’re not what the band currently chooses to emphasize.
Soft No’s debut EP is instantly recommendable to fans of abrasive, heavy alt-rock and shoegaze, and really impressed me as I listened to it. The band’s tight chemistry is center-stage throughout, and I hope they keep working together when creating a more focused LP in the future.
