by Meredith Schneider | Nov 14, 2018 | albums, review
Everyone’s favorite roots rock n’ roll duo Larkin Poe recently released a 10-track stunner, packed to the brim with badassery paired with subtle delicacy that only these ladies could pull off. Starting with the military-like drum line first track “Sometimes”, Rebecca and Megan Lovell bring every ounce of soul that they can to each and every track. As evidenced in “Bleach Blonde Bottle Blues”, “Honey Honey”, “Mississippi” (ft. Tyler Bryant), and “California King”, as well as what follows, lead vocalist Rebecca makes us swoon with a gorgeous, far-ranging, robust set of vocals, that comes with a bit of smoke here and there that makes us feel like everything about this album is a mystery. (I mean, check out those instrumentals in “California King”!
“Blue Ridge Mountains” is very much a country track, following suit of the other upbeat, “proud of my hometown” tracks that we’ve become partial to over the years. And if you think “Fly Like an Eagle” is going to be a remake of the Steve Miller Band classic (mad respect to Space Jam), you would be incorrect. This track is far more stunning, though you probably wouldn’t find it in a cartoon-riddled movie starring LeBron James anytime soon. (Or will you?) “Ain’t Gonna Cry” is one of those “knock your heart right out of your chest” songs, as it’s highly relatable and such a raw, matter-of-fact anthem. “Hard Time Killing Floor Blues” is far more classic blues than many of its predecessors, with a boot-stompin’ beat you may just find yourself repeating. The ladies round out this album with 10th track “Good and Gone”. Clearly placed for its title, we were curious to see if we thought it actually belonged as the wrapping on this new gift of an album. That answer is yes. It sounds like something you could play at a funeral or celebration of life, with a little of that quintessential Larkin Poe edge oozing out of the edges.
Keep up with Larkin Poe here.
by Meredith Schneider | Nov 9, 2018 | albums, review
Birmingham-based duo Timber – comprised of Janet Simpson-Templin and Will Stewart – releases their brand new 8-track full-length today, and we’ve got all the details. A lush, enigmatic soundscape takes you on an interesting journey, twang-tinged and versatile in its existence. “Burying Ground” is very much a literal track, a melancholic beginning that carries through second track “As a Kill”. “Colors” is a bit spooky and intense, while “Downtown” has a true ballad sense to it and seems to play with dissonance instrumentally quite a bit.
“Sunstroke” is lyrically bittersweet, calling to mind a love – or really amazing situation, at the very least – difficult to shake. As a Kansas City native, “Shuttlecock” made my ears perk up, and the song sings of flying through the sky like one of those intricate sport accessories. It occurs in such a pleasant soundscape that we’re feeling like turning it up and going for a drive this weekend. And perhaps “Errant Oblivion” will inspire another side of us, slow dancing in the moonlight as the instrumentals take over our souls as they seem to already have done. Simpson-Templin and Stewart remind us of their brilliance up until the last lines of final track “Move”, a simplified yet freeing track.
If you’re looking for a soundtrack to a relaxing and thoughtful weekend, this is it.
Keep up with Timber here.
by Meredith Schneider | Nov 9, 2018 | albums, review
With baited breath we’ve awaited the arrival of indie rock collective Daisybones‘ 10-track album Gold. The Boston quartet has really provided us with the energy shot we’ve been needing, from the very first chords of the title track, through slightly slower – but just as otherworldly rock as its predecessor – “Choke”, and into “Drag”, which slows down exponentially but doesn’t quite drag, if you as us. (We’re full of jokes today.)
Daisybones performs with a hint of 60s British punk woven into lead singer Dillon Bailey’s vocals. This is especially evident in “Bang”, though “Crush” follows suit perfectly. “Beautymark” might be our favorite of the collection, the tempo changes alluring and the crashing cymbals providing a soundscape that we can both veg out AND dance our asses off to. Many fans might like “Daiquiri” for its tropical vibe, providing us an escape from our (now) snowy landscapes.
“Score” is the obvious head-bopper, frantic and staccato in its existence. If you’re looking for a slower rock track to nerd out over, “Heave” is your particular brand of ear candy, though last track “Lemondrop” might sound as such. “Lemondrop” is actually the perfect way to end the album, slowing everything down exponentially and providing an almost rock ballad-like atmosphere that will lord over you for the rest of the day.
And that’s not a bad thing.
Keep up with Daisybones here.
by Meredith Schneider | Nov 8, 2018 | albums, review
New Orleans-based Sexy Dex and The Fresh – comprised of Dexter Gilmore (Guitar, Vocals), Gabrielle Washington (Vocals), Andrew Landry (Bass), Evan Cvitanovic (Drums), and Ben Buchbinder (Keys) – has been winning awards left and right in the south, and we can see why. As a young band, their technique – and, truly, pure chemistry – is undeniable. Not to mention the alluring genre they’ve almost created unto themselves. You can witness this in their new EP Don’t Play My B-Sides.
Though you’ll hear some psychedelic influence amidst the funk in “SDTF”, hip hop makes its way in there, as well as some interesting pop-infused dance breakdowns. We could see ourselves dancing to “Play Me Birdie” at a sock hop, but there’s an 80’s flare to it as well as a quirky, fast tempo that is a total earworm. “These Young Charms” exists in a more quintessentially 80s soundscape, while “!Wait!” presents a cacophony of sound that is otherworldly in its disposition. Last track “Fotographs” begins with a speaking part that truly captures the otherworldly, as the song blossoms into another 80s-inspired dance track.
Check it out below!
Keep up with Sexy Dex and The Fresh here.
by Meredith Schneider | Nov 5, 2018 | albums, review
New York-based indie pop trio VHS Collection – expertly comprised of long-time friends James Bohannon, Conor Cook, and Nils Vanderlip – released their new 12-track stunner, Retrofuturism, on Friday. With vocals reminiscent of The Kooks, first track “One” explodes into an interesting cacophony of sound effects and percussion that will get your head spinning, yet better prepared for what’s to come. “I Can’t Stand It” deconstructs the album a bit, keeping a good dance pace loaded with a little more attitude, while “Take My Money” makes you feel like you should be donning clothing of yesteryear, putting on your favorite pair of shades in slow motion.
“Sign” modernizes the sound even more, though keeping it glittering and 80s-inspired, magnetic in its disposition. “Blame It On A Dream” bounces into a layered version of what you might hear in a hip hotel lobby, “American Cynic” bounces back into intense, late 80s MTV vibes, though “The Otherside” slows it all down for us, the instrumentals harnessing energy from late 90s love songs as we head into the intense, hard-hitting sounds of “Animal”. While ninth track “What Does It Mean” takes on an “80s slow dance at prom” vibe, tenth track “Break” is a track music supervisors should keep their ears on for any upcoming coming-of-age projects, if we’re being completely honest.
“Feel It Boy” is energetic, fun, and something we can get on board with lyrically and sonically. “Fade Out” takes on a more contemporary pop sound that slightly overshadows the 80s vibes, with quirky percussion and beautiful, entrancing lyrics. It rounds the album out quite nicely, and gets us in the mood for a dance party like no other.
Keep up with VHS Collection here.
by Meredith Schneider | Nov 5, 2018 | albums, review
Galway-based folk artist Ultan Conlon released his latest album Last Days of The Night Owl to incredible amounts of praise, landing itself at #1 on RTE. A 12-track masterpiece, Last Days of The Night Owl takes the listener on a lighthearted journey full of easy-listening that reeks of perfection no matter the season. We’re still impressed, so it’s on tap now just as often as it was at its release.
Beginning with “As the Light Gets Low”, Conlon establishes a sense of positivity as he croons, “somethings not right / but i can’t be all of the time.” The album slows only slightly with “The Town Square”, the percussion and tempo picking up again with “Hall of Mirrors”. By this time, we’re hearing direct influence from Roy Orbison, James Taylor, and the likes. “Fond Memories” exists at a gait reminiscent of a 1950s sock hop, though the discontent is obvious in the lyrics.
While “Sorrow Ease” comes in with more clear country influence, “Ojai” feels grand and gorgeous, perhaps just as much so as his expectations of the town before his arrival changes his mind. Memories aren’t always reality, and this song reminds us of that. “Hurt Inside” simplifies the trajectory, while “Time to Mourn” is the most outright melancholic track in every aspect. “The Measure” lightens things up a bit sonically, a toe-tapper if there ever was one, and that vibe continues through “Twice a Child”.
Everything comes to a slow crawl with “A Weak Heart Like Mine”, as Conlon evaluates the difference – or perhaps striking familiarity – between positive and negative feelings in romance. He rounds it all out with “The Fine Art of Happiness”, once again establishing a sense of positivity and looking forward in life. And that’s the note the album was destined to end on, giving us hope for light at the end of our sorrows.
Keep up with Ultan Conlon here.
by Meredith Schneider | Oct 31, 2018 | albums, review
The eleven-track compilation stunner just released by Dazzleships Records honestly serves as our life soundtrack at this very moment in time. Ever since we got our first listen, we’ve been running the tracks back through our minds, creating more with these songstresses as our inspiration. Dazzleships Records Presents: Raise By Women is both tantalizing and evocative of a generation – or more – in its entirety. Skull Diver‘s “Bad Star” sets the tone, giving us a grunge indie/pop soundscape to play with, absorbing itself into the quirky and lighthearted tone of Mini Blinds‘ “Happy” before Cat Hoch‘s “Say You Love Me” throws us into an 80’s-inspired bliss.
Natasha Kmeto‘s “Your Girl” blends synths in a similar way to its predecessor, but in a much more contemporary and soulful way. While Rilla‘s “Side Sleeper” is one to get your head bobbin’ to, your feet groovin’ a bit, Johanna Warren‘s “The Blessing The Curse” dunks you in an ethereal, mellifluous soundscape before DANDAN gets all experimental on us with “Broken Mirror”. Black Water Holy Light‘s “Sunrise” belongs on an episode of The O.C. (Seasons 1 or 2 exclusively, please?), and Laura Palmer’s Death Parade brings us to a slow, folk-tinged, melancholia with “Scrollin'”. Haste basically says it all within the instrumentals of “Let’s Touch Ourselves”, with gorgeous vocals and alluring lyrics to make it a powerhouse of a track. And the entire collection is rounded out quite nicley with Sheers‘ “An Osscasion”, which plays with dissonance and a more earthy, string-led sound that really feels delicate.
Keep up with the latest from Dazzleships Records and all their new projects here.
by Meredith Schneider | Oct 30, 2018 | albums, review
Seattle-based pop trio Tangerine just released their 4-track EP White Dove, which glistens in the glow of nostalgia from the very beginning of firs track “Local Mall” to the last chords of “Lake City”. Though “Local Mall” exists at mid-tempo, it feels more energetic, with Marika’s light-as-a-feather vocals driving the track itself. “Cherry Red” continues with a similar soundscape to its predecessor, bringing out more percussive moments for emphasis. “Monster of the Week” boasts a more sinister tone, perfect for this time of year, and last track “Lake City” is comprised of gorgeous melodies and a feeling of ease that only a beautiful body of water should be able to provide.
Keep up with Tangerine here.
by Meredith Schneider | Oct 26, 2018 | albums, review
To say Bets‘ new album Future Color plays with dark and light like crazy would be an understatement. With each track comes a new feeling, some eery and inescapable, others lift your soul to a place you hadn’t been in a while. The entirety of the album – all 10 tracks – entices its listener to feel something, and that’s what we’re so fond of.
“Another Night” starts us immediately with frantic instrumentals, the first line “dance with me” coaxing us into a frenzy while “Out of View” slows everything down a bit and darkens the instrumentals to an eery octave fit for October. Third track “Left My City” is the perfect anthem for anyone who has ever experienced a slight thrill at seeing someone leave their immediate vicinity, be it a former lover, an old friend, or someone who was bringing you down a bit. While “Da Da Da” has an experimental, robot vibe to it while Bets speaks simple truths, “Maybe” picks everything back up again and reintroduces the playful, light side to her vocals.
“The Daylight Beside Me” is slow, comprised of acoustic guitar and Bets’ mesmerizing vocals. It’s easily one of our favorites, though we’d take an argument for “All I Want” as it picks up the tempo – and transforms our mood – within seconds. “Fear Of” lurches us back into the darker side of Bets’ work, her vocals more mechanical, though no less appropriate at a club in Manhattan after 2am. The instrumentals of “Tunnel Vision” belong first in an action movie, then perhaps in a video game. The lyrics will play on in your ears for a while, though “Gold” will be the one that sticks with you, the instrumental layering something out of a gorgeous dream and Bets’ vocals more of an audible kaleidoscope than anything else.
Future Color is out now. Keep up with Bets here.
