by Madison Blom | May 18, 2018 | 5 to 7
After hundreds of hours in the recording studio and after working tirelessly to achieve the fame and success that they have gained up to this point, up and coming group JOYNER is bringing their sound to a whole new level. Since their start, they have had countless opportunities to perform and have thus gained the enthusiasm and loyalty of thousands of fans who are dying to hear more from this killer group. Luckily, amidst their crazy release schedule, Joyner was able to answer some questions for us and for their fans concerning where they started, where they are and, most importantly, where they are going. Buckle up and enjoy one of the most open and honest interviews that we have had yet.
Throughout your years of performing and producing music, was there an event or circumstance that really helped you kick start your career in music?
Music has always been something we loved. We grew up singing, writing songs and performing together in musical theater. As youngins we knew it was something we wanted to do, but we weren’t sure how to take it beyond the walls of our childhood home. When Summer was 20 she was working in retail and had a customer that came in and was telling her about her cousin that was a music producer. From there the dots connected and we recorded our first songs. It hasn’t stopped since!
Out of all of your goals, what is your focus right now?
At this very moment, getting our new music out into the world is the main focus!
Although there may have been set backs, what has made it all worth it?
There have been countless set backs, but at the end of the day it comes down to the music. No matter how hard it gets, the music is always what paints a sunny sky after a gloomy day.
While you are performing, what is your number one priority?
We have two number one priorities and that’s really focusing on being in sync with each other + making sure everyone has a good time!
Is there any exciting news about upcoming releases or tour dates?
Our debut EP comes out May 18th. We’re playing The Mint on 4/29 here in LA and are hoping to hit the road soon. Follow us on our socials to keep in the loop!
After a long day in the studio or on stage, what is the number one thing that you like to eat?
Love this question! A warm comforting meal like potatoes, or some yum grub from one of our favorite vegan restaurants like Little Pine or Mohawk bend.
Has there been anyone or special figure who has helped you get to the point that you are at?
We have so many angels in our lives from our music producer, to our friends that take our photos and help us make our music videos. We are so grateful for them!!
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Keep up with Joyner here.
by Abby Trapp | May 18, 2018 | singles, wolf tracks
Brooklyn based TOMI has been busy prepping for the release of her EP What Kind of Love, out today. The EP features the title track “What Kind of Love,” and “Every Morning I Feel Like Running Away Here.” On “What Kind of Love,” TOMI speaks on the kind of love that you crave and need. “What kind of love takes its under its wings, what kind of love ties you up in its arms and won’t do you any harm- what kind of love?” ponders TOMI. The song has an 80’s dance feel to it, and the music video is visually aesthetic. “What Kind of Love,” really shows TOMI off as an artist in terms of her voice, style, and creativity. “Every Morning I Feel Like Running Away” tells another story. Looking for an escape and breaking out of the comfort zone, TOMI sings “Even out in the open I want to sail away.”
TOMI shares her personal inspiration for What Kind of Love, explaining:
We all experience different versions of love, even in just one person. There is kind love, destructive love, boring love, obsessive love, drunk love, the list is endless. I spent this past Thanksgiving in Las Vegas, and it was a beautiful trip aside from a panic attack: ‘Every now and then I feel you coming up behind me.’ A lot had changed for me in a short period of time. I had been in a relationship for three years with someone who couldn’t quite figure out how to love me. It made me wonder if something was wrong with me. When we broke up, I felt a weight lift, and then as I fell in love with my current partner, I felt the weight pour back over me, even stronger this time.
Keep up with TOMI here.
by Madison Blom | May 18, 2018 | albums, review
Breaking out with his first ever full length album full of energizing anthems and inspiring lyrical loops, is Nashville native Taylor Cole (Chalaxy, Creature Comfort) and his music project Tayls. The self entitled album, Tayls is his greeting to a wider demographic of fans who he hopes to inspire with his commitment to insane fun and beautiful art. Although this indie project has gathered a great following since the very first single, this new release is surely going to push his popularity over the edge as he dives even deeper into the sound profile that he has created for himself. From a humble start to his current standing at the top of thousands of fan playlists, Tayls has created a movement composed of self-empowering music that is both easy to listen to and incredibly intricate.
The instrumental talent that is demonstrated captures the attention of listeners instantly. Coupled with the intense and pumped-up vocals that match the mood set by the music, Tayls can do no wrong as his lyrics pack a “powerful punch” of exciting empowerment to the individual. Known for overenthusiastic live performances, it is clear that Tayls was able to focus the same energy into the recording sessions. Although fans won’t be able to experience all of the lights, dance moves, drag queens and giant swan dives that have become essential elements of the live performance, the music on this album speaks for itself.
Layered with subtle scream vocals, there is no doubt that this album is going to pull in fans of The Flaming Lips, Bright Eyes and everything in between. As this project continues to deepen its understanding of its unique sound, Tayls is sure to pick up fans throughout the world who are inspired by the out of the box lyrics and fast paced rhythms.
Tayls is available now. Keep up with the project here.
by Abby Trapp | May 18, 2018 | albums, review
Deafman Glance is 28-year-old Ryley Walker‘s latest album, out May 18th via Dead Oceans. The album consists of nine tracks, each one a little different from the next. “22 Days,” the second track on the album is perhaps one of my favorite tracks. “22 Days” has a slow jazz instrumental intro for at least a two minutes, rendering the song tranquil, yet engaging. What sounds like a purely instrumental track at first, “22 Days” has help with Ryley’s vocals. “But I gave myself 22 days to come up with a master plan,” Walker sings. “And people can be so plain, with the power to re-arrange,” remains my favorite line. What seems like a tale of despair at first, the piece is soon picked up and flips gears to upbeat jazz, rock, and then slows back down again. “Can’t Ask Why” is yet another beautiful track on Deafman Glance. Like “22 Days,” the instrumental lasts for a while, except instead of jazz we hear wind chimes. In fact, the wind chimes are incorporated throughout the song. “I can’t sleep at night,” Ryley sings ironically, as if the chimes are the things will put him to sleep. “Telluride Speed” sounds like the beginning of a fairy tale with light sounds of a flute. Like a fairy tale Ryley sings “I threw a a rock at your window.” The track is sweet, innocent, and makes you feel at home.
Perhaps my favorite thing about Deafman Glance is the variety of sounds and instruments that Walker incorporates into each song. Inspired by the sounds of the city, Walker says:
And it’s more Chicago-y sounding. Chicago sounds like a train constantly coming towards you but never arriving. That’s the sound I hear, all the time, ringing in my ears. Everybody here’s always hustling. Everybody who talks to you on the street’s always got something they’re coming at you with. It’s the sound of strangers dodging one another. And landlords knocking on doors to get rent that people don’t have. But it’s eerily quiet at night. This record is the sound of walking home late at night through Chicago in the middle of winter and being half-creeped out, scared someone’s going to punch you in the back of the head, and half in the most tranquil state you’ve been in all day, enjoying the quiet and this faint wind, and buses going by on all-night routes. That’s the sound to tune in to. That’s the sound of Chicago to me.
Deafman Glance is out now. Keep up with Ryley Walker here.
by Abby Trapp | May 18, 2018 | albums, review
Chicago’s own Hidden Hospitals is excited to share the release of their new album Liars, which is officially out today. “Razor Blades” is the first track to kick off the album, and shows off Hidden Hospital’s pop-punk flare. “I want it all but everything won’t fit,” proclaims the band. The track remains angsty with lines like “rush to the razor blades” and “haunted crosses” highlighted among others. The title track “Liars” is very ethereal, more reminiscent of outer space. “Liars have lips who call out love,” the upbeat electronic pop track sings. “Liars” remains upbeat and funky, but with a sad lyrical message.
My personal favorite track is “Better Off”. On this post-apocalyptic track, Hidden Hospitals touches on the aftermath of a relationship and the toxic environment one can get caught up in. “I didn’t know what we had started, I couldn’t see the pieces then- pull us close found us toxic/how misleading it had been,” the band shares on a painful but truthful experience with listeners.
On the album, vocalist Dave Raymond says: “Sound is language, and our fluency and vocabulary 2018 is vast. Why not use it? I can make a guitar do anything, we can make a drum kit say or control anything, and that’s interesting to me. It’s the feeling of “kid in the garage with their amp turned all the way up.” I’m forever chasing that, and LIARS is the most recent expression of what got me there.”
Liars is available here.
by Abby Trapp | May 17, 2018 | singles, wolf tracks
With the news of their second album DARE which will release July 13th, The Hunna is excited to share their latest single “NY to LA.” The alternative rock track tells the story of infatuation that may have an expiration date. “From New York to LA I don’t wanna forget girl the way this feels tonight, but we’re running out of time.” To me the song felt vaguely reminiscent of the best boy band rock day- think All-American Rejects, and Boys Like Girls. The Hunna had me in my feelings as they put down a fresh twist to an old sound, the sound I grew up with (20 something’s you know what I’m talking about.) “NY to LA” is definitely a song worth jamming to whether you’re alone or hanging out with friends on a summer night, the track has something for every one.
Keep up with The Hunna here.
by Abby Trapp | May 17, 2018 | videos, wolf tracks
Budding pop star Syrena has just released her latest song “Diamonds In My Head”. The 20 year old NYC native is woman of many talents including belly dancing, fire eating, and snake charming. Her most recent talent includes her cunning knack for music. Her latest “Diamonds In My Head” is a pop song with a style all its own. While the beat is what captures you, Syrena’s captivating vocals ranging high and low, are what will keep you listening. The writing is inspiring as well as Syrena sings on empowerment and ambition. “I’ve got diamonds in my head, you see- Imma to do what I want….I’ve got diamonds in my voice, in my soul.” The most powerful lyric for me is “Love is great, love is kind, but it’s just not on my mind.” Syrena is focused on her goals on “Diamonds In My Head”. “Power and confidence are big themes in my music. Maybe it comes from being a New Yorker, or maybe it comes from performing live since I was three…if you doubt yourself, this city will eat you alive,” says the pop artist. Maybe it does come from performance, or maybe Syrena just has “it.” Either way, after listening to “Diamonds In My Head,” I felt more inspired,and focused. And to me, that’s music worth listening to.
Keep up with Syrena here.
by Madison Blom | May 17, 2018 | singles, wolf tracks
Exploring the deepest corners of the mind and the demon found there that are egged on by anxiety and guilt is the latest release from LA darling Esbie Fonte and her new single, Manumit.” Growing up surrounded by a family that was equally involved in music and frequent trips to the record store inspired her to take her sound to new heights. After spending several years attending Sarah Lawrence College, immersing herself in the education opportunities offered there. The same passion that brought her to that school also carried her across the Atlantic to deepen her understanding of the world of production. Now, fresh out of college and moved to one of the music capitals of America, Fonte is ready to take her music to a whole new level–from bedroom artist to working with one of the most successful produces around, she has released her single, “Manumit.”
One of the most enticing attributes of this single is the dreamy vocals accompanied by synth loops that seem to transport listeners to the world built by the lyrics majesty spun by Fonte herself. As a wonderful tribute to the experience one faces when attempting to battle personal insecurities, “Manumit” speaks to all who have ever face mental debilitation on any and all levels. This single was written in the center of calamity in hopes of achieving mental clarity and deeper understanding of oneself. No doubt, this is a song that will touch thousands and raise Fonte to a whole new level in the music industry as she continues to produce meaningful, flawless tracks.
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by ImperfectFifth | May 17, 2018 | show review
Athena by Elisabeth Donaldson
Pop can sometimes feel like an afterthought in the rock and country-saturated musical landscape of Nashville, but Thursday night’s show at the East Room made it clear that Nashville’s pop scene is anything but marginal. POP MONSTER (a dual release party for local artists Whoa Dakota and Athena, hosted by Popsquad) showed that pop in Nashville is as varied and exciting as the people involved can imagine it to be. Four artists with unique takes on the different shapes pop can take proved what the Nashville pop scene is truly capable of: churning out emotionally nuanced and stylistically ambitious bangers.
Meaux opened the evening strong with her sensual electro-pop, a fusion of soulful and experimental sounds that provided an effortlessly changing landscape for her rich voice to traverse. Her powerful pipes and impressive dance moves energized the room as she stalked the stage in a split length red cape. Color-shifting gauzy lights set the tone in the room, a cozy dream cave that looked as if it had been styled by the collective efforts of Prince and the Little Prince. Between sets the alchemy in the room was maintained through a mixture of 90’s throwbacks and electro-pop, the dreamy vibes in the room conducted by the cotton candy stellariums (made by Athena) hovering moodily above the crowd.
Next was Soren Bryce, a Brooklyn local who’s no stranger to the Nashville music scene. Soren’s writing and performance seems to transform to keep up with the rapid pace of her own ever-expanding taste. It’s a testament to how talented Soren is that she can take a left turn away from the fantastic music on her last unreleased EP (largely synth-based) to the more guitar-centric rock we heard on Thursday—and accomplish it so effortlessly. Clearly there’s no genre of music that Soren can’t master, as demonstrated by her fantastic set: a grungy pop punk watercolor that borrowed from Kurt Cobain, Lorde, Joe Jackson, Elliot Smith and Fiona Apple without ever losing its own distinctive style. Soren’s varied influences find her a sound all her own, as well as a gravity at the mike that holds the center of any room she’s playing for. The thread that weaves through her stylistic choices is always her voice, melodic with an expansive range that she wielded precisely like a scalpel to cut through the colorful fog in the venue.
Soren Bryce by Rhea Foote
Athena played third in a powerhouse performance that you’d never know was her debut effort. She was right at home in front of an audience, prowling the stage in silver spandex like a modern day Xenon, an early 2000s fever dream kicking through pink fog clouds in Adidas stripes. Athena approached her performance with a fierce vulnerability, swinging from charm to rage to melancholy in a way that always felt authentic. She brought the crowd into her circle of trust and pulled them along for her journey—and despite (or because of) the emotional depth each song was catchier than the next, equal parts Paramore and Nelly Furtado, Athena bopping around the stage with her heart in her hands. If this was only her first show, I’d recommend showing up for Athena’s second show.
When Jesse Ott aka Whoa Dakota took the stage, she wasn’t afraid to own the space, immediately splaying herself out on the attached runway while the crowd encircled her. The show also served as a release party for the new single “Right Now” off of her upcoming album “Patterns,” but she saved that for the end of the show, satisfying the audience in the lead-up with her electrifying and adventurous performance. Her bold, anthemic sound imbued all of her songs with an epic energy, getting the crowd dancing and hollering along with her as she navigated the room in her floral bodysuit. It had the feel of a good block party—the raucous happiness, variety, community energy. Whoa Dakota delivered with their surprise guests, hauling Alanna Royalle and Jung Youth out of the crowd to sing and rap respectively alongside her, with Robert Gay joining on trumpet and Anthony Jorissen on sax. During “Patterns,” the hit for which a music video recently came out, it seemed like the whole room was bellowing all the words alongside her. The show’s joyful climax was a surprise birthday celebration for Ott’s 28th birthday, including a rendition of the birthday song led by friends from Pet Envy and Molly Rocket, and punctuated by an amazing display of cupcakes this reviewer found to be delicious.
by brandon de la cruz
Whoa Dakota’s ambitious, ecstatic performance was the perfect series of exclamation points on which to end the evening. Each performer showcased a different side of pop music and played to the infinite potential within Nashville’s nuanced pop scene. It was especially heartening to see a fantastic, well-executed show that just happened to be led both in front of and behind the scenes by female talent. Without billing itself as a girl power show, POP MONSTER reminded us that there’s a surplus of talented women with vision leaving their marks on the Nashville music scene—and with shows this collaborative and joyful, we should definitely be supporting that.
Keep up with Whoa Dakota here and Athena here.
by Hanna Bahedry
