by Meredith Schneider | Dec 16, 2019 | albums, review
On December 13th, Irish-Canadian collective The Orange Kyte unveiled their latest offering, Carousel. Resplendent in nature, the album is a well-rounded ball of energy, bringing the band’s specific brand of psych to the masses without missing a (literal) beat. Impressive reverb, charming percussion, and a rock mentality drive this album from the start with upbeat tracks “Masquerade!”, “The Modern Dar Saints”, easing into the more moderately paced “Distractions”. The song itself feels like a mild distraction, melancholic in sound, but is just as gorgeous as its predecessors.
“C.O.P.” picks it back up, injecting a certain amount of surf rock influence into the guitar. “Little Death Balloon” also operates quickly, though you almost expect it to come in with more of a My Chemical Romance-leaning rock ballad sound. Nope, it’s very 60’s and very alluring. “Demonstration Garden” is the leisurely track to follow, a song best suited for the background of your next dinner party. “Sea of Love/Ocean of Hate” comes in frantically, a true toe-tapper if ever there was one.
If the saxophone intro in “Infinity Rope” were any indication that the gorgeous climax of an 80s rom com were about to take place, we wouldn’t be surprised. The song itself is one of our favorites on the album, so definitely take a moment to appreciate its layers. Though “Downfall” has a very heavy title, the soundscape is light, experimental almost in nature. The opening sounds very other-worldly, and constant whirring in the background makes it all feel very technical and almost futuristic as well.
“Captain Ron” keeps the party going, slowing the pace a bit in the middle of the track, so that your heart rate can revert to its normal pace in time. So much excitement in one album is a lot to handle, but is an absolute pleasure to experience.
Keep up with The Orange Kyte here.
by Meredith Schneider | Dec 13, 2019 | albums, review
It’s been out for a hot second, but Stimmerman — the songwriting project of storied bassist and producer Eva Lawitts — recently released their debut 12-track full-length, Goofballs. High energy — even scattered, at times — this collection of tracks feels experimental, cutting edge. While Stimmerman plays with sonic boundaries and far-reaching, impactful vocal abilities, we get a look into the mind of no less than a genius.
Stimmerman has been quoted saying:
The album is more or less about loss and survivor’s guilt- it’s a meditation on a friend’s fatal drug overdose at a young age through that lens.
Side A of the album focuses on looking back at the environment in which our friendship started- pressures imposed on children to be successful, growing up too fast in all the wrong ways, and the often-debauched nature of our great and terrible adolescence here in Brooklyn. Side B, which is home to the song ‘Painted Smile,’ centers me more as an unreliable narrator, and features songs about grief and culpability in a close friend’s death some of which are, I believe, misguided.
With that very specific and captivating take, we dive in to what proves to be one of the most insightful and impactful albums of 2019.
Its story is unique and emotional, and with that Stimmerman brings her own brand of vocal rawness to each track. “Child’s Play” has a soundscape led by crashing cymbals, while “Elaine” builds to that point, beginning almost hesitantly in its pace. Even with the heartbreaking subject matter, Stimmerman only truly slows it down for eighth track “Long Formal Letter”, keeping us on our toes, just guessing where the musical progression will take us next. Single “Painted Smile” has perhaps one of the more chipper sounding ambiances to it, however its bittersweet truth ends the album with an almost cliffhanger feel to it.
It seems we shouldn’t be taking all words at face value. For those of you who haven’t gotten the reference yet, Goofballs isn’t to be seen as a group of silly friends this go around. And that’s OK. Not everything can be carefree. And to take such an intense life experience and be so vulnerable with it? It’s rare to be this seen as an artist, and we’re on board with Stimmerman’s delivery 100%.
Keep up with Stimmerman here.
by Meredith Schneider | Dec 3, 2019 | albums, review
As if last week didn’t give us enough to be thankful for, the week ended with a stunning EP release from Lilla Vargen, titled We Were Thunder. (As an Irish singer/songwriter, Thanksgiving meant nothing outside of the continental United States, but we’re still reeling about how perfect the timing was on this release.) Beginning with the powerful, building ballad that is “The Shore”, Lilla sets the bar high with her strong — yet ethereal — vocals commanding the voyage. Heart-wrenching, the lyrics speak of torment over past love. But the song’s gorgeous melody holds with it hope for the future. “Solitary” brings another tortured love to the forefront, as Vargen sings of a relationship that feels cold even when those involved are together.
The idea of drifting apart and feeling “solitary” matches the soundscape perfectly, which is something that is so uniquely Vargen. She continues to rip our souls apart with “Why Wait”, where she sings of the loneliness of unrequited — or perhaps not yet realized — love. This one hit home. “Trouble” plays with the notion of timing always being off between two flames. Another highly relateable — and infinitely gorgeous — track to center yourself in knowing you’re not truly alone in this. She winds down the EP with “On My Mind”, leaving the open ended question asking why her love interest is always on her mind.
We are clearly going to have this magical EP on repeat for a while. But it begs the question, will there be a resolution in coming work to this heartbreak? Or will it be like your new favorite indie film, leaving you with a cliffhanger that keeps it cult status for years to come? Let us know what you think on Facebook!
We would tell you to catch Lilla with one of our favorites, Dermot Kennedy, on December 17th at the O2 Academy Leeds, but the event is sold out. And we get it.
Keep up with Lilla Vargen here.
by Meredith Schneider | Dec 2, 2019 | albums, review
If you’ve been looking for instrumentals that will touch your soul simply and evoke emotion before the vocals even hit, check out Steven King‘s new full-length Steven King on Ice. In fact, try on the first track “Water” for size, and you’ll already see what we mean. Not to mention the fact that King’s pace switches pretty fervently between slow ballads (“Seams Are Splitting”, “Fly to the End”, “Run to the Back”, “Wine”) and a relatively danceable pace (“Water”, “Black Mood”, “Champion the Idiot”, etc.) throughout the nine track album.
Hailing from Columbus, Ohio, King has crafted melodies that make most of these tracks streamlined for television and movie placement. We are floored by the talent on Steven King on Ice. “Champion the Idiot” has pulled some obvious inspiration from 60s favorites, while songs like “Milkshake” have a bit more of a 90s appeal to them. And — even though there are a myriad of topics addressed in the album and, in that way, it can feel kind of scattered — it all seems to come back around to introspective thoughts, highlighted with lines like, “What’s this world to you?” in last track “Wine”.
We’re very into this album in its entirety, and will probably be championing it all week on Spotify. Take a listen below, and let us know what you think on our Facebook page!
Keep up with Steven King here!
by Meredith Schneider | Nov 15, 2019 | albums, review
Breezy, ethereal vocals. Light as a feather instrumentals, a warm and inviting soundscape. All of these factors are involved in VanWyck‘s newest full-length release, out today. The project, titled Molten Rock, is comprised of twelve impossibly beautiful tracks, inspired — in part, at least — undoubtedly by the folk of yesteryear. A slow, steady pace is established with first track “Supermarket Line”, and continues into “Lead Me On”, while “Rock Carver” brings with it more assertive instrumentals and a raspier take on the vocals.
“Make of Me” slows everything down to a crawl, gorgeous and sprawling in its soundscape. It is here that we take pause, to realize how important it is to note the comparisons to Leonard Cohen and Nathalie Merchant that VanWyck’s debut album drew, and to notice the way the music has evolved in the space and time since that album was released in 2018. As we roll into “Carolina’s Anatomy”, we feel an attraction to a new love the way this song seems to convey.
Have you ever been this close to feeling no remorse
and being where you want to be
“High School Gym Wall” is even more delicate than its predecessors, something we never would have guessed by its title. Haunting in a way that impresses, it perfectly introduces “Be It to the End”, which brings with it a darker, more theatric atmosphere. “Breakfast Room Revelation” is layered, a ballad of sorts that holds as one of our favorites from this collection.
“The Boatman Calls” and “Like an Ambush” are both solidly beautiful tracks, leading into “The Rock Steady Creeper” which is also impossibly relaxing in its disposition, despite the title. VanWyck expertly rounds out the album with twelfth and final track, the title track, which has the sonic feel of witnessing molten rock cascade down a landscape. The lyrics are descriptive, painting an intense picture, comparisons we all have the capacity to feel.
This album, if nothing else, urges you to feel. Whether by its intense and relatable lyrical content, or its lavish soundscapes. Experience it in full below, and let us know how you feel on Facebook!
Keep up with VanWyck here.
by Meredith Schneider | Nov 1, 2019 | albums, review
Christine Smith is a songstress capable of bringing both a hint of gothic-inspired sounds and inspired lyrics. Her new 9-track release Meet Me on The Far Side of a Star is no different, catapulting its listener into a slightly whimsical existence. Starting out slow and steady, an absolute ambiance is created with “This Love”. The piano leads the way into “You Can’t Hurt Me Anymore”, and an ear that has never witnessed Smith’s music can sense a very theatrical disposition almost off the bat. And perhaps that’s the magic about Meet Me on The Far Side of a Star, as it feels as though all of these songs could be written into a stage performance. Both “Trying Not to Fall in Love” and “Happily Never After” could both be read as tongue in cheek, though the genuine attempt to avoid love is a real thing that many people grapple with.
“Feels Like Yesterday” brings the nostalgia in like a train at high speed, while the title track brings the tempo up slightly more than its predecessors. “I Know This Moon” feels like a lullaby, and wonderful caress compared to the other tracks that are part of this collection. It might appeal to the increasing number of people who are starting to follow moon cycles a little more closely, and become something almost sacred for some. “Very, Very” feels just as delicate, while “We’re Never Going” is the perfect final track, as there is a sense of finality not only in its title, but also in the structure of the instrumentals.
How wonderful to feel like this audible journey closes out as perfectly as it could. Enjoy the album in its entirety below, and be sure to let us know how you’re feeling about it on Facebook!
by Meredith Schneider | Oct 21, 2019 | albums, review
Alright, we are way overdue for stepping back in time with a killer soundscape to aid us. Packed to the brim with disco-era synth flare, Delores Galore‘s new album New Growth sounds a little more old school than one might assume when dissecting the album title, though it has a fresh spin with relatable lyrics and a fun, carefree feeling. (Truly, this is exactly what we needed to help us along through these slightly-more-serious months as we all meet year-end goals and continue to kick ass to end this decade right.)
“One Touch” gets us in the mood with husky vocals, glittering reverb and a vocal spoken breakdown that is equal parts honest and soulful. “Corpse Inside” has more of a psychedelic tone to it, a track that brings the tempo down, and the feelings out. “Still We Stay” follows it, much more 80s in nature, and just as magical as its predecessors. This one has an instrumental tempo that is slightly off-kilter when lined up with the vocals. This slight difference creates an otherworldly atmosphere for the duration of this dance track.
“Don’t Stop Me Now” has a very techy opening, with a soundscape that makes us feel as though we have been dropped inside an original Nintendo console to fend for our lives. The frantic feeling the instrumentals create is only slightly offset by the smoothness of the vocals, creating a balance similar to the song before it. Delores Galore rounds out the release well, with the slower tempo’d “Circles”. It feels epic, and should we find it placed in a Stranger Things-esque period piece, we wouldn’t think it out of place.
Get a sneak peek of New Growth below with “One Touch”, and keep your eyes peeled for more!
Keep up with Delores Galore here.
by Meredith Schneider | Oct 18, 2019 | albums, review
Rock collective Teleportal – comprised of Johnny Rossa (Vocals), Beth Liebling (Vocals and Bass), James Bourland (Guitar), and Ric Peterson (Drums) – just released a theatrical, 11-track album titled Devour that does – if not specifically that – really provide an attitude all its own. While the instrumentals of “Space Bone” introduce the collection with a dark soundscape, it lightens with the layering of new instrumentals and lighter vocals. Eventually a wailing note makes this song into what it is, and we’re transported back in time while also being pushed significantly into the future. “The Plague” has an undeniably frantic feel to its sound, energizing in its disposition, while “Disaster” evens out the tempo a bit for a more traditional rock sound. “Mansions” slows it down to that psych rock soundscape, giving us whirring guitar parts we didn’t even realize we were craving until now.
“The Organizer” dips back into classic rock, a little more of a ballad. We’re pleased with the way it pulls Rossa’s vocals to the forefront, providing this heartbreaking feeling we wouldn’t otherwise get from a different set of pipes. “Slither on the Ceiling” brings with it a funky feeling, the vocals rough and enticing. “Velvet Math” definitely feels more technical, with computerized sounds throughout and an otherworldly vocal presentation. While “Pull the Trigger” has a title that might feel a little more morbid than its predecessors, the crashing cymbals and punk rock feel make it fit right on in with several genres, including garage, punk, and classic rock.
“Ruins” slows everything down as an instrumental track driven by a classic drumbeat, while “Eel” does seem to exist in a watery, psychedelic soundscape. (The intentionality behind the undertones of the songs and their title pairings is almost poetic in itself, don’t get us started here.) “Gamma Dust” is quite possibly the perfect ending to this collection, as from beginning to end you feel an eery connectedness to the scattered percussion, haunting vocals, and layers of sound. Soothing, chaotic, intense.
Keep up with Teleportal here.
by Meredith Schneider | Oct 11, 2019 | albums, review
Indie pop songstress OSTON recently released a new 6 track titled Sitting at the Kids Table, a highly relatable and intrinsically beautiful collection of songs that will leave you craving more. From the first lines of first track “bad” to the very last moments of “last time”, there is an energy to this work that is all her own. With raspy, well-balanced vocals, OSTON has created an entirely distinct sound to the entire album with just the presence of her vocals.
Songs like “give up” and “bad” employ earthy percussion and While “leading me on” is a smooth pop track with a subject matter that is absolutely exhausting, “way we say goodbye” brings us back to a good mood, in both lyrical content and a bass line that never quits. OSTON wraps the release up with “last time”, which is a future hit pop track if ever we’ve heard one. As we praised before, her vocals are more than enough to carry this song, with Mariah Carey-esque range, and the tempo makes this the perfect song to dance with your sweetie to. The bittersweet topic is something to sit with if you’re in a weird, introspective mood, but it’s presented in such a sultry way that you can enjoy this in an array of atmospheres.
Push this song to radio, guys. And as a whole, this release shows OSTON’s promise. We can’t wait to see what’s to come.
Keep up with OSTON here.
