by Meredith Schneider | Oct 4, 2017 | wolf tracks
Swedish songwriter Alice Boman recently released a limited edition 7″ of her single “Dreams”. Boman’s first release in three years, the physical copy is comprised of “Dreams” on one side, and an instrumental version of the single unavailable anywhere else on the B side.
“Dreams” lightly dances along, with melancholic lyrics and an almost eerie undertone to the vocals. Poignant in its disposition, Boman’s lyrics beg the question “Where do dreams begin?” repeatedly, opening up space for its listener to ponder. Admits Boman of the track:
I wrote “Dreams” more than 2 years ago and I can’t recall exactly what was in my mind at the time. But I do remember being in the studio later on recording the song. I had just gotten a disappointing text message and I was sad and upset, and then I had to record vocals. And I remember that it hit me, when singing the song, that although I wrote it at another time it captured just how I felt in that moment too. And it comforted me somehow, that that’s how it is. Everything is constantly changing. But some things always feels the same. Heartache is never easy. And in those moments it’s important to find something to hold on to. To keep on dreaming.
Alice Boman Live Dates:
10.11.17 – Stockholm, SE @ Pygméteatern (sold-out)
02.28.18 – London, UK @ St Pancras Old Church
by Meredith Schneider | Sep 26, 2017 | wolf tracks
On Friday, self-proclaimed “unruly vaudeville” band EGRESS – expertly comprised of “Tyrant” Taylor (Vocals, Accordion, Cello), “Saddle” Sarah (Vocals, Piano, Violin), John” Toobie Doo” Wentz (Tuba, Vocals), Jaclyn “the” Kidd (Guitar, 6 String Banjo), Joe “BONE” Lynch (Trombone, Backup Vocals), “Easy” Chet Sullivan (Trumpet, Backup Vocals), and Nick Pecca (Drums) – released their 13 track, frills-packed full-length Onward! Up A Frightening Creek. From the very beginning of “VooDoo”, there is a sense of that this band should have come from the south, as their sound is much more theatrical New Orleans than anything we’d expect from their hometown of Bethlehem, PA. But that is the quirky beauty in what they’re doing, and we’re so on board.
Second track “Whiskey on My Grave” has almost a dreamlike quality to it, which makes sense as this is the most anyone could hope for in the afterlife, if we do say so ourselves. The tempo drops slightly for “Cinematic Savior”, though the vocals feel more soulful in comparison to the punk-tinged vocals of its predecessor. “Mark Of The Beast” is resplendent in its texture, really bringing an otherworldly gypsy feel to the album. “Chopped Down” brings us back to a slightly more folk sound, though we know we’re in for more intense genre swaps before the end of Onward! Up A Frightening Creek.
“See No Evil” meanders along, the raspy vocals simply instructing us to “kill our enemies” as casually as possible, amongst other fun lines. (But no ill will, right guys?) “Rollin'” has a smoother, big band backdrop, and we can imagine a can can line and the beautiful frenzy of skirts as the track speeds up and brings us to a more anxious sound space. (And commentary on the repetitiveness of history.) Eighth track “Ode To Bukowski’s Women” is up there with “Whiskey On My Grave” as one of our favorite titles, and EGRESS swaps between the vintage tinge of their phenomenal female vocalist and a deep, almost sinister male vocalist. It makes for one of the more unique tracks we have heard as of late, and we’re intrigued to see the response to this one in particular.
“Nelly Mae” picks up the tempo, a track we can envision an entire park full of people frantically dancing to. “All We Have, We Give To You” has the most self-sacrificing title of the bunch, and we don’t disagree as the intensity of the instrumentals is proof itself. The lyrics are honest, as they sing about sleep habits, drinking, and having three heads. (Normal things, ya know?) “Southbound” and its accompanying intro clearly belong in a touring musical, and we’re slightly disappointed they aren’t yet.
Although, if we’re being honest, the majority of this work belongs in its own stage production. (So do you want to get on that, EGRESS?)
The band rounds out Onward! Up A Frightening Creek with “Going Home (Again)”, an anthem-type of track that is upbeat and details an intense journey home. But the nifty part of it is that they’ve decisively woven some very interesting social commentary into the words – though that’s hardly a surprise at this point – and have captivated their listeners with standout lines like “Bowie took our friends in his spaceship to sit this one out/They’re looking down on earth and convinced that it’s always been round.” It’s sincerely the best way we could think to round out the new release. (And if you don’t think you’ve had enough of that track, check out the music video here.)
Onward! Up A Frightening Creek is out now. Keep up with EGRESS every day right here.
by Meredith Schneider | Sep 22, 2017 | wolf tracks
Experimental electronic musician Keith Rich operates under the moniker MemCave (when he’s not busy rockin’ out with his band Druids). In August, he released his solo album on local Kansas City label Intelligent Sound, and has been busy entertaining the midwest with show after show, adding his blissful sound to the summer heat.
How Beautiful To Be takes you on a journey through whirring, 80s tinged soundscapes, through tense sounding tempo changes, and into a world of mystery and magic, to be honest. From the beginning of “Pink Sky (ft. White Flashes)”, you can feel an almost enchantment to the music. “Ex” brings us into easy listening/lounge music territory, and “Fantasy Peel” picks up the pace and brings you into an almost alien soundscape for a line or two.
By the time you reach fourth track “Sukeban”, you realize you could play the music MemCave has created behind almost any scenario, and it would only enhance the world around you. Tense in places, his tracks have a smoothness to them that almost reassures you that these songs could be played both in a yoga studio and at a rave simultaneously. Luckily – with its predecessors – you don’t spend one moment thinking “Better Days” will be any type of Sublime remake (Though we wouldn’t hate on it, Think on it, k?), the crispness that almost bounces off the track is almost refreshing. “Glass Belgium” continues at a similar pace, keeping tempo up enough to make you want to dance out of your chair. (Yes, I know. And the chair I have been sitting in is damn comfy.) “Monya” brings a bit of a different – shall we say “adult” – sound with it, playing with quirky sound effects and maintaining a rhythm that just sticks with you.
While “Glaring” hits with staccato sound effects and notes, “Above Water” takes on more dissonant sounds and dramatic, long notes. “School Gloss” rounds the album out with a jazzy, almost offbeat, feel. You can certainly detect – and appreciate – the dubstep influence in the track, but there is a point in the song when you just realize you want to hear more.
(Hey, MemCave, did you hear that?)
How Beautiful To Be is available now. Keep up with MemCave here.
by Ian Schneider | Sep 19, 2017 | wolf tracks
In The Valley Below are a socially conscious duo that are on the forefront of raising awareness of important issues through their music. Consisting of married couple Jeffrey Jacob and Angela Gail, the indie rock infused dream pop sound created by In The Valley Below is aesthetically pleasing on all levels. They have a new project coming out (today!) called The Elephant EP, and it is both socially aware and sonically satisfying.
“Bloodhands (Oh My Fever)” is the first – and one of the most impactful songs – on the five song EP. It was inspired by the Michael Brown shooting in Ferguson, MO and racial tensions between people and the police. Second track “Pink Chateau” brings with it lighter instrumentals and more of a springtime vibe, as it begs you to “slow down” and “simmer down” which aren’t bad bits of advice, if we’re being honest. “Hold On Tight” has more of a whirring, pop sound and then breaks down into some insane old school guitar solos to really throw you off guard.
But we’ve come to expect the unexpected from In The Valley Below, as they blend so many genres and weave show stopping tempo and key changes that should throw you for a loop, but really make their tracks that much more intriguing. The same can be said for fourth track “Break Even”, which has such intricate percussion parts that it completely changes what we had begun to think was the established vibe of the EP. Fifth and final track “Elephant” is the standout ballad, slowing the tempo to a crawl and really allowing you to revel in the lush, vibey vocals.
With so much going wrong in the world today, there are a plethora of songs inspired by the darker side of life. The uniqueness of In the Valley Below is that they do not phone in the music or the message when they create their art. They believe that in order to have the most effect, they must reach the largest audience with genuinely good music, and it shows. This EP comes from a authentic mindset, raising awareness for important issues, and it doesn’t hurt that the songs are great to listen to.
For more information about In The Valley Below, you can visit their website at inthevalleybelow.com.
by Elizabeth Schneider | Sep 12, 2017 | wolf tracks
The notorious rock collective Kings of Leon dropped their new album Walls last fall. Being a massive fan of the band myself, I needed help getting more objective opinions on the piece. So, in the dimly lit dining room of my parents’ house after a dinner of fried chicken, my immediate family (and grandmother) sat down to add our two cents about the work. (This is one of my favorite posts from my Impose days.)
The first track of the album, “Waste a Moment”, allows swirling guitar to bring in a good little melody. It’s the uptempo single you may have heard on the radio, lending itself to the typical sound Kings of Leon is known for. But after that first track, the band seems to have attempted to deviate from their norm, nabbing bits and pieces from different genres to make the album into a diverse, warm body of tracks to feast your ears on. For example, when second track “Reverend” begins, you immediately notice the vintage 70’s feel to the keys, a mid-tempo track that starts slower as lead singer Caleb Followill reaches for octaves we didn’t realize were in his range, providing a hazy, more ethereal sound to his vocals during entire stretches of the song.
While “Around the World” may begin with a lightweight guitar riff, there is a solo that is borderline earth shattering awaiting your ears. It definitely makes us want to pack our bags and escape to a place unknown. “Find Me” comes in deeper, and gets straight to the point. 44 seconds in, Caleb starts to sing and the song loses some of its momentum by reducing the instrumentals for his vocals. The song gives off the impression that he is singing while he’s driving a car, and the momentum picks back up during the chorus. “Over” has a darker feel to it with the deep, consistent guitar riff. Sounds like The Killersblended with some David Bowie, something my entire family picked up on. (I will note that my grandma claimed it had a Phantom of the Opera feel to it.) We all agreed that Caleb’s vocals sound blatantly different on this track, although no less beautiful.
The song “Muchacho” proves the notion that when you add castanets to a song, it automatically becomes more vibey. Slightly reminiscent of some of our favorite R.E.M. tracks, Caleb’s voice is delivered at an even deeper range, if that’s possible. It’s slower, with a very tropical disposition and a tempo that reminds us of Bruce Springsteen‘s “Brilliant Disguise”. (Which was a brilliant move on their part.) Percussion leads in to “Conversation Piece” slowly, with lyrics like “take me back to california, to those crystal neon signs” allowing the listener to reminisce on days past. The song is low key, like the majority of the album, and could easily be played in the background of a back road drive with your significant other during the autumn months.
“Eyes On You” brings the tempo back up, the instrumentals noticeably reminiscent of some of our favorite Weezer tracks. The song deviates to a punk spectrum, although the way the melody is composed is actually very beautiful and works perfectly with Caleb’s scratchy bravado. “Wild” brings the album back to a warmer instrumental composition, and we’re led to a place of relaxation. The album rounds out with its title track, which sets in at a glacial – but incredible gorgeous – pace. Simple instrumentals allow the vocals to be highlighted moreso than its predecessors. Lyrics like “I can’t get there on my own / You can’t leave me here alone / I’m just trying to do what’s right / A man ain’t a man unless he’s fought the fight” make this a very introspective and personal piece. It’s a delicate way to end the album, and slows your heart rate down immensely. “Walls” can be summed up as an existential piece that leaves you questioning life, love, and your own pursuit of happiness.
As you may have noted, our evening included quite the roundtable discussion. As fleeting as it was, we all maintained the opinion that the album is experimentation at its finest.
Walls is available now.
**This review was written with the help of:
Elizabeth & Stephen Schneider
Patricia Streng
Erin & Tim Zimmerman
by Meredith Schneider | Sep 11, 2017 | wolf tracks
For those of you living under a rock, America’s favorite groove/soul/genre-blending indie collective Portugal. The Man put out a stunning release with their album Woodstock earlier this year, from which their well received single “Feel It Still” comes to their admiring public. With all of the madness surrounding the release, Bonnaroo Music & Arts Festival was actually able to play host as a platform for the new album, as they performed there and even a small album listening party congregated in the hot hot heat of the weekend. Now Woodstock is available to the general public, and we definitely have some thoughts.
Like the lead track “Number One”, which features Richie Havens and Son Little. Beginning with a bit of b-roll white noise with a crowd talking, the track actually sets up with a hard beat and more of an 80’s soulful groove. Second track “Easy Tiger” actually explodes with synth – but in a contemporary pop way – before the sound kind of shatters into a crackling, frantic song with its layers of sound effects and high energy. Third track “Live In The Moment” is driven by its percussion, framing personal anecdotes in its lyrics. It’s definitely the anthemic type of song, providing an energy that encourages pursuing your dreams. It almost feels like you can’t get better than that, as your ears are enveloped in this positive, fun sound. And then, of course, they one up it all with “Feel It Still”, which we FEEL doesn’t necessitate an explanation. Just wow.
The rough guitar that brings “Rich Friends” into the fold really provides an edge the album hasn’t previously explored. References to “wonderwall” and lines like “livin’ life like we’re the only ones that know we’re famous” provide a commentary on living life like a rockstar. “Keep On” is an upbeat track, but its lyrics further confirm the struggle between persistence for the sake of it to maintain momentum and acting out of actual passion. “So Young” takes on a different feel than its predecessors, a moderate tempo track that really exudes a matter-of-fact, sit back and relax vibe. (Something Portugal. The Man isn’t averse to doing, thankfully. These tracks are smooth like butter and – in our opinion – standouts in their previous work as well.)
Eighth track “Mr Lonely” (ft. Fat Lip) maintains a similar tempo and instrumental vibe to “So Young”, though they continue in a similar vein to prior social commentary tracks, with lyrics like “There’s glitter falling/and a banner that says/Welcome to Hell/Make yourself at home/Leave behind free will/Can you feel me now?” Haunting and conversation-inducing, this is the outstanding beauty that Portugal. The Man is known for.
But they’re not done yet.
“Tidal Wave”‘s composition screams “SUMMER!”, especially with the vision of a wave in your mind. But it’s so much more than that if you delve into the lyrics, really focusing more on “the aftershock,” highlighting that “the rest of you’s born to lose… worst of you’d born to lose/Bet on the winners,” which comes right back around to societal expectations. (But we’re always betting on this band, if anyone’s wondering.) They round it all out expertly with tenth track “Noise Pollution” (ft. Mary Elizabeth Winstead and Zoe Manville), a song that echoes the title’s sentiment. Layers of instrumentals create this frenzied feeling, but somehow it all blends perfectly into this sound that perfectly defines what the band is all about.: the energy, the social awareness, the experience.
Woodstock is available now. Run, don’t walk. (Or speed type your CC into that order form!)
**Originally posted to Impose.
