by Meredith Schneider | Dec 8, 2017 | wolf tracks
Garage rock/power pop collective The Hell Yeah Babies – comprised of Mike Pfeiffer, Julian Ames, Dylan Roth, and Sam Paxton – might call Astoria, New York home, but we’re thinking that just might change if they continue in the direction they’ve been going. Their first release was just last year, and they’ve already developed
We always talk about how songs make us feel like we’re a part of New York City nightlife, but “Grenadine Nosebleeds” was actually written about New York City nightlife. While the band croons “I don’t wanna go home,” we get lost in surf-like guitar riffs that somehow – mysteriously – make us feel like we’re dancing around the city in the summertime. Which is quite a departure from the cold, winter vibes we’ve been tripping all over as of late. It’s got this anthemic feel to it, and by the end of it you feel like you’re claiming your own dance territory in the face of opposition.
Aggressive, beautiful, fun.
“Grenadine Nosebleeds” is out now. Keep up with The Hell Yeah Babies here.
by Meredith Schneider | Dec 7, 2017 | wolf tracks
Portland-based experimental musicians Spencer Doran and Ryan Carlile have found somewhat of a theatrical and entertaining sound together with their project Visible Cloaks. The duo utilizes “software-based composition rooted in randomization, MIDI-translation and chance operations” to achieve their sound, which takes you on a journey traversing delicate, primal yet futuristic, intense soundscapes in their new release Lex, which officially drops December 8th.
Beginning with “Wheel”, you slowly find that the gentle instrumentals make you feel like you’re almost spinning, with the tempo and way the weight shifts from emphasizing one note to the next. “Frame” is percussion-led, providing that primal, lush sound we often associate with far off countries. And “Transient” is the literal translation and embodiment of its title, which beautifully expresses itself at just over two minutes.
“Keys” is the first track to include any type of vocalization, though it is actually comprised of a made up language. Admits Doran, “The idea – building on ‘fourth world’ or ‘global village’ type concepts – was to create a projected language that was a fusion of many. The result was a very disorienting form of non-language that amplifies the lapses in meaning that occur with the inaccuracy of auto-translation software.” But we’re completely distracted by the beautiful wind chime-like feeling to the instrumentals. The title track – in direct contrast to its predecessors – is composed using piano-like sounds, which strangely adds a feeling of nostalgia to it. The duo expertly rounds it all out with “World”, an aptly titled track that really seems to nail it, including sound effects that resemble sounds you’d expect to hear from different cultures across the world mixed in with effects that sound more earthy and primal as well. (Can’t you hear the ocean in there?) It really puts the listener in a worldly mindset, to correctly transition into their day.
Suggestion: Meditation music.
Lex is out December 8th and is available for preorder now. Keep up with Visible Cloaks here.
by Meredith Schneider | Dec 7, 2017 | wolf tracks
As if the double entendre of the title of singer/songwriter Cody Melville‘s impressive tenth album isn’t enough, he has birthed a genre-hopping, robust work of art to support it. Gliding from a sound that could easily have been inspired by Bruce Springsteen, to more twangy, country-inspired compositions, to soulful ballads and beyond, Melville has somehow managed to capture an entire lifetime’s worth of styles and energies in just one release. Bonds Eye might not be officially available until tomorrow, but for now we have the honor of hosting a streaming premiere of the 10 track release in its entirety. So make the right choice, and get lost in the breathtaking complexity of it Melville’s latest.
Bonds Eye is out December 8th, and the rest of his catalog is available on Bandcamp. Keep up with Cody Melville here.
by Meredith Schneider | Dec 7, 2017 | 5 to 7
Just last month, Massachusetts-based indie pop/punk rock four piece Kindling released a particularly impressive and instrumentally heavy 10-track album titled Hush. Though the intro to a lot of the tracks starts in a different soundscape, eventually the meat of most of the songs hits with multiple guitars that create an almost cacophonous ambiance around the chorus of vocals. It’s quite the experience, and while we certainly suggest showing off your dance moves while enjoying the album, we also kind of hope you have access to a starry night sky, dope lawn chairs, and string lights to enjoy “Rain”.
We got the chance to catch up with vocalists/guitarists Stephen Pierce and Gretchen Williams shortly after the release of Hush.
What was the first album or song you remember ever listening to, and who introduced it to you?
Stephen Pierce: I don’t know exactly the record, but my parents were always listening to a lot of British Invasion stuff —
Yardbirds,
The Animals,
The Kinks.. My dad liked the
Stones and my mom liked
The Beatles. There’s in particular this one tape my dad had of The Yardbirds’ BBC sessions that is seared into my consciousness, right down to the hammy BBC announcer’s voice.
Gretchen Williams: When I was about seven or so, I had a camp counselor that had my troop perform the
Shangri-Las‘ “Leader of the Pack” in a talent show. Naturally, I was assigned to be part of the motorcycle gang and made a construction paper leather jacket to wear. I really loved the sound and doomed-love-story subject matter as a kid, and played my cassette of the recording a lot at home.
What is the Kindling origin story?
Gretchen: In the winter of 2014, Stephen and I formed Kindling after he asked me to contribute to a few songs he’d written. Initially, we didn’t really have a sense of where we might be headed; we just wanted to write a bunch of catchy songs quickly. Our demo was just the two of us, and we subsequently self-recorded a 7″ before recruiting others to the band.
How would you say you’ve developed your sound and your relationship with each other since your first EP?
Stephen: I think Hush is definitely bigger and more ambitious than the previous stuff, which was probably bigger than the stuff that preceded that… Each recording we’re one step closer to being a fucking prog band or something. But seriously, the more ya work at anything, I guess the more comfortable it’ll feel, and I feel pretty comfortable these days with the band, from our process to our songs to how I communicate with my bandmates – communication hasn’t always been an easy thing for me. But, like: You figure out what works best for everyone, and try to do things that way.
Gretchen: Despite a lot of the lyrical content of Hush focusing on uncertainty, I think we’ve found a little more confidence on this record. We reached for a bigger, more complex sound and integrated some new instruments (mellotron and sitar appear on a few tracks throughout the album).
What is your writing process like? Do you start with a melody, start with concept, brain dump lyrics? Take us inside it all!
Stephen: I usually sit with a guitar on the couch and just, like, watch tv and if something good appears, I’ll hit mute on the tv and record it on my phone, then revisit it at the practice space, or sometimes maybe just, like, loop it and vibe it out. Lyrics come afterwards, usually I’ll demo the instrumental stuff with Andy, our drummer, and spend a lot of time listening to the instrumentals while, like, riding my bike or something. Then Gretchen and I will work on vocal phrasing and words. Or we’ll have ideas and throw them back and forth between each other, usually what we come up with is pretty similar.
How do you imagine people listening to this album?
Gretchen: Late at night when you can’t sleep; or on a long bus trip; or walking through the woods; or just trying to get through the day — basically any time you might feel a little bit wistful and restless.
Stephen: I like the thought of Hush playing annoyingly loud while quitting yer shitty job, or something. Tell off the boss in a giant spectacle with the assistance of Hush.
Who is your favorite superhero? Substantiate your claim.
Gretchen: The only comic I ever read growing up was Archie, so I guess my favorite superhero is Jughead? He always seemed pretty impervious to the stresses of modern life in Riverdale–a trait I admire.
Stephen: Spider-Man, because he was such a loser and I find that highly relatable.
What is your favorite word?
Gretchen: Probably a toss up between “somnambulance” and “goblin.”
Stephen: Mine is “Goblinambulance”
Perfection. Anything else you’d like to add?
Stephen: Thanks so much!
___
Hush is available now. Keep up with Kindling here.
by Meredith Schneider | Dec 6, 2017 | wolf tracks
Alternative rock/pop punk collective Valencia isn’t the only musical project Shane Henderson is lending his talents to these days. (That’s right. For those of you residing under a rock, Valencia is BACK!) In fact, his solo alternative/acoustic project Promise of Redemption found its start back in 2004 and happens to have just followed up 2016’s “Where You Ought To Be” with a new EP titled Before & After. The 6 track collection takes you on a mellow, beautiful journey that actually began a decade ago, as the songs were all written during and immediately following When The Flowers Bloom… was released in 2007. Explains Henderson of Before & After:
‘Before and After (Demos and B-Sides)’ came together as a celebration of the 10 year anniversary of WTFB. We took some B-sides from ‘When The Flowers Bloom…’ as well as some newer reworked demos from over the years. The six songs on ‘Before and After’ are ones that I think any fan of the album WTFB will love and even fans who have never heard of POR will love. They are six songs that were songs written for a purpose just like the album we are celebrating. I am excited to share these songs with the world in celebration of an album that really let me explore my love of playing music and creativity.
We’re absolutely captivated from beginning to end, especially since we realize we’re basking in the glow of Henderson, who many of us grew up with in our music sphere. And we’re thrilled that he continues to make such heartbreaking and intense music, songs we can relate to as we travel along with him on his musical journey. This one, though? This release is for the books, as it holds both a piece of nostalgia as well as this excited feeling of newness to it all. So sit back, relax, and enjoy the ambiance that will fall upon you while listening to Before & After.
Promise of Redemption will be playing two holiday shows, December 29th and 30th, in Philadelphia, PA in which they will play When The Flowers Bloom… in full to celebrate the 10th anniversary of the album. Upcoming shows and tickets are available here.
Before & After (Demos and B-Sides) is available via Know Hope Records.
by Meredith Schneider | Dec 6, 2017 | 5 to 7
In August, New York based rock trio Upright Man – comprised of Aidan Dolan (guitar/vocals), Nick Katz (bass/vocals) and Max Yassky (drums / percussion / background vocals) – released their debut self-titled album. Packed to the brim with guitar-driven psychedelia and well-rounded, intense – yet somehow innately relaxing – vocals, the ten track album made a strong impact on its audience almost immediately. Exploring a wide soundscape with the prowess of a much more experienced band, we’re under the very strong impression that Upright Man is here to stay, and they’ve certainly left a mark.
We caught up with the guys briefly before the holidays to get a little insight into their process and more. Check it out below, and get your ears on Upright Man if you haven’t quite yet!
What is the first song or album you ever remember hearing, and who introduced it to you?
Max: It’s either “Only The Lonely” by Roy Orbison, or “Busted” by Ray Charles. Thanks Mom.
Aidan: Though I had heard music everywhere before I knew what it was, the first album as a whole that I became aware of was probably Jimi Hendrix’s “Are You Experienced?” It was in the CD player in our car that we took to and from school. The attitude and badassness was so obvious to me as a little kid and I still feel the same way.
Nick: Probably “With The Beatles” or “Help!” Though I discovered at 14 that I already knew all the words to “In My Hour of Darkness” by Gram Parsons even though I had no memory of listening to the record before. So I think I heard a lot of music before I was really making memories.
We know you met at NYU, but what is the Upright Man origin story like? Was it a meet-cute?
Max: I had to look up meet-cute. No it wasn’t anything like a romantic comedy, but we all did hit it off pretty quickly. We met and hung out as peers in school and then started making music for other people’s projects. We – all three – started making prog-jazz-classical music before we moved on to the space-rock music we’re making now.
Nick: Yeah, what Max said.
Your self-titled debut just released. What has that been like for you?
Max: Releasing an album feels like the most foreign part of making music to me. We play and write so much that sometimes I forget the end goal is for other people to hear it. I’m kind of stunned when I imagine strangers listening to it.
Aidan: It feels good to enter a new stage of development for the band. Now that we have a completed product, we have to get it out there and take the band on the road. Our passion is music and creating it, but as musicians and a band, we have to take responsibility for so many aspects of the business of being a band as well.
Nick: There’s inherent satisfaction in seeing things finished. Having people seem to like it is just a nice little bonus.
Do you have any fun anecdotes from the recording process?
Max: We had a fight with a very obstinate restaurateur. We ordered enough tortilla chips and guac to fuel a small force of underpaid interns, but got zilch. When we called up the restaurant, instead of your expected “Oh we’ll fix it”, we got put on hold while the owner checked the security tapes and assured us that all the chips left with the delivery fella. What do you do, right? Try and explain the laws of physics? Zero tortilla chips delivered to us = zero tortilla chips delivered to us. We each tried to explain this to the owner and finally our producer hung up dejectedly.
Aidan: While we were recording at Avatar Studios in NYC, we decided to use the physical reverb chambers, which are located somewhere in the stairwell of the building. We realized the mics in the reverb chambers were picking up this whole class of elementary school students playing outside, creating a really eerie far away sound of children screaming and laughing. We decided to record that and even took it a step further by running outside and asking them all to make as much noise as possible to be on our record! It sounded awesome, but we never found a place for it. Maybe next record..
Nick: It was awful and I hated every minute of it … I’m just kidding, I love being in the studio.
If your album were any Thanksgiving meal dish – an appetizer, main course, side dish, dessert, drink, whatever – what would it be and why?
Max: It’s the unidentifiable yet delicious troth of hot mash brought by that one obscure work friend of your cousin’s.
Aidan: Dat bomb gravy.
Nick: Guys, you’re really selling it short, it’s the whole turkey, stuffing, drippings and all.
We really love the composition and overall sound of “Ecstasy”. What inspired that song – if we may ask – specifically?
Max: Thanks. When we were writing it I remember thinking of this image I had in my head from a news clipping. Apparently some of the older folks in Gaza would sit on this one couch on the edge of the city, eat watermelon, smoke cigars, and watch the chaos as if it were a television program.
Aidan: It started off on guitar as the little intro chorus/riff. The lyrics sort of came from describing a feeling of pure resignation and disconnection from the world, while still being ironically blissful in its comfort. There is a moment of self realization and hopefulness in the song, but some things never last. The form has an interesting way of mirroring that emotion in a developmental way.
Nick: It was born of self restraint in a way.
Being a musical project located in NYC has its advantages and disadvantages, of course, just as any place else does. Have you been able to navigate the highly saturated music scene in NYC to find some of your favorite gems?
Max: That saturation is one of my favorite things about the city. It does make people cynical about exploring new music, but for studios, venues, stores and new people to meet, being here is a total boon. Of course you meet great people everywhere and there’s plenty of shit here too.
Aidan: The saturation is advantageous in the way that Max says, giving you so many options to experience many different types of music at a high level musicianship, but as a band in its nascent stage, you have a lot of other bands and forms of entertainment to compete with on any given night, so it’s hard to grow beyond the audience of your family, friends, and friends of friends. There is a very elusive sense of a scene and you have to really make a ruckus to get people to come to your show over something else.
What are you most excited about with your debut album?
Max: Having a copy.
Aidan: Seeing and hearing other people’s reaction to our music.
Nick: Getting to the next one.
___
The band will be playing a show in honor of an upcoming video release and Aidan’s birthday at Mercury Lounge. Tickets are available now. Keep up with Upright Man here.
by Meredith Schneider | Dec 6, 2017 | snapshot, visual
On Friday December 1st, one of our favorite midwest bands made an appearance at Riot Room in Kansas City. As always, we were impressed by Holy White Hounds‘ insane stage presence, wild attitudes, and affinity for pure rock. Check out some vibrant photos below!
by Meredith Schneider | Dec 5, 2017 | wolf tracks
At the end of November, Polish avant-pop duo Legumina released their debut album, a 11-track collection affectionately titled Something Pasty and Probably Yellow. But this album comes from a different place than many others come from, and it’s something we definitely took interest in right off the bat. Legumina is the marriage of two stunningly vibrant personalities who, as it just so happens, chose to end their romantic relationship quite some time ago. But in 2013, the pair of Mon Sadowska (vocals, lyrics) and Marcin Gręda (guitar, ukulele, electronics, laptop, earlier Letdown Dept.) chose to reconcile those differences enough to form a duo, and to create an album that seems to serve as both closure on their romantic past and as a new beginning for their artistic futures. It’s unique, well-written, and beautiful to a point that we have to make it known.
Beginning with light, staccato notes accompanied by strangely contrasting lines of voiceover, “(Not That) Yellow” makes you feel like you’re in a futuristic lullaby. Pair that with the slow, ethereal notes of “Berlin” and the twinkling sounds of “Probably June”, and Something Pasty and Probably Yellow starts out in this quirky, beautiful space that you would assume a She & Him album might steer toward. Once Sadowska’s vocals hit a track, even if it existed in another soundscape altogether, she immediately brings a fairy-like presence to it all. A fact that comes to us as incredibly quirky and endearing, especially with fourth track “Song of the Northern Pole” which – instrumentally, at least – does perfectly capture the way you assume being in the North Pole would feel. Fifth track “Swim Safety” plays a little more with dissonance in the intro, swirling into this impossibly gorgeous track.
As you reach “Parking Space Inequity”, you’re so used to the upbeat feel of its predecessors that you don’t quite expect the melancholic twinge to kick in at that point. With the pace of the lyrics versus the instrumentals, it almost feels like Legumina found their inspiration in aughts emo and punk music, but it’s been updated with an electro pop feel that slightly resembles trance music at a rave. While “Sink Sank Song” makes you feel like you’re actually inside a video game – which makes the song that much more fun -, “Short Guide to Palm Reading” is considerably less witchy than what we would assume from the title. We are 100% on board with the bizarre title of track 9, and totally agree with the sentiment that “Happiness Isn’t Happiness Without a Violin-playing Goat”. The name of the track itself made us feel like we were wandering back into that punk/emo inspiration, a la the long titles that Fall Out Boy and Panic! at The Disco have become known for. “Elementary” slows things down to a crawl – really returning to that lullaby feeling – and the band expertly rounds out the album with the track “Farewell Captain” (ft. Edyta Glinska) which audibly insists on the closure of the album. The audience feels a finite energy in this track, bittersweet in its delivery, much like the closure the duo found through the production of this album.
Check it out below, and let us know what you think in the comments!
Something Pasty and Probably Yellow is available now. Keep up with Legumina here.
by Meredith Schneider | Dec 5, 2017 | wolf tracks
Australian beach pop duo Geowulf – comprised of Star Kendrick and Toma Banjanin – released their infectious, sun-drenched track “Hideaway” today. Even though we feel like we’re floating through a summery soundscape with this track, we recognize the easily relatable lyrics as somewhat of a different season, as they sing about discomfort in a relationship, as the object of their affection – friend, foe, or love interest – does nothing but “hideaway.”
Let the lazy, beautiful structure of this song carry you away today as you gaze out a window wherever you are…
Keep up with Geowulf here.
