by Meredith Schneider | Oct 18, 2019 | albums, review
Rock collective Teleportal – comprised of Johnny Rossa (Vocals), Beth Liebling (Vocals and Bass), James Bourland (Guitar), and Ric Peterson (Drums) – just released a theatrical, 11-track album titled Devour that does – if not specifically that – really provide an attitude all its own. While the instrumentals of “Space Bone” introduce the collection with a dark soundscape, it lightens with the layering of new instrumentals and lighter vocals. Eventually a wailing note makes this song into what it is, and we’re transported back in time while also being pushed significantly into the future. “The Plague” has an undeniably frantic feel to its sound, energizing in its disposition, while “Disaster” evens out the tempo a bit for a more traditional rock sound. “Mansions” slows it down to that psych rock soundscape, giving us whirring guitar parts we didn’t even realize we were craving until now.
“The Organizer” dips back into classic rock, a little more of a ballad. We’re pleased with the way it pulls Rossa’s vocals to the forefront, providing this heartbreaking feeling we wouldn’t otherwise get from a different set of pipes. “Slither on the Ceiling” brings with it a funky feeling, the vocals rough and enticing. “Velvet Math” definitely feels more technical, with computerized sounds throughout and an otherworldly vocal presentation. While “Pull the Trigger” has a title that might feel a little more morbid than its predecessors, the crashing cymbals and punk rock feel make it fit right on in with several genres, including garage, punk, and classic rock.
“Ruins” slows everything down as an instrumental track driven by a classic drumbeat, while “Eel” does seem to exist in a watery, psychedelic soundscape. (The intentionality behind the undertones of the songs and their title pairings is almost poetic in itself, don’t get us started here.) “Gamma Dust” is quite possibly the perfect ending to this collection, as from beginning to end you feel an eery connectedness to the scattered percussion, haunting vocals, and layers of sound. Soothing, chaotic, intense.
Keep up with Teleportal here.
by Meredith Schneider | Oct 11, 2019 | albums, review
Indie pop songstress OSTON recently released a new 6 track titled Sitting at the Kids Table, a highly relatable and intrinsically beautiful collection of songs that will leave you craving more. From the first lines of first track “bad” to the very last moments of “last time”, there is an energy to this work that is all her own. With raspy, well-balanced vocals, OSTON has created an entirely distinct sound to the entire album with just the presence of her vocals.
Songs like “give up” and “bad” employ earthy percussion and While “leading me on” is a smooth pop track with a subject matter that is absolutely exhausting, “way we say goodbye” brings us back to a good mood, in both lyrical content and a bass line that never quits. OSTON wraps the release up with “last time”, which is a future hit pop track if ever we’ve heard one. As we praised before, her vocals are more than enough to carry this song, with Mariah Carey-esque range, and the tempo makes this the perfect song to dance with your sweetie to. The bittersweet topic is something to sit with if you’re in a weird, introspective mood, but it’s presented in such a sultry way that you can enjoy this in an array of atmospheres.
Push this song to radio, guys. And as a whole, this release shows OSTON’s promise. We can’t wait to see what’s to come.
Keep up with OSTON here.
by Meredith Schneider | Sep 27, 2019 | albums, review
In true ANIIML fashion, we’ve got a full-length release today that will spike your senses, beginning with the all-caps nature of the song titles. OH AWE is a 10-track stunner of an album that perfectly showcases the self-proclaimed “avante witch-pop” singer/songwriter ANIIML’s unique pipes (Hello, do you hear that powerful voice?!) amidst a rough and tumble mixture of instrumentals. Her twangy disposition only adds depth to the soundscape, a magnetic mess of beauty that we cannot stop playing.
From steady beginning of “IT’S OVER” to the very last chaotic lines of anthemic track “STRONGER NOW”, we are absolutely hypnotized by the beauty of ANIIML’s voice. “SLAY!” brings with it that perfect club track tempo and a bit of trending attitude, while “HANDLE ME” simplifies everything with a mixture of Gwen Stefani-like vocals laced with an increasing presence of seduction. “OUCH!” actually feels like a track Imogen Heap could have pulled off, and we’re all for the pure primal feeling it evokes. “WHERE WE GO (WHEN WE GO)” features the darling X. ARI, intricate percussion being the driving factor on this puppy. “OUT! OF! CONTROL!” actually brings with it a more vintage, theatrical soundscape that has us scrambling for a speakeasy. “BEFORE IT GETS BETTER” features Robots&Balloons, and slows things down a bit for a more introspective moment, and then “FACE TO THE PAVEMENT” slowly but surely revs things up a bit more.
If you’re looking for an interesting soundscape, “IT’S NOT OVER… YET” provides pretty much everything you need. Quirky, trudging percussion, and a little bit of a different approach then 2017’s “IT’S OVER“, she’ll be serving this goodness up on repeat for a while here. “STRONGER NOW” brings a sense of finality to the piece, and the cacophony of sounds toward the end will prove that. Give it a spin, then hit us with your thoughts on Facebook.
Keep up with ANIIML here.
by Meredith Schneider | Sep 23, 2019 | albums, review
On Friday, Kills Birds released a self-titled full length that is sure to keep you on your toes. From the very first frantic chords of “Worthy Girl” to the last lines of ninth track “Ok Hurricane”, there is equal parts surf pop and punk influence in this alternative collective’s new release, and we’re thrilled with the cadence of it all. Second track “Jesus Did” is something we would actually find ourselves moshing to in a dingy club, if you’re truly wondering, and “Ow” follows suit with a subtle, beautiful darkness and slower pace. “Volcano” builds like a vintage rock track, intricate percussion leading the way, while “New Friend” slows everything down and builds the instrumentals to a trudging, intense soundscape despite the more leisurely pace.
While “Only Yellow” feels melancholic in title, it’s a garage rock gem that is equal parts chaos and intricate observation. “Tear Up” finds itself in more of a Weezer realm lyrically and vocally, while “High” prefaces the last track with a hard bass line, the most Nirvana-esque of the tracks on this record.
Quite frankly, we have been waiting for a soundscape like this. Something to match the way the weather is going in North America, something to take us into autumn with appreciation and a sense of reality. So check it out below, then tell us what you think on Facebook!
Keep up with Kills Birds here.
by Meredith Schneider | Sep 16, 2019 | albums, review
This year, we had the insane pleasure of sitting down to chat with Throwawy for an imperfect Fifth podcast recording session. In fact, it was our very first one. We were honored then to speak with her, and even more honored now to be laser focused on her most recent release, a full-length titled What?
A collection of 8 high energy songs, What? boasts a relatable string of lyrics and an inviting disposition, despite the heaviness of the topics and the cadence with which the vocals are delivered. Titles like “Bonatan Jyers”, “The Brilliant Society of the Illustrious Mule”, and “I Work!” draw you in, with the unexpectedly wonderful blend of theatrical, edgy instrumentals (“The Revenge Society”) and attitude keeping you in place. As each new track begins, a sense of urgency — and, at times, insanity — appears for a moment, and then you relax into the layers of energy blasting from the speakers.
Definitely do not try to enjoy this album right before bed.
For more about the artist, check out our podcast episode under your first listen to the album!
Keep up with Throwaway here.
by Meredith Schneider | Sep 9, 2019 | albums, review
Kansas City-based favorites Madisen Ward and The Mama Bear have done it again with their new release, a delightful full-length titled Started With a Family, which — to their credit — it did entirely. And they’ve packed it to the brim with their signature robust, at times raspy, and beautiful vocal harmonies. “Saturday Morning Cartoons” opens the collection, beginning with a beautiful sentiment of current and future happiness. But hang on through to the end and you will either be slightly disturbed or just completely worried about your future. Nonetheless, they speak truth and continue to do so through slower second track “Hell Better Make Room”. “Never Met a Mutha” begins with a soundscape similar to Death Cab’s “I Will Follow You Into the Dark”, however it blossoms into a folk song that seems to be a testament to Mama Bear, though it could be easily applied elsewhere.
“Botticelli” slows things down again, a bit of a detached option from the relatable side of things. “Back to the North” has an interesting melody, prepping us for the more intricate “Started With a Family”, in which Madisen Ward addresses his family specifically. It’s simple, beautiful, and elegant in a way. Stemming from it is “Guts n Glory”, a bit more graphic than its predecessors, however still very relaxing in its disposition. “Crackle Lyn Wood” possesses both a clever name and a beautiful video, which can be seen below.
“Lightning Kids” holds its spot as the second to last track on this incredible folk album. It doesn’t have quite the pace we expected for having the term “lightning” in the title, but also leaves a lasting impression with its introspective lyrical content. The duo rounds the album out wonderfully with “Little Mountain”, showcasing Mama Bear’s (Ruth Ward) timeless, heartbreaking vocals. That packs a powerful punch, and we’re going to go ahead and hit “repeat” for a while.
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Keep up with Madisen Ward and The Mama Bear here.
by Kira Cappello | Sep 9, 2019 | albums, review
Incendiary, vengeful, and all-around kickass: The first full-length album from New Zealand powerhouse Miss June slams from start to finish. Brimming with fiercely punk riot grrrl anthems and self-deprecating moodiness, Bad Luck Party spans captivating rock methods across eras; from the stadiums of the early 80s to 90s alt-rock radio hits alike.
What do you get when you cross the youthful rebellion of 00’s pop-rock with contemporary punk? The answer is opening track “Twitch”; a smoldering, mile-a-minute plunge into the inferno that is Bad Luck Party. The first single of Bad Luck Party dropped in May of 2018, it acts an effective launch into the zeitgeist of the album, with dripping, electric fuzz stacked behind racing drum fills. “Twitch” especially stands out on BadLuck Party because it could fall first, central, or middle on the album’s track listing, and its catharsis would be perfectly timed regardless.
With track two – titled “Best Girl” – Miss June welcomes us into the first of many sarcastic rejections of the drags of femininity. A tongue-in-cheek nod to the album’s title, the chorus chants again and again: “It’s a bad luck party and nobody wins but me”, as voiceovers from vocalist Annabel Liddell whisper gossipy taunts over the anxiety of a tight snare.
Bad Luck Party never takes a breather, yet it does breathe a satisfying range of moods and dynamic differentiation. Tracks “Anomaly”, “Orchid”, and “Double Negative” are moody, narrative-focused, and feature toned-down vocals relative to their accompaniments on the album. Heart-swelling anthem “Anomaly” takes you right to a high school football stadium, where a protagonist fawns over a crush, with just a tinge of jealousy. Following suit in the spirit of reflective indie influences is “Orchid”; a pensive look into a dirty mirror that shatters if you stay too long. The lyrics of “Orchid” offer some of the clearest feminist commentary on Bad Luck Party, deftly melded with wracking heartache, as Liddell croons: “Ma says it’s easier for men to move on / There’s plenty of fish in the sea for a shark”.
The middle track on the album, “Double Negative”, is a simmering, melancholy beacon that carries with it an emotion not found many other places on Bad Luck Party; the urge to mourn. A cavernous cello carves out the space around Liddell’s vocals, creating a landing space for her regrets as she tosses them over the edge: “There was no time to talk”. An eruption follows, with any remaining boundaries combusting into unresolved questions.
There are more songs on Bad Luck Party album guaranteed to triple your heart rate than not. An anthem of repudiation, “Please Waste My Time” is arguably the wildest and most fun on Miss June’s spectrum of alt-punk. Just before her breakneck squeals send the chorus into chaos, Liddell’s contrasting shouts of “You make me feel old” break the tension, expertly shifting from frenzy back into musicality. On “Two Hits” and “Aquarium”, Liddell lobs rapid, ear-splitting screeches in rapid pace, demanding the forefront of attention, even over the thundering, metal-style guitars. Second-to-last song “Scorpio” is no less thrashing, but is marked by the softer, melodic singing of a ballad as opposed to the ravenous contempt wreaked on earlier tracks.
“Enemies”, a single released earlier in 2019, opens gradually and dramatically, drudging through a nightmarish yet fascinating landscape of stinging feedback and reverbing leads, before trenching into Liddell’s warning lyricism. This track is an ode to massive stadium rock acts of the past like Metallica, as well as extant subgenres like metalcore– all with Miss June’s defining riot grrrl explosivity. Matching the doom of “Enemies” is final track “Polio”, a finisher welded together with every trick in Liddell’s arsenal: Cautioning whispers give way to spoken directness, gradually ascending into screeching ferocity; nearly eclipsing the deafening crash of the surrounding scape.
Miss June is comprised of vocalist and guitarist Annabel Liddell, guitarist Jun Cheul Park, bassist Chris Marshall, and Tom Leggett. Next month, the group will begin their world-wide tour in celebration of the album’s release. The Bad Luck Party Tour will kick off in Wellington, New Zealand and October 14 sees the band play Brooklyn’s Rough Trade which marks the start of the North American run that includes shows in Toronto, Chicago and Los Angeles. All dates are listed below. Tickets and more tour info can be found here.
Keep up with Miss June here: Website ** Instagram ** Facebook
by Caitlyn Champ | Sep 3, 2019 | albums, review
Phebe Starr is back and brighter than ever with her new EP Ice Tea Liberace which was released on August 30 of this year. Showcasing an impressive musical vision and a wide range of vocal talent this four-song album will be the perfect kick start to your Fall music lineup. With songs mainly centered around a loss of innocence and having to come to terms with growing up, listeners will get a clear sense of Starr’s diverse musical style and opinions on the world.
Choosing to start off the album with its title track “Ice Tea Liberace” you’re immediately dropped into the mystical land Starr will journey through over the course of the four songs. Featuring a renaissance-meets-hip-hop vibe, this track has a unique blend of sound coming in from a wide range of instruments and background beats. The staccato lyricism pushes the song along and provides for a clear focus on the words themselves, a call to the return of an older world, a rebellion against how things are now. “Ice Tea Liberace” is both powerful and original, exactly what you would want from the opening track.
Starr’s next track “Bad News” opens with a tribute to the late Johnny Cash’s “Ring of Fire” before moving toward her sleek and lustrous vocalism. A stark contrast from the first song, this one focuses more on the lyrics than the instrumentation. Drawing the listener’s attention to the chorus with the repetition of the B in Bad is a stylistic technique Starr has mastered and brings out in later songs as well.
The third track of the album, “Break the Law”, starts off a little different with Starr choosing to bring an acoustic-style sound into the mix. “Break the Law” is also distinctive in the strategic use of lyrical pauses letting the beat carry the song. A song to rave to at a basement party “Break the Law” sounds like a cross between Halsey and Billie Eilish with its roots planted firmly in the bad girl world.
Last but definitely not least, the last track on the album “Touch XXX” rounds us off in an emotional yet gentle way as if falling into a pool of perfectly calm water. Showing off her range here, you can truly get the feeling for how strong of a singer Starr really is. The kind of song that makes you close your eyes and feel the music, “Touch XXX” will take you on a ride of pure ecstasy.
Gifting us with a complete emotional journey Starr has succeeded in creating her own world for listeners to soak in. As the sole singer/songwriter on the album, it’s no wonder her true identity shines so clearly throughout the work. The most perfect blend of soul and power, Ice Tea Liberace will have you rebelling against societal norms before you know it. When asked about the new album Starr said, “I’ve constantly been expected to play a role. I think a lot of women have these expectations placed on us. Labels make people feel safe. Social identities make people feel like they have control over life. I’ve learnt those people may feel safe but they aren’t free. I’ve learnt that being outcasted for who you are is more enjoyable than being accepted for something you’re not.”
Be sure to check out Starr’s other music on Spotify.
by Meredith Schneider | Sep 2, 2019 | albums, review
On Friday, indie pop powerhouse G Flip released the highly anticipated debut full-length About Us. From the first seductive lines of “Lover” to the last winding, beautiful chords of “2 Million”, this album is packed to the brim with ambient sounds that will help you transition into the autumn months with ease. “I Am Not Afraid” could stand the test of time as, lyrically, it is comforting in a relatable – and, at times, melancholic – way. Lines like “And I’ve cried/I am not afraid to do this alone/I know that it scares you but I am my own home” establish G Flip’s independence as she shatters expectations around relationships, encapsulating a special type of vulnerability for the listeners.
The first time we had the pleasure of witnessing G Flip do her thing was at SXSW 2018, and we had the divine pleasure to see an encore performance the very next day. From just those two appearances – which marked her first, officially, in the US – we were captivated by her stage presence, enlightened by her musical talents. To say that we have been excited about this release for quite some time would be an understatement, and I have to admit that the completed work completely eclipsed our high hopes. “Drink Too Much” was one of those initial songs we had the pleasure of peeping, and are so thrilled that it made it onto this work. This track is for anyone who has ever mirrored the thought “I just want to get into trouble,” knowing that said trouble has caused them to apologize in the past. It’s that subtle balance of letting go and holding on that G Flip tends to play with lyrically, and this jam defines itself by making the whole topic club-ready. Topically, she follows that part of the journey will, as “Morning” and “Waking Up Tomorrow” both address waking up alone after making a few mistakes. (Could they have been the direct result of a night out like in “Drink Too Much”?)
This musical journey then takes us to the aftermath of relational issues without a complete fallout. Once again, G Flip hits us right in the gut with “Stupid”, one of her more recent singles from this release that really illustrates the push and pull of a relationship through trying times. In line with its predecessors, its introspective nature make it perfect for a nice, breezy night on the patio, however its pace and instrumental makeup could easily have it placed as your go to “dance it out” track — in public or otherwise. Seventh track “Killin’ My Time” is how we initially introduced this talent to our friends and family post-SXSW. Raspy vocals, setting boundaries, and doing it all with an uplifting composition holding it together.
We are completely carried away by ballad “Bring Me Home”, a showstopper if ever there was one. This track leads right into “About You”, another SXSW 2018 staple that has been running circles in our minds ever since. While G Flip struggles emotionally with the aftermath of ultimatums, the pain of a tumultuous relationship is palpable. Meanwhile, she’s still managed to hook us with an enigmatic composition that would keep any human dancing into the wee hours of the morning. The album is wrapped up with a cliffhanger — literally and figuratively — as G Slip addresses the constant change of life, and all of the endings that could be. It prompts the listener to examine the open-endedness of their own lives, and to adjust to accept change. I am thrilled with the sheer attention to detail that G Flip offers in her catalog, and absolutely enamored by the thought put into the entire journey that About Us provides.
Keep up with G Flip here.
