by Katy Mombourquette | Jul 17, 2020 | albums, review
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.
Keep up with Gang of Four here.
by Leigha Stuiso | Jul 17, 2020 | albums, review
Laraaji is cracking open a new chapter in his music with his latest project Sun Piano. The twelve-track album reveals a whole new side to his sound for longtime listeners. From an early age, he had been playing music originally imitating his favorite piano players, such as Fats Domino or Oscar Peterson. Since the late 1970s, Laraaji has been a loved cult-icon based in New York City This is just another chapter in his story, so take a deep dive into Sun Piano.
Sun Piano begins calm, easing you into the album. “Hold On To The Vision” is soft and beautifully composed, the perfect track to play in the morning while you get ready for your day. Throughout the album, Laraaji picks up speed on tracks like “Shenandoah” and “Moods & Emotions”, with various tempos and style. “Moods & Emotions” stands out the most among the others. Through the notes of hard hitting keys, there definitely are tons of moods and emotions on this track. “Resonance” is almost six minutes long, weaving in and out of different keys and showing a range of emotions. The sound, especially on this track, is very rich and doesn’t even come close to falling flat. Closing out with “Embracing Timeless” wraps everything up and returns to a familiar calming sound introduced in the beginning. The uplifting are sure to soothe your soul.
His instrumental accomplishments are unmatched and show the craft has evolved, growing stronger with every release. Listening to this album is sure to put you in a relaxing mood and you can truly appreciate Laraaji’s talent. The rhythm and varying textures is a skill that he has perfected since the 80s. This is the first release in a trilogy all tracked at the same session. The companion LP, Moon Piano, will follow sometime later in 2020.
Keep up with Laraaji here.
by Leigha Stuiso | Jul 13, 2020 | singles, wolf tracks
Sometimes we face challenges in life and these struggles tend to be portrayed negatively or stereotyped. Artist Dan Croll is no stranger to the feeling and is upfront about how mental health has affected his life, showing the struggles he has faced. “Hit Your Limit” emphasizes the need for each of us to offer empathy to anyone who has run out steam. Now, artists are more open about their struggles, but not many tend to tackle these issues in their songs like Croll does. Not only does he give us these songs, but he has a Dial Dan line which provides an outlet for those who need help easing the pressures of loneliness. Embracing his emotions has created such a positive environment for not only him but for a whole community of people.
Croll’s soothing voice makes for easy listening, in addition to the light instrumentals. The track sounds like it could be a part of a coming of age movie when the main character is reaching their breaking point. “Everyone succumbs, everyone’s got their point/everybody bends and breaks/believe me when I say it’s as clear as night and day / you’ve hit your limit” These personal, yet encouraging lyrics are meant to calm people’s fears. Everyone needs this reassurance, especially in a time like the one we are in right now.
by Leigha Stuiso | Jul 10, 2020 | albums, review
Rapper ToBy is back with his new six track EP, THE OUTSIDE. ToBy incorporates daydreamy lo-fi beats mixed with booming trap sounds, similar to the likes of Travis Scott, in this release. He is not afraid to dive into his personal life and create something completely true to his style. He explains, “It achieves unity through specificity … In the hope that my life and my interests resonate with the next artistic soul or creative pundit trapped inside the every-man; yearning to escape, yearning to taste life’s cool breath, yearning to finally go outside.”
Inspired by Frank Ocean’s “Pyramids”, “Osiris” dives straight into the EP and ToBy’s style.
With a natural soundscape, the rapper’s flow fits perfectly and complements the different sounds. The track chronicles the mythic tale of betrayal and murder of the Egyptian god at the hand of his own brother. Meanwhile, his track “New Car” deals with freedom and yearning. The flow is more relaxed here, where his voice floats through the song. In an attempt to escape monotony, he comes out strong with the productions and vocals in this track.
Coming from dangerous upbringings can be a struggle, but if you do take on success, there is a psychological toll it can have. “Southside” is a think-piece about all of this, tackling issues that typically aren’t covered in music. But, in “Play Out,” ToBy’s single off the EP, he glorifies all things that come with the high life. Whether it is sex or money, he praises the fun lifestyle. With a constant flow and a well-rounded beat, ToBy has a hit on his hands. “Cascades” has a similar sound that you might hear from Rex Orange County, showing his versatility. It feels intimate and poetic, a switch up from some of the other tracks on the EP. Finally, “Wishes” is a solid choice to end the collection. Written and recorded on his 26th birthday, ToBy opens up about death and the fears he has relating to it. When you open up like this, there is nothing anyone can have, but respect for honesty. His thoughts may be in the clouds, but he brought his a-game here.
Blending tranquility, chaos and dystopia, ToBy has created his best collection yet. Dealing with a mix of emotions and other feelings, his tracks contain many different layers. Take a look into his life by giving this album some of your time. Take a walk outdoors.
by Leigha Stuiso | Jul 6, 2020 | singles, wolf tracks
Neo-soul artist Ego Ella May released her debut album Honey For Wounds, an album of honest lyrics backed by smooth instrumentals. A year after the release of her debut EP, So Far, this comes as the first release off of John Boyega’s UpperRoom record label. The album has a solid foundation to be a hit with May’s effortlessly warm vocals taking you through a journey of pain, love, and power. The South London artist took to Instagram to share her feelings about the release saying, “I made it to heal myself, but in turn my intention was and is to provide music to heal to for you as well! I hope I’ve done so. I hope it helps you feel validated, and held.”
“Alright” featuring Theo Croker is a great introduction for what is to come on the album. There are few vocals, but they stand strong alongside the delicate sounds of the trumpet. It is the most calming track off the album, although they all have this similar relaxing vibe. “Tonight I’m Drowning” is the end of a relationship, but still missing that person. The steady click of the drums keeps the song moving against the lyrics. Similar to “Song For Bobby” with light melodic patterns, May faces changes and deals with running through memories. Like many others after a relationship, there are these past memories that are haunting. Her vocals effortlessly float through lyrics like, “Raindrops, minimal light, and Etta James / Always the cure when you leave / You show up out of the blue, I cloud you with green / This distant thing still haunts me.” Not only does she reference Etta James, but in “Give A Little” she mentions Joni Mitchell’s “Big Yellow Taxi”, “Joni said You don’t know what you got / Til it goes away.” In the midst of her lyrics, she shows some of her music taste, while remaining graceful. Here May is trying to navigate a neutral ground and find her footing, after being down a familiar path of heartbreak.
However, she is not afraid to sing about things other than relationships and heartbreak. Both “Girls Don’t Always Sing About Boys” and “How Long Til We’re Home” bring up current societal issues like environmental pollutants, problems for same-sex couples, and with the government and media. Songs about love and breakups might be easy and what sells, but May is not afraid to go beyond those and she does it effortlessly. If one doesn’t listen closely to the lyrics they might end up liking the song without realizing the messages weaved into it. “How Long Til We’re Home” is a perfect example of creating a beautiful song with an important message, but not having it overpower the song. “In The Morning” is a fresh start, indicating the struggles of women with lyrics like, “Reading about trauma In our daughters / Has got me shook I got things to learn, / I got fears to burn … Been here before, kinda sick of myself / But also quite proud / It’s hard, being at the mercy of man / And dealing my cards with my wrong hand.”
“Never Again (Marlissa Interlude)” showcases May’s sweet vocals, with a repeated set of lyrics throughout. It echoes the struggles and feelings she has put into the other tracks. In “Science” the lyrics are very poetic and a personal look into her life. Mentioning little details like a blue Cadillac and her roots in Igbo, provide a clear background about memories in her life. “Table For One” might be the best song on the album. With all the right elements packed into a six-minute track, it shows her vocal range and unique style. May shines here brighter than ever before. She finds her way through all of this on “For Those Who Left”, coming out with lyrics at her most confident. It is simple, but a fitting ending to all the emotions in the tracks before it.
Honey For Wounds already is catching people’s attention and recently was Tidal’s Rising Album of the Week. The production on these 11 tracks is strong with graceful touches of horns and drums to match her delicate vocals. Ego Ella May released a powerful record that comes from navigating and experiencing the ups and downs in life. If you are looking for something new to listen to right now make sure to check out this album, you won’t regret it.
by Katy Mombourquette | Jun 22, 2020 | albums, review
John Legend released his much-anticipated album Bigger Love on Friday. Inspired by his wife, and family, the album explores themes of love, sensuality, and intimacy, but also draws from the extensive tradition of black music that has influenced Legend as an artist. Among the anxiety induced by the pandemic, and the outraged and mourning protesters flooding the streets, Legend explains how he intends for this album to fit: “During these painful times, some of us may wonder if it’s ok to laugh or dance or be romantic… but it’s important for us to continue to show the world the fullness of what it is to be black and human. Through our art, we are able to do that. This album is a celebration of love, joy, sensuality, hope, and resilience, the things that make our culture so beautiful and influential.” In a nod to his debut album Get Lifted, Legend offers Bigger Love as an uplifting, heartfelt work that inspires you to love, dance, and be happy.
Listening to this album, the overarching quality that comes to mind is soul. Bigger Love is soulful in its music, Legend’s voice and the surrounding harmonies, and even its message. The use of “big” in the title refers to the album’s expansive amounts of joy, soulfulness, and diverse range of musical styles. The tracks embody many different genres, and expressive vocals, gospel-like harmonies, and Legend’s expert falsetto are ever-present. Every song has an easy, untroubled sound to it, but they also have unique touches that elevate them to a higher level.
“Ooh Laa” tells you right away what the album is going to be like: a clash of contrasting forces. It kicks things off with two wildly different genres– 50’s doo-wop and trap music. The doo-wop comes from a sample of a 50s recording of the song “I Only Have Eyes For You” by the Flamingos. Continuing in the vein of hip-hop, “Actions” samples a song known from “The Next Episode” by Dr. Dre and Snoop Dogg, reminding listeners of that era of hip-hop. The central lyric plays on the phrase “actions speak louder than words,” a mantra that is especially relevant to the protests that have been happening recently.
Moving over to funk, “I Do” and “One Life” are dance songs. They have groovy basslines and are mellow but have catchy choruses that make you want to move. “One Life” stretches into contemporary jazz and uses strings to add some individuality. The chorus, with lyrics like “We’ve got one life, I won’t waste it,” are universal and inspiring, they really feed into the uplifting sentiment of the album.
Beginning with “Wild” featuring Gary Clark Jr, we begin to see a lot of slow jams and ballads, but there is still some contrasting material inserted in between. “Wild” tugs at you. It is a song that you would play in the car on an open road at dusk with the windows down. Its hard-hitting beat and the chromatic upwards motion in the guitar part pulls you along with it. “Bigger Love” takes a right turn with its Afro-Caribbean beat, but continues to include elements of gospel and house music in the vocals of featured artist Natalie Imani. It really drives the central message of the album: hope, optimism, and resilience.
Bringing the energy back down, “U Move, I Move” featuring Jhené Aiko is about two people in complete harmony. What’s unique about this track is how the beginning has a very minimal amount of music. Legend’s voice really stands on its own. When the music does come in, it’s swelling and romantic. Aiko’s voice complements Legend’s nicely, but it has its own distinct timbre that adds interest to the song. Despite being recorded in quarantine, the effortless harmonies between the duo are coordinated perfectly. In “Favourite Place”, short brushstrokes of harmonies paint the background. The tune is sultry and alluring, with more trap beats and gospel harmonies. “Slow Cooker” on the other hand, is all about taking it slow. It’s infused with cuisine-related metaphors, which work well for Legend since he and his wife Chrissy both like to cook. The swaying 6/8 time makes one think of a couple slowly moving to the music, delicately enveloped in an intimate moment.
Just when you think the album has hit a plateau when it comes to genres, some folk music is thrown in. “Focused” reaches out to ordinary people with lyrics like “everybody has their days when the work feels like chains.” Its defining musical characteristic is the acoustic guitar, but the connections to gospel and jazz remain strong thanks to the harmonies and jazz chords. “Conversations in the Dark” is a soulful love song reminiscent of Legend’s 2013 hit “All of Me.” It highlights the small intimate moments in a relationship. “Don’t Walk Away” features artist Koffee, who pilots a return to the Afro-Caribbean flavour from earlier. Gentle harmonies subtly support the infectious chorus that really highlights Legend’s control over his voice in this song.
For the last four tracks, deep emotions move to the forefront. “Remember Us” featuring Rapsody uses lounge piano, flute flutters, and deep bass to make a beautiful musical foundation that supports the emotional lyrics which remember some departed friends. Rapsody adds a contrasting but fitting quality to the music, expertly spitting out lyrics but still matching the vibe of the song. “I’m Ready” featuring Camper recalls Marvin Gaye’s soul-stirring music and is a tribute to him in that way. This track has a very cool a capella beginning that establishes some surprising rhythms and harmonic changes which continue throughout the entire song. “Always” is another love song. It has a simple, sweet message and relatively straightforward music but still has some twists along the way.
The final song, “Never Break” is an anthem for 2020. It discusses the power of the human spirit, something that is crucial for the valiant protesters around the world. Suspended chords create a deep sense of passion, which is amplified by the wonderfully jazzy chords. Towards the end, there’s a powerful build-up before the haunting final “no” that instills a great sense of resolve within you. The track, with its resilient sentiment and hopeful mood, is the perfect ending to Bigger Love.
Ultimately, this is an album you won’t want to miss. It sweeps through and lifts you up at a time when things feel low. Give it a listen on Spotify or other streaming platforms, and be sure to check out the amazing cover art painted by artist Charly Palmer.
by Katy Mombourquette | Jun 16, 2020 | videos, wolf tracks
Alt-R&B artist ROSA displays courage in his painfully raw single “BLOW” and accompanying music video. The track unearths and sets free some deeply buried demons surrounding ROSA’s personal battle with depression and drug abuse. Living with depression from an early age, ROSA quickly learned to adapt, to suppress his emotions, and instead forced himself to think clinically. While clever, this approach only prevented him from actually confronting his issues. It was his crafty thinking that allowed his severe cocaine addiction to fly under the radar for years without his friends or family noticing. Written, composed, produced, and arranged by ROSA alongside Joveek Murphy and Axe Hessel, the title “BLOW” refers both to cocaine, but also to what happens when you fail to deal with your emotions. The track is not only about someone coming to terms with their drug problem, but also with the root of the problem: depression. It is the second of a trio of singles that will be released before ROSA’s anticipated debut EP FEMALE. This EP will deal with female empowerment but also tackles issues of male emotional vulnerability. ROSA aims to challenge the stereotypes that surround masculinity by exposing some dark parts of himself. In the interest of honesty, “BLOW” speaks frankly, eschewing metaphors and symbolism to avoid romanticizing the matters of drug use in the track. By doing so, ROSA hopes to offer an alternative to the glamourized portrayal of drug use in pop culture.
The music video was directed by ROSA himself and illustrates his experience, from the initial ecstasy of cocaine to the inevitable deterioration as the high wears off. To show this, we first see shots of pleasant images: green trees and manicured bushes, women in dresses, bright blue lipstick, and deep red and white cloths. But each of these images are a double-edged sword. The groomed shrubbery and vivid colours seem out of context against muted colours and barren landscapes in the background. The faces of the women are void of expression. As the video progresses, we start to notice certain unsettling subtleties in the initial shots– the expression of pain on someone’s face with their mouth duct-taped shut, the fact that the fabrics are stretched over the people’s face. Eventually, you see that these people are struggling, even screaming through their restraints. Towards the end, fuzzy, black and white shots are interspersed among the others, before the harrowing final ten seconds arrive.
While ROSA’s alternative R&B and pop sound fits in somewhere near Frank Ocean, Kid Cudi, and Dev Hynes, his sound also has distinct touches that make his music his own. In “BLOW”, the music follows the same path of decay as the video, beginning with a smooth bassline and vocals, but finishing with stuttering words and haphazardous pauses before stopping suddenly, holding its breath for the final shot in the video. When the grainy black and white shots appear, some grungy guitar fills out the music, and shortly after ghostly harmonies chill you to the bone. The most impact, however, comes from the inserted spoken lines. Used sparingly, these lines directly get the message across, and uphold ROSA’s goal to show authentic emotions in a straightforward way.
Watch the striking video here, and look out for the third FEMALE single and the EP itself in the future.
by Katy Mombourquette | Jun 9, 2020 | singles, wolf tracks
Singer-songwriter ALIX recently released a new pop hit. Featuring pop sensation NEZZA, “Good” is a timeless track that works through the conflict between finding closure and wanting to move on after a relationship ends. The ballad is a model of classic pop, but the smooth vocals and subtle funk undertones give it a tasty R&B twist. The lyrics are simple but sincere, giving them a kind of universality that ALIX herself values in the music of her favourite artists. NEZZA shared in this universality as she bonded with ALIX over experiencing the aftermath of ex-relationships. From their bond, “Good” was born.
The solace found in the lyrics is enhanced by instrumentals that truly encompass the word “good.” Not the “better than alright but worse than great” definition of the word, but the one that means “pleasurable” and “enjoyable.” The song is in 6/8 time, which makes the music sway, each bar punctuated by a clean guitar chord. The harmonies are dreamy, wrapping you in a tender embrace to comfort you through your heartbreak. Towards the end there’s a satisfying key change that instills within you a resolution to persevere through any negative emotions you may be left with. In the end, “Good” is soothing, uplifting, and freeing.
While this track delights in its meaningful simplicity, one can also endeavor to go deeper and look for touches of California, where ALIX grew up. See if you can hear the gorgeous redwood forests and rolling hills that The Golden State is known for. Growing up near San Francisco meant that ALIX was exposed to an array of musical influences, providing her with a nifty toolkit that she would go on to utilize in her music. The music video for ALIX’s debut release “Come Alive” opened the door for her music career, gaining a million views in the first month. Her forthcoming album Feel Better builds on the momentum she’s created, with “Good” being only a taste of what’s to come.
Keep up with ALIX here.
by Meredith Schneider | Jun 8, 2020 | albums, review
There’s something so incredible about the connection of an artist to their work, and then the work’s fans to that artist. The announcement of the death of indelible singer-songwriter Cady Groves at the tender age of thirty this spring has left a large demographic of both pop/punk fans and country aficionados floored. I, myself, remember the days when she toured with punk banks and I requested her haircut at the salon. (College was a trip, and she has always been gorgeous.) Seeing her name in headlines in my social media feed made my heart stop, and I haven’t heard much of her more recent work. But the world has been celebrating her all along, and her fandom has been wrecked over the news.
Cady spent the last four years of her life writing and preparing new music in Nashville that both reflects her personal experiences, and makes her even more relatable than before. Her EP Bless My Heart was released at the end of May posthumously, and she couldn’t have hit the mark more if she tried.
With a little whimsy, she approaches the collection with the first track “Bartender,” a quirky, honest, beautiful ballad to the carefree nature of a full bar on a hot summer night. Perhaps the reality of political unrest and pandemic make this song feel that much more nostalgic, because we actually felt ourselves tearing up, listening to a song about drinking. The title track comes in quick to justify the tears, however, as Cady addresses personal anecdotes and makes us feel that even those who fall – hard – have the opportunity to be blessed in life. She rips any wounds wide open in this track, and this vulnerable side is going to be the thing we miss most.
“Camo” seems to have a title that is very stereotypical – and perhaps widely indicative – of its audience, but the metaphor prevails as a gorgeous reminder to make yourself seen. “Cigarettes and Sunsets” takes on a rhythm and pace that lure us into the thought that we might be about to watch 1996 blockbuster hit Phenomenon. (That is not an insult in the slightest. We imagine this track sounds like the perfect amalgamation of Clapton-style guitar and the Northern California cowboy demographic that surrounded the cast of Phenomenon during filming. But I digress.) Either way, the track belongs in a film. (Do you hear that, sync friends?!)
Last track “Crying Game” visits personal anecdotes, and reminds us a bit of earlier Cady Groves’ work sonically. The song specifically addresses the deaths of two of her brothers (Casey and Kelly), and the emotions that come along with their memories. It all feels like a way to round back to the beginning, as she takes her final, audible, bow.
To feel as though you have witnessed an entire career in just five songs seems a bit cheesy. But this release makes us feel closer to Cady than ever before.
