by Meredith Schneider | Nov 21, 2018 | albums, review
Kansas City, Missouri-based garage rock psych pop band Eggs on Mars – comprised of Brad Smith (vocals, guitars, keys), Justin Longmeyer (bass), and Mason Potter (drums, percussion) – recently released a 10 track album titled Mama Pancake. As absurd and wonderful as the title is – and the name of the band – the album itself is so much more. First track “Sod is Good” is all types of amazing, from the realness of the track’s name to the calming mood that passes over us as we dwell in its slow, mellifluous glory. While “Placeholders” speeds up a bit and gives us a very 60s psych punk vibe, “Many Minds” brings more of a 90s feel to it. “Red Haired Darling” slows it all down a bit, a love song for all of the red headed beauties in our lives.
“Doing Fine” gives off a bit of a melancholic feeling sonically for the first half, and the title isn’t quite convincing if you ask us. It gains momentum, though, and leads pretty nicely into simplified instrumentals with “Not to Regain”. The sentiment given off in the lyrics of “A Song” makes it feel a little more than “just a song”, while “Don’t Listen” speeds it up, giving us something fun to move our hips to. “Prayer for a Troubled Son” continues in that vein, a fun guitar riff to keep us on our toes throughout.
Eggs on Mars rounds out the album with “Meet Me in Hannibal” – Hannibal is a small town in Missouri where Mark Twain grew up, for those of you wondering – and anyone who has been carried away by a long(er) distance relationship can relate. It’s a beautifully bittersweet love song, slowly and carefully concocted to give us starry eyes as the music fades.
Mama Pancake is available now. Keep up with Eggs on Mars here.
by Phlis | Nov 19, 2018 | show review
Arriving at the venue I didn’t know what to expect, I was very familiar with Frozen Nation’s music. I should be, Alteria Anarchy was the first radio show to air Frozen Nation’s first single I Failed for you and I was the first journalist ever to interview them. I had become very good friends with Idris but this is the first time I would have met him in the flesh. The venue itself was a very artistic place, one side where the music happened and the other a very arty bar.
The first person who I met and recognised was Moss, the frontman of Frozen Nation. A tall handsome man who when I said Moss I’m Phill his face lit up and I was greeted with a big hug for a welcome. Frozen Nation are one of the very few bands I have a very close affinity to, a band like only a couple more that I have seen grow and followed. It felt like meeting someone I have known all my life but yet I was meeting in the flesh for the first time. After Moss greeted me he introduced me firstly to my great friend Idris of whom again I was met with a big hug and a smile, then to Dorian of whom I had never actually spoken to but yet he like Moss and Idris just seemed like part of my extended family.
As the night rolled on Idris, Moss and Dorian were there making sure we had a great night. They introduced us to people and the whole air of the gig was very much a personal one, to say we were made welcome is truly the understatement. It was a perfect night with great friends, but to my honour my great friends were also the headline band. Dorian chatted to me and told me the very intricacies of the music and told me stories of Elvis. Me being a Jethro Tull fan I was wowed by this.
Swan Death came on and they were very Goth Rock in style, their style mixed with their visuals blended well and was a great opening act.
Perverted By Language had more an attitude, slightly punkish and again really great live.
But I was waiting, waiting to see my friends, the headline band. The lights were dim and then the music started and so did the visuals in the background. As the music began the crowd just started to move. I had listened to Dark Belgian Disco so many times so when I heard Genghis Khan my body also started to instinctively move, the music just put you under a spell and you just couldn’t help yourself. Then in the background the silver spinning disco ball led to the title track of Frozen Nation’s album, Dark Belgian Disco which was played with perfection.
I personally was waiting for one song, the song that has been on my alarm since the first day I heard it. The song people have heard so much on Alteria Anarchy, my favourite song. And as I heard the start of I Failed For You, Idris shouted “This is for you Phill”, to say this was a true honour was an understatement. One of my favourite bands, my friends, dedicate my favourite song to me was just unbelievable. I couldn’t help myself move and then following I Failed For You was Come On To The Ride which is another song that is just so funky with such a great feeling.
As they played more yet another familiar favourite played, Give Me The Perfect Song. I was singing and dancing, I just couldn’t stop myself and neither could the people at the gig. Then followed Alone In Berlin, I couldn’t believe just how much perfection had been given to us. I love the sound of Frozen Nation, it’s just pure and funky. Dark but yet the lights shinning from that disco ball just shine brightly.
The night ended and I couldn’t thank Idris, Moss and Dorian enough. We had a long day so that’s where the night ended for me, but that’s not where this story ends.
The day after we met Frozen Nation, they took us to this amazing Belgian restaurant and treated us to lunch and beer. We just chatted more about the music of Frozen Nation. Dorian, Idris and Moss were just so passionate about their music and from what I heard & felt from the gig it shows. The guys spoke and Dorian said “Would you like to see our studio, would you like to meet Elvis?”, how could I refuse? After a pleasant walk through the streets of Brussels with the guys showing us the wonderful sights and telling us the stories and folklore of where we were walking we arrived at the studio. I was in awe, all the old analogue equipment that gave Frozen Nation their unique and wonderful sound. Dorian showed me where they record and how they do it, then in a smaller noise proofed room there he was there was Elvis. Dorian told me how they use him and how he is just like a person and the stories that made him feel that way.
We sat and chatted more, Idris and Dorian stayed in the studio to do a little work and Moss took us for a beer before we had to leave. Big hugs from Idris and Dorian, I felt sad in a way as I was leaving two of my close friends. We left for the pub with Moss. Nice beer too, traditional Belgian beer. Well you can’t go to Brussels without tasting the amazing beer now can you? As the time came close that we had to leave to come home Moss even walked with us to the tram station. We bought tickets and with one last hug from my friend Moss we were on our way.
The whole experience is one I will never forget, Frozen Nation themselves and the wonderful city of Brussels. I cannot thank my friends Idris, Moss and Dorian for an amazing weekend and for the amazing music. Thank you for letting me introduce the world to that wonderful Dark Belgian Disco sound and also for your friendship.
Frozen Nation we will be back, thank you.
___
by: Phill Bruce
by Meredith Schneider | Nov 19, 2018 | albums, review
At a very important time, Kansas City-based alt garage rock band The UK’s – comprised of Noah Bartelt (Lead Vocals/Guitar), Scott Combs (Guitar/Vocals), Katelyn Miles (Bass), and Tarquin Eugene Kellough (Drums) – has released a 5-track EP, affectionately and poignantly titled American Way of Death. From the very first, melancholic sounds of “Why Don’t You Go” – which hits a stride that makes you want to add it to your “walking the streets of the city like a badass” playlist – through the 60s punk-influenced soundscape of “Wake Up”, all the way through third track “AWOD” which follows suit, there is an electricity that makes you realize that incredibly underrated music comes from the midwest. (Hello, Holy White Hounds and Mess!)
Cut to “The Poison Squad” and you’ve got a track we could easily find ourselves barbecuing to on a chilly autumn day, dancing to at a sweaty basement party, or driving to down the Kansas City streets. It all comes to a head with fifth and final track “Other Team”, which brings in that fun, vintage, upbeat feel again. If you’re not careful, you just might find yourselves on the ceiling too…
Keep up with The UK’s here.
by Meredith Schneider | Nov 16, 2018 | albums, review
Chicago-based shoegaze/pop collective Lightfoils releases new five track EP Chambers today, and we’ve got your first listen below! (Or fourth, or fifth, or twelfth… who’s counting?) The five-piece – comprised of Zeeshan Abbasi (guitar), Jane Zabeth (vocals), Cory Osborne (bass), John Rungger (drums), and Neil Yodnane (guitar) – wastes no time getting into the psych feels with the kaleidoscope intro to first track “The Bitter Over”, which layers into a cacophony of sound that seems to envelope your senses. “Duende” brings the same level of otherworldly vocals to it, a little more depth to the guitar parts than its predecessor. While “This Time Is Up” brings with it a punk garage band instrumental soundscape, we’re still left wondering how Zabeth can reach such insane places with her vocals. But I digress.
“Summer Nights” might, at first, make you feel a little bitter about the warm evenings being long behind us, but it also provides that whirring nostalgic feeling that makes it feel like summer might not ever end. (And it doesn’t have to if you don’t want it to!) Last track “Honeydew” brings with its title the same lust for warmer months, though we know we can relive those nights with this as the backdrop any time we damn well please.
Pick up this EP. It’s well worth it.
Keep up with Lightfoils here.
by Meredith Schneider | Nov 14, 2018 | albums, review
Everyone’s favorite roots rock n’ roll duo Larkin Poe recently released a 10-track stunner, packed to the brim with badassery paired with subtle delicacy that only these ladies could pull off. Starting with the military-like drum line first track “Sometimes”, Rebecca and Megan Lovell bring every ounce of soul that they can to each and every track. As evidenced in “Bleach Blonde Bottle Blues”, “Honey Honey”, “Mississippi” (ft. Tyler Bryant), and “California King”, as well as what follows, lead vocalist Rebecca makes us swoon with a gorgeous, far-ranging, robust set of vocals, that comes with a bit of smoke here and there that makes us feel like everything about this album is a mystery. (I mean, check out those instrumentals in “California King”!
“Blue Ridge Mountains” is very much a country track, following suit of the other upbeat, “proud of my hometown” tracks that we’ve become partial to over the years. And if you think “Fly Like an Eagle” is going to be a remake of the Steve Miller Band classic (mad respect to Space Jam), you would be incorrect. This track is far more stunning, though you probably wouldn’t find it in a cartoon-riddled movie starring LeBron James anytime soon. (Or will you?) “Ain’t Gonna Cry” is one of those “knock your heart right out of your chest” songs, as it’s highly relatable and such a raw, matter-of-fact anthem. “Hard Time Killing Floor Blues” is far more classic blues than many of its predecessors, with a boot-stompin’ beat you may just find yourself repeating. The ladies round out this album with 10th track “Good and Gone”. Clearly placed for its title, we were curious to see if we thought it actually belonged as the wrapping on this new gift of an album. That answer is yes. It sounds like something you could play at a funeral or celebration of life, with a little of that quintessential Larkin Poe edge oozing out of the edges.
Keep up with Larkin Poe here.
by Meredith Schneider | Nov 9, 2018 | albums, review
Birmingham-based duo Timber – comprised of Janet Simpson-Templin and Will Stewart – releases their brand new 8-track full-length today, and we’ve got all the details. A lush, enigmatic soundscape takes you on an interesting journey, twang-tinged and versatile in its existence. “Burying Ground” is very much a literal track, a melancholic beginning that carries through second track “As a Kill”. “Colors” is a bit spooky and intense, while “Downtown” has a true ballad sense to it and seems to play with dissonance instrumentally quite a bit.
“Sunstroke” is lyrically bittersweet, calling to mind a love – or really amazing situation, at the very least – difficult to shake. As a Kansas City native, “Shuttlecock” made my ears perk up, and the song sings of flying through the sky like one of those intricate sport accessories. It occurs in such a pleasant soundscape that we’re feeling like turning it up and going for a drive this weekend. And perhaps “Errant Oblivion” will inspire another side of us, slow dancing in the moonlight as the instrumentals take over our souls as they seem to already have done. Simpson-Templin and Stewart remind us of their brilliance up until the last lines of final track “Move”, a simplified yet freeing track.
If you’re looking for a soundtrack to a relaxing and thoughtful weekend, this is it.
Keep up with Timber here.
by Meredith Schneider | Nov 9, 2018 | albums, review
With baited breath we’ve awaited the arrival of indie rock collective Daisybones‘ 10-track album Gold. The Boston quartet has really provided us with the energy shot we’ve been needing, from the very first chords of the title track, through slightly slower – but just as otherworldly rock as its predecessor – “Choke”, and into “Drag”, which slows down exponentially but doesn’t quite drag, if you as us. (We’re full of jokes today.)
Daisybones performs with a hint of 60s British punk woven into lead singer Dillon Bailey’s vocals. This is especially evident in “Bang”, though “Crush” follows suit perfectly. “Beautymark” might be our favorite of the collection, the tempo changes alluring and the crashing cymbals providing a soundscape that we can both veg out AND dance our asses off to. Many fans might like “Daiquiri” for its tropical vibe, providing us an escape from our (now) snowy landscapes.
“Score” is the obvious head-bopper, frantic and staccato in its existence. If you’re looking for a slower rock track to nerd out over, “Heave” is your particular brand of ear candy, though last track “Lemondrop” might sound as such. “Lemondrop” is actually the perfect way to end the album, slowing everything down exponentially and providing an almost rock ballad-like atmosphere that will lord over you for the rest of the day.
And that’s not a bad thing.
Keep up with Daisybones here.
by Meredith Schneider | Nov 8, 2018 | albums, review
New Orleans-based Sexy Dex and The Fresh – comprised of Dexter Gilmore (Guitar, Vocals), Gabrielle Washington (Vocals), Andrew Landry (Bass), Evan Cvitanovic (Drums), and Ben Buchbinder (Keys) – has been winning awards left and right in the south, and we can see why. As a young band, their technique – and, truly, pure chemistry – is undeniable. Not to mention the alluring genre they’ve almost created unto themselves. You can witness this in their new EP Don’t Play My B-Sides.
Though you’ll hear some psychedelic influence amidst the funk in “SDTF”, hip hop makes its way in there, as well as some interesting pop-infused dance breakdowns. We could see ourselves dancing to “Play Me Birdie” at a sock hop, but there’s an 80’s flare to it as well as a quirky, fast tempo that is a total earworm. “These Young Charms” exists in a more quintessentially 80s soundscape, while “!Wait!” presents a cacophony of sound that is otherworldly in its disposition. Last track “Fotographs” begins with a speaking part that truly captures the otherworldly, as the song blossoms into another 80s-inspired dance track.
Check it out below!
Keep up with Sexy Dex and The Fresh here.
by Meredith Schneider | Oct 31, 2018 | albums, review
The eleven-track compilation stunner just released by Dazzleships Records honestly serves as our life soundtrack at this very moment in time. Ever since we got our first listen, we’ve been running the tracks back through our minds, creating more with these songstresses as our inspiration. Dazzleships Records Presents: Raise By Women is both tantalizing and evocative of a generation – or more – in its entirety. Skull Diver‘s “Bad Star” sets the tone, giving us a grunge indie/pop soundscape to play with, absorbing itself into the quirky and lighthearted tone of Mini Blinds‘ “Happy” before Cat Hoch‘s “Say You Love Me” throws us into an 80’s-inspired bliss.
Natasha Kmeto‘s “Your Girl” blends synths in a similar way to its predecessor, but in a much more contemporary and soulful way. While Rilla‘s “Side Sleeper” is one to get your head bobbin’ to, your feet groovin’ a bit, Johanna Warren‘s “The Blessing The Curse” dunks you in an ethereal, mellifluous soundscape before DANDAN gets all experimental on us with “Broken Mirror”. Black Water Holy Light‘s “Sunrise” belongs on an episode of The O.C. (Seasons 1 or 2 exclusively, please?), and Laura Palmer’s Death Parade brings us to a slow, folk-tinged, melancholia with “Scrollin'”. Haste basically says it all within the instrumentals of “Let’s Touch Ourselves”, with gorgeous vocals and alluring lyrics to make it a powerhouse of a track. And the entire collection is rounded out quite nicley with Sheers‘ “An Osscasion”, which plays with dissonance and a more earthy, string-led sound that really feels delicate.
Keep up with the latest from Dazzleships Records and all their new projects here.
