by ImperfectFifth | Nov 8, 2017 | 5 to 7
On December 1st, the debut full-length from
Sunset Neon – the nostalgia pop music project from multi-genre musician and producer Bret Autrey – will be released. His intention with this project was to hone in on 80’s inspired pop sound, a far cry from his work as Blue Stahli. In honor of the release of his new lyric video for “You Are The Sun” – which makes us wish it were about to be summer instead of winter – we spent a few minutes with the artist to get the low down on his process and the eighties.
What is the first song or album you ever remember hearing, and who introduced it to you?
There’s two that stick out. Once was the small window of time that my mom had a record player and would put the soundtrack to Top Gun on. I’d get so amped up on stuff like Dangerzone, I’d just bounce around the entire living room. The other was visiting family on a farm in Oregon and I was running around in a Max Headroom mask. My cousin had just started driving, so she would drive me into town and play Front 242 extremely loud. I’ve been in love with drum machines, synths and samplers ever since.
Was there a moment that it struck you and you realized you were going to pursue music, or did it kind of slowly evolve?
This is really the only thing I know how to do. I’m just lucky enough that I can make a living doing it. The first recording I ever made was when I got ahold of a tape player and blank tape and recorded myself humming the theme to the A-Team. We had a piano in the house that was saved from being taken to the dump by some church. I would plink around and work out melodies on that beat up old thing. Later on I discovered programming music and sequencing chopped up one-shot samples in DOS in the glorious mono 8bit of Scream Tracker. After getting better sound quality in Impulse Tracker I started sampling that old piano, and loading in synth loops I sequenced on a Roland keyboard to warp and twist in weird ways. I absolutely lived for the times I could be messing with programming music in hexadecimal in a DOS tracker or chopping out atmospheres and sound FX recorded in from VHS movies. It’s what I lived for then, and what I have to do now.
Historically, you’ve been a rock musician. When you chose to go into this 80s music project, did you already have an idea for what you were doing or did it kind of develop organically?
With my main project, Blue Stahli, I genre-hop all the way from upbeat funky breakbeat stuff to purely electronic sound design to riff-heavy electronic rock. While doing all this genre-flailing, I would kick out a few nu disco-esque tracks or start leaning towards a more indie pop type of sound. Once the itch for this started lining up even more, it became clear that a lot of these tracks that didn’t really have a home before could all exist under a dedicated project for exploring all the more colorful lo-fi 80s influenced stuff. So I’d say it all reached a point where Sunset Neon *had* to exist.
You were quoted saying “I’m freakishly excited to create some weirdo VHS music.” Could you elaborate on what “weirdo VHS music” is, at least in your opinion?
Some of my favorite things are lost movies or straight to video fare on VHS. The memories of a room lit only by the small screen (in this case, I was watching everything on one of those small portable TV’s hooked up to a clunker of a VCR), and the feeling of the synth scores and lesser known songs that would accompany some of these movies just washed over me. I see the “weirdo VHS music” as Sunset Neonbeing part of the soundtrack to a strange forgotten VHS from 1986 who’s music you love so much you record it to cassette and listen to it until the tape snaps. You’ll hear bits of these songs warp and glitch, sometimes like you’re hearing the process of them being sampled from VHS to an old sampler while the power is flickering.
How was the writing/production process different this time around, creating this “weirdo VHS music?”
This was really all about going back to my roots with tracker music. So just destroying the audio and one shot synth sounds (some of which were made by stacking single cycle waveforms on top of each other and getting all wonky with the layers and filters) and exploring warping stuff with the effects you have to enter in hexadecimal and revel in the fact that all those little bits of information are coming together to form a beat that makes you want to move and evokes emotions. It’s a more stripped down approach, while somehow also being a bit more complicated in other ways.
Everything we’ve heard from your debut album feels like it could be used in a kitchy 80s “throwback” movie (a la Hot Rod) or a fun musical. If you could create anything with this music, what would it be and who would you collaborate with?
Oh hell yes, that is absolutely the intent. It *should* feel like a pure fun jolt of video haze from a guilty pleasure movie you’ve seen 87 times. I would love for this to show up in a movie or tv show (even something animated!) built on the same love for that glow. Stranger Things, Ready Player One, anything that is fully in love with this atmosphere. I have a feeling there are some astounding people who will be creating in this realm that we still have yet to see, and I can’t wait for all of it.
If you could be any character in an 80s movie, who would you choose and why?
A cross between Wolff from Spacehunter: Adventures in the Forbidden Zone for the way he always seemed to know what to do, and Fletch or Axel Foley for always having the perfect string of jokes to accompany getting out of situations in the most hilariously badass way possible.
What are you most looking forward to about this release?
I’m really just excited for this to be out there and connect with people. I do this because I adore it and try to create songs that have an atmosphere you can get lost in, so I hope that these songs serve their emotional purpose for someone out there whether they’re connecting with the more dance-oriented fun material, or the dreamy lo-fi love songs.
___
Starlight is available for preorder
now. Keep up with Sunset Neon
here.
by ImperfectFifth | Oct 27, 2017 | soundtrack
After playing a few acoustic shows over the past week, we decided to put together an acoustic style playlist for everyone. We as a band have a pretty big range of artists we follow. So there’s a little variety going on, but ultimately stripped down songs all kind of connect with each other regardless of the genre. We enjoy when artists do a different take on their own original song, broken down to get a different feel.
We ourselves also enjoy doing this with our songs, because it’s just another way to be creative and give another angle to the emotions of a song. On this mini tour we just went on, we had to recreate our full band songs to fit on the acoustic stage and it was a great experience to hear what our songs are capable of. Hope you enjoy our playlist!
You can get your ears on the quintet’s latest single “Apogee” right now!
Keep up with alternative indie collective The Racer here.
**words by the band
by Meredith Schneider | Oct 25, 2017 | wolf tracks
Detroit-based pop duo JR JR – Joshua Epstein and Daniel Zott – have been releasing their first music since 2015’s self-titled full-length. Though they do hone their sound in the pop genre, their last three tracks have been noted as darker lyrically, garnering them a host of attention. We’re most ecstatic about the latest single, a track titled “Control (Secretly Sorry)”, which was released earlier this month. Influenced by the emotions directly following the last Presidential election, a warning message is delivered amidst the upbeat, dance music vibe emitted by the instrumentals. But if you look past the reverb and into the lyrics, you might find that “Control” becomes your next favorite track.
Says Josh about the track:
“Control” was written on November 10th (2 days after the election) at the Masonic Temple in Detroit, Mi. I woke up late and was driving in our van–which has no radio anymore. Suddenly the melody and the lyric was in my head, “careful of who you let control the people that you know oh oh oh”.
I raced upstairs to sing it for the guys, and found that they were starting to write a song around a riff that Bryan Pope was playing on guitar.
Somehow, the song they were playing was the exact same tempo and key as the lyrics and melody that I was singing. It’s like we were all writing the song serendipitously in separate locations at the same time. It came fast, and to this day feels like a song that we didn’t write–it wrote itself through us.
Keep up with JR JR here.
by Meredith Schneider | Oct 24, 2017 | wolf tracks
Nashville-based folk/Americana singer/songwriter Faith Evans Ruch released her latest – a ten track album titled Lessons in Falling – on October 13th. Her first release since 2014’s After It’s Said & Done, Ruch has chosen to incorporate more genres of music in her writing and sound, drawing influence from soul to pop to r&b and beyond. There are clear roots with the songwriting, as every song has a lot to do with love. But it’s the vulnerability in her vocals, the way she can really reach and make you feel with every note, that is of actual note in this new release.
“I’m Yours” starts the album off with a bang, as we experience a real nod to Elvis in the crooning vocals. Though she visits similar notes throughout the album, this one feels the most like it was produced by The King himself. And while “Beg for Mercy” easily could have gone that way with the title, it serves as the quintessential mid-tempo blues track. “Sugar” takes on a different type of nostalgic flare, and quite frankly we could see it placed in a remake of Grease. And “Sunny Side” takes on an even more diverse direction, as we melt into a modern spin on a 70s funk feel.
“This Cold” is the first real slow jam on Lessons in Falling, questioning the length of time she has been “wandering in this cold”, begging the question of love’s existence. Quickly, however, the tone changes with “Stupid Boy” and the subtle vocal quirks she incorporates to hook the audience into this one. The use of a choir-like backup vocals makes this one feel more robust amidst its pop-influenced sound. “Blood From a Stone” takes yet another different approach, the tempo changing a couple of times while Ruch threatens the man that tries to lie to her and “play it cool”, as she explains that she is “nobody’s fool”. We’re not ones to cross her after this track, that’s for sure.
But there are still three more tracks to delve into, and while “Rock Me Slow” is clearly the second slow track, it might place her on a different level of vulnerability as she leads us through a lonely narrative of sleeping alone and all of the tumultuous emotions that love or the lack thereof can burden a human with. We expect a lot from a song with the title “Bang Bang”, and we are pleasantly surprised with the final product. It feels like a song that came right out of the Kill Bill soundtrack, and you’ll understand what we mean from the first line to the very last chords. She rounds out her work with the aptly titled “Thank You”, which slowly careens through robust, soulful instrumentals toward her overall message of closure. Bittersweet, as now we have to wait to see the next step in Ruch’s musical progression.
Lessons in Falling is available now. Keep up with Faith Evans Ruch here.
by Meredith Schneider | Oct 12, 2017 | 5 to 7
Los Angeles-based indie pop duo (and real life couple) KiSMiT – Carly Barnette and Basti Reunert – has been blowing minds with their latest release, a 70s-inspired track titled “Cosmic Love”. So you know “we struck gold” with the music video for the track, which also plays off the nostalgic nature of the song. Carly and Basti spend the majority of the video making eyes at each other, frolicking in the desert in vintage-inspired outfits, layered in with shots of the two playing the song as if on a variety show. But whether they’re covered in glitter and seemingly glowing, transposed over images of the universe, or dancing around outside, these two are encouraging positive, fun, adventurous love with this video.
We were in such a good mood after watching the video that we decided to ask the duo a couple of questions about it all. So check out the video below, and then learn more about your new favorite power couple!
What is the first song or album you ever remember hearing, and who introduced it to you?
Carly: Definitely Jewel’s ‘Pieces of You’ – I knew all the words at 5 years old. My mom (going through a divorce at the time – shocker there!) had it on repeat in the car growing up. Something about her raw emotions just touched my little baby soul – #everydayangel (her super fan hashtag in case you didn’t know) ’til I croak. The album followed me throughout my life – first concert, first one I played at the piano – I look forward to the day I can look her in the eyes and thank her for her imprint on my life.
Baz: First album or song ever is a tough one to remember. The first song that I remember really catching me is ‘Hotel California’. It is a saga of a song not to mention the EPICALLY MELODIC GUITAR SOLOS!! My great uncle Freddy showed it to me on our drive from Palmdale to Santa Barbara, which, at 8 years old, was an epic journey of its own.
Your new video for “Cosmic Love” is so fun, and it has such a beautiful warmth to it! Where did the concept come from, and what was filming like?
Carly: Thank you! We had so much damn fun making it – I’m thrilled that that comes through. It’s our first music video so it was a labor of love from start to finish. I’ve always dreamed of doing a music video and to have been able to make it happen with some of my favorite people was just beyond magical. I had the idea for the lyric “we wax and we wane – I just want more of the same” and thought of us sleeping – how we might start spooning but then roll over onto our backs or snuggle the other way and it fascinated me from a birds eye view that it mirrors the moon cycle.
As “Cosmic Love” came to life musically that idea always lingered at the back of my mind. All of the music video brainstorming happened with Alex Cantatore (www.quickactcasual.com), our director / dear friend / upstairs neighbor at the time. We would lounge around in our apartments or chill out in the backyard and shoot ideas across at one another. Nothing was too big or crazy or extravagant and that was exhilarating!
Baz: Having alien-planet-looking parts of California (Mono Lake, Red Rock Canyon, Death Valley) as such a blessing for our outer space ambitions on a shoe-string budget.
Carly: Two worlds started to form: Our “SuperStar-Selves” (the best parts of our love: sexy, confident, fabulous); & Pleasant-ville meets desert – Desertville (the day-to-day, mundane and less flattering but very real flip side to a loving relationship). This first music video presented an opportunity to share another side of us. We wanted to be as honest as possible with the partnership we are putting on display – it’s magic and muddy all wrapped up into a a beautiful mess.
What inspired the track itself, if we might ask?
Baz: Sonically, it comes about from a mixture of sounds inspired by Allen Stone’s Freedom (Alternate Version), Andra Day’s Mistakes and Daft Punk’s Get Lucky. (Pharrell, if you’re reading this, you better not come after our money! We didn’t steal your song!) Lyrically, ‘Cosmic Love’ is derived from us wanting to remember that the day-to-day of loving and working together has many twists and turns, warm and cold moments and all of it is part of the ride.
Carly: We wanted to make something that was bursting with love and vitality from the first beat, that, most importantly, made me move. If my booty is shaking, there’s definitely a smile on my face and that was important with this new direction of our music.
How do you imagine people listening to this track? (In an armchair, surrounded by flowers in a meadow? In an airplane with cotton candy clouds? Sitting at a BBQ? You can get creative here if you want!)
Baz: I picture people who are on the move listening to the song: in their car, getting ready to go out, exercising.
Carly: Such a fun question – I hope people are listening to it while they are making dinner – bottle of wine open, dancing in the kitchen -that sort of vibe. Also, before you’re going out – a social, pump-up vibe would make me reaaaaally excited. I know my grammy listens to it on repeat while she drives – so in the car for sure (#sola) okay okay subway too!!!
Any pet peeves or interesting stories you’d like to shed light on about each other? (We want all your secrets!)
Carly: Oh DANG – first time we’ve been asked to spill the dirt! After 5 years of living and loving together, I think I can divulge just one…. homeboy sleeps with earplugs (such sensitive angel earbuds) and when I wake up in the morning, they are always near me, around me, on me, without fail like stickers on my body – really haven’t vented about this, thanks for letting me get it out. Baz, you’ve got to work on that situation. But, if that’s the top of the list of annoyances, I would say,”Hell yeah! I’m a lucky gal.” Interesting story about Baz, that his modest South African self would never share and one that continually blows my mind, is that he picked up the guitar with serious interest and investment at 16. Like whaaaaaaat!?! I am so inspired by his dedication to his passion. He is always down in the studio in soft pants slapping da bass or producing or findling on the guitar and that is something I admire so much!
Baz: Well, I’m beaten for age by Carly’s flawless performance as Annie, with a 101 degree fever, at age 9. Her gran sent us the DVD of the performance and the sparkle has always been there. (Car, while you are sleeping tonight I will be sure to rest the earbuds on your eyelids.)
What’s your opinion on the modern music industry?
Baz: It is constantly evolving, especially how people are digesting music. The ability that everyone has to get their music heard and to find their audience is unprecedented. The niche markets are able support more indie artists than ever before. The major challenge is, of course, in that music streaming has greatly halted the flow of money to the artists, but when there is change in the weather, you best adapt and get on with it, the world isn’t going to stop for you. Again I’ll say, the major pro of the modern day music industry is how easy it is to connect with people of similar taste around the world.
Carly: Yeah, I will second the positive wind in our sails. It’s daunting to be investing in a career where the return isn’t guaranteed. So much of the conversation is the same “no money in music”, which I understand that that’s the truth but my mom started her own business when she was pregnant with me (talk about inspiration) and has always preached that when you are doing what you are meant to be doing, support always comes, I really believe that. I think in a lot of way it’s a super empowering time to be in this industry – no more waiting around for someone to find you or holding your breath for luck. Do the work, get your music & content as proud of it as you possibly can be, get it out there and what is meant to be will be.
However black & white as the social media “highlights reel” may seem sometimes – I think we are also getting to a point where if you are fake, it comes through. As an artist, there’s no hiding behind an image because daily you are sharing what you ate for breakfast, how you feel, who and what you support. It’s overwhelming and I need to unplug on the regular but I don’t think we even know what we are living through yet!
On an emotional level – our country, world, humankind is hurting right now, every day we put on our armor to the outside world that feels like it’s falling apart and to be contributing music as a soundtrack through these scary times, is something I am so grateful for.
Anything else you’d like to add?
We have a new single ‘Panther’ coming out later this month – the second release off of our upcoming EP coming out next February as well as an upcoming show at Harvard & Stone in Los Angeles on November 21st at 10pm. Thanks so much for taking the time & interest to share our story!
___
Keep your eyes peeled for “Panther” and updates on KiSMiT here.
by Meredith Schneider | Oct 11, 2017 | wolf tracks
On Friday, October 13th, Columbus-based rock and roll musician Lydia Loveless will be releasing her new album Boy Crazy and Single(s) alongside her band members Todd May, Benjamin Lamb, Jay Gasper, and George Hondroulis. As with her 2010, 2011, 2014, and 2016 releases, Lydia captivates her audience and takes them on a journey with her writing, something that isn’t always a feasible task. Boy Crazy and Single(s) is mostly one-track in its subject matter, and it also exhibits a more folk-influenced facet to Lydia’s writing that we haven’t necessarily seen – or at least noticed – before.
Rough guitar, a solid drum beat, and we’re off. Lydia’s nabbed a country feel for her first track “All I Know”, beginning in a place where she questions how she got to this place in her life, and then leading us through a narrative where she admits she might not know what could happen, but she is very aware that she will see this person – this significant lover or love interest – again. Her intuition leads her right through the first track into “All The Time”, which picks up the pace slightly but has more of a melancholic feel to the lyrics, a more bluesy feel to the song overall. Third track “Lover’s Spat” has a 90’s alternative feel to the instrumentals, carrying at a quick clip that directly contrasts with its follow up, an all-too-relatable track called “Boy Crazy” that builds from a darker place with the instrumentals into one of the more dance-worthy tracks from this release.
“The Water” feels like pure country from the very beginning, waning guitar and soulful vocals dipping you into a suffocating world where you’re being ripped from your significant other repeatedly. “Mile High” brings the pace back up, allowing Loveless to talk/sing the majority of the lyrics in a cheeky way. “Blind” is another heart-wrenching track, Loveless singing to a past lover about letting go and allowing them to wallow in regret. With lyrics like “I’m sick and tired of the mess you made” and “you’ll miss me til the day you die,” “Blind” is the ultimate “fuck you” to the person who didn’t handle your love with the care and appreciation it deserved.
In pretty direct opposition to its predecessor, “Come Over” is a track about the push and pull you feel in the wake of a relationship, when part of you wants to work things out. “Falling Out Of Love”, however, isn’t tip-toeing around the feeling of loss in the relationship. Almost as though she wants to show every facet of heartbreak, Loveless has taken the perspective of being torn up about the relationship, not struggling for one moment with how she feels like she had in “Come Over”. “I Would Die 4 U” further proves the theory that she might want to cover all her bases, because breakups aren’t as clean as many musicians would have you believe. While Joe Blow is over here writing 12 concise tracks about being better alone and Tawny Gift is over here playing the victim, Loveless’ work goes through all of the major emotions and thought patterns that a person can truly go through in this situation, making it exponentially more relatable. Loveless rounds the work out with a beautiful, steady love ballad, more stripped down than the rest of the work.
Luckily, the speed with which music can be produced these days allows many bands and musical acts to blend genres seamlessly. Even so, it’s difficult for a known act to swap to a whole different genre in the midst of their career, and is still looked at as an adrenaline-inducing, often not ideal, move. The fact that Loveless can do something like this on her fifth full-length release – and do so successfully – shows that she isn’t afraid of anything in her art. After all, you never know who will blow you out of “The Water”.
Boy Crazy and Single(s) is out October 13th. Keep up with Lydia Loveless here.
