In the new music video for his song “My Mind”, Trent Toney creates an intriguing visual where he and the subject of all of his woes are replaced by two stuffed animals. This silly interpretation of the track should not take away from the heartbreaking words that he sings, however. In the simplest sense, it is a breakup song. With a dominant guitar, Toney sings about how unbearable it is to go on without his former love. At first glance, it might seem like using stuffed animals takes away from the sadness of the lyrics.
When listening and watching further, the song is loud and clear about how heartbreaking it is to go through a breakup. The video paints this picture well. From going through an old pile of photos from the relationship to trying to keep oneself busy by doing household chores or taking a long drive, Toney does an incredible job of creating imagery that the viewer can identify with. Through a blend of lighthearted storytelling and heart wrenching lyrics, this video is the perfect balance of emotions. It is also a great reminder that animals make perfect music video stars.
Although 2020 hasn’t been the best year, there have been some good things. What I mean by those good things is great music and the rise of many new artists. Among those ranks is Dava, a Los Angeles-based artist who isn’t afraid to tell her stories and blend different genres. If you are looking for a sound similar to artists such as Benee and Lolo Zouai, look no further. Dava’s latest single, “Papercut”, is out now accompanied by a music video with trippy visuals. In an Instagram post she spoke about the meaning behind the song and left a message to fans, “I hope this song speaks to whoever needs it.”
“Papercut” is impressive on its own for the clever lyrics, but the icing on the cake is Dava’s voice bringing them to life. You cannot ignore the emotions behind her voice and the talent she has. The Pre-chorus, “when my heads in the clouds and my hearts in my gut / keep your eyes on the prize and your hand on the gun / gave you all that I had but it wasn’t enough,” is something a lot of people will be able to relate to their own experiences and feelings. Her debut EP, Sticky, is set to release via Sony this year. This may only be the beginning for Dava, but she is off to a great start.
Heartfelt songstress Jessie Wagner is revving up to release her new, gorgeous, love-induced track “My Darlin, My Dear” tomorrow. As someone with quite an impressive musical resume, Wagner really knows how to create an ambiance, as she frames a very relatable and unfortunate experience in an enchanting way. Admits the artist of the track:
There’s always that guy that you know is no good for you, but you keep going back anyway. This song is an amalgamation of the guys I wished would love me and not just keep me around for convenience.
To really feel the emotions that went into this track, one must experience it. So check out our premiere of the lyric video below, and try to convince us we aren’t burning a candle and playing it on the big screen on repeat all evening!
“My Darlin, My Dear” is out tomorrow. You can pre-save the track here.
In a world where material possessions meet spiritual growth, one may find themselves just as conflicted as the character in Sir Sly’s music video for “Material Boy”. Here, the material boy is someone who appears to be in a state of distress as he works through his emotions to leave behind any care in the world about material items. Through watching him chew up wads of cash and hide from all of the expensive things he owns; the viewer comes to understand that he yearns for more in his life. He yearns to be free from the material chains that are constraining him. The catchy chorus of the song reminds the listener that our material boy has found a spiritual void within himself and he strives to fill it.
What is great about what we see in this video is that it doesn’t need to follow one meaning for everybody who watches it. It could mean struggling to come to terms with the current political landscape, as the second verse alludes to, just as much as it could represent the struggle to leave an unfulfilling job that pays well. The common theme amongst the profuse number of possible interpretations is the yearning to find something that makes one feel whole. “Material Boy” both fascinates and perplexes, as well as provides the best form of entertainment for the viewer. Lead singer Landon Jacobs notes: “My highest hope is that this video can mean something a little different for anyone that watches it, but at the very least, I hope it is entertaining.”
Are you ready to fall apart to the most emotional country song this side of the heyday of Rascal Flatts? Endearingly so, the latest release from Amanda Shires and Jason Isbell will move you to tears. Reinforcing verbal support during times of trouble is important, especially during these times. We are overwhelmed with gratitude for artists like Amanda and Jason. Not only is their work absolutely delightful, but they stand for the right side in a very important battle in the American landscape.
Shires is one of many country artists speaking out in support of accessible abortion options. She expands:
This song is about making tough decisions and not having to go it alone. To me, ‘The Problem’ is a song about supporting someone you love through a difficult time. It’s about helping without exerting your own will. I support a woman’s right to choose, and I know these choices are never easy.
Get ready to feel those emotions with this new single.
A darling of charts and critics alike, Bette Smith is back with her wonderfully ferocious new album, The Good, The Bad And The Bette. Intrinsic to the wild rock and soul singer’s music is the connection that she made between the gospel she heard in church and the soul music she heard on the corner growing up in the rough Bed-Stuy, Brooklyn. Throughout her childhood, Smith was steeped in gospel music. She remembers, “My father was a church choir director. I was singing since I was five years old. I take it to church. I just break out, start speaking in tongues.” She also heard gospel around the house every weekend. “My mother listened to nothing but gospel,” she recalls, citing Mahalia Jackson and Reverend James Cleveland. “Every Sunday morning, she would get up and put on these records while dressing and praising the Lord.” In The Good, The Bad And The Bette, Smith and producers Matt Patton and Bronson Tew explore the power of soul and match it with the edge of rock music, going for a Southern rock soul/Aretha Franklin/”I once was lost but now I’m found” vibe. Sure enough, this album feels very much like rock, but with a blues/gospel attitude, with tracks embodying various feelings of comfort, anger, passion, friendship and even vulnerability in the form of rock-centric bangers, powerful gospel anthems, and even a few tracks that have the taste of a ballad.
But before we can delve into the tracks, we must take a moment to praise Smith’s lustrous vocals. She is gospel, through and through, and you can hear it in the way she sings, but more than that you can feel the years of immersion in gospel and soul that she experienced growing up. Her voice is rough, raw, and absolutely delectable.
But it’s amazing to hear the ways she can apply those vocals to so many different emotions. There’s the groovy comfort in lines like “Don’t be afraid, all is well, I’m here” in “Signs and Wonders” that guides you through the classic blues-rock harmonies, which are revitalized by fresh guitar sounds and colours from the brass. But there’s also the touch of anger that emanates from “Fistful of Dollars” that then diffuses into the passion of the sparkling “Whistle Stop.” Smith sprinkles some sweetness in “Song for a Friend”, complemented by the satisfying backing harmonies in the chorus. But even in the vulnerable, stripped back state of “Don’t Skip Out On Me” she maintains the attitude that can be so central to both rock and soul music, which is quite admirable.
Even in the softer songs, The Good, The Bad And The Bette has this incredible energy to it. This is an album of dance songs, and its magnificence desperately calls out to be heard live (please, COVID…) . Smith herself values the redemptive experience that touring has given her. “It’s amazing, like a dream come true,” she says. “It’s very spiritual and I go into a trance when I’m singing. The fans are like family. I feel very loved. They are very present. I went through all of this so I could sing and now that I can sing I’m finding the love that I’ve been looking for all my life.” Some of the anthems like “Pine Belt Blues” and “Everybody Needs Love” also hold some of the greatest lines that one could belt out with Smith as you watch her on stage. The sultry gospel singing in “Everybody Needs Love”, along with its anthemic harmonies and lines like “Everybody needs love, just like they need the sun and moon and stars above” create a beautiful and totally universal sentiment that would be so powerful in a live setting.
To finish things off, Smith offers “Don’t Skip Out On Me.” The track slows things right down, beginning with just Smith and some acoustic guitar. As more instruments are threaded in, touches of effects create this resonance that makes the space she’s singing in feel so much bigger. Midway through the song, there’s an echoing trumpet solo, which takes individual segments, offsets them and then weaves them together to make beautiful patterns of sound that ring out in their own world before joining the rest of the music once again. It’s this gorgeous interlude that comes as a surprise yet fits in perfectly with the album as a whole that makes the final track on this album the standout. At first the choice to end off with a slow song was surprising, but after listening through, the majesty of this track proved to make perfect sense as an ending.
The Good, The Bad And The Bette is a vivid marriage of rock and soul music that displays Smith’s rich background in the genres and envelopes the listener in a variety of emotions by means of colourful bops and sentimental ballads that are united in their unrelenting attitude and firepower. One can’t help but yearn for the day that these tracks can be heard in their full glory, on stage.
Much like a heart broken in two halves, Norwegian singer Dagny is gearing up to release the second half of her debut album Strangers / Lovers by releasing the first single, “It’s Only A Heartbreak.” Since the A side of the album dropped earlier this May, its two lead singles have received an impressive response; “Come Over” spent 3 weeks at the top of the Norwegian radio-airplay charts, while “Somebody” made its way the top 5, amassing over 14 million streams along the way. The album as a whole tracks the journey of a relationship. The half that has already been released traces the dizzying, butterfly-inducing blooming of a new love, but now it’s time for things to fall apart. Side B of Strangers / Lovers is out on October 2nd via Little Daggers Records, and it examines the fall out of the relationship that blossomed on side A.
Like the whole album, “It’s Only A Heartbreak” is personal, so Dagny uses conversational lyrics to reflect on her post-breakup emotions and to give herself a sort of pep talk in the aftermath. The song was partially inspired by Humphery Bogart’s famous quote from the 1942 classic Casablanca: “Here’s looking at you, kid.” Dagny explains, “Like the movie, the song is about knowing that you will never get someone back, but you can secretly still look at, and admire, that certain someone. The song carries a nonchalant expression, but the undertone makes it pretty obvious that you’re not over that person yet.”
And indeed, from all sonic appearances, “It’s Only A Heartbreak” is an energetic, striking bop. Its infectious melody lines and vibrant array of jittering electronic sounds create a vivid soundscape that could be mistaken for a dance track– unless you listen to the lyrics. Dagny sings “Most days I wake up I’m okay / I’m doing my own thing, I don’t have a moment to think about you / Most days I’m up on a high wave, And I’m just like urgh, It’s only a heartbreak, I got to get through you,” and suddenly the brilliance and complexity of the sounds surrounding her seem to reflect the intense and complicated emotions that come with heartbreak. So whether you’re feeling heavy-hearted yourself and just want to feel seen, you just want to dance, or you’re a fan of intriguing musical settings and skilled production, “It’s Only A Heartbreak” is definitely for you.
When Waldo Przekop first picked up a guitar, he really only intended to write comedic music. After discovering several famous folk artists, however, he realized that he actually liked music, and quickly began to write serious songs under the name Cigarettes and Milk. His single “July” (to be released on Friday) is an ode to Przekop’s foregone days of travelling. He used to traverse all over the United States, but eventually settled so he would have enough money to focus on writing and playing music.
“July” depicts a time when Przekop was on the road with a friend, aimless and content to be so. It was the first rainy day in months in Santa Barbara on the Fourth of July, a scene which paved the way for a song to emerge with vivid imagery. Przekop makes good use of this imagery in the single, singing about the “stench of wet leaves” and the fireworks of the holiday. But like a true wordsmith, he also weaves in emotive and abstract details, hinting at poignant themes that go deeper than the landscape he’s driving through. The guitar picking at the beginning of the song is intriguing, the deliberately clumsy strings that he plucks are unusual, quirky even. But as you listen to the song, the context transforms the sound. Przekop’s voice is well suited to folk music. He sings with an urgency, his voice is lovely and piercingly emotional; the almost bleating vibrato going directly for your heart. On the lines “no one will miss me” and “no one will notice”, the way he sings is so compelling, and by the time the words drop out at the end and you’re left alone with the guitar, it sounds darker, even ominous.
“July” is a well-executed piece of art that paints not with words or sounds but with the emotions and complexity that they exhibit. Przekop shows just how much meaning can be achieved with a simple pairing of guitar and voice.
