by Meredith Schneider | Nov 28, 2018 | 5 to 7
Chattanooga, TN-based power pop/garage band Mythical Motors – comprised of Matt Addison, Mike Brown, Brad Smith, & Johnny Wingo – might be gearing up for the release of their new album, but we were a bit impatient. So we caught up with Matt briefly to chat about what’s to come, the mystery of Bigfoot, and so much more! Check out the fun interview below!
What was your first musical memory, and do you think it has any bearing on who you are as an artist now?
Matt Addison: I’m not sure if has an impact on me now, but I have a memory of being around 4 years old, and running around and trying to make up songs. I think I had been watching The Muppets on TV, and I wanted to make up a song about the characters I had seen. I didn’t attempt to write a proper song, however, until 10 years later or so.
Do you think being from Tennessee has any bearing on your sound?
Matt: Probably not. In high school, I discovered indie bands like Guided By Voices, Sebadoh, Superchunk, Pavement, etc. There wasn’t a lot of awareness in Tennessee of those types of bands, so that just meant I had to dig a little deeper to discover new music.
You have such an interesting blend of influence in your sound. We honestly feel transferred back in time when we listen to your work. What made you choose to go in this direction with your music, as a team?
Matt: I think it occurs somewhat naturally when you’re a fan of a wide range of music. We’ve all been huge fans of rock music for many years, and we celebrate what Robert Pollard (of Guided By Voices) calls the 4 P’s of rock – pop, punk, prog, and psychedelic.
Elevated Levels was released last month. What made you choose to include 22 songs?
Matt: Our last album, The Life Stage, had 26 songs, so I had originally planned for the follow-up to be much shorter. But, I ended up with around 30 songs or so. So, I chose songs from that group that flowed well together, and it seemed to work.
What’s the most integral track on the album for each of you?
Johnny Wingo: “Exalt The Highway”
Brad Smith: “Endless Distance of Belief”
Mike Brown: “Endless Distance of Belief”
Matt: “One Seventh Of A Shadow.”
“Shape Shifting Nightmare Celebration” is one of our favorites. What inspired that track, specifically?
Matt: “Shape Shifting Nightmare Celebration” is one of the most unusually structured songs on the album, and was probably inspired by Robert Pollard’s solo material. He has a penchant for writing songs that are inspired by progressive rock, with very unconventional song structures. So, I was attempting to write something in a similar vein, where the song does not follow a predictable verse/chorus structure. The song’s coda was even taken from a completely separate recording, and added in later.
What’s the recording process like for you guys? Does it start with a hook? Are the lyrics all written out first? Do you just play and sing until something makes sense?
Matt: I have several different methods for writing and recording. I’ll usually start with a riff or a finished guitar instrumental, and try to write a melody over that. Then, I’ll write lyrics that fit the melody. Other times, the lyrics come first, but I usually start the process with a song title in mind. I keep an ongoing list of titles, and I find them to be a constant source of inspiration for songs. Another method that I’ve developed recently is to attempt to write a melody for a complete set of lyrics. I’ll then record the song A Capella as a reference, and then complete the song by assigning a chord progression to it later. I find this method particularly exciting. It’s fun and easy.
Any fun anecdotes about the recording process for Elevated Levels?
Matt: Actually, the first thing that comes to mind was not fun at all. The hard drive on my 16 track recorder crashed during the recording of the most complex song on the album, “Over Caravan Park.” I probably spent more time on that song than anything else I’ve written, and once I purchased a replacement machine, it had to be re-recorded from scratch. Not fun. But, it worked out, and the version that appears on the album is the second attempt.
If you could choose any movie or TV series to have your music placed in, which would you choose and why?
Matt: The Man In The High Castle or The Handmaid’s Tale would be pretty incredible. I’m a big David Lynch fan, so it would be amazing to be included in one of his projects.
If you could have your dream rider list, what would be included on it?
Matt: Beer, maybe some tacos. We’d be happy to just have a rider.
Calzones or pizza? Substantiate your claim.
Matt: Pizza. I mean…it’s pizza!
Do you believe in Sasquatch? Why do you think we should or shouldn’t?
Matt: I don’t know much about Sasquatch, so I have to defer to the wisdom of the late Mitch Hedberg on this one. He said, “I think Bigfoot is blurry, that’s the problem. It’s not the photographer’s fault. Bigfoot is blurry, and that’s extra scary to me. There’s a large, out-of-focus monster roaming the countryside.”
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Keep up with Mythical Motors – and maybe Bigfoot – here.
by ImperfectFifth | Nov 27, 2018 | soundtrack
I’d been in the studio working on my new album so I thought I’d share this playlist of songs that inspired me during the writing and recording process – more on the new music soon!
Keep up with Hamish Anderson here.
by Meredith Schneider | Nov 27, 2018 | 5 to 7
As a music journalist, you’re never quite sure what interviewing a band will get you. Will they be awkward? Will they provide good insight, or just one-word answers? There are questions that plague your mind leading up to it. And it’s those incredible storytellers that spin their lyrics so well that seem to come out of the woodwork and really make you laugh. This proved true with Chicago-based art rock/psych pop collective The Curls. In fact, a full giggle fest ensued, and you’ll see why below. So take some time to enjoy this one. It’s well worth it!
What was your first musical memory, and do you think it has any bearing on who you are as an artist now?
Weird Al, first concert when I was just a little boy. Still one of the greats. I just re-watched his movie UHF for the thousandth time. Or maybe the Paul Simon song You can call me Al. That bass solo is a magical thing. I remember my dad or maybe my mom would play Paul a lot on our car rides. I’m sure the influence is there somewhere.
What’s the conception story of The Curls? Was it a meet-cute?
We met at this old mom and pop starbucks joint. We all ordered the same extra-fat hot chocolate Nutella truffle oil bacon latte at the exact same time! We looked at each other and of course laughed and laughed and laughed and laughed. We were in that line just laughing for maybe an hour. They had to call the police and they dragged us out laughing our heads off, just like in the movies.
You have been working together for a while now. How do you keep from ripping each other into pieces sometimes?
We’re just popping muscle relaxers and goofballs constantly so the vibe is very communal.
Do you think being from the midwest has any bearing on your sound?
I have absolutely no idea. I don’t think so? I’d be curious to hear what others think. Most of us come from different midwestern states so I wonder if anyone hears that classic Ohio or Michigan or Illinois or Indiana or Minnesota sound.
Where do you draw the most inspiration from, for both your lyrics and your soundscape?
Who knows?! Sometimes it’s obvious. The song or a number of songs can start from a reference point inspired by another artist’s sound or arrangement style. Or maybe what I’m eating or drinking at the time. Like I had been drinking a lot of lemon lime Gatorade recently, so now I’m writing a song based around that. Eating and drinking are very universal concepts. There is inspiration all around us!
You played HHM Fest recently. How was that? Give us a snapshot!
I will give you a step-by-step account. We come into town late afternoon, check into our 5 star hotel as per usual and head straight for the pool. The chlorine level was a bit much, and don’t think I didn’t complain to anyone who would listen. We took a walk around beautiful Bay City, MI and arrive at the venue quite early. We spend the next few hours enjoying this terrific spread of pizza, chips, locally catered apps while polishing off some of Maps and Atlases personal beers. Sorry buds! And of course we went on to play an unforgettable set. So it was a great experience, a great crowd, the festival did a great job, we did a great job and I can only hope we’ll do it again someday.
Do you prefer playing festivals or more intimate shows? Why or why not?
It’s all good. I love smaller clubs like The Hideout in Chicago but I have to say I also love playing shows with the big, roomy stages that might allow for us to assemble a larger arrangement and to play to a larger crowd, like when we crushed at Pitchfork Fest. It’s a wash!
How did you prep to film the “Bad Boi” video? Looks like it took a little bit of yoga and a lot of drugs?
We were so hopped up on drugs and yoga you wouldn’t believe. I was taking one drug then hopping into a downward dog that would make your head spin, then another drug and even MORE of the drugs before settling into the most beautiful warrior pose anyone has ever seen. Then bada bing bada boom, the light bulbs went off and along with our terrific collaborators and directors at New Trash Productions we managed to create one of the great videos of our time.
If you could have your dream rider list, what would be included on it?
Donuts or waffles? (Your answers to these questions will determine our future together, obviously.)
Of course if it’s a dream list I think we could manage to get both a waffle making station and as many donuts as we like. You didn’t ask but my favorite donut? The chocolate long john. Beautiful donut. However, I was just thinking it would be good to request 100 copies of infinite jest to throw at the crowd if they lose their shit or seem disinterested. Maybe a few drones to fly and keep an eye on things.
Any dirt you want to dish on your band mates?
If my band mates were here they’d probably dish A LOT of dirt about me. Stuff like, “Oh Mick? He’s a garbage person. He cares too much, he works too hard, he’s too nice, he’s too inspiring.” The usual gripes.
Do you believe in aliens? Why do you think we should or shouldn’t?
This has been coming up a lot in my life lately. My friend had an encounter a few weeks back. Took a picture of a strange flying object in the sky, sent me a detailed account. He even claimed at one point that the objects in the sky were moving according to thoughts he was having. Very compelling. We’ve all seen things in the sky we couldn’t explain. I think It’s fun to believe and speculate. There must be something going on out there right?! I mean are ya kidding? Have you seen this documentary Independence Day?
Keep up with The Curls here.
by Gemma Harewood | Nov 26, 2018 | singles, wolf tracks
We’re still singing the catchy “Single-Minded” from Anna Mae. She has now treated us to a brand new single via the Swedish platform Snafu Records, “You Might Be Better.” There is something effortless about the Nashville singer/songwriter’s style, and it is pulling in an audience from across the globe.
This tune is deliciously melodic and has just enough natural groove to keep it moving forward. In the meantime, Anna Mae’s empowering vocals sit over the top and provide another engaging narrative to support its musical content.
Check out this one here.
by Meredith Schneider | Nov 23, 2018 | premieres, videos
Americana act Divining Rod – currently comprised of Miyuki Furtado, Patrick Harmon, Mike Malone, John Malone, and Eric Kaye – releases a beautifully shot live performance music video for their luscious track “The Silver Ship” today. We’re lucky enough to be hosting the exclusive premiere, and we’re doing so in stride while dancing around the (newly decorated) Christmas tree post-Thanksgiving festivities with the family! Says Miyuki of the video:
We shot it with our collaborator, Craig Sachs, in one night at our friend’s painting studio and edited it ourselves. We had done another video there but wanted a totally new feel. After a while I came up with this idea to film it pretty much in the dark. I wanted to use negative space to give it space and depth, The darkness came in handy considering we shot it for practically no money. We wanted to do a live performance because the way the band plays the song live is a different entity from it’s recorded version. Plus we totally suck at lip synching.
This song – and its accompanying video – are perfect for your family get togethers. So turn it on, and turn it up for all to enjoy!
Keep up with Divining Rod here.
by Phlis | Nov 23, 2018 | 5 to 7
Run Tiny Human is your 8th album with Jeff Stuart Saltzman, what makes the musical relationship between you and Jeff last so long?
Rachel: When you work with someone for that long–especially on something so personal as your own music–you’ve both seen one another at your very best and very worst. It’s intense, recording an album. And we’re both kind of intense, very opinionated people, on top of that.
I learned to trust Jeff. We became very good friends at some point, but even early on, he won my trust because he was clearly not one to b.s. or throw compliments around. I could tell I’d get the truth out of him–he’s brutally honest, though not in a mean way. He can’t help it. I tend to like people like that. Critical, but not cruel. And unstinting with honest praise. And he wanted to help me to get to what I want–not what he wanted, though his contribution to my records is vast and invaluable.
We’ve been working together long enough that we have a kind of shorthand, now. We know each other, and he really knows my music and the way I work–the way my mind works and the way I actually like to work while recording. I become aware, working on Run Tiny Human, that Jeff’s been very observant and made a lot of changes over the years in working with me, on the process, based on his observations–trying to go with my flow and make it easier for me. It’s not always easy with two such strong-willed people in a room, but I rely on him to give it to me straight, and he has never failed.
Many artists have contributed on Run Tiny Human from some amazing bands, who were they and what was it about their style that fit so well with your sound?
Rachel: Ben Landsverk (Wonderly, Hawks & Doves, OK Chorale) is a dear friend and has been playing with me for many years, now. When we met we were singing a concert of Bach and Charpentier for Trinity Consort, which is weird to think about, now! We discovered one another’s other musical lives and we started playing together in a few bands. Ben’s my righthand man–he does everything. He’s a super quick, versatile singer with a freakish range (it’s just him and me, multi-tracked and asthmatic, singing that backup on Wedding Song/Bag of Bones), he can play anything–viola, bass, guitars, keys, percussion–and he’s just beautifully musical. He makes everything seem so easy, but it’s not.
Jeff Langston (Antony and the Johnsons, Mo Phillips) is in my band and has also become a treasured friend. He grew up in Oregon and moved back from NYC with his wife and son a few years ago. We met backing up a mutual friend for a radio show. Jeff’s an incredibly sensitive player–he pays attention more closely than almost anyone I know to what’s happening musically, and he always tries to serve that. He’s been a real stalwart for me–a total pro and supportive in myriad ways.
Leigh Marble (Leigh Marble) has also been in my band for years now and is a well-regarded songwriter/performer and also a great friend of mine. I like the way Leigh thinks, and I like the way he plays guitar. He can get a very raw sound and he’s never noodly–doesn’t overplay. He makes interesting choices and he’s way more fun to watch play than I am!
Justin Harris is a good friend of Jeff’s and a friend of mine, too. He happened to be in town between tours with Bloc Party and kindly came over and played bari sax and bass on Gitcher. He and Danny Seim (Menomena) played on a coupla songs on my album World So Sweet. What I had him doing on Gitcher was incredibly repetitive but Justin’s got a loose, kind of loopy way of playing that I really like, and it gives life to the repeated bits.
Joe Mengis (Eels) and Mark Powers (Robert Wynia) were both suggestions of Jeff’s–he’d worked with both of them right before we started recording. Both are pros and lovely people. Mark is a fiend at anything you set before him–no limits. And Joe took a very weird, counterintuitive request from me and hit it out of the park.
Katie Taylor (Opera Theater Oregon) is my sister, who also does the graphics for my albums, and who is my guinea pig whenever I’m writing songs. I can sing a harmony or melody or whatever to her and she can immediately sing it back. Katie’s one of the most talented people I’ve ever known, and we’ve sung together forever. She sings in the choir on “Heir Apparent” and “Yourself/You Reprise.” That’s her doing the high “C” on Heir (if you can hear it!).
Lisa Stringfield-Prescott (Ages and Ages) is a prized friend who was in the bands Carmina Piranha and Carmina Luna. She’s sung on several of my albums and I love the quality of her voice, and her stage presence. Lisa’s also been a huge support over the years–I don’t know what I’d do without her.
Jim Brunberg (Box Set, Wonderly, Roam Schooled) is a friend and I asked him and his daughters, Dana and Vern, to come sing on a track. Jim’s a truly great musician and one of those people who can sing anything in any range, so I grabbed him. Jim’s also been a good friend to me and my music.
Phil and Gayle Neuman (De Organographia) have played on, I think, four of my albums, now? They’re specialist on Renaissance and Baroque (and some ancient) instruments. They are famous in those circles–hence their playing on the Ben Hur remake soundtrack. 🙂 They’re good friends of mine and can play any instrument, and their collection of instruments–most of them made by Gayle and Phil–is awe-inspiring!
Jeff Stuart Saltzman (Cerebral Corps, Sunset Valley) I talked about already….but not many know he’s a great musician and songwriter. I exploit Jeff’s musical talents for all I’m worth when we’re recording–he’s very handy. That’s him muttering on “Gitcher,” at my request.
How did you interpret what your mind was thinking about the world in to a lyrical and musical form?
Rachel: I don’t know! I don’t really think about it so clearly when it’s happening. Ideas just knock around and then they come out. I’ll get up and go record them, I’ll get up and go to the piano, I’ll write down a lyric. It all kind of comes together when you look at it as a whole, later. Then, I see the pattern and where my brain was dwelling.
I personally love the idea behind Little Gyre, can you tell us more about that specific song?
Rachel: I was lying in bed, half awake, and I don’t know what prompted the thought but I started thinking about the junk in space peering down at the ocean garbage (the Pacific Garbage Gyre). Garbage high, garbage low! I have no idea why I thought I might want to write a song about that. I got down (on digital recorder) what I was thinking and I went to sleep. When I worked on it later in my typical misty fashion, the space garbage began to morph into a kind of stalkerish entity, obsessing over the ocean garbage. In the end, it breaks orbit to fall into the sea. I feel bad for the ocean garbage (forgive me, ocean garbage)…
I think this came from my almost constant stewing over climate change and our fucked over world. I am chock full of Apocalypse.
When do you feel was the era when Americans had sense and at what point do you feel it started to get crazy?
Rachel: I keep coming back to the FDR era (for sense), and that’s a sad thought because it was so long ago. But one of the things I most admire about that era is the community-mindedness, as opposed to the lunatic focus on the individual in the America of now. Americans are so belligerently self-serving now, nothing gets done. It’s literally impossible for so many hellbent “individuals” to pull together. We all want what we want when we want it, and we all deserve it, and damn you to hell if you get in the way of what I want, cuz I got muh rights!
I think the ’60s and ’70s took a kind of latent, inbred American crazy and tipped it into overdrive, what with the whole “reality is subjective” thing, the questioning of fact and truth, etc., coloring it all relative, nothing tethered to anything real anymore, just free-floating bullshit. An early triumph for the wretched Cult of the Individual.
Kurt Andersen wrote a wonderful, horrifying book called Fantasyland; How America Went Haywire: A 500 Year History. He posits that we started out crazy–that the people who settled America set the groundwork for the crazy. And I think he’s right–I think Americans from the get-go regarded themselves as exceptional and that that, unfortunately, has stuck and transmogrified into something truly sick–what we have now. I like how a reviewer of Andersen’s book put it (Hanna Rosin): “Fake news. Post-truth. Alternative facts…. The country’s initial devotion to religious and intellectual freedom, Andersen argues, has over the centuries morphed into a fierce entitlement to custom-made reality. So your right to believe in angels and your neighbour’s right to believe in U.F.O.s and Rachel Dolezal’s right to believe she is black lead naturally to our president’s right to insist that his crowds were bigger.”
The Reagan years were another milestone of crazy, of a different sort. The onset of the GOP’s ever-so-patient-and-deliberate, decades-long Grand Plan of Selfishness–deregulation, the handing over of America to corporate interests, circling the wagons, the insistence on America First!… all wrapped up in shameful jingoistic posturing, one hand waving a flag and the other taking your wallet. USA! We had gone from the heartening scenario of the gas crisis in the Carter years, which is, I think, the last true example of Americans actually acting with a sense of pulling together. They did real things, made real (if not great) sacrifices–drove less, got smaller, more gas-efficient cars, etc. It almost seems mythical to me when I think about it now, because everything around us (climate change, for one) dictates bigger sacrifices and changes than we successfully effected back then; only today’s Americans do exactly the opposite of what is required–buying bigger bigger BIGGER vehicles, traveling/flying more, ordering more shit from Amazon, building bigger homes, getting bigger appliances, sucking up more resources and eating everything in sight. That those Keurig machines could even exist in this day and age boggles the mind. Americans, of course, love them.
What is your own favourite part of American history and what makes it special to you?
Rachel: Well, this is cheating on the question a little, but I’d sure like to see pre-Columbian America, mainly so I could see what nature–flora and fauna and sea–was like, pre-trampling and despoiling. I know big civilizations already existed with the tribes, and land clearing was happening even then. But–as far as I know–First Peoples weren’t hunting things to extinction or extracting/cutting/plundering nearly so well as later peoples did. I’d love to see my own region (Pacific NW/US) when the forests were full of gigantic trees, and that dense forest floor. I’d like to see the land and all the creatures, the ocean and all its creatures, breathe the air. I’d really like to see it all pre-people, actually. The answer, therefore, to “what would make it special to me” is: no people at all. 😉
I’ve heard you are a fan of BBC costume dramas, which is your favourite one and why? Also if you could star in one of them then which character do you think suits you as a person?
Rachel: OOOHhhhh! So many! So many! I do love a good costume drama! And the BBC really does do them best. 🙂 Gah, how to choose? Faves include: Jane Eyre (1983–I’m a purist–but I do like the 2006 version–Ruth Wilson is the only actress I’ve seen who approaches the greatness of Zelah Clarke’s Eyre); The Forsyte Saga; The House of Eliot; Our Mutual Friend; Middlemarch. But I’d have to pick either Persuasion (1995) or Pride and Prejudice (1995–wow! That was a good year!) for my absolute favorites. I have watched those too many times to count. If I could star in one, which character suits me?… hmmm. I’d like to think I’m Lizzy Bennet, but I’m probably more Mr. Rochester. 😉 NOTE TO THE BBC: Please make Villette!
For the majority of your life you have lived in Portland, what is it about Portland that keeps you there?
Rachel: Ugh. Nothing, anymore. I and mine and my sister moved out a year ago because we couldn’t take living there anymore. It’s changed so drastically over the past 10-20 years, it’s unrecognizable…so depressing. I went through a long period of frantically dragging my poor husband all over town to try to escape the awfulness (constant construction/overdevelopment/razing, decades of it now; increased crime; tagging, garbage, lines and cars everywhere; displacement; pollution; soaring prices; noise; and some really up-their-own-asses new residents hashtag NOT ALL NEW RESIDENTS) and find peace. Alas, it was not to be had, so we finally got out. I only wish we’d done it sooner. I feel like I was in mourning for my city for the past decade plus. I felt like a stranger there in my hometown, my lifelong home. By the time we left, I didn’t care anymore what happened to it. Just exhausted and sad. It has been “loved” to death death death.
Can you please tell us of your aunt Mette who formed inspiration for one of your songs on your album Half Hours With The Lower Creatures?
Rachel: I don’t remember much about her because I was so little when she was still alive. I never met her in person. But she corresponded with me from Madagascar, where she was a missionary. I remember writing to her and I remember her spidery handwriting–she was very very old when she was writing to me. She was from Norway. I would give anything to be able to talk to her now.
Can you remember the first demo tape you ever did? How did it feel to hear your music recorded for the first time?
Rachel: My brothers and sister and I recorded ourselves doing stupid shite, growing up, so I was pretty familiar with the sound of my own voice. My husband bought me a Tascam Porta 05 when I was in my twenties, not long after we married, and that was a turning point–he made me start to take my songwriting more seriously. It was so wonderful to be able to record multiple tracks, because I’d been using two tape machines to do that! Going back and forth until things got faster and faster and higher and higher, hah! Anyway–it was a great spur to creativity and made my brain just GO. I really loved it.
I think I just felt….satisfied, when I first heard my music recorded. And also twitchy and dissatisfied, because there are always things you wish you’d done differently. But I generally self examine as I go along with a ruthless rigor that prevents (most) later regret. If I don’t like something, I can always tell, and I’m not shy about changing it. I follow my gut and my ear. That’s a weird visual…
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Keep up with Rachel Taylor Brown here.
by: Phill Bruce
by ImperfectFifth | Nov 21, 2018 | soundtrack
Do you remember consuming music before digital distribution?
For me, the only music I knew came from physical albums/cds, local radio, or someone literally playing it in front of me.
I was 10 when file-sharing services like Napster hit the scene and busted our ear bubbles. It changed the game, right? We suddenly didn’t have to stick to eating whatever was just lying around. We could dig in and try something different, even jump in the kitchen ourselves to practice cooking up music in our own way and serve up with the rest.
I can’t decide if we’ve traded limitations for option-overload. Regardless, it’s hard to imagine what kind of music I’d be making without unlimited access to music outside of my physical reach.
I like pretending.
So, for this playlist, I played like there was no internet. I mulled over which music I would or wouldn’t know in a world without web and included it.
It’s full of music in my proximity: my parents albums, cds that flew in my face when I flipped down the visor mirror, records my English teacher gave me in high school, live performances; artists I’ve made music with, run sound for, met on tour, and my friends.
It’s much of what I’ve listened to and been influenced by during years of writing and releasing my first solo album, ‘Seiche’. – which is drippity-dropping on Friday, November 9, onto the invaluable internet near you:)
Keep up with Sydney Wright here.
by ImperfectFifth | Nov 21, 2018 | soundtrack
I picked these songs to help inspire sounds for the new project I’m working on. I named it Antimatter bc that’s the name of my project. I grew up listening to rap, alternative, pop punk, and reggaeton so I’m looking to create something that incorporates all of that. Picked current hits from these different genres.
Keep up with Ness Heads here.
by Meredith Schneider | Nov 21, 2018 | albums, review
Kansas City, Missouri-based garage rock psych pop band Eggs on Mars – comprised of Brad Smith (vocals, guitars, keys), Justin Longmeyer (bass), and Mason Potter (drums, percussion) – recently released a 10 track album titled Mama Pancake. As absurd and wonderful as the title is – and the name of the band – the album itself is so much more. First track “Sod is Good” is all types of amazing, from the realness of the track’s name to the calming mood that passes over us as we dwell in its slow, mellifluous glory. While “Placeholders” speeds up a bit and gives us a very 60s psych punk vibe, “Many Minds” brings more of a 90s feel to it. “Red Haired Darling” slows it all down a bit, a love song for all of the red headed beauties in our lives.
“Doing Fine” gives off a bit of a melancholic feeling sonically for the first half, and the title isn’t quite convincing if you ask us. It gains momentum, though, and leads pretty nicely into simplified instrumentals with “Not to Regain”. The sentiment given off in the lyrics of “A Song” makes it feel a little more than “just a song”, while “Don’t Listen” speeds it up, giving us something fun to move our hips to. “Prayer for a Troubled Son” continues in that vein, a fun guitar riff to keep us on our toes throughout.
Eggs on Mars rounds out the album with “Meet Me in Hannibal” – Hannibal is a small town in Missouri where Mark Twain grew up, for those of you wondering – and anyone who has been carried away by a long(er) distance relationship can relate. It’s a beautifully bittersweet love song, slowly and carefully concocted to give us starry eyes as the music fades.
Mama Pancake is available now. Keep up with Eggs on Mars here.
