The Angry Lisas shine a light on life’s heartbreaking realities and how crucial it is to learn to let them go in their impassioned and deeply genuine new video for their single “Wingwalkers.” Sean Taylor, the principal songwriter for the Portland-based indie-rock outfit, found that writing songs for the band’s upcoming album Slate Violet was the only way he could process and heal from the regret, nostalgia, gratitude, and sorrow that he collected over the last decade, or “cheap man’s therapy,” as he calls it. The album not only reflects on pain but the elation that comes from the release of pain, a release that manifests itself in catchy rock anthems that are zealous and sincere. It humbly reflects on some of the most challenging moments in Taylor’s twenties. As a part of this, “Wingwalkers” comes on the heels of Taylor’s big move away from home. Where he expected catharsis and a fresh beginning, he instead found a reflective familiarity. The idea that you can’t escape your problems, and that the only way to move on is to let go provides the foundation for the narrative of “Wingwalkers.”
The visuals and narrative of the video amplify the humility of the music by adding a layer of authenticity that can only come from watching someone else’s story. It follows two people, sometimes flashing back to their life and relationship as children, sometimes confronting the harsh reality of their life in the present. While the shots are ambiguous at first, details are slowly revealed about the situation, until the narrative reaches a burning climax. You feel your heart both warmed and broken as you watch, until the end practices what Taylor preaches about letting go. Enveloping this story are varied, down to earth guitar riffs that feel like a wordless echo of the preceding lyrics. The vocals are classic; soft, yet earnest. But “Wingwalkers” is only a taste of the emotional atlas that is Slate Violet, and the rolling drums at the end of the track remind us that this isn’t over, there are more challenges and revelations ahead.
Eryn Martin has paired with Brazilian funk aficionado R2 to produce her new boundary breaking track “Namesez.” Martin’s personal brand of asymmetrical alt pop is known for using dusky instrumentals to create music that is poignant, contemplative, and softly menacing. A self-taught singer and songwriter, Martin shows off her capricious vocal style that moves through haunting melodies and smooth textures atop glitchy beats that are infused with elements of hip hop and electronic music. The impulsivity of her music keeps her listeners on their feet, and she certainly brings that energy to her new single as well.
Straight away the listener is struck by the unique music box/xylophone sounds that gently crash into one another at the beginning of the track. These sounds and the other beats that transpire have that kaleidoscopic nature that Martin’s music is known for, but they also have a great bounce and drive to them. The character that Martin’s voice assumes in this track sounds suave and relaxed, effortlessly gliding on top of the erratic music. The touches of harmony and textures that surround Martin’s voice and the beat do an excellent job of catching and holding the listener’s attention. Going forward, Martin is preparing to release new visuals and refining her live show, captivating her audience and inspiring them to stay true to themselves.
You can listen to “Namesez” here, and make sure to keep your eye on this groundbreaking rising artist in the future.
R&B/Soul singer Gaidaa releases her debut eight-song EP, Overture. Gaidaa’s cover of a Kehlani song caught the attention of Dutch producer and artist Full Crate, which helped to rocket her career. The EP is a breath of fresh air that we all needed, a new sound that demands to be heard. For the release of Overture, Gaidaa says:
To me ‘Overture’ is not only my introduction to the world, but essentially my reintroduction to myself, my rediscovery and re-creation of Gaidaa. It’s about realizing that we are far more complex and hold more depth than we think. ‘Overture’ is the foundation to something more substantial; the beginning of everything that is yet to come and yet to be learned. Gaidaa meeting Gaidaa.
If you had to describe the album in three words it would be vulnerable, soulful and groovy. The first track,“I Like Trouble” is about breaking from the rules and finding your own path. Her voice makes the songs so easy to listen to, not needing to go to extremes to show her talents. “Ride My Way” has a chill vibe and is Gaidaa being completely open, ready to start something new. The instrumental just carries her style further, especially with “Falling Higher”. The song is destined to be a hit, with a falsetto-driven hook accompanied by a steady drum beat. The Netherlands-based Sudanese artist, takes you through a journey that you’ll find yourself relating to.
Gaidaa had no trouble getting artists on for her debut, including tracks with artists such as Jarreau Vandal, Saba and Joshua J. “Say Yes (Turquoise)” (feat. Joshua J), is one of the best off the EP. Not only do their voices compliment each other, but her voice stands out here. The third verse showcases her talents and is a different take then you typically hear her sing in. “Morning Blue”, her debut solo single, references the campaign #BlueForSudan, which encouraged social media users to make their profile pictures blue in honor of a protesting victim. The song is simple, but has powerful and relevant lyrics, including, “It’s all in, we rise / It’s been a hard, hard time / For the ones who fight / In the land of the Nile”.
The 20-year-old’s debut is no rookie move, it is an example of this craft at its finest. https://orcd.co/overture
A certain crowd grew up with the sultry, badass sounds of The Veronicas as the backdrop to their adolescent years. I happen to be a certain member of that certain crowd, and my love for the duo was amplified both by the fact that they are twins (Ahem! Twins need more fun representation in popular culture!), and they are the nieces of The Proclaimers. (Yo, if you’re a child of the nineties or before, you know they are also a badass set of musician twins.)
As someone who has been following them for a while, I was overjoyed at the release of their new, cinematic music video. The best news about it? It just so happens to be their directorial debut, and it is, without question, a masterpiece.
A soft, pastel overlay. Both twins starring in a grimy, beautiful, honest piece about love and violence in a small town. Surrounded by chaos, they find their people. But will love get them through jealous peaks and intense moments?
The song itself is perfect to dance to, infectious in both its upbeat soundscape and the way it makes you move your hips immediately. Add the twins’ sticky sweet vocals and dark, intense attitudes, and you just cannot go wrong.
Aja Volkman and Dan Epand of Nico Vega have come together to form the duo TWO, and just released their brilliantly painful EP Pull The Knife Out last Friday. The EP reflects a traumatic time in Volkman’s life, but while it certainly projects the feelings of sadness, loneliness, anger, and despair that plagued her at that time, a ferocious sense of empowerment surges from within the tracks and overshadows those negative emotions in favour of acceptance and self-worth. Written entirely by the duo and produced by Epand, Pull The Knife Out displays a varied set of seven songs that showcases the duo’s incredible talent in every facet of the record; the vocals, lyrics production, instruments, and even the structure of the songs and the EP as a whole are executed incredibly well.
“Live Forever More” is a hybrid song-poem with spoken word poetry verses and sung choruses. Not only are the lyrics expressive, narrative, and insightful, the rhythm of the words and the melody of the chorus invite you to sing along. The more you sing (or just listen) along, the more you believe in the words and their message. “Whoa Man” is also a spoken word performance, but the atmosphere is hauntingly empty, with Volkman’s voice and deep, throaty “mmm’s” intensified in the vastness. Her words reverberate into the silence when she pauses, amplifying their effect. Again, the words are profound. “If I am to be the woe, and you are to be the man, then let me blow your mind with just how great I am.” Even in this single line, you can recognize the trauma (“the woe”) and the empowerment (“how great I am”) that Volkman has gone through.
“Cage Fighter” also exudes confidence through its music and features more spoken word poetry in the bridge. It’s straight-up rock– heavy guitars, a pounding beat, and Volkman’s incredible gravelly vocals. From the music to the words, this track is powerful. In the bridge, sounding like she’s some higher being, hovering above. She says “when you’re small… it’s an opportunity to have humility and fall,” and “be a ball of fierce compact energy, waiting to explode,” and then the music does just that, launching into the chorus again with sustained energy. The only other song that rivals the energy of this track is “Phoenix”, a song that bleeds determination and resolution. It has a slow but firm beat that emphasizes her words– “you can’t take this song away from me.” Despite the slower tempo compared to “Cage Fighter”, even the quieter parts of this track are filled with energy that feels as though it can barely contain itself. Volkman’s astonishing vocals come to light once again as her voice sails at the climax of the line “for out of the fire I’ll rise again.”
The standout track “In This Rough” is also overflowing, not with energy, but with emotion. Volkman says that she “went through some dark times trying to find the kind of surrender expressed in this song.” As she sings her voice catches, brimming with emotion. The bridge has only drums and her voice in that classic anthemic manner, where, in a live performance, the audience would be screaming out the lyrics alongside her, tears streaming down their faces because at that moment– they’re understood. The guitar, spirited drums, and synths sound relatively carefree, but her words and voice are tortured. In a similarly contrasting way, the music of “Faces” sounds calm and nostalgic, with the initial guitar voices singing an easygoing duet and fun melodic “oohs” in the chorus. The lyrics, however, place the nostalgic sound in a more regretful context. Volkman’s vocals are especially intriguing in this track as well. Her inflections play with the placement of her voice, and it’s impossible to guess where she’s going to go next.
The closing track, “Crazy Love”, is full of conviction and honesty, something that’s easy to perceive in her voice. It begins with a unique drum part that sounds like deep water droplets. The rest of the track is an accessible song about exactly what the title says– a crazy love. In the transition to the bridge, the music feels as though you’re being submerged into water, and in the bridge itself, the classical background vocals contrast with Volkman’s sharp voice, creating quite a unique effect.
Pull The Knife Out is well done from the inside out. Volkman and Epand’s immense abilities as musicians create fantastic music, and their close relationship doesn’t hurt either. Volkman says “Dan and I have always remained close and supportive of each other. He has been my cheerleader for over a decade,” and Epand returns the sentiment in saying “We have been through a lot together, a friendship and a creative collaboration that continues to evolve.” It’s that close bond that truly makes their music shine, and combined with Volkman’s remarkable voice, it’s no wonder that the duo has been generating buzz and accumulating some influential fans including P!nk. The EP is out now, as is a music video for “In This Rough” that was shot in quarantine and written and directed by Epand.
Philadelphia-based duo Dom & Jesse share their latest single “Can’t Help Myself”. It is a mix of pop melodies with soulful rhythms, destined to be a song used in the next TikTok trend. In a time like we are in right now, you want to break all the rules to be with the one you love and that’s what the duo is trying to convey here. Sometimes there is just a magnetic connection that is so hard to resist, it will pull you in.
Produced by Grammy-nominated producer Dilemma, they were able to create an upbeat track that is perfect for their sound and will pull in new fans. Blending current styles and classic storytelling, Dom & Jesse have a similar style to artists like Liam Payne, Charlie Puth, and the Jonas Brothers. It is easy on the ears and would be a great addition to a pop workout playlist. Their vocals float through the track with a beat that will keep your head bopping. You won’t be able to help yourself from playing this song on repeat, so dive into the sounds of Dom & Jesse now.
There’s something about 6/8 time that can really amplify emotion in music. Sarah Barrios exploits the time signature and the passion it nurtures in her new single, aptly titled “Emotional.” The pop/indie/blues singer-songwriter has found great success in her musical career so far, including being a finalist in the Guitar Center’s National Singer Songwriter Competition. She has also won various musical awards, but she maintains that her music’s main purpose is to foster connections with her fans.
Her single, “Emotional”, is about the inner frustration that comes from being too sentimental, too emotional. This feeling manifests itself in the song in two ways. First, as the song begins, Barrios sings on top of soothing guitar and nothing else except hints of other instruments. This creates a wistful atmosphere, quiet and thoughtful. The song builds, however, and by the time it reaches the second verse it becomes stronger. Three pounds of a beat mark the first bar, and while they are subdued and fit the relaxed vibe of the song, they evoke– just for a moment– the image of someone pounding their fist on a surface in frustration. Barrios’ voice embodies the essence of “pop,” singing her varied vocal lines with an expert fluidity. For instance, “why am I so damn emotional” is a lovely, lilting melodic line. “Emotional” is a pop treasure that bonds with Barrios’ fans and first-time listeners alike. It’s now available to stream, as is her newly released EP Letters I Never Sent.
Beabadoobee, one of music’s most talked-about artists, dropped her new single, “Care”. The track is from her highly-anticipated debut full-length album Fake It Flowers, which is set to release later this year. “Care” is all about rejecting sympathy from people who aren’t interested in really getting to know and understand her. A cathartic, to-the-point chorus is a new and explicitly vulnerable direction for her music.
Bea Kristi, beabadoobee, gives fans another bedroom pop song to jam out to. You can feel the real emotions and the anger behind the lyrics, without overdoing it. Some of the first lyrics in the song that stand out are, “I need some help to forget about it / I don’t want your sympathy, stop sayin’ you give a shit / ‘cause you don’t really / care”. Everyone can relate to this feeling at some point in your life and can connect with the frustration felt in this type of situation.
Accompanied by a music video full of outrage and different trippy graphics shot in quarantine, it makes the song more personal. It’s the type of music video that you would love to see premiere on MTV in the early days. Talking about the track and the video, Bea explained, “This song has end-of-a-90s movie vibes, like you’re driving down a highway. It is pretty much me being angry at society, or people around me who I just don’t think know me and don’t care. I don’t want you to feel fucking sorry for me. I just want you to understand what I’ve been through. I never expected to be making the first video from my album during a pandemic! I was so lucky to be locked down with the bedroom guys, it feels like it turned out as one of the most personal, real videos I’ve made.”
“Care” is another great addition to her repertoire and the fans are all for it. The song is brutally honest and exemplifies her struggles, but shows how she still is the same person she’s always been. With praises from Rolling Stone and NPR along with her feature in the worldwide chart-dominating hit “deathbed (coffee for your head)”, which includes a sample of her song “Coffee”, beabadoobee really is something special.
The English post-punk legend Gang of Four’s new EP Anti Hero dropped today. The EP is a celebration of the life of band member Andy Gill who passed away in February. Gill’s widow Catherine Mayer joined together with the band to memorialize Andy through music and to fundraise for Guy’s and St Thomas’ Hospital– the hospital that worked tirelessly to try and save his life. All net receipts received by the band from sales and streams of the forthcoming EP and associated singles will be donated to Guy’s and St Thomas’ NHS Foundation Trust so that they can continue their valuable work. Anti Hero features two new tracks and new versions of old songs that were completed at the time of Andy’s death. “Change the Locks” and “Glass” were written before we were really in the throes of quarantine, but resonate with it nonetheless. “[Andy’s] ability to write songs that remain relevant was unparalleled,” says singer John Sterry. Bassist Thomas McNeice worked with Andy’s longtime friend and collaborator Santi Arribas to produce and mix the EP. McNeice says “I like to think that this EP exhibits a progression in Gang of Four, while paying tribute to a unique talent that I was extraordinarily lucky to work with.”
The title Anti Hero comes from the first single off the EP, “Forever Starts Now.” Written by Gill and Sterry, its original working title was “Hero,” referring to the lyrics which describe “a character who sees himself as the hero of his own life and manipulates his partner into supporting this fantasy,” according to Sterry. Andy was always wary of narratives surrounding supposedly great men, hence the word “anti” in the title. You can hear the aggression and conviction of the character in “Forever Starts Now”, especially in the bass. There are two bass parts, one electronic, one physical, and both attack each note with the ferocity of a deluded man. The rest of the music is made up of these short, fragmented motives in several different voices that give the track an unsettled quality, which also plays into the instability of the character. All these fragments create a really full sound, however, using mostly physical instruments but also some hints of electronica. It’s disjunct and edgy, yet incredibly easy to jam along to.
This unsteadiness is also mirrored in the second single, “Day Turns To Night”, but rather than being fueled by delusion, it’s fueled by the inner turmoil that one experiences after a loss. Sterry wrote the song only days after Andy’s death, and while he didn’t intend the song to be about him, it evolved into a tribute anyway. The track is made up of chaotic electronic sounds interspersed within a foggy musical atmosphere. Touches of angelic, but ghostly harmonies peek through every once in a while. This amalgamation of sounds are overwhelming, like a sensory overload, reflecting how grief can feel. However, the lyrics are clear. They are a plaintive but touching message to Andy with lines like “Is it too late to say thank you?” and “You forever changed my fate.” In some sense, it’s as though the mayhem in the music is giving you an out– something to focus on. Because if you pay attention to the lyrics, the emotions are piercing.
To complete the EP, the two reworked tracks “Change The Locks” and “Glass” update the sound to fit the vibe of the EP. “Glass” retains some of the 80’s energy from the original 1979 version, such as the DEVO-esque vocals, but it feels edgier with the pounding beat of the drums and guitar. The repetitive guitar licks and lyrics bring back the unstable sound of the first two tracks– as though the whole song is twitching. It’s short and restless, ending abruptly.
The original version of “Change The Locks” is much more recent than that of “Glass”, appearing on their 2019 album Happy Now, and consequently sounds more modern with lots of electronic elements and a pop-punk character. The Anti Hero version leans more towards alternative rock, with less bouncy electronic sounds and more distorted guitars that sound almost like buzzing. Funk comes into play in the bassline which maintains a steady groove throughout the track. The bridge adds a deep uniqueness that makes “Change The Locks” the standout track on the EP. It begins with simple, static drums, guitar, and bass. As Sterry sings “bang bang on the drums,” the drum beats ring out like shockwaves. It then dissolves into an old-timey sounding piano part before the chorus comes back, sounding familiar but also different after the mood shift that just occurred in the bridge.
Anti Hero is a wonderful celebration of a valuable band member. It honors him, not in a lachrymose way, but in a way that connects with who he was as a person and musician. The skilled musicians create music that has ties to the 80s post-punk roots of the band that Gills co-founded back in 1976, and highlights songs that Andy wrote, but also songs that capture the impact he had on those around him.
