by Katy Mombourquette | Jul 10, 2020 | albums, review
Here to write anthems for future generations, multi-instrumentalist Michael Desmond inspires the people of the world to march to the beat of their own drum with his forthcoming EP Local Nomad. The EP is part of Desmond’s project, also called Local Nomad. He gives insight into the dichotomous name by saying “Local Nomad is the resistance of sedentary life. It’s about seeking the strange and embracing the unknown. Wondering. Wandering. Young and Old. Everywhere and Nowhere.” Desmond plays every instrument on the EP excluding drums. He draws from a variety of sources including Tears for Fears, Elvis Costello, and Phil Collins to produce a fusion of indie-pop and alt-rock with soulful vocals, heavenly synths, and lustrous drum beats. Originally from Long Island, NY, Desmond began his career as the frontman of the orchestral indie rock band Gabriel the Marine. The band found success and performed with bands like Taking Back Sunday, Glassjaw, Mew, Jacks Mannequin, and The Dear Hunter. However, after going through a period of rapid change in which he graduated from college, ended a long term relationship, and watched a family member tragically pass away, Desmond’s mind was racing a mile a minute. The only way he could slow things down was to write, and thus Local Nomad was born as a snapshot of life during this unstable time.
While Local Nomad is worth listening to for Desmond’s expert and fascinating use of instruments to create an array of idiosyncrasies within each track, there are also captivating overarching qualities that will intrigue even those who might want to listen passively.
The anger-fueled opening bop “Love is Gone” and rueful “Young Vampires” are “explosion” songs. “Love is Gone” keeps things chill with an alluringly groovy bassline in the verses, before erupting into sound in the chorus. It’s vocal line is compelling and surprising, you find yourself listening intensely to see what will come next. “Young Vampires” is about a toxic relationship, turning each other into vampires– monsters. It displays wistful guitar in the verses but also has a sonic explosion in the chorus.
“Gates” and “Getting Old is a Bitch” are more self-contained, but each have a quiet, yet powerful energy. The contagious beat in the chorus of “Gates” leaves you no choice but to jam along. All of the instrument parts in “Getting Old is a Bitch” are pertinent to the feeling of getting old. It also has a dominant bass beat and riff that hits you hard, much like growing up does. The “do-do-do”’s in the background almost sound like they’re taunting each of the melancholic main lines. Turmoil and instability in the distorted guitar solo reflects how it feels as the world seems to be moving on without you.
Finally, we have those songs that “clash,” although their conflicting elements end up working to their advantage. “Gates” elevates the sound to a celestial sphere with ethereal synths, but at the same time, the hearty guitar brings things back down, adding a wholesome, down-to-earth quality. A great guitar riff comes in towards the end, but it has that heavy rock sound to it, providing a deep contrast with the synth. The clash in “Summertime”, on the other hand, comes from the happy-go-lucky synth harmonies set against the wistfulness of days gone by in the lyrics. It’s about young adults trying to keep up with life and thinking back on the naivety of their youth. With the beat, sunny harmonies, and fluttering synths, you find yourself thrown back into a summer from years ago, tinged with nostalgia and regret. These tracks are dichotomies, much like the name Local Nomad itself, and the crunch between their conflicting qualities make them ever-so satisfying to listen to.
There’s a lot of potential in Local Nomad to discover more unique elements in the tracks, but no matter what you’re guaranteed to hear some anthems with great beats, full, well-rounded choruses, and colourful instrumentation. The EP will be released on July 10, 2020, but some of the singles are available to stream now!
by Katy Mombourquette | Jul 1, 2020 | singles, wolf tracks
Some may feel as though the music of today lacks the fire and fervor which used to be so plentiful in music from days gone by. If you find yourself agreeing with that sentiment, then let spunky girl group Drama Dolls fill that void with their new single “Favorite Girl.” The LA based band produces rampant brat-punk music that has the grit and energy of the Misfits and the Ramones, but also the musicality and power of the Bangles and the Go-Go’s. The single will be on the group’s upcoming EP Over The Shoulder / Boulder Holder which was recorded at the legendary Larrabee Studios, the same place where the Foo Fighters, Blink-182, Tool, and countless other iconic artists recorded their music.
When asked about the meaning behind the track, Drama Dolls stated (somewhat cryptically) “WE WANT TO BE THE GIRLS WITH THE MOST CAKE.” While you make sense of that, settle into the nostalgia of “Favorite Girl” and feel its energy seep into your veins. Right away you hear the rugged guitar, and the punchy drums remind the listener of the opening drums in The Go-Go’s “Vacation.” The lead vocals are bold and full-bodied, sounding both fresh and familiar. The high energy established at the beginning of the track is further magnified by the key change in the courses. It culminates in the instrumental bridge/interlude that hits you with rapid-fire drums and heavy, distorted guitars. The reverberating harmonies after the final chorus are like a choir in a resonant church: resounding, and glorious. With its spirit and spunk, “Favorite Girl” is loads of fun and definitely one to rock out to.
by Katy Mombourquette | Jun 17, 2020 | singles, wolf tracks
Tap into your summertime nostalgia with Simpson’s new track “Summer”! The sizzling single may seem out of place considering how messy the summer of 2020 has been, but what Simpson offers is a reminder of how the concept of summer can mean different things. When describing the song she states “’Summer’ is so much more than a song about the summer. It’s about bottling, escaping nostalgia, being present, being flung into the afterthought of the future. It’s sarcastic, it’s cheeky, it kisses your forehead. Summer sees you, remembers you, and doesn’t forget you. Summer is what you were looking forward to that ended up letting you down, but you were so fucked on it exceeding expectations that you didn’t even realize it. Summer is a person, summer is a place, summer is a thing, summer is a feeling.”
Indeed, “Summer” embodies the kind of energy that you feel on a sunny, clear-skied mid-July day. Beginning with just a guitar riff and drums, the music starts off muted before sharpening, like you’re stepping out into the brilliant warmth. The guitar part is persistent and has that happy go lucky sound that’s characteristic of summer. It complements the vocal line well, at times tracing the same melodic arc. While the track certainly leans into the whole summery vibe, the bassline adds an attractive contrasting element. It sounds like something you would hear in a song by The Human League from the 80s. This detail, slight as it may be, gives “Summer” a bit of extra oomph.
Simpson released her first gem in 2017 with her debut song “Switch Lanes.” Since then she has been touring and releasing other singles along the way. “Summer” is her freshest track yet, with more to come in 2020! Be sure to also check out her accompanying new single “I Miss My Dawgs.” All the streaming revenue for this track will go towards organizations that support black LGBTQIA+ people around the United States.
by Madi Toman | Apr 7, 2020 | perspective, show review
Andrew Hozier-Byrne, better known across the globe simply as Hozier, has been an active participant in the live-stream concert trend that is sweeping the globe. The music industry enigma’s most recent endeavor took place on Friday via Billboard Live’s facebook page in an effort to raise money for the Downtown Women’s Center in LA, which focuses on serving and empowering women experiencing homelessness and formerly homeless women. While in his previous livestreams Hozier has been accompanied by bandmate Alex Ryan, he buckled down in his bedroom by himself for this one due to intensification of the lockdown, joined only by his acoustic guitar. After talking a little about the Women’s Center, Hozier jumped into material from his massively successful 2014 self-titled debut, which birthed chart-toppers like “Take Me to Church” and launched him into wide-spread fame.
The Irish musician started off with an acoustic rendition of “To Be Alone”, a bluesy rock number off of his first album. Even without the driving electric guitar and hard-hitting percussion of the original track, Hozier kept all of his power with his soulful vocals and guitar-playing. He then invited fans to send in requests, humbly stating that he could “try and God knows that’s the best I can do” (Yeah, okay Hozier *insert eye-roll here*) before moving into a soft-spoken version of fan-favorite “From Eden”. The beautiful number was accompanied by bright slide-guitar and whispered falsetto brushed across the tops of the airy track’s high notes. “Cool.” Hozier breezily said before diving into some questions from the stream’s viewers.
“What are you some of the ways you’ve been keeping busy during these times?” He read aloud from the comments and questions streaming in at real time. Hozier took the moment to speak of the effect that the pandemic has had on the live event industry and of his own plans for the year. “I’m very very fortunate that I didn’t have touring plans this year. So a lot of musicians and in particular independent musicians, freelancers, anybody involved in event management or gigging….” He trailed off in thought before coming back, restating “I’ve been very very fortunate”. Hozier shared that his plans have not been heavily affected by the pandemic, a fact not all that surprising for a man who’s infamous among fans for backing out of the spotlight for years at a time when he’s not touring to work on his music without the constant pressure typically forced on artists by labels and the public. He did share what he’s been up to though: reading, writing, and walking “at safe distances from other people”.
Hozier spoke a little more about the Women’s Center and encouraged viewers to donate if they could before cutting off his own thoughts. “And- Yeah. What are we doing? I suppose I’ll sing a song” he said with a grin. “That’s what I do”. He spoke on as he tweaked his guitar. “Today was a sad day, sadder than normal. Bill Withers passed away, who I’m sure you’re familiar with, and it’s an absolute tragedy”. He then spoke of Withers influence on him personally before paying tribute to him with a haunting cover of “Ain’t No Sunshine”, one of Withers’ classics. Not surprisingly, he did the soulful track justice, effortlessly building the intensity with his impassioned playing and singing before pulling back to let the last section breathe. “Isn’t that a beautiful song?” He mused.
Hozier followed the heartfelt cover with “Cherry Wine”, one of the most beautiful and patient songs from his debut. Seeing that the album version is a live recording with just acoustic guitar as well, his livestream edition sounded eerily similar and was charged with nostalgia for longtime fans. The world stood still for a couple moments as the musician’s remarkable ability to make everything feel alright washed over like a wave of cool and calm, serving as a personal reminder that if Hozier told me to jump into a volcano he’d probably ask in such a way that I’d not only oblige but think it was a fantastic idea. Remarkable.
There seems to be a tendency among musicians who had a giant breakout hit like Hozier did with “Take Me to Church” to avoid playing these hits when they don’t have to, so I was a bit surprised when he busted out the song that launched him into mainstream popularity back in 2014 to close the set. But Hozier, ever a man of the people (even if he hides from them in the woods for years at a time) brought back the hit for his last song of the night.
“I have not played this song on guitar for um, many moon now, for years I would say”. Hozier teased with a coy smile as he tuned his guitar. “There was a time when I’d play it 3 times a day. So hopefully that will sustain in this first time I’ve played it in years”. Hozier thanked his viewers and Billboard before reminding everyone to donate to the Women’s center one final time.
Not shockingly, he followed that intro with a perfect rendition of the dark and soulful tune, reminding everyone of why we fell in love with his music in the first place.
“Or something to that effect” Hozier said before signing off and returning to his preferred state of anonymity, presumably “In the Woods Somewhere” (Hah, Hozier puns) where he belongs.
“And wash them hands,” Hozier said as he waved his way off the air. Your wish is my command, Hozier.
by Kendal Chandler | Mar 19, 2020 | videos, wolf tracks
Indie all-star group Shasta – comprised of Micayla Grace (Albert Hammon Jr., Bleached), Jennifer Duardo, Jon Sortland (The Sins) and Cecilia Della Perruti (Gothic Tropic, Beck) – recently introduced listeners to their track “Roaming Hearts”. With dreamlike harmonies, and intensely personal lyrics, Shasta takes listeners out of the gloom of winter into the vibrance of spring. Shasta gives off a feeling of timelessness, a sensation of dreaming, and the overall state of feeling alive.
The music video is entrancing, a sense of nostalgia to the way it was shot that makes it feel unique when paired with gorgeous geometric animation. We are big fans of the song, and it’s actually keeping some pep in our step this week!
by meredith schneider + kendal chandler
by Kendal Chandler | Mar 3, 2020 | singles, wolf tracks
LA duo MARNEY, comprised of Crystal Douesnard (vocals) and Thomas Moore (guitar/bass/production) have just released their debut single “Conversations”. This is the first track to be released off their upcoming debut EP Feelings, set to drop in April.
MARNEY’s musical style is one full of nostalgia that explores dark emotions. The indie duo combine modern sounds with dark undertones to create their personal style. “Conversations” examines the idea of our own perception of self, and creating a face for others. The hook “nothing wrong with my mind” perfectly frames the idea that one believes they are one way but at the same time are saying this to invalidate the negative feeling of others’ poor view of them.
Keep up with MARNEY here.
by Meredith Schneider | Feb 28, 2020 | albums, review
As if we hadn’t been blessed enough this week, Munich-based pop rock quartet KYTES – expertly comprised of Michael Spieler, Kerim Öke, Timothy Lush, and Thomas Sedlacek – releases their new album Good Luck today. Eleven power-infused pop tracks, replete with punchy lyrics and accented vocals are about to put you in the best mood ever, despite some of the subject matters. Like first track “Runaway”, for example, during which we hear the protagonist either setting boundaries with a conflicted relationship, or acknowledging his runner mentality in life. Either way, we start on a highly relatable note, and that doesn’t fade as we melt into the 80s-inspired work.
“Go Out” keeps the energy going at the same pace, while the coming of “Emily” leads us into what we would prefer to identify as a quintessential ambient love song. A sense of nostalgia is established within the lyrics, leading perfectly into the highly danceable “Take Me Home”. “Want You Back” comes in with a slight disco feel, the guitar parts absolutely standout. While “Alright” doesn’t exactly convince us that he is quite alright, “Shot of Love” has a very Fine Young Cannibals’ “She Drives Me Crazy” feel to it over spans of verses.
“Like a Dream” is as sticky sweet as the title would suggest, “Fast Life” is a bit quirkier in both composition and lyrical content, and will definitely get you on your feet, while “Wheel” is the defining ballad of the album. Bonus track “Livin’ in Havana” serves as our last sounds from this euphoric release, and it puts us in such vacation mode that we are almost looking forward to our next two days off… even if that means we are midwest-bound.
Keep up with KYTES here.
by Madi Toman | Feb 19, 2020 | singles, wolf tracks
Land ho, Pizzagirl!
Amid plans for Liverpool based artist Pizzagirl to make his first visit to the states, he has broken his (incredibly brief) 3 month silence to grace our ears with new music straight outta the oven. While this may seem like no time at all for your everyday artists, in Pizzagirl years (which are clearly relative) it’s long enough to require a statement being issued about it. On his silence, he says:
“sorry for not replying to ur last message just been having my beauty sleep for a coupla months 🙂 I know it’s been a while but there’s a lil party in cape canaveral I heard about! I’d love to see you there if you’re still interested? speak soon xx”. While we can’t speak for everyone, we forgive you for your abandonment and we’re DEFINITELY interested, Pizzagirl.
Pizzagirl is bringing us his first release since his debut album, first timer, which drew influence from various musical and pop-culture references that he spent his formative artistic years absorbing. His debut successfully melded his nostalgia-inducing 80s-synth vibes with those of your modern indie artists. While it’s still early in his hopeful career, things are looking good for Pizzagirl, who is back to focusing on writing songs with his trusty guitar, Denise, and will now be joined onstage by a live band.
This newest track is a taught art-rock jam that builds into the soundtrack for an offbeat party scene. No doubt cooked up in his bedroom-pop lair, which he’s oh-so-cleverly dubbed the Beatzzeria, the new track channels David Byrne in its depiction of the subject matter, an underground fugitive character just trying to go to a party on The Space Coast (all the other indie-pop kids are going Mom!). Pizzagirl brings a variety of instrumentation to his elusive party (never before have I been so satisfied by the musical pairing of synth and cowbell) that, combined with the thickly textured chorus of shouting voices featured on the last chorus, will undoubtedly make you too want to jump around at an indie-disco.
“cape canaveral ” premieres February 19th ahead of Pizzagirl’s first stateside performance at Austin’s SXSW festival. Keep up with Pizzagirl here.
by ImperfectFifth | Jan 16, 2020 | review, snapshot
Not even freezing temperatures and icy roads could stop Kansas City from showing up for their favorite hometown act last Saturday as indie-pop band
The Greeting Committee returned home and took the stage for a sold-out crowd at Uptown Theater. The energy in the theater was absolutely electric as fans packed into the venue, eager for an escape from the cold and snowy night. It was delivered.
Addie Sartino, the band’s frontwoman and charismatic shining star, was, as expected by the eager crowd, a force to be reckoned with. It was a constant stream of highs as Sartino led the audience through a whirlwind of emotions throughout the night. The group played fan favorites like “Don’t Go”, “Pull It Together”, and “You’ve Got Me” as an ecstatic crowd danced and sang along with Sartino. She flawlessly demonstrated her talents on every one, not missing a beat and thriving throughout the spirited set.
A notable moment came fairly early on as a nostalgia-inducing “salute to our youth” saw the band bring on stage a large group of local Kansas City musicians for a cover of Arcade Fire’s “Wake Up” that bordered on spiritual. But the homegrown band was just getting started.
About halfway through the show, Sartino asked the audience to respect her request “human being to human being” as she asked that everyone be completely silent while she performed “Call in the Morning”, a somber track that deals with tragedy off of the band’s new EP. Complete and total silence blanketed Uptown as Sartino traded her typical high-energy performance style for vulnerability and a powerful stillness as she stood center-stage while singing the track. Even in her stillness, her ability to connect to her material shone through. A completely mesmerized crowd couldn’t peel their eyes away from the frontwoman, who encapsulated what it means to put yourself into a performance. Sartino’s demanor shifted as she made it to the song’s spoken word portion, and she frantically ran around the stage as the lights went blue and she yelled out the monologue to a sea of teary faces. “Call the police, drain the bathtub, hide the bleach, call ‘em quick love. I think we’ve lost it” she screamed. “I cannot find another you”.
Sartino threw herself to the floor and pounded her fists along with the heartbeat-like drums as she screamed “Call the police!” over and over again. The song appeared to be pure catharsis for the young performer. The theater went dark as “1-800-273-8255” and “If you’re looking for a sign to stay alive, this is it” appeared on the screen and remained there as the band played the ending to the song softly in the background. 2,000 fans stood unmoving and silent, and many faces were streaked with tears as the audience stared at the dark stage, completely overcome by the power of the moment that they had just witnessed. Uptown was momentarily still as the crowd stood frozen, unsure of how or if the silence should be broken.
But just like that, Sartino was back on stage and better than ever, and the crowd rallied along with their fearless leader. The band took what could easily have been a hard moment to recover from and kept the wonderful moments coming, and it was impossible not to latch on to their infectious energy. The crowd’s spirits climbed through the roof as the show continued to escalate. The back half of the night included a mosh pit during fan-favorite “Hands Down”, and crowd-surfing by literally everyone in the band. The final song of the night, “Gold Star”, got intimate as the band got off stage and played amongst the very crowd that helped them make their largest show to date possible before exiting (while still playing of course) out the front door. It was a full-circle kind of night for the band and fans alike, and, in the words of the guy in front of me who couldn’t stop crying, “That was just special”.
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article by: madi toman
