Garage rock/power pop collective The Hell Yeah Babies – comprised of Mike Pfeiffer, Julian Ames, Dylan Roth, and Sam Paxton – might call Astoria, New York home, but we’re thinking that just might change if they continue in the direction they’ve been going. Their first release was just last year, and they’ve already developed
We always talk about how songs make us feel like we’re a part of New York City nightlife, but “Grenadine Nosebleeds” was actually written about New York City nightlife. While the band croons “I don’t wanna go home,” we get lost in surf-like guitar riffs that somehow – mysteriously – make us feel like we’re dancing around the city in the summertime. Which is quite a departure from the cold, winter vibes we’ve been tripping all over as of late. It’s got this anthemic feel to it, and by the end of it you feel like you’re claiming your own dance territory in the face of opposition.
Aggressive, beautiful, fun.
“Grenadine Nosebleeds” is out now. Keep up with The Hell Yeah Babies here.
As if they’re not already beginning the narrative with a pretty intense band name, Sweden-based psych garage rock collective Baby Jesus – comprised of Fredrik Kristoffersson (guitar/vox), Elis Jäghammar (bass/vox),Svante Pålsson, and Rasmus Högdin – took it a step further earlier this year with the release of their full-length album titled Took Our Sons Away. Clearly developed with a different frame of mind than their 2015 self-titled debut, the guys of Baby Jesus have somehow managed to bottle their live show energy into their sound, something that many bands never have the knack – and perhaps not even the want- for.
Starting with “Feel For You Girl”, you’re looped into this false sense of nostalgia with the rough production and beautiful, lush ambiance to the instrumentals. It makes you just want to prep for a progressive/badass sock hop, and we’re pretty sure you’ll know what we mean when you hear those first chords. While “Over and Over Again” really goes wild, waning guitars and the mostly-yelled-but-sometimes-delivered-with-finesse-vocals that Baby Jesus has really become known for allow you to settle into the sound. “All Out” and “Down South” carry similar toe-tapping beats, while “That’s All Right” carries an album slow down that we were starting to need. Really, the track has the same freeing garage sound as its predecessors, though it feels more like a garage ballad if we were to categorize it.
But those first five tracks don’t even begin to scratch the surface of what there is to enjoy about Took Our Sons Away. A delectable collection of diverse and captivating moods, whirring instrumentals, and a pension for the spotlight drive these four men into our hearts as they take us on a fourteen-track journey through parts of the last two years of their lives. From the 50s doo-wop feels of “Hold My Hand” to the hint of 13th Floor Elevators in “Ain’t Got No Place To Go” (among others), to the eerie static sounds of “Baby Jesus – The Beat”, we’re floored by the band’s ability to keep us on our toes for this long.
But that’s not all. At the time of release, the masters for Baby Jesus’ 3rd full-length were being prepped, and we’re expecting new music in early 2018 already. So consider yourselves spoiled. We know we do.
Took Our Sons Away is out now on Yippee Ki Yay Records. Keep up with Baby Jesus here.
In September, Boston’s folk/indie rock talent Griffin Robillard released his 9 track, full-length album titled Cracks in the Ceiling. Flooded in a sharply nostalgic feeling, the album itself was written while Robillard was living in Copenhagen. You can almost feel the growth he was experiencing while writing the piece, as his vocals are flooded with emotion as he brings you into his world with the mid-tempo, almost anthemic, title track, bouncing into the more upbeat and soulful vibes of “Ghost” before getting slightly more twangy, then bluesy/jazzy, in his instrumentals with third track “Because I’ve Told You”.
“Reel to Reel” slows things down – has the structure of a Ben Folds-type track – weaving a narrative speaking to his significant other that is slightly specific, but still very vague, perhaps for the sake of universality. While “Artifacts” picks things back up exponentially, it is with sixth track “Faithless” that we are brought back out of our seats, encouraged by the sound to move. “In Your Own Way” houses similar surf pop vibes to the instrumentals in Gin Blossoms’ “Found Out About You“, causing us a few moments of reminiscing on our 90s selves.
It is with “Nothing to Show” that things get very serious, both lyrically and instrumentally. It’s like Robillard has decided to rip his heart wide open in this one, simplifying the instrumentals slightly to really showcase the words as he croons the track into a 70s style rock stunner. “Tired of Being Cruel” is your last taste of Cracks in the Ceiling, a lot more upbeat in its composition, though melancholic lyrically as he begins the song with the line “tired of being cruel to you.” Self reflective, honest, raw. That’s what we’ve come to love about Robillard, and – while we’re plenty happy with this release – we’re already excited to hear what comes next from this talented musician.
Cracks in the Ceiling is out now. Keep up with Griffin Robillard here.
Seattle-based shoegaze/dream pop collective Ephrata – comprised of Skadi Von Reis Crooks (guitar, vocals), Brady Hall (guitar, vocals), Jules Jones (bass, vocals), and Ben Bromage (drums, vocals) – released their self-titled 11 track album just last month. The vocal harmonies they have been honing since their conception in 2011 are buttery smooth, with almost a kaleidoscope of personalized instrumental layers that make each song feel like an entire experience. We were big fans of the release, so we thought we’d let you in on why.
“Odds” has a very “I Melt With You” feel to its initial lines – though delivered as though it were released in the 50s – bathing its listener in light, nostalgic feels right off the bat. “Tunguska” is characterized by whirring guitars, the beat setting in after a couple of lines and really kicking the energy into high gear. But the song feels upbeat and light, while the lyrics are actually quite terrifying as they repeat “Run, run, scream and cry / Run for your life.” (Comforting, we know.) “Breakers” makes us realize that we may have embedded ourselves in a deceivingly light – but innately melancholic – work, as first line “Don’t you know that things were better when they were bad?” throws us into an almost existential mindset. And while we aren’t entirely sure what it means to “die on a sea of straight faces,” “Sea Of Straight Faces” is a slow, 50’s doo-wop sounding track that mellows you out for a bit mid-album.
Fifth track “Fiend Folio” seems to play with dissonance early on, addressing perhaps the fact that your road through life is paved with temptation and intensity (“forked tongues and fangs showed me the way”). We might be misinterpreting the lyrics, though they are – as their predecessors – seemingly bittersweet in their delivery and intention. “1000 Things” begins with a grunge/surf bass guitar, exploding into a beachy track that hits Beach Boys status pretty quickly and effectively. And while “What Is Mine” is indie rock at its core – it feels as though it could have easily been included on the Juno soundtrack – “Consequence” rolls right back into some hard beachy nostalgia for us all.
“Pharaoh” is light and upbeat in delivery. In fact, deceivingly so, as they’re singing about being shot and “entombed,” though the overarching theme might just be found in the line “pot meet kettle,” something we have been examining intensely recently, especially regarding people in power. (But I digress.) “Evil Twin” is a track that really makes you think. Clearly, the person whose perspective we’re examining is in denial about a seemingly abusive relationship, as she is convinced she met her significant other’s “evil twin” because of the way he treats her. “But when he appears you’re always gone…” How sullen and beautiful, this perspective on unhealthy relationships. Ephrata ties their 11 track release together with “Sun Scenario”, keeping with the devastating, lugubrious theme by instructing “fill your head full of dread ’til you’re dead,” which – to their credit – when examined has the opposite effect. It’s as though they’re encouraging you to embark upon this dark path, hoping you might take it as a challenge and move, instead, into the light.
But however you tend to interpret the lyrics, move forward. Examine your world through the lens of Ephrata’s music and use it as a learning tool. It will come in handy.
Ephrata is available now. Keep up with the band here.
New York-based progressive/cinematic rock project Orissa – spearheaded by David Dodini, who arranged and wrote the entire album and received help on the recording from Jason Gianni (drums), Gary Pickard (flute, saxophone), and Raquy Danziger (dumbek) – recently released its single “Verse V” as one of the last pieces in the lead up to the release of debut album Resurrection, due out next month. The track – which is characterized heavily by its whirring electric guitars – is introduced slowly, each instrumental having its own sound space as we lead into the heavy bass of the track. It is within one minute of “Verse V” that a new listener realizes Orissa really is fully encapsulating that cinematic, almost rock opera feel in their work. With Dodini’s vocals comes a heavy, emotional introduction to a man who will not falter in his ideals. The guitar solo late in the game is absolutely off the charts, encouraging us to seek out Orissa live in concert to see how this immensely energetic track – that sits at just under eight minutes – is received. Because we’re enthralled.
Resurrection is out November 3rd and is available for preorder now. Orissa will celebrate their album release show on Friday, November 10th at Arlene’s Grocery. Tickets are available now.
They’ve been illuminating the crowd everywhere they go over the course of the last two years, and now UK-based alt-folk act Low Chimes – comprised of Marianne Parrish, Jack Page, Rob Pemberston, and Lachlan McLellan – is making their full length debut with recent album Illumine. The ten track release is an ethereal one, blending hard guitar riffs with light as a feather vocals, almost transforming its listener to another time, an entirely different place.
Initiating its kaleidoscope vibe with first track “Sleepwalking”, we are immediately hit with positive vibes, lines like “everything’s changing for the better” dancing around us as if floating on air. “Sulfer Silk” paints an already vivid picture in its wording, the texture of the instrumentals somehow adding a layer, as though it is the exact audio representation of the term. You won’t be able to help but to find yourself swaying your hips before the sprawling five minutes is up. “Dust Will Blow” is more of a toe-tapper than a hip-swayer, but the reverb follows the vocals around in a calm and beautiful manner, melting into the abrupt tempo change on “Away The Day”. Staccato notes and an almost glacial pace allow for the band to play with a bit of dissonance in composition, lending to Parrish’s delicate vocals in an incredibly complementary way.
It is with “Lacuna” that the instrumentals nab a little edge to them, seeming to swirl lazily out of a hard rock track into a slow buildup that hosts luxurious, rich vocals. And while “Taming Trance” is something we could see ourselves doing a nice round of restorative yoga to, “Electric Bloom” maintains an almost lazy surf vibe with its guitar parts and breezy chorus. Perhaps we’ve found the bite we need in eighth song “Blood Orange” with its jazzy melody and the way the words seem to counter the accompanying composition. When it comes to “Forget I Know”, we get lost more in Parrish’s vocal range than anything, but the album only finds its closure in fitting track “Final Farewell”, where chorus style vocals allow a build into a more alt-rock ending than its folk majority would lead you to believe. It’s as though they pass through all of the major genres represented in the album in one track, tying the entire album together with a succinct and fitting bow.
October
19th Oct – Edinburgh, Sneaky Pete’s
20th Oct – Kendal [Venue TBC]
21st Oct – Manchester, The Eagle
26th Oct – Winchester, The Railway
27th Oct – Bristol, The Malt House
28th Oct Stroud, The Goods Shed
December
5th Dec – London, Sebright Arms
6th Dec – Brighton, Hope and Ruin
Illumine is available now. Keep up with Low Chimes here.
On September 29th, Manchester Orchestra’s tour in support of their latest release, A Black Mile To The Surface, took over New York City’s Terminal 5. Establishing a wide fanbase throughout the years, Manchester fans had been waiting for this show since its first announcement.
Accordingly, the crowd arrived early, a beeline of people streaming into the front. Not only was this the perfect tactic to score the best seats for Manchester, but both Tigers Jaw and Foxing are well-known and beloved bands in their own right; most of the fans already loved all three and eagerly anticipated each performance.
Foxing kicked off the show with dim, moody lighting to set the tone. Singing out to the audience and moving about the entire length of the stage, singer Conor Murphy rounded out the set with a slightly darker depth that was absent within the other two. There were only cheers when he played the trumpet; the crowd was fixated.
Tigers Jaw amped up the energy as the lights snapped on. Jumping up and down to buoyant pop-rock, emo tunes off their latest release, Spin, Tigers Jaw was more than cheerful. They were truly happy to be there, and in turn, the audience responded. There was singing, dancing, and jumping; Tigers Jaw delivered.
Lastly, Manchester finished out the night. As they walked out to very little lighting, the crowd roared. And as the lights rose, so did the voices, an entire venue of approximately 3,000 people singing and screaming with emotion. Manchester’s performance was like no other; their enormous experience cultivated throughout the years was self-evident as they flawlessly sang and played. They lifted the audience up at some points and brought them down for others. It was a rollercoaster of a ride, one in which everyone excitedly leapt on and reluctantly got off at the end—and only because they had to.
As Texas’ indie/electro-rock/pop collective TOMKAT – comprised of Katrina Cain, Andrew McMillan, Mike Luzecky, and Jonny Harmon – prepares to release their captivating 9 track album Icarus on Friday, October 13th, they’re prepping a couple of live dates surrounding everything. They’re no strangers to the spotlight, as their debut single “Big Love” was placed in James Franco’s 2016 film Actors Anonymous, but we will argue that they haven’t seen their peak yet, as Icarus marks their full-length debut. And we’re excited to see fan reactions, as we’ve gotten the chance to peak all the new tracks and we’re solidly digging the soothing, trance-like feeling we get listening to the layered, smooth tracks. Katrina’s vocals will ensnare you, whether she’s bringing you up or you’re “Drowning” together.
But before you get the chance to hear what they’ve got in store, we got to throw a few questions at the band. Peep the interview below, along with latest single “Teardrops” to give you a little taste of what’s to come.
What is the first song or album you ever remember hearing, and who introduced it to you?
This is such a great question! When I was a kid, we moved around a lot. I think I moved 6 times before I turned 7, which made for a lot of road trips. We also never flew anywhere, so I have very specific memories of very long car rides across the country. My dad would make mix tapes of music he liked, and that’s what we listened to in the car when we got tired of NPR. My mom claims he played Willie Nelson and James Taylor, but I very vividly remember “America” by Simon and Garfunkel, and “Sympathy for the Devil” by The Rolling Stones. That was the music my dad listened to, and it’s the first music I ever remember hearing.
Your track “Teardrops” off the upcoming album Icarus has been garnering quite a bit of attention with its soulful, laid back vibe, though the lyrics are a bit more involved than that. What inspired that song, specifically?
All of our songs start out with one concept and kind of morph and settle over time into their final, recorded version. “Teardrops” started with just a groovy chord progression, and in rehearsal we would play it over and over again while I sang random syllables that would later turn into actual lyrics. The one lyrical concept I kept coming back to was the line “I’ve been flying so high, I’ve been falling to Hell.” I couldn’t get that feeling out of my head. The harmonic and melodic content of the song really felt like a happy, laid back feeling of soaring, but in my personal life I felt the exact opposite. I wasn’t where I wanted to be in life, and it felt like everything was falling apart. That’s how the song turned into this strange sort of juxtaposition, you’ve got this outside shell where you pretend all is well, but inside you feel like you’re a failure. That’s how the song came to be.
“Persephone” is such a mesmerizing track, though it’s told from the perspective of a woman’s abductor. What made you choose to go that way with the lyrical content? (Also… Persephone was always one of our favorite characters in Greek mythology.)
I have always loved the story of Persephone too! Writing this song from the perspective of Hades was actually unintentional at first. I had wanted to write a song based on Persephone for quite some time because I wanted it to be an allegory for the female experience. I sat down to write the lyrics and pretty much did it about 10 minutes. I had always intended the song to be a feminist statement, I wanted to tell about the horror of being objectified and imprisoned. But when I finished and read what I had written, the story was quite the opposite. In my initial intent, the abductor’s voice (promising to treat her well and repeating “Say you love me!” over and over again) was meant to be dangerous, manipulative, and unstable. However, it also made me consider an alternate version of the story, that perhaps Hades was simply in unequivocal, undying love. And perhaps Persephone loved him too and was happy to make her life in the Underworld as his queen. I decided to leave the lyrics unedited, exactly as I first wrote them, and my hope is that no matter how the listener hears the song, he or she will take away some kind of meaning that is different from how he or she has previously thought of the story of Persephone.
You recorded the upcoming album over a year ago, and had all of the material prepared even further in advance of that. How ready are you for the world to finally hear it in its entirety?
We honestly feel like we have never been more ready for anything! We’re almost sick of our own songs at this point! But isn’t that how it always goes? We are super excited for this baby to be out in the world and hear what our friends and listeners think of the songs in their studio-quality state. Once that day comes, we’ll be able to breathe and take a nap.
Do you have a favorite track off of the album?
“Persephone” is definitely my favorite track. We ultimately decided not to make it a single, but I’m still planning to share that track specifically and make a music video for it after the album release, because I think it deserves that.
Did you choose to release this album on Friday the 13th for any particular reason, or was it just a crazy random happenstance?
The choice to release on Friday the 13th was kind of an accident, but when the date came up I thought, “Hell yeah! Let’s do it!” Maybe it will be good luck. (I don’t have a lot of superstitions…)
If you could have any superhero help you promote Icarus, who would you choose and why?
Wonder Woman! Because powerful women will save the world.
Anything else you’d like to add?
Icarus will be available on iTunes, Spotify, Bandcamp, and pretty much every music sharing app available!
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TOMKAT will be playing an album release show on October 19th at Harvest House in Denton, Texas. Tickets are available now. Icarus is out October 13th. It is available for preorder now. Keep up with TOMKAT here.
