The electric guitar starts the song “Firecracker Man” by Thorslund with feelings of anticipation about what sounds, harmonies, and lyrics will be electrified. The pulsing sounds of the drums speed up the tempo with their steady beats and sudden rapid beats in between.
Our protagonist has kept his energetic and fun spirit hidden but now he is ready to take his dancing shoes out of his pocket. With these, he is a charming man who is confident to show everyone his expressive personality. The dance is a form of expression. The shoes are a metaphor for him taking the dancing steps to express himself to people he meets. Thus, he is no longer waiting to be a firecracker man; a man who charms people with his personality and makes everyone he sees smile. He now is going to be a firecracker man!
He is tired of pretending to not be the spotlight of the dance floor as in the past, he dominated the dance floor. Once he stopped dancing, he lost his self-confidence to reveal his charming personality. He felt ordinary because he lost his will to dance, which made him feel extraordinary and unique, as implied by the description of his dancing as “funky.”
He associates wealth with his charming personality. He always imagined that his charming personality and superior dancing skills would make him wealthy. As he continued toward his goals, he kept losing his confidence. But now a surge of energy is careening through him to dance his way to wealth and the recognition he craves from everyone he meets.
He not only wants to uplift himself, but he also yearns to uplift the people he meets who will be supportive of him. He will teach them to dance so well, that their incredible, funky dance moves will not be an illusion, but a reality!
The video itself is an edgy, fun display of Thorslund’s live performance chops. Check it out below!
If you have yet to happen upon the immense talents of Connor McLaren, now is your chance. The Indianapolis-based musician just released his first full-length with the indelible Ben Kweller’s label The Noise Company. Today, we get to peep the music video for the single “Candy Rain.”
A casual, meandering pace opens the track as we delve into the love story that is “Candy Rain.” While his romantic interest is metaphorically compared to this tasty concept, momentum builds and instrumentals are layered. The song becomes more of a quintessential rock ballad than originally expected, with a hint of grunge/surf rock influence in the whirring guitars. McLaren’s voice has the same appeal as your favorite 90’s crooners, giving all of his music what seems to be an unintentional – but completely genuine – layer of added nostalgia.
By the song alone, it is quite obvious that McLaren’s musicianship and professionalism far surpass the expectations normally associated with his ripe age of 21. But diving into the music video is a whole other treat. (See what we did there?)
The artist takes an artful approach to this visual release, with isolated color palettes dancing around his shadow profile in some frames, playing with natural elements like the textures in mother nature and the sun in others. Shots of the curly-haired crooner performing in earnest, surrounded by bubbles. Then covered in paint. Then avoiding a literal candy downpour under an umbrella.
The video is a kaleidoscope dream you won’t soon forget.
UPCOMING TOUR DATES: August 17 – New York, NY – The Footlight August 26 – Normal, IL – House Show August 31 – Bloomington, IN – The Atrium September 2 – Cleveland, OH – Mahall’s Apartment September 9 – West Lafayette, IN – House Show September 12 – Nashville, TN – The Basement East September 14 – Boone, NC – TApp Room September 21 – Chicago, IL – Bookclub October 14 – Charleston, SC – House Show November 10 – Appleton, WI – Appleton Beer Factory December 22 – Indianapolis, IN – HiFi **Homecoming show – TICKETS
SONG CREDITS Lead Vocals – Connor McLaren Acoustic and Electric Guitar – Alec McLaren Bass and Drums – Ben Kweller Backing Vocals – Connor McLaren and Ben Kweller **Written by Connor McLaren, Alec McLaren, and Benjamin Kweller and published by Weed Funded Songs (ASCAP), Charity Chase Songs (ASCAP) and Twelve Sided Die (ASCAP)
A soft electric riff of a guitar atop steady beats of the drum… It is that awfully calming but lingering aura that really sets this unsettlement within me. A constant motion that desires more. Curling‘s “URDoM” wraps me in its embrace, and I’m overwhelmed by a torrent of emotions.
“URDoM” thrives in its ability to evoke emotions without explicitly stating them. The production elements, such as the subtle layering of instruments and the careful balance between instrumentation and vocals, contribute to the song’s immersive quality. The minimalist yet well-crafted approach allows the listener to interpret and connect with the music in their own unique way. The song’s musical layers are carefully woven together, allowing each instrument to contribute to the overall mood. Distant echoes and subtle reverberations, add depth to the atmosphere, immersing the listener in a reflective space.
Throughout the track, the dynamics build and recede, creating a sense of tension and release that mirrors the emotional rollercoaster the song portrays. The instrumental and vocal synergy reaches its peak during the climactic moments, eliciting a cathartic release that draws the listener deeper into the narrative. The composition’s aural palette leans towards a fusion of alternative and ambient elements, creating a space that is both introspective and ethereal. The instrumentation, consisting of subtle guitar work, restrained percussion, and atmospheric synth layers, works in harmony to evoke a sense of inner struggle and self-exploration.
In the end, “URDoM” isn’t just a song – it’s an emotional journey. It’s a mirror that shows me my own complexities, my own struggles. It’s a reminder that we’re not alone in our battles, that music can hold our hands as we navigate the stormy seas of the heart. Curling’s creation isn’t just a song; it’s a lifeline, a chance to find solace in the shared human experience. And as the last note fades, I’m left with a profound sense of connection, a realization that I’m not alone in feeling alone.
North American Tour Dates ^ = w/ Nation of Language 8/11: Portland, OR @ Fixin’ To 8/12: Portland, OR @ Revolution Hall ^ 8/13: Portland, OR @ Gloomhouse 8/14: Vancouver, BC @ Rickshaw Theater ^ 8/16: Grass Valley, CA @ Unchuch 8/17: Upland, CA @ Hyrule Temple 8/18: Oakland, CA @ Oakland Secret 8/19: Seattle, WA @ Central Saloon 8/20: Centralia, WA @ Space Place House
The Barenaked Ladies are back at it with another feel-good song full of optimistic energy. “Lovin’ Life” is the Toronto rock band’s first musical release since 2021, and excitement for their comeback shines through in its accompanying rainbow-tinged music video. Band members Ed Robertson, Jim Creeggan, Kevin Hearn, and Tyler Stewart share their unhinged enthusiasm in appreciation of life’s highs and lows, reminding us to take a step back and smell the roses.
It’s hard not to smile while listening to “Lovin’ Life”. Even though it begins bleak, since “the world could end before the end of this song,” the band quickly jumps into why it is so important to not dwell on negativity and instead focus on living in the now. The chorus introduces keyboard synths and rockin’ guitar chords for a high-energy drop. Its catchy lyrics are an anthem to relishing the present moment and all the simple joys of summer. Life is not only “sweeter than a watermelon slice” but also as delicious as a gooey piece of pizza.
The MV’s visuals jump back and forth between the band’s in-studio sessions and their onstage performance of “Lovin’ Life” during their almost-annual Last Summer on Earth tour. As 2018 inductees of the Canadian Music Hall of Fame, the Barenaked Ladies have much to celebrate for across their 35-year musical journey. If you can’t get enough of this single, be sure to check out the Barenaked Ladies’ 2023 Last Summer on Earth tour.
In need of a pick-me-up? Have a listen to “Lovin’ Life” below:
As the video begins for “Cigale Song” by Oracle Sisters, two earphone wires are depicted, stretched out to the ear of a girl with blond hair. One is connected to the ear of a girl with brown hair, at a long, wooden table. They are surrounded by fellow musicians holding guitars, and interacting in a friendly manner, dancing in vintage dresses and suites. They create an existence of sharing small moments over their interest in rock music.
On stage, the singer bounces her legs in rhythmic motions, in her green pants, under the green and blue changing lights. As the video continues, red and orange lights shine over the singers dressed in vintage pink and white dresses. These two stand behind the singer in the green pants. This alludes to how in life, people who are similar stay together in similar circumstances, while those who stand out, often dance to the beat of their own drum.
Concurrently, the singer at the front wears pants, because as people find themselves, they come to realize that how they move and what they wear shapes how people who do not know them well view them. The people watching the performers on stage represent those who do not know them well judging them.
The girl wearing the green pants is reflective of someone who is unafraid to be unique and stand out from the crowd. The two behind her, wearing the same dresses, are reflective of people who feel they must lean on one another while being judged.
The girl wearing the green pants dances when nobody else on stage will. This makes her centerstage and amplifies her presence as the soul of the message of the music; it takes time to find yourself but over time, you do. Once you find yourself, she articulates through dancing alone, you become a leader.
As she takes the lead, the two other girls start dancing in their own unique style, holding their dresses and dancing in small movements. The girl in the green pants dances across the stage with her arms swinging in circular motions. Her presence fills the entire stage. This dominance on stage further represents her as a leader who the other people on stage admire.
Closeup footage captures every person onstage, in front of the audience. “Cigale Song” sends the message that it takes time to find yourself but once you do, you are unafraid to show the world that you can strive while being comfortable in your element.
Oracle Sisters Live Dates 2023 29 July – 17 Degrees Ribeira Sacra Festival, Lugo (ES) 19 Aug – Esférica Rioja Alavesa, Guardia (ES) 01 Sep – Into The Great Wide Open, Vlieland (NL) 02 Sep – End Of The Road Festival, Salisbury (UK)
North America Headline Tour: 13 Sep – Bar Le Ritz, Montreal, QC 14 Sep – Garrison, Toronto, ON 16 Sep – The Funhouse at Mr. Smalls, Millvale, PA 17 Sep – DC9, Washington, DC 19 Sep – Bowery Ballroom, New York, NY 22 Sep – Turf Club, St. Paul, MN 23 Sep – Schubas, Chicago, IL 25 Sep – Sunset Tavern, Seattle, WA 26 Sep – The Jack London Revue, Portland, OR 28 Sep – Popscene/Rickshaw Stop, San Francisco, CA 29 Sep – The Roxy Theatre, Los Angeles, CA
The arrival of summer comes with the need for captivating folk-pop, and Jonah Kagen is here to deliver. In two short years, singer-songwriter Jonah Kagen has skyrocketed from TikTok fame to wider acclaim, lending his characteristic jazz-inspired guitar playing and personal storytelling to his music. His new single, “The Roads”, premieres today, and is a worthy addition to any summer road trip playlist.
A hallmark of Kagen’s music is his personal hue of melancholy and nostalgia, which “The Roads” wholly leans into. The universally-relatable lyrics detail the pain of an ended relationship, accompanied by the push and pull of dynamic musical contrast. Solo acoustic guitar verses are juxtaposed by the sweeping chorus, expanded with strummed guitar, cello, and violin. Kagan declares that “These roads are changin’ me, but they all lead back to you”, in a memorable and timeless melody.
The expansive rural landscape in the accompanying music video perfectly matches the song’s folk aspects. With truly stunning cinematography, we have a bird’s-eye view of the landscape as well as close-ups with Jonah Kagen on guitar. The sky is cloudy and gray, while the lush greens of the forest burst into view. The contrasts, both visually and musically, emphasize the undercurrent of doubt and regret on the speaker’s part, mourning the loss of love.
Represented by Arista Records, Jonah Kagen has amassed nearly 2 million Spotify listeners and more than 140 million global streams since the release of his debut EP, ‘georgia got colder’. “The Roads” builds upon this journey, as he crafts music full of heart and earnest. Stream the song today on all platforms, and check out the music video on Youtube.
The single “Too Late To Break Your Fall” by John Oates is filled with moments of steady beats, rustic-sounding instruments, and joyous high notes. John Oates sings with a voice that would be perfect to be played at a restaurant where people are looking for a date. His voice is slow and clear at the beginning. The guitar in the background creates a rustic backdrop that feels like a small town in the country.
Oates’ voice becomes high-pitched as he sings, “I guess it is too late to break your fall.” His voice then becomes steady and quick in speed as he sings the next line, “You break your fall again.” This quick change of tone in his voice produces feelings of intense emotion as he sings in a high voice. Like those in a relationship, or when listening to this type of music as you would at a bar, you can have a moment of feeling suddenly happy. As quickly as you feel happy, you feel your emotions rapidly collecting into what is reality. After all, life can at times be bleak, and happy moments do not last forever. Singing in a high-pitched voice is him expressing that happiness must be savored because feeling happy can be very short-lived. Furthermore, singing at a steady cadence for the majority of the beginning of the song reveals that most of the time, he remains mentally stable while in a restaurant or a bar around other people.
The instruments playing in this song flow with blues sounds that dance with the trumpets. Oates’ song sends the message that there are times when joy is felt continuously. But even during good times, there are moments of sadness or when you need silence to process happiness.
Tour Dates July 14 – Boone, NC – The Schaefer Center for the Performing Arts July 26 – Old Saybrook, CT – The Kate July 27 – Old Saybrook, CT – The Kate July 28 – Newport, RI – Newport Folk Festival August 19 – Rifle, Rifle, CO – Ute Theatre September 2 – Nashville, TN – Grand Ole Opry September 6 – Nashville, TN – Country Music Hall of Fame and Museum September 9 – Hopkinton, MA – Hopkinton Center for The Arts September 11 – Decatur, GA – Eddie’s Attic
Brooklyn’s newest breakout alternative act is Sunshine Convention, led by brainchild and industry veteran Jake Whitener. And it is the most exciting thing we have on our radar right now. After whirlwind inspiration in his home in the last 3 years, Whitener wrote over 300 songs. He was then tasked at whittling down his ideas to just one full-length collection to introduce the music concept. Its first two single releases have more than piqued our interest.
A nostalgic, 60s and 70s psychedelic rock encases your headspace as soon as you press “play” on a Sunshine Convention song. Moments of lazy surf rock and whirring guitar really make both singles have widespread appeal, from the realistic (and often sarcastic) burnouts to the hopeful idealists and everyone in between. With the release of the project’s second official single – “The Spark” – and its accompanying psychedelic music video, our excitement increases tenfold for the full-length, due out this summer. (July 21st, to be exact. Mark your calendars!)
The full-length is being given a super limited first run on CD, with matte Digipak case and two bonus songs. Pre-orders are open now.
When confronted with stretching hours alone during the 2020 pandemic, River Shook found themselves in a unique position to explore their own musical voice. Their solo project, Mightmare, was born, as an independent project separate from their country-punk band, Sarah Shook & the Disarmers. Now, River Shook releases the first Mightmare single to feature a full musical cast, “Can’t Get What I Want”, with Blake Tallent on guitar and synth, Ash Lopez on bass, and Ethan Standard on drums.
The lyrics of “Can’t Get What I Want” are immediately accusatory, as the speaker takes issue with the one-sided nature of a problematic relationship. Shook shines light on how the song “highlights a moment of clarity as our protagonist realizes in real time that demanding better treatment from an abuser is like expecting honey from a hornet’s nest.” Indeed, this realization stings with the arrival of the chorus, when Shook shouts the song’s namesake. The lingering dreaminess accompanying the lyrics “I can get anything I want” ends, as the tempo picks up and the rhythm changes to a steady emphasis on every downbeat. Reality sets in, as the speaker escapes fantasy and accepts that their abuser will not make any concessions.
Mightmare plants itself fully into the punk, indie-rock aesthetic, with the wail of its lyrics and head-banging instrumentation. Shook’s first solo album, Cruel Liars, features more of Shook’s punk sound. It’s a departure from the distinct country influences of Sarah Shook & the Disarmers, which is a testament to Shook’s musical versatility. Represented by Kill Rock Stars, this is sure to be only the beginning of Mightmare’s electrifying turn into the alternative scene.
In the mood to be vicariously angry via punk energy? Stream “Can’t Get What I Want” on these platforms now!
