Tennis Club’s Wilson Hernandez embarks on his solo project with the release of new EP Last Sunday today. Released on birthdiy (spirit goth), Last Sunday boasts 5 quick, new tracks that almost glow their way out of the speakers. With a nostalgic sound, the Joplin-based musician has encapsulated his work in reverb for days, making the entire collection a relaxing, beautiful soundscape to play at your holiday parties. Try it on for size below, and then let us know what you think over on our Facebook page!
If you’ve been looking for instrumentals that will touch your soul simply and evoke emotion before the vocals even hit, check out Steven King‘s new full-length Steven King on Ice. In fact, try on the first track “Water” for size, and you’ll already see what we mean. Not to mention the fact that King’s pace switches pretty fervently between slow ballads (“Seams Are Splitting”, “Fly to the End”, “Run to the Back”, “Wine”) and a relatively danceable pace (“Water”, “Black Mood”, “Champion the Idiot”, etc.) throughout the nine track album.
Hailing from Columbus, Ohio, King has crafted melodies that make most of these tracks streamlined for television and movie placement. We are floored by the talent on Steven King on Ice. “Champion the Idiot” has pulled some obvious inspiration from 60s favorites, while songs like “Milkshake” have a bit more of a 90s appeal to them. And — even though there are a myriad of topics addressed in the album and, in that way, it can feel kind of scattered — it all seems to come back around to introspective thoughts, highlighted with lines like, “What’s this world to you?” in last track “Wine”.
We’re very into this album in its entirety, and will probably be championing it all week on Spotify. Take a listen below, and let us know what you think on our Facebook page!
Breezy, ethereal vocals. Light as a feather instrumentals, a warm and inviting soundscape. All of these factors are involved in VanWyck‘s newest full-length release, out today. The project, titled Molten Rock, is comprised of twelve impossibly beautiful tracks, inspired — in part, at least — undoubtedly by the folk of yesteryear. A slow, steady pace is established with first track “Supermarket Line”, and continues into “Lead Me On”, while “Rock Carver” brings with it more assertive instrumentals and a raspier take on the vocals.
“Make of Me” slows everything down to a crawl, gorgeous and sprawling in its soundscape. It is here that we take pause, to realize how important it is to note the comparisons to Leonard Cohen and Nathalie Merchant that VanWyck’s debut album drew, and to notice the way the music has evolved in the space and time since that album was released in 2018. As we roll into “Carolina’s Anatomy”, we feel an attraction to a new love the way this song seems to convey.
Have you ever been this close to feeling no remorse
and being where you want to be
“High School Gym Wall” is even more delicate than its predecessors, something we never would have guessed by its title. Haunting in a way that impresses, it perfectly introduces “Be It to the End”, which brings with it a darker, more theatric atmosphere. “Breakfast Room Revelation” is layered, a ballad of sorts that holds as one of our favorites from this collection.
“The Boatman Calls” and “Like an Ambush” are both solidly beautiful tracks, leading into “The Rock Steady Creeper” which is also impossibly relaxing in its disposition, despite the title. VanWyck expertly rounds out the album with twelfth and final track, the title track, which has the sonic feel of witnessing molten rock cascade down a landscape. The lyrics are descriptive, painting an intense picture, comparisons we all have the capacity to feel.
This album, if nothing else, urges you to feel. Whether by its intense and relatable lyrical content, or its lavish soundscapes. Experience it in full below, and let us know how you feel on Facebook!
If you’re looking for something to add some spice to your autumn flavor (is there really ever enough spice though, really?), look no further than indie musician Matthew Heller‘s new full-length release Temple Moon Desire. This album opens its listeners up to thirteen tracks full of emotion and raw talent. The lyrics are poignant — songs about staying vulnerable and open in a world so full of hate and mystery bring about a necessary reality check –, the songs create a sonic ambiance all their own, and with the last chords come a deep longing for more.
That’s what good music does to you. It reaches into your soul and guts you. Matthew Heller has done this, with an array of tracks that really show off his brilliance as well as his resilience. If only all of us could create such beauty.
Indie pop songstress OSTON recently released a new 6 track titled Sitting at the Kids Table, a highly relatable and intrinsically beautiful collection of songs that will leave you craving more. From the first lines of first track “bad” to the very last moments of “last time”, there is an energy to this work that is all her own. With raspy, well-balanced vocals, OSTON has created an entirely distinct sound to the entire album with just the presence of her vocals.
Songs like “give up” and “bad” employ earthy percussion and While “leading me on” is a smooth pop track with a subject matter that is absolutely exhausting, “way we say goodbye” brings us back to a good mood, in both lyrical content and a bass line that never quits. OSTON wraps the release up with “last time”, which is a future hit pop track if ever we’ve heard one. As we praised before, her vocals are more than enough to carry this song, with Mariah Carey-esque range, and the tempo makes this the perfect song to dance with your sweetie to. The bittersweet topic is something to sit with if you’re in a weird, introspective mood, but it’s presented in such a sultry way that you can enjoy this in an array of atmospheres.
Push this song to radio, guys. And as a whole, this release shows OSTON’s promise. We can’t wait to see what’s to come.
In true ANIIML fashion, we’ve got a full-length release today that will spike your senses, beginning with the all-caps nature of the song titles. OH AWE is a 10-track stunner of an album that perfectly showcases the self-proclaimed “avante witch-pop” singer/songwriter ANIIML’s unique pipes (Hello, do you hear that powerful voice?!) amidst a rough and tumble mixture of instrumentals. Her twangy disposition only adds depth to the soundscape, a magnetic mess of beauty that we cannot stop playing.
From steady beginning of “IT’S OVER” to the very last chaotic lines of anthemic track “STRONGER NOW”, we are absolutely hypnotized by the beauty of ANIIML’s voice. “SLAY!” brings with it that perfect club track tempo and a bit of trending attitude, while “HANDLE ME” simplifies everything with a mixture of Gwen Stefani-like vocals laced with an increasing presence of seduction. “OUCH!” actually feels like a track Imogen Heap could have pulled off, and we’re all for the pure primal feeling it evokes. “WHERE WE GO (WHEN WE GO)” features the darling X. ARI, intricate percussion being the driving factor on this puppy. “OUT! OF! CONTROL!” actually brings with it a more vintage, theatrical soundscape that has us scrambling for a speakeasy. “BEFORE IT GETS BETTER” features Robots&Balloons, and slows things down a bit for a more introspective moment, and then “FACE TO THE PAVEMENT” slowly but surely revs things up a bit more.
If you’re looking for an interesting soundscape, “IT’S NOT OVER… YET” provides pretty much everything you need. Quirky, trudging percussion, and a little bit of a different approach then 2017’s “IT’S OVER“, she’ll be serving this goodness up on repeat for a while here. “STRONGER NOW” brings a sense of finality to the piece, and the cacophony of sounds toward the end will prove that. Give it a spin, then hit us with your thoughts on Facebook.
The Berries‘ sophomore release — a full-length titled Berryland — is something of a commodity right now, as its focus on guitar riffs and an all-encompassing vibe has us begging for more. Mastermind Matt Berry has created a ten track masterpiece, that effortlessly blends Americana and Brit rock in an interesting and dynamic way. It starts with whirring guitar and an energy all its own with “Makes Me Sick“, adding more twang with “Lowest Form of Life”, and coming in hot with the leisurely, more radio friendly “Fruit“, two of these selections which have amazing 70s-inspired music videos to accompany them.
Continuing at a leisurely, backyard bonfire pace, “Passing Scene” gives us a hard glimpse into our autumnal future, slow motion jumping in leaves comes to mind. “Feral Eyes” revs it up a bit more, while “D.Y.W.I.B.” brings a more ethereal feeling to the piece. “Hell on the Speedway” has a title that would indicate it picks up the pace a little bit, yet it maintains a drawn out and beautiful disposition. “Along the Water” is delicate and incredible, while “Pedestal” provides a little more attitude. They round out the album with “Heavy Rain”, a track that will take you back in time right alongside some of rock’s greats (i.e. Jimi Hendrix). We’re big fans, and will most likely keep that track on repeat for quite some time.
Amidst the madness following the release of their new album Claw Your Way Out, indie quartet Modern Moxie took a few minutes to answer some questions for us. Quite the feat, considering this is the debut full-length release for band members Madison Lucas (Vocals, Guitar, Synth), Harrison Kollm (Bass), Phil Pucci (Lead Guitar), and Charlie Weeks (Drums), who have come in to the soundspace with an ethereal energy we can’t help but melt into. Check out our interview below, and take a listen to the album while you do! We promise you’ll be a convert.
What was the first song or album that you remember hearing, and does that work of art have any influence on how you approach your music today?
The memory that sticks with me the most is seeing an infomercial for a Beatles box set when I was a small kid. The commercial started with a clip of “Hey Jude” and I just remember seeing Paul McCartney’s face and yelling at my mom “Who was that?!” I was obsessed instantly and have been since then. The Beatles have always been a massive influence for me and I will never forget that moment I first heard them. I am a sucker for that classic pop song structure and I burned it into my brain over years and years of obsessing over every record they every put out. I’m constantly working on expanding the musical world of what I listen to, but they will always be home for me.
What is the conception story of Modern Moxie? Was it a meet cute? (P.S. LOVE THE NAME!)
Thank you!! It took what felt like a century to come up with the name. I always just played under my name (Madison Lucas) but I wanted to be in a rock band more than anything. All I wanted was to play with a group and create music together, it was my biggest dream since I started writing songs. It seemed like this distant life just out of reach, but I just kept pushing until it finally all fell together.
I met Harry first, he is the beginning of the band! He means so much to me and it honestly freaks me out how random our meeting was. I was out at this bar called Jack Beagles in Charlotte and having a pretty terrible night. I was in one of those infamous rough patches everybody has in their life and Harry just sort of dropped into my life out of nowhere like a beacon of light. I was sitting in a corner alone feeling sorry for myself and I saw him across the room. I just wanted to go talk to him, so I did. I said “You play music don’t you?” which in retrospect was about the corniest pick up line I could of possibly said. Remarkably, I was correct, he played bass. We have hung out pretty much every day since then. We started playing shows together as a duo and we came up with the name roughly a year later. We helped each other through a lot and many of the future Modern Moxie songs were forming then. We went through a series of lineup changes but eventually met our band family with Phil Pucci (lead guitar) and Charlie Weeks (drums). Me and Harry were married by Phil in 2017! He is an officiant if anybody needs a marriage real quick.
I wish there was a cool story behind the actual name but basically, we love M’s, alliteration and the letter X so it checked all the boxes. I carried around a little notebook with ideas for about 8 months, I thought nothing would ever work. I also love 60’s mod fashion so it just fit and here we are! Band names are so strange, they feel wrong at first then after years you just become them. I can’t imagine having any other name now.
Do you think that being located in Charlotte has any bearing on what type of music you create? I always wonder in a “nature vs. nurture” kind of way.
Absolutely! I don’t think you can help being influenced by the music that is around you. I go to a ton of local shows in Charlotte and I know each and every one of them shape the music I am creating along with the feel of our live performance. There is so much beautiful art in Charlotte and I try to soak up as much as I can. Also, without Phil/Charlie/Harry the music would not sound the same and if I wasn’t in Charlotte I would have never met them. This city means everything to me and it’s been a wonderful city to create music and share what we do.
What’s your favorite thing about performing together in front of a crowd?
Oh man there is nothing like it! I love everything about it, it invigorates me in a way I have yet to reproduce in any other way. I’m still terrified before I go on stage, but I’ve learned to use that energy to help my performance. It’s taken years, but I feel like I’m finally finding my comfort zone up there. There is no better practice in the world for a band, we learn new things every single time we go on that stage. You never know how people will react, what they will dance to, it’s all an experiment. I love connecting with people and playing music for a crowd connects you to them in a way that’s hard to describe. It’s something I hope to do for the rest of my life. If just one person takes something good from one of our shows I consider that a successful gig.
In June, you released the masterful Claw Your Way Out. From the beginning, we’re drawn in by powerful vocals and gorgeously layered vocals that just won’t quit. Any fun anecdotes from the production of this album?
We had so much fun recording that album, I don’t even know where to begin. Working with Kenny McWilliams in Columbia, SC at Archer Avenue Studios was an absolute dream come true, he is just magic to work with. That was the first time we have all recorded anything together as a band so it was a riot. Lots of goofing around and way too much Taco Bell. The coolest part in my memory is when we were able to play around with this Roland Space Echo tape effect. We were all entirely too obsessed with the spacey sounds and watching the tape feed through, it was wild. It makes a different sound every time you use it so we wasted many valuable studio hours playing with that thing. You can hear it best at the end of the record on “Believers in Sound” after Phil’s beautiful guitar solo (my fav solo on the record).
Was there something in particular that made you choose the order of the tracks on the release?
That part will make you think entirely too much! One of those final touches that really feels like a giant decision. We wanted to have tons of energy opening the record and for there to be a journey to the sound. We always knew we wanted “Symphony”, “Claw Your Way Out” and “Til I’m a Ghost” out front for high energy. “Believers in Sound” felt like an album closer to us so we stuck with that. The order of the rest was just trial and error, playing the record over and over and then we finally landed on the final track order. I’m a big fan of the album format and we did want it to tell a story beginning to end.
The title track has a unique sense of urgency to it from the beginning, which dissipates a little bit with the vocals later. How did you approach the production of that track?
That track has changed so much throughout time. The first time we ever played that it was just Harry on bass and me singing. In my head I heard it as this huge, driving track, really bass heavy. It really began to take form when I bought my Korg Minilogue, the main synth sound comes out of that. I wanted it to be huge, but also be able to reproduce it on stage. I was listening to a ton of Metric at the time, I know that had a big influence. On the record Harry played his bass with a pick which helped it really cut through. I’m so happy with the way that one turned out, giant thanks to Kenny McWilliams for locking that in exactly like we had in our heads. We have entirely too much fun playing that one live, it’s usually our closer.
“Flowers in Your Hair” feels theatrical, in a Panic at The Disco Pretty. Odd. kind of way. We’re obsessed. What inspired it, specifically?
Well holy crap thank you, I love Panic! Listening to Pretty Odd as I type this. So glad you enjoy it! This song has a very embarrassing back story so here we go. I am a giant Lana Del Rey fan and had tickets with one of my best friends Aly to go see her show. My friend Aly is also an amazing bartender, so we were having mad martinis pre show. Have you ever gotten so excited about something you ruined it for yourself? Yep, that is what happened. I barely remember the show. I also fell down Aly’s giant apartment stairs on my way down to an Uber (multiple times, multiple stairs). In summary, a very bad night. I’ve had a touchy relationship with alcohol and this was my last bad night. The next day I wrote “Flowers in Your Hair” with bruises all over my entire body and promised myself I would never do that to myself again. One bad fall down some stairs and you’re dead, never forget.
Taking care of those vocal cords can be a little taxing. What do you do to keep yourself healthy when you’re prepping to sing?
What do I not do to get ready to sing? I’m slightly insane in this department. I think it’s sort of connected to my anxiety. It can’t hurt to prepare right? I drink as much water as humanly possible, limit alcohol, singer’s spray (so great), tea and honey, room temperature water, pineapple juice, vocal warm ups/exercises etc. Basically, if you have heard that it helps voices I have tried it probably.
Throwing this one in for fun! How do you think the seven wonders of the world came to be? Do you think it was human hands, aliens, a little help from Mother Nature or some other force?
After much debate, I’m pretty certain people just had a lot of time on their hands back in the day. If we didn’t have phones and TV imagine the number of things we would have to do to fill our time? However, me and Harry watch a LOT of Ancient Aliens and conspiracy theory shows so I’m open to anything. Cats probably did it.
I HAVE to ask about Bowie. What’s the story behind this precious cat, and would you consider Bowie a mascot of sorts? (My cat Schmidt is a mascot for iF FOR SURE.)
I have two cats! Bowie and Scully. Bowie just makes the internet more because she’s always doing strange things, Scully is move private and elusive. Bowie was discovered in a Vespa dealership parking lot by my yoga instructor. Her name was actually Vespa as a kitten but when we adopted her we named her Lady Stardust Bowie. Bowie had just died that year, I’m a huge fan, so her name was written in the stars. Scully is named after Agent Dana Scully from X-Files, a hero among women. They are both definitely Modern Moxie mascots, I wish we could take them on tour. I hope to meet your cat Schmidt one day, what an amazing name!
Anything else you’d like to share with our audience?
If you dig our music please share with your friends, post it, add to your playlists, every little thing helps! I wish I could get across to everybody how much those tiny actions help out baby indie bands like us. Thank you so much for your support while we chase these dreams!
Corey Harper’s newest EP Barely Put Together hones in on young adulthood, deftly blending moods colored with snug optimism, taut despondence, and wistful recollection. The five-track EP exhibits Harper’s talent for constructing songs that deliver the immediacy of a live performance; some with the resounding power of a stadium anthem, and others, the gentle intimacy of an acoustic set.
Opening track “Blind” is warm, woody, and feels hopeful despite the fretting lyrics, dealing with the questionable aspects of an unstable relationship. Minute details produce an endearing familiarity, as well as contribute to the feel of a live performance: A close listen reveals the clicks and scratches of Harper’s fingers along the acoustic as he plays, and the generous reverb on his vocals ghost behind as if echoing across a stadium.
Moody, syncopated chords on second song “Don’t Hate Me” are reminiscent of the biggest hits of Justin Bieber and Shawn Mendes, as Harper evokes vulnerability following a tenuous relationship. He begs his significant other for a diplomatic split: “If we’re breaking up, we’re breaking up, just don’t hate me / That’s the only thing I couldn’t live with, baby”. A resounding anthemic club beat punctuates the severity of the chorus here, emphasizing the lyrics’ unabashed heartache. After the first chorus, a hidden gem in the form of a bluesy electric riff sneaks by, a segue to Harper’s bare vocals bolstered by a deeply funky bass line. His mercury-smooth vocal runs contribute the perfect dash of R&B freshness. Of all the tracks on the EP, this song welcomes the widest range of elements spanning several genres.
What follows exhibits confidence, defiance, and acceptance that life doesn’t always make perfect sense. Track 3 from Barely Put Together is titled “Better”, and carries the easy-breezy swagger of a California boulevard, as the chorus declares: “I like it better knowing I don’t have it all together.” Harper’s soaring falsetto complements the peppered lead guitar riff, giving listeners plenty of sunny texture to look forward to.
Track “Dried Blood” is a dip in atmosphere and stripped down in comparison, the acoustic picking pensive and cautious. This song’s lyrical melody is beautifully melancholy, but the strumming patterns are never dark; offering a versatile intimacy that could flourish within the walls of a solitary bedroom or floating alongside a each breeze. Harper faces the difficulties of healing from past failures, and casts out his doubts about the future in a fluttering falsetto: “Waiting for the waves to crash, [I’m] too far out to make it back.” Comparable to the scratching guitar strings from “Blind” is the slightest rustling noise in the background during the verses of “Dried Blood” – it suggests Harper is shifting positions in his seat as he plays. These “imperfections” cast a spell that is enthralling because it is realistic, as listeners are able to visualize Harper playing the music live.
Harper is at his most raw and desperate for the final track of Barely Put Together: “Best of Me” is an anthem best characterized by its rising anticipation and stadium earnestness. The first chorus offers a head-turning twist, as the muted beat and strumming actually shift to the back of the mix, granting Harper an open stage allow his vocal presence to take precedence. Electronica-style vocals layer behind the clear belting and gripping rasp, weaving a crowd of voices that proclaim Harper’s drift from heartache: “You’ll never get the best of me.”
