by ImperfectFifth | Sep 21, 2020 | albums, review
by: leigha stuiso
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.
Sit back, relax and dive deep into the new album.
by ImperfectFifth | Aug 11, 2020 | Uncategorized
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?
by Katy Mombourquette | Jul 10, 2020 | albums, review
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 Local Nomad. The EP is part of Desmond’s project, also called Local Nomad. He gives insight into the dichotomous name by saying “Local Nomad 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 Local Nomad was born as a snapshot of life during this unstable time.
While Local Nomad 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 Local Nomad itself, and the crunch between their conflicting qualities make them ever-so satisfying to listen to.
There’s a lot of potential in Local Nomad 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!
by Katy Mombourquette | Jun 18, 2020 | singles, wolf tracks
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.
by Katy Mombourquette | Jun 12, 2020 | singles, wolf tracks
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.
Keep up with Grizzly Coast here.
by Madi Toman | Mar 16, 2020 | singles, wolf tracks
Former singer/songwriter of Austin’s Black Forest Fire, Jay Tonne, has a new indie project, aptly named Tonne. Tonne has just released his new single “Catalina” from his upcoming four song EP, Bridey Murphy.
Post Black Forest Fire, Jay moved to Denver and pursued an education, and despite having little free time and no band, continued to make music. When he attempted to write new material he kept coming back to the sounds and melodies that became the EP. He recorded the four-song work at Fort Collins’ own The Blasting Room studio and worked with producer Jason Livermore. He recruited new bandmates and their first show as Bridey Murphy will correspond to the release of the EP this spring.
The song’s sound is a blast from the past, giving off strong 90’s indie rock vibes. The melodic track is poppy in that somber way that was characteristic of the time. Tonne’s vocals are light and sweet but with an underlying layer of attitude and earnestness that provides a nice contrast to the guitar-driven instrumentals.
“Catalina” is out everywhere now and Bridey Murphy is set to release this spring.
by Madi Toman | Mar 11, 2020 | albums, review
Four-piece indie rock outfit The Districts have just released their new album, You Know I’m Not Going Anywhere, the album that almost never happened.
After nearly 200 shows and two years of touring in support of their 2017 effort, Popular Manipulations, the band found themselves both professionally and personally exhausted. And, with the shadow of needing to create a new album looming over them, the Districts started questioning everything.
In a press release, front man Rob Grote said “It felt like much of my world had reached such a pitch that all I could do was try to tune it out. I felt really uncertain about the future of the band and super detached from much of what I used to identify with, on a personal level and with our music. I was thinking, ‘Do I want to keep doing music?’ ‘Do I want to keep doing it in this context?”. So Grote did what any musician having an existential crisis would do; he holed himself up in his bedroom and began writing, not necessarily for The Districts, but to get excited about creating again. It was here that he found the space and freedom he needed to be creative again. He ended up with a batch of 32 songs, and while he never intended them for The Districts, when he finally showed them to the band, they loved them. Those 32 were cut to 11, and thus You Know I’m Not Going Anywhere was born.
Album opener “”My Only Ghost” is an ode to secrets and memories with ones we’ve lost. The synth almost overpowers the vocals, (which have a Bon Iver kind of feel) but it works, giving the track a lo-fi feel. Between this, echo-y clapping, and thickly layered shout-y vocals, the song feels almost like chilling cult-like chant.
“Hey Jo” is the lead single from the album and the definite standout. A circus of sound, this piece is thickly textured, but the song is incredibly well put together. Credit to producer Dave Fridmann is owed here, whose mix expertly layered the many elements into a cohesive whole. This track floats on plucked guitars and airy vocals before kicking into a fiery chorus with Grote repeating “Fuck my head.”
“Cheap Regrets”, is an electrifying disco number on the surface, but the lyrical content dives into nihilism and the shadows of consciousness that lurk in our minds. This one has all the bright and shiny qualities that we love in a dance number while letting everyone listening still feel angsty as hell. Of the song, Grote says; “This song is a criticism of the divisions that result from a self-oriented society and an attempt to transcend them, while simultaneously being an example of these very ideas. The song is the statue to the self; it is about itself.”
Upbeat and full of glittery guitar, “Velour and Velcro” is a love letter to the unknown future we’re all rocketing towards.“Changing” ebbs and flows, enjoying sweet, quiet moments of reflection and questioning before launching into electrifying choruses. “Descend” is a deceptively chipper folksy string plucked number that deals with death and separation.
Closer “4th of July” strips it back and feels sweetly reflective. Hand picked guitar and sliding whistling ride over Grote’s breathy and thoughtful vocals. It feels like a cross-country road trip, and not just because he sings about his own to Sante Fe. It’s a nice full circle moment of peace and closure.
You Know I’m Not Going Anywhere is out everywhere on March 13th via Fat Possum.
by Madi Toman | Mar 11, 2020 | albums, review
Nordic metal rockers The Goners are a group that rose from the ashes of former rock bands Salem Pot and Yavan, and they have now come together to form a new group and release a 10 track album entitled Good Mourning. Think fuzz-drenched 60’s garage meets 70’s doom, but add a hearty dose of punk rock, and you’ve got The Goners.
For their debut, The Goners cast off the influence and sounds of their previous bands and manage to create a new vein of their own in a post-rock world. They adopt a raw approach and aren’t afraid to break hard rock and metal molds, and it pays off.
Album opener “Are You Gone Yet?” is a rich track heavy with classic metal guitar riffing. This one holds a clear influence of 70’s rock style. The Goners then slow things down a bit for “High, Low and Never In Between”, a vibrant punk groove. “World of Decay” might deceive listeners in the first chunk as it initially feels indie rock, but it moves back into The Goners sweet spot of classic hard rock. This track also features cool jiving guitar on the refrains. “Evil (Is Not Enough)” exists in a similar vein of rhythm. Brash cut “The Sickening” is a chaos-rich 2 minute energy blast, heavy with distortion.
70’s hard rock prevails again with “Down Out”. This one rocks out with clanging grooves and ever-circling bridges and even throws off expectations by adding in horns in the second half before ending with an Iron Maiden-style rave out. “You Better Run” is a classic pounding head banger with a twist of the delightfully weird. This one features a nice dose of eccentric synth.
“Dead in the Saddle”, a Dead Moon cover, is essentially a sinister fun 5 minute riff-off. The track is intricate and catchy and (of course) laden with reverb-laced guitars. The shouty vocals and hand-clap inviting rhythm makes this closing cover a noteworthy addition to the album.
Good Mourning will be available everywhere on March 13th, 2020 via RidingEasy Records. Pre-order is available here.
by Meredith Schneider | Nov 19, 2019 | premieres, singles, wolf tracks
San Francisco-based indie rock outfit Bells Rang is ramping up to release their new single “Tone Poem” on November 22nd. But we’re jumping the gun (so to say) to bring you the exclusive premiere first! Smooth, assertive, bluesy. This is a soundscape we can get on board with, and we’re certain you’ll get lost in the whirring guitar and reverb the way we have. Check it out below, and let us know your thoughts on Facebook!
Upcoming Shows
- November 22nd // San Francisco, CA // Amnesia
- December 7th // Oakland, CA // Elbo Room
- January 17th // Santa Cruz, CA // Blue Lagoon
- February 7th // San Francisco, CA // Amado’s
Keep up with Bells Rang here.
