Sophia Nadia’s admired reputation as an “unapologetic do-er” comes from her remarkable dedication to her career. Her unceasing penchant for touring beginning at only 16 years old and her courage to move to Chicago not long after shows that her commitment to her work knows no bounds. In the moments of time when she’s not touring, Sophia is fervently writing and recording her next release, each one furthering her excellent orchestration skills and exploring pop and rock genres. Her Chicago-based project Cold Beaches dropped their new album Drifter today, a work of art that is as limitless as it is intimate. With a newly founded voice of empowerment for Nadia that makes its appearance in the album, Drifter is a vivacious, live recorded movement away from the band’s earlier lo-fi bedroom pop sound towards psychedelic rock ‘n roll. Some influences to keep an ear out for for are the plain-spoken lyrical integrity of 90’s Pavement, the hard garage rock sound of Ty Segal, and the hypnotic indie surf pop of La Femme. While Drifter deals with a variety of feelings, from the losses of relationships to the optimism of independence from depression and anxiety, it’s also an emotional blank page that any listener can fill with their own feelings and find comfort in whatever way they may need it. Nadia hopes that people find solace in her musical offering, especially those who are marginalized in the music industry.
Drifter must get its name from its transient tracks that freely move between grungy rock and dreamy psychedelic pop. Certain tracks drift closer to one side or the other, however. “Ride”, “Somebody”, “Band Boy”, “Boy, You’re Evil”, and “Grief Stricken Blues” all stay more or less tethered to the earth with their grounding drums and substantial guitar riffs.
“Ride” is twangy western guitar meets energetic girl-power pop, with its uncomplicated lyrics and matter-of-fact vocals. The song follows a narrative about stealing a “villain’s motorcycle.” Though it’s unclear whether it’s showing Nadia’s heartbreak or her ruthless besmirch of this man, this track is a poetic metaphor for giving deserving “villains” in the scene what’s coming to them. The chromatic descending power chords and her repeated vocals create revving instrumentals that show off Nadia’s orchestration skills, setting a tone for the album that says it’s going to be just as much about the instruments as the vocals. “Somebody” reveals a similarly manic and merciless side of Nadia. In the music video, her motel stay is interrupted by a troubling phone call and her night turns into a nightmare filled with paranoia as she barricades her motel door; protecting herself from an evil man trying to steal her heart. It’s brief, suspenseful, and incredibly fast-moving with fuzzy guitar riffs and straightforward drums and bass that are a manifestation of the true terror and disgust Nadia has towards anyone who may try to take advantage of her. The creepiness that pervades this track is enhanced by the whispered vocals– even more so with headphones.
“Band Boy” does feel a lot like psychedelic pop, but the strength of the beat and chromatic guitar overpowers Nadia’s muted vocals and the jazzy chords. The chorus is the epitome of pop, from its bouncy beat to the high vocal line, and even the word “bubblegum” finds its way into the lyrics. “Boy You’re Evil” also has dampened vocals and a full-bodied chorus, but the rock-centered drums and the brightly toned guitar are there to keep the track from drifting too far. “Grief Stricken Blues” uses major 7th chords halfway through the first verse, but they’re bright and thick in texture. The opening guitar riff is concrete, and once the bass and drums come in it gains that bit of grit that comes with blues-rock, but it somehow feels soothing rather than edgy. As tangible as the verses are, however, the chorus can’t help but detach with dreamy guitars that bring an element of sonic euphoria. The opening guitar riff persists into the next verse and the outro, and by the end of the song it’s comforting nature makes sense as the familiarity of its obstinacy feels like an old friend.
While the pleasant haze that falls on “Grief Stricken Blues” can feel quite salient at times, “Problems & Heartache (I Got Them)”, “Love Me”, and “Go Easy On Me” take it to a new level. These kaleidoscopic tracks are otherworldly in their instrumentation, once again showing Nadia’s aptitude for composition. The dream-pop synth chords, reverberating guitars and gentle, crooning vocals in “Problems & Heartache (I Got Them)” seem to bleed into each other, creating an otherworldly experience. The lyrics are vulnerable, transporting the listener to a place where the music– and Nadia’s feelings– are intricate, yet succinct. Touches of dissonant chords and notes add that bit of pain that is an inevitable part of opening up. When you listen to this one, close your eyes and let it envelop you. Feel the celestial surprises crash into one another. “Love Me” definitely leans towards soft rock with the prominence of the bass and drums, but after the initial pining solo bassline, a wave of illusory musical nostalgia crashes into you. Nadia’s misty, honest vocals sing “Love Me” on top of jazzy chords, the flavour of which is continued by an apt sax solo that floats in after the chorus. The ending track “Go Easy On Me” begins with a distorted organ-like part that creates a feeling of melancholia as Nadia sings “go easy on me” on a melody that embodies poignancy, again using discordant notes. Her singing is kept in place by the drums, but it’s on the verge of floating away, like a helium-filled balloon loosely fixed in a child’s grasp. The woodwinds in the instrumental interlude have the beauty of a whole orchestra and are followed by a sharp guitar solo that tries to cut through the magic but can’t quite. Sure enough, by the end of the track, all the music has floated away.
All the songs so far have explored the line that separates garage rock from psychedelic pop, and have dabbled on either side, but Nadia also offers two tracks that represent the poles of illusion and reality. The muted vocals and folksy, slightly out of tune acoustic guitar makes “SGIT” sound removed, like a dream or a passing thought. The lyrics are sad, “I hate myself and everybody else,” but perhaps hopeful as well, “I should stick around.” “I Miss You So So Much, I Really Do” isn’t concrete in terms of its music, the piano background is as tender and gentle as it is passionate and vastly resonant. Instead of a vocal line, however, there is a voice recording that sounds like it could be taken from a voicemail. It’s hard to make out much of what the voice is saying, most of the words are lost in the waves of ambient piano, but what does come through is the line “I really really really do miss you, I really do. I really really miss you… a lot.” It’s the intimacy and the honesty that pours out of this recording that makes this one-minute track the most tangible of all.
There is a lot going on in Drifter, but there are certain qualities that make it stand out as an exceptional piece of work. Its transitional nature that comes from Cold Beaches’ development into a more polished sound calls to mind ideas of rebirth and reinvention, something that is not only attractive for the album but builds intrigue for the band’s future. Each song has oodles of quirks to listen for, allowing you to listen to them on repeat without fear of them growing tired. Despite the fact that Drifter’s tracks are incredibly varied in sound, they have this unifying tone that to them that sounds like 9 pm in the middle of summer: warm, light, and seemingly too good to be true. Most of all, however, Drifter is dripping with potential, and I for one am excited to see what new heights Cold Beaches will undoubtedly reach in the future.
Avant-pop temptress Alex Lilly’s single “Terrible Person” is a pulsating, mysterious gem that plays with subtlety both in the music and lyrics. The track is as elusive as Lilly herself, having been a part of several groups throughout her career, including the Buddhist punk band Zero Dezire, the harmonic quartet the Living Sisters, and touring with names like Lorde, Beck, and the bird and the bee. She characterizes her music as “sexy psychological thrillers,” drawing the description from her honeyed, suspicious tunes. “Terrible Person” starts out as one might expect, with Lilly singing “that would make you a really really terrible person. and make me the dumb one for having loved you,” implying a sense of clarity and empowerment. But the intricacies of the situation are revealed in a later verse when she sings “or wait am i just a really really terrible person just like you so i deserve you, come back,” showing that it’s never as simple as the earlier line may suggest. Behind her words is a muted beat that seems like it’s accelerating, and a perpetually rising melody which works together to create an understated feeling of urgency. Her voice rings out like a siren, compelling her listeners with off-kilter melody lines and interesting vocal inflections. Her last words are overtaken with distortion and the music embodies a bit of harshness to drive the message home.
Explains Lilly of the track:
If you’re like me, then you dwell on your breakup and wonder who was actually the guilty party in the relationship which is what ‘Terrible Person’ is about. You break up and then you look back and toss the blame around until you get exhausted. I came home one night drunk and angry, thinking about how my ex had screwed me over. But then I realized that I sucked too and I couldn’t decide who sucked more so I wrote these lyrics to help me decide. This was the last song we recorded. In fact I had to do it from my home studio and Barbara (Gruska) produced it from hers. The quarantine had just started. Barb was in constant contact with a family member who could not afford to get sick. I sent her my vocals and that arpeggiated track. And she did her magic.
Chicago singer-songwriter Anna Holmquist formed Ester back in 2017 with the help of friends and collaborators, and now they’re about to release their first full-band LP, Turn Around. The record is a meditation both on major life changes and looking back at the past to help you understand your own growth, and Holmquist, possessing a rare vein of talent in both songwriting and singing, expertly guides their band through this task.
Most of the songs were written within the 6 month window around the beginning of Holmquist’s Saturn Return, which is psychologically viewed as the time that one reaches full adulthood and is faced (often for the first time) with adult challenges and responsibilities. The album’s exploration of adulthood is vulnerable and introspective, presenting a lot of moments for personal reflection.
Turn Around pieces together folk and rock elements around the centerpiece of the album: Holmquist’s honest and confessional lyricism and sensitive and emotional vocals. The songs are well-crafted, with the words written just as artful and important as the music.
“Little Shadow” is draped in haunting strings and gently plucked guitar. The ominous track builds to great heights with Holmquist’s quivering voice pulling mysterious melodies across the night sky.
“Holy Daze” feels like a float down a lazy river, with warm, slow bass coating the track in thick golden honey. Holmquist shows off her control and flexibility, easily flipping into their head voice before landing skillfully back with both feet on the ground. They sprinkle themself over the calm and breezy instrumentation like a colorful candy coating before tapping into their stock of emotionally-charged vocals, the intensity of their feeling evident to even the most casual listener.
“John’s Car” starts off sounding like a simple yet ominous indie-pop track, but Holmquist stuns, expertly building the song’s intensity with precise and attentive skill before it naturally peaks in a cathartic explosion of emotion. Holmquist is not only a powerhouse, but one who is smart enough to form important moments by holding back just the right amount before laying all of her cards on the table and damn, it’s a good hand.
“Thirsty” is reminiscent of a modern Fleetwood Mac while tracks like “When You Wake” channel the power and authority of Florence Welch. “Wildflower” is a breath of fresh air, providing even the most stressed out soul with a breath of fresh country air.
We started our last day at Bonnaroo sleeping in a little bit more than usual. We heard a pop up performance amongst the trees at an ungodly hour in the morning, and then dozed until it was time to wander in and catch Kikagaku Moyo‘s set. The Japanese psych band was absolutely mesmerizing, and we believe you catch a small bit of that feeling from the photos alone.
Indiana-based self-proclaimed “psychedelic Motown” act Diane Coffee released their full-length Internet Arms today, and we’re swooning. From the very first, glittering notes of “Not Ready To Go”, we’re drawn in, carrying us through the slightly quicker tempo of “Like A Child Does” and into the slowdown of instrumental intro “The Look”. The fourth track remains at that slow pace, landing us in a neon trance while “Stuck In Your Saturday Night”.
It’s at this point that we recognize not only Diane Coffee’s palpable influence from The King of Pop, but there is a tad bit of Chromeo peeking through that seems to amplify the lyrics. While “Simulation” is one of our favorite tracks on the album, the title track definitely takes a more disco-like approach to its soundscape. “War” is another quick, swirling instrumental, leading into “Doubt”, which seems to be the most modern, intricate track of the bunch so far and a perfect staple for your latest playlist.
“Work It” is a new anthem for those reaching for their dreams, perfectly displaying the vocal range and attitude of this act. And while “Good Luck” slows it all down again, it is with “Lights Off” that we go deeper sonically, swapping the 80s synth for a more modern, dance hall beat. “Turn On” is a short instrumental, and sounds like you’re turning on a pretty complicated machine or robot. Though we agree with the inclusion of this quick transition, we think it’s better placed elsewhere – perhaps at the very beginning of the album -, as it then leads into the very slow, gorgeous “Company Man”. Once again, this track could easily have been placed in any one of our favorite 80’s movies, and therefore is the perfect way to round out such a wonderfully influenced and lyrically nuanced album.
Southern California-based psych/folk musician Elizabeth le Fey has been making beautiful strides with her music under the moniker Globelamp. We’ve been bedazzled by her presence ever since 2014’s Star Dust entered our lives, and watching that progression has been an absolute pleasure over the years. Luckily enough, we got a few minutes to speak with the masterful le Fey about her music, and we also got a few other fun questions in.
Romantic Cancer is your most stripped down album to date, why did you decide on this for your third release?
I wanted to finally put an album out that sounded closer to how I sound live. When I perform live, I play alone. Although I love experimenting in the recording studio, I thought it would be good for Globelamp to have an album in my discography that was true to what the roots were of my music making – guitar, piano, and me.
You recorded Romantic Cancer in Bohemesphere Studios not far from Woodstock, which is a name synonymous with music. Did any element of Woodstock appear in your music?
Yes I think the elements of Woodstock were in my music even before I went there so it was extra cool to be inspired by the actual location of Upstate NY. Growing up, there is so much mythology around Woodstock that if you are a musician, you probably have romanticized it.
Your new album focuses on how we pull ourselves back together again after a breakup, how would you hope this would help and inspire people who are just going through a breakup?
I hope this album would encourage people to love again even if they have been hurt before. I hope I’m not the only one who relates to the emotional low of “lowest low” haha. I think that sometimes you don’t realize you are romantic until you date someone who is afraid of romance or love. Or maybe you are that person who fears love because of fear of abandonment or hurt. This album could be for either person in that scenario – the hopeless romantic – or the closed off emotional shell who secretly longs for love.
How did Romantic Cancer lead on from The Orange Glow?
The Orange Glow in my mind is more a psychedelic dark forest fairy tale. Romantic Cancer is more of a journal entry exposed.
You are a fan of British folk music of the 60’s, what is it about the music of that era and place that influence you so much?
I think I love the minimalism of it and the raw talent that was around in that time period. Now people can hide behind so many effects in music, it’s hard to tell who is actually creating what. I love the British folk music of the 60’s and how they tell stories and create a whimsical atmosphere with their words and phrasing.
You recorded a few songs on Romantic Cancer in just one take, what was it about the song and the emotion of the song that felt right on the first take?
I think it’s because I had practiced the songs so many times and envisioned how they should sound so it was easy to just bust some of the songs out. Of course people recording with you always want to add more, but in my mind, I already knew what some of these songs sounded like and I had a very clear vision of it. There is something powerful in recording one take of a song when you just KNOW you got it.
Why was love such an important subject for your new album?
Because I used to think that showing emotions and being vulnerable was weak but these last few years I realized that it is actually strong to say how you feel – because most of the time people can relate to those things the most. We all know what it feels like to fall in love or get our heart broken.
James Felice joined you on Romantic Cancer, what was it like to work with him as you are a fan of his music?
It was amazing and a total honor. I am a huge fan of the Felice Brothers and I think James Felice is so talented and he is also a sweetheart. I love the additions he added to the album. I can’t even imagine “Blinded” or “Black Tar” without him now.
When you wrote “Blinded” you wanted it to have a synth-pop sound, now I’m a big fan of synth-pop so what bands would have influenced you?
Hmmm I’m not really sure. 80’s stuff and the song “I wish You would” by Taylor Swift. Kinda a random answer but the backup vocals on I wish you would made me want to write a song like that (didn’t happen) but I kept imagining the vocals on “blinded” going “you and me you and me” over and over again the way Taylor goes, “I Wish I I I wish I II wish II I wish you would”
You speak a little bit of German and have visited Germany, what is it about Germany that is so magical or draws you there?
I guess their creepy history and the actual land, it feels magical. Growing up I always thought German was the ugliest language and had no desire to visit Germany, but after being there, I changed my mind. My uncle is a professional trumpet player in the Bonn Symphony Orchestra so I have had the pleasure of spending a good chunk of time in the country. I have always been fascinated by fairy tales and the Grimm’s fairy tales are German. When I was a student at The Evergreen State College I also took a course called “Blood and Beauty; the study of Germanic paradoxes of their love of mystery and order”. It was a really intense class. I love how Germany is helping the refugees from Syria, especially with the German’s dark past. My uncle has a whole Kurdish family from Syria living with him. They have their own house on his property. I feel very blessed that I was able to become such good friends with the Kurdish family. Since none of them could speak English, I had to get better at German. I actually wrote a song about them, and refugees in general, that I cut from Romantic Cancer. It didn’t fit the theme and I plan to put on the next album.
What do you feel is your most ethereal song you have ever written?
Wow hard question. I guess it matters if I am performing it or listening to a recorded track. Faerie Queen?
What do you feel are the most important elements of your music?
Chattanooga, TN-based power pop/garage band Mythical Motors – comprised of Matt Addison, Mike Brown, Brad Smith, & Johnny Wingo – might be gearing up for the release of their new album, but we were a bit impatient. So we caught up with Matt briefly to chat about what’s to come, the mystery of Bigfoot, and so much more! Check out the fun interview below!
What was your first musical memory, and do you think it has any bearing on who you are as an artist now?
Matt Addison: I’m not sure if has an impact on me now, but I have a memory of being around 4 years old, and running around and trying to make up songs. I think I had been watching The Muppets on TV, and I wanted to make up a song about the characters I had seen. I didn’t attempt to write a proper song, however, until 10 years later or so.
Do you think being from Tennessee has any bearing on your sound?
Matt: Probably not. In high school, I discovered indie bands like Guided By Voices, Sebadoh, Superchunk, Pavement, etc. There wasn’t a lot of awareness in Tennessee of those types of bands, so that just meant I had to dig a little deeper to discover new music.
You have such an interesting blend of influence in your sound. We honestly feel transferred back in time when we listen to your work. What made you choose to go in this direction with your music, as a team?
Matt: I think it occurs somewhat naturally when you’re a fan of a wide range of music. We’ve all been huge fans of rock music for many years, and we celebrate what Robert Pollard (of Guided By Voices) calls the 4 P’s of rock – pop, punk, prog, and psychedelic.
Elevated Levels was released last month. What made you choose to include 22 songs?
Matt: Our last album, The Life Stage, had 26 songs, so I had originally planned for the follow-up to be much shorter. But, I ended up with around 30 songs or so. So, I chose songs from that group that flowed well together, and it seemed to work.
What’s the most integral track on the album for each of you?
Johnny Wingo: “Exalt The Highway” Brad Smith: “Endless Distance of Belief” Mike Brown: “Endless Distance of Belief” Matt: “One Seventh Of A Shadow.”
“Shape Shifting Nightmare Celebration” is one of our favorites. What inspired that track, specifically?
Matt: “Shape Shifting Nightmare Celebration” is one of the most unusually structured songs on the album, and was probably inspired by Robert Pollard’s solo material. He has a penchant for writing songs that are inspired by progressive rock, with very unconventional song structures. So, I was attempting to write something in a similar vein, where the song does not follow a predictable verse/chorus structure. The song’s coda was even taken from a completely separate recording, and added in later.
What’s the recording process like for you guys? Does it start with a hook? Are the lyrics all written out first? Do you just play and sing until something makes sense?
Matt: I have several different methods for writing and recording. I’ll usually start with a riff or a finished guitar instrumental, and try to write a melody over that. Then, I’ll write lyrics that fit the melody. Other times, the lyrics come first, but I usually start the process with a song title in mind. I keep an ongoing list of titles, and I find them to be a constant source of inspiration for songs. Another method that I’ve developed recently is to attempt to write a melody for a complete set of lyrics. I’ll then record the song A Capella as a reference, and then complete the song by assigning a chord progression to it later. I find this method particularly exciting. It’s fun and easy.
Any fun anecdotes about the recording process for Elevated Levels?
Matt: Actually, the first thing that comes to mind was not fun at all. The hard drive on my 16 track recorder crashed during the recording of the most complex song on the album, “Over Caravan Park.” I probably spent more time on that song than anything else I’ve written, and once I purchased a replacement machine, it had to be re-recorded from scratch. Not fun. But, it worked out, and the version that appears on the album is the second attempt.
If you could choose any movie or TV series to have your music placed in, which would you choose and why?
Matt: The Man In The High Castle or The Handmaid’s Tale would be pretty incredible. I’m a big David Lynch fan, so it would be amazing to be included in one of his projects.
If you could have your dream rider list, what would be included on it?
Matt: Beer, maybe some tacos. We’d be happy to just have a rider.
Calzones or pizza? Substantiate your claim.
Matt: Pizza. I mean…it’s pizza!
Do you believe in Sasquatch? Why do you think we should or shouldn’t?
Matt: I don’t know much about Sasquatch, so I have to defer to the wisdom of the late Mitch Hedberg on this one. He said, “I think Bigfoot is blurry, that’s the problem. It’s not the photographer’s fault. Bigfoot is blurry, and that’s extra scary to me. There’s a large, out-of-focus monster roaming the countryside.”
___
Keep up with Mythical Motors – and maybe Bigfoot – here.
Chicago-based shoegaze/pop collective Lightfoils releases new five track EP Chambers today, and we’ve got your first listen below! (Or fourth, or fifth, or twelfth… who’s counting?) The five-piece – comprised of Zeeshan Abbasi (guitar), Jane Zabeth (vocals), Cory Osborne (bass), John Rungger (drums), and Neil Yodnane (guitar) – wastes no time getting into the psych feels with the kaleidoscope intro to first track “The Bitter Over”, which layers into a cacophony of sound that seems to envelope your senses. “Duende” brings the same level of otherworldly vocals to it, a little more depth to the guitar parts than its predecessor. While “This Time Is Up” brings with it a punk garage band instrumental soundscape, we’re still left wondering how Zabeth can reach such insane places with her vocals. But I digress.
“Summer Nights” might, at first, make you feel a little bitter about the warm evenings being long behind us, but it also provides that whirring nostalgic feeling that makes it feel like summer might not ever end. (And it doesn’t have to if you don’t want it to!) Last track “Honeydew” brings with its title the same lust for warmer months, though we know we can relive those nights with this as the backdrop any time we damn well please.
New Orleans-based Sexy Dex and The Fresh – comprised of Dexter Gilmore (Guitar, Vocals), Gabrielle Washington (Vocals), Andrew Landry (Bass), Evan Cvitanovic (Drums), and Ben Buchbinder (Keys) – has been winning awards left and right in the south, and we can see why. As a young band, their technique – and, truly, pure chemistry – is undeniable. Not to mention the alluring genre they’ve almost created unto themselves. You can witness this in their new EP Don’t Play My B-Sides.
Though you’ll hear some psychedelic influence amidst the funk in “SDTF”, hip hop makes its way in there, as well as some interesting pop-infused dance breakdowns. We could see ourselves dancing to “Play Me Birdie” at a sock hop, but there’s an 80’s flare to it as well as a quirky, fast tempo that is a total earworm. “These Young Charms” exists in a more quintessentially 80s soundscape, while “!Wait!” presents a cacophony of sound that is otherworldly in its disposition. Last track “Fotographs” begins with a speaking part that truly captures the otherworldly, as the song blossoms into another 80s-inspired dance track.
