by Madi Toman | Feb 4, 2020 | singles, wolf tracks
Los Angeles-based Electro-pop artist Stefan T has just released an electric new single by the name of “Keep Me Guessing”. The Berklee College of Music alum is responsible for the vocals, instrumentation, and production of his new track, and it precedes the release of his upcoming album Night Shift.
The song explores love and relationships, specifically being caught in an endlessly toxic and manipulative cycle. Of the inspiration for the song, Stefan says, “ The song follows a conversation between two characters in a twisted relationship. In both verses, it’s character one looking for attention and wanting to give affection but in reality, they never follow through. In the pre-chorus and chorus, character two is calling out character one on their manipulation of the relationship and they’re tired of the games. In the end, both parties just keep playing the same game, because they’re too afraid to fall out of love. “The electro-pop track employs bluesy guitars and passionate and soulful vocals courtesy of Stefan T himself. Recording artist Kaylie Foster adds depth and feeling to the already soulful track with backing vocals that are simultaneously haunting and pure.
Stefan T’s new album, Night Shift, is set to be released this spring. Keep up with Stefan T. here.
by Kendal Chandler | Feb 4, 2020 | singles, wolf tracks
Indie-pop/alt-rock act Cannibal Kids announce their new track “Voicemail”. This release is in anticipation of the band’s upcoming album deadheads, set to be released Feb. 21, 2020.
“Voicemail” brings back some youthful energy to the indie scene. The surf rock influenced sounds come heavily from the band’s hometown of Florida. They channel the feelings of bright, sunny, and face-paced Florida to create songs like “Voicemail” with sensuous guitar lines and pulsating baselines.
Cannibal Kids write songs about love, heartbreak, and their reality. Most times the lyrical context is a juxtaposition to the beachy vibes of the instrumentation.
Keep up with Cannibal Kids here.
by Madi Toman | Jan 31, 2020 | albums, review
It’s often said that music is a universal language, but even so it’s rare to see a group that represents that so literally. Progressive-indie electronic group Me & the Monster all came together when they met at their shared university in Berlin, but they possess an additional layer that sets them apart from the typical cliche of starting a band in college; the 4 musicians all hail from different countries.
While most bands start off arguing about when they’re going to rehearse or who’s going to bring snacks, this group had to immediately face an obstacle that most would never even consider; figuring out how to deal with the cultural and linguistic differences that existed as a result of their varied backgrounds. But luckily, they all had one overwhelmingly important thing in common that transcended these barriers: their love and appreciation for music. Their self-titled EP, dropping January 31st, 2020, is the group’s debut.
The influences of their different homelands come through in their music, and the result is a beautiful melting pot of sounds and ideas. A range of modern influences can be heard in The Monster’s music; Of Monsters and Men seem to show on their indie folk-rock side and Alt-J in their experimental sounds and concepts. The progressive debut EP touches on political issues such as the rapidly-changing coral reefs and the controversial political scenes in the hometowns of some of the band members. Their debut is representative of who the group is and what they stand for, and everything about them supports this; even the name Me & the Monster itself is a take on describing “modern man and his connection to the most original part of himself, the subconscious: his monster.”
The opening track, “My House”, is an introduction into the Monsters’ world, and they waste no time in welcoming their listeners into their melting pot of music. Hearty tribal drums and soulful vocals immediately draw you in; “Greetings / This is the jungle of my feelings” sings vocalist Andrea Trujillo. Here, home exists not as a place but as an idea, as a feeling, and as the people that become home for you when you leave the place you’ve always known. The opening track is the perfect intro to the group, who are all familiar with this concept as they hail from Spain, Venezuela, and Italy and all found unity and this idea of home through their common love for music.
“The Shadow” touches on the concept that the group is named for; the idea of recognizing the monster inside of yourself and the battle that everyone goes through with that. Meanwhile “Give Me Fire” stresses the importance of finding a source of light to keep you fighting through dark times. “Here” is a brightly-colored river of sounds that winds slowly before building into an explosive chorus heavy with tribal drums and echoing harmonies. The passionate political anthem introduces a sense of urgency as the group makes a call to action; “We cannot pretend / That this isn’t real / This is not the end”.
The closer, “Colours” touches on the issue of the damage of the coral reefs as a result of climate change. “It’s in my body / It’s in my bones / I must keep fighting,” Trujillo repeats, her passion for the cause evident in her moving and soulful voice. Smoothly rolling guitar riffs reminiscent of the ocean waves themselves accent the anthemic chorus. Shouting background vocals call for unity as the group reminds listeners of the importance of using music as a channel for activism for important causes.
The debut is a rare case that leaves listeners not only with a crystal clear idea of where the group stands musically, but also politically. While each track shows off a varied side of who the Monsters are and what they’re all about, the EP has a strong feeling of unity and coherence that makes the group’s debut body of work feel strong and memorable.
Keep up with Me & the Monster here.
by Kendal Chandler | Jan 31, 2020 | videos, wolf tracks
Indie group Hello Forever release video for newest track “I Want to Marry You”. Hailing from hippie-esque Topanga County, Calif., those same vibes are present in the song and the video.
Hello Forever, are shot at multiple locations in Topanga County. The look of the video is an off-shoot of their hippie style, seemingly recorded or mimicked to look like it was recorded on 35mm film.
“I Want to Marry You” is lead by ukulele with percussion used to keep the steady rhythm. The ukulele created melody give the song a light feeling. A feeling a listener can find themselves relaxing to or dancing along with.
Hello Forever’s style of music falls somewhere between the indie-rock powerhouse Vampire Weekend and psychedelic POND. This varied marker gives them the space to create and innovate in spaces that seem far apart. What Hello Forever are able to create in this space is a warped indie style that is highly enjoyable.
Keep up with Hello Forever here.
by Madi Toman | Jan 30, 2020 | singles, wolf tracks
Singer-songwriter Cayley Thomas has just released “Blue Jean Baby”, the newest single from her upcoming album How Else Can I Tell You?, a “collection of songs that reflect upon a period of subconscious overwhelm and the subsequent shift into conscious thought and awareness”.
Before any lyrics are even heard, the track feels romantic. The guitars are hopeful and the drums seem as though they could be keeping time to a heartbeat, and that’s all before Thomas even opens her mouth. As soon as she does, the transportation to another time is inevitable; you’re wrapped up in her world in the first thirty seconds.
Echoing harmonies and dreamy bass pull the listener into the warm and hazy fever dream of the land that Thomas’ music lives in, a land almost as enticing as her purely enchanting vocals themselves. Despite the simplicity of it all, Thomas quickly and smoothly draws her audience in with ringing guitars and hypnotic production from another time and traps them in her honey-drenched web, and she doesn’t release her grip until it’s all over. The instrumentation takes its time for the first two-and-a-half minutes of the track, but perfection cannot be rushed, and the build is slow and sweet. It’s impossible to hear Thomas and not think of Lana del Ray, and not just because of their similar affinity for men in blue jeans; the singers share that sweetly monotonous quality in their voice that’s just so damn charming in a cool, detached sort of way.
How Else Can I Tell You? premiers November 21st, 2020. Keep up with Cayley here.
by Kendal Chandler | Jan 29, 2020 | videos, wolf tracks
North London indie-pop band WEIRD MILK release video for newest track “Time Machine”. The video was released in the U.S through Austin, TX label Big Indie. The band consisting of Zach Campbell (guitar, vocals), Alex Griffiths (guitar, vocals), Charlie Glover Wright (drums), Joe ‘Blue’ Moyle (keys), and Harry Zwaig (bass), are moving their way to the front of the indie scene.
The pulsating new track pulls listeners back to the style of Beach Boys in harmonies, and The Strokes in guitar composition. This simple visual of the band standing in the backroom of some establishment while they harmonize, enhances the simplicity and influence of this track. This simplicity is helping them stand out in scene of acts trying to be different, WEIRD MILK strip the indie sound to it’s basic form and elevate it in a way that seems nostalgic.
Keep up with WEIRD MILK here.
by Kendal Chandler | Jan 28, 2020 | albums, premieres
Indie-pop act DEWR, consisting of songwriter Brian Dawer, is set to release his new EP Dream Pop Is Over on January 31st.
This release differs from his past works because the EP shies away from the regular indie-pop formula. While DEWR’s previous releases seem cluttered and unorganized, Dream Pop Is Over, is anything but.
This 5-song EP flows like a stream of consciousness giving Dewar the space to be honest.
Accompanied by swaying rhythms and dynamic changes, this EP is both unique and listenable. The opening track “Front Line” drops listeners into Dewar’s mind, and every song following continues this exploration. Through these 5 songs, listeners are exposed to Dewar’s inner turmoils as he comes to terms with the idea that you can’t have it all, and that life keeps moving forward.
The EP’s title feels like a play on words. While his other works fall victim to indie-pop tropes of being over digitally-enhanced, Dream Pop Is Over feels natural and organic.
Keep up with DEWR here.
by Kendal Chandler | Jan 28, 2020 | singles, wolf tracks
Emerging singer-songwriter Mae Muller releases her newest track “Therapist”. Muller says the song comes from her inner feelings of what is means to be a ‘good’ girlfriend. Specifically emphasizing the notion that “We are not here to teach men how to behave, we are not their mothers, or their therapists, and we shouldn’t have to take on that pressure! Especially when we receive nothing in return.”
She continues by talking about the song specifically saying, “In this particular song, it was about a situation where I really wanted to make it work but realized that this person did not need a relationship, and I couldn’t give him what he needed no matter how hard I tried.”
Muller’s sound is influenced by artists like H.E.R and Julia Michaels. She considers her songs are “emotion-based,” a concept she believes people have a hard time understanding. Muller’s music talks about what people are actually thinking or feeling, not metaphorically covering the topic. “Therapist” is no stranger to this style, pulling in listeners emotionally into a topic many can connect with.
Keep up with Mae Muller here.
by Madi Toman | Jan 27, 2020 | albums, review
After 35 years in the game, English synth-pop duo Pet Shop Boys (comprised of Neil Tennant and Chris Lowe) have just released their 14th studio album, Hotspot. The album was recorded primarily at the Hansa Studios in Berlin, which is where the duo has written most of their music over the past ten years. The record is the third and final in a trilogy produced by electro-pop titan Stuart Price (The Killers). While the previous two records seemed to stay in a similar lane, Hotspot does an exceptional job at introducing a little taste of all of the different flavors that keep Pet Shop Boys at the top of their game after so long in the industry. Despite the longevity of their career, the Pet Shop Boys have lost none of their edge, and they deliver in both their trademark wit and lyricism as well as a subtly diverse bag of tricks musically.
The Pet Shop Boys are more than a little deserving of some recognition on their ability to deliver another interesting album after 35 years in the game, and their time here has been anything but insignificant. Listed in the Guinness Book of Records as the most successful duo in UK music history, they’ve acquired a staggering 44 UK top-40 hits as well as charting 12 songs on the US Billboard Hot 100. They’re also the fifth most successful act on the Billboard Dance Club Songs chart of all Time, only falling behind acts like Madonna and Janet Jackson.
The album’s lead single, “Dreamland”, a collaboration with Olly Alexander of Years and Years, showcases the Pet Shop Boys’ sweet spot. While on the surface the track seems like an up-tempo electro-anthem that feels almost euphoric, it also subtly takes digs at both Brexit and U.S. immigration policies without laying it on with a heavy hand. In the track, Tennant imagines an idyllic land where everyone is welcome and where “you don’t need a visa / you can come and go and still be here”. The track feels both empowered and carefree at the same time and features a larger-than life disco-inspired chorus alongside an intense longing for true freedom.
Tracks like electro funk-pop number “Monkey Business” hit a little different. “We’ve actually written, almost for the first time in our career, a groove song” said Neil Tennant and Chris Lowe in a statement about the song. The lyrics themselves are as delightedly light-hearted and playful as the party track: “Bring me margaritas / Champagne and red wine / We’re gonna have a party / Where we all cross the line / I’m looking for monkey business.” “Wedding in Berlin”, a techno-wedding march mash-up, falls in the same vein. Featuring sections of Mendelssohn’s infamous march itself, it’s for the most part a one-liner (“We’re getting married”) but at the same time feels like it was created with some reflection in mind.
In a surprise twist for a group that has suggested we entertain the idea of banning the acoustic guitar, “Burning the heather” strips back some of the electro layers in exchange for, in an insane twist, what appears to be some lovely acoustic guitar parts (courtesy of The Suede’s Bernard Butler). Folky and fresh, the track is chock-full of deep and compelling lyricism and twinkling sound effects. It’s a refreshing reminder of the diversity of the duo (even if they don’t support the legality of all instruments featured).
Hotspot is out now and the
Pet Shop Boys will begin a greatest hits tour on May 28th at the O2 Arena in London. Keep up with the duo
here.
