While the band appears to be straight out of a 1970’s psychedelic acid flashback, Krantz comes from the unlikely place of Nashville, TN. Best known for country, honkey tonk, and the grand ole opry, Krantz has cranked out a college alternative rock song “Run away with me”.
With a musical structure similar to that of the Killers yet an experimental flavor of The Muse, you will find Krantz has added fun to the mix with “Run away with me.” It has a sweeping back and forth medium paced beat that is fused with group vocals during the chorus and a guitar lead that provides good traveling music that will make the vast nothing of the road seem more like a runway for liftoff.
While the song itself sounds as if clean-cut and serious college kids created it, you will understand the “fun” description once you see the branded panties for sale in their “Merch” or the furry pink jacket worn by their singer in promo pics. Yes, even seasoned adult musicians can captivate a listener without taking themselves too seriously and draw a crowd by making people wonder,”whats going on over there with them?”
Like a potato chip, one song just isn’t enough to get the real feel for Krantz. “Run away with me” will spark a curiosity that will lead you straight through their SoundCloud playlist of music.
“Run away with me” is a catchy pop-ish alternative rock song, with softly sung parts that lead the way to an impressive strong note being held out while the guitar line answers back like a conversation between friends. The lyrical content begs to leave the cold weather behind and head out to a warmer location. I can’t blame them. I am here in Arizona and it’s 80 degrees of wonderful in January while the weather in Nashville shows a high in the upper 40’s. For all of you suffering in the bitter cold, time to pack it up with this hit the road anthem “Run away with me.”
Yep, thanks. did. Indie pop duo Steve Pagano and Mario Borgatta of thanks. are celebrating their signing to Highland Park Records by re-releasing their debut single, “Your World”. Psychedelic yet approachable is a succinct description of the song. If the vocals of Bad Suns and the upbeat vibes of Bakermat mashed with the psychedelic aspects of Glass Animals, it’d almost make thanks. Key word there is “almost.”
Thanks. is able to distinguish themselves from other indie artists by their flexibility within a single track. LA-based thanks. brings something new to the indie pop scene, with an accessible sound for the pop-loving people that is still alternative enough to be enjoyed by those who rebuke the mainstream. With fantastic lines like “Why sit down when you want to dance/Let’s change the way we look at the world,” Pagano and Borgatta are already impressing us, both lyrically and musically. “Your World” is the perfect windows-down, carefree tune to blast on your stereo.
Our eyes are on thanks. as they begin to bless our ears with amazing tracks like “Your World”, and all we can say is “thank you” to thanks.
Los Angeles-based dance/funk quintet Thumpasaurus – comprised of Lucas Tamaren (Guitar/Vocals), Henry Solomon (Saxophone), Paul Cornish (Keys), Logan Kane (Bass), and Henry Was (Drums/Production) – recently released a hilarious and intense music video for their upbeat single “Mental Karate”. Packed with ridiculous dance/karate moves, the video also gives an inside look into the stage presence of the band, who can be seen throughout playing the song along a prison wall in karate gi. Things get more than a little ludicrous, and it will damn sure keep you laughing all day.
Check out the video below, then scroll down for a listen to the playlist curated by the band specifically in honor of the release of “Mental Karate”! (Descriptions by the band also below.)
Tracklisting:
1. Devo – Whip It
Devo were a band ahead of their time; still ahead of the time. A band that mixed a progressive, catchy sound with nuanced social commentary and art direction.
2. XTC – Senses Working Overtime
Wow. I don’t know, this song just hits me. So good. “And all the world is football shaped?” Oh ya…
3. Knower – Things About You
Louis Cole drums, Geniveve Artadi vocals, some electronic stuff in there–Just a completely innovative sound.
4. John Keek – If and When
A completely original dude and friend coming up in the LA music scene. A new voice in the fusion of hip hop, R&B and jazz. We love John.
5. Guerrilla Toss – Betty Dreams of Green Man
Punk is alive and well in the Boston music scene. Raw/psychotic energy.
6. Beach Boys- God Only Knows
Has there ever been a better pop/love song ever?
7. Was Not Was – Dad I’m In Jail
Just listen to this one.
New Jersey-based indie psych rock band Speed The Plough – comprised of John, Toni and Mike Baumgartner and Ed Seifert, joined by former STP bassist Dan Francia and drummer Ken Meyer – released their latest full length on December 8th. The album, titled …And Then, is comprised of ten tracks that dare to drag you into a soundscape that doesn’t altogether make sense in one grouping. From one track to the next, the group displays their musical prowess and keeps the listener on their toes with the variety of sounds they are able to create together.
Take “Crossing the Tizsa” for example. The lyrics are almost like a fairy tale or a beautiful children’s story, set over dark instrumentals that eventually lighten into a Renaissance-like tranquility. This makes sense, as it was found in a songbook of Hungarian folk songs. (John’s mom is the one who can be heard in the spoken word section, by the way. Props to her!) “Take Me” allows the album to take on a whole different persona, introducing itself with bass that would rival the best oughts’ pop/punk tracks. And while “Azimuth” has an unmistakable 70s vibe, perhaps driven by the keys that make up the melody, “The Bitter End” feels abrupt and intense in its disposition. By the time we reach fifth track “Marina”, we’re not sure what to expect, as Speed The Plough tends to switch up the sound on us from one track to the next. For example, “Marina” brings back that beautiful renaissance-meets-rock feel to it, almost as though it should be on an A/B Side with “Crossing the Tizsa”.
“By This River” is light as a feather, largely driven by simple and delicate piano chords. Its sound is slightly different from its predecessors as well, if not only for the fact that it is a cover originally done by Brian Eno. While we might expect “Why We Fall in Love” to be some sort of intense love ballad, it’s more of a quirky indie track with percussion that feels primal, and perhaps groups it back in that “far-off places, daring sword fights, magic spells” territory. (Guess that reference in the comments and you’ve got a new bets friend!) “The Bird Has Flown” is almost theatrical in its presence, notable for its robust piano chords and delicate guitar.
Last two tracks “Running On” and “Dark Continents” happen to have been originals from an earlier iteration of the band called The Trypes. These tracks hadn’t gotten the studio attention the band thought they needed to thrive, so these tracks happen to have a different, low-key, “vibing out” feel to them that really tends to invigorate as the last track fades out beautifully.
…And Then is available now. Keep up with Speed The Plough here.
Relatively new to the scene, rock trio Invisible Candy – comprised of Jen Smith (cello), Carter Zumtobel (drums), and Colin Campbell (guitar/lead vocals) – often refer to themselves as “Brooklyn’s chamber rock sweethearts,” but might just be on their way to having the world believe them. The fact that a rock trio features a cello prominently is already alluring enough. Take three distinctive performers who proudly proclaim their newfound love for “flowers, German expressionism, fake blood, and obviously candy,” add the frenetic, romanticized sound that steadily flows from the speakers, and you’ve got genre-bending rock that encapsulates chamberpunk ditties like “Mental Hatchets” alongside sweeping indie rock tunes like “Simone”.
In honor of their latest single we got a few minutes to learn more about the band behind that intense, enigmatic sound.
What is the Invisible Candy conception story?
Jen Smith: We’re not a concept band, but I could see us going in that direction. We have divergent influences from the past that we could weave into a modern sound and build a narrative around that process … that’s the dream, right? But as of now, the origin story is three people met through mutual friends and started making music together. The name literally came out of a dream and since inception we’ve been challenging ourselves to write more freely … more psych, more garage rock, more experimental.
Colin Campbell: We’ve all been in bands that had several more cats to herd at once. So a trio, at least as the constant core to then ornament, was immediately appealing.
Carter Zumtobel:
With your collection of bold personalities, what is the writing process like? Does it vary from song to song? Take us inside your process!
JS: Well, this EP we’re working on is somewhat “soaked” subject matter – heavy, drunk, woeful. Even though our original batch of songs is from Colin’s notebook, Carter brings a new element with the drums and we have to work as a collective to find what the cello will add. Nothing is set in stone. We revisit a lot of songs on a structural level just to see what happens. And it’s usually a fun jaunt, not at all a confrontational or frustrating process. We will have some new material soon too, and that might come from Carter’s writing and my arrangement or Colin on lead guitar and me on keys or any number of combinations. We’re all about the possibilities right now.
CC: I generally use simple pop structures with lyrical references from an otherwise useless liberal arts background. Part of me always wants to coax audiences into something sweet and entertaining, almost saccharine, then twist it with something a tad more sonically or lyrically demanding.
Your latest track “Mental Hatchets” is so, so good. Do you mind discussing the inspiration?
CC: It’s of course an unironic bullet-pointed list of why we’re living in a globalized urban utopia!
With so much good music being released right now – especially since a certain event last year – we’re falling over ourselves trying to keep up with it all! It makes me wonder, is there pressure with an up-and-coming band to have a message or stance with everything?
JS: For me, it’s important to have a stance and to have integrity, on stage and off. I’ve seen lots of bands lend their talents to benefit shows, and we are participating in that movement too. We’re donating a set to Thursdays for a Cause at Our Wicked Lady in Brooklyn on 12/14, for example. That’s something we’d like to do regularly, as well as put our resources behind artists from marginalized communities.
As artists, we’ve looked to the past for inspiration, like the antifascist movement Rock Against Racism, to see how musicians felt and dealt with such troubled times historically. And I think off stage, we’ve all taken steps to educate ourselves on structural oppression and we talk to each other pretty freely. The openness and acceptance in this band definitely helps me effect changes in my non-performer life.
If you could be a superhero, who would you be, and why?
JS: Superman, because I am a masochist and I want to know what it’s like to control your otherworldly strength in every human gesture, thereby taking notice of every delicate and unbearable human gesture.
CC: Professor Xavier because he does his ass-kicking under a cozy blanket on a levitating barcalounger.
CZ: Rod Kimble, stuntman extraordinaire.
BIGGER question… if “Mental Hatchets” were part of a Thanksgiving meal, what part would it be and why?
JS: I think cranberry sauce cause it’s a small portion with a lot of zing!
CC: The stuffing, just cause it’s all I can think about right now.
CZ: Keep on rocking in the free world.
___
Catch Invisible Candy at Gold Sounds Bar in Brooklyn on November 29th. Keep up with the band here.
Polish alternative band Trupa Trupa – comprised of Grzegorz Kwiatkowski, Tomek Pawluczuk, Wojtek Juchniewicz, and Rafał Wojczal – released an eleven track collection titled Jolly New Songs at the end of October. Packed with intense attitude and reverb for miles, the album’s sound will keep you captivated as it trudges through first track “Against Breaking Heart of a Breaking Heart Beauty” until the last fourth, when it enters into an even darker soundscape and really thrashes into “Coffin”, which enters into the light, indie pop realm with its sound. By the end of it, you spiral into a feeling of falling, which is perfect because the third track is a frantic attention-getter that swirls into a dreamlike state-inducing trance track titled “Falling”. And while “Mist” is darker, led by percussion, the title track keeps a pleasant sound to the vocals, as though it’s staying on the polite end of the soundscape almost because of its title. That’s all well and good, until the song takes on an almost Tim Burton flare and spirals into a heavy instrumental cacophony that feels dangerous and inviting.
“Leave It All” is as melancholic in sound as the title would suggest, though the song itself leans more toward an off-kilter lounge band sound, though the theatrical nature of “Love Supreme” draws us into a Wizard Of Oz-meets-death march realm where Tim Burton’s antics feel slight and far away. “Never Forget” pulls us out of the darkness and plunges us into a dark alleyway, where we’re almost marching forward, decked out in combat boots and a leather jacket. “None of Us” reminds us of a dark and murky lullaby – perhaps for Satan’s children more so than anyone else – with guitar riffs that could swallow your ears whole. The tumultuous instrumentals in “Only Good Weather” remind us of the so-called reliability of the National Weather Service (ha!), replete with waning guitars and a swirling, psych rock bed of sound. And – if you ask us – Trupa Trupa did us a service making the crashing sounds of “To Me” the last track, as it, too, splinters into an uproar of crashing cymbals and intense rock vibes before leveling out and inducing a feeling of calm with its listeners.
Every emotion is palpable with Jolly New Songs. You just have to let it envelope you.
Jolly New Songs is out now. Keep up with Trupa Trupa here.
Last month, Brooklyn-based psych rock collective Ritual Talk – comprised of Alex DeSimine (Vocals, Guitar), Alex Tremitiere (Vocals, Bass), Tom Criblez (Vocals, Drums, Percussion), Dylan Gleit (Vocals, Guitar, Percussion), and TJ Alcala (Vocals, Keys) – released their simply beautiful debut five-track EP titled Rippled Glass. “Sense” takes advantage of its first slot on the EP, slowly layering in instrumentals after introducing smooth, harmonized vocals that implore you to “put away your phone and look me in the eye,” which provides a good jumping off point. (Because, why don’t you put away your phone to enjoy this release a bit? Unless you’re streaming it from your phone. Then keep your phone out.) It continues to crawl along, really displaying the vocal range the quintet is capable of. And while “Help, I’ve Been Dreaming” is an upbeat, almost glittering, it maintains verses that feel very 70s, with accompaniment that feels like 2000s pop rock.
“All in Blue” feels, once again, slightly more contemporary, but in a very easy-listening way. Add in the reverb-filled vocals, and you’re falling “deeper,” as the meaning of the EP’s title comes into full view, even as it “spills out of view.” “Follow You” almost makes no sense lyrically, and then you realize that the sentiment of the song is that of young love. If love is approached properly, neither of the responsible parties will end up following the other at all. Instead, it is important to meet your love interest where they are, and work together from where you are toward a life in tandem. It’s not easy, but the perspective with which this song has been written is beautiful and optimistic. “Dancing Still” rounds out the release, a more lyrically-involved track than its predecessors, layering in more of a pop sound as well. Simultaneously painting a picture of love – perhaps a twin flame type of take on things – and of the thrill of a love interest who enjoys dancing like no one is watching, the track has more than one place in your music library for its sound.
In fact, so does all of Rippled Glass. So get on it.
Seattle-based psych-pop trio Spirit Award is in the throes of introducing their debut album to the world. The ten track full-length – Neverending – is quite clever in the way it was constructed, as a majority of the titles would fit comfortably into a phrase with the term “neverending” itself (i.e. “Summer”, “Women”, etc.). And the album was constructed during a time of loss for the band (the end of a relationship, the loss of a family member, a robbery, and struggle with anxiety), which has lent itself to the lyrics in a very real and extraordinary way. Check out the album below, then read what the band had to say about each song as they lead you through a track-by-track feature exclusively for Imperfect Fifth!
“Summer”
This was a song that came out of the chords from a old song we had scrapped called “Summer Comedown”. Chris (Bass, Keys) and I sat down and I put a lot of reverse delay and reverb on my guitar, and Chris started playing the beginning bass line.
The idea for the feeling behind Summer was to have this kinda floating slow motion feeling. Like if you smoked a bunch of indica weed, or haven’t slept and are feeling kind of in a daze. It was right after the “presidential” election happened, and it was hard for us not to be feeling like we were floating and concerned for our futures. That’s really what stemmed on the lyrics as well. It was a plea to keep pushing, to keep doing good, to keep making art, that this really does ‘all comes down to all of us’ to not give up, and push back.
“Fields”
It was a sort of spontaneous thing. We had a couple weeks before we were going back into the studio, and kind of stumbled upon writing this song. We like to switch instruments sometimes when we write, so I hopped on bass and started playing the riff and Chris hopped on the Juno. We got the basics of the song down and recorded drums and bass. We later wrote a lot of the synth parts in the studio. This was really fun to craft something so minimal and simple, and try to make it interesting along the way.
Like most songs we write, the lyrics came last. We we’re dealing with a lot of shitty life issues, and things that were a little confusing. The idea was kind of a mantra for me to let go of trying to have a “normal” or “perfect” life and enjoy being poor and all the randomness that life has to offer and do what makes you and others happy.
“Diving”
We wrote Diving in kind of the dead of winter I believe. Like I said, it was a super bleak and shitty time for all of us. I think that really comes through in this song, and the yearning for something good to happen, some glimmer of hope to go towards.
“Heavy Fog”
This was one of the earliest songs we wrote that we still play. We recorded it for an EP, but we went a little too crazy with it, adding strings and a ton of shimmery stuff. With this version we wanted to strip it down and streamline it a bit.
The basis for this song was written I (Daniel) while going through some depression and confusion that felt like a ‘Heavy Fog’ over me constantly. I was in a relationship that I felt like I couldn’t fully be myself in without judgement. I remember one day when I was waiting for a ferry to go to the San Juan Island and was feeling at peace and had this moment of knowing that if I kept confronting my fears and feelings and was honest with myself, I was going to be in a good place again, and that’s when the lyrics came to me.
“Las Vegas”
Kind of a turning point in our writing, and maybe the second song we wrote for the record. We were wanting to start writing with a more open and linear approach than we had been. This was one of the first songs we recorded for the record, and put out as a single. I remember after playing this song at a show a friend said “I could feel that man. That felt real. I like when you get aggressive”. We liked it too. I was focused too much on making something perfect before and writing melody and not just feeling it out and being authentic.
I was going through a lot of self doubt and an existential crisis while writing this song. This song is essentially about saying “fuck you” to anyone who try’s to paint you out to be something you’re not. You can’t control when people tell lies about you. All you can do is examine yourself and ask if you are being honest with yourself or if your ego is getting in the way. So the story for this became a mix of those feelings and a story I heard from a friend who was on a blackjack card counting team.
“All Desire”
We were selected by Converse’s Rubber Tracks contest, which meant that we got a free day at Avast Studio in Seattle with legendary Engineer/Producer Jack Endino (Nirvana). Usually it can take a half a day or more just to get the drum sounds you want, but we got to the studio in the morning and Jack had them all dialed in and sounding great in less than an hour. It was a really great feeling to be working with someone who’s been doing it as long as Jack and to hear all his stories about Nirvana, Hot Hot Heat, and other records he’s worked on.
One of the best feelings was when we got out a Fender Rhodes that we ran through some delay pedals to do some overdubs (which Jack was hesitant about, probably thinking we were just gonna dink around with it). When we started tracking Jack gave a big thumbs up and an approving nod.
We had reached the end of our session, so I said “Well, I guess our time is up” to which Jack replied “Fuck em, they’re not gonna kick me out, let’s keep tracking!”. So we did.
“Women”
This was a song that was really built around the idea of the lyrics I had in mind. I was tired of seeing men feeling like they own women. Like they can touch them, slap their asses, grope, and talk over them without any consent and without consequences. It made me incredibly sad to have friends and partners experience this. All I could do was feel this deep sadness for their experience and wish I could do something.
All I could do was write this song saying “we hear you, men are the worst, and I hope we can change that”. I want to encourage people to not tolerate this behavior from anyone. If someone doesn’t understand that what they are doing is sexist or hurtful, they never will unless you tell them. Sometimes it’s awkward but we need to change this norm that is hurtful and toxic. Everyone deserves love and respect.
“Running”
When we wrote this song it really felt like some sort of metaphorical baptism for me (Daniel) (hence the album cover). We had been through a lot over the last couple years and this was kind of an anthem to any negativity or backwards thinking to watch out Because I’m fucking pumped and I will destroy you (hopefully with peace, love and kindness?).
The idea for this song was to write another linear song like we did with Las Vegas. Not worrying about structure and just feeling out what’s next.
“Lost and Stoned”
When we wrote this song we we’re looking to write something big, loud and a little disorienting at times. For over a year the working title was just “Psych Jam”, which always felt appropriate.The idea for lyrics came about when I (Daniel) was angry and not a in a good place for a week and was getting stoned to escape the shit storm I had created.
I still enjoy getting stoned, but I think for me it’s important to make sure it’s not escapism.
“Yesterday”
This was the last song we wrote for ‘Neverending’. Most of the songs for the record we had parts to and were mostly organized. Yesterday was put together super last minute. I have this old Wurlitzer Omni 6000 organ/synth in my house. I wrote the song on it, Chris came over and wrote a bass part, and we just started tracking it. Chris borrowed a Neve Sidecar to run mic’s through that we set up in a big room in our rehearsal space. We basically gave Terence some direction but told him to do whatever felt natural. I had to leave so I didn’t hear the full song until later that week,. When I heard it I remember laying on the floor of my house with headphones and feeling like we got exactly what we wanted, a big drum sound with some nice warm tones.
The song was ultimately about all the change that had been happening in my (Daniel) life, and ours as a band. It was the last song in this series of writing and we felt like it gave us, and the record, some closure and a optimistic look into the future.
**Material submitted by the band
Neverending is out now via Union Zero. Keep up with Spirit Award here.
In the lead up to the release of their album bad Radio, San Francisco based rock outfit Down and Outlaws – comprised of Peter Danzig, Kyle Luck, Chris Danzig, and Jon Carr – have unleashed a new psychedelic single titled “Imposter” on us. As the first cords hit, the listener becomes enveloped in a thin, silky layer of softly swirling nostalgia. The guitars wane like sepia toned photos are the closest we’ve got to color, back during yet another time when facial hair, middle parted hair, and bell bottoms were popular. (They’re still a thing now, right? No?) Its mellow tone and vocal reverb will make you want to play it on repeat for hours.
