christina larocca, “child of the sun”

christina larocca, “child of the sun”

If you’re looking for some easy listening with a lot of rough, beautiful attitude in the vocals, then Brooklyn-native and soul/americana/rock artist Christina LaRocca‘s “Child Of The Sun” might be your new thing. The singer is just about to return home from a pretty extensive fall tour, and we’re sure she’s ready for a little R&R. But we’re kind of ready to play her on repeat, so we hope she’s ready to tour again in the near future.

An intensely specific track, LaRocca audibly connects to nature and finds solace in beautiful outdoor atmospheres, such as the beach. You can tell she is strongly connected to her own roots, as she begins to spread her wings across the United States to bring her (long overdue) talent to the masses. As the “sound of [her] heart beats like a drum,” we’re nodding our heads along to that same beat, wishing desperately that we could maintain that same type of smooth/raspy balance in our own vocals. (Because belting it out in the car is an acceptable performance tactic.)

Keep up with Christina LaRocca here.

spirit award shares track by track alongside new album neverending

spirit award shares track by track alongside new album neverending

Seattle-based psych-pop trio Spirit Award is in the throes of introducing their debut album to the world. The ten track full-length – Neverending – is quite clever in the way it was constructed, as a majority of the titles would fit comfortably into a phrase with the term “neverending” itself (i.e. “Summer”, “Women”, etc.). And the album was constructed during a time of loss for the band (the end of a relationship, the loss of a family member, a robbery, and struggle with anxiety), which has lent itself to the lyrics in a very real and extraordinary way. Check out the album below, then read what the band had to say about each song as they lead you through a track-by-track feature exclusively for Imperfect Fifth!

“Summer”
 
This was a song that came out of the chords from a old song we had scrapped called “Summer Comedown”. Chris (Bass, Keys) and I sat down and I put a lot of reverse delay and reverb on my guitar, and Chris started playing the beginning bass line. 
 
The idea for the feeling behind Summer was to have this kinda floating slow motion feeling. Like if you smoked a bunch of indica weed, or haven’t slept and are feeling kind of in a daze. It was right after the “presidential” election happened, and it was hard for us not to be feeling like we were floating and concerned for our futures. That’s really what stemmed on the lyrics as well. It was a plea to keep pushing, to keep doing good, to keep making art, that this really does ‘all comes down to all of us’ to not give up, and push back.
 
 
“Fields”
 
It was a sort of spontaneous thing. We had a couple weeks before we were going back into the studio, and kind of stumbled upon writing this song. We like to switch instruments sometimes when we write, so I hopped on bass and started playing the riff and Chris hopped on the Juno. We got the basics of the song down and recorded drums and bass. We later wrote a lot of the synth parts in the studio. This was really fun to craft something so minimal and simple, and try to make it interesting along the way.
 
Like most songs we write, the lyrics came last. We we’re dealing with a lot of shitty life issues, and things that were a little confusing. The idea was kind of a mantra for me to let go of trying to have a “normal” or “perfect” life and enjoy being poor and all the randomness that life has to offer and do what makes you and others happy.
 
“Diving”
 
We wrote Diving in kind of the dead of winter I believe. Like I said, it was a super bleak and shitty time for all of us. I think that really comes through in this song, and the yearning for something good to happen, some glimmer of hope to go towards. 
 
“Heavy Fog”
 
This was one of the earliest songs we wrote that we still play. We recorded it for an EP, but we went a little too crazy with it, adding strings and a ton of shimmery stuff. With this version we wanted to strip it down and streamline it a bit. 
 
The basis for this song was written I (Daniel) while going through some depression and confusion that felt like a ‘Heavy Fog’ over me constantly. I was in a relationship that I felt like I couldn’t fully be myself in without judgement. I remember one day when I was waiting for a ferry to go to the San Juan Island and was feeling at peace and had this moment of knowing that if I kept confronting my fears and feelings and was honest with myself, I was going to be in a good place again, and that’s when the lyrics came to me.

 

“Las Vegas”
 
Kind of a turning point in our writing, and maybe the second song we wrote for the record. We were wanting to start writing with a more open and linear approach than we had been. This was one of the first songs we recorded for the record, and put out as a single. I remember after playing this song at a show a friend said “I could feel that man. That felt real. I like when you get aggressive”. We liked it too. I was focused too much on making something perfect before and writing melody and not just feeling it out and being authentic. 
 
I was going through a lot of self doubt and an existential crisis while writing this song. This song is essentially about saying “fuck you” to anyone who try’s to paint you out to be something you’re not. You can’t control when people tell lies about you. All you can do is examine yourself and ask if you are being honest with yourself or if your ego is getting in the way. So the story for this became a mix of those feelings and a story I heard from a friend who was on a blackjack card counting team.
 
“All Desire”
 
We were selected by Converse’s Rubber Tracks contest, which meant that we got a free day at Avast Studio in Seattle with legendary Engineer/Producer Jack Endino (Nirvana). Usually it can take a half a day or more just to get the drum sounds you want, but we got to the studio in the morning and Jack had them all dialed in and sounding great in less than an hour. It was a really great feeling to be working with someone who’s been doing it as long as Jack and to hear all his stories about Nirvana, Hot Hot Heat, and other records he’s worked on. 
 
One of the best feelings was when we got out a Fender Rhodes that we ran through some delay pedals to do some overdubs (which Jack was hesitant about, probably thinking we were just gonna dink around with it). When we started tracking Jack gave a big thumbs up and an approving nod. 
 
We had reached the end of our session, so I said “Well, I guess our time is up” to which Jack replied “Fuck em, they’re not gonna kick me out, let’s keep tracking!”. So we did.
 
“Women”
 
This was a song that was really built around the idea of the lyrics I had in mind. I was tired of seeing men feeling like they own women. Like they can touch them, slap their asses, grope, and talk over them without any consent and without consequences. It made me incredibly sad to have friends and partners experience this. All I could do was feel this deep sadness for their experience and wish I could do something.
 
All I could do was write this song saying “we hear you, men are the worst, and I hope we can change that”. I want to encourage people to not tolerate this behavior from anyone. If someone doesn’t understand that what they are doing is sexist or hurtful, they never will unless you tell them. Sometimes it’s awkward but we need to change this norm that is hurtful and toxic. Everyone deserves love and respect.
 
“Running”
 
When we wrote this song it really felt like some sort of metaphorical baptism for me (Daniel) (hence the album cover). We had been through a lot over the last couple years and this was kind of an anthem to any negativity or backwards thinking to watch out Because I’m fucking pumped and I will destroy you (hopefully with peace, love and kindness?).
 
The idea for this song was to write another linear song like we did with Las Vegas. Not worrying about structure and just feeling out what’s next.
 
“Lost and Stoned”
 
When we wrote this song we we’re looking to write something big, loud and a little disorienting at times. For over a year the working title was just “Psych Jam”, which always felt appropriate.The idea for lyrics came about when I (Daniel) was angry and not a in a good place for a week and was getting stoned to escape the shit storm I had created.
 
I still enjoy getting stoned, but I think for me it’s important to make sure it’s not escapism. 
 
“Yesterday”
 
This was the last song we wrote for ‘Neverending’. Most of the songs for the record we had parts to and were mostly organized. Yesterday was put together super last minute. I have this old Wurlitzer Omni 6000 organ/synth in my house. I wrote the song on it, Chris came over and wrote a bass part, and we just started tracking it. Chris borrowed a Neve Sidecar to run mic’s through that we set up in a big room in our rehearsal space. We basically gave Terence some direction but told him to do whatever felt natural. I had to leave so I didn’t hear the full song until later that week,. When I heard it I remember laying on the floor of my house with headphones and feeling like we got exactly what we wanted, a big drum sound with some nice warm tones.
 
The song was ultimately about all the change that had been happening in my (Daniel) life, and ours as a band. It was the last song in this series of writing and we felt like it gave us, and the record, some closure and a optimistic look into the future.
**Material submitted by the band
Neverending is out now via Union Zero. Keep up with Spirit Award here.
the naked and famous, “last forever” {stripped}

the naked and famous, “last forever” {stripped}

Last month, we shared the stripped down version of The Naked and Famous‘ “A Still Heart“, just shortly after the release of their first simplified recording of their hit “Higher”. Like the original version, this song has a clear twinge of hope in it, though the original upbeat, electro-pop vibe has completely disappeared. The track in this form allows the vocals to truly take center stage, vocals that are naturally incredibly emotional and pure.

Give it a spin, because it might just be the soothing factor in your day.

“Last Forever” is available now. Keep up with The Naked and Famous here.

samantha fish, belle of the west

samantha fish, belle of the west

On November 3rd, Kansas City, Missouri native and contemporary blues artist Samantha Fish released her latest work, an album titled Belle Of The West. Riddled with catchy hooks, beautiful melodies, and a flare for the dramatic, Fish has pushed the envelope slightly more than with her previous work, challenging her own sound at times and really coming at us with guns a-blazin’ with attitude, fun, and intensity that is a surefire reflection of what the live performance of this album will be like. Admits Fish of Belle Of The West:

To me, this is a natural progression. It’s a storytelling record by a girl who grew up in the Midwest. It’s a personal album. I really focused on the songwriting and the vocals and the melodies and the emotion, and on bringing another dimension to what I do. I wasn’t interested in shredding on guitar, although we did end up doing a few heavier things. I love the Mississippi style of the blues; there’s something very soulful and very real about that style of music, so this was a chance to immerse myself in that. It’s definitely a song record and an emotional record, and I’m really excited to play these songs live.

And we’re excited to see them live, as each of the eleven tracks could stand on its own with personality and attitude to boot. Take first track “American Dream” for example, with percussion that drives the track into an uplifting sound space, a song that has more attitude than its followup “Blood in The Water”, but is less confrontational. In fact, when Fish belts, “there is blood in the water” it seems like she is coming to this realization in a soothing environment, or that’s the way her vocals make us feel. “Need You More” picks up the pace slightly, making your heart ache with loneliness as Fish sings about her desire for love with a certain someone.

“Cowtown” is more about escapism from the mundanity of the every day no matter where you’re at, while “Daughters” is a dark reflection of a push and pull relationship with your roots. “Don’t Say You Love Me” brings back more of the strong belting we have come to know and love from Fish, really emphasizing the need to have things done on her own terms while she’s “playing with fire.” The title track once again lightens up the mood a bit instrumentally – though keeps the tempo slower – a somehow positive ending in the melancholically-delivered lyrics “she’s southbound for glory.” But nothing picks up like the pace and the mood in “Poor Black Mattie”, which brings out more of a southern flare than its predecessors, something we’ve come to expect and enjoy from producer Luther Dickinson (North Mississippi Allstars).

“No Angels” feels devious from the start, and we imagine that if Sons of Anarchy were still being made, this song would get placement in a heartbeat. “Nearing Home” has a positive title, slowing the album down to a crawl that a good last song would round out the album at. But this bittersweet track is only second to last, the track “Gone For Good” painting a more finite picture for us amongst standout guitar and smooth as butter vocals as the final in an eleven-track stunner.

Belle Of The West is out now. Keep up with Samantha Fish here.

parker, “doubles”

parker, “doubles”

Earlier this month, trance pop artist PARKER released hypnotizing new track “Doubles”. With vocals that are incredibly smooth – peppered with a particularly alluring raspiness – PARKER gives off a Lorde-like vibe while progressing through a particularly dark and vibe-inducing track. Lines like “nothing really scares me at all” and “if we’re happy for a second, that’s fine” really stick out, as PARKER seems to be willing to settle a bit to make something – or someone – happen.

Check out the stunning new track below.

Keep up with Parker here.

martin carr, new shapes of life

martin carr, new shapes of life

Alluring Cardiff-based pop musician Martin Carr released his latest record, an elaborate 8 track journey for the tympanic membrane titled New Shapes of Life, at the end of October. Thrown into the album with its title track, we begin at a casual mid-tempo clip, vocals delivered with ethereal grace, not unlike we would experience from Sting or Thom Yorke. While not exactly preparing for the second track like it should, it sets a good sound quality standard for the album at large. “Damocles” has more of a vocal-induced gloss of mystery over it, while “The Main Man” slows everything down exponentially into more of a trance atmosphere. By “Future Reflections”, our heart rates have slowed down to better appreciate the crawling clip that this song proceeds at. With small hints of The Beatles and futuristic influences, this song flows “like water” through the speakers.

Fifth track “A Mess of Everything” has more of a melancholic feel to the vocals, but does progressively bring the tempo – and, simultaneously, mood – up a big to properly prep us for “Three Studies of the Male Back”. This track was made for a stadium tour or the headlining slot at a music festival. (Wink wink, nudge nudge.) It’s an atmospheric marvel, one which we don’t necessarily exit completely when the song ends. Seventh song “The Van” has an otherworldly, floating feeling to it, as it exists at a much slower tempo, in almost “crooning lounge singer” territory. And the big band feel to it just magnifies the ambiance. “The Last Song” is – hilariously – the last one on New Shapes of Life, and perhaps the most rewarding. The natural sound effects, lush instrumentals, and introspective lyrics almost leave a cliff hanger at the end of it all, positioned just like your favorite soap opera to cause anxiety until we hear the next batch of music from Carr.

But we will, instead, press “play” again and keep tabs on Carr here.

fond of rudy, “to be mine”

fond of rudy, “to be mine”

Indie alternative pop collective Fond of Rudy recently released their latest single “To Be Mine”, a head-boppin’ pop love song that will get you feeling upbeat and positive in no time. With instrumentals that maintain their modern flare while nodding electronic influence to the 80s, the chorus has that sound that just makes you feel free. Almost as though the instrumentals are pounding out of your chest. And the sweet as sugar lyrics don’t hurt the effect, if we’re being completely honest.

Keep up with Fond Of Rudy here.

so below, “close”

so below, “close”

Everyone’s future favorite goth pop queen So Below is back with another stunner that we think the rest of the world deserves to peek. From the very first glittering stanza we’re hooked, but immensely drawn in by first line “speak in greys.” It sets the tone for a track that feels light and airy, but is actually a bittersweet track about (warranted) impatience and loss in love. That first line, however, already provides a moment for the listener to get introspective about how nothing in this life is ever black and white. Grey is a constant color in which we live, and reveling in its uncertainty is a beautiful thing. So Below has done what she can to capture that enigmatic and wondrous feeling for us.

Keep up with So Below here.

sterling rhyne, “remedy”

sterling rhyne, “remedy”

New York by way of Dallas soul/folk songstress Sterling Rhyne recently dropped her new track “Remedy”, which serves as a source of uplifting wisdom for women (and people, really), but also for the ears. The alluring blend of rasp and sweet effortlessness in her vocals really does encourage her listener to find the “joy” around them.

In true cheesy fashion, we are going to go ahead and tell you this song is a “Remedy” for a bad day. And the right way to get through the rest of your week.

Keep up with Sterling Rhyne here.