by Madi Toman | Feb 17, 2020 | singles, wolf tracks
Dallas punk rockers CLIFFFS are big believers in the idea that perfection has ruined music. According to them, precisely triggered digital samples, autotune, and overly photoshopped album covers all attribute to the killing of the imperfections that give music character and turn it into just another product being marketed to the masses, all elements of humanity drained out of it.
CLIFFFS approaches their music a little differently.
“CLIFFFS don’t give a fuck about perfect”. Fellow Dallas musician Rhett Miller wrote. “Which is probably why, for their sophomore effort PANIC ATTACK, they went and made a perfect record”. The irony is there, but it’s not hard to see what he means.
Less is more with this project, and it pays off. The first single off of that record, “Into the Salt”, is a quick and fiery track with all of the delicious grit and raw energy that exemplifies garage rock. Their premise is simple, but their songs are explosive and their playing is tight. Short, not so sweet, and definitely to the point, one thing is for sure; CLIFFFS know how to rock.
CLIFFFS kicks off the first of three album release shows February 27th at Three Links in Dallas.
by Meredith Schneider | Feb 14, 2020 | albums, review
Chicago-bred psych pop quintet Post Animal – expertly comprised of Dalton Allison, Jake Hirshland, Javi Reyes, Wesley Toledo, and Matt Williams – truly brought their A Game with the release of Forward Motion Godyssey today. Leisurely rolling into an easygoing soundscape with “Your Life Away”, the 80s-inspired fade-in on second track “Post Animal” is both nostalgic and frantic. “Schedule” brings us back to a more 70s-psych aura, bright vocals and crashing cymbals leading the way.
“Fitness”, as its predecessors, has a completely different feel, bringing with it an audible sense of mystery. “In a Paradise” feels more 80s hair band, a track we could easily see being placed in the soundtrack of Top Gun II, if things were to go our way. (The first minute at least, before it goes into more Guitar Hero territory.) “The Whole” is an instrumental track that sounds as though it should be played in queue for a Star Wars attraction. Glittering and lovely, it paves the way for “How Do You Feel” (Note: NOT a question) in a way that highlights the synth in both tracks.
“Safe or Not” brings with its title a mystery, and with its soundscape more of a dance track than anything else. We can very much imagine “Private Shield” as more of a contemporary Warped Tour track, while “Damaged Goods” rips hard, and we’re totally smitten. “Sifting” is the eleventh and final track, bringing the listener’s heart rate back down after a short burst of ethereal energy mid-track.
What’s your favorite song on the new release? Let us know!
Keep up with Post Animal here.
by Kendal Chandler | Feb 14, 2020 | albums, review
Dennis Callaci drops his new solo record The Dead of the Day. Callaci is the founder of Shrimp Records and a member of the band Refrigerator, as well as released solo records.
Dead of the Day is part three of solo albums by Callaci. The first release being Bed of Light, released in 2016 followed by The End of the Night, released in 2017. Dead of the Day is a stripped down acoustic record full of guitar and piano ballads. The album opens with a fifteen minute instrumental. Everything on the record plays off one another – lyrics and music composition work in a way that creates a ghostly feeling.
The release of The Dead of the Day coincides with Callaci’s novel 100 Cassettes, with a narrative that ties into the narrative of the album. The book is constructed of 100 meditation on music, commerce, and abstract concepts. These ideas wrap around autobiographical information, the rich culture of Southern California from 1969 to today, and all musical points.
Dennis Callaci Tour Dates
02.14 – Pomona, CA @ dA Center for The Arts
02.15 – Los Angeles, CA @ Book Soup – 2pm
02.15 – Glendale, CA @ House Show
02.16 – Santa Cruz, CA @ Streetlight Record Store – 2pm, Santa Cruz CA
02.16 – Oakland, CA @ House Show
02.18 – Portland, OR @ Music Millenium in-store – 7pm
02.19 – Seattle, WA @ Sonic Boom in-store – 7pm
02.20 – Boise, ID @ Record Exchange – 7pm In-Store Performance
02.21 – Salt Lake City, UT @ House Show at Barn Deluxxe
by Matt Hinsz | Feb 14, 2020 | snapshot, visual
Joseph’s February 11th concert at the Madrid Theatre, promoting their newest album “Good Luck, Kid,” was the band’s first Kansas City performance in almost three years. Even so, the trio admitted to always being fond of KC, reminiscing of a stop on one of their first nationwide tours, and apologizing profusely for an early edition of a tour poster which placed Tuesday’s concert in Kansas City, KS…
KC clearly loves them back. An energetic crowd enthusiastically sang the band’s lyrics back to them. In the front row were participants of Joseph’s recent “Good Luck, Kid” cover contest, which the band mentioned by name. There was a celebratory mood all night as Joseph performed an outstanding show for their eager KC fans.
Keep up with JOSEPH here.
by Meredith Schneider | Feb 13, 2020 | singles, soundtrack
2020 has marked a new chapter in the lives of many, and we have been overwhelmed with news of good changes in our friends’ lives, and, honestly? Not surprised. The creative force that seems to have supercharged this year shows no signs of slowing down, and it may have wrapped us up so tight in its existence — filled to the brim with gorgeous lyrics, magnetic chorus lines, incredible bass, and intrinsically alluring melodies — that we are JUST coming up for air and realizing TOMORROW IS VALENTINE’S DAY.
But you know what? That’s not what February is anymore. It took this long, but it doesn’t seem that each month is categorized by its major holiday. And that actually feels better than anything else. Knowing that music is transcending what it once was, and becoming a deeper reflection of our thoughts and emotions than ever before.
This month, let’s celebrate the wins. Celebrate the new songs that have entered our minds, the new sensations that bubble up from it all. Celebrate the creative efforts honed by talents such as Stumbleine, MOONZz, Mo Lowda & The Humble, and more!
Check back all month for more additions to the latest and greatest soundtrack to your year!
by Kendal Chandler | Feb 13, 2020 | singles, wolf tracks
Under the name Dead End Career Club, Canadian native Ryan Kennedy drops newest single “Cooler Than Me”. Neo-grunge and garage punk, on this newest track.
This 90s infused fuzz-pop track creates a simple melody leaving the focus on what the song itself has to say. “Cooler Than Me” is about Kennedy recognizing that everyone has done something that scares him, and that being cool is deeper than just the surface.
This track fixates on the “cool” or what society says is cool. When in a weird juxtaposition, listeners hear what we know as cool may not be so cool after all.
Keep up with Dead End Career Club here.
by Madi Toman | Feb 12, 2020 | albums, review
New York-based Americana trio
The Lone Bellow have been around for a decade now, but their newest release has shown that
the folksy group still have plenty of stories left to tell and plenty of new ways to tell them.
The group, comprised of lead singer/guitarist Zach Williams, multi-instrumentalist Kanene Donehey Pipkin and guitarist Brian Elmquist (both of whom join Williams on both vocals and songwriting) have just released their fifth studio album, Half Moon Light, produced by
The National’s Aaron Desner, who also oversaw their sophomore album, Then Came
the Morning.
The album itself is a beautiful showcase of catharsis for every one of the band members, who have all endured shocking amounts of tragedy and hardship in their lives that they admirably translate into soul-shaking music. The group holds tight to its folksy roots on Half Moon Light, but it’s uplifting and spiritual tone often soars into the rafters with clear influence in gospel, soul, and blues.
The chilling story of “Intro”, “Interlude”, and “Finale”, which appear dispersed equally throughout the album, is one unlike any other. The album works around the difficult theme of death, but instead of it being a somber reflection, it’s a triumphantly uplifting celebration of life. This tone is firmly set right from the start with the intro, which showcases Williams’ grandmother bringing the house down in a moving tribute at her husband’s (William’s grandfather) funeral when this old woman, supposedly barely capable of walking, made her way up to the front of the church, kicked the paid musician off the piano, and in the final moments of the packed service, hammered out a soul-shaking medley of songs as a beautiful tribute to her husband of 64 years. Williams later realized in the studio that his dad had recorded the whole thing, and it in turn made its way onto the album. The soulful medley effortlessly manages to tie the album together in a uniquely beautiful way.
In “I Can Feel You Dancing”, Williams and Elmquist send a letter beyond the grave to their own grandfathers, who passed away fairly recently within a couple months of each other. In a showcase to the beautiful celebration of life that takes center stage thematically on this album, the track is a moving ode to life both lived and yet to be lived, as it pays tribute to their loved ones before them but also to the people currently in their life who push them to live to the fullest everyday. Triumphant horns, soaring harmonies, and a comfortingly-grounding drumline decorate the pure and sparkling walls of this number, which embodies what it means to celebrate life.
Explosive blues-rock track “Just Enough to Get By” showcases Pipkin absolutely bringing the house down with earth-shaking vocals and brutally honest storytelling. The ache and grit in the multi-talented musician’s voice bleed onto the emotional track, which tells the story of her mother, who was raped as a teenager and forced to give up the resulting child. 40 years later, that child came back into her life, and all of the emotions that Pipkin clearly felt are laid out for all to see (and feel) on this powerful track. Pipkin usually plays an important role in bringing life to the oh-so-sweet 3 part harmonies that have long been a key weapon in The Lone Bellow’s folksy musical arsenal, so seeing this intensely soulful side of her voice is an impressive display of her dynamism to say the least and a standout moment on the album.
“Good Times” is a mind-bending bout of wild storytelling courtesy of Williams that features piano that is somehow both devilish and gleeful all at once. The track is supported by shouting choruses, which are also featured on “Count on Me”, which celebrates camaraderie and friendship. Songs like “Wash it Clean” and “August” shift the focus back to heavier material. The former features beautifully picked guitar and sliding strings as Elmquist pays tribute to his recently passed father, who he had a difficult relationship with, while the latter is an ode to Frightened Rabbit’s Scott Hutchison, who tragically passed away in May of 2018.
The trio impressively manages to stay grounded in the music that made their fans fall in love a decade ago while also bravely exploring new genres and themes. Their adventurous musical spirit aside, a constant is the positive light that the band manages to cast over so many difficult stories of hardship and tragedy, and they undoubtedly have a knack for translating those trials into a celebratory story of life.
The Lone Bellow will play at
Knuckleheads Saloon in Kansas City on March 2nd, 2020. Come out with us that night for one of the most entertaining stage performances you’ve ever experienced!
Keep up with The Lone Bellow
here.
by Kendal Chandler | Feb 12, 2020 | singles, wolf tracks
Indie-folk singer Emily Keener releases new single “Do You Love Me Lately?” just days before Valentines Day. The song depicts how fragile love can be and how love is full of fear and vulnerability. Her voice, accompanied by a retro-influenced groove, creates a fantasy feeling.
Fantasy is what built this song, when Keener imagined what it would be like to date a woman. Letting go of her self-censoring and doubts. A theme that is encompassed throughout her upcoming album I Do Not Have to Be Good, set to be released in May.
“Do You Love Me Lately?” is structured in a way that sets the stage for the main album theme, of being free. Chorus and verse sway between resistance and wishfulness. Resistance what she was raised not to be and wishfully reached to defy them.
Keep up with Emily Keener here.
by Meredith Schneider | Feb 7, 2020 | singles, wolf tracks
If you haven’t experienced the ethereal vocal wonderment that is Whoa Dakota (Jesse Ott), then why not try the act on for size with an updated version of one of your favorite 90s tracks? The indie pop songstress has mastered several throwback options — trust us, we’ve seen her multiple times live and she absolutely destroys every stage she’s on — and this is one of our favorites. And is there a more perfect time of year to be pulling this one out of our back pockets, anyway?
Happy Valentine’s Day, and every day, with this flirty, fun track!
Keep up with Whoa Dakota here.
