by Meredith Schneider | Mar 12, 2018 | snapshot, videos, visual
Damn near close to the crack of dawn on Monday, March 13th, we found ourselves on our way into downtown Austin. One member of our party was extremely jazzed about going to see John Cena speak at an official panel for SXSW. Unbeknownst to us, that hour of time would convert us into real fans of the Cena empire – something we cared little for previously. After all, big muscles and rough ‘n tumble WWE nights are not our main calling. But that panel opened our eyes to the type of conscientious, kind, and practical businessman he really, truly is. And we think we could all take a lesson or two out of his book. So here is the panel in its entirety, courtesy of SXSW.
Check out more from SXSW 2017 right here.
**Originally published to moshery.com. (You know, before the owners broke it.)
by Meredith Schneider | Mar 9, 2018 | singles, wolf tracks
As if we didn’t make enough of a scene with the incredible uplifting support around the world during yesterday’s International Women’s Day festivities, there is more support on the way with today’s release of LEVV‘s “Hands on Me”. Inspired by her past struggles with harassment and the #MeToo movement, the track lends comfort to victims of sexual harassment.
LEVV’s vocals are smooth as honey, leaving an Imogen Heap-esque impression on the soul. The tranquil, electronic backtrack makes the song incredible addictive to listen to, changing the narrative to one of acceptance, beauty, and strength. We’re impressed by her harrowing story, and know that other listeners will find solace in it as well.
Keep up with LEVV here.
by Meredith Schneider | Mar 7, 2018 | 5 to 7, premieres, wolf tracks
We’ve been inundated with a little too much fluff lately. And, while we’re all about being happy and upbeat and feeling free, sometimes you need to slow it down and enjoy a good song for what it is: emotional, dark, intense, and equally as freeing. This is the feeling you get from the first chords of Nathaniel Bellows‘ new track “To Wait”, which finds its exclusive streaming premiere right here, right now. As the song progresses, a dark and beautiful love affair brims within its lines for those who happen upon it.
If nothing else, this track reminds you that patience – even when you’re waiting for dissonance in instrumentals and the next line of a brand new song – is a damn virtue.
We caught up with Nathaniel himself briefly before the release of this new track to talk shop. Check out our words below!
How is your new LP, Swan and Wolf, different from your previous album?
With Swan and Wolf, I left the city and went up to Maine to record all the vocals and guitar tracks by myself. Being in that secluded environment, I was able to spend more time organizing, layering, and experimenting with how the background vocals interacted with the main vocal, which ultimately—hopefully—gives the songs greater emotional texture and depth. Another main difference is that, with Swan and Wolf, I worked closely with a mixer, Brian Losch, who really understood the mood and tone I was looking for, and which resulted in a more cohesive, consistent overall sound.
While The Old Illusions featured two of my drawings as part of the CD booklet, Swan and Wolf incorporates more of my visual art: I created ten illustrations that correspond to each of the ten songs on the record, which are available to view on the album’s website, and in a limited edition hardcover book that I produced as a companion to the music.
How would you describe the sound of Swan and Wolf?
As with The Old Illusions, I was looking for a very direct, spare, open-room sound, but this time, with a more polished, professional sheen. There aren’t that many elements in these songs, but I was eager to have each component sit within the mix in an organic, but ordered way. Overall, I wanted the sound to be clean and immediate, with a slight tinge of rawness, and the distinct presence of human imperfection.
Where do you find the inspiration to write?
I grew up in rural environments, so I’ve always been very inspired by the natural world. I live in New York City now and have written most of my music here, so maybe there’s something to the urban landscape that particularly inspires this work—perhaps the pervasive, invisible rhythms of the city? I’m not sure, but it’s definitely given me a lot to write/sing about (much to the dismay of my neighbors, I think!).
You are a poet, a novelist, a visual artist, and a musician. What got you into doing music?
Playing and studying music has always run alongside the other disciplines that I work in. I took piano lessons for 11 years when I was young, and I picked up the guitar when I went to college. I started writing songs around the time I finished college and went to graduate school as a way to explore a different approach to poetry, which I was mainly writing at the time. Ever since then, songwriting has slotted in among my other artistic pursuits in a pretty seamless and satisfying way.
How do you differentiate yourself from your music and your writing?
There is a definite overlap in my music and my writing. But with the songs, I tend to include more vernacular language than I would in a poem—the rhyming is more forceful and structured, and there’s a more deliberate symmetry in a song’s verses and choruses, which are choices I don’t employ so overtly in my poetry. Sometimes I use quotations in the songs in a way I might when writing fiction, but the songs tend to be blurry, abstract meditations on emotion, memories, events or images, so I don’t feel any need to crystalize these spoken scraps into something more narratively realized, the way I do when writing a short story or a novel. In all my work, I aim for clarity, specificity, and vividness, but with songwriting, I like to explore the tension between exactitude and ambiguity.
What was the inspiration behind your first single, “Keep in Mind”?
It takes me a long time to write songs, because they evolve as a slow accrual of ideas, generated in fits and starts, over months and sometimes years. I’m also unable to write lyrics in the absence of the guitar—the lyrics and music tend to evolve in tandem. I practice a lot and record drafts of the songs on my phone, and walk around listening to them to try to figure out what the music is attempting to evoke and express. It can take a while. Given all of this, it’s a little hard to pinpoint what the inspiration is for any one song, except that they usually begin with a central image or phrase, around which the song slowly congeals. In the case of “Keep in Mind,” I think it was the image of the seabirds mentioned in the second verse—the idea that they have an innate sense of where they are headed, how they are meant to live, all in their own mysterious and unknowable ways.
What is next for your career?
I am looking forward to playing these songs live in the upcoming months, after the release. I have also been working on a new novel—a contemporary ghost story set on a small island off the coast of Maine—and I’m in the process of finishing my second collection of poetry.
I frequently collaborate with the composer Sarah Kirkland Snider—our first record, Unremembered, a song cycle for 7 voices, chamber orchestra, and electronics, based on 13 of my poems and illustrations—came out in 2015. We are now working on a Mass for Trinity Wall Street, about endangered animals and the environment, which premieres this spring, and we’ve also begun work on an opera.
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Keep up with Nathaniel here!
by Meredith Schneider | Mar 7, 2018 | 5 to 7
Los Angeles-based alternative indie band BADTALKERS is at it again, their new track “No Pity” slaking any thirst for high energy summer beats by seducing its audience with easy-going, feel good vibes. Simultaneously, the lyrics themselves are incredibly serious and topical.
“‘No Pity’ touches on the gun violence and drug epidemic in the United States,” drummer Christian Edusada explains. “We wanted to reflect on our daily experiences living in urban communities, as well as current events involving police brutality, protests, and acts of terrorism within the country.”
We caught up with the guys, and here’s what they had to say:
How did you all meet?
We met through mutual bands and mutual friends, a few years back and decided to partner up to do something different.
At what point did you know that this is what you wanted to make a career out of?
We realized at a young age that music is what we’d love to make a living doing. We understand how far of a reach it can be in this oversaturated market, but we’ll see how far we can go.
Who influences you musically and non musically?
Musically, we have a wide range of influences from NWA to The Smiths. Non musically, Anthony Bourdain.
“No Pity” touches on personal experiences…was it difficult for you to share that in a public sense such as a song?
It wasn’t very difficult to share, as it’s something we’ve become used to. We understand how difficult it can be for certain listeners that have been affected personally, and can heavily relate.
As a young person in America do you feel it’s harder to be taken seriously on stances such as current events and national issues?
It’s always going to be tough, because everyone is different. Some people are open to having a conversation, while others will believe what they want to believe. Whether people take BADTALKERS seriously or not, we’re just utilizing the opportunity and platform we have to voice what we experience daily.
Your music has a political point; Do you believe it’s easier to create a dialogue through art such as your music?
It’s much easier for us, since music and writing is what we we’re best at.
What impact do you want to make for your listeners as an artist?
We want to prove, as minorities, that we can grow and be successful in a market that’s overpowered by artists fabricated with attraction and conventional music. We hope this inspires others to work hard towards their goals, and not let others decide for them, whether they can make it or not.
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Keep up with Badtalkers here.
by Meredith Schneider | Mar 5, 2018 | 5 to 7
Los Angeles-based rock collective Swerve – comprised of Gregory Mahdesian, Brandon Duncan, Ryan Berti, and Mark Gardner – has blossomed into an incredibly impressive act since the days that the moniker was attached to Mahdesian’s solo career. While the band admits their chemistry is off the charts at this point, we can hear it in the music they release. In fact, with their latest single “Lose Control”, we pick up on hints of influence amidst a bed of music that sounds like they’re having a really great time.
Luckily enough, we got to chat briefly with the guys about the track itself, as well as some really important topics like supergroups and Batman. Check it out below!
What was your first musical moment (be it a song you remember, a memory with a family member, etc.)? How do you think that impacted the way you make music today?
I actually have two that I can think of. The first song I can remember is from the Traveling Wilburys- that super group with George Harrison, Bob Dylan, Tom Petty and Roy Orbison. They had this track called “Not Alone Anymore,” and Roy Orbison sang the lead vocal on it, and it just floored me. I think my family had just moved across the country and I was a depressed little 5 year old, and that song, and especially that vocal, really spoke to me.
The other moment was around the same time. I had this walkman that could record the radio, and the oldies station played this song by the Box Tops called “The Letter,” which is just an awesome single. I would just listen to the station until it would play again so I could record it, and it’s the first song that was ever “mine.”
These both definitely impacted how I make music. I guess even at an early age I had a tendency to look back to the past for inspiration, and these songs really solidified my appreciation for classic song structures and catchy as hell choruses.
“Lose Control” is so fun with that twinge of 90s nostalgia that seems to pop out at points. What was creating that song like?
Thanks! Creating this song with the band was really fun. I started writing it on my acoustic guitar, and I must have been listening to a lot of jangle rock at the time because the song is filled with those little moments. When I brought it to the guys it turned into this fun, upbeat electric rock song. We added some acoustic to the recording to kind of pay homage to how it began. I remember that it came together very quickly- we finished off writing it in one session and anytime we would go back to try and tweak it, it was just kind of superfluous. There are definitely 90s touches in it. We really like to reference our influences without sounding too much like them, so you can notice them if you pay attention, but might not if you’re just casually listening.
If you could collaborate with anyone besides your amazing bandmates, who would it be and why?
So many people! Paul McCartney, just because he is the all time legend and I think I would kill to have him sing or play on a song. He’s still got it too! A few years ago he released this album called New that was awesome. I think I’d really like to get the producer Stephen Street to work with us, if he would do it and we could afford him. He produced the Smiths and all the best Blur albums, and I think he would be able to make our band really push ourselves and do something great. Noel Gallagher is my favorite, so to write with him would be amazing. And to have Michael Stipe sing something for me would make my year.
This month, you headlined the What Angie Says showcase at The Mint. What was that performance like? How has your performance style developed over time?
That performance was a lot of fun. We actually booked that right at the last minute- we had all been traveling so the band hadn’t been together for a little while, and the only time we found to rehearse was right before the show. It turned out to be one of our most energetic sets. In general, we’ve just gotten a lot more comfortable over time. We play around with harmonies more, and we don’t get nervous, so we can engage with each other and with the audience rather than just looking at our instruments and trying to play the songs correctly. The more we play the better we get as performers, but I don’t ever see us busting out dance moves or anything like that!
What has been your favorite song to write thus far? What makes it so special?
We haven’t put it out yet, but there’s a song called “Kennedy.” We usually close our set with it because it’s a live favorite for our audience. I’m really happy with the lyrics of it- the main line started out as a placeholder lyric and as the song developed I realized that it was actually the linchpin of the whole song. It’s funny how things like that happen. As far as the music goes, it went through so many iterations that we considered giving up on it, but we finally landed on the right arrangement and it felt so natural that I’m glad we kept at it.
If you could be any superhero, who would you be and why?
Batman, because he gets all the best toys and chose to be a hero rather than being born with a superpower. Although his backstory is very sad, at least he has Alfred.
What’s up next?
Besides world domination? We’re going to keep putting out singles leading up to our EP. We have some music videos in the works, and shows coming up in LA- the next one is March 26th at the HiHat in Highland Park. We want to start playing outside of the city soon, and to get back into the studio to record all the new material we’ve been working on.
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Keep up with Swerve here.
by Meredith Schneider | Feb 28, 2018 | premieres, wolf tracks
Nashville-based pop/rock quintet Pet Envy – comprised of Shelbi Albert, Jake Diggity, Matthew Singler, Jordan Kiatt, and Emma Lambiase – has really created some magic with their new dual track release Stripped Down Mixed Up Vol 1., due out Friday March 2nd. A luscious, sweet sound comes withe vocals and instrumentals, and mental struggle unwinding with the lyrics. We find ourselves completely captivated by Shelbi’s penchant for silky smooth harmonies.
Contrastingly, we are brought into a more EDM soundscape by the Foxy Lingo remix of their already stunning track “Lock and Key”. This time around, the vocals reach Ellie Goulding-esque ranges, and we’re moved to dance into the wee hours of the morning with this fluid, seductive vibe-inducing track as the backdrop.
Keep up with Pet Envy here!
by Meredith Schneider | Feb 22, 2018 | videos, wolf tracks
Texas’ own PR Newman has a new gem to share with us, the official music video for the frantic, dance-inducing track “But No”. Created to look like a ransom note – and by that, we simply mean word art and clips of photos have been compiled -, the video supplies us with a vivid, mind-bending visual to enjoy. Absurd at times – Why is there music coming out of a sumo wrestler’s butt? – we’re thoroughly entertained, and intensely curious about what’s to come.
Keep up with PR Newman here.
by Meredith Schneider | Feb 21, 2018 | videos, wolf tracks
Today, the internet gains a treasure trove with Ascot-based indie duo Febueder‘s new music video release. Mixed by Marta Salogni (Björk, Frank Ocean, The xx), “Hans” exists in a rich, expansive soundscape enhanced by the lush, brooding vibes of the video directed by Lexi Kiddo. The video itself is a work of art, clean lines and solid blocks of color somehow adding layers to the painful reality you see unfolding, as our protagonist climbs and climbs to what feels like no avail, carrying a boulder along with him. It’s emotional and raw, and induces a range of emotions over its quick 3:13 timeframe.
Keep up with Febueder here.
by Meredith Schneider | Feb 20, 2018 | singles, wolf tracks
Australia-based dream pop duo Lyon Apprentice – comprised of brothers Adam and Nathan Lyons – is coming at us HARD with their beautiful, resonating new track “Starlight”. With an almost 2000s boy band feel to the chorus, this track incorporates a stunning blend of genres to make the listener feel as though they are entering some vague level of euphoria. You’ll find yourself not only bobbing your head along, but yearning to be sent to starlight as well.
Keep up with Lyon Apprentice here.
