Nashville-based pop/rock trio Band of Silver – comprised of siblings Avery, Alex, and Evan Silvernagel – releases the video for their cover of “Little Talks” by Of Monsters and Men today. We’ve got your first look, and it’s a fun one. A gorgeous song in its own right, Band of Silver decided to add a little more rock guitar and an exponential amount of energy to the track, leaving us moving and grooving a little bit more. Shot beautifully and simply in a warehouse setting, this video also delivers a hint of what the band’s live stage presence is like. In fact, it’s that captivating stage presence that led to this video. Expands the collective:
A few months ago, we saw The Sweet Lizzy Project perform “Little Talks” at Bourbon Street. The crowd really lit up when the song started and we thought, “Hey, we have a male and female singer. We could cover this.” The band did a great job, but we wanted to make our rendition different from theirs as well as the original. We thought it would be fun to mess around with signature melody by playing it on keyboard and guitar rather than horns. Every time I hear this song, it brings me back to art class my sophomore year of high school. Our teacher would play music while we worked, and this is one of the songs I remember most distinctly.
On Thursday, August 29th, soulful songstress Beth Bombara opened for Kevin Galloway at Knuckleheads Saloon in east Kansas City. Floored by her vocals, she really warmed the crowd up for the evening. Highlight photos below!
On Friday, indie pop powerhouse G Flip released the highly anticipated debut full-length About Us. From the first seductive lines of “Lover” to the last winding, beautiful chords of “2 Million”, this album is packed to the brim with ambient sounds that will help you transition into the autumn months with ease. “I Am Not Afraid” could stand the test of time as, lyrically, it is comforting in a relatable – and, at times, melancholic – way. Lines like “And I’ve cried/I am not afraid to do this alone/I know that it scares you but I am my own home” establish G Flip’s independence as she shatters expectations around relationships, encapsulating a special type of vulnerability for the listeners.
The first time we had the pleasure of witnessing G Flip do her thing was at SXSW 2018, and we had the divine pleasure to see an encore performance the very next day. From just those two appearances – which marked her first, officially, in the US – we were captivated by her stage presence, enlightened by her musical talents. To say that we have been excited about this release for quite some time would be an understatement, and I have to admit that the completed work completely eclipsed our high hopes. “Drink Too Much” was one of those initial songs we had the pleasure of peeping, and are so thrilled that it made it onto this work. This track is for anyone who has ever mirrored the thought “I just want to get into trouble,” knowing that said trouble has caused them to apologize in the past. It’s that subtle balance of letting go and holding on that G Flip tends to play with lyrically, and this jam defines itself by making the whole topic club-ready. Topically, she follows that part of the journey will, as “Morning” and “Waking Up Tomorrow” both address waking up alone after making a few mistakes. (Could they have been the direct result of a night out like in “Drink Too Much”?)
This musical journey then takes us to the aftermath of relational issues without a complete fallout. Once again, G Flip hits us right in the gut with “Stupid”, one of her more recent singles from this release that really illustrates the push and pull of a relationship through trying times. In line with its predecessors, its introspective nature make it perfect for a nice, breezy night on the patio, however its pace and instrumental makeup could easily have it placed as your go to “dance it out” track — in public or otherwise. Seventh track “Killin’ My Time” is how we initially introduced this talent to our friends and family post-SXSW. Raspy vocals, setting boundaries, and doing it all with an uplifting composition holding it together.
We are completely carried away by ballad “Bring Me Home”, a showstopper if ever there was one. This track leads right into “About You”, another SXSW 2018 staple that has been running circles in our minds ever since. While G Flip struggles emotionally with the aftermath of ultimatums, the pain of a tumultuous relationship is palpable. Meanwhile, she’s still managed to hook us with an enigmatic composition that would keep any human dancing into the wee hours of the morning. The album is wrapped up with a cliffhanger — literally and figuratively — as G Slip addresses the constant change of life, and all of the endings that could be. It prompts the listener to examine the open-endedness of their own lives, and to adjust to accept change. I am thrilled with the sheer attention to detail that G Flip offers in her catalog, and absolutely enamored by the thought put into the entire journey that About Us provides.
The energy that bursts forth with each new stanza in Caravan Palace‘s new release – a full-length titled Chronologic – is undeniable. From the fade in on first track “Miracle”, unwavering positivity is thrust upon your eardrums, a soundscape and attitude we have been craving for quite a while. As politics rears its ugly head at us from all sides in the art community, allowing ourselves to pour such invigorating lyrics into our ears feels like a welcome escape from the world’s melancholia. (There is a song on this release specifically titled “Melancolia”. But we will get to that in a moment.) The soundscape gets theatrical with “About You”, a track the Parisian group concocted with a feature by Charles X. “Moonshine” brings with it a more relaxed vibe that fits the title well.
Here’s where we get to “Melancolia”. While we see the reflection of a slower pace that mirrors the title, the song itself is still smooth as silk and just as easy to dance to as its predecessors. At no point does our mood dip while listening, which speaks to the psychology behind the soundscape. “Plume” brings the pace back up, with sounds reminiscent of Alexandra Stan’s “Mr. Saxobeat”. This one could – quite frankly – hit the airwaves and pick up speed with a dancing crowd. “Fargo” gives us sunshine-soaked, lazy morning brunch vibes, while “Waterguns” boasts more of that hit single potential, featuring vocals by Tom Bailey. “Leena” slows it down again, allowing an introspective breather and – truly – a ballad-like feel to enter the Chronologic journey. “Supersonics” feels like an extension of the wonderful dance groove we felt with “Plume”, leading into tenth track “Ghost”, which has a more ethereal feel, the most literal translation of its title we could ever hope for. “April” brings with it an instrumental energy that is balanced out with cool, crooning vocals. We couldn’t think of a better way to round out this fabulous new release.
Now, go infuse your holiday weekend with this happiness. On repeat!
Today, we sit down with Ken Kurson from The Lilacs, a Chicago rock band formed in 1990. With their first album release in more than 25 years together, it’s safe to say we had a few questions. Our time together delves into musical influences, live performance, and – of course – unexplainable phenomena.
From the very first, slow chords of the title track, to the final, crawling notes of twelfth song “Piano”, artful indie pop artist Lina Tullgren‘s new album Free Cell takes you on a steady, beautiful sonic journey that you will not regret being a part of. Songs like “110717”, “Bad At Parties”, and “Wow, Lucky” are introspective, slightly more specific in their disposition but still highly relatable.
And perhaps that’s most of Tullgren’s pull. Since the first time we heard her quirky, ethereal vocals, we’ve felt well-placed bits of emotion tugging at our heartstrings in every one of her tracks. Free Cell is no different. Relating to your artist is key to identifying with a song sometimes, though Tullgren leaves little room – if any – to mistake these feelings as something else.
Pop this bad boy on and play it behind your next picnic, patio party, road trip, or while you’re cooking. Let yourself be at peace with this music. It’s totally worth it.
P.S. When you do listen to “Wow, Lucky”, please then be inspired to use tarot cards, but don’t ask them to tell you your fortune? The future is up to you, baby!
Purchase Free Cellhere and keep up with Lina Tullgren here.
Today, Dallas-based rock collective The 40 Acre Mule releases their latest full-length, a 10-track album titled Goodnight & Good Luck. Filled to the brim with incredible chord progressions, guitar riffs that will melt your face down to your teeth and cheekbones, and an undeniable energy that just simply will not quit. Their musical prowess has them dipping the journey into a smooth, natural slow roll a couple of times – how else can you do bluesy ballads like “Be with Me” and “Hat in Hand”? – but for the majority of this release, we spend our time checking our increasing heart rates.
The band – comprised of J. Isaiah Evans (Vocals/Guitar), John Pedigo (Guitar), Tim Cooper (Bass/Backing Vocals), Robert Anderson (Drums), Chris Evetts (Bari Sax/Percussion), and Chad Stockslager (Keys/Backing Vocals) – effortlessly blends the sounds of their great predecessors (Chuck Barry, Little Richard) and modern influences (J.D. McPherson, Nathaniel Rateliff) to create a sound that is simply undeniable, and truly one all their own.
If you’re looking for album favorites, we’re very into the clear nostalgia that rolls through us while listening to “Shake Hands with the Devil”, and are thoroughly drawn to the title and danceability of “Bathroom Walls”. Perhaps both songs present the sense of a thrill for a moment, thematically tying us to the album as a whole as it takes us on a thrilling ride.
Peep Goodnight & Good Luck below, and be sure to nab your copy soon!
August 16th was a gorgeous evening at Starlight Theatre. The rain had died off, the temperature cooled down slightly, and Savannah Conley took the stage as the last of a few drops of rain came down. She impressed with the simplicity of her arrangements, the range of her voice. We grabbed a few photos, and can’t wait to see her again!
On our way to enjoy the final headliner of Outside Lands 2019, we happened upon a rather large crowd in the middle of the polo field, by the merchant tables. For a moment, I thought the crowd had reached that far back, an hour or so before the performance, and I almost gave up on getting any closer. But then we realized it was a completely different crowd, and Wyclef Jean was singing on the Heineken stage. As the sounds of “Maria Maria” entered our ears, we danced our way over for a peek. Then, of course, we got as close as we could for the indelible Paul Simon. What a way to round out the festivities.
![band of silver, “little talks” [of monsters and men]](http://imperfectfifth.com/wp-content/uploads/2019/09/1-1080x675.jpg)
