by Katy Mombourquette | Jun 26, 2020 | albums, review
She was born in Flushing, Queens and raised by a pack of cigarettes. With only four chords to remember her mother by, she took her love of vintage guitars, muscle cars, and old man bars and pursued music without ever looking back. She sang lead vocals for Gary Lucas’ Gods & Monsters, and opened for Bob Dylan and Paul Simon at Jones Beach Amphitheater with her band Eudora. After taking a break to grow, get married and raise some lovely kids, she turned once again to music in 2015 to release her debut solo album Go Tell Your Friends. She is Emily Duff. A wife, mother, and artist who managed to find happiness and become a role model despite never really having one herself. A couple more albums and some TV and film projects later, she is now looking back at the past with the confidence and wisdom from motherhood and marriage in her new record Born on the Ground.
This illustrious musician sings nine “love” songs that represent nine different breakups from her past. With time and self-love, she looks back on these experiences without anger, instead, she wants to examine them with the maturity she has gained. While the songs on Born on the Ground refer to Duff’s past relationships, she points out that breakups aren’t always romantic, one can break up with friends, careers, and even bad habits. They’re hard, but they can be the seed that turns into a better understanding of yourself. The universality of what Duff is discussing is reflected in Born on the Ground. Her songwriting shows an expert command over the genres of country, roots, soul, and rock and as a result, the album is a well crafted, classic set of accessible songs. Rock and blues are established by the drums, country is brought in by Duff’s voice, and the bass, guitar, and keys drift in between. Her sensitive lyrics are graced with sophisticated metaphors, and there’s a guitar solo in every song.
Some tracks are more straightforward, like the opener “We Ain’t Goin’ Nowhere”, with the line “Oh honey get off the train, we ain’t goin’ nowhere” talking about a dead end relationship. It has a bluesy-rock sound to it from the piano and underlying harmonies, but it also has a kind of deep earthiness to it. “There Is A Way Out” urges someone to deflate their ego, telling them that they don’t have to be so self centered. Lines from “Knuckle Sandwich” such as “how ‘bout my fist down your throat” and “how’d you like if I opened up a can of whoop-ass” make her message crystal clear. “Forever Love” tells of a supposedly undying love that ended anyway. But accessible as they are, these songs are far from boring. “There Is A Way Out” has a fun piano solo and the bridge is almost anthemic with its full harmonies, cymbal crashes, and guitar solo. “Knuckle Sandwich” is just an explosion of energy, driven by the spirited guitar, supported by the drums and ornamented by the lightning-fast piano glissandos. It contains itself just for a moment towards the middle of the track only to come back stronger, with unbridled energy that persists right to the end. “Forever Love” is pretty classic in its blues/country sound. Yet it has almost gospel-like harmonies in the chorus, which has this congregational sound to it that compels you to sing along with it. The clarity of these songs creates a sense of knowing between you and them.
The rest of the songs on Born on the Ground are more puzzling. The title track has some ambiguous lyrics such as “Put on my favourite red party dress, and dance with the devil in five-inch heels” and “when you’re born on the ground, you’re dead inside.” The bass in particular but also the mood of the song in general has a darkness to it, suggesting that something may be going on underneath the surface. In a similar way, “No Escape” hints at something alluring, from the 1920’s blues club feel of the music to Duff’s sultry voice. But the electric organ and lyrics like “I would do most anything if you would only disappear” denote something sinister– right down to the expressive ending. “Something Sexy” has a classic rhythm guitar part and a strong country vibe, and the lyrics chide someone for not understanding a “phenomenal” girl. Perhaps the girl in question is Duff herself, looking back at a relationship with a renewed sense of self-worth… but perhaps it means something else entirely. “Killer” still has the same kind of sound as the others, but it also has a wistful quality from the fuzzy bass, electric piano and held chords that soften it. Duff sings “there’s a killer among us, tearing at this happy ending.” It’s unclear what exactly is going on, but seems as though there’s something poisoning her relationship. The final track, “Easy Go!” has a fun rhythm in the guitar, which is great for bringing ‘er home. The lyrics seem to be about warning someone not to love her, “lovin’ me’s like diving into flames,” but at the same time implores her lover not to haunt her.
The songs that you find puzzling and straightforward might be different from mine, but no matter how you interpret it you can expect Born on the Ground to be both relatable and thought-provoking. There’s more to this album than meets the eye, much like Emily Duff herself.
Produced by Eric “Roscoe” Ambel, and recorded live in Brooklyn featuring the Emily Duff band and guests Eric Ambel on guitars and vocals & Syd Straw, Mary Lee Kortes & Tricia Scotti on background vocals, Born on the Ground will be released on June 26th. You can also see Duff doing her “virus escape” live stream from her Hudson street fire escape every Sunday at 4 PM EST on her Facebook page, and watch the video for “We Ain’t Goin’ Nowhere” here.
by Leigha Stuiso | Jun 26, 2020 | singles, wolf tracks
For the first time in six years Mina Tindle, the project of Parisian singer-songwriter Pauline De Lassus, released the single, “Lions” off her upcoming new album SISTER. Mostly made in New York City alongside producer Thomas Bartlett with additional production by Sufjan Stevens and Bryce Dessner, the album has a depth that departs from her typical alt-pop albums. De Lassus says about her songwriting, “Instead of feeling nostalgic for the past or worried about the future, I’m living more fully in the present, and it makes all the colors feel deeper and more contrasted than they were before.”
“Lions” is a great introduction to the album with silky transitions and airy vocals. The lyrics are about encouraging yourself in the face of self-doubt. “If the roads are made for a parade / Go march with the lions,” gives you the boost to rethink how you act and to be brave. It’s about going on, even when you think you don’t have anything left. Make sure to check out Mina Tindle’s new track “Lions” and keep an eye out for SISTER in October.
Stream “Lions” out now!
by Leigha Stuiso | Jun 25, 2020 | albums, review
R&B artist Emanuel released his debut EP Session 1: Disillusion, the first installment for his debut album ALT THERAPY. The four-track EP is full of melodies that will have you falling in love with the Ontario singer. With a voice that resembles John Legend, but with his own unique sound, Emanuel crafted a beautiful and immersive introduction to the music world. Emanuel released the EP on June 19, Juneteenth, and introduced it by saying:
“Debuting to the world on Juneteenth, a symbolic day in the celebration of freedom and emancipation for all enslaved Blacks in America … immerse yourself in the sights and sounds of love, hope, and healing as the world shifts right before our very eyes.”
“Need You”, the first track on the EP, is all about falling in love with someone and wanting it to be different. The first verse deals with exactly that, with Emanuel even saying he fell in love like a song on the radio, but wanting it to be different than past relationships. This powerful ballad is Emanuel expressing his need for this pure love. It is the perfect introduction to how honest he is on this record.
“Thought It’d Be Easy”, is Emanuel’s most honest and vulnerable track. He goes deep inside his heart and comes to the realization that he is not over a past relationship. Being with another girl does not stop him from thinking about this girl, something that many people can resonate with. Listen carefully to the lyrics and hear the pain in his voice, because he carefully lies his heart out on the line here.
“Addiction” has you floating in and out of a high. With Emanuel’s vocals layered on top of a head-bopping beat, the track is all about getting high and wanting to stay in that feeling. Even though he knows it might not be right, he embraces the nights like these. The lyrics, “I get a funny feelin’ when the plane goes down / It’s the same feelin’ when the drugs run out / I’m so high, I don’t wanna come down / The buildings and the people look like ants right now” give a chill vibe, similar to the sounds of Frank Ocean. This song has the potential to rise up the charts and become the next addition to your jam playlist.
The EP ends with a remix of “Need You”, wrapping up the EP perfectly by adding a little extra to the track. It is fun to listen to, spicing up the original version without going overboard. Deeper beats and more instrumental gives the song a new life and speeds it up. Including the remix along with the original shows he isn’t afraid to switch things up in his music.
Session 1: Disillusion is the strong first collection of music Emanuel needed to showcase his talents. Dealing with self-reflection, drugs, sex and relationships seems to be his forte, and it is working out in his favor. With Idris Elba as the Executive Producer, as well as curating the video for “Need You”, and Gary Noble mixing the record, the R&B singer has already surrounded himself with big names in the industry. After listening to the tracks, I think you will find yourself listening on repeat until the next collection is released.
Enjoy Session 1: Disillusion now.
by Leigha Stuiso | Jun 18, 2020 | albums, review
Are you looking for fresh music to play this summer? Look no further because there is a new remix album of Diana Ross singles that will give you the perfect tracks to dance along to in the car. Supertonic, which was mixed by Eric Kupper and produced by Diana Ross herself, turned nine of her classic tracks into a collection of party jams. These songs remixed just add to the incredible sonic atmosphere Ms. Ross has been producing for years. Whether it is “Love Hangover,” or “Ain’t No Mountain High Enough,” you will find yourself bopping your head, if not full out dancing, and singing the lyrics you already know by heart.
Earlier this year “Love Hangover 2020” topped Billboard magazine’s Dance Club Song Chart, making it her fourth consecutive No. 1 remix with a song that had been No. 1 for its original release. This only proves further the power and legendary status Ms. Ross has in the music industry. Not only is Supertonic available now, but she and Kruper released Supertonic: Instrumental Mixes which can be found on digital release and cd or crystal-clear vinyl on June 26. Enjoy the magic of Ms. Ross and stream Supertonic now.
by Katy Mombourquette | Jun 17, 2020 | singles, wolf tracks
Tap into your summertime nostalgia with Simpson’s new track “Summer”! The sizzling single may seem out of place considering how messy the summer of 2020 has been, but what Simpson offers is a reminder of how the concept of summer can mean different things. When describing the song she states “’Summer’ is so much more than a song about the summer. It’s about bottling, escaping nostalgia, being present, being flung into the afterthought of the future. It’s sarcastic, it’s cheeky, it kisses your forehead. Summer sees you, remembers you, and doesn’t forget you. Summer is what you were looking forward to that ended up letting you down, but you were so fucked on it exceeding expectations that you didn’t even realize it. Summer is a person, summer is a place, summer is a thing, summer is a feeling.”
Indeed, “Summer” embodies the kind of energy that you feel on a sunny, clear-skied mid-July day. Beginning with just a guitar riff and drums, the music starts off muted before sharpening, like you’re stepping out into the brilliant warmth. The guitar part is persistent and has that happy go lucky sound that’s characteristic of summer. It complements the vocal line well, at times tracing the same melodic arc. While the track certainly leans into the whole summery vibe, the bassline adds an attractive contrasting element. It sounds like something you would hear in a song by The Human League from the 80s. This detail, slight as it may be, gives “Summer” a bit of extra oomph.
Simpson released her first gem in 2017 with her debut song “Switch Lanes.” Since then she has been touring and releasing other singles along the way. “Summer” is her freshest track yet, with more to come in 2020! Be sure to also check out her accompanying new single “I Miss My Dawgs.” All the streaming revenue for this track will go towards organizations that support black LGBTQIA+ people around the United States.
by Katy Mombourquette | Jun 12, 2020 | singles, wolf tracks
Alannah Kavanagh’s indie rock project Grizzly Coast has added a new feel-good indie bop to their repertoire. Inspired by her countless nights in the Toronto music scene, Kavanagh wrote “End of the Night” with the intention to mimic the energy of live music. She fondly recalls how at a show, the music is too loud for anyone to talk, and so it can quell any anxiety over what to say and just allows you to focus on the experience. Even out of the context of a live venue, “End of the Night” delivers on this front.
Kavanagh’s heavenly voice starts the track off by singing “Here we go,” backed up by hazy guitars and a slow tempo before accelerating to the actual tempo of the song. She’s taking you by the hand and leading you to the live show. The rising harmonies and the fuzzy but joyous guitars make the song feel very uplifting– you can feel your own troubles start to alleviate. It’s easy to imagine how this feeling would be amplified if it were heard live. Kavanagh’s voice is the icing on the cake. She effortlessly moves through notes and sings with a freedom that compels you not only to listen, but to be free with her.
“End of the Night” will be a part of Grizzly Coast’s EP Party of One which will be released on July 17th, 2020. The EP will highlight the human need for community and the dividends that pay from having the courage to reach out to those you care about, and who care about you.
Keep up with Grizzly Coast here.
by Katy Mombourquette | Jun 10, 2020 | singles, videos, wolf tracks
Rap aficionado Benny Freestyles has released his latest single and video “Follow Me Home.” The serenade eloquently illustrates the human need for companionship during dark times– whether romantic or platonic. While he was born in Providence, Rhode Island, Benny grew up a traveler, so it comes as no surprise that the video for “Follow Me Home” was filmed in Nosara, Costa Rica. The video sports radiant images of nature that are distinct from, but also closely intertwined with the music. In the opening shot, we drift through a dusky forest and hear a mix of bird calls and electronic tones from the music. The juxtaposition of the sounds is disjunct, but they also complement each other. At times the shots drift in and out of distortion, like a manifestation of the hard times that the lyrics are talking about. Some of the words draw obvious parallels to nature as well, such as “you say it’s windy,” and “just hope it all blows away.”
The electronic music may seem out of place with the nature-centered visuals, but what it does is create a sort of ambient space in which the lyrics can really thrive. Whether it’s the open ocean, eternal forest, or endless night sky, the powerful pairing of these images and the atmosphere generated by the music allows for lyrics like “please forgive me” to ricochet, amplifying their impact.
Freestyles worked with Thomas San Bento in an intense twelve hour session to produce “Follow Me Home,” which features Freestyle’s peaceful voice and the rap skills that earned Benny his name. Since his very first release (a four minute freestyle called “The Ready Freestyle“), the on-the-rise musician has aimed to inspire, putting out multiple projects and going on national tours. Along the way, he has acquired a substantial fan base that really identifies with his music. “Follow Me Home” is simply the next step in Freestyle’s movement to uplift and encourage. Don’t be afraid to let yourself get swept up in it.
Keep up with Benny Freestyles here.
by Leigha Stuiso | Jun 9, 2020 | singles, wolf tracks
Sugar Joans is reflecting and moving on in her latest single, “No Patience.” From singing background for Billie Eilish at The Grammys to appearing as a top 12 finalist on NBC’s The Voice, she continues to create a name for herself and grow in her solo career. Joans channels the sounds of Ariana Grande with a catchy hook that will be stuck in your head all day. The song, inspired by a previous relationship and breakup, was written with Sveta Bout and producers Shag and Scoob. “We got in the studio and finished the song in pretty much 3 hours,” Joans explained.
The Pop/R&B artist is all for being your genuine self and following happiness on this track, which is a part of her first full-length personal project. After listening to “No Patience,” you’ll find yourself looking for more Sugar Joans.
**photo by: brittany brooks
by Meredith Schneider | Jun 8, 2020 | albums, review
There’s something so incredible about the connection of an artist to their work, and then the work’s fans to that artist. The announcement of the death of indelible singer-songwriter Cady Groves at the tender age of thirty this spring has left a large demographic of both pop/punk fans and country aficionados floored. I, myself, remember the days when she toured with punk banks and I requested her haircut at the salon. (College was a trip, and she has always been gorgeous.) Seeing her name in headlines in my social media feed made my heart stop, and I haven’t heard much of her more recent work. But the world has been celebrating her all along, and her fandom has been wrecked over the news.
Cady spent the last four years of her life writing and preparing new music in Nashville that both reflects her personal experiences, and makes her even more relatable than before. Her EP Bless My Heart was released at the end of May posthumously, and she couldn’t have hit the mark more if she tried.
With a little whimsy, she approaches the collection with the first track “Bartender,” a quirky, honest, beautiful ballad to the carefree nature of a full bar on a hot summer night. Perhaps the reality of political unrest and pandemic make this song feel that much more nostalgic, because we actually felt ourselves tearing up, listening to a song about drinking. The title track comes in quick to justify the tears, however, as Cady addresses personal anecdotes and makes us feel that even those who fall – hard – have the opportunity to be blessed in life. She rips any wounds wide open in this track, and this vulnerable side is going to be the thing we miss most.
“Camo” seems to have a title that is very stereotypical – and perhaps widely indicative – of its audience, but the metaphor prevails as a gorgeous reminder to make yourself seen. “Cigarettes and Sunsets” takes on a rhythm and pace that lure us into the thought that we might be about to watch 1996 blockbuster hit Phenomenon. (That is not an insult in the slightest. We imagine this track sounds like the perfect amalgamation of Clapton-style guitar and the Northern California cowboy demographic that surrounded the cast of Phenomenon during filming. But I digress.) Either way, the track belongs in a film. (Do you hear that, sync friends?!)
Last track “Crying Game” visits personal anecdotes, and reminds us a bit of earlier Cady Groves’ work sonically. The song specifically addresses the deaths of two of her brothers (Casey and Kelly), and the emotions that come along with their memories. It all feels like a way to round back to the beginning, as she takes her final, audible, bow.
To feel as though you have witnessed an entire career in just five songs seems a bit cheesy. But this release makes us feel closer to Cady than ever before.
