The Moth & The Flame have returned to the forefront of alt-pop with the release of their new album Ruthless. The Provo, Utah natives have channeled immense depression and anxiety into their new release, and it comes through in waves of pop synths and harrowing vocals. Brandon Robbins (vocals, guitar), Mark Garbett (keyboards/vocals), and Andrew Tolman (drums) have been together since 2011, pushing their sound further and further with each release. With the release of Young & Afraid in 2016, which defined the trio by NPR Music as “channeling a pop sound, the group shows its resilience” while maintaining “a wonderful moodiness to the music that always lands right in the sweet spot”, the fans clamored for more from the musicians from Utah.
After a successful kidney transplant in 2016 between Robbins and Corey Fox (founder of Provo’s all-ages music venue, Velour) the band felt at the top of their game and began to release single after to single. All these releases led to the culmination of Ruthless, which embodies the fighting spirit of the group. The ebbs and flows of the album are intriguing to say the least. The opening track, “The New Great Depression”, has a lot more poppy feel than the title would suggest, but the lyrics behind said pop sound suggest otherwise. It is rare these days to listen to music that constantly forces you into contemplation and in-depth thought, and Ruthless is chock full of this thought provoking music. The use of voice distortion is used perfectly on the track “What Do I Do”, catching you off guard about half-way into the song, but it is a pleasant surprise. “Lullaby IV”, the closing track, is reminiscent of punk, but with a dash of voice distortion and a soft-pop outro.
Robbins had this to say about how the album came together through so much strife: “What we wanted to show people was the journey through anxiety and depression,” he says, “not just the lows but the highs as well.”
Ruthless is out now! You can also get more information about The Moth & The Flame here.
The first four songs on our list – “Good Times Bad Times” by Led Zeppelin, “Eleanor Rigby” by the Beatles, “With or Without You” by U2, and “Goodbye Stranger” by Supertramp – are collective choices. They’re also songs we covered on our recently released EP “Them.” We started playing music together in our family’s bluegrass band (we’re all brothers) when we were little kids. As we grew up and started playing electric instruments, we’ve had many influences, but the earliest were bands our parents turned us on to including Led Zeppelin, The Beatles, and Supertramp. We all kind of discovered U2 individually, but they’re a big part of our collective musical DNA. The idea of the EP was to strip the songs back and record them as if we’d written them ourselves.
We each chose a few songs individually:
Kurt Doerfel (Percussion)
“Lost Tonight” by Saje – When Ed & Ben first started going to Nashville, I’d stay behind and have mini vacations and just enjoy myself. One day I was out with a buddy shopping in Key West and we heard this song in a fishing store. The sound grabbed both of us and we immediately shazammed it. It’s such a simple and groovy tune, but sonically, something I never got tired of listening to. This song inspired me to get serious about producing & writing. I wanted to make something that sounded THAT good.
“Beautiful Escape” by Tom Misch – I hate to sound like that guy, but I was listening to Tom years ago when he had under 10k followers on Instagram. I knew he had something special just by his sound. The classic disco groove, the jazzy/unique melodies, modern hooks, and quality of his music really set him apart from everyone else. I was so eager for him to release music, which he does slowly, but it was always worth the wait. It has been amazing watching his status grow. I definitely think we can all learn something from him.
“Changes” by Mutemath – Mutemath has achieved the perfect balance of siiiick audio production and live performance. In pop these days, I am SICK AND TIRED of a snap sample driving the percussion in a tune. I have only found it to be acceptable and perfectly fit in this tune specifically. These guys have been around for a while but have adapted perfectly to how music is evolving whilst maintaining their roots.
“Way to Go” by Empire of the Sun – Okay, so apparently these guys have been around for a LONG time. My cousin would show me their songs every now and then and we’d just laugh over their music videos and how outrageous they were. I had no idea who they really were because we called them “Dragon Boys” for some reason. One day he told me their actual name, and I actually took time to listen to their most popular songs on Spotify and fell in love. I love everything about them. The simplicity, vocals, synth drums, classic but unique sound, the outfits…all of it! They’ve inspired me to not try too hard to mimic what’s in fashion right now and just let the creative process go where it truly calls, even if it may seem uncomfortable. Every time I’m sad I listen to these guys!
Joseph Doerfel (bass/vocals)
I don’t really have something specific to say about these songs to be honest. I’m more of an album guy. I don’t have favorite songs, I have favorite albums. When I listen to music, I can’t help but put my favorite bands’ tunes on and just spin the whole album and lose myself in the atmosphere it creates in my mind. These songs just happen to be my favorites on some of my favorite albums.
“Death and All His Friends” by Coldplay – The first time I heard a Coldplay song, I honestly did not like them at all. I had no idea who they were, or how long they’d been around for. By the time I gave them another chance, it was easy to see that there was something to their sound that kept bringing me back to listen again and again.
“Stay With Me” by Thrice – Thrice is my favorite band of all time. They’re the first band I ever listened to that made me really focus on what they were writing about and singing in their songs. That and the way they have evolved their sound is something that I always think about when trying to make new music.
“Of Mind – Nocturne” by TesseracT – TesseracT is pretty much my hype music. The melodies and push and pull feel they have are mesmerizing and so easy to listen to.
Ben Doerfel (guitar/vocals)
“Where I Belong” by Switchfoot – Switchfoot is an essential piece of my musical life. “Where I Belong” is my ultimate on-repeat-always-hard-hitting-slow-jam-of-destiny. From the beautiful melody to the fat drum sound and the grungy guitars comes a masterpiece that never leaves my head. Lyrically it helped me If I was ever down, it would remind me why and that its all good in the hood.
“Falling Out” by Relient K – Relient K introduced me to the amazing world of alt rock. I wore out their album “Two Lefts Don’t Make a Right” and more specifically, “Falling Out.” This was the first song I heard that I actually loved the singers voice. Matt Thiessen has been my favorite singer since my 1st listen of this song. The tight rock groove and again beautiful melody made me feel like listening to this song I could accomplish anything!
“Between Me And You” by Brandon Flowers – From a songwriter/producer stand point, this song is just incredible. There are so many aspects of this emotional pop crusher that it’s hard to find just a few talking points. This song made me want to be a great songwriter. Brandon’s lyrics are so unique. Simple yet complex lines that anyone would say but hardly anyone sings. Wrapping the verse around the chorus so it comes back around and falls right where he started, all the while slowly building the song into a massive thing of beauty.
Edward Doerfel (keys/mandolin/vocals)
“Ode to A Butterfly” by Nickel Creek – This is probably one of the most meaningful songs of my musical history. It was the song that really got me into the mandolin way back when I was around 9 years old. Early in my mandolin career I embarked on a musical journey to learn it note for note to play in a competition. 6 MONTHS later of non-stop practice I played it and took home 2nd place. It was an encouraging point in my young career.
“Needle And Haystack Life” by Switchfoot – This song “fueled my fire” in a big way. This was the opening track of the Switchfoot album that turned me into a fan for life! I always liked the band and casually listened to a few of their songs here and there, but growing up I was never a die-hard until the first time I played this song and album, saw them play live for the first time, and also met front man Jon Foreman! Switchfoot even said in an interview that this was a turning point for them musically as a band. It has inspired me both lyrically and musically.
“Forget And Not Slow Down” by Relient K – When I “forget and not slow down” I strive and make leaps in my creativity….just trying to be clever with the song title.. But in all seriousness, I listen to this song when I’m feeling down or uninspired about something. It’s a reminder to me that sometimes creativity doesn’t just come. You need to work for it.
Portland-based groove folk project Lili St Anne – comprised of Elizabeth Fagan, Jason Miller, and Sam Arnold – has created a sound that is soulful, soothing, and intensely ethereal all at the same time. Throughout the duration of their track “Wolves”, we fall more and more in love with Fagan’s vocal range, as she tugs – no rips – at all of our emotions with her words. The video that accompanies the track mirrors its disposition, dark with hints of glitter that bring with them that wonderful voice.
Give yourself the full experience with the visual, below!
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?
Toronto-based four piece Wild Rivers – comprised of Khalid Yassein, Devan Glover, Andrew Oliver, and Julien Laferriere – is bringing us back to our roots with their robust and enormously alluring sound. New track “Moving Target” is a love song in its own respect, though addresses heartache at its core instead of the puppy love stage. As our female vocalist gut-wrenchingly ponders, “Are we out of touch?” the lyrics begin to unravel in a real and poignant way for us all.
If you’re looking for a new ballad to belt out on your drive home, this is the one.
We almost didn’t think it could get any better for Kat Saul after she released her poetically titled track “Nick Miller”, but she’s increased the WOW factor with brand new track “Middle Name”, out today. The Nashville-based alt-pop artist captivates with her robust, raspy vocals, as the song peels out into a party track, mellifluous and fun in its disposition. As she implores her love interest to “get on a middle name basis,” we’re rooting for her. This song will be perfect for all of your future flirtatious evenings, and equally belongs on your “getting ready to go out” and “new party” soundtracks.
On Friday, acid rock trio Protovulcan – comprised of Deric Criss, Will MacLean, and Nick Ammerman – released a new 8-track EP titled The Split. From the very first chaotic chords of “Pine for You”, the listener is drenched in this gorgeous, layered rock n’ roll sound that stands out among the rest. Though Protovulcan’s songs are void of human vocals, we are provided muffled robotic ones, along with a heightened sense that the past and future met on this work of art. While “The Force Remains the Same” is a party song instrumentally, “Snake Legend” has a sound that seems to layer into itself, a kaleidoscope perhaps less so in any type of vintage origin, and more so in its progression. The texture alone is something to write home about, and this is one of our favorite tracks on the release.
“Waking Up Dinosaurs” lands itself in that psychedelic area that we assumed its predecessor would take us to, a bit belated but equally as impressive. “Purple Sky” is, in reality, a glittering, chaotic cacophony of sound for the most part. By the time “Celestial Slingshot” hits, the robotic vocals are so prominent that they lead the track, sounding like a clash between an electronic keyboard and a accordion. The Oscillator Bug Remix of the same adds more lightweight instrumentals into the soundscape, bringing it to an even higher ethereal level than the original. We’re especially smitten with the way they placed the two tracks back-to-back, so a layman could identify the differences and insane progression from one into the next. By track eight, we are being dragged back into “Purple Sky”, though this badass track is an Odd Nosdam Remix, so there are ver important details that have been manipulated from the original, making it a standalone track on its own and the perfect way to round out the EP.
New York City’s favorite rock band Sunflower Bean – comprised ofJacob Faber (drums), Julia Cumming (vox/bass), and Nick Kivlen (vocals/guitar) – just released their latest EP – King Of The Dudes – and we’ve got some thoughts. (Yes, we understand the level of our claim, but try them on for size if you haven’t yet and you just might agree!) Starting with the title track, the EP introduces some pretty great guitar parts before the vocals are even introduced. As the song sets the tone to the EP with its badass edge, the fact that it serves as such strong social commentary is simply entrancing. “Come For Me” is no exception, and preceded the release of the EP with flying colors, attracting the attention of the music industry in an intense and fun way.
“Fear City” has more of a 90s rock feel to it instrumentally, a sunshine-y disposition to start. but delves into nooks and crannies of vocals that don’t necessarily reflect that positivity. And that’s OK, because this band has somehow mastered a heightened use of distraction with their soundscapes, intricate and beautiful in their existence. Of course, Sunflower Bean pulls off a vintage flare with last track “The Big One”, leaving us all tapping our toes and feeling like we can take on the world.
We might have to wait until April 5th to hear feminist synth-pop artist Birch‘s femme.one in its entirety, but a piece of the puzzle has been unveiled with her latest track “Spelling Lessons”. A moderate tempo established, Michelle Birsky’s vocals hit the track in an almost angelic way. Because of this, the track envelopes us in the audible version of a warm embrace, despite its poignant lyrics highlighting the sad reality that is a woman’s fear of speaking out in today’s society. Sobering, yet light, this song presents a beautiful and enigmatic contrast that will sit with us for quite some time.
