by Meredith Schneider | Jan 10, 2020 | albums, review
Today is incredible. We made it to Friday, it’s the second weekend of the new year. Whatever trials and tribulations we have experienced in the last few days, we made it through the week and things are looking up! So now it’s time to celebrate, and we see no better way than with the transfixing sounds of Joshua Tree-based The Adobe Collective‘s new album All The Space That There Is.
“Carousel” reels you into the tranquil sounds of the band, while “Blind” begins a bit more frantically, and carries more energy with it. It is here that we realize the album is largely going to be a love piece, with relatable twists and turns and a reliable smooth as honey soundscape, regardless of how much the tempo and instrumentals vary. “To Ourselves” further proves this point, occurring at the pace of a 60s rock track. And that guitar? It melts our souls. But then when “You’ll Never Tell” sets in, it brings with it more of an old western vibe instrumentally, confrontational and beautiful in its message.
“Warm To Me” feels like a beach in the summertime, and we’re pretty sure that was on purpose so we’ll just leave it at that. (Ok we lied. Listen to it if you want to bring that chin up a bit, truly.) “All I Know” follows with more of a quick country clip, a simple and fun song you could certainly dance to. “Sky Starts At The Ground” leads with whirring guitars, and is perhaps the song most likely to be placed in a successful romantic comedy. (So do that.)
“Shine On” is a heavy song lyrically. As positive as it can be in its chorus’ message, the verses take shots at discussing life’s pitfalls. It’s bittersweet in its existence, highly relatable, but perhaps not the song to play at a party. “Taking Time” brings your heart rate back down, well-harmonized and beautifully framing the album, prepping you for the final track “So Happy That It Hurts.” The song’s title is endlessly uplifting. The song is slow, concerted, with very little melodically spoken words, blending into the instrumentals as though all are one, largely. Fragmented in its disposition, it is the perfect way to wind down from something so tragic, beautiful, and inspiring. In that way, it gives us time to reflect on the fragments that make up the whole.
Keep up with The Adobe Collective here.
by ImperfectFifth | Dec 17, 2019 | Uncategorized
Still haven’t decided on that perfect music selection for the quiet moments amidst the madness of the holidays? That’s OK.London-based singer/songwriter Ollie Trevers has swooped in with a win for you, boasting five incredibly beautiful tracks on his new EP Cordelia. Each song is dripping with emotion, Trevers’ vocals acting as the main instrument. Sincerely, if you haven’t experienced this man’s vocal talent, it’s absolutely time.
Take first track “Dispassionate Love”, for example. There are points in that song that sound like he is weeping. And then he’s singing at the top of his lungs like a ballad. Not to mention the mellifluous sounds he makes between lyrical stanzas, and the gorgeous note changes while drawing out words. “Can’t Make It Up” follows suit, beginning slower and progressing to a cacophony of sound at points during the track. What I love about this one is that it builds to a head, and then slows down again several times. It leaves you slightly unsatisfied throughout in that regard, though disappointing it is not. It edges more on the side of intriguing.
“Stage of Fools” might be one of the most gorgeous songs we have ever encountered, and the album gets no more upbeat in topic from there. The entire EP details loss in love, emotional wreckage, and the relatable thoughts brought on by heartbreak. “I Need Someone” magnifies this, definitely written in a poetic — albeit low — moment. “Lost Alone” rounds everything out with an audio atmosphere that feels very Queen-inspired, a love rock anthem to its core.
What do you think? Let us know on Facebook!
Track Listings – Cordelia EP
1 – Dispassionate Love
2 – Can’t Make It Up
3 – Stage Of Fools
4 – I Need Someone
5 – Lost Alone
See Ollie Trevers live
23rd January – Nambucca, London
31st January – The Finsbury, London
Keep up with Ollie Trevers here.
by Elizabeth Schneider | Dec 17, 2019 | Featured, perspective
2019 has seen a plethora of music come through Kansas City, both large tours and one-off intimate shows. We are fortunate to live in an area that attracts artists of all musical genres.
Two of the shows I enjoyed most this year were Panic! At The Disco (February 2, Pray For The Wicked Tour) and Backstreet Boys (September 7, DNA World Tour). Before you think this is the opinion of someone who grew up on boy bands, understand that I am the mom of young women who listened to boy bands as a part of their musical repertoire. Road trip music did include the Backstreet Boys and Panic!, but playlists also consisted of Garth Brooks, P!nk, show tunes, The Temptations, and the Proclaimers among others. Music, and live music, are givens in our family.
When these two tours were announced, I knew that my two daughters and I had to go to both of them. I had never seen Panic!, but both of them had, so I was excited to see this show. It did not disappoint. The show was sold out and everyone was on their feet the entire time. Brendon Urie entered the stage by leaping out of a hole in the floor and the energy did not wane from there. With a full band that included strings and horns to back up Urie, the entire show was a musical gem. In addition to the songs, which everyone knew every word to, lights, pyrotechnics, and graphics were used to create an event, not just a concert. Brendon Urie also spent some time playing piano, both at the front stage, and an auxiliary stage which was then elevated over the crowd.
I can honestly say that I came away from that show hoarse from singing at the top of my lungs. It was so much fun to watch other people enjoy themselves. All 14,000+ of us were at a party together and no one left dissatisfied. Don’t threaten me with a good time!
Setlist
(Fuck A) Silver Lining
Don’t Threaten Me With a Good Time
Ready to Go (Get Me Out of My Mind)
Hey Look Ma, I Made It
LA Devotee
Hallelujah
Crazy=Genius
The Ballad of Mona Lisa
Nine in the Afternoon
One of the Drunks
Casual Affair
Vegas Lights
Dancing’s Not a Crime
This Is Gospel
Death of a Bachelor
I Can’t Make You Love Me (Mike Reid cover)
Dying in LA
The Greatest Show (Benj Pasek & Justin Paul cover)
Girls/Girls/Boys
King of the Clouds
High Hopes
Miss Jackson
Roaring 20s
Bohemian Rhapsody (Queen cover)
Emperor’s New Clothes
Encore:
Say Amen (Saturday Night)
I Write Sins Not Tragedies
Victorious
___
Backstreet Boys were another first time show for me. Once again, my daughters had seen Backstreet Boys, so I was looking forward to going with them. What I didn’t expect was for this show to sell out as well! Although the crowd was slightly older than the crowd at Panic! At The Disco, there were plenty of younger people in the audience as well. And once again, these were people who did not sit down during the show!
Backstreet Boys employed a more traditional stage, but were in constant motion to cover the entire area. This also allowed them to take turns singing lead. There was not band on stage, but no one seemed to mind – these fans were here for the Backstreet Boys. The Boys, which I hate to say since they are all married men with children, interspersed medleys with their full length songs to cover most of their broad catalog. Everyone knew all of the songs, regardless of whether they were 20 years old or on the newest album. And they sang every word.
And I sang every word and danced with my daughters, just like other moms in the audience danced with their daughters. Live music can help you create memories like none other.
Setlist
Everyone (First verse only)
I Wanna Be With You
The Call
Don’t Want You Back
Nobody Else (Brain Solo, First verse and chours)
New Love
Get Down (You’re The One For Me)
Chateau (Howie Solo, First verse and chours)
Show Me The Meaning Of Being Lonely
Incomplete
Undone
More Than That
The Way It Was (Nick Solo, First verse and chorus)
Chances
Shape of My Heart (No second verse)
Drowning (No second verse)
Passionate
Quit Playing Games (With My Heart)
As Long As You Love Me
No Place
Breathe
Don’t Wanna Lose You Now
I’ll Never Break Your Heart
All I Have to Give (Conversation Mix)
All I Have To Give
Backstreet Boys DNA Tour Remix
Everybody (Backstreet’s Back)
We’ve Got It Goin’ On
It’s Gotta Be You
That’s the Way I Like It
Get Another Boyfriend
The One
I Want It That Way
Encore:
Don’t Go Breaking My Heart
Larger Than Life
___
What was your favorite show of 2019? Let us know on Facebook!
by Meredith Schneider | Dec 16, 2019 | albums, review
On December 13th, Irish-Canadian collective The Orange Kyte unveiled their latest offering, Carousel. Resplendent in nature, the album is a well-rounded ball of energy, bringing the band’s specific brand of psych to the masses without missing a (literal) beat. Impressive reverb, charming percussion, and a rock mentality drive this album from the start with upbeat tracks “Masquerade!”, “The Modern Dar Saints”, easing into the more moderately paced “Distractions”. The song itself feels like a mild distraction, melancholic in sound, but is just as gorgeous as its predecessors.
“C.O.P.” picks it back up, injecting a certain amount of surf rock influence into the guitar. “Little Death Balloon” also operates quickly, though you almost expect it to come in with more of a My Chemical Romance-leaning rock ballad sound. Nope, it’s very 60’s and very alluring. “Demonstration Garden” is the leisurely track to follow, a song best suited for the background of your next dinner party. “Sea of Love/Ocean of Hate” comes in frantically, a true toe-tapper if ever there was one.
If the saxophone intro in “Infinity Rope” were any indication that the gorgeous climax of an 80s rom com were about to take place, we wouldn’t be surprised. The song itself is one of our favorites on the album, so definitely take a moment to appreciate its layers. Though “Downfall” has a very heavy title, the soundscape is light, experimental almost in nature. The opening sounds very other-worldly, and constant whirring in the background makes it all feel very technical and almost futuristic as well.
“Captain Ron” keeps the party going, slowing the pace a bit in the middle of the track, so that your heart rate can revert to its normal pace in time. So much excitement in one album is a lot to handle, but is an absolute pleasure to experience.
Keep up with The Orange Kyte here.
by Meredith Schneider | Dec 13, 2019 | albums, review
It’s been out for a hot second, but Stimmerman — the songwriting project of storied bassist and producer Eva Lawitts — recently released their debut 12-track full-length, Goofballs. High energy — even scattered, at times — this collection of tracks feels experimental, cutting edge. While Stimmerman plays with sonic boundaries and far-reaching, impactful vocal abilities, we get a look into the mind of no less than a genius.
Stimmerman has been quoted saying:
The album is more or less about loss and survivor’s guilt- it’s a meditation on a friend’s fatal drug overdose at a young age through that lens.
Side A of the album focuses on looking back at the environment in which our friendship started- pressures imposed on children to be successful, growing up too fast in all the wrong ways, and the often-debauched nature of our great and terrible adolescence here in Brooklyn. Side B, which is home to the song ‘Painted Smile,’ centers me more as an unreliable narrator, and features songs about grief and culpability in a close friend’s death some of which are, I believe, misguided.
With that very specific and captivating take, we dive in to what proves to be one of the most insightful and impactful albums of 2019.
Its story is unique and emotional, and with that Stimmerman brings her own brand of vocal rawness to each track. “Child’s Play” has a soundscape led by crashing cymbals, while “Elaine” builds to that point, beginning almost hesitantly in its pace. Even with the heartbreaking subject matter, Stimmerman only truly slows it down for eighth track “Long Formal Letter”, keeping us on our toes, just guessing where the musical progression will take us next. Single “Painted Smile” has perhaps one of the more chipper sounding ambiances to it, however its bittersweet truth ends the album with an almost cliffhanger feel to it.
It seems we shouldn’t be taking all words at face value. For those of you who haven’t gotten the reference yet, Goofballs isn’t to be seen as a group of silly friends this go around. And that’s OK. Not everything can be carefree. And to take such an intense life experience and be so vulnerable with it? It’s rare to be this seen as an artist, and we’re on board with Stimmerman’s delivery 100%.
Keep up with Stimmerman here.
by Meredith Schneider | Dec 3, 2019 | albums, review
As if last week didn’t give us enough to be thankful for, the week ended with a stunning EP release from Lilla Vargen, titled We Were Thunder. (As an Irish singer/songwriter, Thanksgiving meant nothing outside of the continental United States, but we’re still reeling about how perfect the timing was on this release.) Beginning with the powerful, building ballad that is “The Shore”, Lilla sets the bar high with her strong — yet ethereal — vocals commanding the voyage. Heart-wrenching, the lyrics speak of torment over past love. But the song’s gorgeous melody holds with it hope for the future. “Solitary” brings another tortured love to the forefront, as Vargen sings of a relationship that feels cold even when those involved are together.
The idea of drifting apart and feeling “solitary” matches the soundscape perfectly, which is something that is so uniquely Vargen. She continues to rip our souls apart with “Why Wait”, where she sings of the loneliness of unrequited — or perhaps not yet realized — love. This one hit home. “Trouble” plays with the notion of timing always being off between two flames. Another highly relateable — and infinitely gorgeous — track to center yourself in knowing you’re not truly alone in this. She winds down the EP with “On My Mind”, leaving the open ended question asking why her love interest is always on her mind.
We are clearly going to have this magical EP on repeat for a while. But it begs the question, will there be a resolution in coming work to this heartbreak? Or will it be like your new favorite indie film, leaving you with a cliffhanger that keeps it cult status for years to come? Let us know what you think on Facebook!
We would tell you to catch Lilla with one of our favorites, Dermot Kennedy, on December 17th at the O2 Academy Leeds, but the event is sold out. And we get it.
Keep up with Lilla Vargen here.
by Meredith Schneider | Dec 2, 2019 | albums, review
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!
Keep up with Steven King here!
by Erin P.S. Zimmerman | Nov 4, 2019 | show review, snapshot
The end of October brought with it more than just a weather cool-down. As we started to bundle up for the winter ahead, we took time to pause on a breezy Autumn evening to celebrate the last 2 years of accomplishments with Imperfect Fifth. We were lucky enough to partner with Do Good Co., an incredible company on 38th Street in Kansas City, MO, who was also celebrating their 2nd birthday that evening. Together, we brought in vendors (Sugar Buffet KC, Scorpio Rising Botanicals, Crystal Ramirez Jewelry) and unique shopping opportunities with an evening of music and fun. Guitarist James Schneider opened the evening, followed by the talents of Danza Special and Fathers. We captured some photographs, caught up with friends, and were able to celebrate some incredible people locally, to boost our change globally.
Check our merch shop all week for discounts! Sales end at midnight, 11.11!
**photos by Erin P.S. Zimmerman, Elizabeth Schneider, and Meredith Schneider
by Meredith Schneider | Nov 1, 2019 | albums, review
Christine Smith is a songstress capable of bringing both a hint of gothic-inspired sounds and inspired lyrics. Her new 9-track release Meet Me on The Far Side of a Star is no different, catapulting its listener into a slightly whimsical existence. Starting out slow and steady, an absolute ambiance is created with “This Love”. The piano leads the way into “You Can’t Hurt Me Anymore”, and an ear that has never witnessed Smith’s music can sense a very theatrical disposition almost off the bat. And perhaps that’s the magic about Meet Me on The Far Side of a Star, as it feels as though all of these songs could be written into a stage performance. Both “Trying Not to Fall in Love” and “Happily Never After” could both be read as tongue in cheek, though the genuine attempt to avoid love is a real thing that many people grapple with.
“Feels Like Yesterday” brings the nostalgia in like a train at high speed, while the title track brings the tempo up slightly more than its predecessors. “I Know This Moon” feels like a lullaby, and wonderful caress compared to the other tracks that are part of this collection. It might appeal to the increasing number of people who are starting to follow moon cycles a little more closely, and become something almost sacred for some. “Very, Very” feels just as delicate, while “We’re Never Going” is the perfect final track, as there is a sense of finality not only in its title, but also in the structure of the instrumentals.
How wonderful to feel like this audible journey closes out as perfectly as it could. Enjoy the album in its entirety below, and be sure to let us know how you’re feeling about it on Facebook!
