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 Mike Gunnoe | Nov 9, 2018 | snapshot, visual
On Tuesday, November 6th, Gary Clark Jr. distracted crowds of voters (and otherwise) at the Uptown Theatre in Kansas City, Missouri. Photographer Mike Gunnoe was on-site to capture the magnificence for us.
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 | Nov 5, 2018 | albums, review
New York-based indie pop trio VHS Collection – expertly comprised of long-time friends James Bohannon, Conor Cook, and Nils Vanderlip – released their new 12-track stunner, Retrofuturism, on Friday. With vocals reminiscent of The Kooks, first track “One” explodes into an interesting cacophony of sound effects and percussion that will get your head spinning, yet better prepared for what’s to come. “I Can’t Stand It” deconstructs the album a bit, keeping a good dance pace loaded with a little more attitude, while “Take My Money” makes you feel like you should be donning clothing of yesteryear, putting on your favorite pair of shades in slow motion.
“Sign” modernizes the sound even more, though keeping it glittering and 80s-inspired, magnetic in its disposition. “Blame It On A Dream” bounces into a layered version of what you might hear in a hip hotel lobby, “American Cynic” bounces back into intense, late 80s MTV vibes, though “The Otherside” slows it all down for us, the instrumentals harnessing energy from late 90s love songs as we head into the intense, hard-hitting sounds of “Animal”. While ninth track “What Does It Mean” takes on an “80s slow dance at prom” vibe, tenth track “Break” is a track music supervisors should keep their ears on for any upcoming coming-of-age projects, if we’re being completely honest.
“Feel It Boy” is energetic, fun, and something we can get on board with lyrically and sonically. “Fade Out” takes on a more contemporary pop sound that slightly overshadows the 80s vibes, with quirky percussion and beautiful, entrancing lyrics. It rounds the album out quite nicely, and gets us in the mood for a dance party like no other.
Keep up with VHS Collection here.
by Zaria Dukes | Nov 5, 2018 | snapshot, visual
On Halloween night, the place to be was The Truman in Kansas City, MO. Tank and The Bangas entertained a raucous crowd with their incredible stage performance. Zaria Dukes captured the madness for us, and we can’t stop smiling.
by Meredith Schneider | Nov 5, 2018 | albums, review
Galway-based folk artist Ultan Conlon released his latest album Last Days of The Night Owl to incredible amounts of praise, landing itself at #1 on RTE. A 12-track masterpiece, Last Days of The Night Owl takes the listener on a lighthearted journey full of easy-listening that reeks of perfection no matter the season. We’re still impressed, so it’s on tap now just as often as it was at its release.
Beginning with “As the Light Gets Low”, Conlon establishes a sense of positivity as he croons, “somethings not right / but i can’t be all of the time.” The album slows only slightly with “The Town Square”, the percussion and tempo picking up again with “Hall of Mirrors”. By this time, we’re hearing direct influence from Roy Orbison, James Taylor, and the likes. “Fond Memories” exists at a gait reminiscent of a 1950s sock hop, though the discontent is obvious in the lyrics.
While “Sorrow Ease” comes in with more clear country influence, “Ojai” feels grand and gorgeous, perhaps just as much so as his expectations of the town before his arrival changes his mind. Memories aren’t always reality, and this song reminds us of that. “Hurt Inside” simplifies the trajectory, while “Time to Mourn” is the most outright melancholic track in every aspect. “The Measure” lightens things up a bit sonically, a toe-tapper if there ever was one, and that vibe continues through “Twice a Child”.
Everything comes to a slow crawl with “A Weak Heart Like Mine”, as Conlon evaluates the difference – or perhaps striking familiarity – between positive and negative feelings in romance. He rounds it all out with “The Fine Art of Happiness”, once again establishing a sense of positivity and looking forward in life. And that’s the note the album was destined to end on, giving us hope for light at the end of our sorrows.
Keep up with Ultan Conlon here.
