by Meredith Schneider | Jan 28, 2019 | albums, review
On Friday, acid rock trio Protovulcan – comprised of Deric Criss, Will MacLean, and Nick Ammerman – released a new 8-track EP titled The Split. From the very first chaotic chords of “Pine for You”, the listener is drenched in this gorgeous, layered rock n’ roll sound that stands out among the rest. Though Protovulcan’s songs are void of human vocals, we are provided muffled robotic ones, along with a heightened sense that the past and future met on this work of art. While “The Force Remains the Same” is a party song instrumentally, “Snake Legend” has a sound that seems to layer into itself, a kaleidoscope perhaps less so in any type of vintage origin, and more so in its progression. The texture alone is something to write home about, and this is one of our favorite tracks on the release.
“Waking Up Dinosaurs” lands itself in that psychedelic area that we assumed its predecessor would take us to, a bit belated but equally as impressive. “Purple Sky” is, in reality, a glittering, chaotic cacophony of sound for the most part. By the time “Celestial Slingshot” hits, the robotic vocals are so prominent that they lead the track, sounding like a clash between an electronic keyboard and a accordion. The Oscillator Bug Remix of the same adds more lightweight instrumentals into the soundscape, bringing it to an even higher ethereal level than the original. We’re especially smitten with the way they placed the two tracks back-to-back, so a layman could identify the differences and insane progression from one into the next. By track eight, we are being dragged back into “Purple Sky”, though this badass track is an Odd Nosdam Remix, so there are ver important details that have been manipulated from the original, making it a standalone track on its own and the perfect way to round out the EP.
Keep up with Protovulcan here.
by Meredith Schneider | Jan 25, 2019 | albums, review
New York City’s favorite rock band Sunflower Bean – comprised ofJacob Faber (drums), Julia Cumming (vox/bass), and Nick Kivlen (vocals/guitar) – just released their latest EP – King Of The Dudes – and we’ve got some thoughts. (Yes, we understand the level of our claim, but try them on for size if you haven’t yet and you just might agree!) Starting with the title track, the EP introduces some pretty great guitar parts before the vocals are even introduced. As the song sets the tone to the EP with its badass edge, the fact that it serves as such strong social commentary is simply entrancing. “Come For Me” is no exception, and preceded the release of the EP with flying colors, attracting the attention of the music industry in an intense and fun way.
“Fear City” has more of a 90s rock feel to it instrumentally, a sunshine-y disposition to start. but delves into nooks and crannies of vocals that don’t necessarily reflect that positivity. And that’s OK, because this band has somehow mastered a heightened use of distraction with their soundscapes, intricate and beautiful in their existence. Of course, Sunflower Bean pulls off a vintage flare with last track “The Big One”, leaving us all tapping our toes and feeling like we can take on the world.
Keep up with Sunflower Bean here.
by Meredith Schneider | Jan 22, 2019 | albums, review
KONGOS ‘ groovy appeal is almost enigmatic. Their fun melodies and the band’s chemistry might stem from the fact that the four-piece is comprised of brothers Johnny, Jesse, Dylan, and Danny Kongos. Now based in Arizona, the band released their latest full-length – a 10-track project titled 1929, Pt. 1 – on January 18th. “Something New” speaks of things we can all relate to, whether political, music-wise (And if you are, this new album hits that spot!), or in our relationships. With a percussion-led instrumental section, “I Am Not Me” is a self-reflective song, infused with a fun beach feel, despite its melancholic lyrics. While “Stand Up” has more of an ethereal soundscape, “Pay for the Weekend” reeks of rock n’ roll.
“Wild Hearts” slows it all down quite a bit, simplifying the landscape for us and injecting every line with the deepest intention of emotion we’ve yet to be exposed to. Ever. While “Real Life” speeds the pace up a bit, “Keep Your Head” is the obvious party track of them all, working guitar licks in and around a pop-rock vibe we are 100% on board with. “Everything Must Go” goes into a very obvious U2 direction. A ballad, if you will. “When You’re Here” breaks it all down into an easy breezy soundscape – worthy of the warmest of weather – and the album is rounded out nicely with the robust, intense sounds of “4543”. Quirky enough to keep our ears perked, we’re probably going to be spinning this title for the remainder of the day.
Keep up with KONGOS here.
by Meredith Schneider | Jan 21, 2019 | albums, review
St. Petersburg-based trio Polyenso – comprised of Brennan Taulbee, Denny Agosto, and Alexander Schultz – recently released their new EP Year of the Dog, and we’ve got some thoughts. Beginning with a swirling, ethereal energy in “Neon Mirror”, the cacophony of sound these musicians create together is poetic in its existence, only further so with the addition of vocals woven throughout with an electricity that is undeniable. “Bastard” has a bit more of an experimental feel to it, but the percussion makes us want to dance down the street, essentially turning our walk into a musical number. That’s got to say something, doesn’t it?
“Happy” has a bit of a melancholic feel to its soundscape, further perpetuated by the lyrics. While “I Go You Go” definitely has the charm of a late night dance track, to be enjoyed in a sweaty underground somewhere in Manhattan, the instrumental versions of each track take us back through a host of emotions, living through the same pattern twice over the course of one EP. We’re pretty impressed, and know you will be too!
Keep up with Polyenso here.
by Meredith Schneider | Jan 18, 2019 | albums, review
Today, California songstress Alice Wallace released her highly-anticipated 11-track full-length, a beaut titled Into The Blue. Her fourth album, it is truly an exquisite collection of songs that evoke emotions over personal anecdotes, social issues, and the beauty of our natural surroundings, among other things. It’s a culmination of what we have come to know and love of Alice Wallace over the span of her career – the softness and vulnerability that we all feel at times, coupled with undeniable strength and intensity – and we’re absolutely smitten.
When the album starts with the line “What just happened?” during the lead track “The Lonely Talking”, we realize we’re in for a wild ride. After all, who else has had an adventure that’s started with those exact words? (Exactly.) Wallace’s emotional, deep, robust vocals carry us into “Santa Ana Winds”, an old western theme to it all. “Elephants” – perhaps one of our favorites on the album – is simplified instrumentally, more melodic as it addresses some very important social stigmas and issues. “The Blue” continues at the same slower, borderline meandering pace, as Wallace croons to us of “the mystery” of “The Blue”. “Desert Rose” does nothing to pick up the pace, but “charming” describes more than just a word in the lyrics. The guitar parts are magnificent, Latin-inspired instrumentals that serve as the perfect backdrop to such an emotional and specific story. “When She Cries” presents as more high energy, singing of rain”in the City of Angels,” a phenomenon we’ve all been privy to over the past week or so.
“Echo Canyon” is another favorite, simplified so Wallace’s vocals can take center stage, the exact emotional triggers placed perfectly, even without the aid of the instrumentals. Echoing a soulfulness only Wallace could evoke, the guitar parts are absolutely inspired. While “The Same Old Song” is pretty cut-and-dry blues in a very palpable way, “Motorcycle Ride” has a soundscape you will 0% predict by the title of the track. It’s sweet, mellifluous, and leads beautifully into ballad “Top of the World”. “For Califia” is the last track featured, instrumentals that we could easily see in an episode of The O.C. The lyrics are gorgeous, and it leaves an impact that only Wallace is capable of. Perhaps she really is the Queen of California.
Keep up with Alice Wallace here.
by Meredith Schneider | Jan 11, 2019 | albums, review
If you’re looking for some new tunes to keep you occupied on this beautiful, flurry-filled midwest day (we don’t care about your awesome weather everywhere else), then Angelo De Augustine has a new album titled Tomb you should really get your ears on. The title track starts us off, crawling us into the soundscape slowly but surely and with a palpable feeling of enchantment. “All to the Wind” and “You Needed Love, I Needed You” follow suit, with Angelo’s lightweight vocals really taking the forefront. “I Could Be Wrong” picks up the pace a bit, while “Tide” slows it down once again.
What we glean from this 12-track piece is that it really has been created in the same methodical, gorgeous and borderline-celestial soundscape that we have come to know from artists like Sufjan Stevens, whose producer Thomas Bartlett (Doveman) actually had a hand in this project. Angelo has graced us with poignant and beautiful lyricism, and a mellow tone to really jump start the new year with Tomb. We hope you enjoy it as much as we do!
Keep up with Angelo De Augustine here.
by Meredith Schneider | Jan 11, 2019 | albums, review
Today, Toronto indie pop four piece Tallies – comprised of Sarah Cogan, Dylan Frankland, Cian O’Neill, and Stephen Pitman – released their highly anticipated 11-track, self-titled stunner. We haven’t been this excited about new music Friday in quite a while, and we’re thrilled to have this album in our back pocket. From the very beginning of first track “Trouble”, there is a palpable energy that urges you to keep spinning. Second track “Mother” is a little more surf pop in its sound, while “Midnight” hits us with a more whimsical appeal. The vintage dance track beat to “Have You” makes the fourth song – slightly slower than its predecessors – something you might find in a 1980’s teen movie.
One will note – regardless of soundscape – that Cogan’s vocals are stand out, drenched in reverb and befitting of the “ethereal” label. While “Not So Proud” has the pace befitting of a leisurely stroll, her vocals absolutely soar, creating more of a ballad effect for the fifth track. “Trains and Snow” feels late 80’s, early 90’s-inspired, and is the first song in the offering that seems to enhance the instrumentals over the vocals. “Eden” carries the same pace, setting the stage perfectly for our hearts to thaw and grow from “three sizes too small” during “Beat the Heart”. (Seriously, this is our jam.) And while “Giving Up” has a slightly more melancholic feel to it, they end on a high note with both “Rocks” and “Easy Enough”, paving the way for more miracles to come!
Overall, Tallies in its entirety delivers a grandiose soundscape that could easily be found in a nostalgic and well-shot teenage romcom. It’s a gorgeous soundtrack to reminisce to, and we can’t wait to see this act on tour!
Keep up with Tallies here.
by Meredith Schneider | Jan 7, 2019 | albums, review
As you lean slowly into the gentle and mellifluous soundscape of Jane Willow‘s Onward Still, your mind starts to wander, and wonder what the inspiration for this work of art exactly was. From the first caress of vocals in “Onward Still”, to the last defining, harmonic moments of “Comfort”, this 6-track EP is nothing if not the perfectly watercolored canvas to hang over your blooming ideas and goals and adventures for 2019. “On My Mind” hits you with introspective and intense lyrics, sad strings to really rip into your heart’s deepest cavities. “Nobody Knows” has a strangely poignantly placed feeling of freedom to the delivery of the vocals, subtle yet defining nuances throughout.
“Hannah” brings the pace up, the Dublin-based artist’s most notably uplifting track to the work. “If I Did Love You” is quite the ballad, theatric and haunting in its presence. “Comfort” truly rounds the release out nicely, with a sound that makes you feel as though you’re basking in the glow of the sun on a patio somewhere amongst vineyards. This song itself evokes the title in an effortless and wonderful way, which seems to be the artist’s intention. We’ll be using this as our adult lullaby for a while, and we’re not even remotely ashamed.
Keep up with Jane Willow here.
by Meredith Schneider | Dec 28, 2018 | albums, review
As if the cover art weren’t enough to draw you in – HELLOOOOO Earle Rock Studios -, Holy White Hounds‘ sophomore full-length release is absolutely extraordinary. Blending in the signature “eff you” style that they established with 2016’s Sparkle, Sparkle, Say It With Your Mouth is an established alt-rock adventure, with high stakes energy from beginning to end. While first track “Thirsty” insists that “I’m not excited,” the intense lead-in would say otherwise, as “Lucid Kid” establishes an energy that we’re ready to bump from now into the summer months. “Perpetrator” feels like the perfect addition to “Guitar Hero,” catchy as all get out with a visual that will keep your mind reeling.
The quirky name of the project can be found in the lines of “No Teeth”, while “Big Heavy” boasts the perfect sound to be played during an NFL game. (Shameless plug.) While Dean struggles with his perspective in “Trifection”, the attitude continues – complete with a whole different level of percussion – in seventh track “Violence”. This one is a real banger, so make sure to allow plenty of space to move around when you press “play” on it.
Dave Keuning joins in on the fun with “What I Am”, and “Burnt Tongue” speeds things up even more than originally anticipated, guitar licks and a beat that doesn’t just pull you in, but drags you in by your shoelaces – or bootstraps, or whatever gets you going – and does not let go. The drums set the scene for “The Void”, coming in with bass that sets one of those “walking like a badass” vibes for the remainder of the track. (AKA add this to your life soundtrack and when you’ve got to raise that confidence, play it and strut your stuff!)
If you are really paying attention to the lyrics instead of just the mood the soundscape sets for you, you’ll notice a variety of emotions, stemming from personal anecdotes that have been woven throughout the work as a whole. Dean’s vocals drag more of that emotion out of us, highlighting moments of darkness and a questioning mentality while we all learn how to feel through it. “Tracy Free” is one of those introspective tracks that really entices you to think, though the title of its follow-up, “Aids Chimp”, kind of detracts from the weight of the words.
But that’s what we’ve come to respect and love about this band. They can sing about some dark, dark shit and keep this weightless feel to it all, and you can tell that they are a ton of fun live simply from listening to a few lines from Say It With Your Mouth, if you haven’t yet been graced by their live performance tactics. “New Blood” will further enforce the theatrical nature of the band, though they may be the last to admit it. With bits of comedy mixed in with self realization and that clear, gorgeous edge, we’re big fans of this album as a journey, and are stoked you get to hear it from beginning clear through “Thirsty Outro”.
Say It With Your Mouth is available now. Keep up with Holy White Hounds here.
