by Erin P.S. Zimmerman | Nov 4, 2019 | show review, snapshot
The end of October brought with it more than just a weather cool-down. As we started to bundle up for the winter ahead, we took time to pause on a breezy Autumn evening to celebrate the last 2 years of accomplishments with Imperfect Fifth. We were lucky enough to partner with Do Good Co., an incredible company on 38th Street in Kansas City, MO, who was also celebrating their 2nd birthday that evening. Together, we brought in vendors (Sugar Buffet KC, Scorpio Rising Botanicals, Crystal Ramirez Jewelry) and unique shopping opportunities with an evening of music and fun. Guitarist James Schneider opened the evening, followed by the talents of Danza Special and Fathers. We captured some photographs, caught up with friends, and were able to celebrate some incredible people locally, to boost our change globally.
Check our merch shop all week for discounts! Sales end at midnight, 11.11!
**photos by Erin P.S. Zimmerman, Elizabeth Schneider, and Meredith Schneider
by Meredith Schneider | Nov 1, 2019 | albums, review
Christine Smith is a songstress capable of bringing both a hint of gothic-inspired sounds and inspired lyrics. Her new 9-track release Meet Me on The Far Side of a Star is no different, catapulting its listener into a slightly whimsical existence. Starting out slow and steady, an absolute ambiance is created with “This Love”. The piano leads the way into “You Can’t Hurt Me Anymore”, and an ear that has never witnessed Smith’s music can sense a very theatrical disposition almost off the bat. And perhaps that’s the magic about Meet Me on The Far Side of a Star, as it feels as though all of these songs could be written into a stage performance. Both “Trying Not to Fall in Love” and “Happily Never After” could both be read as tongue in cheek, though the genuine attempt to avoid love is a real thing that many people grapple with.
“Feels Like Yesterday” brings the nostalgia in like a train at high speed, while the title track brings the tempo up slightly more than its predecessors. “I Know This Moon” feels like a lullaby, and wonderful caress compared to the other tracks that are part of this collection. It might appeal to the increasing number of people who are starting to follow moon cycles a little more closely, and become something almost sacred for some. “Very, Very” feels just as delicate, while “We’re Never Going” is the perfect final track, as there is a sense of finality not only in its title, but also in the structure of the instrumentals.
How wonderful to feel like this audible journey closes out as perfectly as it could. Enjoy the album in its entirety below, and be sure to let us know how you’re feeling about it on Facebook!
by Meredith Schneider | Oct 21, 2019 | albums, review
Alright, we are way overdue for stepping back in time with a killer soundscape to aid us. Packed to the brim with disco-era synth flare, Delores Galore‘s new album New Growth sounds a little more old school than one might assume when dissecting the album title, though it has a fresh spin with relatable lyrics and a fun, carefree feeling. (Truly, this is exactly what we needed to help us along through these slightly-more-serious months as we all meet year-end goals and continue to kick ass to end this decade right.)
“One Touch” gets us in the mood with husky vocals, glittering reverb and a vocal spoken breakdown that is equal parts honest and soulful. “Corpse Inside” has more of a psychedelic tone to it, a track that brings the tempo down, and the feelings out. “Still We Stay” follows it, much more 80s in nature, and just as magical as its predecessors. This one has an instrumental tempo that is slightly off-kilter when lined up with the vocals. This slight difference creates an otherworldly atmosphere for the duration of this dance track.
“Don’t Stop Me Now” has a very techy opening, with a soundscape that makes us feel as though we have been dropped inside an original Nintendo console to fend for our lives. The frantic feeling the instrumentals create is only slightly offset by the smoothness of the vocals, creating a balance similar to the song before it. Delores Galore rounds out the release well, with the slower tempo’d “Circles”. It feels epic, and should we find it placed in a Stranger Things-esque period piece, we wouldn’t think it out of place.
Get a sneak peek of New Growth below with “One Touch”, and keep your eyes peeled for more!
Keep up with Delores Galore here.
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.
