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.
by Gemma Harewood | May 15, 2018 | albums, review
UZ is an artist who has changed the face of trap music since he first emerged on to the scene. Revolutionizing the genre with his own spicy series “Trap Shit,” the Frenchman went on to release with a plethora of labels before creating his own platform. Quality Goods Records is where he has released his newest album The Rebirth, which signals a pivotal point in his career.
The artist is in the midst of a busy year; as well as releasing this LP, he has taken off on Part 1 of a tour across America and Canada, and rebranded his DJ mask. With Part 2 set for later in the year, we urge you to get yourself a copy of this release today. There are some blistering, knife-edge classic trap pieces, whilst UZ proves he is also capable of making something simplistic and ethereal in the form of the closing tune “Castle” ft. Nevve.
The Rebirth deserves a full, uninterrupted listen. You can do so by hitting the link below, or buying a copy here.
Keep up with UZ here.
by Abby Trapp | May 15, 2018 | albums, review
Courtship. recently released their debut album, Denial in Paradise. I had the pleasure of being acquainted with Courtship. earlier this month as I interviewed them. It was then that I fell in love with the first single off their album, titled “The Kind of Woman.” I was lucky enough to have a chance to listen to all of Denial in Paradise, an album where the tracks flow effortlessly to create a one-of-a-kind pop sound. “The Kind of Woman” is just the start and enters with a groovy 70’s feel. Courtship. sings “…the kind of woman I want to be with, you know I’m going to put a gold plated watch on her wrist,” on their idea of the ideal woman. The track even incorporates French. Listening to it made me feel like “the kind of woman.”
Following up “That Kind of Woman” is “Nice Guy.” The infectious track has Courtship. and me wondering as they sing “Why is it so hard to be a nice guy?/Could have had a nice life, friendlessness could never stop…I can’t even fake a smile,” Courtship. declares. “Nice Guy” is the perfect anthem not just for guys, but for a world that struggles to be nice from time to time. “Nice Guy” isn’t as somber as it sounds, the song stays upbeat with its synth and funky sounds.
“Perfect People” has a different, misunderstood and creepy feel to it. The vocals are emphasized here and Courtship. makes another great point “We’d do anything just to be perfect people, blonde and beautiful on the beach.” They are not far off, candidly calling out the societal pressures to look, be, and have “perfect things.” “Live! with D+J” remains the quirkiest track. The track is only 34 seconds long, but samples the band as if they were on a radio station with a DJ. It give the pop album a unique twist. Of course Denial in Paradise is more than just Courtship.’s latest album; it is an array of feel good, wind in your hair, summer night, love sick anthems.
Keep up with Courtship. here.
by Madison Blom | May 11, 2018 | albums, review, wolf tracks
From the very depth of New Orleans based brother band Holy Knives comes their debut EP, Ritual Bloom. Over the past few months, fans and followers have gotten to know Kyle & Kody Valentine through their successful singles, “To Be Mine,” and “Every Day” – both of which have been released in recent months. Both of these releases have revealed a little bit more of what we can come to expect from such a young band. Creative and passionate are just two words that can be used to describe this dynamic duo. Their creative streak runs deep–right down to their name which was a clever combination of two of their favorite works of art, the film “The Holy Mountain” by Alejandro Jodorowsky and the poetry book The Singing Knives by Frank Stanford. Despite the fact that both of these artistic works are found in two separate mediums, their message of surviving a daunting quest through unpredictable circumstances to find solace in the beauty of knowledge.
Musically, these brothers have found their niche in a world that contains all of the rich overtones of classic rock and roll that is highlighted by a psychedelically, unique flare. Unlike most artists, the Valentine brothers have found a way to mix together two diverse worlds in the music universe to create something beautiful; just like the name chosen for their group.As the music and the plot therein thickens, listeners are totally and completely captured by the creative and intricate instrumental rhythms. All of the music produced by Holy Knives is intended to be intuitive and plain to all who stumble upon their work, much like a well written story. Without a doubt, this new release will aid them in their goal of becoming the best musicians they can be.
Keep up with The Holy Knives here.
by Veronica DeFeo | May 9, 2018 | albums, review
It’s a great day for a new EP! Toronto-based Century Thief is back with their new self-released EP, Deaf Beneath the Waves, which is their second release since their debut record, Reverie. Century Thief is made up of vocalist/guitarist Omar Shabbar, bassist, Dante Matas, drummer Colin McNally, guitarist/vocalist Michael Legere, Kathryn Kearns on keys, wind, and vocals, Adam Reid on brass.
Says Century Thief about the creative recording process for Deaf Beneath the Waves,
We found it very important to have a bigger hand in the recording process, and decided to self-produce this material. In the spring of 2016, we isolated ourselves at a farmhouse in Northern Ontario for a week and a half to begin tracking, and then finalized the recordings at The Root Down Studio back home in Toronto. The result was songs that are darker, and more spacious, incorporating more electronic sounds, synthesizers, ambient noise, and effected guitars and vocals.
Deaf Beneath the Waves tracklist:
1. “406” starts off Deaf Beneath the Waves on a dramatic note. With full instrumentation and great vocals, Century Thief does not waste any time getting their EP going. Read more about “406” here.
2. “You Are Here” picks up where “406” left off. A bit mellower, but simply showcasing a different kind of strength. Century Thief clearly has an excellent hold on their composition, and knows how to display their well-crafted sound in the best way possible.
3. “Science of Solace” closes out the EP on a more upbeat tone. The most indie-rock of all the tracks, “Science of Solace” is filled with excellent harmonies, guitar, and bass. Til the last moment, Century Thief will have the listener hooked, holding onto every last note of the moving, soaring song.
Stay up to date with Century Thief:
FACEBOOK / TWITTER / INSTAGRAM / SPOTIFY/ SOUNDCLOUD
by Veronica DeFeo | May 8, 2018 | albums, review
Nashville-based singer-songwriter Joel Levi has just dropped his self-titled album. Honest and down to earth, Joel Levi explores challenges and difficulties of life on an Americana/indie-folk soundscape.
Joel Levi:
1. “Middle of Everything” starts off the record on an upbeat note, setting the indie-folk tone of the album. Showcasing Levi’s great vocals, this first track sets the stage for the rest of the album.
2. “Will We Ever Change?” is up next, starting off with a smooth, angstier sound. As the title suggests, this track explores the fear of being stuck as you are.
3. “Honest Mistake” carries the listener into a more Americana sound, reminiscent of Springsteen. Featuring a great guitar solo towards the second half the song, the lyrics “I don’t wanna bring you down” echo throughout the track.
4. “Easy to Be Alone” is a more laid back folk song that moves along an emotional soundscape, encouraging the listener to hold onto their loved ones and fight for them.
5. “Harder Times” emphasizes perseverance, even through adversity. Well-placed guitar rounds out the track into a solid song.
6. “The Garden” brings the listener into a simple but touching melody, filled with well-constructed metaphors.
7. “All My Friends” changes it up, instantly upbeat and quickly moving into a feel-good chorus that will make any listener appreciative for the important friends in their life.
8. “Sweet Melinda” comes next, a beautiful love song that starts off with some acoustic guitar. An instant classic, “Sweet Melinda” encompasses what a romantic folk song should sound like.
9. “Blind Men Still Dream” is a painfully honest track that explores the challenges we face, and the support that we always can depend on.
10. “Hold On Me” closes out Joel Levi on a simple but touching note with a love song. “Hold On Me” shows just one of Levi’s many musical aspects and gently brings the record to an end.
Stay connected with Joel Levi:
Website I Facebook I Twitter I Soundcloud I Spotify I Bandcamp
