Tomberlin announced a new EP, Projections, with the lead single “Wasted”. The track is out with a Busy Philipps-directed video (Yes, you read that right!), from an iPhone in quarantine, that was shot and edited by Marc Silverstein. The song is an uptempo journey about a relationship that withholds as much as it gives. The video captures the innocence in the lyrics, creating a hauntingly beautiful atmosphere. Tomberlin shines bright in a neon green dress following the journey of a day in the life of two young best friends. The scenery around the subjects of the video changes naturally, not overdoing the simple concept of it all. It’s as if she is reflecting back on these times with her best friend, remembering and trying to keep up with all the things they did together.
On the subject of the video and song, Sarah Beth Tomberlin says:
‘Wasted’ was the most fun song to record. I brought the song with the guitar part and knew I wanted drums, but wasn’t sure what kind of beat I wanted. Alex played this drum beat for me and was all ‘kinda left field but maybe this would be cool.’ It took the song to a whole new level. Sad song or summer banger? You tell me. The video was made with the help of Busy Philipps (who directed) and Marc Silverstein (who shot it), who are more like family than friends at this point. I was quarantined with them and their girls in South Carolina and we came up with the idea and shot it in about 4 days on an iPhone.
The “Wasted” music video truly feels like the fleeting memories of a childhood summer. The ending of the video, when the day comes to an end, connects all the emotions with the two looking towards each other. It’s simple, beautiful and then gone in an instant. The song and EP were co-produced by Alex G (Alex Giannascoli) and bandmate Sam Acchione. Following her critically acclaimed 2018 debut, Tomberlin continues to prove she is a force to be reckoned with. Check out the video for “Wasted” now.
Rydell’s “Three Wise Monkeys” is a modern interpretation of the ancient Japanese proverb. The track calls on the listener to open their eyes, ears and mouths to what is happening in society and throughout the world. This is the lead single off of her debut EP, Stained Notes, which is out now. It was also the first track written for the EP with producer Magnus Thomson. This marks Rydell’s launch into a new chapter of the music industry.
The cycle of corruption continues through the length of the song, the lyrics hitting close to home for many these days. The Vienna-based artist speaks her mind to remind people to avoid becoming desensitized to these shortcomings we see from those in power. Her raw vocals fight against the instrumental, making for a strong track. The gospel vocals add to Rydell’s to soar above the majestic brass with a snare that beats down on the song. There are just some songs that can truly convey emotions, and this is one of them, it feels like a marching anthem.
This is only an introduction of what is on Stained Notes, so if you like what you’re hearing check it out now!
Jono Dorr, a prolific songwriter and producer, has released his 6 part project, titled The Unexamined Life Part 1. Dorr has helped to launch and sustain the career of noteworthy artists such as Hayley Kiyoko, and has worked with Kehlani, The Neighbourhood, and Gnash. Hailing from Los Angeles, Dorr grew up playing bass and guitar in various bands, primarily exploring classic rock, blues, and funk. In high school and university, he began to develop his production skills. The opportunity to create electronic music at an early age allowed him to hone his ability to a finely sharpened point which he now uses to precisely pioneer a soulful revival within the modern pop landscape. The Unexamined Life Part 1 is an eclectic piece of work that is equal parts haunting, delicate, and devastating. Dorr explains, “The Unexamined Life Part 1 is about choosing pain over ignorance, freedom over obedience, and purpose over greed. Each song focuses on different moments in my life that compelled me to look inward for answers.” With each moment comes a wide range of emotions that make the EP accessible to anyone who is looking to relate to something.
Right away, “High Tide” introduces you to Dorr’s “soulful revival.” His use of gospel-like harmony is sparing and thoughtful. The dynamic interplay between his solo vocal lines and the harmonically supported lines creates a grand, dramatic overall sound, but the underlying dance beat invites the listener to get on their feet as well. Dorr’s vaguely Avicii-sounding voice glides through melodies that are incredibly singable, so don’t be surprised if you find yourself singing along.
“Envy The Man” briefly sounds like a ballad, with simple piano chords and a slow tempo, but soon understated elements come in– a beat, soft electronic chords– until the chorus hits with a mélange of surprising sounds that flow together in completely disjunct harmony. Bubbly notes, phasing chords, explicit beats, and resounding background voices that sound like part of the instrumental fabric themselves are a testament to Dorr’s exceptional production skills, making it the standout track on the EP.
“Quiet Footsteps” is slow, vengeful, and faintly menacing. It begins with some jazzy piano that struggles to ring out amidst a windswept background, while incessant cymbal attacks keep a slow but resolute beat. Dorr sings “I can’t escape,” and the words rebound, as though they themselves are trapped. Soon after, an extremely distorted guitar solo torments its way through the dark atmosphere. But then things change and the clouds part as the gospel harmonies of “High Tide” return. The hopeful sound of their unified voices are surprisingly uplifting compared to the rest of the song, adding an intriguing twist. As the music and then voices fade away and the song reaches its end, it feels somewhat removed– as though you’re floating away.
The picture of distortion and obscurity that “Quiet Footsteps” paints is focused into something that is infinitely more intimate in “Wanna Stay.” Raindrops and gentle acoustic guitar picking make you feel so much closer to Dorr and the aching tenderness that his words and music unveil. Again, Dorr’s experience with production shines through, with each electronic touch completely free of edge– fitting beautifully with the natural sound of the acoustic guitar. Soulful harmonies subtly support Dorr’s voice, especially on the word “stay,” the most important word in the track.
But the cozy enclosure that “Wanna Stay” seems to exist within is shattered by the next track, “07 Child.” You’re transported into a dark, dusky alleyway with a foreboding chill creeping its way into your body. Voices meander about in the style of Gregorian chant, a guitar relentlessly plays a static interval, solemn “mmm’s” embed themselves into the framework, and three unsettlingly tangible knocks ring out in an all-too-real fashion. When Dorr comes in, he sings “stay close to me child” on a melody that implies the eerie harmonic minor key–full of intent, yet daunting. The song continues on in this way right until the very end, slowing fading out and evading any sort of resolution.
The closing track, “Today”, plays off of the unnerving energy of the previous track, but in a more melancholic way. Haphazard voices meander around at the beginning and end, and while the beat is relaxed, the guitar is anxiously fast. When you reach the lines “I feel like a child standing at the edge of a cliff. He’s wondering why he wants to jump… maybe there’s some peace down there,” the words are fitting to the music, but that doesn’t make it any less distressing. While we’ve heard the soulful revival in most of the tracks so far, “Today” features it in the most modern way, with the harmonies on the words “feeling used” embodying an electro-gospel sound. The ultra-distorted guitar from “Quiet Footsteps” makes its return, but it’s somehow even more anguished than before. There’s a hint of a resolution, but the music fades away instead, until all that’s left is the wind… framing some of the lines of the song in a new light…
The Unexamined Life Part 1 somehow manages to pack darkness, sentimentality, storytelling, dance music, innovative soul, and adept production into a concise 6-track package. Jono Dorr is setting himself up to go far, so let this EP be your glimpse into the bright future that’s in store for his music.
Idris Ackamoor & The Pyramids reach their peak powers with their latest album Shaman!. The jazz collective created a stellar album that just adds to their impressive discography. The album was produced by Malcolm Catto at his analogue HQ, Quatermass Studio in London and the cover artwork features an exclusive painting by Japanese artist Tokio Aoyama. The album includes expansive tracks that touch on all different subjects, but blend together like they were meant to be. Ackamoor explains, “I wanted to use this album to touch on some of the issues that we all face as individuals in the inner space of our souls and our conscience. The album unfolds over four Acts with personal musical statements about love and loss, mortality, the afterlife, family and salvation.”
The expansive nine tracks tackle spiritual jazz with introspective themes, a different journey than their last release. Through different moods and emotions, Idris Ackamoor & The Pyramids take you on a wild journey. Starting with the 12 minute title track, “Shaman!”, they dive straight into soul-searching and dealing with masucline vulnerability. The variety spreads through the song, showing the lengths they can go to with their talents. However that variety is not limited to this track, it shows through others like “Dogon Mysteries” and “Eternity”. Now more relevant than ever before, “When Will I See You Again” mourns the sudden loss of loved ones. This track could resonate most with people because of the crisis we are fighting everyday.
“Theme for Cecil” is Ackamoor’s tribute to his mentor Cecil Taylor, whom he studied piano with in the early 1970s. The tributes don’t stop here, they continue with “Salvation” and “The Last Slave Ship”. These tracks are paying homage to their ancestors and referencing the Clotilda, which was the last ship to bring slaves from Africa to the United States. And finally, the best for last, “Virgin”. It is an anthem of forgiveness, new beginnings and self-healing, and the collective’s best track on the album. It encompasses everything they were trying to capture and ties the album together.
Although the band was formed in the early 1970s, time has done nothing but helped to season these professionals and it shows. It would feel like an injustice to not name those involved on the project, because of the talent and work put into this project. This fresh line-up includes original 1970s Pyramids member Dr. Margaux Simmons on flute, Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. Shaman! shows that they are not playing around and that they are here to make the best music they can.
Aime Simone is no stranger to misery. He fell victim to intense bullying as a child, the trauma of which led to early symptoms of PTSD and anorexia as a teenager. There were attempts to heal at clinics where he spent his time writing poetry, but there also was a tragic sucide attempt. During a stay at a clinic in 2012, Aime got permission to attend a Pete Doherty show since he was such a big fan of his and an avid songwriter. He took his poetry filled journal along, hoping to give it to Pete. Halfway through the show he still had no idea how he was going to get the journal to Pete, so he resorted to throwing it onstage, and accidentally hit Pete in the face. Pete began to read excerpts to the sold out crowd, and when Aime screamed for Pete’s guitar in exchange, he instead was pulled onstage and given the guitar to play. What resulted was Aime’s first-ever performance in front of a crowd, and after it ended in applause, Aime was invited to go backstage and began working with the Libertines frontman in intense songwriting sessions.
Today, Simone is a Berlin-based, Parisian singer and producer who is still mentored by Doherty. He produces alt-pop music that pulls from post-punk, hip-hop, soul, and 60s pop. The culmination of Simone’s incredible backstory and all his hard work with Doherty comes in the form of his debut album Say Yes, Say No, which was released on July 31st. The album was entirely self-written, produced, and mixed by Simone himself, and plays like his open journal, as earnest and honest as the one that he hurled on stage back in 2012. It’s inspired by Berlin’s iconic techno scene as well as his past life in other European cities.
The music of Say Yes, Say No is somewhat sparse and intimate, made up primarily of vocals, guitar, and a beat. The vocals are blurred by reverb, yet clear enough to hear every word. Its simplicity allows for sentimentality to be the focal point of the work. Although each song deals with emotions, the album doesn’t have a one-track mind. You find moving melancholy in “Don’t Be Sad”, danceable beats in the lead single “What’s Up With The World?”, and even tender love in “Shining Light.” With Say Yes, Say No, you find uplifting movements interwoven through the melancholia, an approach influenced by Simone’s unusual and complex being.
The first three tracks embody this brooding, yet moving trait well. To start us off, “Everything’s Changing” deals with his own mortality and the fear of death and the unknown, but he faces these inevitabilities with acceptance rather than letting them overwhelm him. It was inspired by the thoughts that occupied Simone’s mind when he became a young father. The intimate acoustic guitar, soft, yet emotive vocals, and chill beat behind the soaring line “I’ve got to let go of what I’ve always known,” amplifies the embrace of his feelings, especially in the bridge where Simone and the guitar become more spritely and when harmonies join the vocals in the chorus. “In This Dark Time” was recorded in reaction to the effects of the pandemic. It’s got a bit of a groove, but is pensive in tone, asking “could you take my pain?” a line that recurs throughout, right up to the very last line where the music drops out from behind it, the words stark against the silence. “Don’t Be Sad” progresses the album into a spooky realm, with its slow pace, ghostly harmonies, and morose guitar.
By the time we get to “Strange Inside” we’re enveloped by this eerie aura. The bassline, and minor 2nd interval that the guitar strums alternate between giving the track an ominous sound. The guitar is left bouncing at the end, finishing off the track without a resolution. “Strange Inside” was also influenced by the pandemic, specifically about how it can make one feel blocked, removed from human connection in the face of quarantine and isolation. The video features a performance filmed during lockdown in Berlin, providing a visual representation of the mental and physical barriers that the pandemic has created for many people. “Imaginary Lovers” is tenser, more anguished, with the lines “tell me what to do” and “barely holding on for tomorrow” showing a desperation that we haven’t seen on the record so far. But this desperation with the phantom-like background vocals whispering “imaginary lovers” in your ears throughout the track and the unrelenting off-beat attacks become somewhat unsettling, continuing the subtly haunted sound in “Don’t Be Sad” and “Strange Inside.”
With “Vienna”, the unearthly nature of the last three tracks transforms from eerie to dreamy. The guitar exists both as evanescent chords floating in the background and a solo part that seems to have a mind of its own. Simone sings “I need you baby,” letting some love trickle into Say Yes, Say No, a sentiment that is reinforced in “Hold Me Alive” with lines like “You hold me close, you hold me alive.” This track uses electronic chords that phase in and out to paint an emotional background for Simone’s delicate falsetto. When the guitar joins the chords at the end, it makes for a warm ending that embraces you with love. Even more, “Shining Light” marks the peak of adoration, put into words when Simone sings “All I need is the way that you love me.” A hint of groove comes from the muted guitar riff and calmly snapped beat, and the chord progression is the perfect complement to the tender words.
While Say Yes, Say No as a whole is touched with sorrow, it humbly offers some inspiring words to start to resolve that sorrow. “What’s Up With The World” and “Humankind” are the best examples of this encouragement. “What’s Up With The World”, beyond its rather pertinent title, is a message of hope: “I can defy my fate, I choose love, I will not give up.” The rhythms of this track give the listener a chance to clear their head and dance, comforted and invigorated by the lyrics. “Humankind” brings things down again, but it’s the perfect ending to this album because it’s about Simone’s restored faith in humanity– and himself. It shows just how far this sensitive, inventive artist has come, making it the most uplifting track of all. Say Yes, Say No is a brave and beautiful story of struggle and perseverance. Don’t miss your chance to experience it for yourself.
Aja Volkman and Dan Epand of Nico Vega have come together to form the duo TWO, and just released their brilliantly painful EP Pull The Knife Out last Friday. The EP reflects a traumatic time in Volkman’s life, but while it certainly projects the feelings of sadness, loneliness, anger, and despair that plagued her at that time, a ferocious sense of empowerment surges from within the tracks and overshadows those negative emotions in favour of acceptance and self-worth. Written entirely by the duo and produced by Epand, Pull The Knife Out displays a varied set of seven songs that showcases the duo’s incredible talent in every facet of the record; the vocals, lyrics production, instruments, and even the structure of the songs and the EP as a whole are executed incredibly well.
“Live Forever More” is a hybrid song-poem with spoken word poetry verses and sung choruses. Not only are the lyrics expressive, narrative, and insightful, the rhythm of the words and the melody of the chorus invite you to sing along. The more you sing (or just listen) along, the more you believe in the words and their message. “Whoa Man” is also a spoken word performance, but the atmosphere is hauntingly empty, with Volkman’s voice and deep, throaty “mmm’s” intensified in the vastness. Her words reverberate into the silence when she pauses, amplifying their effect. Again, the words are profound. “If I am to be the woe, and you are to be the man, then let me blow your mind with just how great I am.” Even in this single line, you can recognize the trauma (“the woe”) and the empowerment (“how great I am”) that Volkman has gone through.
“Cage Fighter” also exudes confidence through its music and features more spoken word poetry in the bridge. It’s straight-up rock– heavy guitars, a pounding beat, and Volkman’s incredible gravelly vocals. From the music to the words, this track is powerful. In the bridge, sounding like she’s some higher being, hovering above. She says “when you’re small… it’s an opportunity to have humility and fall,” and “be a ball of fierce compact energy, waiting to explode,” and then the music does just that, launching into the chorus again with sustained energy. The only other song that rivals the energy of this track is “Phoenix”, a song that bleeds determination and resolution. It has a slow but firm beat that emphasizes her words– “you can’t take this song away from me.” Despite the slower tempo compared to “Cage Fighter”, even the quieter parts of this track are filled with energy that feels as though it can barely contain itself. Volkman’s astonishing vocals come to light once again as her voice sails at the climax of the line “for out of the fire I’ll rise again.”
The standout track “In This Rough” is also overflowing, not with energy, but with emotion. Volkman says that she “went through some dark times trying to find the kind of surrender expressed in this song.” As she sings her voice catches, brimming with emotion. The bridge has only drums and her voice in that classic anthemic manner, where, in a live performance, the audience would be screaming out the lyrics alongside her, tears streaming down their faces because at that moment– they’re understood. The guitar, spirited drums, and synths sound relatively carefree, but her words and voice are tortured. In a similarly contrasting way, the music of “Faces” sounds calm and nostalgic, with the initial guitar voices singing an easygoing duet and fun melodic “oohs” in the chorus. The lyrics, however, place the nostalgic sound in a more regretful context. Volkman’s vocals are especially intriguing in this track as well. Her inflections play with the placement of her voice, and it’s impossible to guess where she’s going to go next.
The closing track, “Crazy Love”, is full of conviction and honesty, something that’s easy to perceive in her voice. It begins with a unique drum part that sounds like deep water droplets. The rest of the track is an accessible song about exactly what the title says– a crazy love. In the transition to the bridge, the music feels as though you’re being submerged into water, and in the bridge itself, the classical background vocals contrast with Volkman’s sharp voice, creating quite a unique effect.
Pull The Knife Out is well done from the inside out. Volkman and Epand’s immense abilities as musicians create fantastic music, and their close relationship doesn’t hurt either. Volkman says “Dan and I have always remained close and supportive of each other. He has been my cheerleader for over a decade,” and Epand returns the sentiment in saying “We have been through a lot together, a friendship and a creative collaboration that continues to evolve.” It’s that close bond that truly makes their music shine, and combined with Volkman’s remarkable voice, it’s no wonder that the duo has been generating buzz and accumulating some influential fans including P!nk. The EP is out now, as is a music video for “In This Rough” that was shot in quarantine and written and directed by Epand.
Grief and trauma can cause enormous pain that will affect the rest of your life. It can change you as a person and make you weaker or stronger. Samantha Crain has taken control of her life and tackled her grief head on with her new release, A Small Death. Her sixth studio LP will leave you in awe of her talents and inspired by her journey. Crain explains , “I didn’t completely die, but I feel like I died a little bit and that allowed me this new beginning…What I was trying to capture with this record, really, was a sense of reconstruction.”
The Oklahoma-based artist starts off strong with “An Echo” which highlights complex relationships and makes you feel the pain behind her voice. If one track had to sum up the feeling of the record, “An Echo” takes the cake. Not every song is as serious, “Pastime” is a look into Crain’s start of a new romance, but learning more about herself in the process. She took to Instagram to speak about the track, saying, “when I was writing this song I felt like I was getting to know myself from scratch, peeling off a costume that I was put in as a child and allowing myself, for the first time, to dress myself and fully lean into my curiosities and sensitivities.” This theme seems to follow through to most of the tracks, experimenting and digging deep into her soul. Raw emotions are present in “High Horse” with the feelings of fleeting memories. In the lyrics, “I know the shape of the great heartache / and I know the weight of a big mistake / and I know the feel of a magical moment,” you can hear the strain accompanied by the steel guitar.
Her alluring vocals pull you in on tracks like “Reunion” and “Joey”. They are soft, yet powerful, similar to artist Brandi Carlile, who she has previously toured with. Crain, who is of Indigenous descent, connects with her roots in “When We Remain”. The track is sung in Choctaw and accompanied by a light instrumental. “Little Bits” closes the record out, by being herself and owning who she is. It’s short, upbeat and to the point, almost as if she was wrapping everything up with a red bow on top. A Small Death follows the 2017 release of You Had Me At Goodbye and is the first release under Real Kind Records, founded by UK-based artist Lucy Rose. It is the beginning of a new chapter for Crain and her music, something that is uniquely her and her experiences.
Beabadoobee, one of music’s most talked-about artists, dropped her new single, “Care”. The track is from her highly-anticipated debut full-length album Fake It Flowers, which is set to release later this year. “Care” is all about rejecting sympathy from people who aren’t interested in really getting to know and understand her. A cathartic, to-the-point chorus is a new and explicitly vulnerable direction for her music.
Bea Kristi, beabadoobee, gives fans another bedroom pop song to jam out to. You can feel the real emotions and the anger behind the lyrics, without overdoing it. Some of the first lyrics in the song that stand out are, “I need some help to forget about it / I don’t want your sympathy, stop sayin’ you give a shit / ‘cause you don’t really / care”. Everyone can relate to this feeling at some point in your life and can connect with the frustration felt in this type of situation.
Accompanied by a music video full of outrage and different trippy graphics shot in quarantine, it makes the song more personal. It’s the type of music video that you would love to see premiere on MTV in the early days. Talking about the track and the video, Bea explained, “This song has end-of-a-90s movie vibes, like you’re driving down a highway. It is pretty much me being angry at society, or people around me who I just don’t think know me and don’t care. I don’t want you to feel fucking sorry for me. I just want you to understand what I’ve been through. I never expected to be making the first video from my album during a pandemic! I was so lucky to be locked down with the bedroom guys, it feels like it turned out as one of the most personal, real videos I’ve made.”
“Care” is another great addition to her repertoire and the fans are all for it. The song is brutally honest and exemplifies her struggles, but shows how she still is the same person she’s always been. With praises from Rolling Stone and NPR along with her feature in the worldwide chart-dominating hit “deathbed (coffee for your head)”, which includes a sample of her song “Coffee”, beabadoobee really is something special.
The English post-punk legend Gang of Four’s new EP Anti Hero dropped today. The EP is a celebration of the life of band member Andy Gill who passed away in February. Gill’s widow Catherine Mayer joined together with the band to memorialize Andy through music and to fundraise for Guy’s and St Thomas’ Hospital– the hospital that worked tirelessly to try and save his life. All net receipts received by the band from sales and streams of the forthcoming EP and associated singles will be donated to Guy’s and St Thomas’ NHS Foundation Trust so that they can continue their valuable work. Anti Hero features two new tracks and new versions of old songs that were completed at the time of Andy’s death. “Change the Locks” and “Glass” were written before we were really in the throes of quarantine, but resonate with it nonetheless. “[Andy’s] ability to write songs that remain relevant was unparalleled,” says singer John Sterry. Bassist Thomas McNeice worked with Andy’s longtime friend and collaborator Santi Arribas to produce and mix the EP. McNeice says “I like to think that this EP exhibits a progression in Gang of Four, while paying tribute to a unique talent that I was extraordinarily lucky to work with.”
The title Anti Hero comes from the first single off the EP, “Forever Starts Now.” Written by Gill and Sterry, its original working title was “Hero,” referring to the lyrics which describe “a character who sees himself as the hero of his own life and manipulates his partner into supporting this fantasy,” according to Sterry. Andy was always wary of narratives surrounding supposedly great men, hence the word “anti” in the title. You can hear the aggression and conviction of the character in “Forever Starts Now”, especially in the bass. There are two bass parts, one electronic, one physical, and both attack each note with the ferocity of a deluded man. The rest of the music is made up of these short, fragmented motives in several different voices that give the track an unsettled quality, which also plays into the instability of the character. All these fragments create a really full sound, however, using mostly physical instruments but also some hints of electronica. It’s disjunct and edgy, yet incredibly easy to jam along to.
This unsteadiness is also mirrored in the second single, “Day Turns To Night”, but rather than being fueled by delusion, it’s fueled by the inner turmoil that one experiences after a loss. Sterry wrote the song only days after Andy’s death, and while he didn’t intend the song to be about him, it evolved into a tribute anyway. The track is made up of chaotic electronic sounds interspersed within a foggy musical atmosphere. Touches of angelic, but ghostly harmonies peek through every once in a while. This amalgamation of sounds are overwhelming, like a sensory overload, reflecting how grief can feel. However, the lyrics are clear. They are a plaintive but touching message to Andy with lines like “Is it too late to say thank you?” and “You forever changed my fate.” In some sense, it’s as though the mayhem in the music is giving you an out– something to focus on. Because if you pay attention to the lyrics, the emotions are piercing.
To complete the EP, the two reworked tracks “Change The Locks” and “Glass” update the sound to fit the vibe of the EP. “Glass” retains some of the 80’s energy from the original 1979 version, such as the DEVO-esque vocals, but it feels edgier with the pounding beat of the drums and guitar. The repetitive guitar licks and lyrics bring back the unstable sound of the first two tracks– as though the whole song is twitching. It’s short and restless, ending abruptly.
The original version of “Change The Locks” is much more recent than that of “Glass”, appearing on their 2019 album Happy Now, and consequently sounds more modern with lots of electronic elements and a pop-punk character. The Anti Hero version leans more towards alternative rock, with less bouncy electronic sounds and more distorted guitars that sound almost like buzzing. Funk comes into play in the bassline which maintains a steady groove throughout the track. The bridge adds a deep uniqueness that makes “Change The Locks” the standout track on the EP. It begins with simple, static drums, guitar, and bass. As Sterry sings “bang bang on the drums,” the drum beats ring out like shockwaves. It then dissolves into an old-timey sounding piano part before the chorus comes back, sounding familiar but also different after the mood shift that just occurred in the bridge.
Anti Hero is a wonderful celebration of a valuable band member. It honors him, not in a lachrymose way, but in a way that connects with who he was as a person and musician. The skilled musicians create music that has ties to the 80s post-punk roots of the band that Gills co-founded back in 1976, and highlights songs that Andy wrote, but also songs that capture the impact he had on those around him.
