by Karina Marquez | Jul 2, 2019 | videos, wolf tracks
Los Angeles-based Meg Myers brings her own colorful spirit to this cover of Kate Bush’s “Running Up That Hill.” The original version is known for its major success in 1985 and a music video that featured a contemporary dance routine performed by Bush herself. On the other hand, Myers’ version showcases the artistic talents of 2,130 children, and the artwork paired with her distinctly inimitable vocals creates quite an enchanting combination. “Running Up That Hill” is a song that means a lot to many people and Kate Bush is beloved in the world of music. But, in spite of that pressure, Myers manages to stay true to the original as well as produce her own creative vision. It is clear that this song is near and dear to Myers as well, and she embraces that completely.
The video itself is a massive creative feat – it took a chance on over two thousand children to be able to convey the story that the song is trying to tell. The vibrant imagery of a winged Myers flying through space stands out in a way that really showcases childlike wonder and imagination. The amount of work put into the video shows how a fully formed concept can evolve into one of the most beautiful music videos that I have seen in a long time.
Be sure to check out the video, and keep up with Meg Myers here.
by Meredith Schneider | Jul 2, 2019 | snapshot, visual
Bonnaroo 2019 was our favorite lineup so far. And we aren’t kidding about that. When you think about the comedy and energy integrated into different aspects of the event, it’s almost overwhelming. Take, for example, the incredible duo Princess. Comprised of Maya Rudolph — Yes, that Maya Rudolph! — and jazz vocalist Gretchen Lieberum, they have taken the time to perfect a stage presence worthy of PRINCE himself. Because they are a Prince cover band, and have been since 2011. (Yes, they have been acknowledged and approved by the man himself.) Their performance was the last we enjoyed at Bonnaroo this year, and it was one of the highlights. As the first lines of “Let’s Go Crazy” opened the show, Rudolph and Lieberum’s stoic glances around the crowd brought us so much joy, we actually started crying. (Yes. Both iF reps in attendance started crying from different areas of the crowd. Everything is fine. We have been validated. It was incredible.)
Keep up with Princess here.
by Ashleigh Lee | Jul 2, 2019 | snapshot, visual
On Thursday, June 27th, our emo/punk hearts rejoiced when Anberlin took the stage at The Truman. Energy, intensity, incredible lighting. These were just some of the effects this performance had on us. And don’t think we emerged from the event without our hearts pumping, an adrenaline rush for days. Highlights below!
Keep up with Anberlin here.
by Caitlyn Champ | Jul 2, 2019 | singles, wolf tracks
The Fuss, an indie alt band out of Des Moines, Iowa did not disappoint with their new single “Siamese Twin”. This four-man group composed of Matt Nelson, Ben Waldschmitt, Joey Lyons and Dave Palmer is quickly making a name for themselves with their eclectic and energetic sound. Be prepared to feel as if you’re an astronaut floating through outer space with “Siamese Twin”. The eastern tones featured underneath silky smooth lyrics provide for a relaxing, slow-head nodding melody. Good for a drive with friends, chilling on the couch, or blasted over a lake, “Siamese Twin” is a must-have tune for your summer playlist.
For more great music from The Fuss make sure to check them out here.
**photo by alyssa leicht
by Phlis | Jul 1, 2019 | 5 to 7
Richard X. Heyman is no newbie to the music scene. His first single “Vacation” was released in 1980 and, since then, his journey has found him producing genre-bending ear worms that simply work. His years of service to the industry at large, his musical talents, and his ability to captivate a person with witty banter have all made it so he is an undeniable leader. We touched on his new album Pop Circles, and are happy to have found time to sit down with him and discuss some of the finer things in life. Like working with your significant other. And cats.
There is a trend among musicians to invite guest musicians to record with them on their albums, why is it appealing to you to invite Julia and Chris to help you with some tracks on Pop Circles?
I really wanted to have real strings on the songs that had orchestration. Julia Kent is a neighbor of ours and she is a sensational cellist. She agreed to come over to our home studio (i.e., our bedroom) and lay down the cello parts. We overdubbed her several times to create a cello section. Chris Jenkins is one of the associate deans at Oberlin College, Nancy’s alma mater. We worked with him in the past and he happened to be in New York City, so he stopped by with his viola. In the end, the two of them were overdubbed as much as 17 times. It’s amazing what you can accomplish in your bedroom these days.
You are very much a one man band artist, this of course shows your immense versatility as an artist. What are the advantages and disadvantages of approach when making music/an album?
The advantage is obviously the autonomy. You can work more in the mode of a painter or a novelist. I like having that freedom to rely on my instincts and to keep moving forward through the process. On the downside, I know other musicians will have different insights and ideas that might take the music in a direction I would not have thought of. I do have Nancy there. She is a fine musician and has great ears. So between the two of us, there is a collaborative work ethic.
Tell us more about your collection of vintage instruments, which is your favourite and why you like to use them when recording?
I have two vintage drum sets – a Ludwig and a Rogers, both from the early 60’s. Fortunately, the studio where I recorded the drums (Eastside Sound) had a vintage Rogers kit, so I used that for “Pop Circles.” I have a late 70’s Fender Telecaster and a 1967 Rickenbacker 360 12-string. There are two more Ricks – a ’65 375 and ’66 335, a ’62 Hot Rod Strat reissue, a contemporary PRS Starla, a Martin Shenandoah acoustic, a Dan Electro baritone and a few other assorted instruments. We use a Dan Electro longhorn reissue bass and a Hofner single cutaway hollow body vintage bass.
You are a part of the Doughboys and the song “Why Can’t She See Me?” got voted one of the coolest songs of all time, how did that feel?
Pretty darn good.
by nancy leigh
You included five of your own versions of Doughboys tracks on Pop Circles, why did you personally choose to revisit these tracks and how do the Doughboys feel about this?
I just wanted to see how those songs would sound from the songwriter’s perspective. I don’t really know how the other Doughboys feel about them.
Herman’s Hermit’s were are an amazing band, though I may not have personally been about when they came to prominence I have heard them and adore them. How did Heyman, Hoosier and Herman happen and what did the vocals Peter Noone bring to that EP that no other artist could bring?
Peter Noone and I were on Cypress/A&M Records in the late 80’s and we got to know each other. He was interested in recording some of my songs. Unfortunately, the song he wanted to do was slated to be my next single, but eventually we got together here in New York and did that EP. Peter has an ethereal tone in his voice and an incredible range, from low baritone to high tenor. His high notes have an angelic quality and his low end has a fullness that is very appealing.
You’ve worked with a lot of your musical heroes, whom did you feel most humbled working with and what was the experience like working with them?
Each experience is different. Link Wray had the greatest guitar tone. The only way to explain it was it sounded dirty and clean at the same time. And Brian Wilson – what can you say? It’s so overwhelming, all the beautiful music that he created. Playing with Mary Weiss of the Shangri-Las was a total gas. She is rock’n’roll personified and a truly nice person, very cool singer and performer.
On Pop Circles your wife Nancy plays bass for you, what other musical talents does Nancy have?
Along with being a fabulous bass player, Nancy plays guitar and keyboards. She also sings harmony as well as engineering the recordings.
And did the cats help in any way with the music of Pop Circles as a whole? 😊
Their presence is felt in every note. They loved the viola and cello, though I didn’t have the heart to tell them what the strings were made from.
I love the Heymanuscripts, do you plan to write more?
Thanks. I’m glad you enjoyed the book. Haven’t thought about another one, but who knows?
Thank you so much for giving Imperfect Fifth this interview, is there anything you would like to add?
I would love for people to hear the new album. It’s available on www.richardxheyman.com, and I welcome their comments about “Pop Circles.” Thanks very much!
by Meredith Schneider | Jul 1, 2019 | 5 to 7, premieres, videos
Today, indie pop songstress Marielle Kraft premieres the new music video for her enigmatic track “Better Without You”. As the viewer follows Kraft around, we see her singing next to tall windows, taking to the subway, and enjoying the sunshine. Her gorgeous vocals lead us along, as the emotion from the lyrics is palpable on her face. With each passing second, we allow ourselves to fall more deeply into this incredible soundscape.
Check out the new video below, followed by some words with Marielle, who gave us a behind the scenes look at the production process.
What songs/artists/feelings did you specifically draw from for “Better Without You”?
This song came from a place of finally wanting to move on, even when I didn’t feel ready. I had just moved back to Delaware, and was faced with so many difficult memories again from both a fully joyful and painful chapter of my life there. Instead of writing a sad or angry song about these wounds reopening, I chose to write about moving forward despite my past, and becoming a better version of myself. Instead of this being a typical breakup song, it became a self-empowering anthem for growth and independence.
In the production of the song, I drew from artists Lauv and Betty Who, both of whom write honestly but arrange their songs with hopeful pop beats. I wanted this song to be fun, even if it wasn’t fully “happy.”
You gave a TEDX talk on songwriting at Firefly Festival. Do you find that you tend to follow a pattern or specific process in your songwriting, or does it differ song to song?
Most of my songs are hashed out and finished on my bed or bedroom floor, but they all begin in different ways. Sometimes a lyric idea will hit me when I’m out with friends and I overhear an intriguing conversation, or when I’m on the road, or in the grocery store, or cooking a meal. I’ll jot it down in my phone notepad, or record a snippet of a melody as a voice note. Tons of lines and ideas are scattered throughout my phone, but only a handful end up taking shape as complete songs.
“Better Without You” was born from the simple iPhone note, “working on having more empathy” – which later became the opening line to the song once I sat down on my bed to revisit the idea a few days later.
Where did the idea for the video come from, and what was the production process like?
I worked with Mitchell Straub on this video, who is another young and driven dream-chaser in the arts industry. We wanted this video to reflect my difficult thought process of leaving behind heart-break to finding empowered independence. It would feature only me, reflecting on my past and future in different aesthetic environments: some more vacant (the empty warehouse, symbolizing the emptiness I felt leaving behind my past relationship, yet still letting hopeful light in through the windows), and some more vibrant (the green field representing growth, the city light representing new opportunities). Throughout the video, there are b-roll clips of me traveling around the city, via Subway and walking, meant to represent moving forward to something better despite the hurt. Filming lasted 2 days, and we shot in 8 different locations in and around Pittsburgh.
Any fun anecdotes from filming?
One shot we were determined to capture was the subway arriving, rushing past me as I waited to board. We waited on the platform for 15 minutes, only to miss the subway because it arrived on the opposite track. Then we waited again and other people obstructed the shot. Finally on our third attempt, we were set to nail it when the train rolled in at snail pace – the most anticlimactic arrival we could have ever imagined. It was hilariously lame. My hair didn’t whirl like we had envisioned, the sound didn’t roar, and we cracked up having tried so hard for one shot that simply wasn’t meant to be that way.
What environment can you imagine people listening to this track in?
This track is a road trip windows-down, traveling to a better place song to belt on back roads or the highway. It’s a “I need to pick myself back up from my bedroom floor” track, too, and one to share alongside friends who encourage you to be the best version of yourself. I hope that wherever people listen, it makes them feel free.
___
Keep up with Marielle here.
by Meredith Schneider | Jul 1, 2019 | videos, wolf tracks
Last week, dark alt-pop musician Boy Epic released the brand new music video for his track “DRAMA”. The song’s direction was definitely dictated by its name, and the music video insinuates the same. From the very beginning, striking contrast in color and shooting elements make you feel like you’re part of an insanely dramatic storyline.
Inspired by pop culture fixations Do Androids Dream of Electric Sheep, Blade Runner, and Love, Deah + Robots, the video is an alternate reality that is something we might be very, very into. Check it out below!
Keep up with Boy Epic here.
by Caitlyn Champ | Jun 28, 2019 | albums, review
Mega Bog’s seventh album Dolphine gives listeners a ride through an auditory kaleidoscope with abstract and trippy sound coming out in every track. Get ready to picture yourself running barefoot through a field or swimming in a pool of seltzer water as singer Erin Birgy brings incredible vocal control with every song. This album could be played in a coffee shop or on a dance floor with its versatile and ever-changing melodies, giving listeners a hidden gem within the beat of every track.
Opening with “For the Old World” we are sent onto a mystic journey until the 30th second when the song takes a turn towards modern jazz. Then in “I Hear You Listening (to the Bug on My Wall)” we’re slowed down with an acoustic guitar strumming pattern that could leave you in a trance. “Diary of a Rose” is the longest track on the album, driven by the sound of chimes and lyrics dedicated to days of the past. The title track “Dolphine” opens with an upbeat and staccato electronic sound which moves the listener forward only to be swept up by Erin’s angelic and celestial voice. “Spit in the Eye of the Fire King” is the most unique song on the album, standing out among the rest as not only a duet with Ash Rickli but it also features a folk twang to it. “Truth in the Wild” tells a two-part story of a western style love that is broken up in “Shadows Break” where native whistling can be eerily felt next to the fading nature sounds and sad lyrics. In “Untitled (with ‘C’)” we’re transported back to the ethereal world of the tracks of the beginning. “Fwee Again” proves to be just as playful as its name being the only instrumental song on the whole album, and it doesn’t waste any time showing you. Finishing up with “Waiting in the Story” listeners can expect to enjoy a guitar-heavy vibe with harmonization in many octaves from singer Erin.
Saying to have written this album due to, “a myriad of overwhelming emotions” it’s no wonder we get so many different tempos and styles of songs. You can truly expect to be taken on a journey of self-discovery throughout this work. Let yourself float away and enjoy the dissonant and acoustic vibes given to us in this wonderful new album from Mega Bog.
Keep up with Mega Bog here.
by Kira Cappello | Jun 28, 2019 | albums, review
For fans of Adrianne Lenker, Shannen Moser, Field Medic, Lomelda, Julie Byrne, Liz Cooper and the Stampede.
Daughter of Swords’ Dawnbreaker spins webs of stretching landscapes, intimate self-reflection, and the solace of a eulogy. Marked by gentle acoustic strumming, the faintest vocal harmonies, and folk storyweaving, the affect of this album soars most in its home-grown familiarity and faithful consistency.
Mountain Man’s Alexandra Sauser-Monnig paces her lyrics with intent, fully forming her own conclusions before speaking out loud. The characters that drift in and out of her stories (see opening track Fellows) could be people she knew, or mirrors through which she talks to versions of herself. Dawnbreaker feels like a faint memory being retold to you by someone else, and the sporadic flourish of gentle harmonies on Fields of Gold texturize Sauser-Monnig’s musings. It is this introspective exploration that distinguishers Daughter of Swords’ storytelling from that of Mountain Man.
Sauser-Monnig creates the perfect balance between indie folk and an Americana dream, be it resting in the tall brush on Grasses or careening through the evening air on a bicycle in Shining Woman. The occasional toned-down electric guitar and textured vocal harmonies lend their curiosity to the flowing breezes, pink clouds, and rising mountains painted on Dawnbreaker.
Undoubtedly, the grittiest Americana track Daughter of Swords delivers is Rising Sun. A classic and undulating electric blues riff peddles along behind a soulful harmonica solo and Sauser-Monnig’s sweeping notes that rise and fall like the Western mountainsides she seems to climb, not searching for anything in particular, but finding all along the way.
While Long Leaf Pine and Gem sparkle with optimism, tracks Easy Is Hard and Human portray the melancholy that heartache, a soaring soprano, and the peppered-in twinkling of a grand piano illustrate so well. The magic of Sauser-Monnig’s lyricism is that even morose moods never feel truly hopeless, rather, they are examples of folk storytelling at its finest: the story sits back, and, accompanied by the ever-reliable acoustic, tells itself.
Lastly, a perfect ending to a folky dream: Dawnbreaker’s title track is arguably the most pensive, featuring comparably deeper, earthier guitar tones than its predecessors. The topic is hazy, but this is where Sauser-Monnig’s heartbreaking warble shines. The final word of the album, a low, oaky utterance of the word “Dawnbreakin’”, invokes finality. The song feels like a eulogy, an acceptance, a forgiving.
Keep up with more to come from Daughter of Swords here:
daughterofswordsmusic.com
facebook.com/daughterofswordsband
Twitter @swordsdaughter
Instagram @swordsdaughter
TRACKLISTING
- Fellows
- Gem
- Fields of Gold
- Shining Woman
- Grasses
- Easy Is Hard
- Long Leaf Pine
- Human
- Dawnbreaker
