Rock collective Model Citizen released their new album The Next Life this morning. The 18-piece band – under their leader Mark Ciani, with help from Josh Logan, Fernando Lodeiro, Alvaro Kapaz, Matt Musty, and Ryan Gleason – packed this release with as much grit and soul as possible, while injecting their own brand of indie-influenced rock into every track. Songs like “Hell Hath No Fury” and “The Next Life” give us pause to truly appreciate the breadth of the album, which was created to perfectly complement an evening breeze. Don’t believe us? We’re premiering it now, so check it for yourself!
Funk artist Boulevards (Jamil Rashad) recently released his brand new fourteen-track stunner YADIG! We learned quickly that this album is going to be included in our stack of favorites for 2019, hands down. From first track “Lord Knows”, there is a sense of absolute comfort in the landscape of this album, a feeling of warmth within its funk-filled tracks.
As Boulevards bounces from topic to topic with the introduction of each new track, we are taken back in time a bit to a sound that is very reminiscent of the 70s. Funk is what Boulevards has mastered, an unconventional type that finds these tracks perfect for a gallery opening, small backyard barbecue, or a wedding day soundtrack. To find something that versatile and this lush is absolutely unheard of, and we’re floored by the artistry of YADIG!
This weekend, folk rock musician Lauren Crosby released her new full length, I Said Take Me to the Water. From the first chords of “Skylights”, the is very much a soulful vibe to this work. The sass and beauty of Crosby’s personality is palpable through her mellifluous vocals, leading with a slight twang through the 11-track stunner. If you’re looking for the perfect track to sway your hips to at a garden party or while drinking under the stars with your friends, “You Don’t Need a Rose” and “Tak City” fit the bill.
“Something Strange”, “Dead River Road”, and “Madison, Maine” are perfection for playing in the background while you and your closest humans sit around a campfire. Subtle, gorgeous, and simple enough to beautifully complement natural surroundings.
But that’s how we feel about this body of work in its entirety. Crosby has taken an album jam packed with gorgeous, uplifting, and HUMAN lyrics and added her signature twang and some incredible instrumental layering to create a release that is pure warm weather perfection. We’re consistently looking for something to really frame our seasons around, and I Said Take Me to the Water is a prime contender for right now in our lives. Plus, when we go back to the west coast and all of our coastal dwelling friends and family who worship country music are asking for musical suggestions, you best believe this will be at the top of our list. Because Crosby has presented us with just enough of a blend of genres that we can road trip for weeks off this one album.
Composer and performer Thomas Kozumplik leads a 16-member orchestra in a riveting performance of instrumental artistry with his latest project, Child of the Earth.
“Mother Nature (la inocencia pérdida)” is quite an attention-grabbing opening — with the cacophony of various bells and drum beats and piano chords that doesn’t quite allow you to figure out where the song is headed —mirroring the beauty and unpredictability of Mother Nature itself. Then it shifts with the use of heavy percussion and ominous vocal work that creates an intense juxtaposition to the first few minutes. As the composition comes to an end, it settles back down, bringing back the playful xylophone, plus some piano chords and vocals that ring with finality.
The next two tracks are the small but sweet filling between the two thick pieces of bread in this orchestral sandwich. “Mysticism (Carillon) resembles a wind chime in its breezy tone. It is the most serene of the tracks, bringing about a certain peace and calm that only chimes can do. “A Journey (baile de los tambores)” goes back to the more chaotic sound of “Mother Nature.” The intense yet catchy drum beats are a mirror opposite to the quiet romance of “Mysticism.”
“Beauty and its Passing (cuando habíamos podido amar)” is quite a triumphant ending to this large-scale orchestra. It is a more subdued work in a way that is more contemplative. For most of the song, the signature heavy percussion is not present, putting piano and marimba at the forefront, as a way of bringing the intensity of the orchestra to a gentle close.
Child of the Earth is an incredible feat. His work and artistry certainly speak for themselves — Kozumplik manages to create something entirely new and interesting, allowing listeners to disappear into a world of magical music.
Be sure to check out the album, and keep up with Kozumplik here.
Cleveland-based rock outfit Heart Attack Man – comprised of Eric Egan (Vocals/Guitar), Adam Paduch (Drums), Tyler Sickels (Guitar), and Seamus Groman (Bass) – released their new 11-track full-length Fake Blood on Friday, and we have honestly been head bobbing to it all weekend. Though the names of the tracks (i.e. “Fake Blood”, “Blood Blister”, “Rats in a Bucket”) are hardly kosher for the holiday weekend – and might give your Aunt Susie her very own heart attack – the songs are entertaining. Intricately woven lyrics and hard bass lines make the album a concrete favorite, loaded with energy smothered in oughts punk influence that will keep you coming back for more.
Personal favorite tracks include “Moths in a Lampshade”, “Sugar Coated”, and “The Choking Game”, an obvious nod to a horrible pastime of the last decade. (And if you listen to the lyrics of “Sugar Coated”, please keep in mind revenge is not our game here.)
Get a taste for the album in its entirety below, and then let us know what you think over on the Facebook page!
Today, we sit down with incredible feminist indie-pop artist Michelle Birsky – the brainchild of BIRCH – to chat about her new album release, touching on points of sexism and the empowerment she stirs up in her music.
Today, we sit down with incredible feminist indie-pop artist Michelle Birsky – the brainchild of BIRCH – to chat about her new album release, touching on points of sexism and the empowerment she stirs up in her music. We also get deep into spiritual practice, and learn a bit more about getting in touch with ourselves.
0:22 Dbl-take.com 0:33imperfectfifth.com/merch
1:36 Spice Girls
2:31 Spelling Lessons
6:19 Normalizing stigma
9:15 Reiki/energy work
11:48 Spirituality whitewashing
17:10 Guided Meditations
21:43 Rituals
24:12 Aliens
27:25 Gracie & Rachel
29:44 April 11 Album Release Show
30:21 Asking For It
femme.one is out April 5th. Celebrate BIRCH’s CD release show on April 11th at Union Pool in Brooklyn with Rodes Rollins and Gold Child. More information is available here.
Los Angeles-based quintet The Wild Reeds has been gracing our headphones for a hot second, but their new album Cheers is pure gold. Starting with the upbeat pace of “Moving Target” and then rolling slightly more slowly into “Telepathic Mail”, which has a persevering message we can all get behind. By “A Way To Stop”, the band has established, yet again, that they balance a wire between pop and rock, a little folk twang thrown in for fun. While fourth track “Lose My Mind” feels largely vintage, “Play It Safe” could easily have been played at a sock hop back in the day as well. The production value on both is beautiful and lush, perfect for vinyl play, we’re sure.
“Young and Impressionable” is honest and open, while “Giving Up On You” is louder, more determined, but maintains that vulnerability. “Don’t Pretend” approaches from a softer perspective, while the title alone of “P.S. Nevermind” already feels like something we can all relate to. (Hi. I have an additional thought. Should I have that additional thought? No? Nevermind. Yes. No. Don’t worry about it.) Lyrics like “I’m reckless/I did it and I’ll do it again” prove us too wrong, and we’re falling for this track hard. “Run and Hide” is wonderfully mellifluous, a song that feels like a ballad and belongs nowhere if not in your car, being belted at the top of your lungs as you drive home from work [today]. They round Cheers out with “My Name”, a track that is slowed to the pace of the first couple of songs, indicating the end of our profound journey with The Wild Reeds. The lyrics make it the perfect placement on the album, a lullaby of sorts that keeps us craving more.
Today, blues/soul musician Sugaray Rayford releases his latest full-length, an album titled Somebody Save Me. Starting with first track “The Revelator”, he weaves his quintessential raspy, soulful vocals into the instrumentals like a seasoned pro. While “Time to Get Movin'” speeds the pace up a bit, it also brings a little more southern rock flare into the soundscape, which is less confusing when you remember this talent hails from the great state of Texas. “You and I” is a true love track, something you should convince your significant other to dance with you to.
“My Cards Are on the Table” follows suit in the romance department, though it slows things down even more than its predecessor. While “I’d Kill for You, Honey” has that southern twang to it, “Angels and Devils” takes more of what we would consider a ballad-like approach. “Sometimes You Get the Bear (And Sometimes the Bear Gets You)” feels nostalgic, a piece of “The Twist” haunting it while we sway our hips. The title track slows things way down – anyone else feel like they’re at a sock hop? – while ” Is It Just Me” goes all out in the horns section to introduce itself. “Dark Night of the Soul” rounds it all out with a slightly edgier tone than the rest of the album, though it is one of our absolute favorite tracks in this collection and leaves quite the imprint on your memory.
On this – the first day of March, in the year of all denominational acceptance, twenty nineteen – The Mowgli’s release their new EP, a 4-track collection titled American Feelings. And boy, do we have feelings. Beginning with first track “Hard to Love”, there are MAJOR feelings present in this album. And though The Mowlgi’s aren’t known for hiding their feelings, this is a new level of vulnerability. “Hard to Love”, in particular, is this insane pop track that has this dance vibe that makes it impossible not to move. The lyrics, admittedly, are way less fun and slightly more paranoid than the soundscape, but the honesty through Dieden’s vocals – and that damn fine drum beat – keep us coming back for more.
But second track “Mr. Telephone” won’t disappoint after that incredible start, so don’t worry. female lead vocals provided by Katie Jayne Earl give everything a different dynamic, though it follows in the same “Holy shit this should be a #1 pop single” pattern is its predecessor. “Norman Rockwell” slows the pace down for us, but is no less layered and magical because of it. The way the lead vocals are weaved amidst the instrumentals reminds us of some of our favorite 90’s tracks, though we couldn’t necessarily assign a decade to those swooning instrumentals, that seem to knock us off our feet with every listen. Last track “Talk About It” swaps back to those female vocals, and even with the fast dance pace, it continues to touch on delicate topics. The lyrical content – had it been arranged any differently – may have truly made this a song to ponder your life to, crying alone in a room before making big decisions. But because of the pace and energy in the performance, there’s a juxtaposition that makes it so unique and beautiful.
Give it a spin if you want to feel the warm fuzzies for the rest of your day.
