Santa Cruz-based indie folk artist Joe Kaplow has been digging into a musician’s life on the road. His latest single – “Allison” – which finds its premiere right here, right now, was actually inspired by a woman he met on his adventures in Baltimore. Their meeting sparked a whirlwind romance, detailed in this gorgeous, delicate new track. “Allison” is introspective, allowing its listener to go on this specific audible adventure with Kaplow, as well as really giving them a post-relationship evaluation to rival their own. Driven by acoustic guitar, the percussion layers in slowly and is intricate and beautiful in its existence.
Indie pop-rock collective Roaming Herds of Buffalo releases their new album Mountain Rabbit today, and we’re blown away by the way the entire collection induces an energy field no matter what setting you listen to it in. Beginning with the fast paced “Does NOT Exist”, second track “Judgment Day” brings the pace down, but not the crashing of cymbals nor the hard guitar chords that we’ve come to know and love of this band. By “Into The Void”, we’re pleased to realize the vocal nods to the 60s and 70s will be a mainstay, indulging in the soft and glittering instrumentals of the third track.
This album truly leads you on an audible journey, a storyline attached at every turn. It’s colorful and interesting, bouncing from topic to topic while treating its listener to a soundscape unlike most others. The change of tempo after the intro in “Ray Gun” is sublime, the throwback punk feels of “Brain Stem!” really rev you up, and the title track feels like its from another world. “Dressed Like Sheep” brings it to a simpler acoustic sound, allowing the album to round out in a more delicate and light-hearted way. But the subject matter is another thing altogether…
Acclaimed singer/songwriter Greg Holden made his return to New York City on September 23rd. Opening for Butch Walker, who produced his single, “On The Run,” Holden’s performance was like a homecoming. It’s a rare thing for an opener, especially one singularly armed with an acoustic guitar, to hush Irving Plaza from front to back, but Holden managed to wield this uncanny power with effortless ability.
When Holden first emerged from the side of the stage, the crowd’s vigorous, impassioned applause was astonishing. He strolled out with an unassuming, quiet confidence and began strumming as the audience quickly fell silent. As his 7-song set kicked off, Holden was oftentimes chatty between songs, lending an affable familiarity with a room of people whom he’d never met, treating them like valued friends. Constantly encouraging the crowd to sing and clap during parts of his songs, Holden’s set was interactive, a joint, group effort.
On “Home,” Holden issued a command for the audience to stop their feet in time to the beat. In turn, he received an eager assent as the stomps echoed throughout the venue and shook the floor. Holden’s newest track, “The Power Shift,” was prefaced by a quick lament, noting Donald Trump was currently in the city. The audience loudly booed, prompting Holden to launch into this political song, calling others to recognize the link between power and inequality, and one that was more than well-received in New York City.
“Boys In The Streets,” arguably Holden’s most moving song, showcases his lyrical prowess, one that is omnipresent throughout his work. Telling the story of a father struggling with his son’s sexuality, it’s only on his deathbed that he makes a confession: his intolerance was due to what he was taught growing up. He finally understands and encourages his son to be himself. Holden’s live performance evoked the pathos and pain of both son and father, and cheers went through the crowd as Holden reached the uplifting conclusion.
Lastly, Holden performed “Hold On Tight,” a triumphant, empowering song that bursts into a big, gleeful chorus as he sang an urgent warning: “don’t take your life for granted.”
It was an awe-inspiring set from a seasoned musician, one who will no doubt be back to New York City in the future.
If you have not witnessed the glory that is Thunderpussy – live or otherwise – it’s time to wake up. We had a chance to glimpse their live performance tactics at this year’s Sasquatch Music Festival, and we were absolutely blown away as they upstaged the other performances going on around them. Seattle-based, this all-female band – expertly comprised of Molly Sides (Vocals), Whitney Petty (Guitar), Leah Julius (Bass), and Ruby Dunphy (Drums) – is taking their chops to the road, giving North America a taste of their high energy, brilliantly colored stage presence and gorgeous rock music. We’re about to join the party at Riot Room on Tuesday night, and we got the unique experience of asking guitar extraordinaire Whitney Petty some questions leading up to the tour. Check out the brief moment we got, as she explained finding her musical soulmate and creating tantalizing melodies.
Let’s get back to the basics. What was the first song or album you ever remember listening to, and do you think it has any impact on who you are as a performer today?
When I was 12 I bought my first Aerosmith CD, Nine Lives, it had just come out. I still know every word and nuance of each song on that record. I am still totally in love with Steven Tyler. Aerosmith are a huge influence on me.
While you’re busy “piercing the walls of Valhalla”, does anything about your conception story strike you as amazing? Was it a meet cute? Tell us about your beginnings!
Well, meeting Molly was an incredible event in my life. It’s a singular feeling when you meet your soulmate. And like I said, I love Aerosmith. I had always hoped that one day I meet my musical accomplice, like the Steven to my Joe. That’s Molly.
What is the recording process like?
It depends on the song, but there is usually always a melody first. Sometimes that melody is on the guitar, and sometimes it is with a lyric. Each song kind of has its own DNA.
You put out your s/t EP in May, and it’s absolutely captivating. Any personal or behind the scenes anecdotes from the recording process you’d like to share?
Working with Sylvia was a dream. Everyone learned so much about the process from her everyday. We should have had a film crew with us in the ‘Real World Ashland house’, as we called it. One of the highlights was recording Young and Pure very live and very stoned (as per Sylvia’s request) in the dark at the very end of the session. There is some magic on that track!
Anyone have a favorite song off of that EP, or something you prefer to perform?
There isn’t any song on there that we don’t like to perform, but some are more lively than others! Velvet Noose is always thrilling, and we all love to play Torpedo. With three distinct parts it’s always a journey…
We got the unique pleasure of witnessing you perform at Sasquatch earlier this year. How does festival life compare to your regular touring life? Is there something you prefer or dislike more?
CATERING. Is what’s up. Festivals are rad!! We love getting to meet artists and see big shows up close and personal.
And. Your OUTFITS. Are you always that bedazzled? What inspired that choice for Sasquatch? (We are in love.)
Yes!!! We love the glam;) Shout out to Pakio Galore out of Seattle, who makes a lot of our costumes. Molly is very instrumental in the vision of how we present ourselves onstage. And who doesn’t love a good color theme?!
When you need time to regroup – to conquer writer’s block or find your new sound or take a minute – where do you go? What’s your safe haven?
Molly and I love nature. We go to the mountains fairly often, in Idaho. And I love Kauai, when I can get there. But there is no place like our native Seattle!!!
Any fun pre-performance rituals?
Drink the blood of virgins, sacrifice a goat, that kind of thing…
Your rider list is probably pretty modest compared to, say, J.Lo. But if you could have anything on your rider list, what would you do?
Kittens and puppies in the green room, obv.
Something a little off-kilter… Do you believe in intuition and. the power of psychics? Why or why not?
Of course. I believe in the collective unconscious and synchronicity. I believe in Karma. I think there is a subtlety to life and events that many people perceive and many miss.
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Don’t forget to head out to Riot Room on the 16th to enjoy the magic of Thunderpussy’s live performance, and keep up with them here.
Madison brings the heavy, badass vibes with new track “Work It”. A track about female empowerment, this song really does induce a powerful feeling, deep, raspy vocals and a quick staccato to each word. The heavy guitar really makes this feel like a runway track, and we’re all over that feeling. Blast this while prepping for Halloween and all of the spectacular autumn adventures you’re about to go on!
We’re soaking up the sounds of power duo Vargas & Lagola this week. With a fresh single just out, it’s refreshing to see the pair take a new direction with their style of production. Taking a move away from traditional dance music and venturing into the acoustic scene, they deliver “Selfish.”
Without losing any of their previous appeal, Vargas & Lagola have created the searching “Selfish” with 80s synths, nostalgic (almost Fleetwood Mac-esque) guitar riffs and a singalong chorus. Just one listen is all it takes to get hooked on this one.
We’ve had a blissful courtship with indie rock/folk duo Seasaw since before Imperfect Fifth ever existed. Having had the opportunity to review an album of theirs at a previous publication, my mailbox experienced an unexpected and happy surprise when they shipped me a vinyl copy of said album with a personalized thank you note. The music industry is incredibly rewarding in most ways, but to get a hand written note is rather rare anymore. That particular memory stayed with me, and then when I got a chance to peep the material for their new album Big Dogs, I was floored.
Lucky for me, I got the unique opportunity to meet up with Meg and Eve on a balmy September day in Kansas City while they were on tour. We sat down while they tried some tacos from Mission Taco, and chatted a bit about that new album and their progression as artists. Check out the words below!
What’s the first song or record you remember hearing, and does it have any bearing on who you are as a performer today?
Eve: The first thing I probably listened to would be the Beach Boys because my dad is a huge Beach Boys fan. He would make me mix tapes of the Beach Boys that I would play on my tiny kid cassette tape player. He made me lots and lots of music like that. And we would listen to it all the time in the car too when I would drive around with my dad. I don’t know that anyone could live up to the amazing harmonies and chord progression that the Beach Boys produced, but of course it’s always in the back of my mind to choose something even a fraction of the beauty that they were able to create sonically. They did such cool things in the studio too as their albums progressed.
My dad also made me a mix tape that had The Kinks and included “Lola”, which is one of my all-time favorite songs. As you know, it’s a song that has a very adult theme. But I brought it in for show and tell in 2nd grade and I think the teacher called my parents and was like, “Did you know that Eve** brought ‘Lola’ in?” Of course they loved it. It’s an amazing song.
Meg: I remember listening to Billy Joel’s The Stranger a lot with my dad and dancing around the living room to that. My mom would always play Carole King’s Tapestry. I was a dancer when I was little, so I would put those two songs on and kind of go for it. I don’t think they shaped anything besides the fact that I still listen to those records today.
My parents didn’t listen to a lot of music. Eve went to a lot of concerts growing up, but I didn’t really. I think the first concert I went to was when I was in high school with my brother. Music was there. I played instruments and stuff and I sang here and there. But I really remember Billy Joel and I still listen to it all the time. I have my dad’s copy of The Stranger vinyl. They would all write their social security numbers on their records so they were safe, but that was when social security numbers weren’t as protected so now it’s blacked out on the copy of the vinyl. In hindsight, a pretty poor choice but kind of cool.
The inspiration behind the title track from Big Dogs – and much of the album – was brought on when the duo played a festival slot recently. A band member from the act playing after them jumped on stage while they were wrapping up their equipment and harassed them about moving too slowly. “If you want to play with the big dogs, you need to get the fuck off the stage,” he yelled at them. This caused a verbal altercation, and the ladies didn’t have security or stagehands to help them out. The power imbalance was notable, and bred some of their most alluring new work.
So from the last album to this one, there is a little more edge, and that’s for a variety of reasons including subject matter. When the – actually heartbreaking – event happened that inspired “Big Dogs”, did you dive in and write a song, or did it take a second before you were able to process and create material around it?
Meg: It was mostly me that the interaction happened with, but Eve came to bat for me and we both had an interaction with the person. So we had talked about it together and had brainstormed a list of all of the things that were funny because we wanted to be able to process it somehow. So we wrote some of the funny things that were said — some of the words in the song are actual direct quotes. Then I would say it was maybe a month later that I sat down and hammered it out and wrote “Big Dogs”.
Some songs take me a long time to write, but that one kind of just poured out really fast. It was done within an hour or two and then Eve helped me make some revisions. It was pretty quick that it happened after the event.
Eve: So we were going to name the album Big Dogs before the song and then Meg wrote the song so we were like, “Oh, great. That’s even better.”
So when the theme of the music video for that song came up, how did you guys decide to go tongue-in-cheek?
Eve: I came up with the idea just after hearing what Meg had written. The image of a dog is kind of tricky in a song because of the language involved and we think the phrase is funny. So, we were trying to figure out a delicate way to be kind of cutting with the idea of what a big dog is. Because it is someone who is kind of a sad person who doesn’t have self confidence and is a bully and has to call themselves that to feel important. So we wanted to portray that in a more artistic and creative way so there wasn’t just dogs on everything.
It came about after trying to be very thoughtful about how to portray that idea. And then I came up with the invisible dog and it fits. We a kind of tongue-in-cheek and sarcastic with everything we do, and I like how it makes you have to think about it a little harder so it’s not as obvious. Even the front cover to the back cover forces the listener to wonder who the Big Dogs are. Is it the women on the cover or the image of the dog on the back? I like how it makes people try to figure it out and dig a little deeper to understand the meaning. That’s wha we did with the video too.
How did your recording process differ this time than with the last album?
Eve: There’s definitely a big difference. With the last album we did everything ourselves. I engineered everything so I couldn’t put my whole mind into the playing piece of it because there was still that hindrance of about 10% brain energy. This time we had a friend engineer the whole thing for us so we really got to go all-in. We also spent a lot of time demoing the songs. It was probably about a month before we started recording so we were able to go through many iterations of the pieces to get them to a more full state. We didn’t have as much time to do that with the last record. I think that really helped inspired a lot of the full and different sounds you hear. We were able to have fun with it.
As for your live performance, you guys do such a wonderful job. Was that something that just came naturally to you? How did your performance style come to be?
Eve: Well, we’ve been working on our presentation for as long as we’ve been recording. We’d start sitting on two chairs and Meg would play the bongos and I would quietly cower near the guitar. So we just had to grow into the confidence to do things that are more thoughtfully laid out for the audience’s sake and for the flow of the music that we’re performing. So there is a lot of thought that goes behind the flow of what we’re doing. We’re constantly tweaking things and trying to make it better because it’s just the two of us in the moment so anything can go right or wrong and throw something off. So there’s a lot of energy in our performances because we can only rely on each other to make the music. So I think that pressure gives us the reason to act the way we do.
There’s a lot of thought that goes into our social media and the esthetic on our stage and the esthetic in our album and the fact that it’s blue. Every little piece has been made cohesive to grow into this more thought out and developed product that you’re going to hear on this album, all the way from the recorded version to the final piece to the performance.
In these 8 years that we’ve been together, we’ve been stepping towards something we can stand behind. Each piece is more 100% than we could in the past because we just didn’t have the experience at that time.
When you were here in June, did you get a chance to experience KC at all? I know it was a pretty quick trip.
Eve: No, and there’s a lot to see. It looks beautiful and we need a tour guide to show us the inside scoop. (wink)
Is there anything specific that you have planned for the rest of this tour for your off time?
Meg: We only have like one off day but it will be in D.C. so we’re hoping to hit some art museums. We’re meeting some friends in Baltimore so that’s what we will be doing as well. I think we are going to the restaurant at the top of The Revival there too. This tour is going to be a lot of fun.
Los Angeles-based folk singer/songwriter Michelle Lewis might be revving up to release her full length All That’s Left on October 19th, but while we’re waiting around for that big day (2 more weeks!), we’ve got the exclusive premiere of her new track “How” to share with you. A slowly layering song, gorgeous piano operates as the spine to it all, branches of sound coming off of it and blending in with Lewis’ celestial sounding, twang-tinged vocals. A delicate reaction to a very introspective question, Michelle Lewis takes us on a journey with “How” that will leave us questioning our own paths in life as well.
Explains Lewis of the track, “‘How‘ ended up being one of my favorite tracks on the album. Vocally, it’s a different kind of song than I’ve done before. I had written it on electric guitar, but knew I wanted piano to be the lead instrument. I’m really happy about how it all came together in the recording.”
Los Angeles-based indie pop duo slenderbodies keeps stocking us with amazing new tracks to enjoy, this time with new single “The One”. Slow, textured guitar chords own the soundscape as instrumentals and light as a feather vocals intricately layer over it. It’s one of our favorites of the season so far, make it yours too!
