Los Angeles-based indie pop duo (and real life couple) KiSMiT – Carly Barnette and Basti Reunert – has been blowing minds with their latest release, a 70s-inspired track titled “Cosmic Love”. So you know “we struck gold” with the music video for the track, which also plays off the nostalgic nature of the song. Carly and Basti spend the majority of the video making eyes at each other, frolicking in the desert in vintage-inspired outfits, layered in with shots of the two playing the song as if on a variety show. But whether they’re covered in glitter and seemingly glowing, transposed over images of the universe, or dancing around outside, these two are encouraging positive, fun, adventurous love with this video.
We were in such a good mood after watching the video that we decided to ask the duo a couple of questions about it all. So check out the video below, and then learn more about your new favorite power couple!
What is the first song or album you ever remember hearing, and who introduced it to you?
Carly: Definitely Jewel’s ‘Pieces of You’ – I knew all the words at 5 years old. My mom (going through a divorce at the time – shocker there!) had it on repeat in the car growing up. Something about her raw emotions just touched my little baby soul – #everydayangel (her super fan hashtag in case you didn’t know) ’til I croak. The album followed me throughout my life – first concert, first one I played at the piano – I look forward to the day I can look her in the eyes and thank her for her imprint on my life.
Baz: First album or song ever is a tough one to remember. The first song that I remember really catching me is ‘Hotel California’. It is a saga of a song not to mention the EPICALLY MELODIC GUITAR SOLOS!! My great uncle Freddy showed it to me on our drive from Palmdale to Santa Barbara, which, at 8 years old, was an epic journey of its own.
Your new video for “Cosmic Love” is so fun, and it has such a beautiful warmth to it! Where did the concept come from, and what was filming like?
Carly: Thank you! We had so much damn fun making it – I’m thrilled that that comes through. It’s our first music video so it was a labor of love from start to finish. I’ve always dreamed of doing a music video and to have been able to make it happen with some of my favorite people was just beyond magical. I had the idea for the lyric “we wax and we wane – I just want more of the same” and thought of us sleeping – how we might start spooning but then roll over onto our backs or snuggle the other way and it fascinated me from a birds eye view that it mirrors the moon cycle.
As “Cosmic Love” came to life musically that idea always lingered at the back of my mind. All of the music video brainstorming happened with Alex Cantatore (www.quickactcasual.com), our director / dear friend / upstairs neighbor at the time. We would lounge around in our apartments or chill out in the backyard and shoot ideas across at one another. Nothing was too big or crazy or extravagant and that was exhilarating!
Baz: Having alien-planet-looking parts of California (Mono Lake, Red Rock Canyon, Death Valley) as such a blessing for our outer space ambitions on a shoe-string budget.
Carly: Two worlds started to form: Our “SuperStar-Selves” (the best parts of our love: sexy, confident, fabulous); & Pleasant-ville meets desert – Desertville (the day-to-day, mundane and less flattering but very real flip side to a loving relationship). This first music video presented an opportunity to share another side of us. We wanted to be as honest as possible with the partnership we are putting on display – it’s magic and muddy all wrapped up into a a beautiful mess.
What inspired the track itself, if we might ask?
Baz: Sonically, it comes about from a mixture of sounds inspired by Allen Stone’s Freedom (Alternate Version), Andra Day’s Mistakes and Daft Punk’s Get Lucky. (Pharrell, if you’re reading this, you better not come after our money! We didn’t steal your song!) Lyrically, ‘Cosmic Love’ is derived from us wanting to remember that the day-to-day of loving and working together has many twists and turns, warm and cold moments and all of it is part of the ride.
Carly: We wanted to make something that was bursting with love and vitality from the first beat, that, most importantly, made me move. If my booty is shaking, there’s definitely a smile on my face and that was important with this new direction of our music.
How do you imagine people listening to this track? (In an armchair, surrounded by flowers in a meadow? In an airplane with cotton candy clouds? Sitting at a BBQ? You can get creative here if you want!)
Baz: I picture people who are on the move listening to the song: in their car, getting ready to go out, exercising.
Carly: Such a fun question – I hope people are listening to it while they are making dinner – bottle of wine open, dancing in the kitchen -that sort of vibe. Also, before you’re going out – a social, pump-up vibe would make me reaaaaally excited. I know my grammy listens to it on repeat while she drives – so in the car for sure (#sola) okay okay subway too!!!
Any pet peeves or interesting stories you’d like to shed light on about each other? (We want all your secrets!)
Carly: Oh DANG – first time we’ve been asked to spill the dirt! After 5 years of living and loving together, I think I can divulge just one…. homeboy sleeps with earplugs (such sensitive angel earbuds) and when I wake up in the morning, they are always near me, around me, on me, without fail like stickers on my body – really haven’t vented about this, thanks for letting me get it out. Baz, you’ve got to work on that situation. But, if that’s the top of the list of annoyances, I would say,”Hell yeah! I’m a lucky gal.” Interesting story about Baz, that his modest South African self would never share and one that continually blows my mind, is that he picked up the guitar with serious interest and investment at 16. Like whaaaaaaat!?! I am so inspired by his dedication to his passion. He is always down in the studio in soft pants slapping da bass or producing or findling on the guitar and that is something I admire so much!
Baz: Well, I’m beaten for age by Carly’s flawless performance as Annie, with a 101 degree fever, at age 9. Her gran sent us the DVD of the performance and the sparkle has always been there. (Car, while you are sleeping tonight I will be sure to rest the earbuds on your eyelids.)
What’s your opinion on the modern music industry?
Baz: It is constantly evolving, especially how people are digesting music. The ability that everyone has to get their music heard and to find their audience is unprecedented. The niche markets are able support more indie artists than ever before. The major challenge is, of course, in that music streaming has greatly halted the flow of money to the artists, but when there is change in the weather, you best adapt and get on with it, the world isn’t going to stop for you. Again I’ll say, the major pro of the modern day music industry is how easy it is to connect with people of similar taste around the world.
Carly: Yeah, I will second the positive wind in our sails. It’s daunting to be investing in a career where the return isn’t guaranteed. So much of the conversation is the same “no money in music”, which I understand that that’s the truth but my mom started her own business when she was pregnant with me (talk about inspiration) and has always preached that when you are doing what you are meant to be doing, support always comes, I really believe that. I think in a lot of way it’s a super empowering time to be in this industry – no more waiting around for someone to find you or holding your breath for luck. Do the work, get your music & content as proud of it as you possibly can be, get it out there and what is meant to be will be.
However black & white as the social media “highlights reel” may seem sometimes – I think we are also getting to a point where if you are fake, it comes through. As an artist, there’s no hiding behind an image because daily you are sharing what you ate for breakfast, how you feel, who and what you support. It’s overwhelming and I need to unplug on the regular but I don’t think we even know what we are living through yet!
On an emotional level – our country, world, humankind is hurting right now, every day we put on our armor to the outside world that feels like it’s falling apart and to be contributing music as a soundtrack through these scary times, is something I am so grateful for.
Anything else you’d like to add?
We have a new single ‘Panther’ coming out later this month – the second release off of our upcoming EP coming out next February as well as an upcoming show at Harvard & Stone in Los Angeles on November 21st at 10pm. Thanks so much for taking the time & interest to share our story!
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Keep your eyes peeled for “Panther” and updates on KiSMiT here.
On Friday, October 13th, Columbus-based rock and roll musician Lydia Loveless will be releasing her new album Boy Crazy and Single(s) alongside her band members Todd May, Benjamin Lamb, Jay Gasper, and George Hondroulis. As with her 2010, 2011, 2014, and 2016 releases, Lydia captivates her audience and takes them on a journey with her writing, something that isn’t always a feasible task. Boy Crazy and Single(s) is mostly one-track in its subject matter, and it also exhibits a more folk-influenced facet to Lydia’s writing that we haven’t necessarily seen – or at least noticed – before.
Rough guitar, a solid drum beat, and we’re off. Lydia’s nabbed a country feel for her first track “All I Know”, beginning in a place where she questions how she got to this place in her life, and then leading us through a narrative where she admits she might not know what could happen, but she is very aware that she will see this person – this significant lover or love interest – again. Her intuition leads her right through the first track into “All The Time”, which picks up the pace slightly but has more of a melancholic feel to the lyrics, a more bluesy feel to the song overall. Third track “Lover’s Spat” has a 90’s alternative feel to the instrumentals, carrying at a quick clip that directly contrasts with its follow up, an all-too-relatable track called “Boy Crazy” that builds from a darker place with the instrumentals into one of the more dance-worthy tracks from this release.
“The Water” feels like pure country from the very beginning, waning guitar and soulful vocals dipping you into a suffocating world where you’re being ripped from your significant other repeatedly. “Mile High” brings the pace back up, allowing Loveless to talk/sing the majority of the lyrics in a cheeky way. “Blind” is another heart-wrenching track, Loveless singing to a past lover about letting go and allowing them to wallow in regret. With lyrics like “I’m sick and tired of the mess you made” and “you’ll miss me til the day you die,” “Blind” is the ultimate “fuck you” to the person who didn’t handle your love with the care and appreciation it deserved.
In pretty direct opposition to its predecessor, “Come Over” is a track about the push and pull you feel in the wake of a relationship, when part of you wants to work things out. “Falling Out Of Love”, however, isn’t tip-toeing around the feeling of loss in the relationship. Almost as though she wants to show every facet of heartbreak, Loveless has taken the perspective of being torn up about the relationship, not struggling for one moment with how she feels like she had in “Come Over”. “I Would Die 4 U” further proves the theory that she might want to cover all her bases, because breakups aren’t as clean as many musicians would have you believe. While Joe Blow is over here writing 12 concise tracks about being better alone and Tawny Gift is over here playing the victim, Loveless’ work goes through all of the major emotions and thought patterns that a person can truly go through in this situation, making it exponentially more relatable. Loveless rounds the work out with a beautiful, steady love ballad, more stripped down than the rest of the work.
Luckily, the speed with which music can be produced these days allows many bands and musical acts to blend genres seamlessly. Even so, it’s difficult for a known act to swap to a whole different genre in the midst of their career, and is still looked at as an adrenaline-inducing, often not ideal, move. The fact that Loveless can do something like this on her fifth full-length release – and do so successfully – shows that she isn’t afraid of anything in her art. After all, you never know who will blow you out of “The Water”.
Boy Crazy and Single(s) is out October 13th. Keep up with Lydia Loveless here.
Today, Ashland, Oregon based indie collective Slow Corpse – comprised of Mitchell Winters (vocals, guitar), Brenton Clarke (guitar), Cole Zollinger (bass), Sean Siders (drums), and Dash Curtis (keys) – is bringing a tasty treat to your eyes, just in time for Halloween. Their crawling, darker recut of Kendrick Lamar’s intense “Bitch, Don’t Kill My Vibe” has its own music video, and we’ve got your first look.
Filmed and edited by Jordan Kourupes at with Novum Visuals, the video for “Bitch, Don’t Kill My Vibe” was written and directed by Slow Corpse’s own Brenton Clarke. Bathed in cool jewel tones, the video is the modern version of every turn of the century rapper music video, but created for hipsters. Slow motion dancing, covered in smoke, no personal space, people wearing all types of clothing and participating in cultish activities.
You know, that.
Check out the mesmerizing, smooth version of “Bitch, Don’t Kill My Vibe” and don’t let anyone kill your vibe, no matter what you’re into.
Today, Brooklyn-based folk musician Swimming Bell (Katie Schottland) releases her first solo EP, titled The Golden Heart. Over the course of five tracks, she takes us on an almost magical journey through beautifully picked guitars, slight sound effects, and light as a feather reverb to last for days. Quite frankly, it might be the best road trip ready EP we’ve heard all year, and we’re thinking about taking it on our next autumn excursion.
We’re so impressed with the work this lady has accomplished and by the beauty of her art that we wanted to ask her a few questions, to which she happily obliged. Below, find a quick interview in honor of the EP release.
What is the first song or album you ever remember hearing, and who introduced it to you?
There was always a lot of Beatles, Beach Boys, and Eagles played in my house. “Lucy in the Sky with Diamonds” sticks out in my mind. My mom in particular loved Peter Paul and Mary and used to sing it to us as kids. I think I get my love of harmonies from her. She’s the master harmonizer… a rap song comes on and she’ll find the major 3rd.
You have quite the resume with a host of other musical projects. With your own solo project, how difficult was it to find your own voice or to hone your sound? Is the process very different for you from working with a band?
I think in any musical project I’ve been a part of, that my voice has always been there, but the more chefs you add, the wider the flavor. With the solo venture, there wasn’t much conscious thought about a particular sound or voice. We took the songs at their essence and built on them. That’s my voice I guess. This process was very different than recording with a full band. It felt way more relaxed, and in turn more creative to me. There was no right or wrong to it. Just experimenting.
We know you recorded The Golden Heart in the London home studio of Oli Deakin, whom you met in NYC. How did you two meet, and how did the decision to fly to London to record come about?
How does anyone meet these days? I was training as a horse surgeon, and he used to be a professional jockey. He was new in town and we met through the classifieds of Equestrian Weekly. 😉 Then we discovered we both love music.
As for recording in London, it all seemed to fall into place. He was going back home to London for a few months and I had a window of time that lined up. We recorded in his parents house where he has a home studio set up. We just got to play and create for hours. For me it was a dream since I’d never been able to have that kind of freedom in recording before.
As we played the EP for the first time, we came to the conclusion that we’d like to listen to it lying on a blanket under the stars in the crisp, autumn air. How do you imagine people listening to/enjoying the EP?
What you just described sounds lovely to me. Can I come? I’m just happy if people listen to it, wherever they are. 🙂
What are you most excited about with this release?
I’m most excited to be sharing something that is very much from my own imagination, and learning to own it. To be less insecure about my lack of musical training. I started playing music about 3 years ago, so I’m new to all of it and it’s all very exciting to me.
You have a couple of dates coming up in California. How stoked are you to play the west coast, and – be honest – was it an excuse to get out to Joshua Tree for a little R&R?
I’m very excited to be playing in California. Should be fun! I have friends in all the towns I’m playing in, so it’ll be good to connect with people and play to a different kind of audience. I don’t think I’ll have much time to R&R in J-Tree, but I’ll be in Yosemite for a night and looking forward to that.
If you could collaborate with any artist or musician, who would it be and why?
I wish I could collaborate with Nick Drake, or at least let me sing some harmonies on his songs, but alas. 🙁 Living artists? Beck, Thom York, Sia, Neil Young, etc. Too many to name. I really love what Nicolas Vernhes does as a producer.
Upcoming Events
10.7.17 at Pete’s Candy Store (EP Release)
10.10.17 at Hotel Utah, San Francisco, CA
10.13.17 at Joshua Tree Saloon, CA
10.14.17 at Hotel Cafe, Los Angeles, CA
10.29.17 at Muchmore’s, Brooklyn, NY
The Golden Heart is out today via Adventure Club Records. Keep up with Swimming Bell here.
Chicago collective Mutts – comprised of Mike Maimone (keys, vocals), Bob Buckstaff (bass, guitar), and Ian Tsan (drums) – have had an incredibly busy few weeks, having just released their new EP Stick Together amongst re-released videos for included tracks “Neighbor” (ft. Jennifer Hall) and “Tin Foil Hat” while simultaneously opening for Company of Thieves on their reunion tour. Even with all the buzz around the EP itself – for which the title is a clear political (and human) statement in these times of trouble – we wanted to make sure everyone got their ears on it. Because these five tracks are certainly something special.
“I’ll Be Around” starts the EP in the most soulful and serene way, deep, raspy vocals serving as the standout aspect while Maimone lets you know “you don’t have to be alone tonight,” serving comfort in a very audible and strong way. Second track “Neighbor” – and its accompanying DIY video – is simple, a testament to the power of trusting in the people that surround you. Jennifer Hall’s vocals add a layer of beauty that makes the song feel more universal and hearty, keeping upfront honesty as soulful as its predecessor. And seeing as third track “Let’s Go” played often during the Cubs’ World Series run at Wrigley Field, this one is already an upbeat fan favorite that can honestly be played in any situation that you need a little bit of an energy boost.
By the time we get to “Tin Foil Hat”, the energy is already up and we’re properly prepared for both the track and its quirky music video, also created in its entirety by the guys in Mutts. Its fun nature almost makes you feel as though the song is a fun one, but its message is very anti-hate and incredibly important. (“Get yourself a tin foil hat and get the government out of your head.”) After such a direct and important message is delivered in such a creative and fun way, the only way to round out the EP is to bring the energy down slowly with “Don’t Touch It”, a track you can absolutely sway your hips to, but we can’t imagine for a second anyone head banging to.
If you want to prove us wrong, though, you’re welcome to post a video and let us know.
Stick Together is available now. Keep up with Mutts here.
Gainesville, Florida has a secret that’s about to be ripped wide open with blues/garage rock trio The Delta Troubadours. Comprised of Gytis Garsys, Jon Franklin, and Ian Heausler, the band released a whirring, intense six track EP titled Gritt earlier this year, but that hasn’t slowed them down in the slightest. Their latest – a track titled “Stone Thrasher” – was released in June, replete with soulful vocals and hard-hitting instrumentals that give you a very energetic disposition, despite the underlying darkness to it all. With its relatable lyrics, we’re probably just going to be over here spinning it into infinity.
On Friday, self-proclaimed “unruly vaudeville” band EGRESS – expertly comprised of “Tyrant” Taylor (Vocals, Accordion, Cello), “Saddle” Sarah (Vocals, Piano, Violin), John” Toobie Doo” Wentz (Tuba, Vocals), Jaclyn “the” Kidd (Guitar, 6 String Banjo), Joe “BONE” Lynch (Trombone, Backup Vocals), “Easy” Chet Sullivan (Trumpet, Backup Vocals), and Nick Pecca (Drums) – released their 13 track, frills-packed full-length Onward! Up A Frightening Creek. From the very beginning of “VooDoo”, there is a sense of that this band should have come from the south, as their sound is much more theatrical New Orleans than anything we’d expect from their hometown of Bethlehem, PA. But that is the quirky beauty in what they’re doing, and we’re so on board.
Second track “Whiskey on My Grave” has almost a dreamlike quality to it, which makes sense as this is the most anyone could hope for in the afterlife, if we do say so ourselves. The tempo drops slightly for “Cinematic Savior”, though the vocals feel more soulful in comparison to the punk-tinged vocals of its predecessor. “Mark Of The Beast” is resplendent in its texture, really bringing an otherworldly gypsy feel to the album. “Chopped Down” brings us back to a slightly more folk sound, though we know we’re in for more intense genre swaps before the end of Onward! Up A Frightening Creek.
“See No Evil” meanders along, the raspy vocals simply instructing us to “kill our enemies” as casually as possible, amongst other fun lines. (But no ill will, right guys?) “Rollin'” has a smoother, big band backdrop, and we can imagine a can can line and the beautiful frenzy of skirts as the track speeds up and brings us to a more anxious sound space. (And commentary on the repetitiveness of history.) Eighth track “Ode To Bukowski’s Women” is up there with “Whiskey On My Grave” as one of our favorite titles, and EGRESS swaps between the vintage tinge of their phenomenal female vocalist and a deep, almost sinister male vocalist. It makes for one of the more unique tracks we have heard as of late, and we’re intrigued to see the response to this one in particular.
“Nelly Mae” picks up the tempo, a track we can envision an entire park full of people frantically dancing to. “All We Have, We Give To You” has the most self-sacrificing title of the bunch, and we don’t disagree as the intensity of the instrumentals is proof itself. The lyrics are honest, as they sing about sleep habits, drinking, and having three heads. (Normal things, ya know?) “Southbound” and its accompanying intro clearly belong in a touring musical, and we’re slightly disappointed they aren’t yet.
Although, if we’re being honest, the majority of this work belongs in its own stage production. (So do you want to get on that, EGRESS?)
The band rounds out Onward! Up A Frightening Creek with “Going Home (Again)”, an anthem-type of track that is upbeat and details an intense journey home. But the nifty part of it is that they’ve decisively woven some very interesting social commentary into the words – though that’s hardly a surprise at this point – and have captivated their listeners with standout lines like “Bowie took our friends in his spaceship to sit this one out/They’re looking down on earth and convinced that it’s always been round.” It’s sincerely the best way we could think to round out the new release. (And if you don’t think you’ve had enough of that track, check out the music video here.)
Onward! Up A Frightening Creek is out now. Keep up with EGRESS every day right here.
Los Angeles based alt rocker DAVIS recently premiered the music video for his track “Welcome to Los Angeles” with idobi Radio. The song itself blends whirring guitars and a laid back vibe to produce a low key “driving with the windows down in your car” visual, even without the video.
DAVIS curated a playlist exclusively for Imperfect Fifth to celebrate his new music video. Check it out below.
Bleachers:
This is the best song he’s done in my opinion. It’s got great lyrics, great production. And a bit of Springsteen in there, which is always a good thing.Blood Orange:
Dev Hynes is incredible: a true artist. He has an amazing way of creating a context to his music that welcomes the listener into his world.Cage The Elephant:
This is a Wreckless Eric song. I used to cover it all the time at The Sayers Club in Hollywood. Great tune. Cage The Elephant did a great version.QOTSA:
Queens is hands down the best rock n roll band out there right now. This song is insanely good. It’s got the best groove ever and the guitar parts are perfect.Michael Kiwanuka:
I first heard this song on the radio while stuck in terrible traffic on the Hollywood fwy. It somehow turned what was a drive through hell into a Tarantino movie. Epic.
Mikes Kane:
Classic. Emotive. Real.
Catfish and the Bottlemen:
I was obsessed with this song when it came out. Instantly brought me back to the early 2000s when you had amazing bands like The Libertines and Razorlight coming out.
Gorillaz:
Damon Albarn is a genius. Everything he does I’m a fan of. Incredible songwriter, incredible lyricist, and his melodies are always so angelic. This remix is great because it reminds of the early house music that came out of Manchester in the late 80s.
The Horrors:
This band gets better every single record. They are one of the few bands I can safely say that their best album is always their latest.
Beck:
Insane. Production is next level.
Hamilton Leithauser & Rostam:
Hamilton Leithauser’s voice is next level. He’s always been an inspiration on me vocally, ever since I heard him in The Walkmen.
San Francisco psych pop artist John Dylan has dropped his third single “(I Can Feel Myself) Getting Over It” – a track off his upcoming debut album – along with its accompanying video. Shot in black and white during what looks to be the recording process, the video showcases Dylan’s involvement in the entire process, while he plays the drums, shreds on the guitar, sings, and more.
The song – written during a depressive dip, with inspiration pulled from The Smashing Pumpkins – possesses aspects that are lighter than the lyrics and tempo could possibly carry. Let its lightness carry you through the rest of the day.
Peripheral Drift Illusion is set to release January 9th, 2018. In the meantime, keep up with John Dylan here.
