We’ve been lucky enough to have explored the talents of Jealous of the Birds in the past, but today we’re thrilled to share one of our favorite new EPs. Jealous of the Birds has released a vintage-tinged bevy of gorgeous work for our ears to soak up in the quiet moments, and to truly enjoy. Starting with “Marrow”, Naomi Hamilton weaves a wonderful sonic adventure for us, storytelling with the best of them. “New York Has A Lump In Her Throat” has a bit of a melancholic feel to it, as the title would suggest. “Blue Eyes” is the standout rock track, energetically pulling you from your seat. Even with brown eyes, we can’t stop dancing.
“Kosiskelu” imposes upon its surroundings a cocoon of comfort, a feeling of calm that is unique to Hamilton’s voice. “Clementina” is how Hamilton has chosen to complete the release, a meandering and delicately layered song that is somehow intensely heart-wrenching. Perhaps it’s the tranquil soundscape, the hint of hope in the vocals, or the palpable feelings of puppy love. Either way, Wisdom Teeth is required listening.
Starting with the title track, Idaho-based teen musician Gabriella Rose spins her new Lost In Translation EP with an ethereal intensity that we haven’t experienced in a hot second. Vocals dripping with reverb, a slight twang, and a moderate tone to first draw your attention. “Dreams” takes on a darker tone, though still somehow just as transfixing vocally. It is at this point that we realize the true leader of Gabriella Rose’s body of work is her unique and radiant voice.
“Welcome To The Dollhouse” takes a deep look at mental health in a very real and emotional way, while “Requiem” drives the metaphorical melancholic truck forward, as she croons, “I stopped dreaming” along with a host of other things she is finished with, invoking a palpable sense of loss. “The Chair” and “Angel” round the 6-track work out, each addressing the topic of mental health – and allowing Gabriella Rose to explore hers in a very vulnerable way – in a very different and beautiful way.
On Friday, acid rock trio Protovulcan – comprised of Deric Criss, Will MacLean, and Nick Ammerman – released a new 8-track EP titled The Split. From the very first chaotic chords of “Pine for You”, the listener is drenched in this gorgeous, layered rock n’ roll sound that stands out among the rest. Though Protovulcan’s songs are void of human vocals, we are provided muffled robotic ones, along with a heightened sense that the past and future met on this work of art. While “The Force Remains the Same” is a party song instrumentally, “Snake Legend” has a sound that seems to layer into itself, a kaleidoscope perhaps less so in any type of vintage origin, and more so in its progression. The texture alone is something to write home about, and this is one of our favorite tracks on the release.
“Waking Up Dinosaurs” lands itself in that psychedelic area that we assumed its predecessor would take us to, a bit belated but equally as impressive. “Purple Sky” is, in reality, a glittering, chaotic cacophony of sound for the most part. By the time “Celestial Slingshot” hits, the robotic vocals are so prominent that they lead the track, sounding like a clash between an electronic keyboard and a accordion. The Oscillator Bug Remix of the same adds more lightweight instrumentals into the soundscape, bringing it to an even higher ethereal level than the original. We’re especially smitten with the way they placed the two tracks back-to-back, so a layman could identify the differences and insane progression from one into the next. By track eight, we are being dragged back into “Purple Sky”, though this badass track is an Odd Nosdam Remix, so there are ver important details that have been manipulated from the original, making it a standalone track on its own and the perfect way to round out the EP.
St. Petersburg-based trio Polyenso – comprised of Brennan Taulbee, Denny Agosto, and Alexander Schultz – recently released their new EP Year of the Dog, and we’ve got some thoughts. Beginning with a swirling, ethereal energy in “Neon Mirror”, the cacophony of sound these musicians create together is poetic in its existence, only further so with the addition of vocals woven throughout with an electricity that is undeniable. “Bastard” has a bit more of an experimental feel to it, but the percussion makes us want to dance down the street, essentially turning our walk into a musical number. That’s got to say something, doesn’t it?
“Happy” has a bit of a melancholic feel to its soundscape, further perpetuated by the lyrics. While “I Go You Go” definitely has the charm of a late night dance track, to be enjoyed in a sweaty underground somewhere in Manhattan, the instrumental versions of each track take us back through a host of emotions, living through the same pattern twice over the course of one EP. We’re pretty impressed, and know you will be too!
Experimental improv musical group Richmond Avant Improv Collective (RAIC) – comprised of Samuel Goff, Abdul Hakim-Bilal, Erik Schroeder, Zoe Olivia-Kinney, and Laura Marina – released their new album Multiplicity on Friday, and we’ve got your first listen below. “Balance of the Three” starts us off with a pure cacophony of sound, horns and cymbals alternating feverishly for a full song’s length (around 3.5 minutes) before everything evens out into a somewhat bluesy and tribal soundscape. There is a sense of mystery to the song, the longest on the piece at 22:44. “Brugmansla” is completely different in its soundscape, rough and energized as though being played at battle. It is with “Occlusion” that a slight twang comes through, though it isn’t long before tribal drums, misplaced cymbals, and guitar chords make it feel like an artsy soundcheck.
“Leaves Continue to Fall” breezes in on a saxophone, more simplistic in its approach than its predecessors, as it maintains one instrument throughout. “Agitato” is our first real glimpse at vocals – albeit briefly – and a more ethereal and well-layered soundscape stems from its opening chords, slowly collapsing into brief, heightened energy escapades over the course of its hot ten minutes. “Pingulna” is the shortest of the tracks – sitting at a quick 1:35 – and boasts a down-home, blues feel that makes you feel relaxed and confident. Last track “Silene Udulata” rounds it out with a vintage feel, boasting opera-like vocals, eery, high pitched guitar chords, and rough, hard instrumentals that make it feel like the climax track at a rock opera. It’s definitely not something we would play at our Grandma’s birthday, but insanely fun to jam out to with friends.
Multiplicity is available now. Keep up with RAIC here.
As you lean slowly into the gentle and mellifluous soundscape of Jane Willow‘s Onward Still, your mind starts to wander, and wonder what the inspiration for this work of art exactly was. From the first caress of vocals in “Onward Still”, to the last defining, harmonic moments of “Comfort”, this 6-track EP is nothing if not the perfectly watercolored canvas to hang over your blooming ideas and goals and adventures for 2019. “On My Mind” hits you with introspective and intense lyrics, sad strings to really rip into your heart’s deepest cavities. “Nobody Knows” has a strangely poignantly placed feeling of freedom to the delivery of the vocals, subtle yet defining nuances throughout.
“Hannah” brings the pace up, the Dublin-based artist’s most notably uplifting track to the work. “If I Did Love You” is quite the ballad, theatric and haunting in its presence. “Comfort” truly rounds the release out nicely, with a sound that makes you feel as though you’re basking in the glow of the sun on a patio somewhere amongst vineyards. This song itself evokes the title in an effortless and wonderful way, which seems to be the artist’s intention. We’ll be using this as our adult lullaby for a while, and we’re not even remotely ashamed.
At a very important time, Kansas City-based alt garage rock band The UK’s – comprised of Noah Bartelt (Lead Vocals/Guitar), Scott Combs (Guitar/Vocals), Katelyn Miles (Bass), and Tarquin Eugene Kellough (Drums) – has released a 5-track EP, affectionately and poignantly titled American Way of Death. From the very first, melancholic sounds of “Why Don’t You Go” – which hits a stride that makes you want to add it to your “walking the streets of the city like a badass” playlist – through the 60s punk-influenced soundscape of “Wake Up”, all the way through third track “AWOD” which follows suit, there is an electricity that makes you realize that incredibly underrated music comes from the midwest. (Hello, Holy White Hounds and Mess!)
Cut to “The Poison Squad” and you’ve got a track we could easily find ourselves barbecuing to on a chilly autumn day, dancing to at a sweaty basement party, or driving to down the Kansas City streets. It all comes to a head with fifth and final track “Other Team”, which brings in that fun, vintage, upbeat feel again. If you’re not careful, you just might find yourselves on the ceiling too…
Chicago-based shoegaze/pop collective Lightfoils releases new five track EP Chambers today, and we’ve got your first listen below! (Or fourth, or fifth, or twelfth… who’s counting?) The five-piece – comprised of Zeeshan Abbasi (guitar), Jane Zabeth (vocals), Cory Osborne (bass), John Rungger (drums), and Neil Yodnane (guitar) – wastes no time getting into the psych feels with the kaleidoscope intro to first track “The Bitter Over”, which layers into a cacophony of sound that seems to envelope your senses. “Duende” brings the same level of otherworldly vocals to it, a little more depth to the guitar parts than its predecessor. While “This Time Is Up” brings with it a punk garage band instrumental soundscape, we’re still left wondering how Zabeth can reach such insane places with her vocals. But I digress.
“Summer Nights” might, at first, make you feel a little bitter about the warm evenings being long behind us, but it also provides that whirring nostalgic feeling that makes it feel like summer might not ever end. (And it doesn’t have to if you don’t want it to!) Last track “Honeydew” brings with its title the same lust for warmer months, though we know we can relive those nights with this as the backdrop any time we damn well please.
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.
