Refreshing indie pop duo Lime Cordiale just released their full-length album Enough of The Sweet Talk on July 26th. The LP comprises 13 songs separated by four “French Cue” interludes. After listening to the whole album, I couldn’t help but compare their music to The Wiggles, an Australian-based music group known for their iconic tunes. Sure enough, after doing some research, Lime Cordiale hails from Sydney, Australia, and gives off the same vibes as the aforementioned, but with a mature coming-of-age twist.
The band is made up of brothers Louis and Oliver Leimbach, later joined by Brendan Champion on the trombone and James Jennings on the drums. The musicality of the album at its core is pop, with hints of indie rock shining through in the latter half of the album. The drums, electric guitar, and trombone make regular appearances throughout the album, with an electronic keyboard as a fun cameo added to a few of the songs.
The first part of the album feels amazingly carefree and pays tribute to romantic relationships. “Pedestal” and “The Milk Man” are perfect songs to jam out to, so much so that they paint vivid pictures many can relate to, whether it be slow-dancing at prom or having a summer fling at the beach. I can already see myself listening to these songs while I’m getting ready for a special night out!
“The Facts of Life” is where the album breaks out into more of a self-reflective realm. In my opinion, the song encourages you to pay attention to your surroundings and enjoy the smaller things life has to offer: chewing gum, ice cream, the birds and bees. Alternatively, “The Facts of Life” could also imply the feeling of sexual release, as evocative hot-and-cool imagery is used throughout the song. The next piece “Enough of The Sweet Talk” is as literal as it can get. As a listener, you can’t help but empathize with the brothers. Leimbach states that talking with this person (I assume a romantic partner) is frustrating because they truly won’t listen to him; it’s all meaningless sweet talk. Even if they share the meaning of life or the world is ending and they need someone to rely on, he still wouldn’t talk to them– opting to be alone despite such drastic conditions.
This brings me to my favorite piece of the entire album: “Happiness Season”. It’s a beautiful song wherein each lyric is punctuated by the drum’s beat and accentuated by an impressive trombone riff. Additionally, this piece really highlights the Leimbach brothers’ talents as tenor vocalists! My favorite part is the chorus:
She didn’t need me, I’ve been defeated, Oh that’s how it goes in happiness season She didn’t need me, I’ve been defeated, Oh that’s how it goes, imagine her leaving, with happiness season~
“When I’m Losing It” is where the album takes a serious turn. In this song, Leimbach is, for lack of a better term, head-over-heels crazy about his lover. He admits he gets jealous easily and always loses his nonchalance when he’s around her. Accompanying this self-deprecating streak are “Imposter Syndrome” and “The Big Reveal; Ou L’Hypocrite”. Both songs reveal feelings of bittersweet inadequacy. Leimbach doesn’t see his own appeal and cannot accept a compliment for his life. Leimbach is hiding a big secret under his stardom and it’s the fact that he’s a hypocrite living with imposter syndrome. To be honest I can see many young adults of my generation (Gen Z) relating to these songs the most. At the end of the day, whether we hold mid- to senior-level positions or amass thousands of followers, at one point in our lives we’ve all experienced imposter syndrome.
Another amazing song I would like to spotlight is “Country Club”. The lengthy trombone solo, reminiscent of New Orleans jazz, graciously allows listeners a moment to reflect on the message of the song. “Country Club” has an oddly psychedelic feel to it, with a catchy and hilarious chorus. This song narrates the life of a ‘nepo baby’ who cannot rely on their parent’s money anymore. Despite its advantages, having rich parents can actually be a disservice as the person in question doesn’t know how the real world works. Overall, it’s a great message anyone can take away from.
Ultimately, Enough of The Sweet Talk provides listeners with a wonderful range of life messages to learn from. In addition to love and heartbreak, the album touches upon the importance of self-reliance, staying humble, and the harm caused by your inner critic. These songs are going to be on repeat in my summer playlist and–dare I say– years to come!
A band that’s recently popped up on my radar is the LA-based indie/electronic duo Pop Noir, led by Manchester-born brothers Joe and Luke McGarry. Several influences inform their sound, namely vintage dance-rock acts like New Order, Primal Scream, and Depeche Mode, as well as more modern house/techno inspirations. While the band has been intermittently active for years, it’s been more of a side project as the two focus on other exploits, with their main pursuits being illustration/animation for Luke and filmmaking for Joe. However, new singles by the pair have been more consistently released in the past year, with their slickly produced cover of U2’s “New Year’s Day” and a ska-throwback titled “Santa Ana”.
Their newest single released earlier this month, titled “Soul Train”, expands on the band’s diverse musical trajectory while remaining lively and danceable. While previous singles like “White Jazz” were more uptempo and obvious in their highly danceable retro-rave influences, “Soul Train” diverts a bit from the band’s usual repertoire. It still has an enjoyable sound, but focuses more on introspection and vulnerability in the lyrics and performances. Luke McGarry’s vocals, clearly echoing Bernard Sumner, have more range that he didn’t get to explore on previous singles. He’s allowed to bring his voice to a falsetto on the chorus and even some crooning here and there, showcasing more of his talents. Musically, this has more of an emphasis on a killer big-band horn section and orchestral elements as opposed to the synths and drum machines that characterized their other work. It’s entirely unique and brings out the more dramatic qualities that the song is going for.
As of now, “Soul Train” doesn’t have any connection to a future EP or LP and currently serves as a standalone single. Still, it shows the duo as worth looking out for as they continue their still-young musical journey.
UK-based indie pop/rock band Pale Waves has released their new song “Glasgow”, the second single for their upcoming fourth album, Smitten. It continues the musical trajectory of the lead single “Perfume” by moving away from their previous pop-punk and emo sounds into a lush 80s dream-pop style reminiscent of alternative groups like The Cure, The Cranberries, or even Cocteau Twins. Lyrically, it’s described as a “breakup anthem” and speaks to the feeling of leaving someone because it’s best for both of you. It’s a song that also continues to show the diverse and eclectic talents of the band, composed of multi-instrumentalists Heather Baron-Gracie (vocals, rhythm guitar), Hugo Silvani (lead guitar), Charlie Wood (bass), and Ciara Doran (drummer).
I really mean that, too. “Glasgow” is a beautifully produced pop song that showcases Pale Waves at their most confident, earning comparisons to their obvious influences. Right out of the gate, the song bursts with energy, showcasing anthemic drumming and guitar playing, as well as really gorgeous synth playing. It captures the ethereal psychedelia of 80s dream-pop but still transports the sound into a modern indie-pop context.
“Glasgow” balances a dense and twinkly production while still functioning as an uptempo, pulsating pop-rock song that’s enjoyable throughout. I also have to give credit to lead vocalist Heather Baron-Gracie, as she really soars in the chorus. While some may feel her voice blends into the background, I think her vocals complement the production by becoming an instrument in itself. Her lyrics are also a highlight, being an honest and open look at relationships in a way that lends itself to the emotions of the music while not overtaking it.
The music video, also directed by and starring Baron-Gracie, showcases her as a runaway bride driving through Glasgow fields in a convertible. It’s very cute and visualizes the lyrics’ themes of escaping a relationship for your own freedom. Pale Waves are currently embarking on a headlining tour across the UK, with their new album Smitten coming September 20th.
The main appeal of the Mississippi-based indie folk band Happy Landing is their sweetness and love for one another which shows in each song. On Golden, their debut LP, the tight chemistry and connection that the band has is translated into an album that’s loveable, sweet, and sometimes willingly cheesy. The sound of the record (and the band) is one that combines the spirit of indie music with rootsy Americana sounds and is filled to the brim with expertly performed vocal harmonies. Both lead singers, Matty Hendley and Keegan Christsen respectively, blend their voices well enough, though each brings unique qualities when leading. Hendley has a raw vulnerability in his vocals that makes the lyrics seem true and sincere, whereas Christsen’s voice is more confident and boosts the harmonies. And these harmonies are the most easily identifiable part of their sound, as almost all the songs feature bold and soulful choruses where every band member joins together. It’s likely why the band is noted for their live shows, as each song easily functions as an inviting sing-along with an audience.
The first few songs of Golden work mainly in the same upbeat “stomp-and-holler” indie mold, with “Lose The Gun” being a strong opener and “The Family Band” presenting the band’s ear for melody. These tracks are easy to appreciate, with the former and “Let Me Out” being obvious choices for singles, but a lot of the best moments of the album come with more restraint. When the vocal harmonies are utilized in softer and more nuanced ways like on “My, My, My” or “Greyhounds”, it’s easier to appreciate the songwriting and vulnerability of the performers. Not to say the album’s production is at fault, as it’s one of its strongest points. Several songs balance layers of root instrumentation and vocal harmonies but never feel disorganized or incoherent. “Marriage Song” best represents this, with its vast and sweeping string section growing more powerful towards the song’s climax.
Golden is a rare album that has its sound matched perfectly by the cover. A golden crescent moon that seems to darken while set against a worn leather texture. It’s oddly similar to the sorts of images that came upon me while listening: watching a setting sunset amongst fireflies, or the coziness when curled up with a good book. This is an album that’s appealing and accessible without ever trying hard to do so, based purely on Happy Landing’s likeability.
This fall, Happy Landing will embark on “The Golden Tour”, with supporting act Arts Fishing Club.
Up-and-coming rap artist Lexa Gates just released an incredible new single “I Just Can’t Be Alone.” The song, produced by Billy Lemos, is a beautiful blend of self-awareness, embarrassing frustration, and somber acceptance common in unhealthy relationships. Gates, the Queens NYC native, has a long and rich history with music; her mother taught her music theory and composition as a child and eventually used music to get her through tough times as a young adult.
The harmony of this song is what makes it special. Gates’ voice is as deep as Amy Winehouse and blends beautifully over the rhythm and blues melody. The background vocals add tremendously to the jazzy, old-fashioned feel of the song.“I Just Can’t Be Alone” is very relaxing to listen to, especially on a slow morning or romantic evening alone. For lack of a better term, it is finger-snapping good!
The meaning of the song is exactly as the title insinuates– Gates cannot be left alone. She relies on a lover but hates the emotional turmoil of being in a relationship. She can’t make up her mind…does she want him (or her) in her life? But can she even live without him? From the verse:
“I’m so sick of sleeping in, putting you above everything. Let myself down everyday, I just can’t stay away…”
You can clearly tell she feels suffocated by him and is tired of always putting him first. Later in the song she compares her relationship with him to that of a chess game: she will always lose to him and willingly too because of the unspoken power he has over her thoughts and emotions.
The accompanying music video is downright charming. Gates is seen swaying to the music, wind blowing through her hair, and glancing at the camera every so often. Her background visuals and rose-tinted filter reinforce the vintage feel of the song, as Gates is seen sitting on a queen-sized motel bed, laying on a cream-colored sectional couch, and crouching down in a large soaking tub throughout the video. One impressive fact is that this music video is Gates’ single-handed masterpiece: it was directed, produced, edited, and styled all by herself.
Contrary to the title of their new single, “I’m Not Getting Better”, Canadian pop-rock band Marianas Trench seems to be getting better with each new LP. The track is a tease for an upcoming sixth album to be released later this summer, following 2019’s Phantoms album. It also follows two other lead singles released this year, “A Normal Life” and “Lightning and Thunder” respectively. Marianas Trench has always been an eclectic group with shifting interests, from the emo and punk-inspired sounds of their earlier albums to more accessible electropop styling in their newer work. Despite these changes, they still maintain a consistent identity without categorizing themselves.
These new singles represent the band’s diverse sound, with “A Normal Life” being an ambitious and epic six-minute orchestral pop song, and “Lightning and Thunder” being a new wavey throwback song with lots of glittery synths. “I’m Not Getting Better” continues this trajectory of what will shape up to be a wide-ranged sounding album, with a unique sound with influences from stadium rock, synthpop, and R&B. It’s a vulnerable, emotionally driven song about deeply rooted insecurities, all set to a robotic, stuttering synth beat and a wonderful sing-along chorus. It works because of the sincerity provided by the vocal harmonies provided by the band during the chorus, as well as the confident theater kid energy that lead singer Josh Ramsay gives off in his falsettos. The heavy guitars from Matt Webb add to the sentiments in the lyrics, and the programming on the drum machines keeps the song danceable throughout.
It’s an empowering and inspirational song that’s bound to be a live staple for the band, especially when they embark on their “Force of Nature” tour starting this September. “I’m Not Getting Better”, along with the other two singles, makes Mariana Trench’s next LP one to look out for as it drops later this summer.
Last week, Young The Giant – expertly made up of Sameer Gadhia (vocals), Jacob Tilley (guitar), Eric Cannata (guitar), Francois Comtois (drums), and Payam Doostzadeh (bass) – surprised their fans with the official release of a song that has been a long time coming. The track, “Metropolis”, was written and recorded by Gadhia during Mind Over Matter‘s massive success. With 2024 marking the hit album’s first decade of existence, they brought this incredible, vulnerable song out of the vault.
The stripped-down track is beautifully and simply comprised of an acoustic guitar and Sameer’s voice. The video – by Guadalupe Bustos – shows frames of the recording process and the band in the studio together in a moody black and white mostly, with other B roll footage from the tour adding moments of pure joy to the visual. The song is paced like the lyrics, as it brings a sense of calm to the listener. Check out “Metropolis” below.
Mind Over Matter is being released as a 10th-anniversary edition. The exclusive deluxe version comes in clear smoke vinyl and includes a 12-page booklet, fold-out poster, and an exclusive slipcover — Pre-order / Pre-save. See all tour info here
Mind Over Matter (10th Anniversary Edition) Tracklist: “Slow Dive” “Anagram” “It’s About Time” “Crystallized” “Mind Over Matter” “Daydreamer” “Firelight” “Camera” “In My Home” “Eros” “Teachers” “Waves” “Paralysis” “Mind Over Matter (Demo)”* “Camera (Demo)”* “What You Get (Demo)”* “Metropolis (Acoustic)”*
Chamber-rock indie band Cloud Cult from St. Cloud, Minnesota has just released their newest song “The Universe Woke Up As You” and it is a philosophical masterpiece. The song consists of Craig Minowa as the band’s lead vocalist and songwriter, Jeremy Harvey on the drums, Shannon Frid-Rubin on the violin, Sarah Perbix and Aurora Minowa as backup vocals, and Daniel Zamzow on the cello. Minowa recorded the song in the midst of a divorce, in the Wisconsin woods. Minowa was able to process his grief through music and regain control over his perspective on life with this song.
“The Universe Woke Up As You” came out as part of their Alchemy Creek album, due to come out on August 8th. This full-length studio album is made possible by Earthology Records, the band’s own record label created by Minowa himself. A really interesting fact is that Cloud Cult’s efforts to create music, advertise their band, and tour in the most sustainable ways possible have earned them a spot in “Top 10 Green Bands” by Rolling Stone in 2009.
Both the melody and lyrics of the song are melancholic and very reminiscent of the past. The feminine background vocals provide wonderful harmony to Minowa’s soft-spoken singing. In the end, a beautiful violin solo pulls the song to a close. In my opinion, the musicality of this song reminds me of Foster the People’s “Pumped Up Kicks”, mirroring its soothing vocals which convey a surprisingly depressing message. This 5-minute song is a great way to wind down after a long, hard day.
At the beginning of the song, Minowa can be heard whispering the intro, which makes the intended audience and all who listen feel small. The lyrics tell a story of hopeless nostalgia. Minowa reminisces about simpler times when he was a kid, and implies that things are much more difficult now as an adult having to deal with this “skull-sized hell.” Personally, my favorite verse of the song is:
Gonna draw myself a picture of the way things were What is real and what is fantasy? Well, I really can’t be sure There’s so much here to feel, well, it’s all just a blur Gonna draw myself a picture of the way things were
By the end, Minowa explodes into something bigger as he yells the title of the song “Today the universe woke up as you!” This piece depicts an interesting message of how one can control one’s own perception of time, space, and reality.
The accompanying music video starts with Minowa in front of a camcorder. It is apparent that the set takes place in some type of storage unit, giving the video a quickly-made unplanned feel. Behind him is the back of a garage door; on the camcorder screen, however, it is clear that the video editors have added a green screen to the background. The family-friendly vibe of the song is enforced by children acting as a film crew. For what seems low-budget, this video is a perfect visual for the song. “The Universe Woke Up As You” can be watched on YouTube here.
You can follow Cloud Cult on their own well-cultivated website. You can also subscribe to their Patreon, where they rank as one of the top content creators on the platform. Cloud Cult will be touring later this summer, headlining at the People Fest in Yuba, WI on August 9th. Be sure to catch them live before their last performance on September 28th at the Palace Theater in St. Paul, MN.
One of the most prominent and influential sounds in American music has been soul. It’s been a mainstay in the hearts of listeners for decades now. Soul has a place in most people’s daily listening, whether it’s classic ballads from the Motown era, 80s R&B from Prince or Michael Jackson, or more contemporary soul with modern hip-hop/R&B styling from Frank Ocean or Silk Sonic. Even if you don’t consider yourself someone who listens to very much soul, it’s a style that’s influenced everything in terms of how musicians lay out rhythms and melodies or how vocalists approach more (ahem) soulful singing styles.
This playlist from Imperfect Fifth is a well-curated collection of modern soul from about the past 15 years. It includes soothing soft ballads with light orchestrations, mid-tempo funk with some swinging rap-inspired grooves, or more emotional songs dripping with passion and sentimentality. A lot of it contains modern songs that try to capture the atmosphere and production that classic soul music has, while some of it tries to update it with more contemporary sounds.
Either way, they’re all quality tracks with something unique to offer, featuring songs from artists like Childish Gambino, Steve Lacy, and Leon Bridges. You can check out the playlist in the early morning as the sun is rising, a lazy Sunday while snuggled in bed, or just any moment you want to feel calm and carefree. It’s an easygoing listen of 30 songs that demand nothing but your purest content.
