by Matt Hinsz | Aug 8, 2019 | snapshot, visual
The Nude Party began in the dorms of Appalachian State University, when a group of friends decided to form a band…and play naked. Their reputation as “the naked party band” evolved, and was eventually adopted as the band’s name. Unfortunately, the group was required to wear clothes for their set at Hinterland Music Festival. Despite that, The Nude Party still brought their unique brand of Psych Rock and party-like atmosphere that they are now known for.
Keep up with The Nude Party here.
by Matt Hinsz | Aug 8, 2019 | snapshot, visual
The Dead South wrapped up their US tour with an appearance at Hinterland Music Festival, playing a raucous set in front of an enthusiastic afternoon crowd. The folk-bluegrass band from Saskatchewan put their exceptional musicianship and infectious energy on display. The set included songs spanning the band’s entire catalog, including the newly released “Diamond Rings” from their upcoming album “Sugar and Joy” to be released October 11.
Keep up with The Dead South here.
by Caitlyn Champ | Aug 8, 2019 | singles, wolf tracks
Set to release on August 8, “Cold” by Boy in Space is a great new R&B track that packs a mighty punch in the depth of its lyrics. With opening sounds reminiscent of a lullaby, this song will launch you deep into your feelings, “Both you and me no we gotta let it go/ Laying on the ground wondering why it’s so cold”. Deeply questioning the problems in a relationship, there is something we can all relate to with this track.
For fans of Fletcher, SHY Martin, or Chelsea Cutler there is a lot to look forward to here with Boy in Space. His R&B meets pop culture sound will have him on the up and up for many years to come, so be sure to keep up with him here.
by Kira Cappello | Aug 7, 2019 | singles, wolf tracks
“Live It Up”, the newest single from LA up-and-comer James Delaney, opens to the playful bounce of a video-game bop and a twinkling tropicality – but don’t let that fool you. A closer listen reveals an ennui that borders on ironic.
To clue you in, the very first lyrics paint a picture of a certain brand of indulgence that feels very 2019: “We’ve been wasting time getting high and watching shitty tv shows / Feeling comatose in our dirty clothes.” Split right down the middle, the lyrical content of “Live It Up” resorts to indulgence and lethargy to escape life stress; while sonically, it’s neutrally cheery – a notion that is paralleled in the song’s structure, as the verses bear the weight of Delaney’s approach. Radiating synth and an unchanging mellow tempo meet Delaney’s clear-cut chorus, ringing with a might-as-well attitude: “Live it up, live it up, live it up.” The last few bars close out on a sax solo, whose hum suggests that Delaney is already off to follow his own advice.
Keep up with James Delaney here.
by Christie McMenamin | Aug 6, 2019 | snapshot, visual
Yola performed an intimate live set for YouTube Space in New York City’s Chelsea Market on July 22nd. Surrounded by cameras in a small studio, Yola and her band were unfazed by the fanfare, playing an energetic, infectious set as if no one else was in the room. Yola is an extraordinary performer; her voice takes flight, soaring on the wings of its own power, immediately capturing the listener. With her latest record, Walk Through Fire, Yola leaves no one untamed.
Largely performing tracks off Walk Through Fire, Yola peppered her set with a cover of Elton John’s “Goodbye Yellow Brick Road” and “What You Do” off 2016’s Orphan Offering.
Just four days later, Yola performed at the iconic Newport Folk Festival. She also made appearances during other sets, joining Dawes and Brandi Carlile’s The Highwomen, along with luminary Sheryl Crow. Most incredibly, she joined Dolly Parton herself.
On August 10th, she’ll be opening for Patty Griffin at Lincoln Center’s Roots of American Music Weekend: Americanafest.
Keep up with Yola here.
by Caitlyn Champ | Aug 6, 2019 | singles, wolf tracks
Montreal born Chiiild has recently dropped an idyllic hit single in “Count Me Out”, with hazy vocalism gently pressed over the top of true R&B beats creating delicious soul food for the ears. Picture Tame Impala teaming up with D’Angelo for this celestial sound that crosses genres from the classical beginning to the jazzy blues ending. If the sound itself isn’t enough to draw you in then the lyrics will by promoting feelings of self-love with the insistence that you can bounce back from anything. The chorus, “Don’t count me out because I’ll come back” will get your head slow nodding along to the beat within the first thirty seconds.
Chiiild will also be heading overseas towards the end of this year but has promised more music for Fall of 2019. One thing is for certain though this is definitely an artist to keep your eye on moving into the future.
9/14 — Vancouver, BC — Vogue Theatre
9/15 — Seattle, WA — The Crocodile
9/17 — Portland, OR — Hawthorne Theatre
9/19 — San Francisco, CA — The Regency Ballroom
9/21 — Los Angeles, CA — Fonda Theatre
9/24 — Houston, TX — The Studio at Warehouse Live
9/25 — Dallas, TX — Trees
9/27 — Atlanta, GA — The Loft
9/30 — New York, NY — Brooklyn Steel
10/1 — Philadelphia, PA — Theatre of Living Arts
10/2 — Toronto, ON — Phoenix Concert Theatre
10/4 — Detroit, MI — Magic Stick
10/5 — Chicago, IL — Metro
10/7 — Boulder, CO — Fox Theatre
10/9 — Salt Lake City, UT — Metro Music Hall
10/11 — Santa Ana, CA — Yost Theater
Keep up with Chiiild here.
by Christie McMenamin | Aug 5, 2019 | snapshot, visual
On the heels of their latest release, Phases, Chase Atlantic’s hardcore fanbase stormed into a sold-out Webster Hall for the final show of the Phases tour. Often referred to as “alternative pop,” Chase Atlantic, hailing from Australia, also integrates both R&B and rock into their unmistakeable sound. It’s this fusion that draws fans with different musical tastes together, resulting in an eclectic audience decked out in all kinds of dress.
Taking the stage amid thick smoke and low lighting, strobes flashed on and off, lending itself to a joyfully chaotic atmosphere that allowed the music to speak for itself. The interaction between crowd and creators was unmatched, with the band members spending more time at the edge of the stage than further back. They jumped around, holding the mic out to the audience and enthusiastically encouraging them to sing along.
It was a perfect show to conclude a triumphant tour.
by Kira Cappello | Aug 5, 2019 | singles, wolf tracks
Its power lying in consistency, the unstoppable groove pulsating from Garçons’ “Froggin” is immediately infectious. The track expertly weaves influences of Afrobeat, R&B, and hip-hop to churn out a jam that resonates deep.
This track bares a party-ready confidence, marked by incisive marimba, dangling cowbell, and a beat like the fuzz of a blown out speaker. Vocalist Deelo Avery’s vocals strategically shift in and out of the forefront of the mix, blending a satisfying crescendo, as the vibrating bass is met by the contrast of tight claps. Garçons have meshed these elements to pump out an instant head-nodder that remains breezily versatile – “Froggin” is equally effective in capturing a solitary focus or entrancing a crowded dance floor.
While “Froggin” finds freshness in an emphasis on dance beats, this track comfortably parallels the R&B leaning of Garçons’ previous work. The last release from the Ottawa duo, comprised of vocalist Deelo Avery and producer Julian Strangelove, was 2018’s Body Language. If the next work they put out is anything like “Froggin”, we’re totally on board.
Follow Garçons on social media here:
https://twitter.com/realgarcons
https://soundcloud.com/realgarcons
https://www.youtube.com/channel/UCi-LyhMsvpYq_rqZrBr1nkw/videos
https://www.instagram.com/realgarcons/
by Kira Cappello | Aug 2, 2019 | albums, review
Corey Harper’s newest EP
Barely Put Together hones in on young adulthood, deftly blending moods colored with snug optimism, taut despondence, and wistful recollection. The five-track EP exhibits Harper’s talent for constructing songs that deliver the immediacy of a live performance; some with the resounding power of a stadium anthem, and others, the gentle intimacy of an acoustic set.
Opening track “Blind” is warm, woody, and feels hopeful despite the fretting lyrics, dealing with the questionable aspects of an unstable relationship. Minute details produce an endearing familiarity, as well as contribute to the feel of a live performance: A close listen reveals the clicks and scratches of Harper’s fingers along the acoustic as he plays, and the generous reverb on his vocals ghost behind as if echoing across a stadium.
Moody, syncopated chords on second song “Don’t Hate Me” are reminiscent of the biggest hits of Justin Bieber and Shawn Mendes, as Harper evokes vulnerability following a tenuous relationship. He begs his significant other for a diplomatic split: “If we’re breaking up, we’re breaking up, just don’t hate me / That’s the only thing I couldn’t live with, baby”. A resounding anthemic club beat punctuates the severity of the chorus here, emphasizing the lyrics’ unabashed heartache. After the first chorus, a hidden gem in the form of a bluesy electric riff sneaks by, a segue to Harper’s bare vocals bolstered by a deeply funky bass line. His mercury-smooth vocal runs contribute the perfect dash of R&B freshness. Of all the tracks on the EP, this song welcomes the widest range of elements spanning several genres.
What follows exhibits confidence, defiance, and acceptance that life doesn’t always make perfect sense. Track 3 from Barely Put Together is titled “Better”, and carries the easy-breezy swagger of a California boulevard, as the chorus declares: “I like it better knowing I don’t have it all together.” Harper’s soaring falsetto complements the peppered lead guitar riff, giving listeners plenty of sunny texture to look forward to.
Track “Dried Blood” is a dip in atmosphere and stripped down in comparison, the acoustic picking pensive and cautious. This song’s lyrical melody is beautifully melancholy, but the strumming patterns are never dark; offering a versatile intimacy that could flourish within the walls of a solitary bedroom or floating alongside a each breeze. Harper faces the difficulties of healing from past failures, and casts out his doubts about the future in a fluttering falsetto: “Waiting for the waves to crash, [I’m] too far out to make it back.” Comparable to the scratching guitar strings from “Blind” is the slightest rustling noise in the background during the verses of “Dried Blood” – it suggests Harper is shifting positions in his seat as he plays. These “imperfections” cast a spell that is enthralling because it is realistic, as listeners are able to visualize Harper playing the music live.
Harper is at his most raw and desperate for the final track of Barely Put Together: “Best of Me” is an anthem best characterized by its rising anticipation and stadium earnestness. The first chorus offers a head-turning twist, as the muted beat and strumming actually shift to the back of the mix, granting Harper an open stage allow his vocal presence to take precedence. Electronica-style vocals layer behind the clear belting and gripping rasp, weaving a crowd of voices that proclaim Harper’s drift from heartache: “You’ll never get the best of me.”
Tracklisting
01. Blind
02. Don’t Hate Me
03. Better
04. Dried Blood
05. Best of Me
Follow Corey Harper here:
