by Madi Toman | Feb 12, 2020 | albums, review
New York-based Americana trio
The Lone Bellow have been around for a decade now, but their newest release has shown that
the folksy group still have plenty of stories left to tell and plenty of new ways to tell them.
The group, comprised of lead singer/guitarist Zach Williams, multi-instrumentalist Kanene Donehey Pipkin and guitarist Brian Elmquist (both of whom join Williams on both vocals and songwriting) have just released their fifth studio album, Half Moon Light, produced by
The National’s Aaron Desner, who also oversaw their sophomore album, Then Came
the Morning.
The album itself is a beautiful showcase of catharsis for every one of the band members, who have all endured shocking amounts of tragedy and hardship in their lives that they admirably translate into soul-shaking music. The group holds tight to its folksy roots on Half Moon Light, but it’s uplifting and spiritual tone often soars into the rafters with clear influence in gospel, soul, and blues.
The chilling story of “Intro”, “Interlude”, and “Finale”, which appear dispersed equally throughout the album, is one unlike any other. The album works around the difficult theme of death, but instead of it being a somber reflection, it’s a triumphantly uplifting celebration of life. This tone is firmly set right from the start with the intro, which showcases Williams’ grandmother bringing the house down in a moving tribute at her husband’s (William’s grandfather) funeral when this old woman, supposedly barely capable of walking, made her way up to the front of the church, kicked the paid musician off the piano, and in the final moments of the packed service, hammered out a soul-shaking medley of songs as a beautiful tribute to her husband of 64 years. Williams later realized in the studio that his dad had recorded the whole thing, and it in turn made its way onto the album. The soulful medley effortlessly manages to tie the album together in a uniquely beautiful way.
In “I Can Feel You Dancing”, Williams and Elmquist send a letter beyond the grave to their own grandfathers, who passed away fairly recently within a couple months of each other. In a showcase to the beautiful celebration of life that takes center stage thematically on this album, the track is a moving ode to life both lived and yet to be lived, as it pays tribute to their loved ones before them but also to the people currently in their life who push them to live to the fullest everyday. Triumphant horns, soaring harmonies, and a comfortingly-grounding drumline decorate the pure and sparkling walls of this number, which embodies what it means to celebrate life.
Explosive blues-rock track “Just Enough to Get By” showcases Pipkin absolutely bringing the house down with earth-shaking vocals and brutally honest storytelling. The ache and grit in the multi-talented musician’s voice bleed onto the emotional track, which tells the story of her mother, who was raped as a teenager and forced to give up the resulting child. 40 years later, that child came back into her life, and all of the emotions that Pipkin clearly felt are laid out for all to see (and feel) on this powerful track. Pipkin usually plays an important role in bringing life to the oh-so-sweet 3 part harmonies that have long been a key weapon in The Lone Bellow’s folksy musical arsenal, so seeing this intensely soulful side of her voice is an impressive display of her dynamism to say the least and a standout moment on the album.
“Good Times” is a mind-bending bout of wild storytelling courtesy of Williams that features piano that is somehow both devilish and gleeful all at once. The track is supported by shouting choruses, which are also featured on “Count on Me”, which celebrates camaraderie and friendship. Songs like “Wash it Clean” and “August” shift the focus back to heavier material. The former features beautifully picked guitar and sliding strings as Elmquist pays tribute to his recently passed father, who he had a difficult relationship with, while the latter is an ode to Frightened Rabbit’s Scott Hutchison, who tragically passed away in May of 2018.
The trio impressively manages to stay grounded in the music that made their fans fall in love a decade ago while also bravely exploring new genres and themes. Their adventurous musical spirit aside, a constant is the positive light that the band manages to cast over so many difficult stories of hardship and tragedy, and they undoubtedly have a knack for translating those trials into a celebratory story of life.
The Lone Bellow will play at
Knuckleheads Saloon in Kansas City on March 2nd, 2020. Come out with us that night for one of the most entertaining stage performances you’ve ever experienced!
Keep up with The Lone Bellow
here.
by Kendal Chandler | Feb 12, 2020 | singles, wolf tracks
Indie-folk singer Emily Keener releases new single “Do You Love Me Lately?” just days before Valentines Day. The song depicts how fragile love can be and how love is full of fear and vulnerability. Her voice, accompanied by a retro-influenced groove, creates a fantasy feeling.
Fantasy is what built this song, when Keener imagined what it would be like to date a woman. Letting go of her self-censoring and doubts. A theme that is encompassed throughout her upcoming album I Do Not Have to Be Good, set to be released in May.
“Do You Love Me Lately?” is structured in a way that sets the stage for the main album theme, of being free. Chorus and verse sway between resistance and wishfulness. Resistance what she was raised not to be and wishfully reached to defy them.
Keep up with Emily Keener here.
by Meredith Schneider | Feb 7, 2020 | singles, wolf tracks
If you haven’t experienced the ethereal vocal wonderment that is Whoa Dakota (Jesse Ott), then why not try the act on for size with an updated version of one of your favorite 90s tracks? The indie pop songstress has mastered several throwback options — trust us, we’ve seen her multiple times live and she absolutely destroys every stage she’s on — and this is one of our favorites. And is there a more perfect time of year to be pulling this one out of our back pockets, anyway?
Happy Valentine’s Day, and every day, with this flirty, fun track!
Keep up with Whoa Dakota here.
by Meredith Schneider | Feb 5, 2020 | videos, wolf tracks
Today, indie pop sensation Beabadoobee released the official music video for her track “Sun More Often.” Animated by Elliot Bech, the entirety of the video is a gorgeous black and white cartoon with images alluding to the Space Cadet EP. While she soulfully sings, her words breathe life into your day as she implores you to look at the bright side of things, with lyrics like: “If you try/You’ll see/That the world’s/Not scary as it seems.”
Check out the video below, and let us know what your thoughts are over on Facebook!
TOUR
3/23 – Atlanta, GA – Aisle 5 *
3/25 – Washington, DC – Union Stage *
3/26 – Philadelphia, PA – Foundry *
3/27 – Toronto, ON – Velvet Underground *
3/29 – New York, NY – Bowery Ballroom *
3/31 – Cleveland, OH – House of Blues – Cambridge Room *
4/02 – St. Paul, MN – Amsterdam *
4/03 – Kansas City, MO – Encore @ Uptown #
4/04 – Denver, CO – Moon Room @ Summit Hall #
4/05 – Salt Lake City, UT – Kilby Court #
4/07 – Seattle, WA – Crocodile #
4/08 – Portland, WA – Holocene #
4/10 – San Francisco, CA – Rickshaw Stop #
4/14 – Phoenix, AZ – Valley Bar #
4/27 – Houston, TX – Cynthia Woods Pavilion ^
4/29 – Austin, TX – Austin360 Amphitheater ^
5/2 – Dallas, TX – Dos Equis Pavilion ^
5/3 – El Paso, TX – Don Haskins Center ^
5/5 – Glendale, AZ – vGila River Arena ^
5/7 – Los Angeles, CA – The Forum ^
5/8 – Irvine, CA – FivePoint Amphitheatre ^
5/11 – Morrison, CO – Red Rocks Amphitheatre ^
5/13 – Omaha, NE – Baxter Arena ^
5/14 – St Louis, MO – Enterprise Center ^
5/16 – St. Paul, MN – Xcel Energy Center ^
5/18 – Milwaukee, WI – Fiserv Forum ^
5/19 – Columbus, OH – Schottenstein Center ^
5/21 – Toronto, ON – Budweiser Stage ^
5/23 – Washington, DC – The Anthem ^
5/26 – New York, NY – Madison Square Garden ^
5/29 – Hanover, MD – The Hall Live! Casino and Hotel ^
5/30 – Camden, NJ – BB&T Pavillion %
6/1 – Pittsburgh, PA – Petersen Events Center ^
6/3 – Cleveland, OH – Rocket Mortgage FieldHouse ^
6/5 – Virginia Beach, VA – Veterans United Home Loans Amphitheater ^
6/6 – Charlotte, NC – Spectrum Center ^
6/8 – Jacksonville, FL – Daily’s Place ^
6/9 – Miami, FL – Bayfront Park Amphitheatre ^
6/11 – Duluth, GA – Infinite Energy Center ^
* w/ support from Eliza & The Delusionals
# w/ support from Taylor Janzen
^ In support of The 1975
% 104.5 Birthday Celebration
Festivals:
3/16 – 3/22 – SXSW – Austin, TX
4/11 – Coachella – Indigo, CA
4/18 – Coachella – Indigo, CA
5/24 – Boston Calling – Boston, MA
Keep up with Beabadoobee here.
by Madi Toman | Feb 5, 2020 | videos, wolf tracks
Musical newcomer Finlay has just released “Evolution”, an unflinchingly honest track that comes just in time for my second quarter-life crisis of the week. The song is the young artist’s second release following his debut single, “A Million Places” and premieres alongside a refreshingly simple music video. The song itself navigates the tricky gray area that many (and by many I mean all) feel as they try to transition from childhood to adulthood and the struggles that accompany that.
The video starts out with a shaky shot of Finlay himself laughing candidly before the music starts, at which point he appears to have a sobering moment. Twinkly piano reminiscent of childhood lullabies opens the track and, accompanied alongside the visual of the young artist laughing, serve to provide us with both auditory and visual evidence of what being young and carefree feels like.
Right off the bat Finlay’s voice is aching and the piano is thoughtful. The Yorkshire-based singer is both raw and genuine and possesses an encapsulating quality that listeners are sure to immediately feel. We witness the young artist experience a rollercoaster of emotions as he does something that most artists these days wouldn’t dream of attempting for a music video; He just stands there and sings to the camera. I know, I know. Crazy. The simplicity and honesty of the whole thing in a time where music videos are more often than not expected to be highly-produced, over-the-top artistic feats is a breath of fresh air. As the song progresses, Finlay backs away from the camera and into metaphorical uncertainty, and as the shot widens we start to see the vast (and might I add, stunning) landscape that is waiting beyond him. When he finishes singing, he walks off into the unknown, fading out of focus as his voice echoes behind him. He might be new to the scene, but what Finlay lacks in experience, he makes up for with his brave vulnerability and raw talent.
by Madi Toman | Feb 4, 2020 | singles, wolf tracks
Los Angeles-based Electro-pop artist Stefan T has just released an electric new single by the name of “Keep Me Guessing”. The Berklee College of Music alum is responsible for the vocals, instrumentation, and production of his new track, and it precedes the release of his upcoming album Night Shift.
The song explores love and relationships, specifically being caught in an endlessly toxic and manipulative cycle. Of the inspiration for the song, Stefan says, “ The song follows a conversation between two characters in a twisted relationship. In both verses, it’s character one looking for attention and wanting to give affection but in reality, they never follow through. In the pre-chorus and chorus, character two is calling out character one on their manipulation of the relationship and they’re tired of the games. In the end, both parties just keep playing the same game, because they’re too afraid to fall out of love. “The electro-pop track employs bluesy guitars and passionate and soulful vocals courtesy of Stefan T himself. Recording artist Kaylie Foster adds depth and feeling to the already soulful track with backing vocals that are simultaneously haunting and pure.
Stefan T’s new album, Night Shift, is set to be released this spring. Keep up with Stefan T. here.
by Kendal Chandler | Feb 4, 2020 | singles, wolf tracks
Indie-pop/alt-rock act Cannibal Kids announce their new track “Voicemail”. This release is in anticipation of the band’s upcoming album deadheads, set to be released Feb. 21, 2020.
“Voicemail” brings back some youthful energy to the indie scene. The surf rock influenced sounds come heavily from the band’s hometown of Florida. They channel the feelings of bright, sunny, and face-paced Florida to create songs like “Voicemail” with sensuous guitar lines and pulsating baselines.
Cannibal Kids write songs about love, heartbreak, and their reality. Most times the lyrical context is a juxtaposition to the beachy vibes of the instrumentation.
Keep up with Cannibal Kids here.
by Madi Toman | Jan 31, 2020 | albums, review
It’s often said that music is a universal language, but even so it’s rare to see a group that represents that so literally. Progressive-indie electronic group Me & the Monster all came together when they met at their shared university in Berlin, but they possess an additional layer that sets them apart from the typical cliche of starting a band in college; the 4 musicians all hail from different countries.
While most bands start off arguing about when they’re going to rehearse or who’s going to bring snacks, this group had to immediately face an obstacle that most would never even consider; figuring out how to deal with the cultural and linguistic differences that existed as a result of their varied backgrounds. But luckily, they all had one overwhelmingly important thing in common that transcended these barriers: their love and appreciation for music. Their self-titled EP, dropping January 31st, 2020, is the group’s debut.
The influences of their different homelands come through in their music, and the result is a beautiful melting pot of sounds and ideas. A range of modern influences can be heard in The Monster’s music; Of Monsters and Men seem to show on their indie folk-rock side and Alt-J in their experimental sounds and concepts. The progressive debut EP touches on political issues such as the rapidly-changing coral reefs and the controversial political scenes in the hometowns of some of the band members. Their debut is representative of who the group is and what they stand for, and everything about them supports this; even the name Me & the Monster itself is a take on describing “modern man and his connection to the most original part of himself, the subconscious: his monster.”
The opening track, “My House”, is an introduction into the Monsters’ world, and they waste no time in welcoming their listeners into their melting pot of music. Hearty tribal drums and soulful vocals immediately draw you in; “Greetings / This is the jungle of my feelings” sings vocalist Andrea Trujillo. Here, home exists not as a place but as an idea, as a feeling, and as the people that become home for you when you leave the place you’ve always known. The opening track is the perfect intro to the group, who are all familiar with this concept as they hail from Spain, Venezuela, and Italy and all found unity and this idea of home through their common love for music.
“The Shadow” touches on the concept that the group is named for; the idea of recognizing the monster inside of yourself and the battle that everyone goes through with that. Meanwhile “Give Me Fire” stresses the importance of finding a source of light to keep you fighting through dark times. “Here” is a brightly-colored river of sounds that winds slowly before building into an explosive chorus heavy with tribal drums and echoing harmonies. The passionate political anthem introduces a sense of urgency as the group makes a call to action; “We cannot pretend / That this isn’t real / This is not the end”.
The closer, “Colours” touches on the issue of the damage of the coral reefs as a result of climate change. “It’s in my body / It’s in my bones / I must keep fighting,” Trujillo repeats, her passion for the cause evident in her moving and soulful voice. Smoothly rolling guitar riffs reminiscent of the ocean waves themselves accent the anthemic chorus. Shouting background vocals call for unity as the group reminds listeners of the importance of using music as a channel for activism for important causes.
The debut is a rare case that leaves listeners not only with a crystal clear idea of where the group stands musically, but also politically. While each track shows off a varied side of who the Monsters are and what they’re all about, the EP has a strong feeling of unity and coherence that makes the group’s debut body of work feel strong and memorable.
Keep up with Me & the Monster here.
by Madi Toman | Jan 30, 2020 | singles, wolf tracks
Singer-songwriter Cayley Thomas has just released “Blue Jean Baby”, the newest single from her upcoming album How Else Can I Tell You?, a “collection of songs that reflect upon a period of subconscious overwhelm and the subsequent shift into conscious thought and awareness”.
Before any lyrics are even heard, the track feels romantic. The guitars are hopeful and the drums seem as though they could be keeping time to a heartbeat, and that’s all before Thomas even opens her mouth. As soon as she does, the transportation to another time is inevitable; you’re wrapped up in her world in the first thirty seconds.
Echoing harmonies and dreamy bass pull the listener into the warm and hazy fever dream of the land that Thomas’ music lives in, a land almost as enticing as her purely enchanting vocals themselves. Despite the simplicity of it all, Thomas quickly and smoothly draws her audience in with ringing guitars and hypnotic production from another time and traps them in her honey-drenched web, and she doesn’t release her grip until it’s all over. The instrumentation takes its time for the first two-and-a-half minutes of the track, but perfection cannot be rushed, and the build is slow and sweet. It’s impossible to hear Thomas and not think of Lana del Ray, and not just because of their similar affinity for men in blue jeans; the singers share that sweetly monotonous quality in their voice that’s just so damn charming in a cool, detached sort of way.
How Else Can I Tell You? premiers November 21st, 2020. Keep up with Cayley here.
