by Abby Trapp | May 21, 2018 | albums, review
The Brooklyn based rock band Language, just released their latest EP Plymouth via Good Eye Records. The rock band consists of Omar Afzaal (guitar), Charles Sloan (bass) and Wes Black (drums). After self-released EP’s, Plymouth is the product of their signing with Good Eye Records. Plymouth has five tracks, including the title track “Plymouth.” The album encompasses all things rock and kicks off with the track “Where To.” With no vocals and only lasting at 1:21, “Where To,” holds up to its name. It really serves as an introduction to the band’s sound which include notes of bass, guitar, and a steady drums. “Game Piece” shows off the band’s vocal talents, far-reaching as they are. The band’s vocals remain gritty and angsty with true rock feel. “Fingers small, in a father’s hands,” Language sings on “Game Piece.” The song has a punk-rock feel and definitely is something to jam out to.
“Plymouth” remains creepy at first, with a distant sound of buildup to the drop of the beat. The song soon changes pace halfway with calming vocals– “Landed on a new rock, kinda like the old one.” I believe that the “rock” is in reference to Language’s new album, their signing with Good Eye Records, and coming full circle as a band and artists. Plymouth remains the band’s “new rock.”
Keep up with Language 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 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
by Madison Blom | May 17, 2018 | albums, review
For aspiring artist and writer James Alex of Beach Slang – now exploring uncharted territories with his new project Quiet Slang – “Rock and roll is sort of my consolation prize for wanting to have been a writer.” Both of these dreams are fulfilled as he performs all over the world and now hears lyrics, written by his own hand, shouted back to him while performing in front of hundreds of fans. On May 18th, alt-rock project Quiet Slang is set to release its debut, Everything Matters But No One Is Listening, which has earned the attention of an overwhelming amount of fans and critics all throughout the music industry.
Setting aside all of the hype surrounding this new release, there is a wonderful kind of artistry that is woven throughout each track. Each line holds poetic, relevant meaning to anyone who is lucky enough to hear it. Accompanied by the beautiful, hypnotizing rasp of Alex’s voice, the instrumental aspects of this album embrace the minimalistic nuances that are so clearly embodied in the title of this new rock outfit, Quiet Slang. As a wonderful tribute to the roots of this genre, the almost tangible melancholy of this album is wonderfully enticing and cushioned by the powerfully emotive cellos, piano and vocal talent.
In his own words, Alex explains that this group was brought together to convey one attribute: “Tenderness. I suppose that sounds overly simplified. But, still, it makes it no less sincere. Look, I’m trying to soften the world a little bit—there’s worse ways to be remembered.”
Throughout the album, certain themes are easily recognizable, the importance of sound and how silence can be more powerful. Along with this sentiment, each track emotes events and experiences that are relevant to young listeners and things that are often experienced at that age. With so much going for this upcoming group, it is almost impossible to ignore the blatant talent that is found within each verse of lyrical genius which has brought them to where they are now.
Keep your eyes peeled this Friday, and keep up with Quiet Slang here.
by Madison Blom | May 16, 2018 | albums, review
After her tour on NBC’s Emmy-award winning show The Voice season 13, Whitney Fenimore has found herself knee deep in a career that is just beginning. Although she has had so much happen in the space in between her tv appearance and the present, the most exciting news is yet to come as she releases her first ever full EP, Battle Within on May 18. Although the EP is scheduled to drop later in the week, we have had the chance to grab a sneak peak and are excited about Fenimore’s unique ability to seamlessly mesh so many genres–from country to folk and rock to pop.
One of the greatest skills that is highlighted by this Ep is Fenimore’s vocal flexibility. Within each individual track there is such a wide array of emotions that listeners pick up on just by the way she emotes each and every note. With each breath, this young artists draws energy and atmosphere into her long, beautiful melodies. Perhaps The Boot said it best when they proclaimed, “powerful, distinct vocals [and] strong melodies.” All three points accurately sums up all of the highlights presented in this wonderfully written and produced EP. Without a doubt, this will accelerate the career track that she has so clearly set for herself.
From being one of the strongest vocal contestants on America’s favorite pass time show to becoming one of the most credible and content reliable musicians of her time, Fenimore has nowhere to go but up as she continues to develop music that is both relevant and utterly breath taking. At age 28-the amount of quality work that we have seen is astounding. As each single on this track is unique and holds a different feel, fans are inclined to continue listening, viewing several different facades of Fenimore with each passing track. Look out for the release of Battle Within, scheduled to drop May 18. Until then check out her latest teaser, “Stones” which will be included on the release.
Battle Within is out May 18th. Keep up with Whitney here.
by Abby Trapp | May 16, 2018 | albums, review
Oakland based Wax Idols, are happy to release their fourth and latest album on May 16th, Happy Ending. Members if the band include Hether Fortune (vocals, guitar, bass, organ) with Peter Lightning (guitar, bass, organ, piano), Rachel Travers (drums), and Marisa Prietto (bass, backing vocals). Greer McGettrick has recently joined as a bassist. The post-punk band is versatile with Happy Ending, which explores a variety of topics such as philosophy, politics, and relationships.
Streaming on NPR, their song “Scream” is a punk hit. “Scream” touches in the internal conflict we all struggle with. “So I’ll scream…the only love I’ll have,” the band proclaims with its struggle to find love. “Crashing,” an anthem to the struggles life “This life and I never got along…so now I’m crashing hard,” the track testifies. The song keeps a slow and steady beat before rocking out at the chorus “Now I’m crashing hard.” “Mausoleum” remains a unique track. Wax Idols display their punk roots here with whiny female vocals, sounds of a tambourine, and a classic rock sound. “Mausoleum” is a great display is the versatility that Wax Idols brings to the scene.
Wax Idols Tour Dates
6.1 | Red Museum | Sacramento, CA
6.2 | The Holland Project | Reno, NV
6.4 | Neurolux | Boise, ID
6.6 | The Astoria | Vancouver, B.C.
6.7 | Barboza | Seattle, WA
6.8 | Cryptatropa | Olympia, WA
6.9 | Tonic Lounge | Portland, OR
6.15 | Eli’s Mile High Club | Oakland, CA
6.16 | The Hi-Hat | Los Angeles, CA
Keep up with the band
here and look for their album
Happy Ending streaming worldwide now.
